Tuesday, September 16, 2008
Maroon 5 If I Never See Your Face Again Lyrics
Maroon 5 If I Never See Your Face Again Lyrics
Songwriters: Levine, Adam; Valentine, James;
[Adam]
Now as the summer fades, I let you slip away
You say I’m not your type, But I can make you sway.
It makes you burn to learn, You’re not the only one
I'd let you be if you put down your blazing gun.
[Rihanna]
Now you’ve gone somewhere else, Far away
I don’t know if I will find you (find you, find you).
But you feel my breath, On your neck
Can’t believe I’m right behind you (right behind you).
[Both]
‘Cause you keep me coming back for more
And I feel a little better than I did before
If I never see your face again, I don’t mind
‘Cause we got much further than I thought we'd get tonight
[Rihanna]
Sometimes you move so well
It’s hard not to give in.
[Adam]
I’m lost, I can’t tell
Where you end and I begin.
[Rihanna]
It makes you burn to learn
I'm with another man.
[Adam]
I wonder if he’s half
The lover that I am.
[Adam]
Now you’ve gone somewhere else, Far away
I don’t know if I will find you (find you, find you).
But you feel my breath, On your neck
Can’t believe I’m right behind you (right behind you).
[Both]
‘Cause you keep me coming back for more
And I feel a little better than I did before
If I never see your face again, I don’t mind
‘Cause we got much further than I thought we'd get tonight
[Adam]
Baby, baby
Please believe me
Find it in your heart to reach me
Promise not to leave me behind
(Promise not to leave me behind)
[Rihanna]
Take me down, but take it easy
Make me think but don’t deceive me
Torture me by taking your time
(Torture me, torture me)
[Rihanna]
‘Cause you keep me coming back for more
And I feel a little better than I did before
[Both]
If I never see your face again I don't mind
Cause we got much further than I thought we'd get tonight
[Both]
‘Cause you keep me coming back for more
And I feel a little better than I did before
If I never see your face again, I don’t mind
‘Cause we got much further than I thought we'd get tonight
Rihanna Take A Bow Lyrics
Rihanna Take A Bow Lyrics
Songwriters: N/A
Complimentary "Take A Bow" Ringtone
Ohh, how about a round of applause
Yeah, standing ovation
Oooh ohh yeah, yeah yeah yeah yeah
You look so dumb right now
Standing outside my house
Trying to apologize
You're so ugly when you cry
Please, just cut it out
An' don't tell me you're sorry 'cause you're not
Baby when I know you're only sorry you got caught
But you put on quite a show
Really had me going
But now it's time to go
Curtain's finally closing
That was quite a show
Very entertaining
But it's over now (but it's over now)
Go on and take a bow
Grab your clothes and get gone (get gone)
You better hurry up before the sprinklers come on
Talkin' about, girl, I love you, you're the one
This just looks like a re-run
Please, what else is on (ohh)
And don't tell me you're sorry 'cause you're not
Baby when I know you're only sorry you got caught
But you put on quite a show
Really had me going
But now it's time to go
Curtain's finally closing
That was quite a show
Very entertaining
But it's over now (but it's over now)
Go on and take a bow
Ohh, and the award for best liar goes to you
For making me believe that you could be faithful to me
Let's hear your speech out
How about a round of applause
A standing ovation
But you put on quite a show
Really had me going
Now it's time to go
Curtain's finally closing
That was quite a show
Very entertaining
But it's over now (but it's over now)
Go on and take a bow
But it's over now
I'm yours chords by Jason Mraz
I’M YOURS CHORDS BY JASON MRAZ
Song Words by Artist / Band : Jason Mraz
Song Chords Title : I’m Yours
Taken from Music Album : We Sing, We Dance, We Steal Things
Single Released : February 12, 2008
Music Genre : Alternative rock
Writer : Jason Mraz
Producer : Martin Terefe
Intro: F# C# D#m B F# Well, you done done me and you bet I felt it C# I tried to be chill but your so hot that i melted D#m B I fell right through the cracks, and i'm tryin to get back F# before the cool done run out i'll be givin it my best test C# and nothin's gonna stop me but divine intervention D#m B I reckon it's again my turn to win some or learn some F# C# But, I won't hesitate no more, no more, D#m B it cannot wait i'm yours F# Well open up your mind and see like me C# open up your plans and damn you're free D#m B look into your heart and you'll find love love love F# listen to the music at the moment maybe sing with me C# Ah, la peaceful melody D#m B Bm It's your god forsaken right to be loved loved loved loved Loved F# C# So, i won't hesitate no more, no more, D#m B it cannot wait i'm sure F# C# there's no need to complicate our time is short D#m B this is our fate, i’m yours continues with the same chord progression I’ve been spendin’ way too long checkin’ my tongue in the mirror and bendin’ over backwards just to try to see it clearer my breath fogged up the glass and so I drew a new face and laughed I guess what I’m a sayin’is there ain’t no better reason to rid yourself of vanity and just go with the seasons it’s what we aim to do our name is our virtue I won’t hesitate no more, no more it cannot wait, i’m sure (there’s no need to complicate our time is short it cannot wait, i’m yours 2x no please don’t complicate, our time is short this is our fate, im yours. no please don’t hesitate no more, no more it cannot wait, the sky is yours!) well open up your mind and see like me open up your plans and damn you’re free look into your heart and you’ll find love love love love listen to the music of the moment come and dance with me ah, la one big family it’s your god forsaken right to be loved, loved, loved, loved open up your mind and see like me open up your plans and damn you’re free look into your heart and you’ll find love love love love listen to the music of the moment come and dance with me ah, la happy family it’s our god forsaken right to be loved loved loved loved listen to the music of the moment come and dance with me ah, la peaceful melodies it’s you god forsaken right to be loved loved loved loved…
Monday, March 31, 2008
Beyoncé Giselle Knowles
Beyoncé Giselle Knowles (pronounced /biːɒnˈseɪ/;born September 4, 1981), commonly known as Beyoncé, is an American R&B singer-songwriter, record producer, mus
ic video director, actress, film producer, dancer, and fashion designer. Beyoncé rose to fame as the lead singer of the R&B girl group Destiny's Child, the world's best-selling female group of all time.
After a series of commercially successful releases with the group, Beyoncé released her debut solo album, Dangerously in Love, in June 2003. The album became one of the biggest commercial successes of the year, topping the albums charts in the United States and the United Kingdom. 
It also spawned the number-one singles "Crazy in Love" and "Baby Boy" and earned Beyoncé five Grammy Awards in a single night in 2004. Beyoncé's second album, B'Day, was released worldwide on September 4, 2006 to coincide with her twenty-fifth birthday. The album spawned the UK number-one singles "Déjà Vu" and "Beautiful Liar", as well as the worldwide hit "Irreplaceable". It also earned Beyoncé her seventh solo Grammy Award, garnering a total of ten.
Beyoncé also achieved success in the film industry, starring in such Hollywood films as the 2006 comedy The Pink Panther and the 2006 musical film Dreamgirls, which earned her two Golden Globe Award nominations—one for acting and other for Dreamgirl's soundtrack "Listen".
Monday, March 24, 2008
Free download song
Free download song the eagles
The long run
Take it easy
Witchy women
Peaceful easy feeling
Doolin Dalton
Tequila sunrise
Best Of my love
Jame dean
I can’t tell you why
Ylin’ eyes
Take it to the limit
One of these night
Hotel California
New kid in town
Life in the fast lane
Heartache tonight
Free download best of love song
Un-break my heart
Shape of my heart
Out of reach
Fool again
Pretty boy
When you say nothing at all
You are still the one
All the love
Sometime
Thanks you
Before I fall in love
I believe I can fly
Said I love you but I lie
2 become 1
Don’t let the sun go down on me
I wanna be with you
Brown eye
Tuesday, February 19, 2008
Music Video
A music video is a short film or video that accompanies a complete piece of music, most commonly a song. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV's format was based around them. The term "music video" first came into popular usage in the early 1980s. Prior to then, such clips were described by various terms including "promotional films" or "promotional clips".
Music videos are often called promo videos (or simply promos), as they are usually used as promotional devices by record labels. In the 1980s, the term "rock video" was often used to describe this form of entertainment, although the term has fallen into disuse. Music videos use a range of styles of filmmaking, including animation, live action filming, documentaries, and non-narrative approaches such as abstract film. Some music videos blend different styles, such as animation and live action.
Top of the Pops
In the UK the importance of Top of the Pops to promote a single created an environment of innovation and competition amongst bands and record labels as the show's producers placed strict limits on the number of videos it would use. Therefore a good video would increase a song's sales as viewers hoped to see it again the following week. David Bowie scored his first UK number one in nearly a decade thanks to director David Mallet's eye catching promo for "Ashes to Ashes". Another act to succeed from this tactic was Madness, who shot on 16 mm and 35 mm short micro-comedic films.
Top of the Pops was censorous in its approach to video content, so another method was for an act to produce a promo that would be banned or edited. It would then use the resulting public controversy to promote the release. Early examples of this tactic were Duran Duran's "Girls on Film" and Frankie Goes to Hollywood with "Relax", directed by Bernard Rose.
The Chart Show
Another important development in music videos was the launch of The Chart Show on the UK's Channel 4 in 1986. This was a programme which consisted entirely of music videos (the only outlet many videos had on British TV at the time), without presenters. Instead, the videos were linked by then state of the art computer graphics. The show moved to ITV in 1989, and was axed in 1998. By this time the programme's use had largely been supplanted by satellite and cable music channels with increasing numbers of people having access to such channels, and the launch of Digital Television occurring around the same time (Ironically, digital television would lead to the rebirth of The Chart Show in 2002 as a digital music channel, Chart Show TV).
Countdown
Although little acknowledged outside Australia, it is arguable that the 1970s–1980s Australian TV pop show Countdown — and to a lesser extent its commercial competitors Sounds and Nightmoves — were important precursors to MTV.
Countdown, which was based on Top of the Pops, was successful in Australia and other countries quickly followed the format. At its highpoint during most of the 1980s it was to be aired in 22 countries including TV Europe. In 1978 the Dutch TV-broadcasting company Veronica started its own version of Countdown, which during the 1980s featured Adam Curry as its best known presenter. The program gained international significance in the recording industry in the late 1970s and early 1980s. Produced on a shoestring by the government-owned ABC national TV network, its low budget, and Australia's distance proved to be influential factors in the show's early preference for music video. The relative rarity of visits by international artists to Australia and the availability of high-quality, free promotional films meant that Countdown soon came to rely heavily on music videos in order to feature such performers.
The show's talent coordinator, Ian "Molly" Meldrum, and his producers realised that these music videos were becoming an important new commodity in music marketing. For the first time, pre-produced music videos gave TV the opportunity to present pop music in a format that rivalled or even exceeded the impact of radio airplay, and it was soon apparent that Countdown could single-handedly break new pop acts and new songs by established artists — a role that up until then been the exclusive preserve of radio.
Although Countdown continued to rely heavily on studio appearances by local and visiting acts, competing shows like Sounds lacked the resources to present regular studio performances, so they were soon using music videos almost exclusively. As the 1980s progressed, the ability to use music videos to give bands the best possible presentation saw record companies making more, and more lavish, promotional videos.
Realising the potential of music video, Countdown negotiated a controversial deal with local record labels, giving them first refusal and a period of exclusive use for any new video that came into the country, and with its nationwide reach and huge audience, the show was able to use music videos to break a number of important new local and overseas acts, notably ABBA, Queen, Meat Loaf, Blondie, Devo, Cyndi Lauper and Madonna. This early success in Australia in turn enabled these acts to gain airplay and TV exposure and score breakthrough hits in their home countries.
Wednesday, February 13, 2008
Tuesday, February 12, 2008
Music Download
A music download refers to the transferring of a music file from an Internet-facing computer or website to a user's local computer. This term encompasses both legal downloads and downloads of copyright material without permission or payment if required.
Legal music downloads typically involved the a purchase of a song or album available for downloading on the Internet. Downloading music first became popular with file sharing technologies such as peer-to-peer networks, with people breaking copyright laws by not paying for any of it. The Recording Industry Association of America (RIAA) claimed that this practice was damaging the music industry, and a series of law suits led to many of these networks being closed down. However, those who support such technologies argued that the music industry said the same thing about recordable tapes and CDs, and even when recorded music came out as before then artists got their money through live performance, and that the industry should embrace the advancements in technology rather than enforce prohibitions on the practice. Very little publishable academic research has been done to clarify this form of massive consumer behavior.
There is a great deal of freely available music online, which is distributed by the copyright holders for various reasons. (For instance, some university orchestras have high-quality recordings of their performances.) This fully legitimate free music is often overlooked by the popular media and is hardly a new development on the Internet.
The second phase of music downloading was the online music store, whereby songs could be downloaded at a price. In 2003, iTunes saw the popularity of legal digital downloads skyrocket. Other online websites include URGE, Napster and MSN's Music store. Ad-Supported music stores are now starting to show up such as Spiralfrog and Qtrax which do not charge for music downloads but instead, sell advertising space to pay for the music downloads. As of 2007, a third phase of downloading has now begun. Technical innovations allow for the near instant downloadng of real-time, radio broadcasted songs; straight to a listener-user's mobile phone and computer, such as DROPme in Sweden. The sales of downloaded music has now surpassed the sales of 'physical copies' in some countries; this has been indicated in the UK where "Crazy" by Gnarls Barkley reached the top spot in the UK Singles Chart based on download sales alone[1]. Furthermore, many artists do not offer additional content, or release extended versions of their albums in music stores to offset the loss of physical content present in CD packaging, making digital music sales more viable for the listener.scholarships
Scholarships may be classified into the following primary groups.
- Merit-based - financial aid for which financial need is not used to determine the recipient. The recipient may be determined by students’ athletic, academic, artistic or other abilities. The actual monetary value of the scholarship may be negligible, the scholarship being meant to motivate the student and promote the study of the subject. However, this is not always the case and the largest scholarships are almost always merit-based.
- Athletic - In the U.S. and other countries athletes who perform well in various athletic endeavors are offered athletic scholarships.
- Need-based - financial aid for which the student and family’s financial situation is a primary factor in determining the recipient. Usually such scholarship will cover all or part of the tuition and may even cover living-costs. Very often even need-based private scholarships require the awardees to be distinguished students, as the deed founding the award may include a phrase like: “for the studies of founder's favourite subject in founder's favourite institution of higher education for a talented youths of limited means from founder's home town/county/state etc.“
- Ethnicity-based - financial aid where applicants must initially qualify by race, religion, or national origin. After filtering the applicants based on their ethnicity, additional factors are taken into consideration to determine the final recipients.
- Institutional-based - scholarships awarded by a specific college or university (institution) to a student planning to attend that institution.
- General - Other scholarships which are awarded for a variety of reasons which do not fall into one of the above categories. These may be for reasons of the student's association with the objectives of the sponsoring organization. For example, some corporations give scholarships to their employees' children or based upon academic sucess such as Terae Jordan.
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