Friday, July 25, 2008

Parachutes

Limited Edition. Contains a Bonus CD that Includes 'help is Round the Corner,' 'for You (B-side)' and 'careful Where You Stand (B-side).'
Customer Review: Umpteenth Import "Parachutes" CD: Bonus Tracks Deliver!
Hard to believe, but it's been a good four years since the original release of Coldplay's debut album in the UK (the US release would follow in Nov. 2000), and as the phenom called Coldplay is getting bigger and bigger, it's now clear that "Parachutes" is a classic, in every sense of the word. By now, the original 10 tracks of the album all have become so instantly familiar, yet never tiresome. There is of course "Yellow", the US break-through single but for me probably the weakest track on the set. Check out instead "Shiver", "Don't Panic" (with the immortal line "We Live in a Beautiful World"), "Trouble" and Sparks", 4 other singles from the album (all of them still available on Amazon). This import version of "Parachutes" (13 tracks, 49 min.) comes with 3 additional tracks on a separate CD: "Help is 'Round the Corner", which is a b-side from the "Yellow" single, and then also "Careful Where You Stand" and "For You", both of which are the b-sides from the "Shiver" single. All the bonus tracks are from around the same time as the "Parachutes" recording sessions, and are a great fit with the original tracks of the album. Who knows whether the next Coldplay album (rumored for Sprong 2005) will be any good, but for sure it's gonna be a monster, and Coldplay is well on its way to be the next U2. Meanwhile, enjoy the humble and intimate debut album which I dare say Chris and the boys will never surpass.
Customer Review: Parachutes lands with out a hitch
The new found sons of Brit Pop have come up with a gem of a debut album with Parachutes. From the moment the album is placed in the stereo it seems to flow timelessly from great track to great track. Parachutes has a great slow melodic feel to it that can just set you into a really good mood, but on occasion it ups the pace and you find yourself unkowingly bobbing your head and humming in time. I originally owned the regular Parachutes album but I gave it to my girlfriend as I had no money and I needed a good gift for her. A friend of mine knowing I really liked the album found the box set and ordered it for me. The Box set is by far the best album purchase I have made since Pinkfloyds Shine On Box set. The little extras that it contains just serve to make an already complete album brilliant. I would recommend this album to any one who hasn't yet experienced Coldplay or even if you own Parachutes, the singles in the Box set still make it a worthy buy.


Playing the guitar is one popular pastime nowadays. For some people, it is also a way of expressing themselves and elevates the hobby into an art form or sometimes, science.

Playing the guitar, however, is no joke. It requires a lot of patience and practice. For some people, they would rather study playing the bass guitar than the regular guitar. Here are some tips on learning to play the bass guitar.

1. Feel the beat

Playing the bass guitar differs primarily from playing a regular guitar because it entails an emphasis on the beat of the music. One can compare the bass guitar into a drum or percussion set that is made into a guitar. Beats are very important in playing bass guitar because this type of guitar gives depth and timing to any song.

If one grasps the notes of a regular guitar through his ears, a bass player grabs the notes of a bass guitar through his chest. The bass guitar pounds on the heart and gives it feelings through the depth of the music.

2. Learn the notes (single chords) on a regular guitar

The main thing about bass guitars is that they are tuned like ordinary guitars. The difference is that most regular bass guitars only have four strings which are far thicker than ordinary ones. This kind of strings allows the bass guitar to go very deep in terms of tone.

Take a regular guitar (which is tuned from the thickest to the lowest string- E - A - D - G - B - E) and exclude the two thinnest strings at the bottom and what is left is basically a bass guitar with thinner strings.

Bass playing is usually note-oriented and not chord-oriented. This means that single notes are hit more often in bass playing and this scheme is the essential element of bass playing. One should be familiar with the tunings and the notes in a regular guitar to be able to decently play the bass guitar.

3. Finger placing is important

Hitting the bass guitar fret board with the left-hand fingers is very important since it is a major factor that will determine the wholeness of each note. Try to place the fingers such that they are close to the fret on the right. The right hand should also be practiced so as to give bass guitar playing a holistic approach.

4. Strengthen your grip

Another important thing to develop in bass playing is the strength of both hand's fingers. The bass guitar is a sturdy and solid musical instrument, strength is needed to play it.

In playing the bass guitar, one should always take one lesson at a time. Bass playing requires repetition and there's no sense in hurrying the learning process. One should feel the notes through his soul and through his heart and become one with the bass guitar.

To learn how to play guitar using the easiest to follow method, please visit http://www.Guitar-Playing-Tips.info/

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Yellow (Polyphonic Ringtone)

This product is a great sounding polyphonic ringtone for your cell phone. Ringtones are musical tunes and sounds that are played whenever your phone rings. Your phone must support polyphonic tones to use this product.




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Don't Panic




As the back to school flyers pour in and I visually digest the crisp images of mechanical pencils and Shrek lunch boxes, I am compelled to seek out new learning opportunities to make the rainy dying days of summer a smooth transition into winter.

Between Toastmasters Club, community orchestras, night classes at the local community college and a botched attempt at learning saxophone five autumns past, I have realised my school-aged programming has left a permanent impression: I see brown leaves and I run for the nearest sign-up sheet.

I decided this year, after having delved into expensive hobbies and projects started and soon abandoned, to limit my fall learning frenzies to those activities which are affordable, work well with my busy life as a wife and mother and which I am sure I will stick to long-term.

So I went out and bought a piano.

Affordable? Not really. It set us back from buying a new couch, but as I explained to my loved ones that if you dexterously avoid the gaping holes and sharp jutting springs, the existing couch really is quite comfortable.

Non-intrusive to family life? The thing takes up half of my living room and almost all of my attention, resulting in several burned suppers, neglected piles of dishes and ignored phone calls. Things of little importance when I am immersed in a snappy rendition of “Polly Wolly Doodle.”

Which leads to the last criteria: Will I stick with it long-term? You betcha!

To be honest, I did not expect this new musical venture to be this successful. I've always wanted a piano in my home; my German heritage nagging, “it's not home unless it's got a piano.” As a violinist and violin junkie I've never much cared for piano music (I know I'll get heat from my piano-playing colleagues for that one).

I figured I'd noodle around on it here and there, waiting until my preschool-aged son was taking lessons for it to be studied on, as my past ventures in new instruments (saxophone, bagpipes and other instruments that require air) resulted in me me giving up from breathless frustration.

As the burly piano movers heaved the massive antique into place, one of them wheezed, “Someone had better learn to play this thing.” Though I was down with a gawdawful flu the day the piano arrived, I played it for hours at a time, ignoring my 39-degree fever and laryngitis.

I started with the basics: “Twinkle Twinkle” and “Mary had a Little Lamb.” Ok, I have no pride.

I found the whole “two hand, two clef” concept a bit of a hurdle, like severing one half of my brain from the other then asking them to co-operate. After three days of inspired practice (and cold leftovers for dinner) things seemed to click and other songs flowed more easily.

I've discovered I'm really good at this, a real natural! I play a wicked two-handed “Chicken Dance” and I'm pretty solid at the first page of Beethoven's “Moonlight” Sonata. Ok, fifteen years of violin playing and a college music education probably has something to do with that, but let me dream!

In the past learning a new instrument, or anything new for that matter, was unbearably frustrating because didn't like feeling like a “beginner” and set unachievable goals. I enjoy playing piano far too much to wreck it with guilt or self-doubt, so I am softening my expectations and have surrendered to my vulnerability in starting over again. This humbling experience has gained me far more respect for my students who, like me, are beginners in an instrument.

It feels like I'm back in school again with all the other kids, learning and growing with my mechanical pencil and lunch box, singing “Poll-y Woll-y Doo-dle all the Day!”

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She writes for two Canadian publications and Australia's "Music Teacher Magazine."

Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards and offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

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Over the last 45 years that I have been involved teaching Ballroom Dancing, the biggest problem that I see with Beginner Dancers is that they do not want to learn all the popular dances, they just want to learn the dance that's popular and just enough to get by. Of course, it's fun to learn more steps in your favorite dances, but not to expand your variety is a real mistake.

Can you imagine only wearing one suit of clothing day after day? How boring that would be, not only for you, but especially for the people that are around you daily. Oh, there's Mr. One Suit, or Mr. Brown Pants...Boring.

Well, increasing your dance variety insures that you will be able to stay on the dance floor and keep having a good time with your favorite dance partner. The worst feeling is having to tell your special lady friend that we will have to sit this dance out because you don't know how to dance to the music that's playing. Before you know it, your lady is off dancing with someone else...
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Foxtrot, Waltz, Tango, Rumba, Cha Cha, East & West Coast Swing, Salsa, Mambo, Samba, Meringue. are the popular Night Club dances. The more you learn about these dances, the more you realize that they interrelate in one way or another...For example, a box step can be done in Foxtrot, Waltz, or Rumba, but of course the styling characteristics will differ from dance to dance, which will make each dance look different...

It's much better to learn 4 or 5 steps in all these dances, then to learn 25 steps in one or two of the dances. Why? Because, diversity on the dance floor will make you a sought after dance partner, and a more popular individual around your own social group. plus you will overcome a Beginners Nightmare, to be considered a BORING dance partner...

Remember Gentlemen, if you don't know all the dances, the other guy will.

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Art Poster Print - Coldplay - Artist: unknown unknown- Poster Size: 35 X 23

unknown unknown:Coldplay 35 X 23 inches. High Quality Art Work. Browse our store for framed and unframed posters and shop for all your art needs at DirectForSale. This Coldplay is made with High Quality Poster paper and is made for years of enjoyment. Note: This item is not available for express shipping.




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Hardest Part

The Fourth Single from the Group's Multi-platinum No. One Album "x and Y" Includes a Mix of the Title Track by Tom Lord-alge and a Live Version of "How You See the World" Recorded at London's Earl's Court.


Over the past four years, Chinese culture has experienced a remarkable renaissance in the form of an international theatrical phenomenon known as the "Chinese New Year Spectacular." The production has grown from seven performances in five cities in 2004 to 76 performances in 30 cities for 2007.

The distinguishing feature of this production is that its artists and creators have immersed themselves deeply in China's ancient traditions, which have been systematically suppressed for over half a century. Never before have China's traditions and culture been expressed on such a grand scale internationally. The shimmering reemergence of this beautiful culture is the secret to the phenomenal success of the Spectacular, which is constantly evolving with the creation of new programs.

Traditional Chinese culture inspired many of the greatest achievements of humankind. Nurtured in Taoism, Buddhism, Confucian thought, and a deep sense of spiritual reverence and moral obligation, it infused the thoughts, actions, art, poetry, music, dance, and architecture during the 5,000-year parade of China's dynasties. Artists from all over the world, including many who were initially from mainland China, have come together to journey into this vast and profound history to bring forth the theatrical creations that make up the Spectacular.

Many of China's cultural artifacts and records still exist, having survived the openly stated intent of China's communist regime to completely eradicate all traditional Chinese culture during the Cultural Revolution, which lasted from the mid-1960s to the mid-1970s. During this cultural catastrophe, thousands of temples, countless paintings, sculptures, scrolls, poems, and other precious artifacts were destroyed. It was a period of extreme violence and spiritual devastation. But 5,000 years are not easily eradicated. The deeply rooted beliefs and traditions survived, if silently, in the hearts of many Chinese.

In recent years there has been an increasing international interest in things Chinese. China's communist regime has taken up this cue and has exported numerous Chinese "cultural" performances. But on close examination, one is presented with a fundamental contradiction. The Communist regime's atheist ideology and culture directly oppose the entirety of China's 5,000-year culture before the communists overtook the country in 1949. Spirituality, religion, and the moral observances of China's history have been openly disdained by the regime and considered superstitious and ridiculous, believed only by those who are deceived and ignorant. Communist culture is, in fact, the antithesis of China's traditional culture.

What is it, then, that has been presented as Chinese culture in recent years? There are certainly some skilled performers,
designers, and significant financial resources put into the production and marketing of these presentations. However, without genuine understanding and respect for the beliefs and traditions, can this be Chinese culture? When the guiding ideology disdains these traditions and beliefs, can there be anything genuine beyond the copies of costumes, utilization of traditional instruments, and surface representation of architecture through sets?

Gymnasts tumbling in traditional clothing cannot convey the profound inner meaning of traditional Chinese culture. A stage full of aggressive drummers brashly pounding away also ends up empty. What is vital is the intent behind it all, the inner purpose that motivates every move, every drumbeat, every musical note, and every stitch of clothing.

So if not traditional Chinese culture, then, what is it that China has been exporting in recent years? This is precisely communist culture. And it is in perpetual change of disguise. While either wearing traditional Chinese costumes or in the curious and ill-fitting attempts to emulate Western culture, these communist disguises have nothing inside.

Communist culture amounts to atheism, a disdain for spirituality, the belief that there is nothing beyond this one life, and that humans must strive to continually struggle and contend with one another. That spiritual void, mixed with the now fervent capitalist aspirations, results in short-sighted pursuit of material gain without moral parameters so as to indulge to the fullest in the journey of this singular life: a cocktail for chaos. This is China's communist culture. Its very survival demands a disguise. To imagine its true representation on stage brings nothing to mind.

The artists of the Spectacular have completely devoted themselves to understanding and conveying the ancient traditions. They have made an artist's sacrifice. Much like painters who have endured years of harsh conditions to understand and recreate the essence of beautiful landscapes, the artists of the Spectacular have likewise embarked on a noble, some would say, sacred journey. This is the tangible experience of audience members who have been enthralled and deeply moved by this cultural phenomenon that has resulted in the soaring growth of the Spectacular in four short years.

For tickets, go to: http://shows.ntdtv.com

Michael Mahonen is an award-winning actor, writer, and director. He is a winner of the Gemini Award (Canada's Emmy) and his first feature film as writer/director, Sandstorm, has won 29 awards at international film festivals. http://www.SandstormMovie.com

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I can describe the latest release from Jazz sensation Wayman Tisdale for you with just one word Outstanding!

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce thats exactly what I must say about this one. There simply isnt a bad one in the bunch. No fillers here at all.

One of the refreshingly nice things about this CD is the way all of the participating artists seem to be really enjoying themselves. Combine that with the overall presentation and youve got one of Wayman Tisdales most impressive releases ever.

If you're even mildly into Jazz music you'll enjoy this CD. Overall In The Zone is an a great release. I give it my double thumbs up. You will not be disappointed with one single track.

While the entire CD is outstanding some of my favorites are track 2 - Watch Me Play, track 8 - Dont Take Your Love Away, and track 15 - No Me Without You

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 10 - Washington High. Outstanding!

In The Zone Release Notes:

Wayman Tisdale originally released In The Zone on August 13, 1996 on the Mo Jazz label.

CD Track List Follows:

1. In The Zone Interlude

2. Watch Me Play

3. In The Zone

4. Summer Breeze

5. These Feelings

6. High School Interlude

7. 5 Day Road Trip

8. Don't Take Your Love Away

9. College Interlude

10. Washington High

11. Starship

12. Early Morning Drive

13. Pro Interlude

14. Thinking Of You

15. No Me Without You

16. Summer Breeze (Remix)

Personnel includes: Wayman Tisdale (vocals, bass); Derek "DOA" Allen (vocals, keyboards, drums); Robert Brookins (vocals, keyboards); J.R. Swinga (vocals, keyboards, vocorder, programming); Lalah Hathaway, Big Bub (vocals); Bobby "G" Gonzales, David Cochrane (various instruments); Eddie "M" (alto & tenor saxophones); Alex Alessandroni (piano, strings); Sue Ann Carwell (background vocals).

Producers include: Wayman Tisdale, J.R. Swinga, Big Bub.

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Ultimate Santana

2008 reissue housed in a deluxe cardboard slipcase. This single disc anthology brings the legendary guitarist's best recordings of his Arista Records era together with his greatest classics from the Columbia Records years on a single compact disc. Among the 18 tracks are the chart toppers 'Smooth', 'Maria Maria', 'Black Magic Woman', 'The Game Of Love' (with both Michelle Branch and Tina Turner), 'Oye Como Va' and many more. Sony/BMG.
Customer Review: big mistake
YUK! I just recently started downloading mp3s and really screwed up when I bought this thinking it would be the Carlos Santana music I knew in the 60s. What else would "Ulitmate Santana" mean? Instead most of the album is just Santana accompanying some bozo singing stupid disco type songs. My bad. Remember, when it says "featuring so-and-so" it usually means you better like so-and-so and not care too much about who the titled performer is.
Customer Review: Great songs, but...
Carlos Santana has very few bad albums, or even bad songs. (Stay away from his collaboration with John McLaughlin though.) If you're looking for a one-disk compilation and are familiar with his later songs plus his late 60's hits, the songs here will be familiar. But... try Caravanserai, Borboletta, or some of his other unbelievable albums from "in between". If this is all you know of Carlos Santana, you have a lot to discover! What you hear on this disk is just an introduction. I give this review 4 stars rather than 5 not because there are bad songs on this CD (there aren't), but because you, as a Santana listener, deserve more.




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Music can help to create the right atmosphere and set the mood during the wedding ceremony and during the wedding celebrations. Deciding which music should be played at you wedding is one of the most important decisions you need to make when planning your special day.

An important factor in choosing your music is the setting for your wedding ceremony. If your ceremony will be in a church or synagogue, you will probably be required to stay within the guidelines set by the Church or synagogue.

There are two aspects of wedding music that need to be addressed when planning your big day. First, you may wish to select certain music or arrange for professional soloists or musicians to play during the actual wedding ceremony. But at the wedding reception, it's pretty much anything goes when it comes to selecting wedding music, provided it's tasteful. Everyone's requirements are different so don't be afraid to discuss any special requirements with whoever you're hiring.

Start planning your wedding music early. Good talent gets booked fast and you don't want to end up having to select the brand new DJ with only a few weddings under his belt or something even worse. Booking your music a full year in advance is advisable but at a minimum, you should know who will be showing up and what he or she will be playing at least six months prior to the wedding date.

For most weddings, selecting the music for the wedding ceremony isn't that complicated because most often, it's controlled by the person in charge at the location where the ceremony will take place. When you're researching your wedding ceremony options, be sure to inquire about any guidelines with respect to wedding ceremony music as these could possibly impact your decision. If the ceremony is being held outdoors, check for electrical hook-ups or book live musicians.

Wedding music during the ceremony is basically secondary to the ceremony itself so the music is really meant to sort of 'fill in the gaps' during the non-speaking periods such as while guests are being seated, during the procession, and while lighting the unity candles. Of course, it's your wedding and it can be custom-designed.

The music that's played at the reception, however, is going to mean the difference between a successful reception and one that's ho-hum. And this is where things can start to get complicated. When you begin searching for wedding reception music, you'll realize rather quickly that you have a lot of options. You can book a live band, or a DJ that'll play pre-recorded music, or you can buy that CD full of top wedding songs and have someone act as the DJ.

It's important that you both agree on the type of wedding music you want played at your reception. There are 'traditional' songs that almost always are played at certain points during the reception such as the father/daughter dance, the cake cutting, the dollar dance and so on. And then there is all the music in between. Do you want jazz, country, R&B, new age, Italian, Latin, Jewish-inspired, or a little bit of everything? That's an important decision to make because the musicians you select have to be able to deliver what you want or you won't be happy.

Your specific choice of music should be discussed with the musicians well before the event and they should be able to provide you with some ideas. Try to book experienced professionals for your wedding music. Always ask for and check references. Even contact the Better Business Bureau. If booking live talent, arrange to hear a live performance before booking. Scrutinize the contract before signing to make sure all parties agree on the number of hours music will be provided and that everything that has been agreed to is in writing. Find out the cancellation and refund policy, too.

Your wedding day will be one of the most treasured memories of your life. Selecting the right wedding music can take a lot of time and effort, so start planning early.

Copyright 2005. Clive Chansa writes for the Music Shop athttp://www.music-shop-uk.org.uk/ and he also contributes articles and reviews at:

http://www.music-cds-online.org.uk/ regularly.

80s dance music

Latin Percussion LPM196 Mini Tunable Djembe

This miniature drum is the exact replica of the full size LP Djembe, making it attractive to collectors and musical enthusiasts alike. Made from kiln-dried, environmentally-friendly Siam Oak, with a natural rawhide head, and chrome plated hardware it is also fully tunable. Its irresistible size, measuring in at 8-1/4" tall and 5-1/2" wide, makes it an ideal instrument for "drumming on the go!" Bring it anywhere you would like to add a bit of music therapy. Finished with a natural stain this charming miniature will instantly reach out to players of all ages. Sold with a tuning wrench.


Is your student body planning a high school prom, dance, or party? Do you need ideas for your themes? Well look no further we can help spark your creative juices by going over several factors that determine a successful prom.

High School Homecoming

Most High School Homecomings are organized by Student Council Advisors. Now the main idea for a homecoming is to promote school spirit. The planning that goes into a homecoming or party is not as involved as your High School Prom. This does not mean that the decorations should get overlooked at your schools homecoming. We will discuss those ideas later.

High School Prom

At a majority of High Schools, their Proms are planned by the Junior Class Prom Committee. The prom is the send off for the school's upper class students. There can be two separate proms depending on the size of your junior and senior class. Some schools in different districts go as far as to combine proms due to smaller class sizes. Since the High School Prom is a formal event, it is usually receives more attention and funding.

High School Homecoming Dance Ideas

So you and your committee are looking for ideas for your homecoming, dance, or party. Your themes depend mostly on the traditions of your school. Try to tie in what your school mascot. If your party or dance is something more casual, then it may be predetermined. The basic ingredients for successful school homecoming dance are music, hype, and energy. The company you hire for the Michigan DJ can make or break your ticket sales for the next dance depending on how the music was balanced. How well your committee hypes the party will determine the outcome as well. Do not forget that the energy level at your school homecoming dance will be based on how much decorating your group does.

High School Prom Themes

Your High School Prom theme deserves more attention than the typical High School Homecoming. This means spending more time selecting a reputable venue location, caterer, photographer, and Michigan DJ Company. Here is a list of High School Prom themes for you to choose from.

A Dream for Us

A Kiss is Just a Kiss

A Midsummer Night's Dream

A Night at the Oscars

A Night in the Clouds

A Night of Mystery

A Night on Treasure Island

A Night to Remember

A Night with the Stars

A Red Carpet Affair

A Stroll down Broadway

A Taste of California

A Taste of International Flavors

A Walk in the Clouds

An Affair to Remember

An Evening in (Place)

An Evening of Stars

Arabian Nights

Between Your Heart and Mine

Big Band

Born to Be Wild

Box Office Bliss

Bright Lights, Big City

Broadway Backstage

Can't Fight the Moonlight

Captured in a Dream

Caribbean Nights

Carnival

Carried Away

Casablanca

Casino de (School Name)

Cherished Moments

Come What May

Cupid's Ball

Daring to Dream

Deep Blue Destiny

Depths of Love

Destiny Awaits

Destiny Awaits

Enchantment under the Sea

Escape

Eternal Elegance

Everything You Want

Fire and Ice (Worlds Collide)

Fly Me to the Moon

Forever Tonight

From this Moment

Garden of Enchantment

Glamour and Glitz or the 20's

Got to Believe in Magic

Greek Paradise

Happily Ever After

Heaven in Your Eyes

Heaven on Earth

Here's to the Night

Hollywood Night of the Oscars

Hollywood Nights

Horary for Hollywood

Hour of Enchantment

I Believe

I could not ask For More

I Promise you the Stars

If only for one Night

I'll Always Remember You

In The Still of the Night

In the Still of the Night

It Might Be You

It's a Jungle Out There

Larger than Life

Let the Good Times Roll

Magic under the Stars

Magical Memories

Mardi gras

Masquerade Ball

Memories of Tonight

Memories to Last a Lifetime

Moonlight In Paradise

Moonlight on the Nile

Moonlight Rendezvous

Moving On

Mystical Journey

Mystical Twilight

New York, New York

Night in New Orleans

Night with the Stars

Nightlife 200-

One Sweet Night

One upon a Time

Our Treasured Night

Paint the Town Red

Paradise Awaits

Parisian Romance/Escape

Picture Perfect

Putting on the Glitz

Remember Me Always

Retro Romance

Romance in the Park

Saturday Night Fever

Save the Last Dance for Me

Saving Forever for You

Shores of Venice

Show Me the Meaning

Simply Forever

Simply the Best

Somewhere Over the Rainbow

Space Odyssey

Springtime in Paris

Stand By Me

Star Struck

Starlight Fairytale

Still the One

Sunset Serenade

The Perfect Prom

The Way You Love Me

These are the Times

This Magic Moment

Time after Time

Time of My Life

Tonight is the Night

Tonight's Dream...Tomorrow's Memory

Tropical Paradise

Under the Sea

Underwater Paradise

Unforgettable

Unforgettable

Voices That Care

Waiting for Tonight

Waiting for Tonight

Waltz under the Blue Moon

What Dreams May Come

When You Believe

With Upon a Star

Written in the Stars

You'll be in my Heart

The Ultimate Dance for your Students

Selecting a theme and going over ideas will help guarantee a fun and memorable event. This is a key component in producing an unforgettable prom or homecoming dance. First, think about the type of prom you want to have, whether you want it to be romantic, fun, or mysterious. Most schools develop themes that generally set the guidelines for the prom colors and decorations. Some schools have become more creative by revolving the entire dance party around the theme and ideas. This goes all the way down to the students costume attire to decorations. Whatever theme your committee chooses, make sure it fits the personality and customs of your student body.

Robert Reno DJs for High School Homecomings and Proms. He has vast exposure with ideas and themes for high school dance parties. He works for Encore Entertainment & Productions. For further information about DJs please visit their High School Prom page or High School Prom blog.

latin music download

De Colores and Other Latin American Folksongs for Children (Anthology)

Bursting with color and spirit, this collection of Latin-American songs is a tribute to Latino culture. From traditional tunes to rhymes and hand games, De Colores has songs for all occasions and moods. Each song is accompanied by simple musical arrangements, with lyrics in both English and Spanish. Slightly abridged from the original edition, this is ideal for classroom use, multicultural studies, or just plain fun.

"Rich and resonant." --Booklist
Customer Review: My boys love this book.
This is a wonderful book of popular songs in Spanish, which my triplet boys latched onto immediately. The songs are very engaging, and each page has lovely artwork. I speak Spanish, and my boys were born in Spain. I have been trying very hard to help them maintain a little Spanish, and this book has been very helpful. It doesn't come with a CD, but you can easily learn the tunes of the songs if you know how to read music. And even if you only speak rudimentary Spanish, I think it's possible to learn the songs and enjoy them. This book quickly became the boys' favorite bedtime routine. I hear them singing the songs during the day as well. I highly recommend it.
Customer Review: Great book
I love the colorful pictures in this book and that it has music to all of the songs. It is a wonderful book and my baby loves when I sing to him!


Gigging is probably one of the most enjoyable activities a musician can experience. There is always something special about performing in front of a live audience. The sound of a crowds appreciation when you have just ripped up the stage with a great performance of your best tunes. There is just nothing like it. But what happens when things dont go exactly as planed? And what happens when things fail miserably? If you have ever gigged I am sure you are familiar with Murphy law: If things can go wrong, they probably will. I have had experiences like: amps blowing up, guitar strings breaking, stolen fuses in my amp, bad cords, out of tune guitars, ect... These things happen to all bands and what makes the difference between a professional and an amateur is how you deal with these problems. You need to do some preplanning and put together a a Musicians First Aid Kit. When a problem does occur, you will be prepared to quickly fix the problem and get on with your show.

Guitar/Bass Strings

Get at least one extra set for each guitar or bass you have at the gig. If you pop a string you will be prepared to replace it. Remember this golden rule for guitars and basses: Never step on stage without a properly tuned backup guitar or bass. If you have any problems with your main ax all you have to do is pick up your backup and fix the problem on your next break.

Cords

Get a complete second set of cords. This includes patch cords and mike cables.

Batteries

Go through all of your gear and make a note of all of the batteries you use. Get backups for everything and make sure the backups dont sit and go dead before you replace them. Consider some type of preventative maintenance schedule so you can keep track how long batteries are in use and when they need replacement. Dont forget about the guitar tuner!

Fuses

Again go through all of your gear and make a note of all the proper sizes of your fuses. Get some type of small segregated box and label the top with the current ratings for the fuses (1A, 5A ect...). Never put a fuse that has a higher current rating in your amp or gear. There is a reason the manufacture put that size fuse in your system. Never, Never wrap a fuse with tin foil to bypass it! If your fuses keeps blowing, you have a short in this gear and by putting a larger fuse or bypassing it all together you may completely blow it up which will will cost you plenty to repair. Also I should mention that by bypassing your fuse you run the risk of electrocuting yourself! Never under any circumstanceses bypass your fuses!

Drummers

Get a spare snare drum. If your snares let go just replace the whole drum with the spare and repair your main snare at break. Bring many extra sticks. I played with a drummer once that didnt bring enough sticks to a gig one night. He had to play the last half of our set with a screwdriver! Needless to say he had to replace all of his drum heads after this gig! Bring some spare hardware and also get another kick drum pedal. Some spare drum heads are always a good idea and make sure to bring a set of tools.

Keyboard Players

What would happen if your main synth went out? Maybe you could program your second synth with similar sounds. I know it wont be perfect but it will get you through the gig.

Singers

Do you have a spare mic? If not you should pick one up. I recommend a Sure 58. They are not very expensive and are reliable for a great backup if not a main mic.

Horn Players

Since I dont play horns I cant comment too much however I can recommend that you think about what could go wrong with your instrument. What could you do if it failed during a gig? Again a backup might be a good idea.

Amps

If you use an amp in your performance and it fails what could you do? A small spare is a good idea. Guitar players can use a guitar processor as a backup amp and it can be plugged directly into the PA. Again I know this wont sound perfect but it will get you through the gig. Bass players have it easy if their amps go out. Plug directly into the PA. If you play bass you may want to consider buying a direct box specifically for that purpose. Same goes for keyboard players, plug directly into the PA with a DI box

All Bands

Always have plenty of duct tape! This stuff can get you out of some major jams!

I have not covered everything that can go wrong with your gear at a show but hopefully this will spark some ideas of the things that you can do if your gear fails. Put together your Musicians First Aid Kit in some sort of tool box or fishing tackle box. If you are prepared when things go wrong at your gigs (and believe me they will) it is no big deal. If you are not prepared you will look like an amateur and remember you never know who is out in the audience watching. Good luck and happy gigging!

Steve Veloudos is the owner of http://www.zebramusic.com

Steve is devoted to helping musicians and bands further their careers in the music industry. Stop by his web site and subscribe to the free Musicians Tip Sheet. The Tip Sheet includes industry contacts, and many other items designed to advance a musicians musical career. Subscribe to the newsletter by going to: http://www.zebramusic.com

latin music artists

Shakira Rockin' Concert Doll By Mattel (Camoflage)

Shakira Doll from the Rockin' Concert Series
Customer Review: shakira is a belly dancer
my sister is six she loves shakira you should really put a picture thank you suany


Marion Meadows, the richly talented Smooth Jazz artist has released his latest album titled Next To You and Wow! Its really a good one.

I wish it werent the case but, its not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just cant force myself to get through. Not at all the case with Next To You. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

The nice thing about a CD like this is when the talent is this rich even if Smooth Jazz isnt your favorite style you still cant help but appreciate the greatness of the artist.

Overall Next To You is excellent from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Smooth Jazz fan. Really sensational from beginning to end.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 10, It's Alright Now. Good stuff!

Next To You Release Notes:

Marion Meadows originally released Next To You on Sep 26, 2000 on the Heads Up Records label.

CD Track List Follows:

1. Miami

2. Carousel

3. Blue Cactus

4. Next To You

5. Look Inside

6. The Dance

7. Any Time Any Place

8. No Rhyme, No Reason

9. Spend My Life

10. It's Alright Now

11. La Samba

Personnel: Marion Meadows (soprano, alto & tenor saxophones); Norbert Stachel (flute); Jay Rowe, Peter Horvath, Michael Beardon (piano); Ray Obiedo (keyboards, guitar); Dave Matthews, Barry Eastmond, Yasha Barjona (keyboards); Julio Fernandez (acoustic guitar); Tariqh Akoni (electric guitar); Marc Van Wegeningen, Curtis Olson (bass); Peter Michael Escovedo, (drums, congas, timbales, percussion); Pete Escovedo (guiro); Michael Spiro (shaker, triangle). Producers: Yasha Barjona, Ray Obiedo, Barry J. Eastmond. Engineers: Yasha Barjona, Ray Obiedo, Barry J. Eastmond.

Find what you are look for a lot less from JCcyber.com

top dance music

Talk

Third Single from the Album "x&y". Title Track is Back with the Song "Sleeping Sun".


What drives people? Some may say inspiration, our ambitions and needs; this is not very far from saying that people are driven by the inspiration provided by art and music as well as by the need to quench our literary thirst. For most people reading a book, watching a movie or listening to their favorite music isn't enough of an experience, the most important part is to interact and get validation from people with the same interests about our point of views and opinions.

It is often said that every individual is different, this remains true in many aspects however when it comes to topics such as Art, music and literature we all have something in common, our tastes as far as music may concur with someone else's but our interests in literature could differ. Validation and the exchange of ideas is what makes the web so popular, every site built provides ideas which are meant to be validated by people, without this basic interaction the entire concept of the web is defeated.

People interested in art, music literature, etc. have taken advantage of the web to create communities focused on sharing their thoughts regarding these topics, for instance some may consider "Five for Fighting - 100 years" as much as a piece of musical art as "Pachebel's - Canon", some may definitively disagree as both pieces belong to different genres, one has vocals the other is solely instrumental; small differences in the perception of art is what triggers reactions on which entire communities come together and share their ideas regarding the topic being discussed.

The same can be said of literature, for some Romeo and Juliet is without a doubt one of the most beautiful pieces of romantic literature ever written, however the language used may not have the same effect in contemporary readers as it won't convey the emotions it did back then; so it is to say that the power of such piece has diluted through time. In order to recreate such excellent work actors and writers come together and work in such play, however what matters is how people perceive their work and how emotions are conveyed through professional acting, again small differences trigger a sea of reviews and opinions which is better expressed in online interactions.

For most of us free speech is the ultimate work of art, as it allows us to express our thoughts through any medium without worrying of censorship, taking advantage of the tools and resources available to express our thoughts is without a doubt the most precious right.

MorbidBeauties.com provides access to an entire community of individuals whose interests revolve around gothic culture. Interact with people interested in art at the gothic forum, visit us today and create a gothic profile!

90's dance music

Fix You

Second Single from the Hit Album "x and Y" Will Contain "Fix You" (Edit) and "The World Turned Upside Down".


Friday Night, Week Before Christmas, 1999

This night I arrived a little before the crowd, just minutes before the tables with stools near the small dance floor were taken. Harvelle's, a popular Santa Monica night spot which draws an upscale crowd, is known as "The Home of the Blues, R&B, Funk, and Rock" with live music and dancing every night. With its no-smoking environment and sounds for both the ears and the feet, it is a pleasant place to spend an evening. I go for the listening and the dancing.

After enjoying a dance with a young man, I wove my way back through newly arrived patrons to my carefully chosen seat. After a sip of my Pellegrino, I felt compelled to return to the edge of the dance floor. My rational thought was to take my turn with one of the regulars, John, a trained dancer who arrived some twenty minutes earlier. I noticed him and a man I had not seen before -- both the same vintage, about 50, and the same height, about 5'8", but John as light as and the unknown man as heavy as that frame can hold.

John changed partners on the dance floor, so I made eye contact with this other man who, like John, had been dancing with a variety of partners since his arrival. We danced and exchanged pleasantries. We laughed. We smiled. I noticed that his flesh tone was similar to mine, light and peachy; his eyes as intense as my own blue eyes, but brown. It was obvious that he loved to dance. He led adeptly; I followed easily. In the middle of our dance, he commented, "You'll probably need to take your jacket off because you'll get warm." I smiled, knowing that likely I would very soon peel it off, but for the time being the fan above the dance floor was keeping me cool.

At the end of the dance, I turned toward the band to acknowledge the musicians with my applause. When I turned my focus back to my partner, I saw that he was no longer standing beside me, but was face down on the floor. The other dancers and I assumed he was joking. But not so. The band stopped. Time stopped. This time held all eternity -- a time that can be long or short by the clock. Someone called for help while six of us (including staff, John, and a patron who is a registered nurse) said encouraging words and touched him. I allowed others to attend to him on a physical basis, and focused my attention at another level.

I put my hand on his back and asked silently "Are you going to die?" to which came the answer: "It is time." My thoughts raced with a series of follow-up questions: "Time for what? Time to live? Time to die? Time to dance?" I reminded myself to breathe. My impulse "to do" something shifted back to the consciousness "to be" with this moment. I recognized that to be a non-anxious presence was more important now than any action I might take. My inner guidance confirmed that his spirit was very much alive, but was no longer in his body. I felt his spiritual presence more strongly than I had earlier. My fearlessness of physical death and my previous experiences of observing the process of transition from physical to nonphysical anchored me in blessing the richness of this moment.

Words of encouragement and gentle touches came to this man on the floor from those in the inner circle; those in the outer circles bore witness to the event. Drawn together for entertainment in this intimate space, we found ourselves joined by the invisible web of human kindness with varied reflections and perspectives on life and death.

In the muted sounds of the club, I picked up odds and ends of information. Echoed through the room was the knowledge that no one present knew this man's name. Staff confirmed to each other that he was not drinking. A gold ring on his left hand announced he was married. In the absence of facts, I speculated on his circumstances. Perhaps he was an out-of-town business person unwilling to fight the Friday night outbound traffic at LAX. Perhaps he lived in Chicago or Boston, with a wife and children not expecting him home until sometime the next day. A staff member tapped me on the shoulder, bringing me out of my speculation, and signaled that I was to move aside for the police and paramedics. I slipped back into linear time and realized that, by the clock, their arrival was swift.

I moved to the outer circle, but not for long. The staff pointed me out to a police officer who asked for my identification. In my tiny purse I carried only my keys, my driver's license, and some cash. I learned from the early morning jogging club the importance of carrying identification when going out to walk or run, just in case...... Going to a bar or buying wine, of course, I carry my picture ID for that added hope that I will get carded. This current scenario was one that I had not imagined as reason to carry proof of identity.

I followed the police officer who carried my license in his hands. He was young, handsome, gentle, and empathetic. Unhurried, he copied the information from my card, asking me to confirm that each bit was still correct. Harvelle's staff also took my name and telephone number.

As the paramedics performed their duties, the patrons continued to keep a respectful vigil. Although I knew this man's body no longer held his spirit, the attendants kept massaging his heart as they carried him away. Perhaps they did not want to announce the finality to the Friday night crowd or perhaps they did not want to give up hope or perhaps they were following predetermined procedures.

When the band returned to make their sounds, I vacillated between staying and leaving. To stay and dance felt more honoring of the happenings; to leave too soon seemed to discount the evening's events. The crowd was expanded rather than diminished. I danced with John and waited until the end of the set to leave, about midnight. Outside the club, the bouncer (a 300 pound hunk) said he had something for me: three passes for my next visit to Harvelle's. I smiled at the graciousness in the hands that hold such physical strength. My only words "thank you" were transmitted through the wordless energy field of our shared experience.

Two Days Later, Sunday

While walking on Santa Monica's Third Street Promenade, I found myself face to face with a police officer handing me a candy cane. He noted my hesitancy to take the candy and said with gentle authority that I had to take it. I acquiesced with a playful smile that matched his, and offered a bargain: I would take it in exchange for some information. I told him that I was at Harvelle's on Friday. He stopped any need for further explanation when he revealed that he was on dispatch that night. I asked how I could make it known that I was available to speak with the man's wife or anyone else in the family, if they desired. I identified myself as the last one dancing with him, that my name and contact information were part of the police record.

Home for five minutes, the owner of Harvelle's telephoned to ask me to call the family. This nameless man and his wife, whom I had been carrying in my heart for two days, now had names: Jim and Victoria. Not from out of town, they lived locally. A friend handling phone calls told me Victoria would return my call the next day.

The Next Day, Monday

Victoria and I spoke for an hour by phone in a remarkable dialogue. She confirmed that she and Jim love/loved to dance. She kept correcting her language, changing references to Jim to the past tense rather than the present tense which had become so familiar in their 18-year marriage. Friday night Victoria had to work (she is an emergency room physician) so Jim went without her to scout Harvelle's for a future visit together. Their other dance buddies had planned to go with him, but in the end Jim went without anyone who knew him.

I shared with Victoria every detail I could recall from that night; she reciprocated by confirming information about Jim that I had intuited. Jim and Victoria had a son and daughter, ages 8 and 10. He had several physical conditions which prompted him to decide to dance to maintain his health. In addition, he created a contract with the Universe that he not live any part of his life as an invalid. He was active to the last moment. He was totally alive until he died.

I was touched by her words as she thanked me for being an angel for Jim and for holding a space of calmness during the event. It took a while following our conversation for me to synthesize all that we verbalized, though I was left with no doubt that Jim knew he was going to die that night.

I declined to attend Jim's memorial service on the next day because I had a client scheduled in a time slot that would make it impossible. Later when the client cancelled, I knew where I was supposed to be.

The Next Day, Tuesday

The synagogue was filled with those who loved and cherished Jim. They were not there in perfunctory attendance. Before I could spot someone I thought might be Victoria, a comely woman approached me, commenting that I was standing alone. I explained that I knew no one there, identifying myself as "the woman who was the last to dance with Jim." She embraced me warmly as she introduced herself as Jim's mother. A brief interchange indicated that Victoria had already conveyed much of our conversation. As I approached Victoria, pointed out by Jim's mother, our eyes meet and she asked "Are you Jeanie?"

At the memorial service, I heard stories of Jim's capacity to love, ability to inspire, and the expansiveness of his soul. I contemplated the enigma that he left this physical life in a place where nobody knew him on this earth plane. With so many close friends and family members, he chose strangers to be with him in the end of this life. I believe Jim would appreciate and even encourage us to speculate on this situation, a mystery that sweetens his memory.

Today

Jim's story has not ended simply because he no longer uses a body that is familiar to family and friends. He has touched many persons in his life and in his death: those he knew and those he did not know by name.

It was a special honor to be present, to be a witness to his passage, and to dance with Jim his last dance.

Copyright 2006 Marshall House Jeanie Marshall, Empowerment Consultant and Coach with Marshall House, produces Guided Meditations on CD albums and MP3 downloads and writes extensively on subjects related to personal development and empowerment.Voice of Jeanie Marshall, http://www.jmvoice.com

latin music video

Holy Fire




Andrew Adamson's vision of Lewis' Narnia again impresses and stuns viewers with breath-taking on location shots, impressively high quality special effects, and direction of a well-organised cast. For those who know the story, there are a few changes made for cinematic presentation, but nothing that alters the story drastically and perhaps the changes did make for smoother viewing. Prince Caspian is definitely holds the audience's attention as it unfolds a slightly predictable, but delightful and exciting fantasy story.

MAY CONTAIN SPOILERS BELOW

The cast of the film was well put together, if for no other reason, the characters whom appeared in the previous film returned in whole and the newer characters were lesser known, but high quality actors and actresses. While the cast was grand and for the most brought the film credibility, it was the special effects and the non-human characters that filled out the tale to make it more enjoyable. Talking animals, dwarves, centaurs, minotaurs, et cetera coloured the screen and passed as completely "human" characters. The battles scenes offered great presentations of height and shape difference between the humans and the Narinians, giving the audience a sense of reality on which to attach their suspension of disbelief.

The Lewis books are subtly Christian in nature, which is to be expected, given Lewis' religious background, but the film, however, takes a rather large wooden mallet and whops you over the head with Christianity. From more blatant dialogue between Aslan and Lucy to suggestions that warriors in the film have become Christian and other sneaky was of throwing religion at the viewer, Adamson's decisions concerning the Christian nature of Narnia is not left to the imagination in the least. Regardless, it does not over power the story to the point of being distracting.

My singular complaint was the music at the end of the film. The entire movie is presented in a serious and consistently themed soundtrack until the last scene where a sappy, poorly executed, horribly out-of-place song appears to make you want to run screaming from the cinema! Being an ethnomusicologist and musician, I thought it was simply my snobbery that harboured those feelings, but alas, without deviation, all of the people with whom I have spoken about the music at the end (many without me mentioning it first) have expressed their severe dislike for the choices made. Too bad. The film carries itself so well until those last few seconds.

Overall, The Chronicles of Narnia: Prince Caspian is a well-done work and stands to draw even more fans to the next film and return to the books on which is was based. An excellent movie-going experience which I highly recommend.

Will Connor
Percussionist/Musicologist/Avid Movie Goer
London, UK/Honolulu, HI

http://schlockattack.bravehost.com

http://www.squidoo.com/schlockattack

80s dance music

Serie Verde




Much of the final episode of Gossip Girl revolves around the wedding of Lily and Bert, so understandably there is a lot of classical music used in the scenes. But, there is enough room to squeeze in a few pop songs and the choices aren't all that bad. Some of the groups already have a lot of exposure, but one or two of the selections feature new sounds.

Before the wedding begins Blair and Dan scheme to expose Georgina and her lies to her parents, when they all meet in the park Do You Wanna by The Kooks plays along as Georgina learns about her future home. Beautiful World by Carolina Liar plays in the background as Serena desperately tries to get in contact with Dan and then leaves a message that she is coming over. This same song is played again at Lily and Bart's wedding as well as a lot of classical selection and other songs that add to the festive mood.

As family and friends are arriving for the wedding and the place is buzzing with pre wedding preparations, Time To Pretend by MGMT drives the action. After a classical piece, Bridal Chorus by Wagner begins to play. This necessary song is followed by two more classical pieces that play through the wedding reception and then through Blair and Vanessa's conversation about Nate.

The final song of the episode was the very appropriate, The Ice is Getting Thinner by Death Cab For Cutie. This song plays through the entire ending of the wedding including, while Chuck is making his best man speech at the wedding, when Blair and Chuck kiss, and as Serena and Dan are forced to dance after they have just broken up. Do You Wanna by The Kooks returns for the closing montage and the end of the season.

By Sophia / http://www.gossipgirl.tv You have full permission to reprint this article provided this box is kept unchanged.

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MTV Unplugged

On March 6th, Julieta Venegas recorded her MTV Unplugged at the Churubusco Studies in Mexico City, where she presented new songs besides interpreting some of her greatest hits in an intimate atmosphere to a live audience.

This production counts on important and interesting collaborations like two time Oscar winner, Gustavo Santaolalla, who accompanied her with the banjo and sang the chorus of the song "Algun Dia (Someday)". Brazilian singer, Marisa Monte featured in song "Illusion", a new and beautiful song that combines the Spanish and Portuguese language.

Also Mala Rodriguez joined Julieta and included a strong hip hop movement to the song "Eres Para Mi (You are for Me)", whereas the vocalist of Porter, Juan Carlos had a unique participation in "Algun Dia (Someday)".

In addition, the very talented Natalia Lafourcade comprised of the orchestra and played several instruments during the night, whereas the talented musician and composer, Jacques Morelenbaum accompanied Julieta on the cello in "De mis Pasos (From my foot steps)".
Customer Review: La re-invencion musical de Julieta Venegas - una joya musical
Este no es cualquier acustico. La multi-talentosa Julieta Venegas aprovechó esta oportunidad para crear una propuesta musical nueva, re-inventando sus canciones, llenándolas de nuevos sonidos a través de excelentes y novedosos arreglos. Ademas, selecionó muy bien sus invitados, basandose en su calidad artistica y no en el nivel de fama de estos. Fue un verdadero "dream team". Para comenzar, tiene entre sus musicos a la tambien talentosisima y multi-instrumentista Natalia Lafourcade. En "eres para mi" invito a la hip-hoper espanola La Mala Rodriguez, (hermosa y sexy por demas!)haciendo gala de su destreza y fuerza en el escenario. Otra agradable sorpresa fue Juan Son. Les confieso que no sabia quien era, pero que voz mas impresionante! Ademas, le tocó cantar una de las mejores canciones de Julieta - "de mis pasos" de su primer disco -. Como si fuera poco, tuvo de invitada a Marisa Monte, para muchos la mejor cantante de su generacion de la musica brasileira. Con su habitual seguridad y elegancia la "tribalsta" se lució como siempre con su increible voz y modo de interpretar. Luego subio a la tarima su antiguo productor, el Rey Midas del Rock en español y ganador de dos Oscares, Gustavo Santaolalla,.Para cerrar con broche de oro, la acompañó en la co-dirección y co-producción Jaques Morelenbaum; ¿quieren una referencia? este violonchelista es el director musical de Caetano Veloso. En síntesis, Una produccion impecable, que la disfruten...


Over the weekend, I drifted to my nearest local EZY video shop. While waiting to be served, I drifted to the comedy, musicals, and the crime sections. It was the musicals that greatly attracted my interest. Ive always loved musicals, something amiss nowadays, replaced by films with much violence, sexual overtones, political, science fiction and other action-packed Hollywood offerings. Slowly, my thoughts lingered to refreshing movies with music The Sound of Music, Carousel, South Pacific, Camelot, My Fair Lady, and Mary Poppins among others. Yes, I particularly mean movie musicals!

Soon enough my memories wafted to the greatest musical collaboration of all time, that of Richard Rodgers and Oscar Hammerstein II, the most successful legendary songwriting team in musical theatre history. Rodgers wrote the music, and Hammerstein wrote the lyrics. Most of the stage musicals of Rodgers and Hammerstein were made into movies, also with phenomenal success, in particular, The Sound of Music.

At 16, Richard Rodgers (1902-1979) initially wrote a number of successful songs with Lorenz Hart, a partnership that lasted for over twenty years. Hart died in 1943. The same year Rodgers and Hammerstein (1895-1960) teamed up and started their first musical collaboration with Oklahoma! based on a play called Green Grow the Lilacs by Lynn Riggs. Oklahoma! is very different from most musicals written up to that time where they were mainly songs and comedy, with little plot. Usually, the songs had little to do with the story. Oklahoma! has a plot. The songs either help move the plot along or help the audience understand the characters. The story is partly fun, and has a serious side too. This is because Rodgerss background was mostly in the old-style, "fun" musicals, while Hammersteins background was in opera and operettamore "serious" types of music. When Rodgers worked with Hart, he wrote the music first, and then Hart wrote the lyrics. But in this new team, Hammerstein wrote the lyrics first and Rodgers created the music to fit.

Audiences loved Oklahoma!. It played on Broadway for 2,248 performances, breaking all Broadway box office records for shows until that time. It also won the Pulitzer Prize for drama in 1944, which changed the face of stage musicals an emotional story told through music, dance and lyrics as never before. After Oklahoma! Rodgers and Hammerstein went on to create Carousel, South Pacific, The King and I and The Sound of Music. The impact on these shows for Broadway and amateur stage, both in terms of popular appeal and their influence on other writers, was overwhelming.

Carousel, the duos next big hit in 1945, had an even more dramatic plot than Oklahoma!. Instead of the usual overture before the show begins, the show opens with the whole cast performing a ballet as the orchestra plays.

South Pacific, written in 1949, and based on Tales from the South Pacific by novelist James A. Michener, is set during World War II. It has the most serious plot of any Rodgers and Hammerstein show because it confronts both war and racism. South Pacific also won the Pulitzer Prize.

The King and I is about conflicts between cultures. It is based on a true story about Anna Leonowens, a British governess who went to Siam (now Thailand) to teach the kings children. Anna finds life in Siam very different from what she is accustomed to, but she and the king come to like each other despite their differences.

Rodgers and Hammersteins final collaboration was The Sound of Music, in 1959. It is also based on a true story, about a young novice nun who becomes the governess for seven children of a widower, Captain Von Trapp. This musical also has a serious sideit is set in the days of Nazi Germany, and the Von Trapp familys freedom is at stake. The beautiful song "Edelweiss" from The Sound of Music was the last song Rodgers and Hammerstein wrote together. Hammerstein died of cancer on August 23, 1960. After Hammerstein's death, Rodgers wrote other shows with other lyricists, including Stephen Sondheim, but none reached the heights of his work with Hammerstein.

For always, I will relish the most beautiful and poignant legacy of their partnership. How can I forget such immortal, refreshing, and most wonderful hit songs on stage and film history as these:

Oklahoma! - "Oh, What a Beautiful Mornin'," "People Will Say We're in Love," "Many a New Day," "I Can't Say No," and the final rousing chorus of "Oklahoma!" itself.

Carousel "Youll Never Walk alone" and "If I loved You."

South Pacific "There is Nothin' Like a Dame," "This Nearly was Mine," "Younger Than Springtime" and "Some Enchanted Evening."

The King and I "Getting to Know You," "I Whistle a Happy Tune," "Something Wonderful" and "Hello, Young Lovers."

The Sound of Music "Edelweiss," "My Favorite Things", "Climb Ev'ry Mountain," "The Lonely Goatherd", as well as the title song.

Who knows, we might yet have another Rodgers and Hammerstein in the making, an anodyne to all these turbulence and disarray in our world today. As I write this, nearby, my sound system is playing Carousel, softly beckoning me to join in. That I never cease listening to their music and at times singing their songs is a privilege. Im at it now, " how I loved you if I loved you."

Tel Asiado is an Information Technology professional turned writer, author and consultant. Employed by multi-national organizations in information technology, computing and consulting, she has several years of varied experience as project manager, business solution manager, process and information analyst, and as a business writer. Her writings also reflect her passions for inspirational/motivational and Christian insights, and classical music. Visit one of her websites: http://inspiredpen.4t.com

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Up in the Air




With no big name shows to take all the glory, the Tony awards have arrived this year with all the usual excitement and fanfare. The winner of the Best Musical was "In the Heights", a story, or a collection of stories, about chasing the American Dream and lottery winnings in Upper Manhattan Latino families. With its salsa-inspired rap numbers, and dynamic dancers and music, the show has been a hit amongst theater goers and critics alike.

Written and conceived by 28 year old Lin-Manuel Miranda while he was still a student, the show features Miranda taking center stage, bounding around dynamically and punching out the rap-dialogue in a style many musical goers may be unaccustomed. And when taking the stage to accept his award he continued the style telling the audience "I used to dream about this moment, now I'm in it," "Tell the conductor to hold the baton a minute." And with a nod to Broadway legend Stephen Sondheim, Miranda raps: "Look, Mr. Sondheim, I made a hat where there never was a hat and it's a Latin hat at that."

Miranda's show is a window into modern Latino culture, perhaps with some gloss on it, but a window nonetheless. His first Broadway show, Miranda wrote the score and all of the songs, as well as playing the lead role. He simply lights up the stage with a dazzling display and draws the viewer in. The show played off-Broadway for a season. The orchestration of the show is bright and vibrant and very modern. "In the Heights" also won awards for the score, orchestrations and choreography.

No standout show took all the awards this year, the prizes were shared around. Winners in the recent past such as Jersey Boys and Wicked are still playing to packed houses around Broadway. The revival musical "South Pacific" picked up seven wins including best revival and best actor - for the lead, Paulo Szot - in addition to four design awards and an award for best director, Bartlett Sher.

Some of the other winners were:

Best play: August: Osage County

Best revival of a musical: South Pacific

Best performance by a leading actor in a musical: Paulo Szot, South Pacific

Best performance by a leading actress in a musical: Patti LuPone, Gypsy

The 62nd annual Tony Awards was hosted by comedian and talk show host Whoopi Goldberg. Around 790 people from the theater industry -- from actors, to directors to journalists -- vote for the Tony Awards. The Tony Awards were established in 1947 and are named after Atoinette Perry, whose nickname was Toni. Perry, who died in 1946, was an actress, stage director and philanthropist.

Get your tickets to see the awesome Tony award winning musical In the Heights. M. Paul runs the ticket selling site http://www.concert-ticketdeals.com

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Find Your Way




Latin American Music and Dance form a big part of Latin American culture. The ones that have got us Kiwis excited the most are Salsa, Merengue and Tango. Most Latin bands play a mixture of Salsa and Merengue when performing at Latin clubs around New Zealand. Tango seems to take a back seat and evenings usually start with Tango before the bands arrive. You will also find a bit of Cha Cha happening at the clubs, with the most popular song being "Let's Get Loud"! Most cities in New Zealand have adopted these dances as their own with training institutes and Latin clubs emerging everywhere. On the other hand, at the events you will also see a bit of Rueda with anything from 10 to 50 dancers in the circle.

As the population of dancers taking up Latin Americal dancing is increasing, other variations such as Mambo, Bachata, Cumbia, Rumba. Every now and then, there is an event that has a Bateria followed by Samba all round. Most Brazilian events in Wellington are organised by the guys at Wellington Batucada.

Having said that, Salsa is still the crowd pleaser. Cuban Style Salsa is more popular in New Zealand clubs, although Linear style is gaining in popularity. However, the best dancers seem to save their Linear moves for competitions and performances. With more and more Kiwi dancers getting into in, it shouldn't be long before we start seeing council organised events meant for hundreds of dancers. The new Waitangi Park in Wellington would be a perfect location for a community event of this kind.

Article taken from Latinos.co.nz (http://www.latinos.co.nz)

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Do you ever remember your folks or grandparents telling you; "it takes two to tango," meaning that there must be more to the story and more fault of the circumstance to spread around. Often, it was a notification that they were not buying the total story and that the blame ought to be spread around a little bit more. Well, the other day, I got thrown out of McDonalds; why you ask?

Well for food-fighting, but I swear that the guy threw nothing back at me, indeed, the manager did not buy it, and threw us both out. Boy was that guy mad at me, I started and he never threw anything back at me, but the manager throws us both out and said; "It takes two to tango!"

Indeed, it usually takes two to tango, but in reality it was not a food-fight anyway, as the gentleman was simply reading his newspaper and never responded. Now that is a funny true story, but have you ever wondered why it takes two to tango? Let me recommend a book that is quite good and will completely clear this up for you:

"Gotta Tango" by Alberto Paz and Valorie Hart - 2004

This is a really cool book which will teach you dance the Tango in true Argentina style and it comes with a music DVD with music to assist you in feeling the moment. The book is full of subtle tricks to create passion, emotion, and sexy alluring moves. You will be blown away as to just how good you can get using this book. Are you looking for pure romance and learning expert style in the Tango? Look no further, this is it.

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