]\[ half•alive’s orchestral music video for ‘still feel.’

EP ‘in Florescence’ available now
Listen now: https://ift.tt/34PZmgU

find half•alive on…
Instagram: http://instagr.am/halfaliveco
Twitter: http://twitter.com/halfaliveco
Spotify: https://spoti.fi/2KsJpjE
Soundcloud: https://ift.tt/2Ml5HsD
Website: http://halfalive.co
YouTube Music: https://bit.ly/2UhChfc

THE PRODUCERS
Production Company : Freenjoy
Directed by : Mimi Cave
Written by : half•alive + JA Collective + Mimi Cave
Head of Production : Ben Piety
Producer : Aiden Magarian
Exec. Producers : Nathan Sherrer & Tara Sheree
Cinematographer : Tom Banks
Edited by : Brit Phelan
Additional Editing by : Josh Taylor
Colorist : Strack Azar
Choreographed / Danced : JA Collective
Commissioner : Nicholas Robespierre
Wardrobe Stylist : Donna Lisa
Wardrobe Assistant : Alexa Simone
Floor Design : John Richoux
Production Designer : Nicholas Faiella
Art Director : Joey Abi-Loutfi
1st AD : Jeff Cobb
Truck PA : Logan Rauhut
Production Asst. : Justin Hill + Brent Assayag
Office PA : Charlotte Voyer
1st AC : Kevin Hughes
2nd AC : David Ross
Steadicam Op : Chris Loh
Key Grip : Don Padilla
Best Boy Grip : Devin Williams
Gaffer : Brett Carleton
Best Boy Electric : Brett Frager
Art Asst. : Nick Jones
Art Asst. : Daniel Charles Richardson

AUDIO
Music Arranged by : Miguel Atwood-Ferguson
Mixed by : Tom Elmhirst
Recorded by : Steve Genewick
Assistant Engineer : Tommy Hessenius
Viola : Miguel Atwood-Ferguson
Violins : Emiko Bankson, Luanne Homzy
Cello : Callie Galvez
Guitar : Woody Aplanalp
French Horn : Amy Sanchez
Trumpet : Daniel Rosenboom
Trombone / Bass Trombone : Garrett Smith
Flute / Alto Flute : Sara Andon
Harp : Alison Bjorkedal
Percussion : Pete Korpela
Marimba : Nick Mancini
Background Vocals : Charles Jones, Maiya Sykes, Aja Grant

lyrics:
when i’m furthest from myself •far away•
feeling closer to the stars •outer space•
i’ve been invaded by the dark •can’t escape•
trying to recognize myself when i feel i’ve been replaced

i can feel a kick down in my soul
and it’s pulling me back to earth to let me know
i am not a slave, can’t be contained
so pick me from the dark and pull me from the grave

’cause

i still feel alive
when it is hopeless, i start to notice
that i still feel alive
falling forward back into orbit

so when i lose my gravity in this sleepy womb
drifting as i dream, but i’ll wake up soon
to realize the hand of life is reaching out
to rid me of my pride i call allegiance to myself

i can feel a kick down in my soul
it’s pulling me back to earth to let me know
and this heart that beats inside of me will show
it will show

floating in outer space, have i misplaced a part of my soul?
lost in the in between, or so it seems, i’m out of control
floating in outer space, have i misplaced a part of my soul
lost in the in between but i can’t keep me asleep for long

’cause

i still feel alive •i can feel it•
when it is hopeless •it ain’t hopeless•
i start to notice •start to notice•
i still feel alive •i can feel it•
falling forward •falling forward•
back into orbit •yeah•

#halfalive #stillfeel #inflorescence

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the last of my male accounts are female accounts I’m not him I’m Cheryl

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FLIP FLOP STROLL OFF CHALLENGE

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I’ve gone and put a band together and arranged this cause Aliah’s song is just too fire!
🎮🎶 TWITCH: https://ift.tt/3rqK2k7

Friends:
Jules Drucker – Guitar
Antonis Mikelis – Bass(ez-song-lessons.com)
Sam Ward – Drums

🎷🐉PATREON: https://ift.tt/2e85dE9
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🎵🎉BANDCAMP: https://ift.tt/3v3fbfp
📸🤳INSTAGRAM: https://ift.tt/38h3NmB

https://ift.tt/3qpvZKi

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Carl “Sax Dragon” Catron proudly endorses:

Boss/Roland Music Instruments(Aerophone & Guitar Pedals):
https://ift.tt/2cgIZPL

Carl also endorses Applied Acoustics for their great MIDI INSTRUMENTS:
https://ift.tt/TEYXWJ

Syos – “Shape Your Own Sound,” mouthpieces for Saxophones:
https://www.syos.co/

————————————————————————————————-

$5 Patrons(Associate Producers)

1-800-DrBUDLA
Rachel Reeves
Brian Allred

$10 Patrons (Producers)

Dale Merritt

#EarthIsGhetto #IWannaLeave #AliahSheffield

Earth is Ghetto – Aliah Sheffield
Earth is Ghetto – Aliah Sheffield
Earth is Ghetto – Aliah Sheffield
Earth is Ghetto – Aliah Sheffield
Earth is Ghetto – Aliah Sheffield
Earth is Ghetto – Aliah Sheffield

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Earth is Ghetto by Aliah Sheffield. As Aliah said this song is for anyone who is sick of earth ! Haha, a meditative cover incorporating the steel pan (also known as the steel drum) and singing. Hope you enjoy! Be sure to COMMENT LIKE & SUBSCRIBE

Follow me on Instagram: @javaunchi
https://ift.tt/3t1UbUN

Lyrics

Earth is ghetto I wanna leave
can you beam me up
Im outside on the street
by the corner store , you know the one on 15 th
got a bright shirt on so I’m easy to see
I been down here stranded
Indefinitely
I can’t reach my planet
but I need to leave
you should see these people
It’s hard to believe
how they treat
Each-other
It’s hard to conceive

earth is ghetto
I wanna leave oh

*steel pan solo*

Earth is ghetto

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This was now 10 years ago. It was a year’s worth of hard work in pursuit of an idea, and, while it ended up being the end of the road for me and seems far removed from my life today, it still feels fresh and still sounds good, I still remember everything about it when I listen. Thanks for continuing to listen all these years later. –11/27/19
—–

Hard to believe this was 5 years ago today.

I proposed doing this at a group meeting in Jan., 2009 and spent most of the next 10 months working out and fine-tuning the arrangement. It’s hard to overstate the intellectual, technical, psychological and artistic challenges involved in working out how to play this on such a limited instrument, and in getting the others in the group to understand and/or feel it. We only had a few rehearsals and never even once got all the way through it without stopping or making serious mistakes. Check the rehearsal video, the final soundcheck we did just before the concert, to see the closest we ever got.

The performance was also full of mistakes, as lots of people have seen fit to point out in the comments, and there were flaws in my arrangement that weren’t obvious at the time, but somehow we transcended that and played something profound and authentic. I don’t know how we got there but listening to it now I still feel like we touched something higher, whatever you want to call it. I know what I was feeling while playing this, especially during 7:30~7:34, and over the years since then I’ve been amazed by the number of people who have left comments saying they felt the same thing. Last week I happened to read a quote by Mark Rothko that says exactly what I felt about this performance:

“’I’m interested only in expressing basic human emotions — tragedy, ecstasy, doom, and so on — and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate those basic human emotions… The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!”

This was the only time this was ever performed live. A year later we recorded our second CD and tried to do “Laterlaus” in the studio, but although the arrangement had been ironed out and it was technically better it didn’t work. No feeling, no transcendence. Call it the magic of the live moment, of disappearing into something. I pulled the piece from the CD and quit the group after the sessions were over.

I moved to Japan in 1997 to study koto after learning to play in university, and as of right now this performance is the most-viewed koto video on the internet. I’m proud to say I think this was the best thing ever done for koto by a non-Japanese. — 11/27/14
—–

I arranged Tool’s ‘Lateralus’ for 8-piece koto ensemble. Here’s the first performance, by Soemon in Tokyo, 11/27/09. Check out the rehearsal version video as well. Kazue Sawai was in the audience at this.

I’d like to dedicate this one to my oldest friend Eric, who first introduced me to ‘Lateralus.’

The first 6 steps and the 15th step (6=1+5) of the Fibonacci sequence for the numbers 0 and 1 feature prominently in the structure of this piece:

(0-1) -1-2-3-5-8-13-21-34-55-89-144-233-377-610-987

This is reflected, for example, in the rhythm of the second section, 9/8-8/8-7/8, 987 being the 15th step of the sequence, as well as in the structure of the 3rd section. While the underlying rhythm of this section is 5/8 (the 6th step of the sequence is 5+8=13), the lead melody progresses back and forth through a series of phrases of length 0 to 13, again the first 6 steps of the sequence plus the root numbers, separated by pauses of length 1 to 5, the 1st 4 steps of the sequence. Together the melody phrases and rests form the image of 2 interlocking spirals. The lyrics of the song at this point also reflect the mathematical structure, the first words being ‘black then white,’ i.e. 0 and 1. The lyrics later in the song make use of extensive spiral imagery.

In my arrangement I tried to incorporate this element of the original composition as much as possible. There are 8 instruments in the group, 6 koto and 2 bass koto. The 6th step in the sequence is 13, which is the number of strings on a koto. The 2 bass kotos together have 34 strings, 34 being the 8th step of the sequence. In the first 9/8-8/8-7/8 section the 8 players are subdivided into 2 groups, one of 5 and one of 3. The groups play the 9/8/7 figure 3 times, with a variation in the 3rd iteration subdividing it into 3=2+1. The 2nd time through the 9-8-7 figure the groups themselves subdivide into smaller groups of 3+2 and 2+1 for 2 iterations before subdividing again in the 3rd iteration (3=2+1 again).

There is so much more, but, as the lyrics in the 4th section say, “Over-thinking, over-analyzing separates the body from the mind.” It rocks, and that’s all that really matters.

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I put together 15 of my favorite Acapella app percussion grids that I have made. Times have changed and I have found this app a great creative release and a cool way to collab with other musicians across the world! Find me on Acapella app @ Jacob Cole Percussion
***Best with headphones or good speakers***
For more of my music / private lessons: https://ift.tt/2v9YLrf
*Featured collabs:
Mark Woodyatt – Electric Violin
Matthew Albeck – Electric guitar
Tommy Dimmel – Vocals
Jasraj Joshi – Indian vocals

I hope you enjoy! 😉

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In 1910, boxing heavyweight champion Jack Johnson defeated Jim Jeffries in the “Battle of the Century,” and the nation erupted.

Subscribe to Vox and turn on notifications (🔔) so you don’t miss any videos: http://goo.gl/0bsAjO​

On December 26, 1908, American boxer Jack Johnson became the first Black heavyweight champion of the world, after defeating defending champion Tommy Burns in a title fight in Sydney, Australia. Black fighters were typically denied the chance to win the heavyweight title, a de-facto line of segregation that was known as “the color line.” So when Burns accepted Johnson’s challenge and lost, the film that was distributed around the fight proved controversial.

The white boxing world set out to find a white heavyweight to beat Johnson and take back the title. That white fighter ended up being James Jeffries, a former heavyweight champion who had retired undefeated.

Their fight, hyped as the “Battle of the Century,” took place in Reno, Nevada, on July 4, 1910, in front of 20,000 mostly-white spectators and nine motion picture cameras. Throughout the nation, many thousands more listened to live telegram bulletins of each round. Johnson beat Jeffries easily, and, as a result, racist mob violence broke out across the country, and Black Americans celebrating Johnson’s win were attacked, and some were killed.

The film of the fight became notorious worldwide and was the most talked-about motion picture of its time. Johnson lost the heavyweight title in 1915 after successfully defending it eight times, but remained an inspiration for many fighters to come.

Further reading:
Fight Pictures: A History of Boxing and Early Cinema, by Dan Streible
https://ift.tt/2OZg9Ja

Prizefighting and the Birth of Movie Censorship, by Barak Orbach
https://ift.tt/3bysDPM

Jack Johnson, Rebel Sojourner: Boxing in the Shadow of the Global Color Line, by Theresa Runstedtler
https://ift.tt/37E0yW3

Vox.com is a news website that helps you cut through the noise and understand what’s really driving the events in the headlines. Check out http://www.vox.com​.

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Andra Day performs a medley of “Strange Fruit” and “Tigress & Tweed” off The United States vs. Billie Holiday soundtrack on The Tonight Show Starring Jimmy Fallon.

Director: Myriam Santos
http://myriamsantos.com

The United States vs. Billie Holiday (Music from the Motion Picture) is out now: https://ift.tt/3pRg1bn

The United States vs. Billie Holiday, directed by Lee Daniels. Streaming now on Hulu.
Watch the trailer here: https://youtu.be/USi-ppCfxEA

Connect with Andra:
https://ift.tt/1Hij3e5
https://ift.tt/1H7gR71
https://twitter.com/AndraDayMusic
http://andraday.com/

#AndraDay #USvsBillieHoliday #GoldenGlobes

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At Microsoft Ignite 2021, Microsoft CEO Satya Nadella and Microsoft Technical Fellow Alex Kipman showcase Microsoft Mesh, a new mixed-reality platform powered by Azure that enables shared collaborative and holographic experiences, including a demo of ‘Pokemon Go’ on HoloLens 2, a ‘holographic laboratory’ on OceanX research ship OceanXplorer, and an MR entertainment platform by Cirque du Soleil creator Guy Laliberte called Hanai World.

Host: Leo Laporte
TWiT News episode 367
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