Post 94 : More Information about TVI.. and Its Courses...

ok then...

yesterday i introduced you to the TVI and its courses...

and just some General Information about it....

today i bring you more information...

things are slowly unraveling before our eyes?....

are you watching too slow?...

or maybe too fast...

think about it!!!..

{The Following Quotes Were Taken From Charles Myspace..and Were Put There By Charles Himself}

There is nothing wrong with autotune. When used properly. When used immaturely, it is a form of hypnosis. A very dangerous form of hypnosis. Why? It makes every frequency respond to the note it is being programmed to. If a song is in F minor, the wave that corresponds to the voice is autotuned to either G sharp major or F minor, making everything in that wave on key. Even off key notes. Basically, you can talk on key.

Dangerous indeed.

There are ways you can harmonize and make beautiful sounds via autotune. It is the "control-b" factor with your voice. It makes you stand out more than non-autotune waves. I myself would rather autotuned hooks, well arranged, with the purest, most-compressed lead vocals.

Or, no autotune and a great (or not-so-great but distinct voice). Like mine... ;-)

Autotune classes now available, here at TVI.

..

I think bullsh1t is an artform. The harder the bullsh1t is laid down, the deeper you have to think. Who is more of a bullsh1t artist? Shakespeare or Gucci Mane?

"To be or not to be...?"

"I guess shawty mad he don't want you no mo'..."

Both lines are intricate and require a lot of hypothetical thinking. Let's think about Shakespeare's line first.

To exist is beautiful, though it comes with many duplicitous arguments. Yes, you can enjoy a beautiful morning, enjoy love, and all the mini (and many) perks of life. However, with perks come a need for depression. And in death, there is many unanswered questions that go peacefully unanswered. Which leads to the question...

To be or not to be.

Gucci Mane was pretty deep in the zone with the line "I guess shawty mad he don't want you no mo'". I can assume that he looked at "shawty" in both the male and female context. "Shawty" as the male could represent insecurity in the male that no longer wants a woman. And "shawty" as a woman could be the woman resenting a pending break-up.

It's either that, or both these n1ggas was zooted and thinking about the deepest bullsh1t they can.

Is philosophy bullsh1t? No. It's mental martial arts.

Blackbelts welcome. White belts invited.

That Covered Autotune. and the Second 1 Discussed Bullshit

and Philosophy to an Extent...

and Then Charles Posted T2O More Bits Of Information For Us To Acknowledge ..

1 About Who Mr. John Williams Is..

"One of the most popular and successful American orchestral composers of the modern age, John Williams is the winner of five Academy Awards, 17 Grammys, three Golden Globes, two Emmys and five BAFTA Awards from the British Academy of Film and Television Arts. Best known for his film scores and ceremonial music, Williams is also a noted composer of concert works and a renowned conductor.

Williams’ scores for such films as Jaws, E.T.: The Extra-Terrestrial, Schindler's List, as well as the Indiana Jones series, have won him multiple awards and produced best-selling recordings, and his scores for the original Star Wars trilogy transformed the landscape of Hollywood film music and became icons of American culture.

Williams has composed the music and served as music director for nearly eighty films, including Saving Private Ryan, Amistad, Seven Years in Tibet, The Lost World, Rosewood, Sleepers, Nixon, Sabrina, Schindler's List, Jurassic Park, Home Alone, Far and Away, JFK, Hook, Presumed Innocent, Always, Born on the Fourth of July, the Indiana Jones trilogy, The Accidental Tourist, Empire of the Sun, The Witches of Eastwick, the Star Wars trilogy, E.T.: The Extra-Terrestrial, The Empire Strikes Back, Superman, Close Encounters of the Third Kind, Jaws and Goodbye Mr. Chips.

Williams has been awarded several gold and platinum records, and his score for Schindler's List earned him both an Oscar and a Grammy. In 2000, at the ShoWest Convention USA, he was honored as Maestro of the Year by the National Association of Theater Owners."

and 1 About Mr. Georg Solti

The eminent Hungarian-born English conductor, Georg (actually György) Solti, studied piano and composition with Ernst von Dohnanyi, Zoltan Kodaly, Béla Bartók and Leó Weiner at the Franz Liszt Academy in Budapest, giving his first concert at the age of 12.

Georg Solti began working as assistant at the Budapest Opera in 1930 and was director of music there from 1934 to 1939. In the summers of 1936 and 1937 he was assistant to Arturo Toscanini at the Salzburg Festival, an encounter that left a deep impression on the young musician. After the outbreak of the Second World War, he emigrated to Zurich, resuming his career as a pianist. He won first prize at the Geneva International Competition in 1942.

Georg Solti's career really began after the end of World War II. For almost 25 years, he concentrated entirely on conducting operas. He was chief musical director of the Munich Opera from 1947 to 1951 and of the Frankfurt Opera from 1952 to 1961. Covent Garden excelled during his tenure as musical director (1961-1971). In 1951 he conducted for the first time in Salzburg (Idomeneo by Mozart). At the end of the 1950’s he made his first recordings e.g. Der Ring des Nibelungen by Wagner with the Vienna Philharmonic Orchestra. In 1961 he was appointed as musical director of the Los Angeles Philharmonic Orchestra, but hardly ever worked in this position since the orchestra's management had appointed an assistant without asking him (the assistant was none other than Zubin Mehta!).

In 1969 Georg Solti took over as director of the Chicago Symphony Orchestra and his second career as a conductor of orchestral music began. He remained in this post until 1991. From 1972 to 1975 he was also director of the Orchestre de Paris. In 1973, Rolf Liebermann appointed him as musical adviser to the Paris Opera. From 1979 to 1983 he was director of the London Philharmonic Orchestra. In 1983, in commemoration of the one hundredth anniversary of the death of Richard Wagner, he conducted Der Ring des Nibelungen in Bayreuth but without achieving his customary high standard. He excels principally in the German and Austrian post-Romantic repertoire and in contemporary Hungarian music (Béla Bartók, Kodaly). In 1992 he took over from Herbert von Karajan as artistic director of the Salzburg Easter Festival (until 1994). In 1995 he was artistic adviser to the festival that replaced the Schleswig-Holstein Music Festival.

Georg Solti did a large number of first performances, including works by Gilbert Amy D'un espace deployé (1973), Boris Blacher Requiem (1959) and Collage for Orchestra (1968), David Del Tredici Final Alice (1976), Gottfried von Einem Philadelphia Symphony (1961), Hans Werner Henze Heliogabalus Imperator (1972), Rolf Liebermann L'Ecole des femmes (second version) (1957), Witold Lutoslawski Symphony no. 3 (1983), George Rochberg Symphony no. 5 (1986) and Iannis Xenakis Noomena (1976)."

I Guess Class is in Session...

I Will Keep You Updated as We Go Along....

SOOOOOO

i guess stay here... and keep watching...

or as Charles told me Keep Reading....

"As The Current Happens The Current Happens"

ChrisdotRivera

***Melanie Fiona, Miley Cyrus, Zoe Saldana, Tia Mowry... a very good night's sleep... has nothing to do with nothing...***

[FYI that lil thing under my name was also taken from Charles Myspace... do you know where??]