Monday, April 30, 2012
Saturday, April 28, 2012
Thursday, April 26, 2012
Wednesday, April 25, 2012
Monday, April 23, 2012
Sunday, April 22, 2012
Saturday, April 21, 2012
Wednesday, April 18, 2012
Tuesday, April 17, 2012
Monday, April 16, 2012
Sunday, April 15, 2012
Friday, April 13, 2012
Wednesday, April 11, 2012
Beach House - Myth
Beach House Myth Lyrics
Drifting in and out
See the road you’re on
You came rolling down the cheek
You say just what you need
And in between
It’s never as it seems
Help me to make it
Help me to make it
If you built yourself a myth
You'd know just what to give
What comes after this
Momentary bliss
The consequence
Of what you do to me
Help me to make it
Help me to make it
Found yourself in a new direction
Aeons far from the sun
Can you come?
Would they come to breach you?
Let you know you’re not the only one
You can’t keep hangin' on
To all that’s dead and gone
If you built yourself a myth
You'd know just what to give
Do you lie?
Oh, let the ashes fly
Help me to make it
Help me to make it
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Tuesday, April 10, 2012
Sunday, April 8, 2012
Artist : T.I. Title : Love This Life
Song Lyrics
i know it can get kinda tough sometimes you know
i know you can kinda get carried away with yourself
but err, why dont you be real with me and be real with you at the same time
you can’t get what you get here no where else ma
keep it real now
[hook]
you know, you know (you know you love this)
you know you love this life
don’t nobody do you like me
you know, you love
you-you know you love this life
don’t nobody do you like me
you know
[verse 1]
cavalli dress and high heels
and drop tops on hot wheels
we live how we wanna live cause we got mills
them other barely barely buy a hot meal
in vip dem bottle poppin’ do it b.i.g.
come get with t.i.p be ballin’ til you d-i-e
a dozen bracelet see clearly
take away your stress mean that sincerely
problem solve ‘em, nevermind that
girlfriend see your bag, be like “where you find that?”
plus, whats a whats a pre-nup you aint got to sign that
you up take half, i’mma make it right back
i’ma hustla hustla to the heart
whats the sense in leaving me and be back with them with-them busters
bentley for your birthday, guiliard purse day
deal with them stacks know you gotta love that
[hook]
[verse 2]
man of respect on a big jet
with a big big and a big check
i pop big shit, how good does it get
ya leave me, where else you think you could get this?
yeah, you could get another guy to beat that beat that for ya
them busters cowards though, and i’ll take a bullet for you
mansions, jewelry all i need is for you and me to have some understanding
have a couple candid conversations
your frustrations i take in consideration
i’m rough around the edges, dont bat with me and be patient
and you’re sadly mistaken if you think i’m into chasing
my heart is rsvp i’ve extended an invitation
and dont go wasting your time with what they saying online
your positions divine, don’t believe look around
i got a strong mind and kind heart
with a soft kiss but i love her
[hook]
[bridge]
don’t you love this life like i love you
anything you could ask, do it for you
drop jags, berkin bags, louboutin heels
summer homes in miami, hollywood hills
vacation in monaco
on the french riviera with our feet up
our lifestyles so rare, you know you aint going no where
[hook]
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5 April 2012 -- Top 10 Songs of the Week
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Why Does Music Make Us Feel?
As a young man I enjoyed listening to a particular series of French instructional programs. I didn’t understand a word, but was nevertheless enthralled. Was it because the sounds of human speech are thrilling? Not really. Speech sounds alone, stripped of their meaning, don’t inspire. We don’t wake up to alarm clocks blaring German speech. We don’t drive to work listening to native spoken Eskimo, and then switch it to the Bushmen Click station during the commercials. Speech sounds don’t give us the chills, and they don’t make us cry – not even French.
But music does emanate from our alarm clocks in the morning, and fill our cars, and give us chills, and make us cry. According to a recent paper by Nidhya Logeswaran and Joydeep Bhattacharya from the University of London, music even affects how we see visual images. In the experiment, 30 subjects were presented with a series of happy or sad musical excerpts. After listening to the snippets, the subjects were shown a photograph of a face. Some people were shown a happy face – the person was smiling - while others were exposed to a sad or neutral facial expression. The participants were then asked to rate the emotional content of the face on a 7-point scale, where 1 mean extremely sad and 7 extremely happy.
The researchers found that music powerfully influenced the emotional ratings of the faces. Happy music made happy faces seem even happier while sad music exaggerated the melancholy of a frown. A similar effect was also observed with neutral faces. The simple moral is that the emotions of music are “cross-modal,” and can easily spread from sensory system to another. Now I never sit down to my wife’s meals without first putting on a jolly Sousa march.
Although it probably seems obvious that music can evoke emotions, it is to this day not clear why. Why doesn't music feel like listening to speech sounds, or animal calls, or garbage disposals? Why is music nice to listen to? Why does music get blessed with a multi-billion dollar industry, whereas there is no market for “easy listening” speech sounds?
In an effort to answer, let’s first ask why I was listening to French instructional programs in the first place. The truth is, I wasn’t just listening. I was watching them on public television. What kept my attention was not the meaningless-to-me speech sounds (I was a slow learner), but the young French actress. Her hair, her smile, her mannerisms, her pout… I digress. The show was a pleasure to watch because of thehumans it showed, especially the exhibited expressions and behaviors.
The lion share of emotionally evocative stimuli in the lives of our ancestors would have been from the faces and bodies of other people, and if one finds human artifacts that are highly evocative, it is a good hunch that it looks or sounds human in some way.
As evidence that humans are the principal source of emotionality among human artifacts, consider human visual signs. Visual signs, I have argued, have culturally evolved to look like natural objects, and have the kinds of contour combinations found in a three-dimensional world of opaque objects. Three-dimensional world of opaque objects? Nothing particularly human about that, and that’s why most linguistic signs – like the letters and words on this page – are not emotionally evocative to look at.
But visual signs do sometimes have emotional associations. For example, colors are notoriously emotionally evocative, and arguments about what color something should be painted are the source of an alarming number of marital arguments. And “V” stimuli, such as that yield sign on the street, have long been realized (within the human factors literature) to serve as the most evocative geometrical shape for warning symbols. But notice that color and “V” stimuli are plausibly about human expression. In particular, color has recently been argued to be “about” human skin and the exhibited emotions – which is why red grabs our attention, since it's associated with blushing and blood - and “V” stimuli have been suggested to be “about” angry faces (namely, angry eyebrows).
Which brings us back to music and the Logeswaran paper. Music is exquisitely emotionally evocative, which is why a touch of happy music makes even unrelated pictures seem more pleasant. In light of the above, then, we are led to the conclusion that the artifact of music should contain some distinctly human elements.
The question, of course, is what those elements are. One candidate is our expressive speech – perhaps music is just an abstract form of language. However, most of the emotion of language is in the meaning, which is why foreign languages that we don’t understand rarely make us swoon with pleasure or get angry. That’s also why emotional speech from an unfamiliar language isn’t featured on the radio!
But there is a second auditory expressive behavior we humans carry out – our bodily movements themselves. Human movement has been conjectured to underlie music as far back as the Greeks. As a hypothesis this has the advantage that we have auditory systems capable of making sense of the sounds of people moving in our midst – an angry stomper approaching, a delicate lilter passing, and so on. Some of these movements trigger positive emotions – they conjure up images of pleasant activities – while others might be automatically associated with fear or anxiety. (The sound of running makes us wonder what we’re running from.) If music were speech-driven, then it is missing out on the largest part of speech’s expressiveness – the meaning. But if music sounds like human expressive movements, then it sounds like something that, all by itself, is rich in emotional expressiveness, and can be easily interpreted by the auditory system.
Regardless of whether music is emotional intonation from speech or a summary of expressive movements – or something else altogether – the new research by Logeswaran and Bhattacharya adds yet more fuel to the expectation that music has been culturally selected to sound like an emotionally expressive human. While it is not easy for us to see the human ingredients in the modulations of pitch, intensity, tempo and rhythm that make music, perhaps it is obvious to our auditory homologous.
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