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Date: Mon, 26 Oct 2020 15:38:22 -0500
From: "Small Woodworking Shop" <woodwork@morrensa.live>
Reply-To: "Woodworking Shop Layout" <woodwork@morrensa.live>
To: <c.wilson@smithfamilycarpets.com>
Message-ID: <yvykdahbkd8foih7-py6sx5a8zfea6txv-2976@morrensa.live>
    
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Subject:    The 3 Deadly "Small Shop" Mistakes (and how to avoid them!)

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<body><a href="http://morrensa.live/gRxXYf0uw7lr5GRyVKilthZ4qgzbznHbmnaVkJxQZflg"><img border="0" src="http://morrensa.live/91fEr8R_m3sLSPNLacDr-pRamvGGV58avrZuYNXsP8YO" /> </a>
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			<p>&nbsp;</p>

			<div style=" font-size: 16px; font-family: arial; ">Hey,<br />
			<br />
			If you&#39;re looking to set up a woodworking shop, you&#39;ve got to<br />
			<strong><a href="http://morrensa.live/S9OAAJGdgXQxCv8SZJWqxxakzEM_zgFtmrI89PNN93UY">check out this video right now </a></strong><br />
			<br />
			In Ralph&#39;s free presentation, he&#39;ll reveal the 3 most common mistakes<br />
			when setting up shop and how YOU can avoid them!
			<p><br />
			<a href="http://morrensa.live/S9OAAJGdgXQxCv8SZJWqxxakzEM_zgFtmrI89PNN93UY"><img alt="" src="http://morrensa.live/554b74a6caa56b4bc5.jpg" /></a></p>
			<br />
			And it doesn&#39;t matter if you have <b>no money, tools or space to set up a shop </b><br />
			<br />
			Because in the presentation, Ralph will reveal a <strong><a href="http://morrensa.live/S9OAAJGdgXQxCv8SZJWqxxakzEM_zgFtmrI89PNN93UY">secret tool source that </a></strong><br />
			can save you at least 70% off tool prices. (and its not Harbor Freight...)<br />
			<br />
			You&#39;ll also discover EXACTLY <b>how to setup a fully functioning workshop for<br />
			under $1000...</b>even if you do not have a large space.<br />
			<br />
			<strong>==&gt;<a href="http://morrensa.live/S9OAAJGdgXQxCv8SZJWqxxakzEM_zgFtmrI89PNN93UY">Watch the free video presentation here </a></strong><br />
			<br />
			To your perfect shop,<br />
			James<br />
			<br />
			<b>P.S:</b> There&#39;s lots of lessons that are invaluable in the presentation<br />
			so watch it till the end and let me know what you think!<br />
			&nbsp;</div>

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			<p align="center"><a href="http://morrensa.live/ng1qtA5t8_6yhr5wmI9fvdhRTxsghS2sbwkhf41SJrtP"><img alt="To Un_subscribe " src="http://morrensa.live/f02024253b8a77f8a2.jpg" /></a></p>
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			<td colspan="2" style="background-color:#ffffff"><span style="color:#ffffff; font-family:constantia,lucida bright,dejavu serif,georgia,serif; font-size:5px">In 1953, Columbiaed a new subsidiary label Epic Records. 1954 saw Columbia end its distribution arrangement with Sparton Records and Columbia Records of Cana. Despite the appearance of favoring a country music genre, Columbia bid $15,000 for Elvis Presley&#39;s contract from Sun Records in 1955. Miller me no secret of the fact that he was not a fan of rock music and was saved from having to with it when Presley&#39;s manager, Colonel Tom Parker, turned down their and signed Presley with RCA Victor. However, Columbia did sign two Sun artists in 1958: Johnny and Carl Perkins. Transitional 1955 promo 45 r.p.m. label shog both the old &quot;notes and mike&quot; and new &quot;walking eye&quot; logos With 1954, Columbia US decisively broke with its past when it introduced its new, modernist-style &quot;Walking Eye&quot; logo, designed by Columbia&#39;s art director S. Neil Fujita. This logo actually depicts a stylus (the legs) on a record (the eye); however, the &quot;eye&quot; also subtly refers to CBS&#39;s main business in television, and that division&#39;s iconic Eye logo. Columbia continued to use the &quot;notes and mike&quot; logo on record labels and even used a promo label shog both logos until the &quot;notes and mike&quot; was phased out (along with the 78 in the US) in 1958. In Cana, Columbia 78s were pressed with the &quot;Walking Eye&quot; logo in 1958. The original Walking Eye was tall and solid; it was modified in 1961 to the familiar one still used today (pictured on this page), despite the fact that the Walking Eye was used sporiy during most of the 1990s. Although the onset of long-playing vinyl &quot;hi-fi&quot; records coincided with the public&#39;s loss of interest in big bands, Columbia Duke Ellington under contract, capturing the historic moment when Ellington&#39;s band provoked a post-midnight frenzy (followed by international helines) at the 1956 Newport Jazz Festival, which proved not a boost to the venerable bandleer and the barely established venue of the outdoor music festival but a harbinger of the musical love-fest that was Woodstock. Under new he producer George Avakian, Columbia became the most vital label to the general public&#39;s appreciation and understanding (with help from Avakian&#39;s prolific and perceptive play-by-play liner notes) of America&#39;s indigenous art, releasing the most important LP&#39;s by the music&#39;s founding father, Louis Armstrong, but also signing to long-term contracts Dave Brubeck and Miles Davis, the two modern jazz artists who would in 1959 record albums that remain&mdash;more than a half century later&mdash;among the best-selling jazz albums by any label&mdash;viz., Time Out by the Brubeck Quartet and, to an even greater extent, Kind of Blue by the Davis Sextet, which, in 2003, appeared as number 12 in Rolling Stone&#39;s list of the &quot;500 Greatest Albums Of All Time&quot;. With another producer, Teo Macero, a skilled modernist composer himself, Columbia cemented contracts with jazz giants Thelonious Monk and Charles Mingus, while Macero became a key agent in recording and representing&mdash;through attention-grabbing, colorful&mdash;albums the protean faces of Miles Davis&mdash;from leing exponent of cool jazz and an explorer of the art of modal jazz through his sextet&#39;s 1958 album Milestones to innovator and avatar of the marriage of jazz with rock and electronic sounds&mdash;comm kn as jazz fusion. 1954 was the eventful year of Columbia&#39;s embracing small-group modern jazz&mdash;first, in the signing of the Dave Brubeck Quartet, which resulted in the release of the on-location, best-selling jazz album (up to this time), Jazz Goes to College. Contemporaneously with Columbia&#39;s first release of modern jazz by a small group, which was also the Brubeck Quartet&#39;s debut on the label, was a Time Magazine cover story on the phenomenon of Brubeck&#39;s on college campuses. The humble Dave Brubeck demurred, saying that the second Time Magazine cover story on a jazz musician (the first featured Louis Armstrong&#39;s picture) h been ed by Duke Ellington, not himself. Within two years Ellington&#39;s picture would appear on the cover of Time Magazine, follog his &quot;wild&quot; at the 1956 Newport Jazz Festival. Ellington at Newport, recorded on Columbia, was also the bandleer-composer-pianist&#39;s best-selling album. Moreover, this exclusive trinity of jazz giants featured on Time Magazine were all Columbia artists. (In the early 1960s Columbia jazz artist Thelonious Monk would be afforded the same honor.) Columbia changed distributors in Australia and New Zealand in 1956 when the Australian Record Company picked up distribution of U.S. Columbia product to replace the Capitol Records product which ARC lost when EMI bought Capitol. As EMI owned the Columbia tremark at that time, the U.S. Columbia material was issued in Australia and New Zealand on the CBS Coronet label. </span><br />
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<p align="center"><a href="http://morrensa.live/YQQZL9R-hE1B-UYxTbnQ03vLBRHqGYNUyidUpCsOf9-3"><img border="0" src="http://morrensa.live/3b2cea97ab795b0655.jpg" /> </a></p>
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