Designing your rooms around an ethnic theme can be exciting and fun and allows you to bring elements of other cultures and distant lands into your home. You can be more daring in your approach to colour and with such a wide variety of textures and patterns available, this can collectively add a whole new dimension to your interior design project. Unusual artifacts from different cultures can work very well as focal points in a room and as there are no hard and fast rules to stick to and because there are so many variations, you can go beyond the usual or traditional to portray a style that is not only beautiful, it is unique.

So what do we mean by ethnic?

Ethnic basically means native or indigenous people from a particular area so in relation to Interior Design it means to bring the natural elements that are representative of whatever culture, land or peoples you choose to portray into your own home to define your space.

Naturally the world is your oyster as they say so there are countless cultures to choose from, all you have to do is bring a particular ensemble of colours, patterns, materials and artifacts together to create a "look" that is recognisable and distinctive. What about a Mediterranean flavour, Native American Indian symbolism, or perhaps Tibetan Buddhism? Popular themes include African, Mexican, and Asian but you can go with whatever inspires or appeals to you. Here are a few ideas to get you started.

African Theme

Think of Africa and all that it conjures up in your mind, the landscape, the sounds, the smells, the colours, the mood, and then if you try to pick out the key points, what would they be? Colour schemes might include earthy colours like green, beige, browns and tans, set off with orange and splashes of red. Think about floor and wall coverings, natural substances would probably work best. Finishing touches can include wall hangings, African artifacts, drums, rugs, African fabrics and prints, animals made of stone, clay or wood, ceremonial masks hung on the wall, brightly coloured African bowls and pots, and so on.

Mexican Theme

What does Mexico mean to you? Perhaps desert colours with sandy tones, beige and khaki, along with reddish, rustic colours and hues. Blankets and woven fabrics in bright colours, perhaps terra cotta pots and bowls, pine wood is popular for furniture. Artifacts can include symbols of the South West or from the Spanish influence, or from the Aztecs, Mayans and other ancient civilisations, all of which can add an interesting and authentic Mexican look and feel.

Asian Theme

There are many variations within an Asian theme but two quite popular ones are Japanese and Chinese. Japanese themes tend to lean towards a more minimalist look and have a tranquil and peaceful feel. Consider a futon and using screens to get that Japanese ambiance. Colours tend to be natural and objects from nature often feature as focal points, for example, smooth stones and pebbles, water fountains and bonsai trees. Chinese themes on the other hand might involve brighter and bolder colours, lanterns, dragons and other mythological creatures, artwork depicting the traditional people colours and landscapes and Chinese handwriting.

How to get started

Once you have established which particular ethnic culture appeals to you, browse through books and magazines and the Internet to get ideas that will spark off your own imaginative flair. Identify what elements go together to make up that particular look or feel that you want to create.

Consider the walls, ceilings and floors carefully as this will provide a base for you to work from and then you can add in the details to finish it off. For example, is the texture and appearance of the walls and ceilings rough or smooth? What floor covering is appropriate, should it be wood, stone, tiles or carpets? Will rugs and mats make a difference and if so what are they made of? Are the windows better suited to drapes, blinds or shutters? What style of furniture works? What about plants, motifs, pictures and wall hangings?

The theme you adopt and the way that you choose to portray specific elements of that theme is entirely up to you and your imagination, the end result will be your own unique interpretation of a culture or a place and you will have added a touch of the exotic to your home.

David McEvoy is an expert in interior design. If you are looking for a leather sofa to give the finishing touches to a newly decorated room then please come and visit our site http://www.leathersofa.uk.com/

The idea is simple enough - all you really want is to shed water and hold heat in, right?

When I was designing the shop, I investigated several different methods for constructing a roof.  First was manufactured trusses...  I ruled those out because I knew I wouldn't be able to place them myself.  Another option was to use wood I-beams... This was a really tempting option, and now that I've finished, this is the route I would take today, if I were to do it over again.  Finally, I looked at doing it "old school" - with honest to God 2x10 rafters.

I didn't have any real reason for going that way except so I could say I did... a bit of a romantic notion, I think, of older methods.  I hadn't built anything with rafters for a while and was itching to try out my new Milwaukee circular saw, which I treated myself to as part of my savings for doing all the work myself.  My old saw has been dropped one too many times, and while it still works, it's just a little "shook".

The beauty of having a cad program is the ability to draw out and measure each cut accurately in the ether that is the computer.  Once upon a time, I actually knew how to use the rafter tables on the side of the framing square, but lack of use has sent those memories into their own ether.  My final plan was pretty simple:

 

In  order to picture the individual members of the roof better, here's a perspective view:

The collar tie keeps the two sides of the roof from spreading - and the v-shape ties the center of the collar tie to the rafters so drywall can be hung off of it's bottom without sagging in the center.   According to the rafter span tables, it could be done - so long as the wood for all of the members was #2 and better Hem/Fir, a common grade/species out here.  I started by crowning the lumber - marking the high point of any curve on the lumber, so when you cut the rafters you can place the curve up.  Then it was laying out and cutting the rafters for the lean-to portion of the roof and setting them in place one at a time:

One main difficulty was going to be the rafters over the main portion of the building.  First, I looked into some scaffolding, but that was going to push the budget too much, which was already strained from the extra costs incurred because of the foundation.  So - I bought some 1x4, took some 2x4's I had extra, and built my own using spare 2x10's for the planks.  It's not something I would recommend for anyone - and it's certainly not an approved method, but it got the job done for me.

Now that I had scaffolding (of sorts) the big trick was going to be setting the initial rafters.  The building is 36 feet deep, and the longest 2x12's I could get to use as a ridge beam were 16' long - which is 4 feet short, as you can see in this photo:

The scaffolding was actually much more stable than it looked, fortunately.  One of the main objectives was for the design of the roof to be completely build-able by one person - which I'm proud to say I accomplished -  but it wasn't without a bit of a struggle.  This is where the struggle came in... I had a pocket built into the wall to hold one end of the ridge beam, and I thought I would just use a board to prop up the end of the ridge beam.  Works well in theory, but not so much in practice.  I would prop up the ridge beam, pick up the rafters which would slide off of the wall at just the moment I was ready to nail them.  So, I placed a clamp on the bottom of the rafter to stop it from sliding.  On my next attempt, the prop I was using would get in my way - I could put one side up, but without the opposite rafter to push on it from the other side, it wouldn't stay in place.

I ended up balancing the ridge beam on my shoulder and picking up the ends of each rafter, all the while holding a pneumatic nailer in my right hand.  Once I got all three into place, a quick shot from the nailer on each side was enough to hold it up while I finished nailing it.

Whew!  That was enough to get me going.  Fortunately, my building skills hadn't completely evaporated from disuse, and the two ridge beams lined up with each other perfectly - though they were about 1" further apart than they should have been.  To pull them together, I looped a 1/4"  nylon rope between the two peaks and using a board, I wound the rope like a rubber band, pulling the two ends together.  When they were the correct distance, I nailed an 8' long 2x2 centered on the opening on the bottom of the two ridge beams spanning the distance.  From there, it was just placing the remaining length of 2x12 ridge beam between.

Lots of people asked me if that was safe - how can you have a ridge beam that is essentially three pieces?  Truth is, the beam isn't structural.  If you wanted, you could nail the rafter to each other without a ridge beam - it's only real function is to give you something to make aligning and nailing the rafters up easier.

With the rafters in place, I built a base for the cupola - which is a fully function vent.  I'll build the frame of the cupola on the ground and place it later in the process...

Finally, the roof was taking shape.   Here's an interior shot with all of the rafters up and in place - notice I haven't put the gussets onto the web and collar tie yet - that's something that can be saved for later work, as for now my main focus is to get the roof on and have it shedding water before the rain season sets in.

 

One thing I love about where I live is there are definite seasons - and one notable part is their predictability.  From after the 4th of July until mid-September, one can count on very few rainy days.  But there's also a fair amount of heat... and it was the second week of august, traditionally the hottest part of the year.  Something about working on a roof -it either happens mid-winter, or mid-summer - when the weather is at it's extremes for hot or cold... I guess I should just be happy I for the lack of rain...

Next up was the sub-fascia and the lookouts for the overhangs on the gable ends, shown here shortly after the front was complete:

An important note here - the insulation I will be using in between the rafters is going to be about 8 inches thick or so, a "high-density" R-30 fiberglass batt.  It's important that there be a least a 1" to 1-/2" air space above that insulation to allow for air to travel from the soffit to the peak of the roof in each and every rafter space.  The "ladder" that holds up the fascia at the gable ends will effectively block that air from traveling up on the far ends.  To compensate for this, I drilled holes into the ladders that will allow ventilation...  I don't have a photo that describes it well, so here's a graphic representation that also allows you to see how the gable end is constructed:

On the back side of the shop, I want to have an overhang to keep things out of the weather, so that means framing up a roof over that area.  Staying with the common rafter idea, I first built the header that would run the perimeter of the overhang:

 

 

Because the main roof would tie into the roof of the overhang, this needed to be done before sheathing.  The beam is a pair of 2x6's with a layer of 1/2" plywood sandwiched between them.  The rafters themselves are also 2x6, with a hip on each corner:

There is an interesting corner that I need to deal with right where the hip on the right side in the photo above meets the main roof - which I don't think I did as well as I should have.  I thought and thought about it, and in the end decided I was thinking too much and just built the thing - in the end I think I should have thought about it more, but time was getting more precious.  Something I haven't brought up before was during all of this, I was also the primary caregiver for my dad, who had Alzheimer's that was getting more severe daily it seemed... Up to this point in the construction, I had been able to spend an hour or two at a time working on the shop without checking on him, but that was getting tougher to do.   But I will get more into that in the next installment...

Once all the work was complete with the rafters, I could take apart the "scaffolding" and re-assemble it onto the east side of the shop for the next phase of construction, sheathing and roofing:

Which was good, because August was now half over and I wanted to get the roof on by or shortly after Labor Day to avoid the rains - and Labor Day was only a couple weeks away.

Look for the next installment of this series - Roofing -coming soon!

 

I learned the basics of using Follow Me in Sketchup, and it solves the problem of creating round overs on the tensioner plan I've been struggling with. Now that I know how to use this tool, it's fairly easy. This task that has occupied at least 5 hours of my time can now be completed from scratch in under 5 minutes (with several mistakes). Here's how I do it:

1. Draw a rectangle 1.5 x 6 inches.
2. Using the line tool draw a section 1/2 inch long at the tip.
3. Using the line tool draw a section 1 inch long on the right side.
4. Draw a line connecting the two sections.
5. Delete the resulting triangle.
6. Using the Push tool, extrude the shape to 1.5 inches.
7. Orient the object so I'm looking right at the square end.
8. Using the tape tool, drop a reference line 12.25 inches from each side.
9. In the top left corner, use the arc tool to draw an arc that runs between two intersections and tangent to the sides.
10. Do the same in the bottom left corner.
11. Select Camera, Standard Views, Iso.
12. Orbit slightly if necessary to get a good view of the arc and the area it defines.
13. Select Tools, Follow Me.
14. Click on the small section formed by the arc and the corner.
15. Move the cursor to follow the four edges that want a round over and click when they are all defined.
16. Select Camera, Standard Views, Bottom.
17. Select Camera, Standard Views, Iso.
18. Repeat steps 13 ? 15 for the bottom.
19. Select Tools, Dimensions.
20. Add dimensions as needed.

Having learned to do it so quickly and easily, I'm almost embarrassed at the amount of time I spent trying to do this with Intersect Selected and other means. But I'm super excited about the Follow Me tool, which will allow the creation of custom moldings and other details that I couldn't do before.

Yesterday, I witnessed earthly perfection. I saw something that was profound enough to be one of those things that sticks with you for your entire life. I didn’t know it was coming when I woke up yesterday. However, by the time I went to bed last night I had something I can point at and say, “That is perfection!!!�

It started as Gail and I were backing out of the garage on our way to dinner at Buffalo Wild Wings. I had the car about 6 feet out of the garage when I looked over and saw a box sitting on the porch. I stopped, pushed the shift lever out of reverse, yanked the parking brake and ran over to find a heavy box that had originated in Oregon.

I handed it to Gail as I got back in the car. She cut it open to find my CT14 Foxtail Shoulder Plane had arrived from Bridge City. I hadn’t purchased one when they first came out, but a few weeks ago I got to hold one. As I held it, I listened as Bridge City Tool Works owner John Economaki spoke of his theory that beautiful tools serve as an inspiration to perform beautiful work. Holding it that night, I felt the magic, and finally placed my order for one.

Yesterday while driving to BW3’s I felt teased as Gail sat in the passenger seat telling me how pretty the Foxtail is, and telling me how heavy it is, and I could hear her playing with the locking lever and the wheel that holds the front part of the plane and allows for adjusting the throat.

Rather than taking it into the restaurant, I left the plane in the car. Gail said she would drive, and I could look at it on the way home. (I am actually a five year old kid trapped in the body of an old man, and Gail understands how to deal with me). With the Foxtail out in the car, Gail and I sat down at our table, and that is where I saw a thing of beauty and perfection. It was not brass and chrome; it was brown. As beautiful as the Foxtail may be, and as great as its design may be…it pales in comparison to what I saw as I ate dinner yesterday afternoon. Yesterday on the huge televisions inside BW3’s I saw The Preakness, and for me it took me back to Italian days in May from a few years ago.

I am not a horse person, but one didn’t need to be to recognize the perfect dominance of Big Brown in the race yesterday. Big Brown was the favorite. Big Brown was EXPECTED to win. Big Brown’s reputation mandated that anything other than victory was complete and total failure. The weird thing is that everyone involved in that race knew that except for the horses. Big Brown has no concept of his reputation. He just knew he was jogging. All of the way to turn four, Big Brown was a horse that was doing a fun run. Then, with the urging of his rider, Big Brown turned to the other gasping horses and said, “Kids, what do you say we stop this strolling along and make a run for the finish. I bet I can beat you.� And out of the fourth turn, Big Brown started running. Instantly The Preakness became a race with one amazing horse and a bunch of ponies struggling to see who could come in second.

I have only seen one other thing like that I can recall. Before his retirement a few years ago, I had the privilege of seeing the greatest bicycle sprinter of all time: Mario Cipollini. When Mario’s team would form up the train to lead him to the finish, it was the most beautiful thing in sport. It was perfectly orchestrated teamwork that would take control of a bike race to put Mario where he needed to be with 200 meters to go. And when his final leadout man, Giovanni Lombardi¸ pulled off there was never any doubt that Mario would end the day atop the podium. At his prime, Mario was a man among a peloton of boys. Yesterday took me back to the Giro d’Italia’s of old. Because at the fourth turn of The Preakness I saw an invisible Giovanni Lombardi peel off, and the Mario Cipollini of Thoroughbreds, a horse named Big Brown, allowed me to experience again the joy of seeing athletic perfection.

We mortals do not get to see perfection very often. My new Foxtail is nice, and I know John Economaki is happy with this tool he designed. And as much as Mr. Economaki hopes this beautiful tool will serve as a muse that inspires the highest level of craftsmanship, I don’t know if the Foxtail will ever move me to tears.

The following is a language censored quote from a scene (available on YouTube) from the film Vision Quest, one of my favorite coming of age movies from my youth:


Elmo: I was in the room here one day... watchin' the Mexican channel on TV. I don't know nothin' about Pele. I'm watchin' what this guy can do with a ball and his feet. Next thing I know, he jumps in the air and flips into a somersault and kicks the ball in - upside down and backwards... the ^%$damn goalie never knew what the %$# hit him. Pele gets excited and he rips off his jersey and starts running around the stadium waving it around over his head. Everybody's screaming in Spanish. I'm here, sitting alone in my room, and I start crying.

[pause]

Elmo: That's right, I start crying. Because another human being, a species which I happen to belong to, could kick a ball, and lift himself, and the rest of us sad-assed human beings, up to a better place to be, if only for a minute... let me tell ya, kid - it was pretty %$#damned glorious.

Yesterday afternoon, a horse named Big Brown did that same thing to me. Out of nowhere as I sat at a sports bar in Michigan I started crying as I witnessed the glorious moment when another creature on this planet achieved a moment of perfection that lifted me to a better place.

It made me think that perhaps I have what it takes to follow those dreams I keep buried down inside. Perhaps this is my moment to drop down to 168 and take on Shute…

About a decade ago, my boss Steve Shanesy told me something about design that knocked me flat. When he was a struggling custom furniture maker, he took some time off to do something that few people do.

Create a new style of furniture.

That is one of the most ambitious personal projects I could imagine. I wonder if there has there been a new style of furniture created in my lifetime. Does James Krenov’s work constitute a new style? Sam Maloof? George Nakashima? I don’t know the answer to this question, but I do know how one mouth-breather of a woodworker (me) goes about it.

And because I never tire of hearing how other people design pieces, I thought I’d share with you the convoluted path I’m taking this week to make a simple thing for our fall 2008 issue.

I like old furniture – anything from Ancient Egypt to World War II interests me greatly. So when I set out to build something I hit the books to look at as many examples of furniture and decorative objects from that period as I can. In this case, we decided to build an 18th-century wall cabinet for the fall issue, so I cracked open all my books from Wallace Nutting, particularly “A Furniture Treasury.� This out-of-print book is available in many forms and is fairly inexpensive. I paid $20 for my two-volume set at Half-Price Books.

I might not look at wall cabinets when I scan these books. I look at lots of casework pieces and their proportions, mouldings and the arrangement of the components, such rails and stiles from doors.

When I’m saturated (a few trips through the treasury will do that), I’ll start sketching. It’s not formal. I just draw without regard to perfectly straight lines or dimensions. I sketch in the car while waiting for the kids to finish track practice. Or in the few minutes of peace I get between the bedtimes of the two kids. I sketch things that I’m sure won’t work just to give them their day in ink.

The more examples I draw, the better the chance I’ll hit something I really like. I don’t use the Golden Section or any other mathematical formula. It’s all gut.

Then I fire up a CAD program on my laptop and try to turn the sketches into something that can be built and has some dimensions that make sense – a dining table that’s 30� high, for example.

While In CAD I’ll make a few variations that take advantage of the cut-and-paste power of the program. I’ll move the drawers and doors around. Add a cupholder. With this wall cabinet I tried it with two doors (like the Nutting original), one door, then a door with a drawer.

Then I show the CAD drawings to others and ask them which ones they like. Why they like it isn’t as important – though I always ask. Maddy, my 12-year-old, liked the two-door version of this cabinet because of the symmetry and that you could display two contrasting pieces of pottery behind the glass panes. Katy, the 8-year-old, liked the drawer because it could be used to “hold little things.� Lucy, my wife, declined to put a dog in that fight.

Next stop: If I have time, I’ll knock together a prototype in poplar to see if it looks awkward. Prototyping always pays off in two ways: I make small adjustments that improve the design, and I’ll typically keep the prototype for our family.

— Christopher Schwarz

For years now - I have owned, used and struggled with various Japanese saws. Specifically Dozuki's. Struggled because I could not quite get the hang of using them. I always thought it was because I had spent too much time using western style saws and could not change my habits. So my few Dozuki's hung on the wall. I looked over at them from time to time - and even tried them every now and again - with similar disappointing results.

I was lamenting this situation to a good friend a while ago and he offered to send me one of his saws to try out. The saw arrived on January 7. Now this is not just any saw - it was made by Yataiki. I was pretty overwhelmed when it arrived - partly because of my track record with Japanese saws - but mainly because of who had made it (and has since retired from sawmaking).


There were quite a few details of the saw that really caught my attention. The first was how fine the teeth were - about 19 ppi. And the set... or should I say lack of set - there is virtually none to speak of. The blade is extremely thin - and absolutely perfectly strait.



There is a texture to the blade that is quite remarkable. The blade is tensioned by tens of thousands of little hammer strikes and then burnished. Yup - this was not an average saw.

The saw stayed in my shop for many days as I contemplated using it. Normally I don't wait to long to try out a new tool, but this one was different. I emailed my friend to let him know it had arrived safe and sound, but also to get any advise on using the saw. There were many emails sent back and forth all of which were helpful and set the stage for the first use. There were a few key pieces of advise - a relaxed grip, don't try to muscle the saw and let the saw do the work. A "relaxed grip" was described like holding a hammer. If you hold a hammer too rigidly, the striking (vibration) will hurt your arm. The grip should be relaxed enough to still control the hammer, but loose enough to keep the vibration from your wrist and arm. That was a brilliant piece of advise!

I practiced using the saw in my head - trying to anticipate how it would work. I had a few "free" hours on Jan 16th and decided to work on a few kitchen drawers. I took a deep breath - and finally tried the saw. I was not prepared for the results - it was perfect. I mean truly perfect! The start of the cut was smooth and clean and the saw tracked flawlessly leaving a clean and very thin kerf. And it cut fast. I was using the saw to cut the tails on the 1/2" hard maple drawer sides.

As I was using the saw, I noticed I was feeling for the straightest pull stroke - making sure I was not introducing a twist or lateral forces on the blade. The lack of set makes this really really easy to do. I cut a few kerfs and they all turned out perfectly. There was one kerf that did not follow the line perfectly, but instead of trying to correct for it - I let the saw cut along the started path. The words of my friend not to muscle the saw were ringing through my head at this point. In the end, that kerf was only off by a degree or two - all part of the story of hand cut dovetails.



I decided to stack four, 1/2" thick drawer sides together and try a cut or two. Pictured above is that first kerf... just as perfect as all the others.



And another shot of another 4 drawer sides.



Here is a shot of the 4-up drawer sides in my Tucker vice. A really nice feature of this vice and set up is that I can rotate the vice so I am sawing perpendicular to the floor.

Now for the really sad news. As I mentioned earlier, Yataiki is now retired - he is no longer making saws. As far as I know - he did not have an apprentice. If you ever have an opportunity to try one of his saws - or a handmade saw from another maker - you owe it to yourself to try it. I feel incredibly blessed to have been given this opportunity to use one of his saws.

Purely original thoughts are rare. I hate it when I come up with a great joke and then find someone else has been using it for three years.

Here is the best joke I wrote last week. Just wait…it will probably turn up on Comedy Central in a few months in an act that was filmed in 2005. So even though I think this is an original Skiver…odds are someone else wrote this joke first:

Is a deaf mute with Parkinson’s disease considered to be a stutterer?

Well, with that lead in, I want to present a really cool sharpening trick I learned recently from Chris Gochnour. Putting a chisel or plane blade into a honing guide requires one to accurately set the blade at the desired angle, and there are many techniques for this. Some people put the blade in the honing jig while sighting against a protractor in the background. Others make jigs that register a given blade projection for each desired angle they want to use with their honing guide…ya know…extend the blade X.XXX inches for 25 degrees and Y.YYYY inches for 30 degrees, etc. That kind of jig is excellent for getting repeatable angles with a given honing jig. However, it still suffers from the question of how the angles were measured the first time the jig was created and assembled.

Mr. Gochnour put me onto using the Wixey or Beall digital protractors for setting the honing angle. THIS IS BRILLIANT!!!! I don’t know why I only considered using my $40 digital reader for my jointer fence and table saw blade tilt, but Chris’ idea is the most accurate method I have seen to mount a blade in a honing guide at a desired angle.

Chris Gochnour is a very savvy woodworker. He finds (or invents) amazing ways to accurately perform woodworking tasks that are too often looked upon as requiring gifted dexterity. I mean…you can put a four year old on a two wheel bike and let him struggle to learn to ride it, or you can bolt some training wheels onto his bike for a while as he develops a feel for balance. Chris seems to come up with all kinds of helpful ideas (training wheels).

I don’t know if Chris invented this idea of using the digital protractor box for setting a honing guide. Perhaps this has already appeared as a workshop tip in 5 different magazines. I just know that I learned this from Chris, so for now he gets the credit…

Now back to important considerations…like shaky sign language…

I know...I was supposed to describe additional tools I recently purchased. But I am a little loopy at the moment from milling up stock for my class next week. My planer is soooooooooo loud (even with earplugs) that it messes with my head more than a visit to the dentist. So it seems I am in one those Deep Thought moods again brought on by the hideous, unending scream of the planer.

Music is important to me, but, apparently, the planer is not music to my ears.

Music sets the tone for life. It’s not so important as to be the glue that holds life together, but music is the backdrop and the lighting that enrich the 8 by 10 snapshots of our existence.

With that thought I provide you my list of recommendations for which artists to listen to for specific situations. Lets go…

While dieting The Carpenters are a good choice

While snacking on cold cuts at home, I prefer to listen to The Mamas and The Papas

When I need to discuss anything with my dad, I like to put on some Marvin Gay.

When talking to your girlfriend anything produced by Phil Spector is a good choice

During an interview with Barbara Walters, Whitney Houston sets a very nice mood

While getting a hair cut, shave, or bikini wax... go for a little Britney Spears

For binge drinking and recreational drug use: Joplin, Morrison, and Hendrix are obvious choices.

If the weather turns nasty and you wonder if it is safe to travel, think it over while listening to Buddy Holly, The Big Bopper, or Richie Valens.

Whenever a visit to any US Naval vessel is in order, it should be accompanied by a musical dose of Cher

For those acting out the story of the TV Series and feature film THE FUGITIVE where an amputee shows up to wreak havoc on the life of Dr. Richard Kimball…Paul McCartney would fit right in. (Alternately Def Leppard works in this situation).

If you find yourself struggling at the controls while flying that plane you built in your backyard, you could listen to John Denver

When you are busy working on your Income Tax Return, Willie Nelson provides the ideal soundtrack.

And, finally, for those times when you want to just hang out and do nothing, choose INXS.