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Welcome To The Other Side - Jean-Michel Jarre New Year Eve’s concert at Notre-Dame in VR


Post Posted Tue Dec 22, 2020 11:54 am
Kanta
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#MarieDeParis#JeanMichelJarreAn exceptional virtual concert at Notre-Dame for the passage in 2021 ⁦@jeanmicheljarre⁩ is my guest today on@Tv5mondein full preparation for a concert worthy of his greatest shows that have marked history ⁦@Anne_Hidalgo

Source:
Jarregirl YouTube
Concerts attended:
Théâtre Marigny, Paris - 2007
Symphony Hall, Birmingham - 2008
RAH, London - 2008
Wembley Arena, London - 2009
NIA, Birmingham - 2009
POP Bercy, Paris - 2010
NIA, Birmingham - 2010
O2 Arena, London - 2010
Zénith Aréna, Lille - 2010
Port Hercule, Monaco - 2011
TUI Arena, Hannover - 2011
Festival International de Carthage - 2013
Barclaycard Arena, Birmingham - 2016
Post Posted Tue Dec 22, 2020 11:58 am
Dr_Jones


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Looks like his PR tour starts today.
Post Posted Tue Dec 22, 2020 6:59 pm
Dr_Jones


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The Radio FG item was a very short talk about the concert.
Post Posted Tue Dec 22, 2020 10:19 pm
Dr_Jones


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Trailer #2
Post Posted Wed Dec 23, 2020 3:56 am
Velodynamic


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Kosinski's version of Oxygene part 2

"The worst thing in any form of art is to be betrayed by your own habits."
- JEAN MICHEL JARRE
Post Posted Wed Dec 23, 2020 5:12 pm
rinogurr


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Kanta wrote: Tue Dec 22, 2020 11:54 am #MarieDeParis#JeanMichelJarreAn exceptional virtual concert at Notre-Dame for the passage in 2021 ⁦@jeanmicheljarre⁩ is my guest today on@Tv5mondein full preparation for a concert worthy of his greatest shows that have marked history ⁦@Anne_Hidalgo

Source:
Today:

Post Posted Wed Dec 23, 2020 6:29 pm
rinogurr


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Post Posted Wed Dec 23, 2020 7:10 pm
Jote


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Velodynamic wrote: Wed Dec 23, 2020 3:56 am Kosinski's version of Oxygene part 2

It was already posted in this thread. The version that will be played on WTTOS is different (it's clearly audible, there's eminent and mellotron, which Kosinski's raw remix doesn't have). It's a "JMJ rework of Kosinski Remix" - that's what Shazam returns. Also in this thread a couple of posts back https://zoolook.nl/forum/viewtopic.php?p=206723#p206723
Post Posted Sun Dec 27, 2020 9:14 am
Kanta
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The Times Weekend - 26/12/2020
Jarregirl YouTube
Concerts attended:
Théâtre Marigny, Paris - 2007
Symphony Hall, Birmingham - 2008
RAH, London - 2008
Wembley Arena, London - 2009
NIA, Birmingham - 2009
POP Bercy, Paris - 2010
NIA, Birmingham - 2010
O2 Arena, London - 2010
Zénith Aréna, Lille - 2010
Port Hercule, Monaco - 2011
TUI Arena, Hannover - 2011
Festival International de Carthage - 2013
Barclaycard Arena, Birmingham - 2016
Post Posted Sun Dec 27, 2020 9:16 am
Dr_Jones


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https://www.thetimes.co.uk/article/jean ... -qnhqszzp5
Paywall link, so here's the full transcript and a link to the archived page:
https://archive.is/Pv2Y3#selection-794.0-925.527


Jean-Michel Jarre, the electro-whizz of Notre Dame

The electronic composer Jean-Michel Jarre tells Sarfraz Manzoor how his avatar will play live in the cathedral on New Year’s Eve
Jean-Michel Jarre explains how his avatar will play live in the cathedral on New Year’s Eve
895d38190916afffd6d85bfdd7001b8f2a788bc6.jpeg
Jean-Michel Jarre at Microsoft theatre in Los Angeles in 2017
MOVIESTORE/REX/SHUTTERSTOCK

Sarfraz Manzoor

Saturday December 26 2020, 12.01am GMT, The Times

Jean-Michel Jarre is recalling the dream that changed his life. It was 1976, Jarre was 28 years old and he had spent the previous ten years making music with little success. The Frenchman often heard music in his dreams, but on this particular night he dreamt he saw and heard five musical notes hanging suspended in the air. The notes would become instantly recognisable as the signature motif for his album Oxygène.

The record, which featured a cover of planet Earth peeling to reveal a skull to emphasise Jarre’s concerns about climate change, was released in December 1976 and would go on to sell about 15 million copies. It turned Jarre into a superstar of electronic music.

“It’s almost like I was not responsible for it,” Jarre recalls via Zoom from his home in Paris. He is wearing dark glasses despite being indoors, and at 72 he could easily pass for 20 years younger. “I had this conversation with Paul McCartney when we had Christmas together with our families and he was talking about how Yesterday came to him in a dream. It’s scary that you feel like you’re not really responsible.”

Oxygène was followed by other landmarks of electronic music — Équinoxe, Les Chants Magnétiques and Rendez-Vous — that have sold in total in excess of 80 million albums.

Jarre, who has been married four times including a 20-year marriage to Charlotte Rampling that ended in 1997, became associated with ever more spectacular live shows in front of gigantic crowds. He was the first western performer to be invited to perform within the People’s Republic of China and when he played at Place de la Concorde in Paris to celebrate Bastille Day in 1979 the audience of a million earned him a place in The Guinness Book of Records. He would later top his own record with 2.5 million attending a show in Paris in 1990 and 3.5 million seeing him in Moscow seven years later.

These are unimaginable numbers — how did it feel to play to such a large crowd? “I was at the bicentennial of the French Revolution and two and a half million people were there,” he says. “I remember turning my back to make sure that it was not a mistake — that it was not someone else they were all looking at.”

The notion of such a massive crowd is particularly unimaginable in this time of Covid but Jarre, ever the innovator, is embracing the possibilities of virtual reality for Welcome to the Other Side, a New Year’s Eve concert in Paris. Jarre will be in a studio close to Notre Dame and multiple VR cameras will film him performing a 45-minute set featuring music from his recent album Electronica as well as new reworked versions of his classics Oxygène and Equinoxe. The footage will be converted in real time into an avatar version of Jarre who will appear inside Notre Dame cathedral. Viewers can watch on a normal screen as they would a filmed live performance, but also by putting on a VR headset they can walk into Notre Dame, stand where the audience would normally be and see Jarre on stage in front of them. The performance will be free to view and available for replay for 24 hours.

My assumption, based on this past year, is that anything with the word “virtual” attached to it is likely to be a crushing disappointment. Jarre doesn’t see it quite like that. “I think VR today is exactly what the cinema was at the beginning of the 20th century. It is a new mode of expression. It’s never going to replace the excitement of shoulder against shoulder at a music festival, but people who are isolated socially or geographically can gather through their avatars in a VR world,” he says. He recalls his first VR performance two years ago. “I was on a stage playing, but when I put my VR goggles on I was in front of an audience — one guy was from Louisiana, one girl was from Shanghai, one guy was in Manchester, one guy was from Chile and we were all in the same room and within five minutes I had forgotten that these guys were avatars with the heads of foxes, dogs and cats. It felt like being in contact with a new dimension.”

The first time Jarre felt that feeling of new possibilities was when he was ten years old. He was living in Lyons, his parents had split five years earlier and his father, Maurice, a composer for films, had left for America. Jarre was given a tape recorder by his grandfather. “I would spend hours on the balcony in Lyons recording the sound of the street, and then by chance one day I played the tape backwards and, to me, I thought that an alien was talking to me. And from that I started to be obsessed with changing sound.”
6a1fd8afa6a651a9f6db18982d08d6c19a7fb894.jpeg
Jarre’s first concert at Place de la Concorde in Paris on Bastille Day, 1979
DOUGLAS DOIG/HULTON ARCHIVE/GETTY IMAGES

Jarre studied classical musical composition and briefly fronted a proto-punk band called the Dustbins before becoming fascinated with the possibilities offered by electronic music. “I was always interested in trying to create a bridge between experimental music and pop, and I have always loved the idea that simplicity can hide melancholia and sadness.” It was while dwelling on that link between melody and melancholia that Jarre had the dream that led to the recording of Oxygène.

The first time I heard that album was when my English teacher Mr Dawson at the Luton comprehensive I attended told us he was going to play some music and we had to write a story inspired by it. This was in 1985, I was 14 and that lesson turned me into a Jean-Michel Jarre fan. “That’s a great honour for me,” Jarre says when I relate that memory. “It’s an approach to culture — to music in particular — that unfortunately the French don’t have. France is more a country of cinema and literature — less music.”

This makes the fact that Jarre and his father achieved international recognition so remarkable. “It’s very rare to have one French musician in a family having an international career,” Jarre says, “but to have two in the same family is surreal.”
Maurice and Jean-Michel had a troubled, distant relationship. “We were like vague friends, it was detached.” When his father died in 2009 Jarre recalls standing over his dead body and saying: “I forgive you. Forgive me for not being able to be loved by you.”

Jarre remembers that the Italian film director Federico Fellini once told him that all his life he thought he was making different movies, but he finally realised he had been making the same movie. “Paul McCartney is a dear friend and I really love him a lot,” Jarre says. “But whatever he does he will not escape from himself. He always writes the same song.”

A virtual reality concert such as the one on New Year’s Eve is very different from his traditional live shows — except it is not. “I was up until five o’clock in the morning working with my lighting designer and some graphic artists and some people in the studio. It is exactly as if I was preparing my next tour. It’s the same thing,” he says.

The night before Oxygène was released in December 1976 the Sex Pistols appeared on British TV where they swore on live television, prompting the infamous headline “The filth and the fury”. The heavily produced synthesized music of Jarre and the raw guitar sound of punk might appear to share little in common, but both, Jarre notes, were focused on the future. “Punk was saying there is no future — and I was more saying, ‘What future?’ ”
Jarre is still looking forward — and wary of nostalgia. “I’m not interested in the past,” he says, “the trigger for me is to explore something new. My appetite and curiosity for VR is the same as the one when I was ten years old and playing with my tape recorder.”

I remind Jarre of that earlier Fellini quote. What was the story of his movie? “I think I was just always trying to push boundaries and being more interested in tomorrow than yesterday and to have a relationship with my own dad.”

That his father composed scores for films such as Lawrence of Arabia, A Passage to India and Doctor Zhivago has led Jarre to deliberately avoid composing for movies. Yet when I asked Jarre to describe his approach when creating music he tells me that he “always considered that when I’m writing some music I’m writing the soundtrack of the story that somebody can create by listening to the music”.

It seems rather sad that you deliberately avoided composing film soundtracks because you felt it was your father’s territory, I say. He nods. “After a while, you realise that you can never escape from your heritage. Instead of writing soundtracks for movies, I wrote soundtracks for people.
Jean-Michel Jarre’s Welcome to the Other Side live performance starts at 10.25pm GMT on December 31. Viewers can watch on any device, or in virtual reality from jeanmicheljarre.com. The full audio of the performance will be available immediately afterwards on all streaming platforms
Post Posted Sun Dec 27, 2020 10:43 am
Jote


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There's a new trailer on the official FB page, containing the new Oxygene 4. As predicted from that short 1 sec rehearsal snippet it's pretty terrible. The main melody is almost lost. I like the new O2, but this is really meh.



And once again it seems to be not JMJs work, but am "adopted" remix

Post Posted Sun Dec 27, 2020 11:25 am
Robi83


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This is crap this way.
Post Posted Sun Dec 27, 2020 11:41 am
Dr_Jones


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The snippet from the trailer sounds better than the full thing. Oh my...
Post Posted Sun Dec 27, 2020 4:08 pm
Jote


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So let's SPECULATE (luckily it's still allowed on this forum) about the setlist. Run-time is said to be similar to the previous event, it's supposed to be EDM focused as well and we've seen some rehearsals:

Coachella Opening will likely replace the unnamed opening track
Oxygene 2 (heard on rehearsals, trailer) probably replaces Azimuth
Oxygene 4 (heard on rehearsals, trailer)
Herbalizer (heard on rehearsals)
Zero Gravity (heard on rehearsals)
Architect (heard on rehearsals)
Oxygene 19 (heard on rehearsals)
Stardust (included in trailer)
Alone Together - not sure, probably will be there, we've heard the opening chords in one of the rehearsals. The opening has a "celebratory/triumphant" feel so I wouldn't be surprised if it's played at midnight CET
Exit - unknown, probably so.

Not much room for anything else, even though we were promised "Oxygene and Equinoxe" I doubt we're going to hear anything from the latter (unless Exit gets booted, but I doubt it)
Post Posted Sun Dec 27, 2020 4:17 pm
Adam


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I heard this remix a couple of years ago & I think it is horrible.
I really do not like these Oxygene 4 remixes that do away with the triplet rythmn, for me Oxygene 4 does not work with a 4/4 time signature.
However the remix of Oxygene 2 is not bad, I think JMJ's version will be better than the 9 minute version.
And now to find out what remix of Equinoxe he is going to play, my money is on one of the Equinoxe 4 dance remixes.
I really hope he boots out Exit, I'd rather hear an Equinoxe 4 dance remix than that.







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