Chords for Jean Michel Jarre on BBCs How do they do that

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How do they do that?
Questions you wanted to ask, answers we set out to get.
_ [Fm] Rowing for gold, how British Olympic champion Steve Redgrave cuts water quicker than the [Bb] competition.
[F] They're close cousins, yet we're killing them off.
How these orangutans are finding [Bb] sanctuary from a cruel world.
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What a way to treat a [Eb] motor, [F] how the testers give your new car a right [Db] going over.
And no one [Ab] can put [Eb] on a show like him, how the [Cm] incredible Jean-Michel [Fm] Jarre can turn a city into a concert [Db] platform.
All these stories and [G] more tonight [C] on How Do They Do That. _ _ _ _
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[N] _ And welcome to the last program in the present series of How Do They Do That.
And to get the show underway, well, we're scaling new heights, aren't we?
We certainly are.
The last film's about a top musician, a guy who plays to just about the biggest audiences around.
He's only given 40 concerts, but they've been attended by a staggering total of over 5 million people.
This man's imagination knows no bounds, and there's no stadium in the world big enough to contain his amazing talent.
Here's how Jean-Michel Jarre makes all the [Fm] world a musical stage. _ _ _ _ _ _ _
_ They're the biggest [Bbm] live events in the history [Fm] of music, _ _ _ _ taking audiences to dizzy heights they've [Bbm] never experienced before.
[C] _ _ _ [Fm] _ And they're all the product of the [F] amazing talents of France's most successful musical export, _ Jean-Michel Jarre. _ _
_ _ His live performances attract audiences of well over a million.
_ They're light [Fm] and sound extravaganzas that dazzle the senses and stretch the art of technology and communication to the limit.
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_ _ So how has one man managed to create such musical [Cm] magic? _ _ _ _ _
Son of composer Maurice Jarre, who wrote such classic film scores as Lawrence of Arabia,
[Gm] Jean-Michel burst onto the music scene in 1976 [F] with Oxygen, a wordless mixture of electronic [Cm] sounds.
It was a smash hit worldwide.
From the very beginning, Jean-Michel was an innovator.
_ _ When I [Gm] was 14, [Dm] 15, I used to play in rock [C] bands, and while I was studying also _ _ classical music,
I [G] discovered the first [Abm] synthesizer, and it gave me this idea of considering music also [A] in [Ab] a totally different [Cm] way. _
Technology [G] gave him the new sounds.
His imagination supplied the amazing visual elements [Ab] of these early videos.
_ _ [Fm] _ _ But how did this musical [G] chef start cooking up feasts for both the ear and the eye?
_ _ [B] I used to paint [Cm] a lot and also to make music a lot.
And [Gm] for me it was almost the same thing to create a [F] sound or to create a graphic.
_ Then naturally it came to me that I would like to combine both in an art form.
_ _ _ By the [C] late 70s, Jarre was creating new instruments that not only sounded stunning, but looked stunning as well.
[G] His light organ and [Fm] his famous laser harp. _ _
Here a [Db] keyboard is attached to lasers that trigger notes when the light beam [Bbm] is broken by his [Bb] gloved hands. _ _ _
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_ _ [Fm] _ _ But he was always seeking even more [Db] spectacular ways of reaching his audience.
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_ [Cm] And in 1986, after a string of successful albums, Jean-Michel [D] decided to stage the world's biggest ever concert in Houston, Texas.
It took over 12 months to organize, [Gm] but he planned to create a show that would go way beyond the bounds of any other rock concert
by actually taking over the city itself.
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_ _ _ _ Well, it's being called everything [Fm] from the show of shows to the biggest concert in history.
And officially it is known as Rendezvous Houston, a laser and light show that's [Gm] going to use downtown buildings [C] as the stage. _
_ _ _ It was visible up to 20 [Cm] miles away and used over [Fm] 60 skyscrapers.
[C] Houston launched a new [Fm] stage in Jarre's amazing career.
Now [E] other city skylines will [Dm] become living backdrops.
[A] I like using architecture in [Dm] my performances because I like [A] the idea of _ hijacking [Dm] a city or a building.
[D] And maybe to [Gm] give to a building [D] a soul or [Gm] _ almost a kind of [B] consciousness.
And to [Em] _ [G] also change the way [C] you consider your [Fm] environment.
And I think it's what music and [C] performance should [Fm] provide to the [Cm] audience. _ _ _ _ _ _
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In 1995, [Eb] the hijack continued in Paris at the Eiffel Tower with [Am] Jarre's Concert for Tolerance, his most [Gb] spectacular display ever.
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[D] But his [Db] obsession to extend [A] both his stage [G] and his [Gb] audience never stops finding new channels. _ _ _
_ [G] And now Jarre's [A] fans [B] across the world can [A] even [G] participate in his concerts [Gb] on the [B] Internet, in cyberspace.
_ _ My [Em] performances are not trying to compete with movies or with TV.
[F] But just my idea is just to give to the audience [Fm] some visual elements that you can build and [Bbm] arrange for your own movie.
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_ [Bbm] What I hope I'm trying to achieve [Fm]
is to try to _ make people share [Bbm] the same emotions at the same time.
[Fm] With the idea that it's not going to be repeated again.
_ They are living together a unique moment specially created for them.
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_ And these unique moments will continue. _
Created by the [C] staggering imagination of the man whose [Fm] music really does light up the world.
Jean-Michel Jarre. _ _ _ _ _
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