Meet me on the equinox instrumental conditioning

19 best Minders images on Pinterest in | Psicologia, Writers and Human behavior

meet me on the equinox instrumental conditioning

Equinox is publishing a series of books called 'Icons of Pop Music'. I began with suspicion, but it won me over completely: it is careful, funny, . you find that the Velvet Underground and the Grateful Dead started out, in an odd way, . to advance music and liberate minds through new instrumental means. Inspired by the latest research in voice science and motor learning If the high- end, international gym chain "Equinox" and online, on-demand programming superhouse Thanks Tom and BVB team, your quality teaching means the world to me! Find your head, mix, chest, falsetto, belt and new vocal colors in an instant. Download the Drum Backing Track of Meet Me On The Equinox as made famous by Death Cab For Cutie. Minus Drums MP3, HD Version. Designed for.

How to nail it every time How to increase vocal power How to get more "in your body" and "out of your head" How to avoid flipping into falsetto or a lighter quality as you ascend the scale What's that thing that Kelli and Audra do? In search of The Soprano Belt How to develop recording quality precision How to practice efficiently for faster results How do I get my voice back?!?! Managing allergies and vocal illness Belting Above the Staff: Mouth, Tongue and Larynx positions to make stratospheric singing seem easy How to cut a song How to improve your mix How to avoid bringing up too much weight How to be productive and efficient with your day so you actually have time to practice and focus on your craft How to tell a compelling story Intro to "Twang Farm" Characters How to change your breath, diction and vocal style for Classical vs.

Don't worry, all classes are recorded in our video archive. I was a speech-pathologist and voice teacher working with Broadway singers and execs at Google. After teaching hours a day, 5 days a week, I was burnt out and frankly bored.

It's hard to reach those 10, hours in two 45 minute lessons a month! There had to be a better, faster, and cheaper way to help my clients get the results they needed to succeed while also growing my business to help more people around the world.

Then, I realized it really doesn't have to be this hard. Now, that word strikes fear in most artists. They often say, "I'm not good with technology! Technology helps us do so much more in a much more efficient way, so why not apply it elsewhere? I came up with the idea of working with singers online, in a group, using audio files and video trainings to help supplement our work together. It was totally weird and it totally worked.

Clients were singing better than ever, in a bunch of different styles, faster than ever before. It was hard turning back. Admittedly at first, the technology kinda sucked. Skype zonked out a lot and Google Hangouts only allowed up to 10 participants at a time.

Those things either annoyed people or freaked them out. But then the technology caught up. Things are HD now, Facebook invented Groups, you can save and share private videos to Dropbox, Voxer and other voice apps allow you to check in for a quick vocal fix instead of having to wait 2 weeks to figure out how to belt that F. Casting directors are starting to catch up on technology too. They not only review people's Instagram accounts, Facebook profiles and web presence, they also often prefer video submissions.

Acting, singing and auditioning in this new tech era is a whole new ballgame. Not dealing with technology is no longer an option. Initially, most of the clients of this new model were people outside of New York. Those that wanted Broadway quality training but couldn't come to New York.

New Yorkers were totally anti "Skype lessons. As an actor that relies on the energy you get from the other people in the room, there is something irreplaceable about working together in person.

But I always struggled with the thought of "at what cost?

The Twilight Saga: New Moon - Death Cab For Cutie Music Video - Meet Me On the Equinox (2009) HD

The long drawn out time to actually achieve the results? Would you rather wait two weeks for a lesson appointment or get feedback tomorrow?

Mark Greif reviews ‘The Velvet Underground’ by Richard Witts · LRB 22 March

I'd rather give you the feedback you need ASAP in whatever way possible, and save the chit chat for coffee or see you in person at a workshop or retreat. Knowing that there is research to say that we don't actually learn through "blocked practice" I started to question the whole idea of a standard lesson itself.

meet me on the equinox instrumental conditioning

People learn through focused, short, frequent, randomized practice. Nico had won the Factory crowd over with her celebrity and drive, not her singing. The Velvet Underground managed to sneak away from Warhol without utterly alienating him, and became a real rock band, albeit an unusual one, with ever-changing personnel.

They lasted one album with Nico, a year and a half with Warhol, two albums nearly four years with Cale, and four albums and close to six years with Reed, who wrote all the lyrics.

Meet Me on the Equinox - Wikipedia

This makes for a romantic finale, but Reed was back in New York within the year, declaring himself a poet. By he had recorded a solo album, releasing it and one more inplus the grim song cycle Berlin in But their unique work gradually became weighed down with a reputation as the inspiration for all varieties of US punk and indie rock, and they are now widely understood as having been punk musicians avant la lettre.

I remember my own first exposure to the Velvet Underground. Here was the famous viola drone, the endlessly repeated guitar figure, Lou Reed stretching out three syllables as far as they would go, the string screeches, the galloping changes in tempo. It made a little more sense on my tape player, when I was alone in my room. One is to focus exclusively on the period of the band when John Cale was still in it.

He seems to assume that Cale was the arranger and that Reed, left to his own devices, would have set everything as mid-tempo folk rock. The other decision is to resist the tendency to hear the Velvet Underground through music that came later, by insisting that the Velvets be seen in light of the s, not the s and s. For Witts, the Velvet Underground were a backwards-looking band.

It was their eccentric untimeliness, he argues, that accounted for their commercial unsuccess despite the remarkable publicity launch with Warhol and floated them free of their time to become so iconic later. The s Velvets manifested atavisms of the s that had survived in the New York art-world. These fused a s Beat-existentialist sensibility acquired by Reed at Syracuse University with a recycling of the s and s avant-garde learned by Cale from Fluxus artists in New York.

Their untimeliness furnished an odd sound, but also a special credential, by which later bands looking to overthrow the Flower Power generation could assert allegiance to an alternative musical paternity.

Suppose one connects them, following chronologies rather than personal histories, to a part of the California scene they are held to oppose, but with which they share an uncannily similar history. In the musical-historical imagination — with its New York v. California, but especially its punk v.

The Operant Condition

I can testify to the vehemence of this, again, from my own juvenile experience. By my teen years I had somehow wound up in a punk rock milieu, on one side of one of those yawning divides of style by which teenagers define themselves.

Mere mention of liking the Grateful Dead was grounds for ostracism. In the punk rock schema, the Velvets were Papa and Mama punks, while the Dead were Papa hippies — and punks hate hippies. Yet when you look at the state of both bands at their contemporaneous founding moments inyou find that the Velvet Underground and the Grateful Dead started out, in an odd way, as basically the same band.

In fact, both bands started with the same name in The Palo Alto acid test, the first to involve a real stage, took place in November Kesey had earlier had the Dead, then still the Warlocks, playing in a San Jose living-room with everyone dosed.

Warhol took first billing in all advertisements, above the Velvets, though presumably he just stood around and watched. Reed had done acid in college, while Jerry Garcia wound up later with a heavy-duty heroin habit. Each first album seemed to make drugs part of the sound. One could go on tracing parallels like this. The most striking fact is that, like the Grateful Dead, the Velvet Underground started out as a platform for extremely long, wandering, repetitive, live improvisations, appropriate to multimedia events.

Yet they all do. But the Velvets had few tapers.

meet me on the equinox instrumental conditioning

They both had to choose a different name because it turned out that a third band had already put out a record as the Warlocks. Both bands offered a particular kind of alternatively experienced rather than danced-to or sung-along-to pop music, whose relation to the audience would be primarily hypnotic.

While both groups initially aimed to hypnotise with their music, lyrically they were worlds apart. Lyrics are fate in pop. Grateful Dead lyrics, from the beginning, however carelessly put together, were about roads and rivers. They drew from blues and bluegrass a promise of continual rambling — with the occasional respite of dew-bejewelled meadows, barefoot dancing, and rolling in the rushes down by the riverside.

These would have been easy enough to overcome if the core band had really wanted to go on, or to be a different kind of band. The Dead were fated by their lyrics to travel, which they did, creating a unique phenomenon of mass social affiliation across thirty years of steady touring with just a one-year hiatus inand playing, much of the time, to an even mix of loving aficionados and grotesque burn-outs.

The movie, The Grateful Dead, nicely portrays both camps. The Velvet Underground were fated by their lyrics never to attain a live audience, but to be passed on, from hand to hand, on record.