HILARY AMITY OBAMA 2 years old play guitar and sing funny

FAROBI INTERVIEW WITH JUBING KRISTIANTO

1. Pendahuluan

Pada tugas yang diberikan sebagai materi dari mata kuliah teknik penulisan naskah naskah non berita TV yaitu interviu dengan “master” atau “lagend” penulis naskah yang sudah memberikan prestasi-prestasi gemilang untuk membanggakan bangsa Indonesia, selain itu juga memacu dan memotivasi semangat penerus bangsa untuk selalu berkarya. Sebelum melakukan interviu, ada baiknya kita memahami betul apa itu interviu? Apakah ada asumsi-asumsi mengenai interview? Juga syarat-syarat interviu. Berbagai macam kegiatan, dapat disebut sebagai “interviu”. Kalau seorang ibu bertanya kepada anaknya, “apa yang kamu lakukan hari ini di sekolah?” atau kalau seseorang bicara dengan dosennya tentang tugas yang harus diselesaikannya, “bagaimana penilaian atasa tugas drama yang bisa dikatakan bagus itu, bu?”. Setiap kali seseorang terlibat dalam interaksi seperti di atas, sebenarnya dia telah terlibat dalam situasi interviu, karena memepunyai suatu tujuan tertentu.

Interviu bisa bersifat formal atau informal, terstruktur atau tidak terstruktur, canggih sampai sederhana, dari beberapa menit sampai beberapa jam. Interviu bisa dikatan kegiatan komunikasi yang terencana dan bertujuan dan yang paling umum. Ada banyak bidang di mana interviu merupakan keterampilan professional yang sangat penting, tetapi tidak semua bidang yang menggunakan interviu, mengerjakan cara interviu dalam proses pendidikannya.

Lalu apa yang membedakan situasi interviu dengan situasi-situasi di atas? Mengapa interviu adalah bentuk komunikasi yang unik? Biasanya istilah interviu itu digunakan untuk setting formal, umpamanya interviu kerja. Untuk itu mari kita melihat beberapa definisi interviu.

Definisi interviu

Berikut ini beberapa definisi interviu dari berbagai ahli :

An interview is an interactional communication process between two parties, at least one of whom has a predetermined and serious purpose, and usually involves the asking and answering of questio.[1]

An interview is an conversation direcdted to a definite purpose other than the statisfaction in the conversation itself.[2]

            A specialized pattern of verbal interaction initiated for a specific purpose, and focused on some specific content area, with consequent elimination of extraneous material.[3]

Een interview kunnen we een mondelinge vorm van informatie verwerving noemen.[4]

Melihat definisi-definisi tersebut, aspek-aspek yang ada dalam interviu tetap sama, yaitu:

1. Komunikasi interaksional antara dua pihak.
2. Cara pertukaran yang digunakan adalah cara verbal dan non verbal.
3. Mempunyai tujuan tertentu yang spesifik.

Yang tidak disebutkan lagi dalam definisi Stewart and Cash, adalah “face-to-face”, karena pada saat ini berbagai sarana komunikasi yang ada memungkinkan pewawancara dan yang diwawancara untuk tidak ada dalam keadaan tatap muka, meskipun tetap merupakan suatu komunikasi interaksional.

 

I.1 Syarat-Syarat Interviu

Suatu interviu harus memenuhi syarat-syarat sebagai berikut:

• Relevan
  Suatu interviu dikatakan tidak relevan bila informasi yang diperoleh selama interviu menyimpang dari tujuan interviu. Dalam hal ini dikatakan terdapat kesalahan dalam relevansi interviu.

  Kesalahan relevansi dapat dikurangi dengan cara :
  – Memperhatikan tujuan interviu dan berpegang teguh pada tujuan ini.
  – Interviwer (Iter) dan Interviewee (Itee) tidak menyimpang dari pokok pembicaraan
  – Iter mempunyai pandangan bahwa pendapatnya sendiri tidak relevan. Yang relevan adalah pendapat Itee.

• Valid
  Suatu interviu dikatakan valid apabilah hasilnya mencakup pendapat Itee sendiri, tanpa ada pengaruh-pengaruh dari luar, misalnya sugesti dari Iter.
• Tidak mengandung bias
  Bias dapat berasal dari stimulus verbal dan nonverbal. Bias yang berasal dari verbal ialah pertanyaan tidak sugestif, tidak memberi kemungkinan-kemungkinan jawaban sempit, tidak menilai dan tidak membuat pra-anggapan atau pra-duga. Sedangkan bias yang berasal dari non verbal, misalnya berasal dari penampilan, sikap, cara bicara, ekspresi iter, dll.

I.2 Kategori Pertanyaan

Vrolijk, dkk. mengategorisasikan reaksi-reaksi verbal Iter selama melakukan wawancara ke dalam 10 kategori. Setiap verbalisasi iter (baik berupa pertanyaan, pernyataan, atau jawaban), dapat digolongkan ke dalam ke sepuluh kategori ini:

1. E-ex (Eksplorasi eksternal)
   Kategori ini dipakai bila Itee menanyakan hal-hal baru yang tidak langsung menyambung apa yang dikatakan oleh Iter. Iter bertanya tanpa memperhitungkan jalan pikiran Itee.
2. E-in (Eksplorasi internal)
   Iter menanyakan lebih lanjut, meminta penjelasan tentang hal-hal yang kurang jelas atau membingungkan.
3. Ev (Evaluasi)
   Bila Iter tidak mempercayai atau meragukan pertanyaan itee. Iter memberi penilaian terhadap apa yang ditanyakan Itee.
4. A (Asumsi dan antisipasi)
   Pertanyaan-pertanyaan Iter bersifat praduga atau pra-anggapan, atau “mendahului”. Iter menyimpulkan sesuatu tanpa “membuktikan “ terlebih dahulu kebenarannya. Dengann perkataan lain, Iter menarik kesimpulan terlalu cepat.
5. O (Ordering atau refleksi)
   Medengar aktif umumnya dipakai untuk respon Iter yang menunjukan bahwa Iter memahami apa yang dikatakan oleh Itee, baik isinya ataupun perasaan-perasaan yang implisit ada di dalam pertanyaan-pertanyaan Itee. Dengan kata lain Iter mnunjukan empathic understanding.
6. I (informasi)
   Iter memberi informasi kepada Itee. Mungkin karena Iter ingin agar Itee memperhatikan suatu hal tertentu, atau sebagai jawaban atas pertanyaan Itee.
7. S (sisipan atau tanda-tanda)
   Iter menunjukan tanda-tanda bahwa ia memperhatikan apa yang diungkapkan oleh Itee. Kata-kata “kecil” yang menyisip di antara cerita Itee.
8. F (Formal)
   Ucapan-ucapan Iter pada awal atau akhir pertemuan, untuk membangun hubungan dengan Itee. “selamat pagi!” “sudah lama menunggu?”
9. Adv (Advies)
   Iter memberi nasehat kepada Itee mengenai apa yang harus dilakukannya. Iter direktif dan menentukan.
10. M (menentramkan)
    Iter berusaha unutk menjadikan perasaan Itee menjadi lebih nyaman. Bisa berbentuk informasi, tetapi fokusnya adalah pada “menentramkan”.

 

 

II.1 All about Jubing

Biography Jubing Kristianto

Jubing Kristianto (lahir di Semarang, Jawa Tengah, 9 April 1966; umur 45 tahun) adalah seorang gitaris fingerstyle Indonesia yang banyak menjelajahi berbagai repertoar. Jubing menggunakan gitar klasik sebagai instrumennya.

Jubing dikenal pandai menghadirkan “suasana” yang ingin disampaikan sebuah lagu melalui gabungan berbagai teknik permainan gitar yang dinamis. Selain itu, gitaris Indonesia ini juga memberikan sumbangan dalam musikalisasi puisi dengan melakukan kolaborasi antara permainan gitar dengan pembacaan puisi, bahkan ia juga berkolaborasi dengan penyair WS Rendra yang membaca puisi serta pelukis Susilowati Natakoesoemah dalam acara “Collaborathree” di Jakarta. Demikian pula kolaborasi permainan gitarnya dengan permainan perkusi tradisional Suryadi dan suara penyanyi tenor Abimanyu tampil memukau penggemar musik yang melihatnya. Di luar keberaniannya untuk berkolaborasi dengan seniman lainnya, Jubing Kristianto juga sangat memanfaatkan media internet sebagai sarana untuk memperkenalkan musik Indonesia kepada dunia. Ia diakui oleh Museum Rekor Dunia Indonesia (MURI) sebagai “Gitaris Indonesia Pertama yang Menyebarluaskan Komposisi dan Aransemen Gitar Pribadi Secara Gratis di Internet” (2008). Sebelumnya, pada tahun 2005, ia menerima penghargaan MURI sebagai “Penulis Ensiklopedia Gitar Pertama di Indonesia”. Selain mencoba membagikan keberanian untuk mempertunjukkan keindahan permainan gitar akustik tunggal, eksplorasi Jubing dalam aransemen musik untuk lagu anak-anak dan lagu tradisional Indonesia adalah upaya untuk memperkenalkan kekayaan khazanah musik Indonesia ke penggemar gitar akustik di dunia.

Kehidupan Awal

Jubing dibesarkan oleh ayah dan ibu yang mencintai musik. Usia 12 dia sudah tampil bergitar mengiringi teman-teman sekolahnya dalam konser publik. Dua tahun kemudian Jubing belajar gitar klasik pada Suhartono Lukito di Semarang, setelah terpikat permainan gitar tunggal seorang teman. Setahun kemudian dia masuk final Yamaha Festival Gitar Indonesia (YFGI) 1982 untuk bagian bebas atau non klasik.

Sejak itu Jubing kerap mengikuti YFGI-selalu di kategori bebas. Empat gelar juara I (tahun 1987, 19992, 1994, dan 1995) ia raih. Tahun 1984 ia meraih Distinguished Award pada Festival Gitar Yamaha se-Asia Tenggara di Hongkong.Setamat SMA tahun 1985, Jubing kuliah di jurusan Kriminologi, Fakultas Ilmu Sosial & Ilmu Politik, Universitas Indonesia dan lulus tahun 1992.

Karier Tahun 1990 – 2000

Tahun 1990, Jubing bekerja di Tabloid Nova sebagai jurnalis. Ketika menjadi wartawan, ia sempat belajar gitar lagi pada Arthur Sahelangi. Tahun 2003, Jubing meninggalkan tablod NOVA demi menjadi gitaris. Jubing kini adalah instruktur/ seminator/ penguji gitar di Yayasan Musik Indonesia (Yamaha) dan Sekolah Musik “Relasi” Jakarta, penulis tetap di majalah edukasi musik “Staccato” dan “Gitar Plus”, serta berkonser/rekaman bersama sejumlah grup di dalam dan luar negeri, termasuk bersama Kwartet Punakawan yang dipimpin pianis Jaya Suprana

Sejak tahun 2000 Jubing menampilkan aransemen dan komposisi gitar ciptaannya sendiri lewat internet. Para gitaris dari berbagai negara telah memainkannya. Sejumlah komposisi Jubing menjadi lagu wajib ujian gitar pada sekolah musik Yayasan Pendidikan Musik (YPM) Jakarta.

Tahun 2007 – sekarang

Tahun 2007 Jubing meluncurkan CD album solo gitar pertamanya “Becak Fantasy” yang diproduksi label IMC Record. Menyusul sukses album pertama, lahir album-album berikutnya: “Hujan Fantasy” (2008) dan “Delman Fantasy” (2009) yang tetap didominasi permainan solo gitar akustik.

Jubing telah menulis “Gitarpedia: Buku Pintar Gitaris” (2005) dan “Membongkar Rahasia Chord Gitar” (2007). Keduanya diterbitkan Gramedia Pustaka Utama dan telah berkali-kali cetak ulang.

Pada Agustus 2008, Jubing menjadi penata musik untuk film layar lebar “Kita Punya Bendera” yang disutradarai Steven Purba. Film anak-anak bertema kebhinneka-tunggal-ika-an ini telah diputar di bioskop dan diputar di berbagai sekolah di Indonesia.

Pada Maret 2011, Jubing meluncurkan album berjudul Kaki Langit dengan lagu yang menjadi andalan adalah Rek Ayo Rek dan Kaki Langit. Peluncuran album Kaki Langit dilakukan di Bentara Budaya Jakarta

 

 

 

Malam itu Milik Jubing

 

JAKARTA, KAMIS– Apa jadinya jika perkusionis Suryadi, maestro gitar klasik Indonesia Jubing Kristianto, dan penyanyi tenor Christopher Abimanyu berkomplot menyanyikan lagu lawasBesame Mucho? Hasilnya, penonton tidak rela ketiga jagoan yang lihai memainkan “senjata” musiknya masing-masing mengakhiri pertunjukannya!

Ini kenyataan, penampilan Jubing pada Kamis (17/7) malam itu memaku para penonton di ruang utama Bentara Budaya Jakarta. Ruangan yang biasa digunakan pameran lukisan dan kegiatan budaya lainnya itu disesaki penonton, mulai pecandu gitar, siswa-siswi pengikut kursus gitar, sampai orang awam. Mereka rela lesehan agar bisa berdekat-dekat dengan Jubing khususnya, sementara yang di bagian belakang rela berdiri tanpa bisa beranjak pergi.

Magnet yang menyedot perhatian malam itu tentu saja Jubing Kristianto, gitaris yang mantan wartawan membawakan hampir seluruh komposisi unggulan pada album pertama dan keduanya, masing-masing Becak Fantasy danHujan Fantasy. Penonton tidak lepas-lepasnya bergumam dan berdecak kagum bahkan saat permain gitar belum berakhir. “Gila banget permainan gitar orang ini,” komentar seorang penonton.

Saya yang telah lama mengenal Jubing dan pernah menulis sosoknya untuk Harian Kompas, meminta anak saya untuk hadir menyaksikan Jubing, kendati ia harus tiba di tempat pertunjukkan naik kereta api. Saya yang pernah menyaksikan sendiri Jubing memainkan gitar untuk saya saat saya mewawancarinya seperti tak percaya atas permainan Jubing yang begitu sempurna, sesempurna permainan yang saya dengar dari kedua CD-nya yang sudah beredar.

Jubing langsung menggebrak dengan solo gitarnya membawakan lagu Beatles, I Wanna Hold Your Hand. Jubing juga mengagetkan penonton saat memainkan komposisi Aku Cinta Dia, sebuah lagu “genit” yang dibawakan Chrisye. Namun decak kagum penonton mulai terdengar saat suami Reny Yaniar ini memainkan Bengong Jeumpa, sebuah lagu rakyat Aceh. Repertoar dan koda yang bernada pentatonis dan bahkan seperti suara gambus mengundang tepuk tangan, apalagi saat ia mengocok-ngocok gitar tanpa putus tetapi tetap memainkan Bengong Jeumpa.

Pembawa acara yang menuntutn acara itu dengan hidup, terus menggoda penonton. Jubing cukup luwes di depan panggung, bila perlu ia berteriak meminta operator mengecilkan volume gitarnya. Suasana menjadi cair, tidak terkesan seram dan anggun sebagaimana terjadi kalau sebuah pertunjukan musik klasik berlangsung. Tetapi permainan gitar yang disuguhkannya tidak kalah agung karena penonton seperti tersihir di tempatnya masing-masing.

Jubing memainkan sebagian besar komposisi lagu pada album Hujan Fantasy, termasuk lagu dangdut Pengalaman Pertama yang pernah ngetop dibawakan A Rafiq. Dalam lagu ini Jubing ditemani Suryadi yang memainkan alat perkusi Nigeria bernama “voodoo”. Efek alat musik seperti kendi itu menghasilkan suara seperti tabla yang biasa dimainkan perkusionis India tetapi dengan suara yang lebih variatif. Ingin rasanya saya berdiri untuk berjoget karena lagu dangdut pun di tangan. Jubing menjadi sangat fantastis. Saya sadar bahwa saya sedang menyaksikan gaya permainan musik klasik, bukan musik dangdut.Kolaborasi Jubing dengan Suryadi yang lebih menghebohkan lagi terjadi saat lagu etnis Jawa,Gundul-gundul Pacul, berkumandang, mengentak kesadaran penonton, bahwa sebuah lagu sederhana pun bisa berbunyi dengan elegan, tidak kalah dengan komposisi Mozart, Bach, Paganini, atau Fernando Carulli. Pada lagu ini aksi Suryadi, perkusionis asal Solo, seperti tidak terbendung lagi. Ia tampak ekstase menikmati permainannya sendiri, ditingkahi petikan gitar Jubing yang liar, mengalir dan tak terduga. Banyak penonton melakukan penghormatan dengan berdiri usai Gundul-gundul Pacul berakhir.

Tak pelak lagi, dua lagu yang diciptakan Ibu Sud, Becak dan Hujan yang dimainkan dalam rentang waktu berbeda, menjadi puncak penampilan Jubing secara solo. Tepuk tangan ritmik mengiringi masing-masing lagu itu. Pada lagu Becak, Jubing memamerkan keahlian yang tidak banyak dimiliki gitaris manapun, yakni mengubah suara gitar menjadi suara gamelan. Saya dan mungkin penonton lainnya nyaris tidak percaya bahwa itu suara gitar!

Seperti telah saya sebutkan, Jubing membawakan sebagian besar komposisinya yang terdapat pada album Hujan Fantasy, termasuk lagu Taiwan, Ye Liang Tai Wo Tie Sien, dan lagu yang pernah dibawakan Freddie Mercury dari Queen, Bohemian Rhapsody. Bohemian benar-benar “menyihir” penonton karena Jubing memainkan komposisi terbaiknya yang sering dimainkan gitaris dunia itu. Namun saat Jubing memainkan Mission Imposible, saya lebih tidak percaya lagi kalau lagu itu begitu hidup, seakan-akan saya menyaksikan adegan dalam film Mission Imposible itu.

Pilihan kolaborasi Jubing dengan Suryadi dan Abimanyu memang menjadi paduan menawan malam itu, apalagi sebelumnya Jubing mengiringi Abimanyu yang membawakan lagu Gubahanku yang digubah Gatot Sunyoto. Sayangnya, baik lagu Mission Imposible dan Gubahanku tidak terdapat dalam kedua album Jubing yang pada malam itu laris manis, habis terjual. Saya berharap kedua lagu itu akan terdapat dalam album jubing berikutnya.

Jubing, dan juga Suryadi dan Abimanyu menutup penampilan malam itu dengan lagu pamungkas Besame Mucho, seperti yang sudah saya ceritakan di awal tulisan ini. Saya sedih harus mengakhiri tontonan mereka pada malam itu. Tetapi saya percaya, malam itu milik mereka bertiga, khususnya Jubing.

 

JAKARTA, RABU – Gitaris papan atas Jubing Kristianto dalam waktu dekat akan meluncurkan album gitar keduanya, Hujan Fantasy, Exploring Solo Acoustic Guitar Music II. Album Hujan Fantasy, dalam bentuk CD (compact disc), ini hadir setelah sukses Becak Fantasy, yang dilansir Mei 2007.

“Peluncuran album Hujan Fantasy akan saya laksanakan 16 Juli 2008 mendatang di Bentara Budaya Jakarta. Di acara itu ada keterangan pers dan konser solo gitar saya,” kata Jubing, Rabu (25/6).

Pada album kedua ini, Jubing, gitaris kelahiran Semarang 42 tahun lalu, memperkenalkan permainan gitar akustik yang mengalir, lincah, dan tak terduga. Tidak terduga karena Jubing dengan mudah beralih dari nada mayor ke minor atau mengalihkan permainan gitar petik menjadi gitar kocok dan dinamis dengan tetap memelihara melodi.

Jubing membuka album tersebut dengan lagu Aku Cinta Dia (Adjie Soetama), yang beken dinyanyikan almarhum Chrisye. Ia kemudian meloncat ke lagu kedua, Bengong Jeumpa, lagu rakyat Aceh yang sangat terkenal se-Nusantara, bahkan sampai ke semenanjung Malaysia. Jubing membuat intro maupun koda Bengong Jeumpa dengan irama padang pasir. Alunan gitarnya menjadi persis seperti gambus. Lagu inipun sebenarnya layak diunggulkan dari album tersebut.

Dalam Bengong Jeumpa, suami dari penulis cerita anak-anak Reny Yaniar ini menampilkan teknik “gitar betot”. Bahkan, nada harmonik yang dihasilkan dengan tidak memetik senar seutuhnya itu dipadu dengan teknik memukul-mukulkan ibu jari ke bas sehingga menimbulkan efek khusus. Pelan nyaris hilang, tetapi kemudian bergelegak lagi. Belum lagi, Jubing memukul badan gitar sambil mengocok gitar sehingga menghasilkan suara tabla dan meningkahinya dengan petikan tremolo yang bergetar.

Tidak pelak lagi, sesuai judul albumnya, Hujan Fantasy, Jubing mengunggulkan komposisi Hujan, lagu anak karya mendiang Ibu Soed. Anak-anak Indonesia mungkin sudah sangat akrab dengan lirik, “Tik tik tik bunyi hujan di atas genting, airnya turun tidak terkira….” Lagu sederhana itulah yang diunggulkannya, lebih di atas lagu-lagu lain seperti Every Breath You Take (ciptaan Sting), I Wanna Hold Your Hand (John Lennon/Paul McCartney), dan bahkan Bohemian Rhapsody(Freddie Mercury).

Dalam Hujan Fantasy, Jubing mengaransemen sekaligus memainkan lagu tersebut menjadi sebuah keajaiban sekaligus fantasi. Persisnya, keajaiban bunyi alat musik berdawai bernama gitar dan fantasi yang mengajak kita masuk ke dunia masa silam. Lagu itu menjadi indah, tetapi dengan teknik permainan yang amat rumit. Jubing mengeksplorasi enam dawai gitar dari nada tertinggi sampai nada terendah sedemikian cepat, tetapi nada-nada yang dihasilkannya tetap mengalir bening.

Pada Hujan Fantasy ada teknik harmonik. Bahkan, lagu yang bernada mayor tersebut tiba-tiba saja tergelincir menjadi bernada minor. Melankolik sekali jadinya. Dengan gaya komponis Fernando Sor, yang biasa disajikan oleh duo John William dan Julian Bream, Jubing mengakhiriHujan Fantasy dengan meremas-remas gitar akustiknya sampai kemudian fade away atau mengilang dari pendengaran.

Kalau ingin mengagumi permainan gitar akustik sesunggunhnya dengan aransemen menawan, dengarlah lagu Bohemian Rhapsody, yang kondang dinyanyikan oleh Freddie Mercury dari Queen. Telah banyak pemusik mengaransemen lagu itu dan memanggungkannya dalam festival dan resital gitar. Untuk yang satu ini, Jubing boleh dibilang mempertontonkan kehebatannya yang paling tinggi dalam teknik bermain akustik.

Masih banyak lagu lainnya, seperti Madu dan Racun, sebuah lagu yang meledak pada pertengahan 1980-an lewat vokal Arie Wibowo. Jubing memainkannya dengan irama sedikitndangdut, meski tentu saja irama dangdut paling santer terdengar pada lagu Pengalaman Pertama, lagu dangdut yang dibawakan penyanyi A Rafiq.

Pada lagu Gundul-gundul Pacul, yang direkam secara live saat konsernya di sebuah mal di Yogyakarta, Jubing ditemani perkusionis Suryadi Plenthe. Lagu anak-anak gubahan RC Hardjasoebrata itu disulap menjadi sebuah komposisi asyik yang banyak mengundang tepuk tangan para penonton.

Di bawah ini 15 lagu dalam album Hujan Fantasy, yang direkam oleh Indo Music:
1. Aku Cinta Dia
2. Bengong Jeumpa
3. Once Upon A Rainy Day
4. Hujan Fantasy
5. Bohemian Rhapsody
6. Madu dan Racun
7. Astaga
8. Every Breath You Take
9. Moonrise
10. Windbells
11. Rickshaw
12. Gundul-gundul Pacul
13. Ye Liang Tai Wo Tie Sien
14. I Wanna Hold Your Hand
15. Pengalaman Pertama

 

 

 

 

1. I.              Hasil Interviu Bersama Jubing Kristianto

Interviu dilakkukan di sebuah sekolah musik yaitu yamaha music school di daerah jakarta barat hari kamis tanggal 9 juni 2011 jam 19:00-20:00

1. Iteer : Melihat dari latar belakang bapak sebagai seorang jurnalis, mengapa bapak memutuskan untuk berpindah haluan dari seoarng jurnalis menjadi seorang gitaris ?

Itee : Dari dulu sebenarnya saya main gitar terus sejak saya kecil saya tidak pernah pernah lepas dari gitar, sehabis kerja saya main gitar ,bahkan saya menaruh gitar di kantor setelah pekerjaan selesai saya main gitar di kantor.

1. Iteer :Kalau begitu kenapa tidak langsung dari awal saja menekuni bidang sebagai gitaris ?

Itee : Karena pada waktu itu hmm( sambil berusaha mengingat) iya saya mengambil jurusam musik pertama kali sewaktu SMA, saya ingin menjadi gitaris tetapi saya sangat ingin pergi ke Jakarta, karena saya berasal dari Semarang dan  menurut pandangan saya Jakarta pada waktu itu bisa membuat musik berkembang, saya sangat ingin bersekolah di Jakarta, tetapi pada waktu itu sekolah musik saat itu hanya ada di IKJ (Institut Kesenian Jakarta), IKJpun pada waktu itu saya lihat mahal sekali biayanya bagi saya karena saya juga berasal dari keluarga yang tidak terlalu mampu atau pas-pasan begitu, sehingga saya memutuskan untuk masuk ke universitas negeri dengan mengikuti SIPENMARU (Seleksi Penerimaan Mahasiswa Baru) saya memlilh untuk masuk ke UI(Unversitas Indonesia) supaya saya bisa masuk UI, maksud saya saya masih tetap bisa kuliah tetapi di daerah Jakarta sambil mengembangkan belajar musik sendiri, nah saya memilih jurusan kriminologi karena menurut perkiraan saya tidak banyak pesaingnya sehingga masuknya tidak terlalu susah (sambil tertawa), jika saya memilih jurusan yang banyak pemnatnya kemungkinan saya tidak masuk UI jadi ini masalah strategi saja strategi supaya bisa masuk dengan mengambil bidang-bidang yang langka.

1. Iteer :Lalu kenapa gitar yang dipilih sebagai alat musik yang ditekuni?

Itee : Oh kalau gitar sih memang sudah dari kecil saya memang sudah suka, karena pertama dia bisa mobile atau dibawa kemana-mana terus yang ke dua dia komplit karena kita bisa main melodinya, chordsnya itu ada didalam satu gitar harmoninya lengkap bisa main chords untuk mengiringi seseorang bernyanyi juga, kalau biola tidak bisa dipakai untuk mengiringi seseorang bernyani dia hanya bisa memainkan melodi sangat aneh jika melihat seseorang bernyanyi diiringi oleh biola, berbeda dengan gitar kaena gitar memiliki banyak not dan bisa berbunyi bareng, nah kalau piano sama seperi gitar tetapi dia tidak bisa dibawa kemana-mana jadi kelebihan gitar ada disitu secara bunyi atau multi not dan bisa bunyi secara bersamaan sama seperti piano tetapi gitar bisa dibawa kemana-mana kelebihannya disitu, nah itu yang membawa saya tertarik untuk mempelajari gitar hingga tuntas.

1. Iteer :Apakah ada faktor dari orang tua atau sosok idola yang sangat dikagumi sehingga ingin bermain gitar?

Itee : Tidak ada, karena sejak pertama kali mendengar alat musik ini saya langsung jatuh cinta dan tidak ingin memainkan alat music lain

1. Iteer :Bagaimana pemahaman arti ide menurut bapak jubing?

Ide….hmm pertanyaan kamu ini terlalu luas

1. Iteer : Maksud saya pemahaman arti ide  atau definisi menurut pemahaman Pak Jubing sendiri dalam hal bermain gitar  khususnya ?

Itee : Hmm.. tepatnya mungkin dalam ide bermain gitar ya? kalau teknik bermain gitar mungkin sudah sangat baku, kalau untuk musiknya saya banyak-banyak mendengarkan music saja, ide itu sebenarnya bersasal dari ide-ide lain yang sebelumnya sudah ada cuma kita tinggal mengembangkannya atau mengarahkannya kearah yang berbeda jadi mempunyai dua makna bisa mengembangkan dan juga mengarahkan ke arah yang berbeda.

1. Iteer : Seberapa penting ide dan konsep bagi permainan gitar pak jubing?

Itee : Hmm…(agak terdiam)

1. Iteer : Apakah bapak membuat konsepnya terlebih dahulu atau langung langung bermain gitra saja?

Itee : Tidak, bisa dua-duanya ada yang pertama saya sudah rancang, nanti dibagian ini saya mau begini dibagian nanti seperti ini secara teoritik di atas kertas sudah dirancang terlebih dahulu, tetapi ada kalanya saya langsung bermain saya rekam dan hasilnya enak, ya sudah tinggal diperdalam saja tetapi gak saya rancang sejak awal, langsung jadi dan benar-benar dari alam bawah sadar saya

1. Iteer : Bagaimana cara Pak Jubing untuk mewujudkan ide-ide dan konsep yang ada dalam setiap karya-karyanya?

Itee : Yah main gitar aja sih kalau saya setiap hari

1. Iteer : Oh berarti fungsi gitar juga sangat penting sekali ya?

Itee : Iya harus memegang dan main gitar setiap hari

1. Iteer : Bagaimana mengembangkan ide dan konsep dari segi idealisme dan bisnis, kita bisa lihat juga bahwa musik-musik yang dimainkan oleh Pak Jubing bukan musik yang main stream atau digemari pasaran?

Itee : Kalau saya berpatokan kepada rasa keindahan, ini memeang relatif sih mengenai rasa keindahan, tetapi rasa keindahan itu biasanya bersifat universal jadi kalau ada satu musik yang jika saya mendengarkannyai musik ini bagus sekali, sampai saya mendengarkannya wah bergetar emosi saya atau sampai saya menagis, dapat dimungkinkan ketika orang lain mendengarkan itu, orang tersebut akan mendapatkan sensasi yang sama jika taraf musiknya sama seperti itu, nah hal itulah yang saya pelajari, musik seperti itulah yang saya ingin bisa main jadi saya tidak ingin bermain music yang saya haya bisa memamerkan teknik gitar saya (sambil memperakakan permainan gitar) jago sekali ya permainan gitar saya, wahh sangat hebat , tetapi ketika orang mendengarkan hal tersebut orang tersebut tidak mendapatkan apa-apa, paling orang tersebut hanya berkomentar “asik ya main gitarnya jago” seperti orang menonton sirkus saja tetapi menurut saya hal terpenting dalam musik adalah unsur bunyi.

1. Iteer : Berarti unsur keindahah yang paling penting, nah bagaimana mengenai unsure idealis dan bisnisnya?

Itee : Nah kalau hal tersebut menurut saya jika kita sudah pegang unsur keindahan tersebut, bisnis itu maksudnya orang mau mendengarkan musik tersebut secara pemasaran dan orang mau beli , kalau mau beli kan pasti ada uangnya, jadi jika cuma mendengarkan saja menurut saya belum, tetapi orang harus mau mengeluarkan uang, entah orang tersebut mau membeli karya saya atau mengundang saya main, nah untuk sejauh ini saya sudah sampai kepada tahapan itu, meskipun tidak terlalu laris seperti artis-artis yang sedang naik daun itu sih gak terlalu, tetapi setiap bulan pasti ada orang yang mengundang saya main seperti contohnya esok saya di undang untuk main di pentas seni tarakanita, itulah patokan saya kalau kam main musik ynag bagus pasti ada orang yang mau mengeluarkan uang untuk hal tersebut

1. Iteer :Bagaimana menurut pak jubing mengenai tentang dunia ide dalam industri kreatif/penciptaan di indonesia saat ini?

Itee : Sebenarnya banyak sih yang bagus-bagus, Cuma masalahnya saja yaitu belum ada wadah yang menampung hal tersebut

1. Iteer :Seperti sekolahnya pak?

Itee : Bukan seperti industri musik misalnya, dan media massa hanya meliput  musik yang memiliki massa yang banyak, jadi lebih cenderung mengikuti trend, lebih suka mengekor, misalnya ada satu grup main musik melayu, yang lain main musik melayu semua, padahal tadinya tidak ada yang melayu, tetapi hal ini kok laris makanya yang lain mengikuti, jadi cenderung mengikuti apa yang trend

1. Iteer :Jadi menurut Bapak musik di Indonesia cenderung lebih suka mengekor?

Itee : Industri musiknya iya, tetapi kalau masyarakat musiknya saya rasa tidak, terutama di Jakarta karena saya tinggal disini, banyak komunitas-komunitas musik yang menurut saya tetap berkembang dan mereka tidak mengikuti jenis–jenis musik yang industri minta, contohnya seperti musik jazz, punk rock, blues itu ada komunitasnya tersendiri dan komunitas musik barupun sekarang ada wadahnya yang dinamakan dengan independent label atau indie label, mereka membuat sesuatu yang berbeda dari musik-musik pada umumnya

1. Iteer :Mengenai masalah kebosanan, bagaimana cara Pak Jubing mengatasi masalh kebosanan?

Itee : Kalau bosan saya pidah aktifitas saja jika saya stuck dalam satu hal ya berhenti saja, saya bisa nonton bioskop dulu, jalan-jalan dulu dan main game, tetapi nanti balik lagi.

1. Iteer : Bagaimana makna fantasi dan imajinasi bagi bapak karena dalam album-album bapak selalu terdapat kata fantasi?

Itee : Oh tidak, fantasi itu lebih kepada unsur musik, jadi fantasia itu merupakan jenis komposisi musik yang sifatnya bebas, jadi tidak ada struktur yang baku, itu yang saya pakai didalam judul-judul lagu dan album saya seperti delman fantasi, hujan fantasi dan becak fantasi, sebenarnya dalam judul lagu aslinya tidak ada kata fantasi tetapi karena saya olah dan saya masukan banyak unsur yang macam-macam maka saya tambah kata fantasi, sebenarnya fantasi iti lebih mengarah ke unsur musik kalau dalam istilah musik, memang kata tersebut berasal dari kata fantasi atau imajinasi manusia tetapi dalam dunia musik, fantasi merupakan jenis komposisi musik

1. Iteer : Berarti bapak juga menyetujui kata-kata Enstain bahwa logika membawa kita dari A ke B tetapi imajinasi membawa kita ke semua hal bapak setuju dengan hal tersebut ?

Itee : Setuju sekali, jika berimajinasi kita tidak diikat oleh aturan-aturan apapun, kita bebas mau berbuat apa

1. Iteer : Kalu batasan-batasanya pak?

Itee : Menurut saya batasannya itu adalah rasa keindahan tadi, saya bisa saja main sesuka hati saya misalnya gitarnya dicabut senarnya “wah itu fantastik imajinasinya luar biasa sangat fantastis”, tetapi jika orang yang mendengarkan tersebut tidak mendapatkan unsur bunyi yang indah berarti pesan yang saya inginkan tidak sampai.

1. Iteer : Kenapa bapak lebih memilih untuk bermain solo dan tidak membentuk grup apakah Bapak merasa lebih bebas atau ada hal lain?

Itee : Satu hal itu benar lebih bebas, itu efek sampingnya saja tetapi hal itu betul, tetapi yang pertama adalah saya ingin orang lain tahu mengenai kemampuan saya dan saya memiliki tujuan bahwa dengan satu gitar bisa menciptakan musik yang seperti ini, jadi saya seperti mengkampanyekan seni bermain gitar solo, bukan saya hanya ingin menunjukan kalau saya bisa main sendiri tetapi di album-album saya selanjutnya saya juga berkolaborasi dengan musisi lain dan menunjukan bahwa saya bisa bermain dengan musisi lain. Tapi yang utama saya ingin menunjukan bahwa solo gitar itu bisa seperti ini kok, karena banyak orang belum tau mengenai hal itu.

1. Iteer : Untuk saat ini mengenai pencapaian-pencapaian yang sudah bapak lakukan apakah masih ada hal yang ingin bapak lakukan atau bapak impikan?

Itee : Jika dalam karir menurut saya apa yang sudah saya capai saat ini sedah cukup karena main dimana-mana sudah, punya album dan membuat karya sendiri sudah paling saya ingin masih banyak tempat lagi yang ingin saya jelajahi untuk bermain entah itu keluar kota atau keluar negeri karena masih banyak tempat yang ingin saya kunjungi untuk bermusik.

1. Iteer : Tema dalam wawancara ini kan mengenai why indonesia must rules the world, apakah menurut bapak apakah suatu saat nanti indonesia dengan segala potensi yang dimilikinya bisa menguasai dunia dalam tanda kutip dalam hal seninya?

Itee : Unsur potensi sudah ada tinggal orang-orangnya saja, apakah bisa mengarahkan orang-orang ini hingga mencuat ke pentas dunia, karena jika kita lihat indonesia memiliki potensi yang sangat luar biasa kita memiliki suku bangsa kurang lebih sebanyak tujuh ratus suku bangsa, itu baru sukunya saja seni musik, tari, teater juga sangat banyak sekali, banyak sekali unsur kebudayaan di Indonesia yang menjadi pusat kebudayaan dunia, Borobudur juga merupakan contoh juga, nenek moyang kita pada tahun 800an bisa membuat hal seperti itu, di Eropa tahun 800 bisa buat apa? menurut saya dalam hal potensi sudah luar biasa hanya tinggal bagaimana kita dalam tanda kutip bisa menjual dan memasarkan kebudayaan kita, karena pada saat ini banyak orang masih mengurusi hal-hal yang bersifat politis, ekonomi dan hukum masih berkutat di dalam hal tersebut belum ke tahap untuk menjual potensi bangsa kita ke mata dunia

1. Iteer : Untuk saat ini apa harapan dan pesan bapak khusunya untuk pemuda-pemuda indonesia sehingga bisa menaklukan dunia?

Itee : Menurut saya untuk generasi muda, pertama adalah ilmu, ilmu harus dikuasi mau dalam bidang hal apapun itu harus dikuasai secara penuh yang penting ilmu tersebut harus bermanfaat bagi orang lain dan ilmu tersebut harus dikuasai sebaik-baiknya kalau perlu harus become the best jangan mau jadi yang kedua harus menjadi yang nomor satu dalm bidang apa saja, apabila pemuda-pemuda indonesia bisa menjadi the best dalam setiap bidang yang ditekuninya pasti semuanya pasti akan mendunia, tetapi ilmunya harus yang bermanafaat jangan yang merugikan orang lain seperti ilmu korupsi misalnya sekarang kita malah terkenal dalam bidang itu.

 

 

Dokumentasi

Gitaris Jubing Kristianto tampil berkolaborasi dengan penyanyi tenor Christopher Abimanyu pada acara peluncuran album solo gitar “Hujan Fantasy” dan buku “Membongkar Rahasia Chord Gitar” karya Jubing Kristianto di Bentara Budaya Jakarta, Kamis (17/7). Pada penampilan ini Jubing juga berkolaborasi pemain perkusi Suryadi.

 

 

 

 

 

Foto Farobi bersama Pak Jubing

 

VI. Daftar pustaka

 

Bingham, W.van Dyke & Moore, B.V. 1959. How to interview. New York: Harper & Brothers

Effendy, Heru. 2002. Mari Membuat Film-Panduan Menjadi Produser. Yogyakarta: Panduan

Kartono, St. 2009. MENULIS tanpa Rasa Takut-membaca realitas dengan kritis. Yogyakarta: KANISIUS

Khan, R.& Cannell, C.F. 1957. The Dynamic of Interviewing. New York: John Wiley & Sons

Lesmana, Jeanette Murad. 2001. PANDUAN PRAKTIKUM INTERVIU. Depok: Fakultas Psikologi Universitas Indonesia.

Stewart, C.J. & Cash, W.B. 2000. InterviewingPrinciples and Practies. Boston: McGraw Hill.

Vrolijk, 1972, 1988

 

 

 

---

[1] Stewart, C.J. & Cash, W.B. 2000. InterviewingPrinciples and Practies. Boston: McGraw Hill.

[2] Bingham, W.van Dyke & Moore, B.V. 1959. How to interview. New York: Harper & Brothers.

[3] Khan, R.& Cannell, C.F. 1957. The Dynamic of Interviewing. New York: John Wiley & Sons

[4] Vrolijk, 1972, 1988

this is the strokes

Interview No 2 Paul Gray (R.I.P) 3 analysis video of Paul death

Interview No 2 Paul Gray (R.I.P)

Introduction

Paul Gray, the bassist for Grammy-winning metal band Slipknot, was found dead Monday in an Iowa hotel room but there was no indication of foul play, police said.

A hotel employee found Gray, 38, dead in a room at the TownePlace Suites in Urbandale, a suburb of Des Moines, police said in a statement. An autopsy was planned for Tuesday.

“Paul Gray was an awesome person on and off stage. He will be missed by many including myself,” Jacoby Shaddix, lead singer of metal band Papa Roach, said in a statement late Monday. “His spirit will live on through the killer music he wrote.”

Gray had been staying at the hotel for “a couple days,” Urbandale Sgt. Dave Disney said, declining further comment. Gray lived in the nearby suburb of Johnston.

Amy Sciarretto, a publicist at Slipknot’s record company, Roadrunner Records, confirmed Gray’s death but declined further comment.

Known for its grotesque masks, trashing sound and aggressive, dark lyrics, Slipknot released its self-titled debut in 1999, and it sold about 2 million copies. Most of the band’s members grew up in the Des Moines area.

“It’s a devastating loss. Paul was a wonderful human being,” said Andy Hall, music director of Des Moines rock station Lazer 103.3 who said he’d known Gray for 10 years. Hall said Gray was a talented bass player and one of the friendliest, most caring people he knew.

“This is a big blow, not only to the community of Des Moines but fans of metal at large, worldwide,” Hall said, noting that his station planned to broadcast an hour-long tribute to Gray on Monday night.

Slipknot emerged in the mid-1990s with an aggressive mix of heavy metal and a vocal style that included growling, rapping and singing. The band has been known for extreme behavior during live performances, including urinating and vomiting on stage, according to biographies.

The band won a Grammy in 2006 for best metal performance for the song “Before I Forget,” and concert industry trade publication Pollstar ranked Slipknot 18th in its Top 20 Concert Tours list in 2009.

In 2003, Gray acknowledged that he was on drugs when his red 2001 Porsche collided with another car that year in Des Moines. No one was seriously injured. Under a plea agreement, prosecutors dropped charges of possession of marijuana, cocaine and syringes.

Media reports at the time noted that court records included a handwritten note from Dr. Joe Takamine that described discussions with Gray that were “very frank and open about his sporadic use of various drugs and of the long periods of abstinence in between.”

Tom Ramirez, a drummer from Des Moines who became friends with Gray in high school, said he ran into Gray at a concert a few months ago and thought Gray “looked great.” Ramirez remembered Gray as someone who always made time for his fans and old friends in Des Moines.

“He was always accepting and he wasn’t stuck up. He was a people person. He knew his friends and who his friends were,” Ramirez said. “He didn’t forget the little people back here.”

Slipknot remains one of the most popular metal bands and can still fill arenas, said David Gehlke, editor in chief of blistering.com, a heavy-metal and rock website.

The band is on a yearlong hiatus, and Gray planned to play with Hail, an all-star metal band that includes the former lead singer of Judas Priest and covers songs by that band, Motorhead and Iron Maiden, Gehlke said.

“This is going to be quite the blow to Slipknot and their fan base,” Gehlke said during a telephone interview from Pittsburgh.

Gehlke noted the deaths of heavy metal singer Ronnie James Dio, who performed with several bands including Black Sabbath, last week and singer-bassist Peter Steel last month.

“This is just a big surprise for a lot of us and it’s a shame too,” Gehlke said. “We just had Dio pass away, Peter Steel from Type-O Negative — three pretty significant blows to heavy metal community.”

Interview and Press Conference

When Paul was died slipknot make a press conference, what is press conference and why do Slipknot have to do that?

Press Conference

Have you ever turned on the news and seen a person speaking to members of the press about a new product, a new player just signed to your home team or the president announcing a new policy? Maybe you saw Michael Vick apologize to fans and dog lovers after he pleaded guilty to the dog fighting charges brought against him. If so, then you’ve seen a press conference in action. A press conference is a staged public relations event in which an organization or individual presents information to members of the mass media.

Along with the press release, public relations professionals use press conferences to draw media attention to a potential story. Press conferences are typically used for political campaigns, emergencies and promotional purposes, such as the launch of a new product.

Presidents have been using press conferences since the Wilson administration to alert the country to their stance on issues or to calm public fears. Political activists hold press conferences to state opinion on proposed legislation, and candidates use them to communicate their stance on important issues.

Emergency press conferences are held in response to a crisis or disaster. During the aftermath of Hurricane Katrina, the mayor of New Orleans, the governor of Louisiana and the president all held multiple press conferences to keep the country abreast of events that occurred, as well as the steps being taken to resolve the situation. Emergency press conferences serve a dual role as both public service and public relations, since those responsible for the crisis can use the press conference to regain public trust.

Promotional press conferences are among the most common. Public relations professionals use press conferences to make important announcements to gain coverage in newspapers, magazines, blogs and on TV news broadcasts. Reasons to hold a press conference include:

• Introducing a new product
• Revealing a new scientific breakthrough
• Unveiling a new advertising campaign
• Announcing a charity event with a featured celebrity
• Acquiring a new player on a sports team
• Releasing company financial statements
• clarified an issue or  a judgement

Promotional press conferences offer several advantages, such as the ability to reach all media outlets at the same time while controlling the message. A press conference also can build excitement or anticipation about an event.

Press conferences can waste time and money if the story isn’t newsworthy or the press conference is poorly organized and executed. In this HowStuffWorks article, we’re going to explain the ins and outs of planning a press conference, walk you through the key steps, and then explore the emerging trend of Web conferences.

Read on for step-by-step instructions on how to plan a press conference.

Interview and Interview shoot

An interview is a conversation between two people (the interviewer and the interviewee) where questions are asked by the interviewer to obtain information from the interviewee.

The interview (IV) is a fundamental element of video and television production, used in a huge range of programming. Interviews are a very efficient way of creating content — cheap to produce, effective for gathering and presenting information, and easy to edit into the program. In fact entire programs can be made using little more than interviews laced with cutaways and links.

Producing a successful interview requires a combination of skills. In professional situations these responsibilities may be shared by the producer, director, interviewer, camera operator, audio and lighting technicians. In other situations it is a one-person operation.

Preparation

Interview shoots are very unforgiving. This is a situation in which you must get everything right first time and make the job flow smoothly and comfortably for everyone involved. Interviews will quickly fall apart if things start going wrong or taking a long time. Therefore competent operators should be able to organise and shoot interviews in their sleep. It is a skill which must be second nature, so you should be well practiced in this art before you attempt a “mission-critical” interview.

Preparing for an interview involves:

• Contacting and making arrangements with the guest(s)
• Choosing a location
• Preparing equipment
• Traveling to the location and setting up
• Final briefing and technical checks

Before you begin shooting, double check everything. If you’re not 100% sure that it is all working okay, stop and get it right. Don’t use take one of the IV as a practice or test record.

Shooting an Interview TV-Style

You can shoot a television-style interview with a single camcorder and a little creativity.

Interviews are the most common form of nonfiction television; and with just a little practice, you can adapt this cheap and versatile format to your corporate, school, church, club, community and family programs. Most studio interviews aim one camcorder at the subject and the other at the reporter, providing A- and B-roll footage for easy editing, often in real time.

What’s that? You say you don’t have two camcorders? Here’s a secret: neither do the pros. Location interviews generally use a single camera.

Making one camera look like two is surprisingly easy, as long as you know a few tricks and plan your approach before you shoot. Let’s look at the production side of shooting a two-person/one-camera interview. We’re not concerned with documentary-style interviews in which the questioner never appears, and we don’t care about how to ask penetrating questions and such. Today’s chalk talk is strictly about production nuts and bolts. We’ll start with what you need to achieve and how you plan to do it. Then we’ll walk through setting up your camera, lights and mike and wrap it all up with procedures for taping an interview that your editor will love.

Objectives and Strategy

When producing a location interview, you have three basic objectives. First, you want a single camcorder to do the work of two. Next, you want the edited program to look as if it’s unfolding in real time, just like a multi-camera studio shoot. Finally, you want to provide the editor with the content and the coverage required to cut together a seamless sequence. Here’s a strategy for achieving these goals.

The idea is to shoot the interview from several different camera setups. Typically, these setups include:

•  A neutral angle showing the relationship between subject and reporter.
•  An angle on the subject, shooting over the reporter’s shoulder (typically called an “OTS,” over-the-shoulder shot).
•  A closeup angle on the subject alone.
•  A closeup angle on the reporter alone (often called “a reverse,” because it is a near-mirror image of the subject’s closeup).

Figures 1 through 4 diagram these setups, and we’ll frequently refer to these drawings.

In shooting this way, the trick is to avoid losing the flow of the interview by stopping it to change camera setups. For this reason, the majority of the conversation takes place as shown in Figures 2 and 3, because these setups require no change in the positions of camera, lighting and microphone.

Before looking at this procedure in detail, let’s run over the equipment employed and the four basic setups.

Equipment and Setups

Of course, you’ll have a camcorder on a tripod. (Because interview subjects don’t move much, they give away even the best hand-held camera work.) Today, almost all camcorders come with external LCD viewing screens, which are indispensable for framing subjects during long takes. Ironically, the finest three-chip Mini DV camcorders sometimes lack these screens, so you may need an external reference monitor.

For high-quality sound, an external microphone is equally essential. If you’re stuck with your built-in mike, consult the Tips for Camcorder Setups sidebar on setup guidelines for suggestions of how to use it to your advantage. A lapel mike (wired or wireless) works well, or you can mount a cardioid or shotgun mike to a table-top stand and place it close to the speaker and just below the frame line. Headphones are an absolute must, both for monitoring voice quality and for detecting any interfering background noises.

When optimized for the subject, all these mikes will also record the reporter’s questions adequately for documentation, though not well enough for use in the finished audio. Shotgun mikes work very well because they have secondary pickup areas behind and to the sides of them. They’re also good for minimizing extraneous background sounds found in noisy environments.

On the other hand, an omnidirectional stand mike can record both participants well enough for use in the program (assuming they’re close together), which is a big help if you don’t want to re-record every one of the reporter’s questions and comments.

The most versatile location interview light kits have at least four units: key light, fill light, rim (hair) light and background light. At the other extreme, the simplest may have just one soft key light and maybe a large sheet of white foamcore board for reflected fill. We’ll compromise with a two-light setup: a spotlight with spun-glass diffusion clipped to its barn doors and a large, soft fill light either an umbrella style or a softbox type.

Now let’s deploy our hardware. Figure 1 shows the shot that establishes both participants. Notice several things about this setup:

•  The microphone’s angle will record both participants.
•  The participants are close enough to the side wall that the fill light can also illuminate it. (Note that the back walls behind the participants are not seen in this shot.)
•  The key light on the subject also provides rim light for the reporter. The fill light performs a similar, double role on the opposite side.
•  The camera is a sufficient distance from the participants, as explained in the sidebar.
•  An imaginary action line has been established. As long as the camera stays on the same side of this line, the participants will continue to face each other on the screen.

Figure 2 is a closeup of the subject, with the reporter’s shoulder appearing in the foreground. Note that the subject has moved closer to the wall behind, and the lights have moved in to illuminate the wall as well as the subject. This move is invisible to the audience, because the back wall was not in the establishing shot. In the drawing, the mike points at the subject, but again, an omnidirectional mike could adequately record the reporter too.

Figure 3 shows how easy it is to get a pure closeup of the subject, simply by zooming in somewhat (and narrowing the field of view). The reporter’s cheek and shoulders are now outside the image frame.

Finally, Figure 4 shows a completely different setup:

•  The subject is not in the shot, and may even have left the interview.
•  The reporter has been moved back, closer to the other rear wall and the lights have been completely reset to light the reporter and to splash on the background. The mike has reversed as well, for optimal sound pickup of the reporter. Notice that the camcorder is still on the left side of the action line, to keep the “eye look” of the reporter consistent.

Interview Procedures

The neutral angle establishing shot is used to begin, and maybe to end the interview. If the sound quality is good enough, you can start the interview in the establishing shot. Often, however, this wide two-shot acts as a silent background for a title or voiceover introduction to the interview. In the same way, you can use this shot to wrap up the sequence. Typically, subject and reporter simply exchange unheard small talk behind the credits.

It’s often a good idea to delay the actual questions and answers until after the two-shot, because shifting the camera, lights and mike for the main interview setup (Figures 2 and 3) can take long enough to distract the participants and lose the flow of the discussion.

Typically, the interview will start with an over-the-shoulder closeup of the subject. In framing the shot, try to include the side of the reporter’s face. A moving cheek will indicate that the reporter is speaking, without revealing what’s being said. (The editor can then lay “moving cheek” footage over anything the reporter says.)

After you have enough footage over the reporter’s shoulder, zoom in to the subject’s closeup . That way, the closer angle on the subject can enhance the growing drama of the interview. (If you time it right, you can zoom and re-frame during a question so that the editor can replace the zoom with a shot of the reporter.)

Wait a minute. What shot of the reporter would that be? Ah. Now comes the trick. You set up and shoot the reporter after the main interview is over; in fact, you can allow the subject to leave at this point.

If you’ve been miking only the subject, the reporter will need to repeat every question. The easiest way to do this is with a playback deck: find each question on the A roll, play it back for the reporter, and then tape the reporter repeating it on the B roll. If you don’t have the equipment to do this, roll through the original footage in the camcorder, making notes on each question, and then have the reporter work from these notes. In some cases, you won’t need a follow-up question. Instead, the editor can insert a brief shot of the reporter listening while the subject adds to the previous response.

And now the reporter gets to really act. To provide cutaway footage for the editor, you need to record a repertory of reporter reactions for insertion at suitable moments. In addition to simply listening and nodding encouragement, a few other reactions are often useful:

•   Slight puzzlement, as if to say, “Could you explain that further?”
•   Mild surprise, indicating “You don’t say,” or “No kidding!
•   A smile, signaling a warm response to a humorous remark.

Of course, the subject’s statements may suggest other reactions.

You can, of course, personalize this interview formula (some directors omit the neutral angle establishing shot), but our outline should get you launched in the right direction to shoot an interview that will rival anything on network TV.

 

Tips for Camcorder Setups Here are some suggestions for getting the best possible picture and sound quality:

 

•  Keep the camcorder back from the subject. A long camera throw, as it’s called, keeps the hardware out of the subject’s face and the telephoto lens setting makes for pleasing closeup shots.
•  Light the background by moving the subject. Working with minimal lighting, you’ll illuminate the background with spill from the key and fill lights. Watching your monitor carefully, move your subjects toward or away from the walls behind them until the subject lighting makes the backgrounds just slightly darker than the foregrounds.
•  Use slightly low camera angles. Generally, people look more impressive when shot from just below eye level.
•  Make the best use of camcorder mikes. When forced to record audio with the built-in microphone, move as close to your subject as possible. Since wide-angle lenses tend to produce unflattering closeups, try to stay with wider waist- and chest-level compositions.

 Interview Equipment Checklist

__ Tripod
__ External viewscreen or monitor
__ External microphone
__ Headphones
__ Lights

The Conclusion’

When the Slipknot bassist was passed out the slipknot members held the press conference and now we understand why they do this which is to clarified about the situation at that time, and before Paul was died there is  a last interview from him, we can learn how to make a interview shoot. Rest In Peace Paul

Slipknot at MTV Rock am Ring Live 2009

Introduction

Join a music festival was a very usual things that slipknot do, at this time slipknot will perform in front of a lot of people in MTV Rock am Ring live, with their single dead memories, but we have to check out why slipknot have to perform into this festival

What’s MTV and Why Perform in MTV ?

MTV, formerly an initialism of Music Television, is an American network based in New York City that launched on August 1, 1981. The original purpose of the channel was to play music videos guided by on-air hosts known as VJs.

At one time, MTV had a profound impact on the music industry and popular culture. Slogans such as “I want my MTV” and “MTV is here” became embedded in public thought, the concept of the VJ was popularized, the idea of a dedicated video-based outlet for music was introduced, and both artists and fans found a central location for music events, news, and promotion. MTV has also been referenced countless times in popular culture by musicians, other TV channels and shows, films, and books.

MTV has spawned numerous sister channels in the U.S. and affiliated channels internationally, some of which, like the former MTV Tempo now known as TEMPO Networks, have gone independent. MTV’s moral influence on young people, including issues related to censorship and social activism, has been a subject of debate for years. MTV’s choice to focus on non-music programming has also been contested relentlessly since the 1990s, demonstrating the channel’s previous impact on popular culture.

breaking the color barrier

During MTV’s first few years on the air, very few black artists were included in rotation on the channel. Those who were in MTV’s rotation included Eddy Grant, Tina Turner and Donna Summer. The very first non-white act played on MTV in the US was UK band The Specials, which featured an integrated line-up of white and black musicians and vocalists. The Specials’ video “Rat Race” was played as the 58th video on the station’s first day of broadcasting.

MTV rejected other black artists’ videos, such as Rick James’ “Super Freak”, because they didn’t fit the channel’s rock dominated format at the time. The exclusion enraged James; he publicly advocated the addition of more black artists’ videos on the channel. Rock legend David Bowie also questioned MTV’s lack of black artists during an on-air interview with VJ Mark Goodman in 1983 MTV’s original head of talent and acquisition, Carolyn B. Baker, who was black, had questioned why the definition of music had to be so narrow, as had a few others.

Before 1983, Michael Jackson also struggled to receive airtime on MTV.^] To resolve the struggle and finally “break the color barrier,” the president of CBS Records at the time, Walter Yetnikoff denounced MTV in a strong, profane statement, threatening to take away MTV’s ability to play any of the record label’s music videos.However, Les Garland, then acquisitions head, said he decided to air Jackson’s “Billie Jean” video without pressure from CBS. This was contradicted by CBS head of Business Affairs David Benjamin in Vanity Fair. In any case, MTV began showing the “Billie Jean” video in regular rotation in 1983, forming a lengthy partnership with Jackson and helping other black music artists.

Return of the Rock

Beginning in late 1997, MTV progressively reduced its airing of rock music videos, leading to the slogan among skeptics, “Rock is dead.”The fact that at the time rock music fans were less materialists and bought less music based on television suggestion were cited as reasons that MTV abandoned its once staple music. MTV instead devoted its musical airtime mostly to pop and hip-hop/R&B music. All rock-centric shows were eliminated and the rock-related categories of the Video Music Awards were pared down to one.

From this time until 2004, MTV took some efforts periodically to reintroduce pop rock music videos to the channel. By 1998 through 1999, the punk-rock band Blink-182 received regular airtime on MTV due in large part to their “All the Small Things” video that made fun of the boy bands that MTV was airing at the time. Meanwhile, some rock bands that were not receiving MTV support, such as Korn and Creed, continued to sell albums. Then, upon the release of Korn’s rock/rap hybrid album Follow the Leader, MTV began playing Korn’s videos “Got the Life” and “Freak on a Leash”, which became popular.

A band sponsored by Korn, Limp Bizkit, received airtime for its cover of George Michael’s “Faith”, which became a hit. Subsequently, MTV began airing more rap/rock hybrid acts, such as Limp Bizkit and Kid Rock. Some rock acts with more comical videos, such as Rob Zombie ,Red Hot Chili Peppers, and Foo Fighters, also received airtime.

In the fall of 1999, MTV announced a special Return of the Rock weekend, in which new rock acts received airtime, after which a compilation album was released. System of a Down, Staind, Godsmack, Green Day, Incubus, Papa Roach, P.O.D., Sevendust, PowermaN 5000, Slipknot, Kittie, and Static X were among the featured bands. These bands received some airtime on MTV and more so on MTV2, though both channels gave emphasis to the rock/rap acts.

 

By 2000, Sum 41, Linkin Park, Jimmy Eat World, Mudvayne, Cold, At the Drive-In, Alien Ant Farm, and other acts were added to the musical rotation. MTV also launched digital cable channel MTVX to play rock music videos exclusively, an experiment that lasted until 2002. A daily music video program on MTV that carried the name Return of the Rock ran through early 2001, replaced by a successor, All Things Rock, from 2002 until 2004.

 

According to The Austin Chronicle, Jackson’s video for the song “Billie Jean” was “the video that broke the color barrier, even though the channel itself was responsible for erecting that barrier in the first place.” After airing Jackson’s music videos, MTV, then a struggling cable channel, became very popular. Jackson’s videos were credited for this success and MTV’s focus switched from rock to pop and R&B.This move helped other black artists such as Prince, Whitney Houston and Janet Jackson break into heavy rotation on the channel. Jonathan Cohen of Billboard magazine commented Janet Jackson’s “accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix.

Live concerts

Throughout its history, MTV has covered global benefit concert series live. For most of July 13, 1985, MTV showed the Live Aid concerts, held in London and Philadelphia and organized by Bob Geldof and Midge Ure to raise funds for famine relief in Ethiopia. While the ABC network showed only selected highlights during primetime, MTV broadcast 16 hours of coverage.

In 1989, MTV began to premiere music-based specials such as MTV Unplugged, an acoustic performance show, which has featured dozens of acts as its guests and has remained active in numerous iterations on various platforms for over 20 years.

Along with VH1, MTV broadcast the Live 8 concerts, a series of concerts set in the G8 states and South Africa, on July 2, 2005.Live 8 preceded the 31st G8 summit and 20th anniversary of Live Aid. MTV drew heavy criticism for its coverage of Live 8. The network cut to commercials, VJ commentary, or other performances during performances. Complaints surfaced on the Internet over MTV interrupting the reunion of Pink FloydIn response, MTV president Van Toeffler stated that he wanted to broadcast highlights from every venue of Live 8 on MTV and VH1 and clarified that network hosts talked over performances only in transition to commercials, informative segments, or other musical performances.Toeffler acknowledged that “MTV should not have placed such a high priority on showing so many acts, at the expense of airing complete sets by key artists.”He also blamed the Pink Floyd interruption on a mandatory cable affiliate break. MTV averaged 1.4 million viewers for its original July 2 broadcast of Live 8. Consequently, MTV and VH1 aired five hours of uninterrupted Live 8 coverage on July 9, with each channel airing different blocks of artists.

On July 7, 2007, MTV broadcast the Live Earth concerts, which took place around the world to raise awareness of climate change.

 The Conclusion

So that’s why Slipknot have to perform in MTV, because MTV is the turning point of the television and music history, but what about the concert, don’t ask too much? You must be understand if you read the post before. always amazing

Slipknot Concert at Dynamo Open Air

Introduction

A concert is a live performance (typically of music) before an audience. The performance may be by a single musician, sometimes then called a recital, or by amusical ensemble, such as an orchestra, a choir, or a musical band. Concerts are held in a wide variety and size of settings, from private houses and small nightclubs, dedicated concert halls, entertainment centres and parks to large multipurpose buildings, and even sports stadia. Indoor concerts held in the largest venues are sometimes called arena concerts. Regardless of the venue, musicians usually perform on a stage. Before recorded music, concerts would provide the only opportunity one would generally have to hear musicians play. Informal names for a concert include “show” and “gig

Type of Concert

The nature of a concert will vary by musical genre and the individual performers. Concerts by a small jazz combo or small bluegrass band may have the same order of program, mood, and volume, but vary in music and dress. In a similar way, a particular musician, band, or genre of music might attract concert attendees with similar dress, hairstyle, and behavior. For example, the hippies of the 60s often toted long hair (sometimes in dread lock form), sandals and inexpensive clothing made of natural fibers. The regular attendees to a concert venue might also have a recognizable style, comprising that venue’s “scene”.

Theatrical

Some performers or groups put on very elaborate and expensive affairs. In order to create a memorable and exciting atmosphere and increase the spectacle, the artist will frequently include additional entertainment devices within their concerts. These tend to include elaborate stage lighting; an image magnification (IMAG) system and/or pre-recorded video; inflatables, artwork or other set pieces; various special effects such as theatrical smoke and fog and pyrotechnics; and unusual costumes or wardrobe. Some singers, especially in genres of popular music, augment the sound of their concerts with pre-recorded accompaniment, back-up dancers, and even broadcast vocal tracks of the singer’s own voice. Activities which may take place during these concerts include dancing, sing-alongs, and moshing. Some performers well known for including these elements in their performances include: Pink Floyd, Jean Michel Jarre, Sarah Brightman and KISS.

Festivals

Concerts involving a greater number of artists, especially those that last for multiple days, are known as festivals. Unlike other concerts, which typically remain in a single genre of music or work of a particular artist, festivals often cover a broad scope of music and arts. Due to their size, festivals are almost exclusively held outdoors. A few examples of the hundreds of festivals include the Big Day Out, Coachella,Fall  Festival, Glastonbury Festival, Newport Jazz Festival, Oxegen Parachute Music Festival, Rock In Rio, Rockwave Festival, Salzburg Festival,, Summer Sonic Festival, Woodstock Music and Art Festival, and the Warped Tour.

Concert Tour

A concert tour is a series of concerts by an artist or group of artists in different cities or locations. Oftentimes concert tours are named, to differentiate different tours by the same artist and associate a specific tour with a particular album or product (for example: Michael Jackson’s Bad Tour). Especially in the popular music world, such tours can become large-scale enterprises that last for several months or even years, are seen by hundreds of thousands or millions of people, and bring in millions of dollars (or the equivalent) in ticket revenues.

Different segments of longer concert tours are known as “legs”. The different legs of a tour are denoted in different ways, dependant on the artist and type of tour, but the most common means of separating legs are dates (especially if there is a long break at some point), countries and/or continents, or different opening acts. In the largest concert tours it is becoming more common for different legs to employ separate touring production crews and equipment, local to each geographical region. Concert tours are often administered on the local level by concert promoters or by performing arts presenters.

Revenue

While admission to some concerts is free, it is common practice to charge money for concerts by selling admission tickets. Historically, concerts were the primary source of revenue for musicians. Revenue from ticket sales typically goes to the performing artists, producers, venue and organizers. In the case of benefit concerts, a portion of profits will often go towards a charitable organization.

Additional revenue is also often raised through in-concert advertising, from free local concerts for local sponsorships to sponsorships from corporations during major tours e.g. 2009’s “Vans’ Warped Tour Presented by AT&T“. Both Vans and AT&T would have paid significant amounts to have their company names included at the forefront in all marketing material for the Warped Tour.

Concessions and merchandise are also often sold during and after concerts; often by the venue in the case of the former, and by the performing band or artist in the case of the latter.

The highest grossing concert tour of all time is The Rolling Stones’ A Bigger Bang Tour which earned approximately $558 million in between 2005 and 2007.The highest earning tour by a solo artist is the Sticky & Sweet Tour by pop artist Madonna, which earned $408 million in 2008 and 2009.

What about slipknot concert

No words could explain slipknot concert it is very amazing, rude performance but with beautiful stage art, although it was rude but the spirit is very great see it on the storyboard when they perform at dynamo open air

 

Slipknot 10TH Anniversary

Slipknot 10^TH Anniversary

Introduction

grammy Award winning hard rock powerhouse Slipknothave announced a special edition release on Roadrunner Records of their seminal self-titled debut album.  This special CD/DVD piece will commemorate the 10^th anniversary of Slipknot’s first album’s release in 1999. Release is set for 9/9/09. The CD will feature 25 tracks, including the original album as well as rare demos, remixes, rare b-sides and more.

The companion documentary, entitled of the (sic): Your Nightmares, Our Dreams, is packed with behind the scenes footage of Slipknot from 1999.  This never before seen hour-long piece was directed by M. Shawn Crahan, who combed through his vast archives to compile the definitive chronicle of this important time in Slipknot’s career. This inside look features both live and backstage footage from around the world.  The DVD also features all the music videos from their debut cycle as well as other surprises.

In another first, Slipknot will host a one day festival in their hometown of Des Moines on 9/9/09. The show will feature 2 stages and a host of bands with Slipknot headlining. The second stage, sponsored by Jagermeister, will feature all local bands. An official announcement will be made soon.

the expanded package artwork includes never before published photos and a new foreword from vocalist Corey Taylor.

A deluxe collector’s edition of this package, Slipknot – 10 years of life death love hate pain scars victory war blood and destruction will also be released.  Contents will be packaged in a special steel box and include Slipknot 10^th Anniversary CD/DVD, a T-Shirt, Patch, Collector’s cards, key chain plus a few more surprises.

In the decade since the release of Slipknot, the band has amassed accolades that changed the face of metal. Slipknot has gone on to sell over 10 million albums worldwide, win a Grammy, headline Madison Square Garden and Download Festival, have numerous #1 and top 5 rock tracks and videos, as well as debut at #1 on the Billboard Top 200 album charts.  They continue to inspire millions and are an unstoppable force.

Track Listing is as follows:

01. 742617000027
02. (sic)
03. Eyeless
04. Wait And Bleed
05. Surfacing
06. Spit It Out
07. Tattered & Torn
08. Purity*
09 .Liberate
10. Prosthetics
11. No Life
12. Diluted
13. Only One
14. Scissors
15. Eeyore
16. Me Inside
17. Get This*
18. Spit It Out (Hyper Version)*
19. Spit It Out (Stamp You Out Mix)*
20. (sic) (Molt-Injected Mix)*
21. Wait And Bleed (Terry Date Mix)*
22. Wait And Bleed (demo)*
23. Snap (demo)*
24. Interloper (demo)*
25. Despise (demo)*

*Bonus tracks

Bonus DVD:
-of the (sic): Your Nightmares, Our Dreams
A short film by M. Shawn Crahan giving a peek into the surreal and complex time around the release of Slipknot’s debut album.  Also includes an entire never before seen live concert from Dynamo Open Air 2000 and music videos.

Music Videos:
Spit It Out
Wait And Bleed
Wait And Bleed (animated version)

Review

These nine Midwestern boys (all from Des Moines, IA) perform wearing orange industrial coveralls with UPC symbols on the front; each bandmember is identified by a number, which is painted on the sleeve of his coveralls. Each also wears a really nasty-looking mask. Judging from their appearance and from the sound of their debut album, it’s easy to assume that they’re upset about something. What it is exactly is kind of hard to tell, since the stuttering roar of Number 8’s vocals is barely discernible through the jackhammer death metal drums, massed guitars, horror-show samples, and jittery turntable scratches that pummel the listener through almost every song. You thought Limp Bizkit was hard? They’re the Osmonds. These guys are something else entirely. And it’s pretty impressive. Although those lyrics that are discernible are not generally quotable on a family website, suffice it to say that the members of Slipknot are not impressed with their fathers, their hometown, or most anything else. “Surfacing” starts out by cursing pretty much everything generally, and then it starts getting aggressive, as shrieking guitar feedback alternates with DJ scratching. “Spit It Out” is speed rap-metal with an actual melody in the chorus; “Scissors” ends the program with a sound that quite simply couldn’t get any more aggro without falling apart entirely, and by the end, the singer actually sounds like he’s about to burst into tears. An auspicious debut. [Slipknot reissued their eponymous debut in 2009 to mark the record’s 10th anniversary. The special edition CD/DVD featured the original album in its’ entirety, as well as numerous bonus cuts, demos, remixes and a full length concert DVD from 2000 bolstered by a 50-minute documentary.]

Introduction

A picture from a boy who wear the corey mask was the beginning of this show it means that slipknot is for everyone. At this time slipknot perform live from the Rosklide Festival 2009, this is very interesting how the picture and the stage performance is very attractive, the stage art was very amazing tooBefore we get closer to the stage, lets see the history of slipknot, why they get an idea to perform well

History of Slipknot

Slipknot started in September 1995 with Anders (Colsefni) and Shawn (Crahan). Anders and Shawn hung-out all the time, they would play Werewolf: The Apocalypse (RPG) all the time (where much of the lyrics came from for MFKR).

Anders was helping Shawn with some welding in his garage one winter, and they got talking about putting together a brand new band. At the time they were both drummers (Anders had been singing for awhile), and wanted to put together a band with extra stand-up percussion. Anders called Paul Grey (who was in L.A. at the time), and persuaded him to return to Des Moines and give it a try. They’d attempted to do so before as early as 92 and even wrote songs: “Slipknot” and “Gently”, but Shawn got too busy and it fell apart. With the three core members: Andy, Shawn and Paul they enlisted the help of guitarists Donnie Steele (ex- Body Pit guitarist) and Quan Nong (ex heads on the Wall). The band retreated to Anders basement to figure out their sound and how to improve musically.

The band began practicing under the name of Meld, following the first six practices Quan Nong left due to his following of a more Alternative/Punk style. Feeling something was missing, Paul was determined to get Joey involved with his new project, despite failing to receive his interest in earlier projects such as Body Pit. Paul met up with Joey at Sinclair’s where Joey worked nights, there he tempted Joey to watch rehearsals within Anders’ basement. Joey reluctantly agreed and despite missing two rehearsals due to work priorities, eventually made it down to the basement to view a practice session.

This basement, was “largely, open spaced”, not only was the area so small and cramped but for soundproofing the members used carpet samples and scraps from a nearby pet grooming centre, this made the whole basement smell of Cat piss. The first song that Joey heard them play was a song known as “Slipknot”, followed by “Gently” and “Fur”.

Joey soon realized that he had to be in this band and soon began to play the drums; pushing Shawn onto percussion. A band had formed. Within the cramped basement new songs were being turned out by the minute, including titles such as “Killers Are Quiet”, “Do Nothing Bitchslap”, “Confessions”, “Some Feel”, “Part of Me” and “Tattered and Torn”.

Paul, Shawn and Joey also began to meet up at Sinclair’s to discuss ideas and plans for the future. Shawn and Joey also decided that the band would require three drummers to provide a hardcore audio assault. Shawn wanted a drummer to the left and right with one at the back controlling it all, creating a wall of power, a first layer… Joey plays the main set and as a result is the main drummer who holds the band together. Shawn is the “Total Power Drummer” and is all aggression, finally the third element of percussion was performed by Anders adding a tribal feel.

Within Sinclair’s Shawn and Joey also realized that the band would need another guitarist due to the vacant position left by Quan. Josh formerly of Modifidious and Inveigh Catharsis was called and he soon added himself to the band. Now there were six. Josh was seen as the “icing on the cake” so to speak adding a touch of melody to the batch of songs already written The people of Des Moines knew that a new band was forming and they knew who was in it. However no one had heard or seen them. Soon a small performance was given, Slipknot’s first show was actually under a different name, Meld (Josh’s idea). It was at a club that (Josh) believes was called the Crowbar at that time. They did it without masks however Anders wore his fur skin loincloth and Paul wore wire through all his piercing.

This show happened about a month or two after Josh got into the band (I’m thinking it was mid to late Nov. 95′). That was the only show they’d ever done with Donnie. The band went through the names Pyg system and Meld, before agreeing on the simpler name of “Slipknot”, the title of their first song. Slipknot began to take notice of their stage show and thus eventually the idea of “Slipknot” spawned. The idea of what slipknot was about evolved and following discussions Shawn turned up to a practice wearing his legendary Clown mask, the sextet decided almost unanimously, with the exception of Donnie, that masks should be worn.

Joey came fully equipped with his molded and expressionless Kabuki Mask and despite difficulty within practices the idea took off; the whole anti-image appearance which fitted so well with their rule of ignoring trends had a great appeal. Soon Shawn contacted Mike Lawyer, due to an interest in recording some studio work. Mike got an engineer/producer of his named Sean McMahon to meet up with them during a practice session. Sean McMahon: “I was contacted by former members of a band called Body Pit to check out their new band at their rehearsal space”. Sean McMahon: ” The band floored me the first time that I heard them play in Anders’ basement. This was way before the masks and coveralls evolved. The band was solid and incredibly tight. The music had some melodic parts at that time. They played Slipknot, Gently, Do Nothing/Bitchslap, Killers Are Quiet, Vizqueen, and Fur for me.

Anders himself was wearing a wolf fur loincloth – and nothing else. I did not pretend to fully understand what the band was about, as we were just getting to know each other, but it was very plain to me that Slipknot (Meld or Pale Ones at that time) was extremely good at what they did, and had the requisite drive to take it all the way”. ” The band soon started work on their first project, dubbed, MFKR. “Mate Feed Kill Repeat”. The band grabbed every available moment to practice, perform and record within the SR Audio Studios. SR audio was customized for the MFKR sessions by the band itself. SR audio was filled with pornographic posters, films, toys, lights and many other objects all to make the band feel right at home.

The recording phase for MFKR was one odd occurrence after another, Sean explains “We cut basic tracks live – all of them, including all 3 drummers, all playing together in the same room! The band advocates the use of extreme violence as a conflict resolution tool, and recording was no exception. The wall next to Clown’s percussion rig acquired a few holes from his fist and drum sticks. Then there were the anatomically correct chalk line body outlines in the parking lot.

Also, Joey played drums naked on one track, which he nailed”. During February of 1996 (the post production stage of mfkr) a great change occurred within Donnie Steele; he found God. He realized that he could not be within such a band as Slipknot with the beliefs he held and as a result withdrew himself from the group. At this crucial point in the bands short history a new member was called up; a former member of Joey’s band Modifidious, his name was Craig Jones, he had come highly recommended by Jordison.

During his arrival, the MFKR album was already in its mixing stages. The mixing of MFKR was anything but smooth, each song being remixed many times. Strain was added by different view that each member held and things often got intense. Not only were their problems with the mixing but the band was also unhappy with the mastering that was done on the CD, hence they insisted that Sean should do it. Slipknot’s first major show in which they would unveil themselves to the people of Des Moines became booked for the 4th April 1996 at the locally known meeting place pronounced, “The Safari”.

On the day’s arrival the room was packed with 200 people. The band arrived in Joey’s car and each member sported their individual garments. Paul with wire weaved in and out of his piercing, Andy covered with electrical tape and tribal paint, Josh showing off an executioners hood while Craig had placed pantyhose on his head. Joey and Shawn each used the masks they had always worn, the Clown and Kabuki masks. Before the band began to play Joey began to incessantly shout, “I need a little Christmas in my drink” repeatedly with each new phrase increasing in volume, energy and power.

The band then slammed into their debut song, “Slipknot”. By Slipknot’s second performance at the club Paul had found a new “Pig” mask. The band played a total of seven shows at the club in one month alone. The band carried on playing their shows which were much more “insane” than we see these days (taming of the media etc…), rather than the same uniform jumpsuits and regular masks the band played in different things, for example Shawn rented out a large purple “Barney” suit and others wore Nun dresses and even ballroom dresses or a Little Bo Peep outfit. The shows were really dark, underground and scary however they still carried an element of humor. The shows would start with strobe lights flashing and a sample from Craig, usually of a mad laugh and “ice cream” man chimes, Shawn would drop a power saw to create a series of sparks to fly over the crowd.

Joey still felt that the band was incomplete. He wanted more; a different sound and a greater variety. Craig was promptly shifted onto samples, leaving an empty vacancy. Hence Mick formerly of Bodypit arrived. MFKR was eventually finished on Halloween, 1996. The party had begun and 400 people turned up in masks to celebrate the occasion. The album was sent out to many people and a person named Sophia at a local station KKDM managed to hear it and liked it. This lead to the arrangement of Slipknot’s appearance in the local KKDM battle of the band’s contest. The on air tournament was held every Wednesday at the Safari club in Des Moines, and spanned across several weeks beginning with the individual heats. Slipknot faced the band; Stone Sour – they won. Slipknot also defeated “Maelstrom” and “Black Caesar” who came second. Slipknot conquered all. This was one of the band’s highlights that fuelled them to their current stardom. The money from the win helped fund the heavily in debt band’s new projects and demos. The band continued the onslaught of supporting their debut Mate Feed Kill Repeat.

According to ISMIST records the distributor, there were only 1000 copies of this made and distributed by the band as a promotional tool. By this time several record companies had investigated the band, one of these being Roadrunner who felt that they should not pick up Slipknot due to their thought that the vocalist required more melody. This rejection continued and nowhere could they be signed. Sophia became their first manager due to her contacts and love for this new band. Things then seemed to get worse; Shawn bought the Safari, which took time away from the band despite being a good investment. The band could no longer play in Anders’ basement and things were falling apart. There were often tensions between Joey and Shawn and “Slipknot” had nowhere to play.

However they still managed to make it onto the bill for the local “Dotfest” in June. There they played to the largest crowd in their history, a crowd of 12 000, containing many industry people. Not only was the sound dodgy and kept going out but the crowd began to throw chicken bones on stage. At the show Slipknot came out throwing Tampons into the crowd and had several “gimps”. This was the first and last time for the “gimps”. The gimps were Frank with a gas mask, Lanny with tribal markings in liquid latex, Greg covered with liquid latex and a ball gag in his mouth and Greg’s friend Slick Rick in a latex hood. Slipknot had the original idea of having a professional stunt man, Rick, come out dressed as Shawn and then Shawn would come out and set him on fire. They had all the things to do it (for a long time it set in the cooler at Safari) but the city would not issue the permits to perform it so the event had to be abandoned.

The set ended with them being cut off and an almost riot breaking out as Andy cut open his arms and tossed CDs over the fence to the fans. Joey quit. But he reconsidered and came back. Some good things did come out of this though, their performance left a mark, they made new fans and most importantly they discovered Sid Wilson (even though they did not speak to him).

Slipknot looked for the success they were not getting and decided to enlist Corey Taylor of rival band Stone Sour, to join the line up. Joey, Shawn and Mick confronted him with the an ultimatum at his work place, “The Adult Emporium”. They said, “Join the band or we will kick your ass!” Slipknot provided an opportunity not present in Stone Sour; the band could go places. The music over image policy also appealed. Corey began practicing with the band and the first lyrics he wrote were to be used in the song, “Me Inside”. This was a very experimental move and everyone was wondering how it would turn out. This change resulted in Anders being pushed back to percussion and back up vocals. Soon this new breed of the Knot performed a show; it turned out it was a charity event for a local hospital. The Safari was packed to the brim. Corey came out wearing a large amount of makeup that gave a dark appearance, this was added to by two latex crosses marked over his eyes.

Despite this excitement the show was riddled with technical problems and was the show that resulted in Joey’s nickname, “Superball”. Their next show was on 17th September, again at the Safari. This show was a great improvement however nearly a year on from the MFKR release an announcement was to be made. Just before Slipknot were about to storm into their final song, “Heart ache and a pair of Scissors”, Anders made an announcement, “This will be my last show” he stated. This stunned both band members and the audience. Following this sudden change the band returned to the studio to re-record the songs on their second cd titled “Crowz” – minus Anders’ vocals. Of these songs included, “Gently”, “Do Nothing”, “Slipknot”, “Tattered and Torn”, “Me Inside”, “Carve”, “Coleslaw”, “Scissors”, “Windows” and “May 17th” a song written by Shawn. Crowz was to be released October 31st 1997. THE REST IS ALL HISTORY.

The camera Shoot and The Conclusion

In this live performance, the camera angle was must be putted on the right place to take the wide angle,the crowds the members of the band and everything that looks so interesting which is make the video dynamic and easy to see and understand

Surfacing

Stiil the same use a footage from the slipknot perform, but in this time I’ll give you the way how to make a video clip, read the article below :

Introduction

This article is a step-by-step guide on how to create and subsequently play a video clip file. It also chalks out a detailed process to work with pictures. It simplifies the complexity of making a video clip. The first part explains how to work with a video. With a theme and script, you can record and transfer the clips to your PC through USB or a card in case of conventional camcorder. The next part involves working with pictures wherein you record, connect and export to the format you desire. It also enlightens the user about the mix of the two, that is, the videos and the pictures. With a wide variety of user-friendly software, you’ve never had it so easy in creating a video clip.

With video/With a camcorder

The use of the camcorder requires, at a minimum, knowledge of the basic functions of the latter. An acknowledgement of this manual will help you avoid handling errors, missed shots due to the ignorance of the functions of the device. Make sure you have a charged battery before you start, you could hold a second charged battery as an adjunct.

Writing the script.The achievement of a single video clip can be based, for example, on the length (in time) from one of your favorite music.  You have therefore already have a time scale for this you are going to shoot. Choose a theme (example: flowers), your scenario will consist of an opening (beginning of the clip) and closing (end of the clip). Between the two, you will need to organize the progression of events with a taste of your inspiration. A single video clip can be based, for example, on the length (in time) of your favorite music. In this way, you already have a time scale for your shoot. You can order the progression of the clip on the basis of:

• Flower colors (color progression)
• Places (progression from flowers in cities, flowers on plains, flowers on mountains),
• Genres (daisies, roses, poppies, etc …)
• From your creativity …

Your script can be written also, and more simply, depending on the timing of your shots. RecordingWith a minimum knowledge of your camcorder, you can now make your shots. The time scale of your scenario would be limited to the duration of your chosen piece of music (eg: 5 minutes), it is advisable to conduct short-term shots (sequences) (eg: 30 seconds to take a view). You may film varied sequences to facilitate a wider choice in the quality of what you filmed. 

Acquisition

The acquisition of your clips to the PC can be done through direct connection (USB, 1394) if you have a digital camcorder. In the case of a conventional or DV camcorder, you should use a card (internal or external (USB box)) and video capture software on your handset. The software supplied with your camcorder can also fill that office (see the manual of your device).

Video composition

The video clip of a mere 5 minutes can be put together with editing software (or composition).
Once your clips are acquired on the hard drive of your computer, you still have to import them into your editing software. You can also complement your editing software with easy to use tools such as Windows Movie Maker, for example (for Microsoft).A final viewing window allows you to view the clips being mounted. Add your transitions opening (top), closure (end), and the transitions that will allow you to connect all your clips. Watch the result in the viewing window.
The duration of your video should match the duration of the music you choose.
If you are satisfied with the result, you need to export the assembly carried out in a single file video / audio.

The export will be in the format of your choice (. Avi,. Mpg,. Wmv) after appointing this file.

With the pictures

Be it pictures or graphics, the approach remains the same. Your editing software also allows you to acquire images that appear on the screen for a limited duration (eg: 5 seconds per pictures display). Import your pictures and music in the editing software.

Video composition

• Import your pictures, your music, in the editing software,
• Put your music on the “time-line” (time line)
• Put your pictures in the order of your chosen scenario.

A final viewing window allows you to view your mounting rapidly underway. Add your transitions opening (top), closure (end), and the transitions that will allow you to connect all your clips. Watch the result in the viewing window. The duration of your video from images should match the duration of the music you choose. If you are satisfied with the result, you need to export the assembly carried out in a single file video / audio. The export will be in the format of your choice (. Avi,. Mpg,. Wmv) after appointing this file.

Software to make a slideshow

There is software that allows you to compose as PowerPoint slides. Other visualization software also includes images of the “Slide-show”, in this case, you may not need to dial a montage (Irfanview software). The operating system on your computer itself can integrate this function (for example: “Picture and faxes windows” of Windows XP). Once you get a “preview” of your first launched photo, press F11 on your keyboard and your show starts.

With videos and pictures

It is now possible to mix these two techniques, and combine the pictures and videos filmed in an individual video component. So it is now possible to make the final cut from the different sequences available.

Conclusion

You are now ready to share your finished video clip, a reflection of your creativity, with family or friends online. Nowadays, easy-to-use softwares for creating videos, such as Windows Movie Maker, are easily available. Although more sophisticated software such as Adobe first exists, they are less easy to use.

 

The making of snuff

The making of snuff

In this video we can see that this is the making of a movie called snuff by the slipknot so we have o understand what is the film crew. A film crew is a group of people hired by a production company for the purpose ofproducing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. Crew are also separate from producers, those who own a portion of either the film company or the film’s intellectual property rights. A film crew is divided into different sectors, each of which specializes in a specific aspect of the production

Production

“Production” is generally not considered a department as such, but rather as a series of functional groups. These include the “front office” staff such as the Production Manager, the Production Coordinator, and their assistants; the accounting staff; the various Assistant Directors; and sometimes the Locations Manager and their assistants. The Director is considered to be a separate entity, not within the departmental structure.

Producer

A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to completion of a project.

Executive Producer

An executive producer is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. There may be multiple executive producers on a project, depending on the financing arrangements. Production Manager The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager’s responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

 

Unit Manager

The unit manager fulfills the same role as the production manager but for secondary “unit” shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.

 

Production Coordinator

The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

 

Post-production supervisor

Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant. Although this is not a creative role, it is pivotal in ensuring that the film’s Post Production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film’s budget is spent during Production, the Post Production period can often be difficult and challenging.

 

Director

The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film’s soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film’s producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

 

First Assistant Director

The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director’s discretion.

 

Second Assistant Director

The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.

 

Production Assistant

A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.

 

Script Supervisor

Also known as the “continuity person”, the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene to scene. The Script Supervisor’s notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

 

Stunt Coordinator

Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.

 

Casting Director

Chooses the actors for the characters of the film by inviting the actors to a practice for the script called an audition.

Additional production credits

Since the turn of the 21st century, several additional professionals are now routinely listed in the production credits on most major motion pictures.

 

Legal Counsel

Entertainment lawyers negotiate contracts, clear licensing rights for any intellectual property used in the film, obtain tax credits from local governments, and take care of immigration paperwork when cast and/or crew cross international borders to shoot on location.

 

Accountant

Production accountants manage the money and ensure the production comes in on budget and everyone gets paid. The industry is notorious for unusual accounting methods which are collectively labeled Hollywood accounting.

 

Insurance Broker

Due to the rising cost of computer-generated special effects, shooting on location, and A-list talent, major motion picture budgets continue to set new records each decade. As a result, most investors will not commit to financing a film unless an insurer can be found to protect them against the risk that the film ultimately cannot be released as a result of a total catastrophe such as total loss of film negatives (or digital media), death of the director or stars during production, natural disasters destroying the sets, and so on. Insurance brokers help arrange for the insurance coverage that in turn makes a production financially feasible.

 

The Conclusion

This video was created how to make a short movie and a video clip,slipknot is creative you can see it at snuff