Was Mariah Carey alles so für seltsame Forderungen stellt, hat der Spiegel jetzt aufgelistet. Wirklich verrückt – und das sage ich als Fan, der bis zu Daydream alles an ihr toll fand. Naja, ich war jung…

I followed her as she wandered cluelessly back to her home, back to a bedroom filled with burgundy and golds and other rich tones that made it look primed for royalty. My Grandmother couldn’t remember who she was. Senile. A state of confusion. She was beautiful though, old but with long locks of golden blonde hair. I got the feeling he’d spent his life trying to help her remember- remember her life. Or her lives. I was there, unsure as to why she lived in this daze- but then he gave me a look of understanding and sat me down at an old vanity. It was white washed wood with light turquoise trim and sitting on top was an old fashioned hair brush and a music box that had “Margot” written across it in plain block letters. I tilted my head up into the mirror and like I was fast forwarding a movie I saw it all there. My face didn’t change but as all of my lives, all of her lives, all of his lives passed through my mind, the hair on my head changed in the mirror like I was changing wigs. I didn’t really see it all play out as much as I was hit with a sudden knowing of what had happened. Time was no factor in this world. A sudden understanding that yes, he had spent all his lives longing for her, taking care of her, and we were now in this in-between world and he was trying to help her remember it all so they could finally go off into eternity together. She could look in the mirror and remember, but she couldn’t hold onto it once she looked away. Not yet, anyway. Perhaps she wasn’t ready. I looked at her, beautiful and delicate, lying in her canopy bed, and then I nodded at him with understanding- and woke up.

Except that I was never really asleep. Or… I was, but I was in that in-between state, where you know you’re dreaming but you know darn well you aren’t creative enough to make this crap up even in your subconscious.

I had to write it down before I forgot.

I’ve been thinking of getting a tattoo to memorialize my Grandmother- you know how close we were. A few months ago I found this one on the internet with a Forget-Me-Not (her favorite flower) that says, “You know that place between sleep and awake, the place where you can still remember dreaming? That’s where I’ll always love you… That’s where I’ll be waiting.”

Do you believe in the afterlife? Do you believe in reincarnation, in past lives? In soul mates? 

My borders are grey, but I do. I always did I suppose.

Music rock your soul!

Músicas para agitar sua semana, sua primavera; inspirar vida. Com cor e som, out loud!!!!

Ke$ha - Tik Tok
Shakira – Did it again
The Pussicat Dolls – I hate this part (remix)
Natiruts e Claudia Leitte - Sorri, Sou Rei
Seu Jorge – Pessoal Particular
Britney Spears – 3
Corinne Bailey Rae – I’d like to
Joss Stone – Free Me

Is Google changing from a “neutral” search provider, to the most influential provider of online music?

Is this influence going to enable Google to control the music industry thought their new Music Box?

Google, music and search
The Google music search endeavor a partnership between Google, MySpace, Lala, and several others (?) to make music search and discovery a primary feature of Google.

When using the search facility in Google music box you’ll get more than a return of track listings and URL where to find them; you will be offered audio streaming, one-click purchase options from iLike, MySpace and Lala, plus exclusive content from artists.

This is sure to have implications for the music industry. Consumers like me is already search for songs, artists, and lyrics and have done so for a long time. But the immediate click-to-listen and buy that Google now provides, is just how I imagined it would be back in 2000 when I started in the online music business. Search results that includes streaming audio tracks and all-you-can-eat downloads directly to the mobile phone and PC’s. It’s well worth noticing that Lala and iLike’s will be offering the music and not iTunes or other online music sites.

With some 60% of the consumers are using Google as a starting point when online, Google Music Box are changing overnight from a “neutral” provider of information, to the most influential provider of online music.

Google, music and influence.
Take the consumer based data Google has accumulated from music searchs, combine it with Google’s new Music Box, where consumers are listening to and/or buying from search results – and you have an extremely powerful influence over what music we are listening to.

With Google’s growing knowledge of what music searchers are looking for, – combined with what they are buying, and presto – you have a full lifestyle analysis to be used alongside Google’s trends.

In addition to a comprehensive data set that can be used for music industry analysis.

More importantly a data set that will be used for marketing purposes. Put that knowledge to good use in advertising on mobile devices – and it will be the ultimate “one-shot-one-kill” marketing tool. Consequently it will give Google a higher price from their advertisers and attract more advertisers.

I believe that the Google Music Box is ending the perception of Google’s famous “don’t be evil” mantra and we now see Google in the hands of another culture than the one Page and Brin started.

Coincidence – I think not!

That Google bough the mobile ad firm AdMob at the same time it launched the new service Music Box, is no coincidence…

Actually it makes perfect sense! By combining consumer profiling based upon music and online behaviour with targeted mobile advertising – Google has multiplied advertising accuracy and given the advertising professionals an unparalleled ROI.

Thor

Tiếng nhạc nhẹ nhàng vang lên từ iphone music box…

Em lại nhớ anh vì em đã từng tặng anh chiếc hộp nhạc trong chuyến đi du lịch Singapore tháng trước.

Em cũng chẳng biết anh có nhận được món quà em tặng anh không vì cho đến giờ anh cũng chẳng nói gì về nó, thậm chí một lời cảm ơn cũng không có.

Em buồn lắm. Buồn quá đến chẳng biết được mình sẽ làm gì.

Cuối tuần là một khoảng thời gian kinh khủng của em. Không có ai để chia sẻ, một mình trong cô đơn lặng lẽ…

Như chiếc hộp nhạc kia, mãi vang lên một âm thanh nhẹ nhàng nhưng không bao giờ thay đổi được bài hát khác. Em cũng vậy, bài hát cô đơn sẽ theo em suốt một đời anh có biết không anh?

¡¡Este cuadradito amarillo es genial!! Buen rollo para empezar el viernes. Por si a alguien le interesa, el tema es “Sweet victory“ de David Glen Eisley, todo un himno épico donde los haya.

In a new duet single reuniting the hilarious Ngo Kien Huy and Dong Nhi couple titled “Nghi Ngo/Suspicions“, Justin Nguyen was also featured with his own little rap number.

@ 2:14

So this is what he returned to the motherland for?

To continue making random no-flow raps? When will the boy just get that there are certain people in this world who were blessed with an attractive “rapping” voice, and then….well…there are the unfortunate others who no matter how hard they try, would only end up sounding like a ghetto Miley Cyrus.

But hey, god forbid Music Box really knows what’ they’re doing anyway. With Ngo Kien Huy as their main cash cow and Thanh Thao as the company’s backbone, a failing music label is probably at the least of their worries.

(clicky) Quiet Storm (album download) (clicky)

Here’s part 3 of the track walkthrough for my new album Quiet Storm.  Enjoy, download the album if you haven’t heard it (at the link above or the one at the foot of the page) and find parts 1 & 2 of the track walkthrough too, if you haven’t read those.

12. Rain (Interlude)

This was nothing more than a simple segue between “Quiet Storm”, and the literal idea of a storm, and the next track, “Jump Off (Part II)” which has a very dark, sad feel.  I thought that the rain was effective, atmospheric, and also reminds me of the interludes on Janet Jackson’s janet. album where there would be short, simple interludes of rain and wind which would keep the mood flowing.

13.  Jump Off (Part II)

This song is another of my favourite songs on the album, and is one of the more personal tracks also.  Lyrically, it discusses feeling like even when you fall for people, they can tell you the nicest things but by next week, you’re old news and they’re onto the next.  It’s about feeling used, even if you were down for it at the time, but realising that just because someone tells you that you’re beautiful or that they love you, doesn’t mean they mean it.  So in the song, I’m wondering whether even in all my dalliances over the past couple of years, I’ve let my heart get hurt all the time when it was just about sex and I should have just focused on the fun.  Musically, I like the combination of the deep beats and the music box / piano over the top, which gives it a combination of darkness and fragility.  Originally, the song was going to be a straightforward R&B ballad (and you can hear a snippet of the original version on my High Fashion mixtape), but having heard The-Dream’s original version of Mariah Carey’s “H.A.T.E.U.” (as well as the snippet of her version, on the fantastic Memoirs Of An Imperfect Angel) I was inspired to totally revamp the track, restructuring the lyrics somewhat as well as making the music much more R&B and much more emotional and sensitive.  I think it worked, and I was so pleased with the way that this track turned out.

14. Devastate Me

This song is based on a track that is allegedly an instrumental from Britney Spears’ Blackout sessions (IMO, her best album along with In The Zone), since I found it on a mixtape with lots of other songs.  If you listen closely in the background, then you can hear what sounds like tiny snatches of Britney’s voice once or twice.  Anyway, I liked the dark, intense feel of the track, along with its pulsing beats and menacing strings, so I just decided to write some lyrics over the top of it.  The idea of feeling devastated seemed to go with the dramatic nature of the music, and lyrically the song speaks about somebody having you wrapped around their finger, and even though you might be in love with them or have formed some attachment to that person, you still know that they’re not necessarily good for you, and at any moment they could let you down or leave you in the dust, and you’ve put so much effort into loving them that you’re left with nothing – devastated.  The idea of knowing this is where the line “you done tricked me twice so the shame is not on you” comes in – you know exactly what you’re letting yourself in for, you just can’t make yourself resist, however hard you try.  It’s a tricky and intense situation!

15. Kissing You

This song was a really happy accident!  Some of the tracks on here took months of planning and development to come to fruition production-wise, whereas this took maybe a day or so.  I remember waking up in the morning and just having the refrain “Kissing you…. all I can think of is” going round and round in my brain.  One of the songs that inspired the whole nocturnal, R&B/dark concept of the album (when I was deciding what kind of feel I wanted to explore for my next project) was the track “When We Kiss (Missing You)” by an old girl group, Solid Harmonie, which I used to listen to when I was about 13 or 14!  So I doubt many people will recognise the sample of that song, which is what this track is based upon.  The deep, sparse bass and Japanese martial-arts type yell are from that song, as well as the bridge (which sneakily uses the girls’ vocals as backing, while I sing over the top).  I accentuated the oriental aspect of the production by adding some piano and shamisen to the mix, as well as extra beats towards the end.  I wanted the song to be mysterious, as its about an obsession that you can’t explain or logically untangle, but something that you can’t resist and just have to follow.  It’s where your heart rules your head, be it through lust or love.  The song is focused on the physical (a kiss) but also the emotional, of a love arriving when you least expect it and taking over your world.  The negative (as explored in “Jump Off (Part II)” and “Devastate Me”) ceding to the positive (this song and the next).  Love triumphing.  This song is one of the sexier songs on the record, even though it’s not really about sex.  It’s one of my favourites too, as it really has that mysterious, nocturnal feel that I wanted to be the overarching theme of the album.  It’s subtle, yet intense.

16. In Love

Like the last track, this song is largely built upon a girl-group sample.  In this case, it’s Mis-Teeq’s “It’s Beginning To Feel Like Love”, which was an album track from Eye Candy.  I liked the spacey feel of the song (a track that didn’t make it into the album or the mixtape was actually called “Space”), and I wanted to write a ballad that was very chilled, that you could relax to.  I said that I thought “Secret” was possibly the most romantic track on Quiet Storm, but perhaps this gives it a run for its money.  It’s just about how happy love can make you feel, and how unexpected the intensity of that happiness can be.  It’s about feeling untouchable in the midst of love, and about all your pain being healed by your feelings for that other person, and their reciprocation of those feelings towards you.  It’s a very optimistic, healing track lyrically, and the calmness of the production adds to that.  I added in some piano (again!) in the bridge to give it a little extra kick towards the end.

17. Come Home To Me

For me, this track is definitely going to be a single from Quiet Storm.  It’s very short and sweet, very immediate, and the beat is quite reggae-inspired, despite the overall feel of the production being straightforward R&B/pop.  The thunder rumbling at the very start of the song fits in with the overarching idea of a “Quiet Storm”, but it also represents the lyrical motif of the song, saying that although we had storms in the past, it’s time to get over it.  It’s about a lover who may have been unfaithful or made mistakes, so you had a bust-up, but now you’re ready to forgive them and give things another try.  It’s about recognising that sometimes, even though we may try to be strong and independent, ultimately we have to forgive someone’s transgressions and not cut our nose off to spite our face.  That’s not always the right message, and sometimes someone may do something too serious to be able to let them back in.  But when it’s the little things that cause a breakup, with time you can see whether it’s really worth being alone or whether it’s better to forgive and make up.  The song steals from Rihanna’s “Umbrella” towards the end, with the “forever ever ever eh eh eh” at the end – that was just a little bit of fun!  The backing vocals in the second verse are also inspired from a nu-classic Janet Jackson track, “Take Care”, from her 20 Y.O. album, which IMO is one of her best works and seriously underrated – another track which infused the concept and production within my album.

The final part, iv, coming soon!  Keep it locked, and thankyou all for the support once again.

(clicky) Quiet Storm (album download) (clicky)

Escucha Echo

¿Qué será lo siguiente, que Rihanna entone dos notas seguidas? La ex-yegua del pop (ahora convertida en un precioso caballito de mar) se ha marcado un disco tan intrascendente como resultón. Muy pop, muy Vonda Shepard. A pesar de haber tenido la coña de cantar una de las mejores canciones de los 2000, todo el mundo criticó que Spirit, su primer disco, fuera una estupidez llena de descartes de Lara Fabian. Pero esta vez Leona ha contratado mejores productores se ha esforzado más y hay que reconocérselo.

Tampoco es que Echo vaya a cambiar la historia de la música (Blackout solo hay uno), pero tiene dos cosas a su favor: no hay raperos y Leona es una cantante muy solvente. Quizá solo valga para cantar sintonías de anuncios, quizá su popularidad sea inmerecida, pero su nuevo disco es agradable, no molesta y a la espera de comprobar su nivel de intrascendencia (probablemente alto), es una bonita sorpresa.

Evidentemente hay mucha balada, y luego hay canciones que empiezan lentas pero que transgreden todas las reglas para convertirse en un frenético medio tiempo sin control. Ella tampoco es que se inmute, todo lo canta igual. Al final te quedas con las sensación de que has oído una canción muy muy larga, mención especial para la maravillosa estructura noventera que recupera una y otra vez: primera estrofa a piano, pre-estribillo con batería suave, estribillo a todo tren. ¿Para qué andarse con experimentos cuando puedes ser igual que Mariah Carey? (hablamos de cuando nos tenía a todos engañados con aquellos jerseys de cuello vuelto). Tampoco es que suene desfasado, para que os hagáis una idea imaginad el disco que grabaría Beyoncé si estuviera dormida.

Conclusión: una vez consigamos distinguir las canciones hagamos una selección, quedará un medio disco bien apañado. Enhorabuena Leona.

Si este artículo no os ha convencido (lo sentimos, tampoco es que el disco sea el colmo de las pasiones desbordadas), id directamente a por Outta my head (otra que tampoco sabe escribir, ¡pero ella es blanca y británica!). Se trata  del ÚNICO uptempo del disco y probablemente es el mejor tema. Tiene mucho sintetizador mecánico, ese aparatito que Daft Punk recuperó hace 6 años y con el que Leona debe estar flipando, y el estribillo enorgullecería a la representate de Letonia en Eurovisión 2001 (es una forma de hablar, no sabemos quién es). Vale que Leona no vale como estrella pachanguera, pero entre tantas baterías buenrolleras un poco de pastis y buenri vienen de perlas.

Si no queréis correr el riesgo de amarla y preferís regodearos en odio, escuchad Stop crying your heart out. Ya, ya sabemos que el título es demasiado complejo para ella, es que la canción es de Oasis. Como a nosotros no nos gusta la gente que no se lava el pelo (aparte de Madonna en Ray of light), pasamos total de los Gallagher y asumimos la cancioncita como si fuera de Leona. De hecho es IGUAL que su cover de Run de Snow Patrol, y el autoplagio es un must.

Además, ella no tiene entrecejo y ha metido un coro gospel. No hay color.

Te gustará si… te bajaste el disco de Beyoncé y borraste todas las canciones menos Halo.

While searching for creepy songs, I came across this little music box song by Sir FiNiX (and originally posted to newgrounds.com). It is just what one would want from a Halloween music box.

To add to the creepy, this afternoon G and I did purchase 2 rolls streamers and a bag of balloons and the total as $6.66. From the receipt…

1 BALLOONS 9IN ROUNDS 2.59
1 PARTY FAV BRT OR CRP-81 F 1.79
1 PRTY FV SCHBUS YW CRP-81F 1.79

3 Items
Subtotal 6.17
Tax .49
Total 6.66

We bought them to make paper-mâché jack-o-lanterns. How appropriate, right?! I’m sure we’ll have a devilish good time with them too!

Song Recommendations

If you like this song, I also suggest:

• Coraline Soundtrack
• Final Fantasy
• The Polyphonic Spree

I also suggest the music genre:

• Halloween

Click here for more info on Sir FiNiX – “The Haunted Music Box”.

El artista británico James Morrison actuará el próximo día 25 en la sala La Riviera de Madrid. La apertura de puertas está prevista para las 20.15h y las entradas están ya a la venta por 25€ en Servicaixa, El Corte Inglés, Ticketmaster, Fnac, Tiendas Tipo, Carrefour, Urende y tiendas asociadas.

Small musical boxes or lockets are sometimes featured in animated films, like Anastasia. Musical lockets are commonly used in Japanese anime and manga to convey romantic feelings. In Japan, the word “orgel” (オルゴール, orugōru^?) is used for a musical box. ‘Orgel’ is adopted from the Dutch word originally meaning ‘organ’. Also widely available are CDs containing popular and classic songs in music box tone. These CDs are often categorized as relaxation music.

Along with the classical Musical Box, a virtual form has emerged as the Whitney Music Box, named for computer animator John Whitney^[2] and invented by programmer/musician Jim Bumgardner.^[3]

This web application displays dots arranged in a chromatic scale spinning incrementally faster as they travel up the scale with the slowest dot cycling every three minutes. These dots move across a stationary line and activate a note to represent its place on the scale. The notes can be arranged with various sounds, frequencies, and keys. There are also settings for stereophonic and hand-cranked versions of the music box.

The visual layout of the spinning notes displays how, as chords are made, the whole form takes on geometric shapes. These shapes correspond to musical thirds, fourths, fifths, and so on. The hand-cranked variation allows the user to stop the animation and examine which notes are being activated.^[3]

[edit] Musical boxes in popular culture

• The bedpan (or bedplate) is the relatively heavy metal foundation on which all the other pieces are fastened, usually by screws.
• The ratchet lever or the windup key is used to put the spring motor under tension, that is to wind it up.
• The spring motor or motors (two or more can be used to make playing times longer) give anywhere from a few minutes to an hour or more of playing time.
• The comb is a flat piece of metal with dozens or even hundreds of tuned teeth of different lengths.
• The cylinder is the programming object, a metallic version of a punched card which, instead of having holes to express a program, is studded with tiny pins at the correct spacing to produce music by displacing the teeth of the comb at the correct time. The tines of the comb ‘ring’, or sound, as they slip off the pins. The disc in a disc music box plays this function, with pins perpendicular to the plane surface.
• Multiple-tune cylinders have more than one set of pins intertwined on the same cylinder, with, for example, the B pins for a second song lying halfway between the B and C pins of the first song, etc. Offsetting the cylinder slightly relative to the comb brings the different set of pins into contact with the tines, thereby playing an alternate piece of music. Many modern music boxes will have as many as four sets of pins intertwined, with a mechanism automatically shifting the cylinder from one song or movement to the next.

Cara ouvi na novela e corri procurar a dita na internet!! Maria Gadu o nome da cantora dessa poesia, linda, linda!!!

Ah.. Alguém aí me leva pra praia!!!!

Uffie y su video clip para el tema “Pop the Glock”. Todo un muestrario de tendencia gráfica. Seguro que los creativos de Timofónica están frotándose las manos…

A musical box is a 19th century automatic musical instrument that produces sounds by the use of a set of pins placed on a revolving cylinder or disc so as to pluck the tuned teeth of a steel comb. They were developed from musical snuff boxes of the 18th century and called carillons à musique. Some of the more complex boxes also have a tiny drum and small bells, in addition to the metal comb. Note that the tone of a musical box is unlike that of any musical instrument

]]> http://waylanchoi.wordpress.com/2009/10/20/music-photos-quotes/ Tue, 20 Oct 2009 04:54:58 +0000 By Waylan Choi http://waylanchoi.wordpress.com/2009/10/20/music-photos-quotes/

Arcade Fire – “Wake Up”

Colin James Hay (ex Men at Work), ahora en solitario, nos regala temazos como éste.

Nice beat with incoherent vocals and overlaid music box sounds.