Tuesday, August 12, 2008

Speed of Sound (Piano Vocal, Sheet Music)

SPEED OF SOUNDSeries: Piano VocalArtist: ColdplaySheet music.


As a composer, musician and teacher, it's very likely that I've heard most kinds of music over the years. However, I still love the music of the cinema and, in particular, old horror movie soundtracks (think Hammer Films, etc). Dracula music is a firm favourite!

Let's start with music by Philip Glass, composed for the 1931 Bela Lugosi classic film Dracula and performed by the wonderful Kronos String Quartet.

Glass's minimalist style lends itself well to this subject-matter. The album is modern sounding but with a kind of timeless chamber-music quality, and is a great accompaniment to a dialogue-only film.

The usual Glass fingerprints are here: repetitive ostinati, arpeggios, motifs and rocking two-note bass lines, but touched with tender, lyrical moments. To me (being a melody-man at heart!), it was these melodic moments which prevented this album from becoming too tedious. Don't get me wrong; I enjoy modern, dissonant music, but eventually I long for a damn-good tune and this album gave me something close to that.

Most of the 26 tracks are quite short (1-4 minutes) and, although eerie, are surprisingly tuneful. The string playing is excellent, as you'd expect from the Kronos gang.

Here are a few of my favourite highlights:

"Excellent, Mr. Renfield": an eerie piece with the expected repeated ostinato/riff but with loud scary moments when the quartet suddenly burst in. The ticking bass line keeps things moving and a great winding melody over the top completes the image of the fly-eating lunatic who lives in the asylum!

"The Storm": a violent start to the track, full of discordant harmony and very evocative of a storm. Pizzicato strings produce the rain and fast runs create an impression of speed.

"Horrible Tragedy": not sure if this is bi- or tri-tonal! Sounds like every member of the quartet is playing in a different key. I like its hypnotic qualities and simple short riffs.

"In the Theatre": a great haunting melody and easy chord progressions - reminds me of Phantom of the Opera for some reason!

"Renfield": a surprisingly beautiful and sympathetic sound for our resident madman! Very classical sounding with some predictable chord changes and two-note bass accompaniment, later moving into triplets. Very nice.

This is not the usual blood-spattered Dracula music, full of diminished chords and squealing strings. Yes, it can be repetitive, but Glass seems to be using a greater range of tone colours than usual and, for this style of music, I found it quite tuneful (although you'd be hard-pressed to whistle along with the CD!).

Perhaps the disc gets rather tiring half-way through: 26 tracks is a lot of minimalist music! I have to admit that I've not seen the film with this soundtrack, but I've heard that it complements the images perfectly, especially in 'Carriage Without a Driver', where the spinning wheels are clearly portrayed and the music invokes a sense of menace.

On the whole... I like it!

Alan Moore invites you to join his free email newsletter The Whitby Bite:
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The judges ranking and their score for the OD are in parentheses.

1) Belbin/Agosto (2, 67.54) It is quite ironic that after spending all season complaining bout how much I dislike this program that I am ranking it first at worlds. But I feel they were the clear winners of the OD. They attacked this program and nailed everything. I got a good laugh at the British Eurosport's commentators trying to find something about this performance to criticize and coming up with 'Their arms weren't always in perfect unison,' because if that is the biggest problem with any program, it was obviously skated fabulously. The Charleston and quickstep were arguably the best of the night, and their foxtrot was almost up to the level it was four seasons ago. The choreography still is not very good, but their performance overcame that and made you forget about the it.

2) Navka/Kostomarov (1, 68.67) This is by no means a bad program, but it is also not a great program. Both the quickstep and foxtrot were done well, but not amazingly so. Still, the transitions are 1000% better than they were a season ago, making this actually looks somewhat like a dance program, instead of a pairs program with dance elements. And how can one not give them points for their extremely original musical selection of "Sing Sing Sing"? But as neither the difficulty level nor the interpretation was up to the level of Belbin/Agosto's, they deserved to place second.

3) Chait/Sakhnovski (5, 61.19) After placing 3rd at the GPF in the OD, I was crossing my fingers that their placement would be the same here. Unfortunately, the judges failed me. They, unlike the teams directly below them, had great interpretation of the rhythms and skated without any mistakes. And their energy level, as always, was ridiculously high. Plus, their skating skills, while not quite as good as the skating skills of the very best in the world, have improved so much that they should challenge those other teams.

4) Denkova/Staviski (4, 62.79) Awkward OD interpretation, but thy did skate all out. Their skating skills - and the fact that they too did not mess up, held them above the other teams here. Still, this OD is very forgettable.

5) Delobel/Schoenfelder (6, 60.25) Had Isabelle not made a small mistake on the sbs footwork sequence, they would have been challenging the top teams. Unfortunately, she did. Isabelle has nice interpretation, and even Olivier seems less lifeless than usual. Plus, the choreography is superb. The only other problem is that they are slightly off-beat for part of the foxtrot.

6) Grushina/Goncharov (3, 63.17) This program has many of they same weaknesses as B/A's does, which should not be a surprise, considering it is basically the same program. (Morozov's creativity or lack there of has sunk to a new low for "his" programs for G/G this season.) But unfortunately for them, they do not have B/A's technical strengths and charisma. Elena is lovely as always; Ruslan is dull as always. And I'm still waiting for them to finish their sbs footwork. Somebody needs to go out and push them during any footwork sequence.

7) Domnina/Shabalin (7, 58.86) These two probably had the best foxtrot interpretation of the season. It was graceful, musical, and truly brought the classical foxtrot to the ice. They even made their dance spin seem foxtrot-y. The sbs footwork didn't seem very powerful, and their twizzles, while miles better than many of the other team's, were a bit shaky. The quickstep was okay.

8) Dubreuil/Lauzon (8,58.30) Argh. The foxtrot and quickstep sections were extremely well-interpreted and the whole dance was extremely cohesive for a combination OD. But the sbs footwork was a complete and utter disaster. It got messed up about 1/3 of the way through, and they never quite got it back on track. There was a little to much of time spent not touching each other. And their Charleston was a bit awkward in places. Plus, why are they miming holding umbrellas? Isn't the whole point of "Singin' in the Rain" that one is singing in the rain, and not covered by umbrellas?

9) Faiella/Scali (9, 56.13) Their stroking has improved dramatically. Their twizzles still aren't very good. And they didn't really seem to truly get either rhythm, especially the quickstep. But technically, it was a strong program, and they had good energy as always,

10) Wing/Lowe (10, 52.52) They start off with a nice, although slightly dull, foxtrot. And then they transition into a nice, but slightly dull Charleston. I normally really like this team, but this performance seemed to lack energy. They don't have the technical content of the teams above them.

11) Fraser/Lukanin (13, 48.82) Their speed and polished has dramatically improved. Very nice foxtrot expression. They spend a little too much time apart. They had nice musicality too.

12) Kerr/Kerr (11, 50.71) There's still a fairly sizable gap between her skills and his, although he has improved. They have nice foxtrot expression. Theirs twizzles in the sbs footwork was very messy towards the end. Their quickstep was fine, but not quite as good as the foxtrot.

13) Gregory/Petukhov (12, 50.22) I got the advice to only watch him, not her, and I enjoyed them much more than usual. Interpret that as you want. Of course, then I missed the mistake she made on the twizzles during the sbs footwork, which also lacked flow. Decent Charleston expression. Too much stroking in foxtrot section.

14) Kulikova/Novikov (14, 48.72) She did best with the quickstep, while he shone in the foxtrot. Second quickstep had very little traditional quickstep character. They had a slightly messy quality overall.

I did not rank the rest of the teams.

Hoffman/Elek (17, 45.34) They start with a foxtrot, which was absolutely lovely and really captured the rhythm. The quickstep was very good too, but did not quite work as well as the foxtrot. And somebody needs to teach Atilla to twizzle, because I'm sick of him messing those up, as he did on the sbs footwork. And then he had trouble lifting Nora on the final lift, although a portion of that can probably be blamed on her 472346 pound dress. But overall, this was a very nice OD.

Gudina/Beletski (18, 42.85) They start off with an enthusiastic Charleston. But the foxtrot was dull, with little difficulty. And unfortunately they could not pick up the energy level with the final quickstep section, to Dancing Fool of all songs.

Watanabe/Kido (15, 46.57) A very good and in-character quickstep. Diagonal footwork could flow better. Their foxtrot was good, but not quite as in character as the quickstep. He has some trouble with the last lift.

Grebenkina/Azronjan (16, 46.02) Great energy, and their movements are very dance-y and fit the quickstep well. Their foxtrot is to extremely odd music - just a rhythm and no melody. But they end with another well-done quickstep section.

Beier/Beier (20, 41.66) Very cute and charming, with a good ballroom interpretation of the rhythms.

Kauc/Zych (22, 40.92) Fabulous foxtrot expression. Twizzles during sbs footwork were messy. Basic skating is very good. This program lacked the falls that their programs usually have, but it also lacked the energy and attack. Their quickstep expression is also very nice.

Pechalat/Bourzat (23, 40.71) They start with a very charming and well characterized Charleston. But she takes a bad fall during the sbs footwork. Their musicality in the foxtrot was good, but the choreography wasn't very ballroom. They fixed that during a great quickstep section.

Yang/Gao (19, 42.67) Decent foxtrot. She hits a lovely position during the lift. She's very charming. Charleston is nice too. He looks to have trouble rotating the final lift.

Golovina/Voika (21, 41.57) They start with movements that seem to exaggerated for the more subtle foxtrot rhythm. But they still have good musicality and energy. Decent quickstep, but again the movements don't fit the rhythm very well.

Munana/Munana (25, 36.31) As sick as I am of Chicago ODs, this one was great. Both rhythms, especially the Charleston, were interpreted fabulously. Both skaters sparkled. They clearly do not have the technical ability of the top teams, but if they can ad technical content in the future, they most definitely will be contenders.

Akimova/Shakalov (29, 31.35) Very polished, but little else going for them. He tripped on the sbs footwork. Diagonal footwork is . Their musicality is pretty good.

Aureli/Vaturi (24, 38.66) They start off with a lot of dancing in place. They have somewhat poor ice coverage on the sbs steps. But they have a good understanding of both the quickstep and foxtrot. Unfortunately, they really lack in technical content.

Haunstetter/Hoenlein (27. 33.00) Chicago. Again. But they have a very good Charleston, and his foot position during the lift was fabulous. Ugly and out-of-sync twizzles. The rest of the sbs wasn't much better. They looked like they were skating two different programs during the sbs steps. He is terrific.

Buck/Nelson-Bond (28, 32.85) Good Charleston expression. Pretty good speed through diagonal footwork. She hits great positions in their lifts. Their weakness seems to be basic skating. They also had unison trouble on the sbs footwork.

Keller/Keller (26, 33.23) Really weird Charleston music. Decent musicality. Their program is very empty. They also lacked energy. Their quickstep expression was the best of the three rhythms.

Galcheniuk/Krupen (30, 28.14) Most of their skating is decent. Their programs aren't empty, and their musical interpretation is okay. Plus, they have nice energy. Unfortunately, nothing about their skating is anything better than decent, especially their basic skating.

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Competition Reviews

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Cheerleading is becoming popular day by day. With the increase of seeing favorite players playing, cheerleading group is increasing. With that many associations has emerged to look after and to help the group. These associations' works constantly for the cheer groups. All the members of the group are associated with one or the other associations. To impart them proper training and knowledge about cheerleading is done by the group. These groups also help them for organizing shows for the members.

All the members had to follow the principal of these associations. In 1948, Lawrence "Herkimer" Herkimer formed the National Cheerleaders Association (NCA) as a way to hold cheerleading clinics. Cheerleading is not an easy task so these associations started applying safety guidelines and offering courses on safety training for coaches and sponsors. They also help them in performing various stunts and gymnastics being incorporated into routines. For that various associations was formed to give them the knowledge and idea of cheerleading.

AACCA - American Association of Cheerleading Coaches and Advisors, founded in 1988, members of the association include youth, junior high school, high school and college or university coaches/advisors.

ACE - American Cheer Express (ACE) offers many camps and competitions. They will come to your site for two or three full days of customized, personalized instruction.

America's Best - America's Best offers many types of cheer and dance camps including Resident, Commuter, and Private/Custom geared towards elementary to High School levels, regional and National Competitions.

American Cheer Power - Formerly known as the Texas Cheerleading Association, the American Cheer Power has been in existence for over 25 years. They offer camps, competitions and coach's certifications.

American Cheerleading Federation - The goal of the ACF is to "leave every cheerleader and coach with a positive and uplifting feeling about themselves and their squad".

American Dance/Drill Team - In their fortieth year, American Dance/Drill Team was founded by Gussie Nell Davis, who created the first dance team.

AmeriCheer - Since its beginning in 1983, AmeriCheer has grown to offer expert instruction and competitions throughout the country to skill levels ranging from beginning to collegiate.

Atlantic Cheer and Dance Championships - The ACDC serves a seven state area on the East Coast. They offer camps, competitions, a tradeshow and much more.

MyCheer is a directory listing for Competitive Cheerleading, also referred to as All Star Cheerleading. We provide free listings for Cheerleading suppliers of uniforms, shoes, equipment, music, coaches, gyms, teams.

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Yellowcard is a rock band from Jacksonville, Florida. Their music can be classified as pop punk, and contains elements of emocore. A distinct characteristic of the music of Yellowcard is their use of a violin, making them somewhat unique within this genre


My significant other told me a year or so ago that he would like to take a cruise once in his lifetime. Neither of us had ever been on one and were unsure for how long, or to where we should go the first time. Since he was financing the trip, I let him make the decisions; other than whether I thought I would like anything longer than a few days to see whether I'd like it. We decided on a Royal Caribbean Enchantment of the Seas, 3 night, 4 day, Western Caribbean cruise leaving from Fort Lauderdale, Florida, with stops at Key West, Florida and Cozumel, Mexico.

Getting ready for boarding and actual boarding were quite an experience in themselves, mostly involving waiting in line, and showing our passports and identification. Once we got on board, it was a four hour wait for our luggage to arrive at our stateroom. We had a reasonably nice stateroom, although the tiny shower and bathroom took some getting used to, as were the excessive prices for a bottle of water or a can of soda. Once we had checked into our room, we were invited to partake of the Windjammer Cafe's wide selection of buffet-style foods of every type. This cafe was one of the highlights of the trip, the food selection varied throughout the day from breakfast to supper, with something always available to whet the appetite.

On board the ship were various forms of entertainment including music, shopping, spas, live lounge shows, casino, colorful drinks, and pools for either swimming or sunbathing, to name a few. Much of what was offered was not to our taste; although we enjoyed the Windjammer, the live music and dance/singing shows at the Orpheum Theater, the more formal sit down dinners in the evening, and the site seeing on the ship.

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Have you ever been at a party where all of your friends were dancing, or perhaps you saw one or more adults dancing? If you removed yourself from the picture entirely, the whole thing might look utterly ridiculous to you. However, there is something- some appeal when it comes to dancing that makes us want more. If you watch any of these music videos that are out nowadays, there is usually some form of dancing taking place. It makes you wonder how exactly music is tied into dancing. Does one need the other? What is the psychology of someone who loves to dance? And why is it that it only really seems acceptable (in certain situations) for females to dance over males.

For instance, you never hear of males getting together and talking about going to the dance clubs so that they can hang out and dance; and if males are having this conversation, then they are usually perceived by others as being gay. The same can be said of those males who choose to go to school to major in dance. It seems that in a lot of cases, dancing has been reserved as a strictly female-only sport. There are some situations, however, where it may be socially acceptable for heterosexual males to dance. For example, if a group of heterosexual males get together and want to go to a dance club, they would then have to qualify that statement by saying that they wanted to go to the dance club to "pick up girls" or to "grab a bite to eat and throw back a couple drinks". If they did not qualify the statement that they wanted to go to the dance club, then it would be interpreted by others (and perhaps misconstrued) that the males did, in fact, want to go to the dance club to dance.

Therein would lie the question about their sexuality. Perhaps, the whole dance craze has gotten out of control with the recent release of several dance shows on television. Perhaps there are parents out there who are getting nervous about their sons going out to clubs and getting into trouble. Whatever the reason, dancing nowadays has taken on greater significance when speaking about social norms and what is socially acceptable. There are plenty of reasons that we dance. Young people and old people alike are getting into the dancing groove. For some people, dancing is a form of comfort while for others, it can be a form of exercise or self expression. When you watch a male and female figure skater skating together, for example, it is a form of self-expression that is both athletic and artistic.

There is also scientific proof, which has informed us that dancing is beneficial to our health because it raises the level of our endorphins (those things that make us feel really good). So, the next time you're at a party, whether you're young or old, a guy or a girl, feel free to get up and get out there on the dance floor because it's good for you!

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Coming Out of the Dark

Designed as a companion to the singer's 1991 Into The Light--World Tour concert video, this look behind the scenes in Gloria Estefan's career draws drama and urgency from her recovery following a disastrous bus accident, which crippled the Cuban-American performer even as her popularity pushed further into the pop mainstream. Produced for the video arm of her record company, Coming Out of the Dark is hardly an objective documentary, laced as it is with testimonials from executives and frankly designed as a valentine to the feisty star; when we're given an "informal" look at Estefan composing new material in her music room, there isn't a figurative hair out of place as captured through these expertly shot segments.

The story, however, is intrinsically compelling, and Estefan offers her fans glimpses into the genesis of the songs from her Into the Light album. The singer's steely resolve, which doubtless explained the speed of her recovery, is visible, too, as is her sure sense of command over recording sessions. Brief performance excerpts show her saucy style of salsa-drenched pop, as well as less satisfying stabs at boiler-plate pop-rock songs that were aimed squarely at the charts. A segment chronicling a video shoot with choreographer-turned-director Kenny Ortega reveals both the technical intricacy of shooting elaborate dance sequences and the hyperbolic coddling platinum stars can expect from their most diplomatic handlers. --Sam Sutherland
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If you are a songwriter, you may sometimes feel like you're in a rut, like you keep coming up with the same basic ideas and situations to write about. One way to break out of this endless loop is to purposely write a song dealing with something lightweight, funny, or just plain strange.

Let's face it. Most pop and rock-type songs are about one and only one subject: good old-fashioned L-O-V-E. That's right, in music it's always boy meets girl, boy loves girl, boy loses girl, singing about it the whole time. There are songs about being lonely and songs about being trapped. There are songs about good relationships, and even more songs about the others. And of course, there's the physical side of things.

Back in the Ancient Days (i.e. the 50s and early 60s), most of the songs were about love all right, but there were always two or three "novelty songs" on the charts and on the radio. The very first song I remember learning to sing along with was "Witch Doctor," by David Seville, with its evocative chorus, "Oo ee oo ah ah, ting tang, walla walla bing bang." Good stuff. There was also "The Purple People Eater," written by Barry Cryer, about a creepy alien who....well, you remember. And who can forget the Chipmunks? (Especially since they're apparently still around.)

Some songs were basically about love, but with a novel take on the subject. Does anyone remember Dodie Stevens singing "Pink Shoe Laces," written by Mickie Grant?

He wears tan shoes with pink shoelaces

A polka dot vest and man oh man

Tan shoes with pink shoelaces

And a big Panama with a purple hat band

It's a little hard to picture the guy she's singing about, but you have to admit they're novel lyrics!

Laugh At Me

There just don't seem to be as many humorous or novelty songs around any more, unless I'm looking for laughs in all the wrong places. As a songwriter, you can take it as a challenging exercise to write at least one song that has an noticeably light touch. But where would you get an idea for such a song? Don't make me laugh! There are ideas all around. The next time your friend cracks you up, make a mental note of what you were joking about and what she said. Odds are you can build a song around it! (I'm serious. This works.)

If someone (maybe you) tells a funny story that has everyone in stitches, guess what? That's another possible subject for a song. You must have heard the ultimate story-song, "Alice's Restaurant," by Arlo Guthrie. Your story doesn't have to be as involved as that one to make for a good song. And feel free to fudge the facts! It's a song, not testimony. Use your imagination. Embellish.

People on TV are always saying things that could be song titles or lines from songs, if you'll just set your ears to listen for them. I've written a lot of songs based on things people said on TV. One of them is "Shut Up and Dance," which was something someone said on an otherwise lame sitcom I saw one night. You can listen to the song here.

As soon as I heard that phrase, I thought it would make a good call-and-response chorus, going back and forth between "shut up and dance" and something else. Once I started writing the verses, I got it all written right away, which is rare for me. I usually have trouble with the third verse, especially when there is a tight pattern of rhyme and rhythm. I really got into being this frustrated guy who just wants to dance. I could have written even more verses if I'd needed them!

Something you might find interesting about this song is that the chord pattern in the bridge is the same as the chorus. I can't remember whether I did that on purpose (probably not), but I can't remember another song where that's true.

Anyway, the point is, if I can do it you can too. Unless you're in a Norwegian death metal band or something, your music is sure to benefit from a touch of humor, a dash of wit. Go for it!

Mark Bendig is The Cheap Advice Guy, owner and operator of cheapadviceonmusic.com, offering "Tips from the trenches on Songwriting, Home Recording, and Live Sound." A series of eBooks on these very topics will be available on the website in Summer 2008.

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A Rush of Blood to the Head

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Customer Review: 2nd copy
Lost my 1st...Not sure how! They just keep getting better and better in my opinion. If you like this one you HAVE to get Viva La Vida!
Customer Review: Average
6/21/08 Before you read this review check out Coldplay's latest CD "Viva la Vida". It is light years ahead of this CD "X&Y". I guess I am so addicted to Pink Floyd, Led Zeppelin, Deep Purple, and other great bands of the 70s-80s that Coldplay falls flat on it's face for me. Or, my expectations of "almost uniformly" stellar British rock bands is unrealistic. As most people do when listening to music, one finds that you do compare the new with the old. And so, in fairness to the change in technology and my own personal taste, I compared this band to my current favorite in world rock music, the astonishing rock-your-rear-off Afro Celt Sound System Band whose singer Iarla O'Liondird's vocal range is so utterly astounding. (Even Josh Groban plays AFCSS at his live concerts). After listening four times to this CD "X&Y", I still found Chris Martin's nasal, and at times, irritatingly whiney voice boring and monotonously repetitive. He is up and down his vocal range over and over on nearly every song. About midway through the CD it felt like I was listening to the same song over and over with musical variations. For me the song lyrics were mostly juvenile and often trite. Especially on the song "X&Y". HOWEVER, Their band members' musicality and instrument talent is undeniable. For this reason I can say I somewhat enjoyed the CD. Overall, if I have to pick a listen to again, maybe, these songs merit a redux: "White Shadows"; "A Message"; "Low".


Wouldn't it be nice to just be able to take a pill and suddenly wake up one morning and find that you can play guitar like Eric Clapton? Films like Matrix featured this concept, but Hollywood is Hollywood and real life, as everyone knows, is quite different.

Although this magic pill does not exist when it comes to learning to play the guitar, one thing is certainly true: If the lessons you have chosen are not well structured and laid out, your learning curve will be more of a straight horizontal line, gently inclined upwards.

When I was young, I earnestly wanted to learn to play the guitar, but we were five children in my family so money was quite scarce, and I had to learn 'the hard way'. This trial & error method worked, as I now realize that I was quite musically inclined and very set on my goal, but I ended up spending a lot of time needlessly. What I learned in my first five years of consistent 6 hour daily sessions, could easily have been learned with a proper method and teacher in less than 6 months ...and spending just an hour a day on the instrument!

I can tell you first hand that there is a big difference between learning the right way and the wrong way. Experienced teachers and good methods will make you progress like you've never dreamed possible. And if your problem is money there's a very good alternative to hiring a private teacher: Online guitar lessons.

For less than $100 you can get quality lessons with videos, backing tracks, TAB plus musical notation and software bonuses to boot! Sure, you can find free lessons all over the web, but having the information is no guarantee you'll know how to use it effectively to learn quickly.

As a beginner guitarist, you need someone to tell you what goes first and what follows in a step-by-step manner. Yours is the goal you wish to achieve, but it's up to a well structured course to get you there.

Ruben Cardos has been a non stop studio and live musician as well as sound technician, electronics technician and sporadic guitar teacher for well over 25 years. Check out the ultimate Online Electric Guitar Lessons reviews at:
http://bandsuccess.blogspot.com/2008/02/review-best-online-electric-guitar.html

WHAT YOU NEED TO GET THE SHOW ON THE ROAD!

90's dance music

Your Favorite Band Sucks Men's tee Shirt in 12 colors Small thru 6XL




This story was shared by one of the guests of the Quinceanera and a friend of the family. She tells about her uncomfortable experience at her friends Quince celebration party. The Quinceaneras parents thought they had taken care of everything when planning their daughters special celebration. They went over budget and were concerned about that, but they felt it was going to be a beautiful party. The parents were very proud of their daughter, however they did not know their daughters friends that well.

The day of their daughter, Marias Quinceanera was filled with love, gratitude and joy. Friends and family alike shared those feelings. Marias parents were so happy until things went out of control on the dance floor.

Marias parents never realized it is normal for many teens these days to do dirty dancing or "freaking". It is something teens do at school dances.

When the friend of the family arrived at the party she said, "I was delighted to see other people from my school there. The music started, it was in Spanish and everyone was having fun on the dance floor trying to dance like the Quinceaneras aunts and uncles. It was great fun.

Later on, one of the girls requested hip-hop music. The DJ put on the music. It was still OK, until some of the girls went to get some of the guys to dance with them and they started to do freak dancing. All of a sudden, the rest of kids were dancing like that also.

The dancing got worse and more sexually explicit. Most of Marias friends wearing their formal clothes were dancing like party animals. They did not seem to care where they were and what they were doing. They showed no respect toward the adults and the young kids. The faces of the adult guests had a look of disgust and astonishment".

She went on to say..."How sad for a beautiful day to end up that way",

7 ways to prevent losing control of your Quinceanera Fiesta or any other celebration:

1. Choose a Master of Ceremonies who you can easily communicate with. Let them know the kind of music you want played.

2. Give them a list of the songs and type of music you want to be played.

3. Give them a list of the music you DO NOT want played

4. Tell the Master of Ceremonies that only you or another authorized adult can change the type of music to be played at the party.

5. Make sure the teens are not being served alcohol. It is against the law to serve minors alcohol even in some ones home. If anyone gets into an accident after your party and one of the teens is found to have been drinking at your party - you are responsible. There are big fines for this type of offense.

6. Check out your daughters guest list. Make sure you approve of everyone who is invited.

7. For safety reasons consider hiring a professional security guard to keep anyone not invited out of the party.

To take control, you need to plan ahead, communicate with your vendors what you will allow and will not allow at the party. This will ensure everyone will be happy and share in the gifts of life from your daughters Quinceanera celebration and have beautiful memories forever.

Priscilla Mills is the author of the book: Quinceanera Connection: Your Dream Celebration On Any Budget. http://www.quinceaneraconnect.com/quince/thebook.html For a limited time she offers a bonus of her 70 page Quinceanera eplanner with the purchase of her book. Priscilla Mills book is the perfect guide for todays economy when families are worried about the rising costs of gas and food. Her book gives great advice on how you can have a fabulous Quinceanera party on a budget. Check out Priscillas site: http://www.Quinceaneraconnect.com she has both quality Quince products at low prices and lots of helpful tips and content on how you can have it all. Her blog: Ask Priscilla. Is filled with stories, good advice and hints on how to have it all and still have money left over for the Quinceaneras education fund. There are also blogs written by girls planning their own Quinceanera celebration. They share their everyday life challenges as they plan their own Quinceanera. Mills offers a free 17 page eplanner when you sign up for a free website membership. Mills is a life coach and a graduate of the Harvard Business School, O.P.M. entrepreneurial program. Priscilla Mills regularly posts to her other site:Moms de la Quinceanera http://quincemom.blogspot.com

music on so you think you can dance

The Wow Signal

In 1977 a signal with possible alien origin was intercepted at the Ohio State Big Ear radio telescope array. This signal became known as the wow! signal. Today thousands of people are scanning the skies each night, searching for the wow! signal's return. "The Wow Signal" is also Pat Ortman's second full length CD, and it's theme is our ongoing search for something larger than ourselves, a search for meaning & connection in a modern world. Pat's first CD, "Pat Ortman" got to #1 on Amazon's Indie Alternative bestselling chart in 2001.
Customer Review: "The Wow Signal" Wowed Me!
"The Wow Signal" is Pat Ortman's first foray into a concept album as it explores the acrid desert in which our souls are now starving for communication in the 21st century. It's about reaching out, beyond this familiar plane of existence for life, intelligence and love in the universe. I won't explain the Wow Signal's inspiration or genesis because other reviews have already done that. I will say that this CD is to me, obviously influenced by the late, great George Harrison and also has a distinctive California flavor. The ear appreciates it more and more upon repeated listening. Pat plays guitars, bass, drums, and piano on this recording as well as vocals and he has a very strong, clear and pleasant voice that will only garner more passion and strength from performing live. He received assistance with drums and spoken word from Mick Fleetwood; George Pendergast contributed drums and trumpets and Bill Whitehouse created and performed noise collage. My favourite tracks include the gorgeously ethereal "More", the redemptive "Learning To Forgive" and the passionately political "Selling Hate". I've also found that I like the song "Victim" more every time I hear it. I enjoy all of the songs on "The Wow Signal" but if I had to pick one throw away track, it would be "Grape Jelly", as I don't feel it fits with the overall theme. Pat Ortman is what is real and relevant about music in the 2000's and he is blazing the trail for other independent artists by his example. With passion, ambition and commitment, anyone who has talent on this level WILL succeed as long as you don't ever lose sight of what matters most, and that's being true to yourself and the music.
Customer Review: THIS is the real deal!
This version of the CD is the correct, legit one. The other is a relabeled repackaged one. So rock on, and thanks for supporting indie music!


Paris is recognized as one of the most romantic cities in the world and yet it is appreciated for it's cultural sophistication as well. It is a great city to visit if you truly love the arts. Many people believe the ballet and opera actually began in Paris. If you enjoy ballet and opera than a visit to Paris without attending the opera or ballet is regrettable.

Ballet is a formalized form of dance with its origins in the Italian Renaissance court of the 15th century. One can consider that the real beginning of the Paris Opera Ballet occured in 1661. Ballet developed further in the French court from the time of Louis XIV in the 17th century hence the term ballet which is from the French vocabulary.

Ballet de l'Opera National de Paris is rated one of the best dance companies in the world; it outdoes itself in both the classics and avant-garde, staged in the same aspect of Opera.
It is universally agreed that the ballet in Paris is truly one of a kind. The performers are recognized worldwide.

The Opera is a spectacular theatrical concert featuring singers who spend several hours practicing and performing. Many in the audience leave in awe wondering how these opera singers can sing the way that they do. Their costumes and the way they perform almost take you into another place or time.

In 1989, the Bicentennial of the French Revolution was marked by the inauguration of the Opera Bastille, a 2700-seat auditorium acoustics and stage vision of its are unrivaled so to get a seat you need to reserve months in advance. The productions are both popular and critically acclaimed. The site's multi-functional performance space also hosts various concert and dance programs. Place de la Bastille, 75012 Paris. Metro: Bastille

The sumptuous and prestigious Paris Opera building, designed by Charles Garnier in 1861 and completed in 1875, is one of the largest theatre venues in the world The Opera Garnier stage is 118,404 square feet, accommodate 450 players.The tale for the classic horror movie, The Phantom of the Opera, was in the Opera Garnier.

For an entry fee, you can stroll around the interior at your leisure (except occasionally during rehearsals). Since the opening of the Opra Bastille, the Opera Garnier has devoted its repertoire exclusively to ballet. Though its productions are internationally renowned for their quality, they tend to remain on the traditional side of contemporary dance. The Ballet de l'Opera de Paris and the Opera National de Paris schedule some performances here and some at the Opera de la Bastille. In both venues, reduced ticket prices may be available at the box office 15 minutes before performance time for students and people under 25 or over 65. Place de l'Opera, 75009 Paris. Metro: Opera. RER: Auber.

Thtre Musical de Paris (Theatre du Chatelet) lies between the Pont au Change (which crosses to the Ile de la Cite) and the boulevard de Sebastopol. These theatres were built by Davioud in 1862, and each now leads a separate and even rival existence. The Chatelet concentrates mainly on opera and classical music, with occasional ballet, and usually has a rich program of international performers. (It recently acquired an annex in Les Halles, the Auditorium, where more unusual or obscure music is performed.) The other theatre, previously named the Sarah Bernhardt and now known as the Theatre de la Ville, offers top names in contemporary dance, innovative French theatre, and evening concerts of jazz or world music.

Before the Bastille Opera opened, and with the Garnier's transition to an all-dance programme, the TMP was the only Parisian venue offering a complete programme of high-quality opera. Despite the arrival of such a massive rival, the TMP has continued its ambitious schedule of progressive, well-made productions. Address: 1, place du Chatelet, 75001 Paris; phone: 01-40-28-28-98; fax: 01-42-36-89-75; Metro/RER: Chatelet.

Some countries offer scholarships to Paris for those they feel are good enough in the art of ballet or opera, and it's no wonder why. With every talented ballet student or opera singer that comes out of Paris, more of the world has the opportunity to enjoy a piece of Paris.

So, after seeing the sites during the day, and you like the ballet or the opera they usually perform at night and this would be a great thing to do to end a great day.

Rita Borges, Lifestyle Paris Expert and Managing Director for Paris Luxe Apartments http://www.parisluxeapt.com

80's dance music