Celtic Woman ? musical band, formed by five Irish and a New Zealander female artist, offers music ranging from traditional Celtic tunes to modern songs. Chloe Agnew is a part of the band as a vocalist along with Orla Fallon, Lisa Kelly, Meav Ni Mhaolchatha and Hayley Westenra. The band also includes a violinist Mairead Nesbitt.
Celtic music is known to be the music of Ireland or Europe. Artists Enya and Clannad hold the title, to introduce Celtic music to rest of the world. Celtic Woman introduced it together with theatrical performance of ?River-dance? and ?Lord of the Dance? because of which they have been referred to as the ?River-dance for the voice?.
So far, the group has to its credit three albums named ?Celtic Woman?, ?Celtic Woman - A Christmas Celebration? and ?Celtic Woman - A New Journey? and have been on several world tours.
Arranged by producer - Sharon Browne, Chairman and CEO - Dave Kavanagh and music director and composer - David Downes, Celtic Woman was recorded at The Helix, Dublin, Ireland on 15 September 2004 in front of a sell-out audience. Since it was recorded for PBS Television thus, was first broadcasted in United States in March 2005. Shortly, the group's debut album ?Celtic Woman? was on top of the Billboard's World Music chart, remained there until 22 July 2006 (68 weeks), and held the top ranking for a total of 81 weeks breaking any other long-standing record for any album. PBS media hype throughout 2005 is said to be the main reason for success of the group in United States. The live performance at The Helix was released on DVD together with the studio album.
On 19 October 2006, The release of the second album ?Celtic Woman - A Christmas Celebration? hammered out their first album to the #2 spot on the World Music chart. Celtic Woman performed at Slane Castle in County Meath, Ireland on 23 and 24 August 2006, in order to prepare for their third studio album, which was broadcasted on PBS in December 2006. On 30 January 2007 the studio album titled ?Celtic Woman: A New Journey?, was released, together with the release of their live performance on DVD. The album instantly hit the Billboard 200 at number 4 and topped the Billboard World Music chart again; however, it knocked out their earlier two releases down a spot. The band now secured the top three positions on Billboard World Music Chart.
The Chairman and CEO of Celtic Woman - Dave Kavanagh, together with EMI has shaped Celtic Woman into an International success. Celtic Woman reveals the unique voices and styles of each of the girls as soloists as well as fantastic band numbers. The talented four Irish female vocalists and the electrifying violinist of Celtic Woman with Composer & Music Director - David Downes, have shaped a breathtaking musical experience.
Since their debut in March 2005, Celtic Woman has made a great impact on audience in United States. They have achieved a lot in a very less time a list of which is as follows: ? Their first PBS special has been aired over 3400 times on 316 PBS stations nationwide since its March 2005 debut. ? Their self-titled debut CD and DVD have been certified platinum in United States. ? They have performed four incredibly booming U.S concert tours, including sold-out shows at Radio City Music Hall, Carnagie Hall, Boston?s Opera House and the Greek Theatre in LA. ? Their debut album Celtic Woman has held the number one position on the Billboard World Music chart for over 95 consecutive weeks. ? They have appeared on The Today Show, Live with Regis & Kelly, The Megan Mullaly show and on Brian Boitano?s Skating Spectacular that aired on NBC on New Year?s Eve 2007.
Globally, Celtic Woman?s debut CD has gone platinum in South Africa and ?A Christmas Celebration? has been certified gold. The DVD has also been certified gold in Australia along with CD in Japan. Germany, Canada & New Zealand are also very strong markets for the band.
It is now time to take A NEW JOURNEY with Celtic Woman! This female Irish group of adorable voices has recorded a brand new studio album offering the trademark Celtic Woman sound, which has had a huge impact not only in the US but also in many countries around the world including Japan, Australia, New Zealand, South Africa & Germany. The album is an impressive collection of modern-day hits such as ?Beyond the Sea?, ?The Prayer?, ?Scarborough Fair?, ?Over the Rainbow?, old favorites ?Lascia Ch?io Pianga?, ?Vivaldi?s Rain? and Irish standards ?D?laman?, ?At the Ceili?, ?Caledonia? and ?Mo Ghile Mear?.
Since the debut of their first PBS TV special in March 2005, Celtic Woman has turned into a public television stir. Up till now, their debut program has aired over 3400 times on 316 PBS stations (a total of 93% of the PBS stations in America) making it one of the most successful PBS fundraising shows in the previous year.
On December 2, 2006, Celtic Woman?s new TV special - A New Journey, was covered by 90% of PBS during the December pledge period, setting up a new record for their success on PBS. The live concert was filmed at Slane Castle - the home of Lord Henry Mount Charles, in County Meath, Ireland (a venue that has also hosted concerts by U2, The Rolling Stones and Bruce Springsteen
For more information about Celtic Woman Tickets visit:
http://www.ticketluck.com/concert-tickets/Celtic-Woman/index.php
Celtic Woman Tickets
Jimmy Eat World Tickets- Jimmy Eat World Celebrates Clarity Anniversary
If you are an emo music fan your collection is not complete without Jimmy Eat World's 1999 album Clarity. The band is celebrating the album's 10th anniversary with a ten-show tour that kicks off Feb. 23 in New York and concludes March 7 in Tempe, Arizona after making stops in Washington, D.C., Philadelphia, Boston, Chicago, Denver, San Francisco and San Diego. Although Clarity debuted at No. 30 in Billboard's Heatseekers chart and only remained there for two weeks (signal Jimmy Eat World's departure from Capitol Records), the album has since become iconic for a new generation of rock fans, all of whom will be sure to help them celebrate on tour. For your chance to see the band, who has paved the way for acts like Dashboard Confessional and Yellowcard, try http://www.stubhub.com for Jimmy Eat World tickets. The 2009 tour will be supported by Reuben's Accomplice for the first seven shows and the final three dates will feature the reunited San Diego band No Knife as opener.
Jimmy Eat World formed in 1994 the Phoenix suburb of Mesa, AZ and was originally comprised of Jim Adkins (vocals, guitar), Zach Lind (drums), Tom Linton (guitar, vocals) and Mitch Porter (bass). Their quirky moniker comes from an argument between Linton's younger brothers, Jimmy and Ed, in which the usually-defeated Ed drew a picture of his beefy, victorious brother eating the world. In their first year Jimmy Eat World released several EPS and singles on local imprint Wooden Blue Records before scoring a contract with major-label Capitol. Porter exited the group, with Rick Burch stepping in to record Jimmy Eat World's major debut, 1996's Static Prevails. Three years, a switch to an emo sound, and the emergence of Adkins as lead singer later, the band released their ambitious sophomore album, Clarity. The album's initial popularity was marred by Capitol's unwillingness to promote the album due to the departure of label president Gary Gersh. Capitol refused to release the album but was forced to when "Lucky Denver Mint" and other singles became radio mainstays.
Tensions between Jimmy Eat World and Capitol ran high when the label refused to release their third LP, Jimmy Eat World, culminating in their departure. After experiencing success overseas, the band issued Bleed America (which was changed to an eponymous title after September 11) in 2001 and its singles "The Middle," "Sweetness" and "A Praise Chorus" propelled them into the big time. After a short stint at Dreamworks, Jimmy Eat World moved to Interscope for the 2004 release of their fifth album, Futures, which went gold on the strength of "Pain." Next up, Jimmy Eat World released the Stay on My Side EP followed by the LP Chase This Light, which featured vet producer Butch Vig (known for his work on legendary Nirvana album Nevermind and the Smashing Pumpkins' Siamese Dream. Chase the Light was released in 2007 on the heels of lead single "Big Casino." Hurry up and get your Jimmy Eat World tickets from http://www.stubhub.com/jimmy-eat-world-tickets/ to see the band celebrate their most cherished album live!
Why "moving in Stereo" is One of the Greatest Hits of All Time
Moving in Stereo, not that's awesome. "Moving in Stereo" is a song done by the band 'The Cars', featuring lead vocalist, Benjamin Orr. It was part of the album by the same name as the band, released in 1978. 'Moving in Stereo' is one of the few songs of The Cars co-written by the band's keyboardist Greg Hawkes.
New Wave was a form of rock music that existed in the late 70s and the early-to-mid 80s. It has its roots in punk rock, and evolved as a reaction against popular music in the 70s. It was influenced by various aspects like pre-hippie rock 'n roll styles, ska, power pop, reggae, funk, electronic music, etc.
Some of the New Wave artists worth mentioning are The B-52's, , Squeeze Blondie, Devo, The Boomtown Rats, Elvis Costello, The Police, XTC, Talking Heads, and of course, The Cars. Songs like 'Moving in Stereo' and 'All mixed up' were some of the all time hits of New Wave music.
The song was never released as a single, nor was it part of any Billboard charts, but was extremely popular on American FM rock stations. In the original album, 'Moving in Stereo' and the final song 'All Mixed Up' seem to be one song, as there is no definite gap between the songs, and 'Moving in Stereo' seems to continue into 'All Mixed Up'. The radio stations AOR and Classic Rock usually play both the songs together as one track. In both the songs, Benjamin Orr, who is the band's lead guitarist, does the vocals as well.
The Album was number 18 in the Billboard pop albums in the year 1979, and 158 in the Billboard top 200 in the year 1984.
The song uses a number of studio production techniques to move the sound between the speakers. Because of this, it is known to be a great song to listen to on headphones. It is also one of the very few songs to feature the word 'tremolo', which means to manipulate a single note."Moving in Stereo" is also featured in the movie "Fast times at Ridgemont High", though it didn't appear on the soundtrack.
The Song is also heard on various TV shows. In Alias, it appears in the episode titled 'Double Agent'. In Family Guy, it features in the episode 'The Kiss Seen around the World'. In Scrubs, the episode 'My Own Personal Jesus'. In Drawn Together, the episode titled 'The Other Cousin'. In The Sopranos, it features in the episode 'All Happy Families'.
The Cars are a new wave band in the 70s, and their 1978 album of the same title was labelled by Elektra Records. The Band consisted of two guitarists Ric Ocasek and Elliot Easton, a bassist and singer of 'Moving in Stereo' Benjamin Orr, Keyboardist and co-writer of 'Moving in stereo' Greg Hawkes, and drummer David Robinson. They came together as a band in Boston, Massachusetts.
This song was one of the greatest hits of all time, appearing on multiple billboard charts, throughout the 70s and 80s.
Moving in Stereo- what do you think?
Q&A with Michael Maxxis
At 26, Michael Maxxis has established himself as an original and highly sought-after director of music videos. His vids are full of forceful, sometimes nightmarish imagery, captured with precise lighting, carefully chosen locations and lush color schemes. He's worked with the kick-ass LGBT band The Cliks, the Nu metal band P.O.D. and alt-rockers OURS, among others. He's traveled around the world, from Spain to the Salton Sea.
Originally from Canada, Maxxis's success story is about more than natural ability. It's also about finding a scene you're interested in, networking with people, following good advice and working at it until your fingers bleed. In other words, the path to success for just about any indie filmmaker.
Maxxis recently spoke with Openfilm about working with The Cliks, shooting in Spain and directing his first short film, Steak and Milk. Most of the photographs on this page were taken by him.
What formal training do you have? Did you go to film school?
I actually have no formal training. I studied business in university. I just learned the craft by diving in head first, making all sorts of mistakes, and learning from them. I was lucky to meet a couple great mentors who I spent a lot of time with and learned from.
How did you get into the music video business?
Just one of those things that seemed meant to be. I've always enjoyed being out at night and from that, got to know a bunch of bands - a couple of them were crazy enough to let me make their music videos for them, and in the end it turned out alright.
Once you know what the song will be, what happens next? Does the band have any input on what the video will be about?
When I'm sent a track to write on, I'm also sent a "brief". This outlines what the band and label are looking for. Sometimes they have all sorts of ideas, but most the time it's pretty open. If I don't like their ideas, then I pass on the job - if someone knows so specifically what they want, then I honestly think they should direct the video themselves, otherwise they'll never be happy with it. I definitely prefer situations that are a bit more collaborative - especially when I'm working with a band that I don't know really well. The back-and-forth usually always leads to a better product in the end.
All of your videos show an impressive use of camera, lighting and design. How do you work with your crew to achieve the look you want?
It's a combination of things, but more than anything, it's just understanding how all the gear works and understanding the concept of lighting. The look is VERY important to me, since I believe it has perhaps the most significant influence on the emotional response the viewer gets from a scene. And really, making videos or films is all about affecting people's emotions.
Do you gather a lot of references?
Sometimes, but to be honest, I'm not much of a student of the arts. I grew up loving hockey and action movies, and could care less about paintings and poems. So, my catalogue of references is somewhat limited, but I actually think this works to my advantage, as it leads to more of an original style.
You shot Worst Things Beautiful for OURS in Valencia, Spain. Talk about that experience.
It was pretty much a big vacation. Sure, we shot for 15 hours a day for 3 days, but everyone involved were already great friends from before. Conceptually, it was a bit of a letdown, as we went there to film during the Las Fallas festival, which is supposed to be all about building and then burning satirical and metaphorical effigies. The concept was for the payoff to be performance footage of Jimmy (Gnecco) singing in front of these giant, symbolic, burning structures, but the year we showed up happened to be the 1st year that Disney decided to sponsor the thing. So, the large majority of the figures were characters from Disney films and not at all worth filming. It forced us to change the idea a bit, and make it more about the journey and walking around footage.
I'm a fan of The Cliks. What was it like working with them?
Well, I only really spent a lot of time with Lucas (Silveira), because he came down to New Orleans for the narrative stuff. He was really cool and easy to work with. We shot in New Orleans in the middle of the summer, so it was a pretty grueling shoot for all of us, but in the end it was a very rewarding job. The performance footage was all shot in Toronto in a half day, so I didn't have a ton of time to get to know the band.
Your videos are full of surreal, far-out imagery, especially Addicted and Live Again. Where do these images come from?
It's tough to say. I just close my eyes and try and fall asleep to the song, and see what images/dreams come into my mind. When something interesting appears, I pop up and write it down. Then I go through all the crazy shit I have scribbled on the page and try and craft a concept out of it.
You have some amazing photography on your MySpace page. What advice would you give to young photographers?
The first thing is to study your subject closely, and if it looks beautiful to the eye, it will usually look great on film. Secondly, take some time and really study your pictures and play around with them in Photoshop. Soon you will get a real sense of what compositions work best, what sort of colors (and color densities) to look for, how to make skin look beautiful, how to create moods, etc. I would also suggest trying to create as much in camera as possible and not counting on computer programs to make your photo great. Photography is much more rewarding that way.
You directed a 17-minute short called Steak and Milk. Tell us about the film.
Well, it was a deliberate departure from the darker and more heavy-handed music videos I was doing. I wanted to make something that was more of a reflection of my lighter side. The whole cast is made up of my friends and family and we shot it in my hometown of Edmonton, Alberta. It was great to work with actors and dialogue, and not just rely on stylization to tell a story. It just premiered at the European Independent Film Festival in Paris, and is also screening at The Beverly Hills Film Festival, The MECAL International Short Film Festival of Barcelona, The Boston Underground Film Festival, Outfest, and The Vail Film Festival. I've submitted to a few others, but haven't heard back yet.
What's next?
Well, I'm shooting another short film called 8 for Infinity starring Jimmy Gnecco from OURS at the end of April, and am trying to squeeze in a couple more music video shoots before then. I also directed a 2nd video for Bedouin Soundclash, which will be out the first week of April, and shot one in Coney Island for The Heavy's new album, that should be released in May.
You can view more photos here.
Godsmack Concert Tickets
Godsmack a band from Boston Massachusetts active from 1996. Alice in Chains is believed to be the primary influence upon Godsmack. In early interviews, the band admitted they started off as a tribute band to Alice in Chains. In an interview with MTV upon the death of Alice in Chains lead singer Layne Staley, Godsmack frontman Sully Erna stated that Staley "was single-handedly the guy that got me to start singing." Other bands cited by Godsmack members as their primary influences typically include Aerosmith, Led Zeppelin, Rush, Pearl Jam and Black Sabbath. More recently, Godsmack have attempted to distance themselves from the Alice in Chains comparison with Erna stating in an interview with Matt Ashare, "I've just never really heard that in our music." Nevertheless, the comparisons to Alice in Chains are well documented. Sully Erna's style of singing mirrors that of Layne Staley's while the overall sound of the band's first two albums sound incredibly similar to the sound of Dirt. The logo of Godsmack is similar to the sun logo of Alice in Chains. Godsmack also released an album titled "Faceless" which is similar in name to Alice in Chain's first album Facelift. The band's name is identical to the title of an Alice In Chains song from the album Dirt. The band even transcended from their heavy sound to a more mellow acoustic sound on their album The Other Side in the same manner Alice in Chains did in Sap and Jar of Flies.
In 2002, Godsmack received a Grammy nomination in "Best Rock Instrumental Performance" for the song "Vampires" from the album Awake. In 2004, they were opening for Metallica, while headlining with Dropbox in the summer. Then they did acoustic shows for their newly released album The Other Side in the fall of 2004, while still opening for Metallica. In September 2004, Godsmack issued a live DVD titled "Changes," (it went gold, according to RIAA) which the band recorded earlier that year. That same month, the group also released "Batalla de los Tambores," a live cut available only via online services such as Apple's iTunes Music Store, Real and Napster. Their latest single "Speak" was released on February 14, 2006 and their album titled IV was released April 25, 2006. According to an interview with Sully a new international tour is slated to begin in June and touring in the states will begin in September. IV debuted at number one on the Billboard 200, selling 211,000 copies in its first week.
Many people when thinking about buying Godsmack concert tickets put it off, thinking buying tickets is too much work and that they aren't going to get and good seats. However nothing could be simpler, honestly it is thinking its difficult that leads to procrastinating. The easiest way of purchasing Godsmack concert tickets is by searching Ticketmaster for the artist, writing down the purchase date and remembering to log onto your computer to purchase them as soon as they go on sale. Still many people complain about availability, that too many people are buying at once and they can't get through to purchase a ticket. For many people interested in purchasing Godsmack concert tickets after the public sale date discover that the shows are sold out and find themselves enabled from finding tickets. There remains hope for those whom have put it off, there are many different service sites that can help you find tickets, such ebay.
Redskins Football Tickets - Secure Your Favorite Seat
The Washington Redskins are a professional American football team that plays in the NFL. The team is presently a part of the Eastern Division of the National Football Conference (NFC). It is presently based in Washington, D.C. area. The team is more popularly known as The Skins.
Redskins History
The team was formed in 1932. It started playing under the name of Boston Braves. However, the very next year, in 1933, the team changed its name to Boston Redskins. They played under this name until 1936. They have been playing under their present name, Washington Redskins, since 1937.
The Redskins have appeared in the NFL Championships eleven times and have been able to win five of them. This includes five times appearances in the super bowls. They won three of these five super bowls. The team appeared in four of these five super bowls under the leadership of the legendary Hall of Fame coach Joe Gibbs. The team has also won five conference championships and twelve division titles.
Redskins Reality Bytes
Forbes Magazine has declared the Redskins as the second most valuable franchise in the NFL.
The team has also broken the NFL's mark for single-season attendance six years in a row.
The team also has an official marching band. The redskins are one of only two teams to do so. Baltimore Ravens is another team with an official marching band.
"Hail to the Redskins" is the fight song of the Redskins. The Redskins are considered as the first team to have a fight song.
Jim Zorn is the present head coach of the team.
In June 2002, the club honored the 70 Greatest Redskins. These 70 members include both players as well as coaches who were significant on-field contributors to the Redskins rich history.
The Home Arena of Redskins
FedExField is the present home stadium for the Redskins. The capacity of the stadium is 91,704 Redskins Football Tickets. As per the seating plan of the stadium, there are five levels to choose from- including the Upper Level, the Lower and Upper Suite Levels, the Club Level, and the Lower Level. The stadium is about a fifteen-minute walk from the Morgan Boulevard Station on Metro's Blue Line. The stadium was opened on August 1997 with a construction cost of $250.5 million. For the initial two years, it was known as Jack Kent Cooke Stadium. It was renamed to FedExField only in 1997.
The former home grounds for the team include Braves Field (1932), Fenway Park (1933-1936), Griffith Stadium (1937-1960), and RFK Stadium (1961-1996). The team has been playing its home games in FedExField only since 1997.
Tips To Buy Redskins Tickets
Because of the huge fan base of the Redskins, the Redskins Football Tickets can be sold within minutes. Therefore, you must act at the right time. However, even in a hurry, you should not try to buy the tickets from an unauthorized ticket broker.
Niandra Lades and Usually Just a T-shirt
Niandra Lades and Usually Just a T-Shirt is the debut solo album by John Frusciante released on March 8, 1994 on American Recordings. Frusciante released the album after encouragement from several friends, who told him that there was "no good music around anymore".[1]
Angora">http://www.himfr.com/buy-Angora_Socks/">Angora SocksNiandra Lades and Usually Just a T-Shirt combines avant-garde and stream-of-consciousness styles, with guitar, piano and various effects and synthesizers on a four-track recorder. The album's first half, Niandra Lades, was recorded before Frusciante left the Red Hot Chili Peppers in 1992; after the recording of Blood Sugar Sex Magik. The second half, Usually Just a T-Shirt, was recorded while the band was on tour in the months leading up to Frusciante's departure. Niandra Lades and Usually Just a T-Shirt sold poorly upon its release in 1994, and was taken off the market, only to be re-released in 1999.
Frusciante joined the Red Hot Chili Peppers in 1988, at the age of 18, and released his first album with the group, Mother's Milk the following year. The follow-up album, Blood Sugar Sex Magik, was recorded in an empty mansion that the band decided to live in for the duration of recording.[2] Frusciante adapted well to the environment, and often spent his time alone painting, listening to music, and recording songs that would eventually make up the first half of the album, Niandra Lades.[2]Blood Sugar Sex Magik was released on September 24, 1991 and was an instant success. The album peaked at #3 in the U.S. and went on to sell over 12 million copies worldwide.[3][4][5] Soon after the album's release, Frusciante developed a dislike of the band's newfound popularity. He felt that the band was too famous, and wished they were still playing small nightclubs like they were before he joined the group.[6] By his own admission, the band's rise to popularity took Frusciante by surprise, and he could not cope with it.[7] During Blood Sugar Sex Magik's promotional tour, Frusciante began using heroin and cocaine heavily.[8] He and vocalist Anthony Kiedis often argued zealously before and after performances. Frusciante began purposely sabotaging shows by playing intro for a song, or playing out of key.[9] His relationship with the band had become progressively more strained, and he abruptly quit during the Japanese leg of their world tour in 1992.[10]
After leaving the Red Hot Chili Peppers, Frusciante continued to write and record solo material. He had been doing so since the age of nine, but had never considered releasing his material to the public.[11] That was until several of his friends—including Johnny Depp, Perry Farrell, Gibby Haynes and former Red Hot Chili Peppers band mate Flea—encouraged him to release the material he wrote in his spare time during the Blood Sugar Sex Magik sessions.[11][12] Frusciante began recording final cuts of the songs he had been writing since his departure, and producing them at his home in mid 1992. The production process, however, became hampered by his increasingly severe addiction to heroin. Usually Just a T-Shirt was recorded in the order it appears, with the final tracks being recorded shortly prior to Frusciante's departure from the Chili Peppers. The effect his drug use had on album is exemplified on the album's second song, "My Smile is a Rifle".[1] Frusciante's use of heroin and cocaine became more extreme during the final stages of recording in late 1993; he began viewing drugs as the only way to "make sure you stay in touch with beauty instead of letting the ugliness of the world corrupt your soul."
During a 1994 interview, a visibly intoxicated Frusciante noted that he wrote the album in order to create "interesting music", which he felt no longer existed. He felt contemporary artists were not writing material he deemed worth listening to and the mainstream population were settling for mediocrity.[11] Drugs were another significant topic Frusciante based Niandra Lades and Usually Just a T-Shirt on.[13] He increased his drug use to cope with worsening depression that was caused by leaving the Red Hot Chili Peppers, and his subsequent isolation. Several songs on the album deal with his dislike for the Chili Pepper's success, such the album's eleventh track, "Blood on My Neck From Success".
Niandra Lades and Usually Just a T-Shirt incorporated Frusciante's avant-garde style of song composition, with his stream-of-consciousness methodology. He recorded, mixed, produced and mastered the entire record by himself, and released it on Rick Rubin's label, American Recordings.[1] Warner Bros., the Chili Peppers' label, originally held the rights to the album because of the leaving-artist clause in Frusciante's Chili Peppers contract. Because he was living as a recluse, however, the label gladly handed the rights over to Rubin, who released the album under his label.
Niandra Lades and Usually Just a T-Shirt was initially previewed by Billboard magazine, who said that "Chili Peppers fans might be daunted by the album's elusive experimentalism." A representative of American Recordings did not foresee the album as being viable in any mainstream music stores, and some retailers went as far as to ban it from being sold.After the album was released, Frusciante played three small performances, and participated in a few magazine interviews to promote the album; explaining in one interview that people would only be able to understand his work if "their heads are capable of tripping out". At one point shortly after release, Frusciante began searching for a string quartet to play the album with him on tour. The idea was eventually discarded when he could not find a band that "understands why Ringo Starr is such a great drummer, can play Stravinsky, and also smokes pot." The concept of a tour was ultimately abandoned as well, due to Frusciante's diminishing health.
Niandra Lades and Usually Just a T-Shirt was not widely reviewed, but yielded a generally positive response from critics. Steve Huey of Allmusic, who rated the album four out of five stars, said that "[the album was] an intriguing and unexpected departure from Frusciante's work with the Chili Peppers", and that "the sparse arrangements of the first half help set the stage for the gossamer guitar work later on."He went on to say that Usually Just a T-Shirt—the latter half of the album—contained "pleasant psychedelic instrumentals with plenty of backward-guitar effects." Ned Raggett, also of Allmusic, noted that "there's nothing quite so stunning as [Frusciante's] magnificent remake of Bad Brains' 'The Big Takeover'." Adam Williams of PopMatters said the album "fall[s] somewhere between madness and brilliance". He went on to compare Frusciante to Syd Barrett, and felt it was a "hint at a deeply cerebral artist looking within for inspiration and creativity." The album received its share of negative criticism as well. Rolling Stone's Christian Hoard, felt "Frusciante's eccentricities run seriously amok", and that " [the album] sounds like a string of four-track demos. The first part of the album is slightly more tuneful than the more ambient, experimental second section[...] Mostly what you get are Frusciante's acoustic-guitar scratchings and stream-of-conscious ramblings."[16] The first Rolling Stone review of the record, however, was positive: "All in all, [the album is] a mess - but definitely a fascinating, often lovely mess. As one might expect of an album titled Niandra Lades and Usually Just a T-shirt this is twisted, cool stuff."[22] The Boston Herald said that while the album was "a stark display of Frusciante's acoustic guitar virtuosity" and "...eerily beautiful", the singing was "terrible; his high notes will drive the neighborhood dogs into a frenzy."
Frusciante's drug addiction worsened as the years progressed. An article published by the New Times LA described him as "a skeleton covered in thin skin".[18] He participated in an interview with Dutch public broadcast station VPRO—the first media appearance he made since leaving the Chili Peppers.[11] In the interview Frusciante speaks of the positive effects drugs have had on his mind and proudly admits to being a "junkie". He went on to confess addictions to heroin and crack cocaine, but ultimately described himself as being in the best health of his life.[11] In 1997, Frusciante released his second solo album Smile From the Streets You Hold, primarily for drug money.Niandra Lades and Usually Just a T-Shirt was estimated to have sold only 45,000 copies when Frusciante ordered it out of print in 1998—when Frusciante rehabilitated and rejoined the Chili Peppers.[1]Smile From the Streets You Hold was withdrawn from the market a year later.[24][25] In 1999 Niandra Lades and Usually Just a T-Shirt was re-released on American Recordings.[1] Frusciante has said he plans to re-release Smile From the Streets You Hold sometime in the future, but has not given any indication as to when.
Fleetwood Mac Return After a 5-year Hiatus for Their 2009 "unleashed" Tour
Kicking off in March, the rock and roll hall of famers' latest tour will feature the band's greatest hits over their illustrious 32-year career
Guitarist Peter Green formed Fleetwood Mac with eponymous drummer Mick Fleetwood after the two left John Mayall & the Bluesbreakers in 1967. Green and Fleetwood offered fellow Bluesbreaker John McVie the position of bassist, but McVie opted to remain with his current band for the time being, allowing Bob Brunning to take his place. Slide player Jeremy Spencer was added to the group's lineup, completing Fleetwood Mac's original four. The band made its debut on August 13, 1967 at the Windsor Jazz and Blues Festival. Weeks following that show, McVie agreed to join the band, replacing Brunning as their bass player.
The band enjoyed moderate success until they hit their big break in 1975 when their second self-titled album reached #1 in the United States. This was immediately followed by their 1977 release of Rumours, the band's most successful album to date. Of the original four, only the two halves of the band's name remained at this point – Fleetwood and McVie. The rest of the lineup was made up of singer Stevie Nicks, guitarist Lindsey Buckingham, and McVie's wife, Christine, on keyboards. This version of the band would become its most permanent, as well as its most successful.
The current incarnation of Fleetwood Mac consists of Fleetwood, McVie, Nicks, and Buckingham. With the exception of Christine, this is the same group that brought you Rumours and hits like "Dreams", "Don't Stop", and "Go Your Own Way". Returning from a 5-year hiatus, Fleetwood Mac are set to hit the road for their 44-show Greatest Hits "Unleashed" Tour beginning in March. Tour dates were nearly sold out the moment they were announced in December; with 29 new shows recently added, this is your last chance to catch the legendary Grammy-award winning rockers live!
Fleetwood Mac 2009 Canadian Dates:
Tuesday, March 23th - Ottawa, ON - Scotiabank Place
Wednesday, March 25th - Montreal, QC - Bell Centre
Thursday, March 26th - Toronto, ON - Air Canada Centre
Fleetwood Mac 2009 American Dates:
Sunday, March 1st - Pittsburgh, PA - Mellon Arena
Tuesday, March 3rd - St. Paul, MN - Xcel Energy Center
Thursday, March 5th - Chicago, IL - Allstate Arena
Sunday, March 8th - Detroit, MI - Palace of Auburn Hills
Tuesday, March 10th - Washington, DC - Verizon Center
Wednesday, March 11th - Boston, MA - TD Banknorth Arena
Friday, March 13th - Uniondale, NY - Nassau Coliseum
Saturday, March 14th - Uncasville, CT - Mohegan Sun Arena
Monday, March 16th - Rochester, NY - Blue Cross Arena
Thursday, March 19th - New York, NY - Madison Square Garden
Saturday, March 21st - East Rutherford, NJ - Izod Center
Fleetwood Mac tickets available at:
ShowTime Tickets
604-688-5000
1-800-480-SHOW(7469)
The Used - Making Their Mark on the Music World
Hailing from Orem, Utah, the alternative rock band called The Used has made its mark on the public with a couple of albums and music videos released under Reprise Records. With songs like "A Box Full of Sharp Objects" and "The Bird and the Worm," the band has established itself as a thriving music group. With an active following since 2001 (and still going strong), The Used possess a history of making music that begins in the middle of the '90s.
Brief Group History
During the mid-1990s, The Used was known in their early days as a local band called Froglick. At this time, Brenden Steineckert (founding member and drummer) was grouped with Quinn Allman (guitarist) and Jeph Howard (bassist). It was soon agreed that a full-time singer or frontman would be needed to boost the popularity of the band. Auditions were held, but a suitable member could not be found. Upon the suggestion of Allman, a friend from school (Bert McCracken) was asked to join and gladly accepted.
The group began to record a few demos and hold a handful of local shows. John Feldmann, a member of the punk group, Goldfinger, heard the band and, in 2001, encouraged Reprise Records to sign the group. Within a couple of months, a ten-track demo CD was produced. The band would later become The Used after finding out that a band in Boston already went by the moniker Used.
In 2003, The Used released a CD and DVD combo package titled "Maybe Memories." Live, unreleased, and demo works were included, such as band history, musician bios, and live concert snippets. Platinum sales status followed. In 2004, the group released their second studio album, titled "In Love and Death." A host of personal tragedies suffered by lead singer McCracken guided the themes, subjects, and songwriting of the album. The title of the album and the song, "Hard to Say," paid tribute to the pregnant girlfriend he lost to drug overdose. "In Love and Death" became the group's second platinum venture, selling more than three million copies.
The future of The Used involves another CD and DVD compilation and a couple of tour dates. A new album is set for a 2007 release, and the group is adjusting to their new drummer, Dan Whitesides.
Current Members
Currently, The Used is composed of Bert McCracken (lead vocals and piano), Quinn Allman (guitar and backup vocals), Jeph Howard (bass and backup vocals), and Dan Whitesides (drums). In the past, the group also worked with other musicians, such as Greg Bester, who served as touring guitarist during the early 2000s. Most notably, Branden Steineckert, who provided backup vocals and played drums, was kicked out of the band during the summer of 2006.
Discography & Musical Achievements
The Used released their first full-length studio album, which was self-titled, in 2002. The public readily accepted the new group, and they enjoyed a wealth of early success. Four singles ("A Box Full of Sharp Objects," "Buried Myself Alive," "Blue and Yellow," and "The Taste of Ink") helped claim a following. The album soon went platinum.
In 2004, the group released "In Love and Death," which also became platinum-certified, selling more than three million copies. The David Bowie remake of "Under Pressure" featured My Chemical Romance and was offered as a bonus track on the 2005 re-release of the album. Additional songs on the album included "Take It Away" and "I Caught Fire." Set for a 2007 release, The Used is planning on sharing "Lies for the Liars," which is also set to come with a DVD.
Cruise Ship Drumming
Cruise drumming is a very unique and fun gig to have. I worked for Royal Caribbean Cruises from June 2001 - Jan 2003; doing over 800 shows and working with over a dozen Grammy Award winners.
Getting the Gig
I auditioned for an agency that came to Berklee. The audition consisted of playing a medium tempo jazz groove, a ballad w/brushes, samba, bossa nova, rhumba, and then playing along to big band charts w/music minus drums and a click track. The emphasis was on good time keeping and chart reading.
I later learned that I could have auditioned directly for Royal Caribbean instead of going through an agency that wanted 12% of my pay. I recommend contacting the cruise's "musician specialist", human resources, directly.
Arrival
I was assigned to the Voyager of the Seas; RCCL's flagship at the time. I met the ship in Miami FL. on it's homeport day. That's the day/port that the previous passengers leave and the new one's begin their trip. I brought a suitcase full of summer clothes and a Tux, my stick bag, and cymbal case. The first sight of the ship was amazing. It was Huge! If you put the Voyager on it's side it would be as tall as the Empire State Building.
After getting on, signing in, and getting my closet, I mean room, I started looking through the music given to me for the week ahead. Tony, the music director, gave me books of music for the Welcome Aboard, Farewell shows, two stock shows, and over 300 pages of Big Band charts....deep breath.
Day 1 :The Welcome Aboard show.
It's a short show with snippets of entertainment to be seen throughout the cruise. As the new drummer I had to quickly learn the music review piece and the play-ons. The review piece had parts from the stock shows that are played every cruise with the on-board cast.
Play-ons are 5-10 second sections of songs used as a sort of theme music to introduce someone coming onto the stage. The horn sections of I Wish and Jungle Boogie are two commonly used examples.
The review piece was relatively easy as far as the drum part went. What was tricky was quickly getting comfortable with playing live to a click track and canned horns, strings, and percussion that augmented the already ten piece band. It was a real rush playing in a 1,500 person theater with a million dollar sound and light system for the first time. Two shows a night makes 3000 people a day. Don't get stage fright! In situations like that, you just have to hang on and believe in yourself.
Day 2 : The first big show.
On a weeklong cruise there are usually two music review shows performed with the cast. The shows are 50 minutes of almost non-stop music. The Monday show was a mix of R&B, Top 40, and Cirque du Soleil. I spent a few hours that day studying the charts while listening to the CD's that Tony gave me. Plus, I played a run through of the show during the cast's rehearsal.
The stage crew places the drums so, all I had to do was give myself enough time to tweak the set up , make sure my charts were in order, and adjust my headphones. Ready to go. We received our 1 min cue and.......click, click, click, click off we go. See you in an hour! It can be a blast to be in the hot seat and have to concentrate for 50 straight minutes. The first time you nail an entire show, I mean every little thing, it's an accomplishment!
Day 3 : My First Star Act
A Star Act is a guest artist. They come on and rehearse with the band for about 1 1/2 hours in the afternoon for the show that night. You run down all the songs once, twice at the most. You are rehearsing to make sure the band is together with the transitions and tricky bits. If there was something difficult, you better look at it on your own before show time.
Star Acts range from famous older groups like The Drifters and Bowzer (Sha Na Na) to Sinatra impersonators, magicians, and Broadway vocalists, among many others.
Sometimes you perform to a click but most of the time the song is counted off by either the music director or the artist. You only had a short rehearsal so, it's important to have one eye on the chart and the other on the artist in case they want you to adjust the tempo a little.
Side Story. On these one week cruises, the Star Act does a Friday show for one cruise and then a Tuesday show for the next cruise. Seeing that I arrived on Sunday, this artist had a different drummer last Thursday. Apparently Tony had fired three drummers in a row when I got there. Being right out of school and only twenty two, I really had to prove myself to Tony, the band, and the Act. Each night was different and it's own test.
Day 4 : Big Band
Alright. No Star Act. No review show to study. I got off and went to the beach in Jamaica. This was incredible! Especially after spending the winter in Boston.
That night we set up for Big Band in one of the many lounges on the ship. Tony would call out tunes from the over 300 numbered charts. They ranged from Take The "A" Train to Love For Sale. They're all standards and mostly the original arrangements. Easy day.
Day 5 : The Hard One
Thursday we performed the second review show of the cruise. This one was mostly musical theater. There were lots of abrupt tempo changes and meter changes. High concentration is needed. Again, I spent a few hours reading and listening and I played the run through with the cast. I just held on during the run through so, I did some more studying before the show. It paid off.
I didn't "own it" but I got through it pretty well and that's what it took for Tony and the band to approve my staying in the band. The rest of the cruise was pretty easy after that.
Friday was another Star Act and Saturday was the Farewell show. First cruise completed.
After a few months you really start to feel like you can read anything put in front of you and your confidence grows. The review shows become second nature after a while. It's important to be able to play with energy and concentration the first and 101 times you play anything. Tony once told me that the best way to keep your concentration level high is to pretend that every show is being recorded. You want to finish a show and be able to say "that's a take".
I try to do that with everything I play now. It's the same as the legendary drummers who advise us to "Play with Purpose".
Ship Life
O.K. yes the cabins are small but you have cable TV and a dorm size fridge. But who wants to stay in their room anyway? It's a place to sleep, shower, and change. You have to get out and see the world.
I've been all over the Caribbean, Canadian East Coast in the Fall, and Northern Europe in the Summer. I've spent a week in Amsterdam, many overnights in St. Petersburg, and had my favorite bars and Cafe's in La Harve France, Stockholm Sweden, and Copenhagen Denmark among others. All of this was while getting PAID, living free of rent, and all of my meals provided for free on the ship if I chose.
The staff on ships are very unique. Of 1,500 crew members, only 50 of us were American! You can't beat the experience of living next to and learning about people from all over the globe. You see very quickly that we're all people. We all have the same dreams no matter where we grew up. Priceless.
In conclusion, my time on cruise ships was incredible both musically and personally. From the music to the people and places you'll experience, I highly recommend trying this exciting job.
Munnar-Mind refreshing hill stationa
MUNNAR
Munnar - breathtakingly beautiful - a haven of peace and tranquility - the idyllic tourist destination in God's own country.
Set at an altitude of 6000 ft in Idukki district, Munnar was the favored summer resort of the erstwhile British rulers in the colonial days. Unending expanse of tea plantations - pristine valleys and mountains- exotic species of flora and fauna in its wild sanctuaries and forests - aroma of spice scented cool air - yes! Munnar has all these and more. It's the place you would love to visit - it's the place you would wish never to leave- so welcome - log on to munnar.com for all information on Munnar anytime, every time.
MUNNAR - Fact File
Altitude : 1600 Mts to 1800 Mts above sea level
Temperature : Min. 0 c - Max. 25 c
Clothing : Warm Clothes and Rain Gear
Tourist Season : August to March .
Tea or Chai is the most widely drunk beverage in the whole world. The tea plant, Camellia Sansis, is a cultivated variety of a Tea planttree that has its origins in an area between India and China. There are three main varieties of the tea plant - China, Assam, and Cambodia - and a number of hybrids between the varieties. The China variety grows as high as nine feet (2.75 metres). It is a hardy plant able to withstand cold winters and has an economic life of at least 100 years.
The Assam variety, a single-stem tree ranging from 20 to 60 feet (6 to 18 metres) in height. Regular pruning keeps its height to a more manageable 4 to 5 feet tall. It has an economic life of 40 years with regular pruning and plucking. When grown at an altitude near that of Darjeeling (Assam) or Munnar (Kerala), it produces tea with fascinating flavours , sought after around the globe.
MAIN SUB VARIETIES OF TEA
The tender light-leaved Assam
The less tender dark-leaved Assam
The hardy Manipuri and Burma types
The very large-leaved Lushai
The dark-leaved Assam plant from Upper Assam.
The Cambodia variety, a single-stem tree growing to about 16 feet (five metres) in height, is not cultivated but has been naturally crossed with other varieties.
History of Tea
Behind this everyday brew lies a colorful and fascinating story that meanders its way through the social and cultural history of many nations. According to ancient legend, tea was discovered by chance by a Chinese Emperor in third millenium B.C. as some tea leaves floated into his boiling pot of water from somewhere.
Whether this is fact or fiction, we will never know. In fact, there was no written reference to tea until the third century B.C., until a famous Chinese doctor recommended it for increasing one's alertness. Most historians however agree that tea was used in China long before this date.
Tea entered its 'golden age' during the Tang Dynasty in the 7th century AD. Tea entered the age of rituals and traditions. No longer drunk simply as a medicinal tonic, tea was taken as much for pleasure as for its restorative powers. The preparation and service of the liquor developed into an elaborate ceremony, while the cultivation and processing of the leaf were tightly controlled.
Tea became important enough during this period for a group of merchants to commission the writer, Lu Yu, to compile the first ever book on the subject - Classic of Tea. All tea produced in China was originally green.
However, with an increase in trade during the Ming Dynasty (A.D. 1368 - 1644), the Chinese growers were challenged to preserve tea's delicate qualities during its long journeys, as far afield as Europe. The solution was the invention of new processing methods to make black and flower-scented teas. Ming producers found that fermentation was able to preserve tea leaves, making them suitable for the long overseas journey. And though Europe's first taste of tea was green, the fashion gradually changed to black as Chinese growers altered tea production methods to suit the logistics of distant trade.
Top
When one looks at Europe, one is not sure who was responsible for introducing tea there - the Dutch or the Portuguese in the early seventeenth century, for both nations were then actively trading in the China Seas. The Portuguese shipped China teas to Lisbon, and from there the Dutch East India Company carried goods on to Holland, France and Germany.
Tea's fate in Britain took a lucky turn in 1662 when King Charles II married a Portuguese princess. Britain's new queen was addicted to tea and carried with her some tea as part of her dowry. As word of the new beverage spread, more and more people wished to try it. Soon tea became Britain's most popular drink, replacing ale at break-fast and gin at any other time of day. Tea also became an essential part of people's entertainment outside the home.
Luxurious tea gardens appeared all over the country, where people from all walks of life, including royalty, could take fresh air, drink tea, and enjoy a variety of entertainment. The British tradition of 'after-noon tea' is normally ascribed to Anna, the Dutchess of Bedford. She conceived the idea of having tea around four or five in the afternoon to ward off the hunger pangs between lunch and dinner. Soon all of fashionable London was indulging in these after-noon gatherings to drink tea, eat sandwiches, and exchange gossip and general conversation.
As tea consumption in Britain grew, the balance of payment turned in favour of the Chinese. Britain came up with an answer to correct the imbalance and trade in opium, which the Chinese wanted. But soon trade in opium became a serious international issue, and to secure monopoly, Britain declared war. China retaliated by placing an embargo on all export of tea. The Opium Wars had begun.
Its trade with China cut off, Britain began to seek other locations for the production of tea. Northern India was particularly promising due to its climate and altitudes. It is here that in 1823 the British East India Company's first crop was planted. Its first shipment of Assam tea reached London fifteen years later, and the Company soon expanded into other areas, most notably Darjeeling and the hills of Munnar in Kerala. The Kannan Devan Tea was thus born.
It was inevitable that tea would find its way to North America along with the settlers from Europe. All over the New World, tea was drunk in the same elegant fashion as in Europe. In colonial America, tea and the complimentary silver and porcelain were symbols of wealth and social status. Even the less affluent families viewed the taking of tea as a display of their good manners. The Boston Tea Party ended America's liking for both the British and their tea. The origins of the trouble lay in the passing of an Act of Parliament in 1767, which attempted to tax the American colonies.
Within two years of its passing, most American ports were refusing to allow any dutiable goods ashore, and when the British sent seven shiploads of tea from London, feelings ran high. In New York and Philadelphia, demonstrations forced the ships to turn back. In Boston, general unrest over several weeks was followed by the boarding of the Dartmouth by a band of men disguised as Indians, to cries of "Boston harbour - a teapot tonight."
In the course of the next three hours, they threw 340 chests of tea overboard. The British government's closure of Boston harbor and the arrival of British troops on American soil marked the beginning of the War of Independence and America's coffee-drinking tradition. World War II marked a final blow to America's affinity for fine teas. Prior to the war, Americans were well versed in the many varieties of tea. Imported exclusively in the Orient, however, these teas became scarce during the war, and were replaced with lower quality black tea from Argentina and other open markets. Sadly, to this day, almost all tea consumed in the United States is low-grade black.
Growing Tea
Tea bushes are planted 1 metre to 1.5 metres apart to follow the natural contours of the landscape. Sometimes they are grown on specially prepared terraces to help irrigation and to prevent erosion. Fifty years ago tea plants were raised from tea seeds and they Tea estatewere known as seedlings. Each plantation grew its own seed bearers in tea trees which grew to a height of approximately 25 metres. These young plants are raised from the cuttings obtained from a strong and rich bush. They are carefully tendered in special nursery beds until they are 12-15 months old and then planted in the tea gardens.
Trees are often planted in between the tea plants to protect them against intense heat and light, particularly on the plains of Assam and Kenya, where sunshine is most intense. The trees also provide microclimatic and soil improvements. Geometric spacing are used, often in quite wide spacing. This, again, ensures uniform treatment (shade) and ease in mechanized operations. Common shade trees are Erythrina, Gliricidia, and Silver Oak.
When the tea plant is allowed to grow wild and unfettered it becomes 10 mts high. To simplify cultivation and stimulate the production of leaf buds, they are regularly pruned and shaped into flat-topped bushes of about one metre in height. When the plant develops to a height of about half a metre above ground, it is cut back - pruned to within a few inches off the ground - to set it on course to develop into a flat-topped bush. Generally, a tea bush is 1 to 1.5 metres in height. Regular 2 to 3 year pruning cycles encourage the supply of shoots, the flush which is plucked every week to ten days, depending on where it is cultivated.
The tea leaves are mostly hand plucked. The tea plant is plucked every 5- 10 days, depending on where it grows. The length of Tea workerstime needed for the plucked shoot to redevelop a new shoot ready for plucking varies according to the plucking system and the climatic conditions. Intervals of between seventy and ninety days are common.
When the tea plant is plucked two leaves and a bud are cut. An experienced plucker can pluck up to 30 kg tealeaves per day. To make one kg black tea, approx. 4 kg tea leaves are needed. One tea plant produces about 70 kg black tea a year. In a warm climate the plant is plucked for the first time after four years and it will produce tea for at least 50 years. A suitable climate for cultivation must have a minimum annual rainfall of 1,140 to 1,270 millimetres. Tea soils must be acidic and tea cannot be grown in alkaline soils.
A crop of 11,650 kilograms per hectare requires 3.7 to 4.9 workers per hectare to pluck the tea shoots and maintain the fields. Mechanical plucking has been tried, but because of its lack of selectivity, it cannot replace hand plucking. Since 1900, advancements in tea cultivation have increased the average yield per acre in India from 180 to 450 kilograms, with many estates producing over 680 kilograms.
PLACES TO VISIT
Mattupetty (13 km from Munnar)
Situated at a height of 1700 Mts ,Mattupetty Mattupetty is famous for its highly specialised dairy farm, the Indo-swiss live stock project. Over 100 varietes of high yielding cattle are reared here.Visitors are allowed into three of the eleven cattle sheds at the farm
Visit Time : 0900 - 1100 hrs and 1400 - 1530 hrs.
Rate : Rs. 5/- per head. ( liable to change)
The Mattupetty lake and dam , just a short distance from the farm, is a very beautiful picnic spot. The sprawling Kundala tea plantations and the Kundala lake are other attractions in the vicinity. DTPC Idukki provides boating facilities on the Mattupetty Dam. Speed Launch and slow speed motor boats are available on hire.
Pothamedu (6 km from Munnar)
Pothamedu offers an excellent view of the tea, coffee and cardamom plantations in Munnar. The rolling hills, the lush mountain and the breathtaking scenery here is ideal for trekking and long mountain walks.
Devikulam (7 km from Munnar)
Devikulam
This idyllic hill station with its velvet lawns, exotic flora and fauna and the cool mountain air is a rare experience. The Sita Devi Lake with its mineral waters and picturesque surroundings is a good picnic spot. The lake is also ideal for trout fishing.
Pallivasal (8 km from Munnar)
This is the venue of the first Hydro Electric Project in Kerala and a place of immence scenic beauty.
Attukal (9 km from Munnar)
A panorama of waterfalls and rolling hills, Attukal, located between Munnar and Pallivasal, is a feast for the eyes. The place is also ideal for long treks.
Nyayamakad (10 km from Munnar)
Located between Munnar and Rajamala, Nyayamakad is a land of breathtaking waterfalls. The waters cascade down a hill from a height of about 1600 meters. The enchanting surroundings makes an excellent picnic spot and trekking point.
Chithirapuram (10 km from Munnar)
With its sleepy little cottages, bungalows, old playgrounds and courts, Chithirapuram still exudes an old world charm. Home of the Pallivasal Hydel Power Project, this hill town is also famous for its picturesque tea plantations.
Lock Heart Gap (13 km from Munnar)
This is an ideal place for adventure tourism and trekking. The fresh mountain air, the mist-clad hills and panoramic view make it worthy of a visit.
Rajamala (15 km from Munnar)
The natural habitat of the Niligiri tahr ,Rajamala Rajamala is 2695 Mts above sea level. Half the world's population of the rare mountain goat or tahr which is fast becoming extinct, is now found here.The Niligiri tahr in Rajamala are now to be found in small herds found in Eravikulam-Rajamala region. The total number of Niligiri Tahrs in Rajamala is estimated to be over 1300.
Visiting Time : 0700 - 1800 hrs.
Visitors are not allowed during the monsoon.
Entry Pass : Rs. 10 for adults, Rs. 5 for children below 12 years, Rs. 50 for foreigners.( liable to change)
Permitting Authority : Wild Life DFO, Munnar.
Eravikulam National Park (15 km from Munnar)
The 97 sq. km. park is situated in the Devikulam Eravikulam National ParkTaluk and is home to the Nilgiri Tahr. The Anamudi peak (2695 Mts) is located in the Southern region of the park.
Originally established to protect the Nilgiri tahr (Nilgiri Ibex), the Eravikulam National Park is situated in the Devikulam Taluk of the Idukki District. It was declared as a sanctuary in 1975. Considering the ecological, faunal, floral, geo-morphological and zoological significance, it was declared as a National park in 1978. It covers an area of 97 sq kms of rolling grasslands and high level sholas (evergreen forests). The park is breathtakingly beautiful and is easily comparable to the best mountain ranges found anywhere in the world.
Sanctuary Visit :
Nilgiri Tahr The park is divided into 3 regions - the core area, the buffer area and the tourism area. Visitors are allowed only to the tourism area which is in the Rajamala region. The Nilgiri Tahr can be observed at close quarters here.
Trekking facilities are available here. Tourists are allowed to go on foot up to Anamudi. This is also a place for adventure tourism.
Trekking Areas : Anamudi, Rajamala.
Power House Waterfalls (18 km from Munnar)
The waterfall on the way to Thekkady from Munnar cascades down a steep rock 2000 Mts above sea level. The spot is enriched with the scenic Western mountain ranges, and is an ideal place for a break on the way to the Periyar Wildlife Sanctuary in Thekkady.
Kundala (20 km from Munnar)
Kundala is a picturesque town on the way to Top Station. The Golf Course which belongs to Tata Tea Ltd. is located here. The Kundala artificial dam is another attraction. Aruvikkad Waterfall is also near Kundala.
CSI Christ Church
CSI Christ ChurchThe British built the Christ Church in 1910 AD. Built of stone, the church is known for its stained glass windows. There are several brass plaques in the church placed in the memory of the tea planters.
IN AND AROUND MUNNAR
AnayirankalAnayirangal (22 kms from Munnar):
It's a lush green carpet of tea plants. A trip on the splendid reservoir is an unforgettable experience. The Anayirangal dam is surrounded by Tata Tea plantations and evergreen forests. It is an ideal picnic spot.
Devikulam (7 kms from Munnar)
This idyllic hill station with its velvet lawns , exotic flora and fauna and the cool mountain air offers a rare experience to visitors. The Sita Devi lake with its mineral waters and picturesque surroundings is a good picnic spot. The lake is also ideal trout fishing.
Valara Waterfalls
Valara (10 kms from Adimali on the Kochi-Madurai highway)
Valara has a chain of waterfalls surrounded by thick green forests.
Marayoor (40 kms from Munnar)
This is the only place in Kerala that has a natural growth of sandalwood trees. The sandalwood factory of the forest department, the caves(muniyaras) with the murals and relics from the New stone age civilization and the children's park spread across a hectare of land under the canopy of a single banyan tree, are of great interest to tourists. Thoovanam waterfalls and Rajiv Gandhi National Park are also nearby. +more
Cheeyappara
The Cheeyappara and Valara waterfalls are located between Neriamangalam and Adimali on the Kochi - Madurai highway.
TopstationTop Station (32 kms from Munnar)
1700 Mts above sea level , this is the highest point on the Munnar-Kodiakanal road. The rare Neelakurunji (strobilanthus) belongs to this region. Top Station (a viewing point) also offers a panoramic view of neighbouring state of Tamil nadu.
Echo Point (15 km from Munnar)
This scenic place gets its name from the natural echo phenomenon here. Echo point is on the way to Top Station from Munnar.
Meenuli
It is noted for 2 acres of evergreen forests upon a huge rock. The rock is more than 500 acres in area and an ideal spot for mountaineering.
Malankara Reservoir (6 kms from Thodupuzha)
Located on the Thodupuzha - Moolamattam road, this artificial lake isMalankara Reservoir accessible by road. The reservoir is ideal for boating and fishing.
Thommankuthu waterfalls (17 kms from Thodupuzha)
The seven step waterfall here is a much loved picnic spot . At each step there is a cascade and a pool beneath . Thommankuthu is an ideal place for adventure tourism. (This is also a tricky spot and visitors are advised to exercise caution !)
Nadukani (25 kms from Idukki)
Moolamattam town , Malankara lake etc. can be viewed from the high pavilion situated here.
Kalvari MountKalvari mount
This is a famous pilgrim centre on the way to Kattapana.
Palkulamedu (12 kms from Idukki)
Kochi, Allapuzha and other nearby towns can be seen from this peak at 3125 mts above sea level.
Chithirapuram (10 kms from Munnar)
With its sleepy little cottages, bungalows, old play grounds and courts, Chithirapuram still exudes an old world charm. Home of the Pallivasal Hydel power project, this hill town is also famous for its picturesque tea plantation.
RamakalmeduRamakalmedu (16 kms from Nedumkandam)
Rolling green hills and fresh mountain air make Ramakalmedu an enchanting retreat. The hilltop also offers a panoramic view of the picturesque villages of Bodi and Kambam on the Eastern slope of the Western ghats. One can enjoy the splendid beauty of nature. This is an ideal place for trekkers and mountain climbers.
Chinnar Wildlife Sanctuary (60 km from Munnar)
Situated on the Tamil Nadu border, the Chinnar Wildlife Sanctuary is spread across 90.44 sq km.
Giant Squirrel
Animals
Most of the Southern Indian wild animals can be found in this forest. These include the grizzled giant squirrel, champal squirrel, elephant, sambar deer, gaur etc.
Rare BirdBirds
Jungle fowl, myna, laughing thrush, black bulbul, peafowl etc.
Access
Munnar - Udumalpetta Road 60 km
Coimbatore - Udumalpetta - Chinnar Road 100 km
Cochin - Chinnar 190 km
Parambikulam via Pollachi - Chinnar via Udumalpetta 60 km
Kottayam - Chinnar 250 km
Visiting Time
0700 - 1800 hrs. Entry passes are available at the office of the Assistant Conservator of Forests or the Check Post Information Counter.
Permitting Authority
Wildlife Warden, Idukki Wild Division, Painav/Wildlife DFO, Munnar.
Trekking Routes
Palapetty, Champakad
Karimuty - Inchapetty
Karimuty - Alampetty
High Range Club
Charmingly colonial in style, this clubhouse built of wicker and teak still serves as a social centre for the far - flung farmers of the region around Munnar. The club houses an elegant lounge and a dining room, the obligatory gentleman's bar, a billiards room, a library etc. Entry is limited to members only.
Trekking Points in Munnar
Anamudi, Rajamala, Meesapulimala, Top Station, Kundala, Devikulam.
Sightseeing Tours
Sightseeing tours are arranged from the District Tourist Infornation Office, Thekkady Jn., Kumili. Tours cover spice plantations, herbal gardens, tribal settlements, other places in and around Munnar etc.
Tourist Circuits in Munnar
Munnar - Mattupetty Dam - Indo Swiss Livestock Project - Echo Point - Kundala Dam - Top Station (34 km).
Munnar - Pothamedu - Chitirapuram - Pallivasal - Cheyappara - Adimali - Valara (40 km).
Munnar - Rajamala - Marayoor - Chinnar (70 km).
Munnar - Devikulam - Lock Heart Gap - Power House Waterfalls - Anayirankal (32 km).
Accomodation options
Luxury
1 Tea County Munnar 4 Star Rs.3,500 - 6,000
2 Club Mahindra Chinnakannal 4 Star Rs.5,000 - 15,000
3 Cloud 9 Naduparai 3 Star Rs.2,400 - 3,400
4 Sienna Village Chinnakannal 3 Star Rs.1,800 - 2,500
5 Oak Fields Pothamedu 3 Star Rs.2,200 - 2,400
6 Eastend Munnar 3 Star Rs.1950 - 2,300
7 Issacs Residency Munnar 3 Star Rs.1,250 - 2,500
8 Chancellor Resorts Chinnakannal 3 Star Rs.1,500 - 3,500
9 West Wood Munnar 3 Star Rs.1,350 - 2,350
10 Sterling Resorts Chinnakannal 3 Star Rs.1,700 - 2,400
11 B Six Holliday Resorts Latchmi Est. 3 Star Rs.1,500 - 2,000
12 Fort Munnar Chinnakannal 3 Star Rs.5,000 - 11,000
13 Deshadan Mountain Resort Potemedu Luxury Rs.2,750 - 4,000
SN. Resorts/Hotels Location Rating Tariff
Deluxe
14 Las Palmas Devikulam Classic Rs.900-1,650
15 Spring Dale Resorts Devikulam Budget Rs.650 - 5,300
16 Lonely Planet Devikulam Budget Rs.750 - 5,000
17 Munnar Inn Munnar Classic Rs.1,200 - 1,500
18 Hill View Munnar Classic Rs.750 - 2,500
19 Elysium Garden Munnar Classic Rs.600 - 2,500
20 S.N.Annex Munnar Classic Rs.950 - 2,000
21 S.N.Tourist Home Munnar Budget Rs.850 - 2,000
22 Munnar Tourist Home Munnar Budget Rs.900 - 3,000
23 Misha Tourist Home Munnar Budget & Classic Rs.480 - 1,300
24 Sun Mount View Resorts Pullivasal Budget Rs.950 - 2,000
SN. Resorts/Hotels Location Rating Tariff
Economy
25 Tea Garden Resorts Munnar Cheap Rs.450 - 1,200
26 Dhanyasree Munnar Cheap Rs.550 - 1,500
courtesy
www.myhappyjourney.com
Get Up, Get on and Get Off: the Early Bird Catches the Record Deal!
Imagine this…you're in the local hospital's pre-op ward waiting for the removal of your pesky rupturing appendix. You wait and wait in side splitting agony while your doctor chats it up with the nurses, gathering phone numbers from the hot ones. After what seems forever, he gets you prepped and begins the surgery. What should have been a 20-minute procedure turns into two hours. He cracks jokes and talks about his cherry red Ferrari, while you're lying unconscious with your abdomen split open. Finally, you're sewn up and ready for recovery but super surgeon and his crack anesthesiologist are having a heated discussion about the science of their golf games and have seeming forgotten you're passed out underneath them with tubes stuck in every orifice. If this were your surgery experience, you'd freak out, sue the hospital and your hot-shot doc would wind up cleaning bedpans at the state convalescent hospital.
Sadly, like our skirt-chasing doc, many musicians think that the consequences of their actions are immaterial and treat their audience with the same lackadaisical disregard that the before-mentioned doctor treated his poor patient with. These selfish creative types show up to gigs late, set up at their own leisure (roughly the same pace that a 100 year-old tortoise would run the Boston marathon), play as long of a set as they please (regardless of their designated set time) and break down/clear the stage at their own whim with little or no regard to the club's schedule.
However, if you asked any of these artists, they would say that they consider music to be their career…and shouldn't a career be treated with the same importance and professionalism whether you're a budding rockstar or an established surgeon? It should, but often it's not and bands then find their reputations are tarnished with labels like: slow, lazy, and irresponsible simply because they seem unable to get their show on (and off) in a timely manner. Get branded as a slovenly flake and watch the music industry folks jump ship faster than the rich ladies on the Titanic.
The following are a few tips that will help you to get up, get on and get off in a timely, professional manner that will impress the powers-that-be and leave you fans wanting more:
1.) Have Everything Set Up Before You Set Up---It's not like you just found out you were playing five minutes before. Gigs are booked days, weeks or months in advance so there's no reason not to be well informed and well equipped prior to your arrival and set up. Guitars and drums should be tuned, drum kits and guitar pedals set up and dialed in, and song lists printed and distributed so that set up time is minimal. Once the stage is free, a professional band will simply haul their gear onstage, plug it in, and do a few last minute tweaks before they're ready to rock and roll. The ancient tortoise rockers, however, will plunk the road cases down on the stage and then force friends, fans and industry alike twiddle their musical thumbs in anticipation while each piece of gear is pulled out, unwrapped, wiped off, place into position and screwed in slowly but surely. Truthfully, it's about as interesting as watching paint dry without the guilty pleasure of getting high off the fumes.
2.) Sound Check/Line Check Is Not A Mini Concert---You may view your sound check as the concert before the concert but you're not making any friends dragging out your sound check to an hour and a half while bands are lined up out the door waiting to set up their own gear and check their sound. Same goes for the line check. You may be surprised to know that audiences aren't all that excited to sit and listen to you work out your live sound in front of their eyes and on their time. Save the lengthy tune-up and checking for the Making Of The Band video. Get your levels quick and get to rockin'!
3.) Plan Out Your Set Time Well Before Your Set---The key to a tight set is the prep work that goes on before the night of the gig. Many artists believe that the longer they're onstage the more the audience gets revved up, but there is something to be said about "too much of a good thing." Plan out your set, time it and then time it again and make sure that it comes in a few minutes under your designated set list time. Little passive aggressive tricks like cramming in two or three extra songs at the end of the set or coaxing your friends into screaming for an encore only serves to enrage your sound man and confuse your crowd and extensive tuning and chatting amongst yourselves and audience members in between songs is just plain tedious. The tighter your set is the more professional it sounds to the ears of your audience and the happier you'll make your bookers, promoters and club owners.
4.) Tear Down Should Be The Quickest Of All---If you thought your set up was quick, your band's tear down should be lightning fast in comparison. So much time is wasted every night at a music venue as musicians dawdle after their sets, drinking and chatting with friends, while their gear lies piled up onstage, preventing the next artists from getting set up. Pick up your instruments, haul them of stage, and take them outside or into the green room. There you can wrap your gear up, clean it off, and pack it away into cases and into your cars. Then, it's time to toss back a few beers and gab with the masses until closing time, without interrupting the flow of the evening.
Imagine this…you're in a local club waiting to check out an act your label has sent you to scout. You wait and wait in growing more bored and more drunk while the band you've been sent to see chats it up with the women in the room, giving t-shirts and CDs to the really hot ones. After what seems like forever, the bands takes the stage and begins their set. What should have been a 30-minute showcase turns into an hour or more as the band plays a loose set, stopping often to tune, complain about the sound, yell to the bartender for drinks and crack jokes with select audience members; while you sit unimpressed trying to get a feel for the band's style. Finally, their set ends and you wait to approach the band on behalf of your label but these super rockstars are still onstage wrapping up endless cords and wiping down each piece of gear while they chat with each other about how much their set rocked. If this were you're A&R experience, you'd give up waiting to speak with these lazy musicians, go back to your label and tell them to forget about this particular band and these hot-shot rockstars will wind up working at Starbuck's until they go on Social Security. This doesn't have to happen to you. Learn to get up, get on and get off. You'll soon have the reputation as an easy-to-work-with, professional, reliable band. After all, you never know who might be in the audience to see you on any given night.
Technology in and for the Instrumental Music Classroom
Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon "teaching to the test" due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in "Education Week," stated "The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…" (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the "Three R's" is short-sighted. Howard Gardner postulated his "Multiple Intelligences" theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as "the ones that have typically been valued in school." (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could "do school" well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, "there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another." (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that "…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning." (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that "music had its origins in the Pythagorean proportions; (i.e., music is a mathematics)." (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner's aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, "Increased Corpus Callosum Size in Musicians" wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner's theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article "Inter-Domain Transfer Between Mathematical Skill and Musicianship" published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This "structural overlap" could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as "computer assisted instruction" (CAI)" specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was "SmartMusic." (Estrella, 2005)
SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student's efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student's teacher/director and automatically entered into the teacher's database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, "MakeMusic," was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic's utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, "listening" to the performer via a microphone, can follow the performer's changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program's accompaniment gives an instant visual and aural response; while the recording of the student's performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home - let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher's own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this "digital divide" that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
References
Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 - 197). US: Gordon & Breach Science Publishers
Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.
Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.
Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.
Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York
Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York
Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates
Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.
Rhodes, Stephen L. (2007). A History of the Wind Band - The American School Band Movement. Lipscomb University.
Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.
Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.
Thomas, David (2003). Internet Access Soars in Schools, But "Digital Divide" Still Exists at Home for Minority and Poor Students. U. S. Department of Education.
Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.
Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).
Wait, what's so weird about having your daughter strip in your music video?
We all remember the wildly popular music videos from the early 1990's for the trio of Aerosmith power ballads - "Crazy", "Cryin'", and "Amazing" - that put Alicia Silverstone and Liv Tyler, daughter of lead singer Steven Tyler, on the map. Sure, featuring your daughter in that state of undress might not seem conventional, but nothing about Aerosmith's career could be considered conventional.
The Bad Boys from Boston have have booked two shows in Los Angeles this summer along with ZZ Top, their pals from Texas with the beards (except of course, Frank Beard, the only one without a beard). Aerosmith at the Staples Center in Los Angeles has sold out for Friday, August 21 before they head down to Orange County to play the Verizon Wireless Amphitheatre in Irvine on Sunday, August 23. While demand for Aerosmith tickets are high, our friends at Golden Circle Tickets assure us that they can still provide you with the best seats in the house.
It has taken a long time for Aerosmith to reach this level of notoriety. The band members originally met in the late '60s, where they lived together in an apartment on Commonwealth Avenue. Long before "Dream On" became a radio staple, the band would spend their afternoons watching "The Three Stooges" stoned. Soon enough, the band refined their blues-rock sound and found fame locally. It was then that they were signed to their first record deal and their self-titled debut album marked the beginning of this enduring American band.
Not ones to ever be pigeon-holed into one style of music, Aerosmith freely moved from blues and rock 'n roll to morphing rap music with hard rock for the first time. Their collaboration with Run DMC on "Walk This Way" in 1986 broke barriers in the music industry and brought Aerosmith to an all-new level of popularity. The MTV music video staple introduced the band to a brand new audience: some black, some white, but all young.
Drugs fueled the band from its inception through its peak until it destroyed the band. Dissension among band members led to fights. Drugs led to sloppy performances and Steven Tyler and lead guitarist Joe Perry were known to pass out on stage at times. The band broke up until all members agreed to find sobriety through drug rehab. Fortunately for us, they were able to clean up and launch the third act of their now-storied career.
Although the band's albums have been some of the highest selling of all-time, they only experienced a #1 single one time with the release of "I Don't Wanna Miss a Thing", which was featured in the 1998 blockbuster, "Armageddon". Coincidentally, their only number one single was written by Diane Warren, not Aerosmith.
Cut to today. Just when you thought Aerosmith could not branch out any further, they teamed up with Guitar Hero to bring their music to a new generation of kids through video games. The latest Aerosmith tour, co-headlined by ZZ Top, is sponsored by Guitar Hero and you are guaranteed to see a wide cross-section of fans. Be the coolest parents on your block and bring your kids. They will be blown away that you have even heard of this band. Little do they know that you have been following the band for thirty years!
Aerosmith will be joined by ZZ Top as they play the Staples Center in Los Angeles on Friday, August 21 and then in Irvine at the Verizon Wireless Amphitheatre on Sunday, August 23. Only Golden Circle Tickets can get you the best seats - the ones unavailable everywhere else!