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Music powerpoint

  1. 1. Music•Childhoodsongs Pg. 3•Headphonebrands Pg. 5•Musicopportunitiesand sponsors•Contributionsto musicJune 2012
  2. 2. Childhood songsTMNT Heroes in half a shell LyricsTeenage Mutant Ninja TurtlesTeenage Mutant Ninja TurtlesTeenage Mutant Ninja TurtlesHeroes in a half-shellTurtle power!Theyre the worlds most fearsome fighting team (Werereally hip!)Theyre heroes in a half-shell and theyre green (Hey - get agrip!)When the evil Shredder attacksThese Turtle boys dont cut him no slack!Teenage Mutant Ninja TurtlesTeenage Mutant Ninja TurtlesSplinter taught them to be ninja teens (Hes a radical rat!)Leonardo leads, Donatello does machines (Thats a fact,Jack!)Raphael is cool but crude (Gimme a break!)Michaelangelo is a party dude (Party!)Teenage Mutant Ninja TurtlesTeenage Mutant Ninja TurtlesTeenage Mutant Ninja TurtlesHeroes in a half shellTurtle power! Pg. 3
  3. 3. HeadPhone Brands
  4. 4. •Jimi Hendrix•The technology
  5. 5. Jimi Hendrix’s ContributionJimi Hendrix had a legendary style of playing the guitar, and he did it with his left hand. His style contributed to the future’s music (our present music). Nearly no one could play like he did but the attempts created other music.
  6. 6. Jimi Hendrix CRITICS NOTEBOOK; A Haze As Ever Purple By ANN POWERS Published: October 13, 2000 BY now everyone should be good and tired of thinking about Jimi Hendrix. He may have been the ultimate icon of countercultural rock, but decades have passed since his death. In the hip-hop era, whole new sound worlds have emerged. The three genres Hendrix helped found -- heavy metal, jazz fusion and funk -- have evolved beyond hiscontributions. After the millionth time around on classic rock radio, it seems impossible that songs like Purple Haze could offer anything new. Yet Hendrix, the self-proclaimed voodoo child who never saw 30 (not to mention Watergate, glasnost or cable television), remains an object of widespread fascination.He is the most prolific ghost in pop-music history. All Music Guide, an online database,lists 196 nonbootleg releases from Hendrix and his two bands, the Experience and Band of Gypsies, nearly half of which were issued in the last decade. Compare this with the catalog of the two other stars lost at about the same time: Janis Joplin, with 18 releases, and Jim Morrison of the Doors, with 33.
  7. 7. Given this constant flow of Hendrix material, it is hard to remember that this is a notable year, the 30th since his overdose of sleeping pills. The expected tributes, which include the deluxe box set Jimi Hendrix Experience (Experience Music/ MCA) and the all-star concert A Magic Science: Celebrating Jimi Hendrix at the Brooklyn Academy of Music next weekend, happen to coincide with another crest in the Hendrix wave. Anniversaries have nothing to do with his current influence; it is simply another sign of his inexhaustibility as a source.Young soul musicians are making much of Hendrixs influence on black music, with DAngelo, who recorded his latest album, Voodoo (Virgin), at Hendrixs studio, Electric Ladyland in New York, leading the way. Such devotion is also surfacing in hip-hop, with the forward-thinking duo Outkast ending its latestsingle, B.O.B., with a screaming, Hendrix-esque solo. Even post-punks who scorned Hendrixs style may be reaching into his catalog for reference points as Jonny Greenwood of Radiohead makes guitar heroism chic again.The musicians playing at the academy are, for the most part, more seasoned Hendrix devotees. The guitarist Vernon Reid has long been acknowledged as a major Hendrix inheritor, continuing to mine the link between rock and jazz. He will be the center of a group that includes three generations of musicians, from the seven-piece Gil Evans Orchestra, which was to play with Hendrix at Carnegie Hall at the time of his death, to the hip-hop turntablist DJ Logic.
  8. 8. Each participant is a genre-bender. The tabla player Badal Roy is known for his jazz work with Miles Davis. The organ-driven trio Medeski, Martin and Wood and the guitarist Hiram Bullock blend jazz, funk and rock. Chris Whitley is a bluesman with a post-punk edge. The singers Sandra St. Victor and Marc Anthony Thompson stretch the definition of soul.Kissing the Sky The fact that Hendrix is an inspiration to all of these players suggests the reason for his inexhaustible appeal. Its not just that he was eclectic or, to invoke a cliche, beyond category. Hendrix never reached the point of categorization; instead, he made music evoking the moment before decisions must be made. In an either-or world, he was both-and. He would not say no to an option.Hendrix was an ironic idealist whose hallucinogen-fueled visions were tempered by a constant awareness of the racism he endured. He was a tragic humorist equally intrigued by the death drive and the pull of eroticism, and able to chuckle in the face of horror.He was a sexy introvert, waving his mojo in songs like Let Me Stand Next to Your Fire and bending gently into ballads like Little Wing. He was a black power integrationist who reclaimed rock music as an African-American tradition. He was a hook-happy art rocker whose experimentalism never caused him to abandon great sing-along riffs. He was a singing guitarist when most rockers were one or the other, and he used his extraordinary instrumental gifts to extend the range of a very human voice.
  9. 9. Most of all, Jimi Hendrix was a seasoned innocent. In his short life he learned more about rock n roll and the story that feeds it, the struggle over American identity, than most of his peers. But in the process of creation, he always made what he called that slight return to a state where such awareness would not shut him down.A musician, if he is a messenger, is like a child who hasnt been handled too many times by man, hasnt had too many fingerprints across his brain, Hendrix told an interviewer in 1969. Thats why music is so much heavier than anything you ever felt. And that attitude, resonant throughout his music, is the challenge that makes it impossible to put Hendrix to rest.During a recent rehearsal at SIR Studios in Midtown Manhattan, the Magic Science ensemble wrestled with the intimidating task of making Hendrix interpretation fresh. Leadership bounced around. Miles Evans, son of the orchestras founder and now its leader, steered the horns while playing trumpet himself. John Medeski advised on dynamics and Mr. Reid guided the general tone. Danny Kapilian, the events producer, spoke about how the light show provided by the visual artist Glen McKay, incorporating 1,600 hand-painted slides, would maximize the musics heady effect.Each musician took the rehearsal down a slightly different path. Possibility shaped the musics design. As Ms. St. Victor sang a blues based on Are You Experienced?, tipped toward greasy funk by the bassist Chris Wood, Mr. Roy gradually took center stage on tablas, incorporating Indian-style vocals that carried the lead singer into an ear-opening duet. Mr. Reid, returning after a fresh-air break, broke out laughing at this unexpected alchemy.
  10. 10. Surprising MomentsSuch surprising moments are what Hendrix craved. They provide the highlights on the Jimi Hendrix Experience box, which fans will treasure as an excellent compendium of the masters official studio output. Intriguing, different versions show the careful, but always playful, construction of hits like Third Stone From the Sun and Hey Joe, while live tracks clarify the difference between Hendrixs interplay with his rock-oriented English bandmates in the Experience, Mitch Mitchell and Noel Redding, and his soul-trained collaborators in Band of Gypsies, Billy Cox and Buddy Miles.With outstanding remixing by the longtime Hendrix engineer Eddie Kramer and detailed liner notes from the critic Dave Marsh and the Hendrix biographer John McDermott, The Jimi Hendrix Experience is a boon for the converted. Its also fun for nonbelievers, who will discover the warmth and humor of Jimi the man along with the genius of Jimi the rock star.This is the apex, so far, of what should be a continuing series of high-quality sets organized by Hendrixs family and friends.Beyond the archives, and beyond next weekend at the Brooklyn Academy of Music, Hendrixs presence floats on. After its academy debut, A Magic Science travels to Seattle, where it will be sponsored by the Experience Music Project, the rock n roll museum that opened this year under the patronage of the ultimate Hendrix fan, the billionaire entrepreneur Paul Allen. The concert opens the first of the museums new Innovators series of weeklong celebrations of legendary rock artists; Hendrix inspired the series and it opens on Nov. 26, the day before what would have been his 58th birthday. Meanwhile, in Cleveland, the Rock n Roll Hall of Fame is featuring an exhibition of artwork and other Hendrix artifacts.Fresh NuancesBack in Brooklyn, the jazz singer Nora York will bring her intelligently cheeky versions of Hendrix music to the BAM Cafe on Oct. 26. (She promises to perform Foxy Lady in the first person, countering the effects of the Playboy-fantasy version of that song so memorable in the movie Waynes World.)Ms. York approaches Hendrix as a songwriter, finding fresh nuances in his work by clearing away the brilliant debris of his guitar playing. She is one in a long line of Hendrix interpreters; another batch is represented on Blue Haze (Ruf Records), a new tribute album that emphasizes his blues roots, with performances from, among others, Taj Mahal, Eric Burdon, Alvin Youngblood Hart, Michele Shocked, Mr. Reid and Buddy Miles, the drummer for Band of Gypsies.
  11. 11. Hendrix would probably have been pleased to see his ideas teased out on such projects. He was very scared of being boring, Robert Wyatt, the English singer and songwriter whose band, the Soft Machine, toured with the Experience in 1968, recently told a writer for the English magazine Uncut. Although critics have made much of Hendrixs other anxieties -- his racial ambiguity, sexual machismo, fear of and longing for death -- this creative tension is the real key to his music.A back-to-back listen of rough mixes and finished cuts reveals something fascinating: Hendrix songs never sound finished. That does not mean they are rough; his technical prowess was unmatched. But whether its the thuddingly familiar Manic Depression or the obtuse 1983 . . . (A Merman I Should Turn to Be), his psychedelic blues emphasize process over results, alternative realities over firm conclusions.The mirrorlike veneer of his music was inspired by mind-expanding drugs, a strong interest in science fiction and his Bob Dylan fixation. But that sense of productive inconclusiveness permeates deeper, into Hendrixs very style of playing and singing, and in the frenetic arrangements he created, whether in the rock-oriented Experience or his more overtly jazz-based later work.He was not a hyphenated man; he did not play hyphenated music, wrote Charles Shaar Murray, whose biography Crosstown Traffic: Jimi Hendrix and the Rock n Roll Revolution (St. Martins Press, 1989) remains the definitive book on the icon.Hendrixs peers, from Eric Clapton to Mick Jagger, were firmly entrenched by the time they reached their prime; their challenge was finding ways to escape their solidifying artistic dispositions. Although Hendrix sometimes felt trapped by his wild persona, as a musician he remained willfully unsettled. That is why listeners never exhaust his work. It may have been frozen in time by his death, but its core still radiates with questions.
  12. 12. The TechnologyElectric guitars contributed to themaking and creation of Rockmusic, but it wouldn’t be muchwithout an amplifier.These make the concerts andmusic epic.
  13. 13. I Would Not Be Alone M. Stanley BubienThe headache wont stop. Even when I rub my temples. Ice doesnt help. Aspirin. Nothing. Thoughts of him keep intruding. Oh, If it wasnt for those words..."You promised youd never leave," I had whispered, grasping at his fingers as if they were straws."I have no choice.""Why?"He tried to run fingers through his hair---so golden once, now thin and stringy---it was like wind in a field of weeds. His eyes, though, still pierced to my very soul."Not now." I said. "Never.""I always..." He whispered, making a futile attempt to squeeze. To hang onto life? Maybe. Or one final gesture, his last comfort. "Love you..." his breath faded.My temples. I rubbed and rubbed. If it wasnt for those words. Oh...-Inspired by "Libbies Song" by Patti Smith.
  14. 14. Sitting Still W. H. MerkleeThey both loved that first R.E.M. album. She went out with him after he wrote that song that sounded like "Radio Free Europe," slept with him after he pilfered "Talk About the Passion." They danced to "Perfect Circle" at their wedding. Music had always been a tool of seduction for him.Then his day jobs became more serious, the gigs less frequent. He was too derivative for his own good. His drummer climbed the masthead of a New York magazine, his bassist grew happy with fat and fatherhood. You never write me songs anymore, she once said, and he just smiled and put his headphones back on.After their second child, he mounted several comebacks by experimenting with different forms. She tried valiantly to tolerate these dalliances. The first one sounded like The Smiths, she thought: whiny and brooding. The next one was industrial and just plain stupid: people who screamed to a beat-box were a dime a dozen. Then there was his Pearl Jam phase, which she hated: too self-absorbed and pretentious. When all was said and done, he decided to return to what was most comfortable.One afternoon, she dropped the days mail in his lap to get his attention. He didnt remove the headphones or look up from his tape machine, eager to finish and play her this new song that sounded like R.E.M.s "Sitting Still." Another two hours, he said, and it would be finished. Just long enough for her and the kids to be long gone, somewhere west of the fields.
  15. 15. When music was mightier then the pen by Shane P. WardThe hollow pit in my stomach convinced me that somehow I was grieving over my fathers death. There were no words to describe the lack of feeling or emotion that I felt. Not a single tear welled up in my eyes. There was no lump in the throat or even a small inclination of sudden loss. All I could translate from the hidden depths of my repressed emotions was a sense of emptiness. I knew my father had been terminally ill. We had expected, perhaps, a sudden decline in his health followed by a period of incapacity before he died. It did not happen this way. It was sudden and unexpected. In the weeks that followed I could not understand why I could not bring my emotions out into the open. Somewhere, I knew, buried deep within myself there was a part of me that screamed to get out. There was anger and loss so deep within that it was as if it were trapped in a cavern several miles underground. A thousand words could not describe the feeling, the loss or the battle that I had raging within me to release the inner torment. Nothing that I could say, or feel, expressed adequately the need that I felt to find an outlet for my emotions. Nothing, that is, except music.
  16. 16. My father had been a musician all his life. He could not read a note but in his head he knew over a thousand songs. At the age of 14 he played the accordion in public houses and only stopped when his fingers became too arthritic to move. As I was born into a musical family it seemed inevitable that I too became a musician. I was classically trained on the violin and the piano but what is more I learned how to write music. I composed my first piece of music at the age of 14. Creating music was a passion but it was slow going with a pencil and manuscript. My efforts were limited to what I could play rather than what I dearly wished to compose. And then the age of the computer arrived. Before me I discovered new possibilities and ultimately the opportunity to compose the kind of music that I really wanted to write. I was ambitious and loaded with potential. When my father could not express his feelings he turned to music. I suppose I followed his footsteps in this manner and I could do no less. I sat in front of my computer and started to compose my first full orchestral symphony. Where mere words failed to express how I felt, I took my rage and my sense of loss and channelled it into the very heart of my symphony. With each note I purged myself, so it felt, to the very depths of my being. Where words would not come, where my feelings would not show, the music flowed until finally The Magic Symphony was born.

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