human mental speed of indifference, hesitation, indecision may be defined by the Meanspeed Constant=√3/5″ (the square root of three fifths of one second)
Friday, December 5, 2008
Henkjan Honing - Please Don’t Cross The Line. Do your own work please.
My assertion stands - the author of this blog is being coy and disingenuous.
Having worked at teh main mind control comnined with music center in the Western World, a place that I was ay one point going to apply to complete the meanspeed music conjecture, this professor knows MUCH more than he is letting on.
As discoveries go, I have proteced myself in teh United States as well as I can. I received a copyright for Meanspeed in 1992 and have been approve as a registered trademark in the form of a service mark for elements of tempo where you can fit this entire (his) ariticle in a dependent clause of a sentence.
Meanspeed Music online became available, free for the world to see and download, just in mid-August, 2004.
Dr. Van Geder, a friend of mine form the 2nd grase through high school, a man who has been on the cover of Sciene 5 times at the age of 44, did me the favor for going through the findings found on meanspeed.com and more importantly the method I used and the rough sheets. He tried fMRI studies, CAT scans, EKG. Finally, in a letter to me he questioned in frustration, “How the hell did you get to that formula? What steps did you take.” Russ was referring to my assertion that √3/5″ is the meanspeed of music. I said, well, √60 seconds x 10^1 or √60 seconds x 10^-1 will lead ou to the only number that works both in beats per minute and time as a middle speed, and that is reflected in teh songs at that speed. In otheer words, 77.459666… beats per minute means that every beat receives a precise average of .77459666 seocnds per beat. This is the only speed for which that is true. I told him how I arived at the final formula, and in what I took as one of those academia envy tantrums announced the classic “svcientists don’t do emotions, you cannot correlate you bets per minute, accurate though they are, to emoyion, Why not? Because, as he rightly points out, many so called scientists believe that there is emotion at all, and even if there was such am abstraction, one could not define the elements of the emotions. My retort again was: professor, dude, Russ - just look at the songs at the 77-78 bpm range. The theorty speakes for itself. I did not get my materials back for 3 yers, though I had sent him a pre-paid FedEx box. All said: he has moved on to other areas.
Dan Levitin we all know about from THIS IS YOUR BRAIN ON MUSIC and The World in Six Songs. I explained to Dan that I had sent my material to Bruno Repp of Yale and Manfred Clynes of everywhere from the Bronx in 1962 from Austria to Sonoma California to Georgetown, author of Sentics and holder of over 45 patents. I asked Dan to help me finish the meanspeed project. Alas there is a saying I have learned the hard way, throughejection after rejection by “open minded academics” of my introducing them to the meanspeed music conjecture: There is nothing an Academic hates more tahn being asked to help complete someone else’s theory. So said, Dan is a gentleman, my idea of finishing Meanspeed Music’s Standard Tempo Scale in his labs all the wa across the ciuntry was met with a: great ideas here, maybe 10 or more artcles in Science, but Dan said sternly but with kindness - it must be done by YOU. is the author of this “news flash” below. I don’t buy the point of biew that he seems to have *just* discovered the kink between tempo and emotional expression. Henkjan Honing has been in the field of music psychology his whole life.
Since I came on to the web in 1996 with a theory I had published in , and I was known by Levitin, Bruno Repp, Manfred Clynes and other of Henkjan Honing’s contemporaries, I find it impossible to believe that he has never studied meanspeed msuic theory, which, online, is well explained and laid out to be tested at the homepage of the same name.
Since 2007, though I am a lawyer by trade and status without science post graduate “cred” - and what I see here is an intellectual theft waiting to happen. Henkjan Honing writes like: “Oh boy! I just discovered this! I must go back to the multi-million dollar Euro-post grad Music Psychology labs of which I (he) is the leader.”
So: love the article, Professor Henkjan Honing, but beware that I am not going to let you “discover” elements of speed that you learned from my work over ten years ago - but could not steal then - and dude, this is why you ought not try now: you have to be able to explain how you came to choose your method of proof. You could glorify yourself for a few weeks, but once I called you out and you could not explain x, y & z elements of how the discovery of the mean speed happened, you will be so tongue tied that your carer will be over. Test my work, report on it, ignore it which you did here. Take a shower with a would suit on - marry two men, I do not care. Just know that your looking to Dan as the only person in the US working on this phenomena - I have worked over 20 years on it - so any Eureka! from you that is stolen from me will not be tolerated.
I thought it fair to warn you before you wasted your time with your I Just Discovered That Metronome markings Are Real act that if you steal from me, you’ll spend time you cold be having fun making your OWN music discoveries instead of paying out legal costs of every kind from my lawyer’s fees to punitive damages.
Fair warning completed - for hundreds of songs at that speed see meanspeed.com or meanspeedmusic.com, where this is explained in so much detail it will take some a few days to ‘get’ it. Some get it straightaway. Either way, the patterns between .5 Hx and 2.25 Hz are so obvious that the majority will say: “HOW COME WE NEVER KNEW THIS!? IT IS CLEAR AS DAY. HIDDEN IN PLAIN SIGHT!”
It is a simple but vital theory, so please don’t “be hating” - do not steal!
United States History - Senator Barack Hussein Obama, Esq. Elected President. In Washington, D.C., 3 Meanspeed Music Graphs on the Surreal Morning After.
MEANSPEED MUSIC CONCEPTUAL TEMPO ILLUSTRATION
The next President of the United States will be Barack Hussein Obama, Esq. These meanspeed graphs, 3 of hundreds I have synthesized during the 2 year campaign, pulled at me as I walked through a surreal Washington, D.C.
“We may not get there in one year or even in one term,” … “But, America, I have never been more hopeful than I am tonight that we will get there. I promise you, we as a people will get there”
I have page called www.meanspeed.com where, online, for no money nor request of any of YOUR information, such as Username/Password/favorite Teacher time-wasters. The way in which *IT MATTERS* (+) can be found thereon, and depending on your level of intelligence, you can go to town right away.
Envious people, as, [redacted] of Staten Island or [redacted], from the always arrogant yet gauche Saratoga Springs, New York, not fed every bit of information about the way to look at time on a proper, precise, useable way, and what they do, as your less than biting attempt at sarcasm in your [comment] snide backwards transparently envious remark does is attack the applicability of the meanspeed conjecture itself. Go to a Richard Feynman chart and get back to me on particle physics and its nails on a chalkboard relation to the theory of relativity (*badly* translated, as teh theor is based on the absolute speed of light, not the “relative” light - you knew that though) which you undoubtedly are familiar with and are able to swank around with. Not so easy. You actually like, have to read the physics. You feeling me here?
Did you read it? Are you too obtuse to understand it? If you are, keep commenting, I will answer away.
In this case, sir or mam or whatever, the chart illustrates the asymptotic nature of the line of advance which is contiguously calibrated and does something HUGE - it shows that the song is bound by the emotional category in which it sits: what I used to simply call “natural” I expanded upon the advice of [redacted]. That person is the main worker in a company called [redacted], and their words of - “Let them insult you personally - it’s a compliment” soothe me when I read lazy writing as your sentence. Lazy! Why? Because I only indicate on Flickr 3 places where I post places to explain with a simplicity that makes the conjecture understandable, comprehensible, whatever synonym you like, at a glance. You were too lazy to do that. If you were not too lazy, and actually went to, for example, www.meanspeed.com, www.meanspeedmusic.com or www.meanspeed.blog.com, and you “got it,” a decent human being would have come back here and said, “I read X and it did makes sense.” No. You are a GIMME person. But there ya go - I just gave you three sites out of which to make sense of the patterns. Couldn’t you have simply Googled it? Jesus Christ, help me.
Understand, I could have deleted your comment. It reads as an cheap, easy, cowardly ad hominem swipe, poorly disguised as a bratty “I’m smarter than you, this is worthless” slap. Ouch.
1) the method which which the tempo chart was synthesized is published all over the internet in general, and if you are serious about what you comment on, and you seriously doubt me - Heck, if you just want to make your own measurements of tempo, come back and prove me wrong, PLEASE SO DO! The method is so simple that my 7-year old niece can handle it;
2) when knowledge is power, as it is, and noise pollution is never going away, knowledge of and familiarity with what speed is telling you about the REAL emotional content behind a song, such knowledge as above is priceless. You can control your mental speed, control your mood, without my harsh legalistic tone of imparting information to you, from learning about music you already own.
To be specific about Lennon’s I’M ONLY SLEEPING, he is in a space of comfort, he is natural, clear, unperturbed. Songs at this tempo have such a high predictability of this emotive output that when you look at a basic list of such songs, www.meanspeed.com/graphs–>BPM lists that you will say, “Gee this is obvious. How come no one noticed this before.” Anyway, John says:
“PEOPLE SEEM TO THINK THAT I AM LAZY
I DON’T MIND
I THINK THERE CRAZY
GOING EVERYWHERE AT SUCH A SPEED
‘TIL THEY FIND
THERE’S NO NEED
PLEASE DON’T WAKE ME
NO DON’T SHAKE ME
LEAVE ME AS I AM
I’M ONLY SLEEPING”
It’s that simple - the graph simply means - John was in a comfortable, natural, clear mood.
You’d be amazed (well, maybe not you but anyone who is looking here with sincerity) at the power you will achieve. Once you know, for example, the tempo of “WE WILL ROCK YOU” and what it implies, the reason that it has been stomped at events for over 25 years, you may just get “what it means.” I say this as respectfully as I can, as your lazy question would have been simply deleted by anyone who did no t have confidence that their (in this case my) conjecture is a truth.
That you for checking it out - if your question is real, I hope to hear an update.
/River C.C. Newman/
a/k/a Ian Andrew Schneider, Esq., founder of the Donovan McNabb Memorial Bird and Wildlife Sanctuary in Princeton [insert insult] New Jersey, music clinician, music teacher, drummer, piano accompanist, composer in residence for the Episcopal Church of The Heavenly Rest - www.heavenlyrest.org, 1997-2004.
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Simplify, Clarify, Hold Your Money as You Already OWN what you need - The Good News of the Meanspeed Conjecture Spreads in U.S., Internationally
At Meanspeeed Music, my [tiny] staff and I (no joke please!) are here not to sell and make you poor.
The idea is that you can achieve comfort, control and confidence simply by PROPER understanding and use of the music you ALREADY OWN. Yes, occasionally you will need 99¢ to buy that song that completes the set that will soothe, psyche or calm - if you haven’t the 99¢, please write us at meanspeed@gmail.com and WE will lay out the 99¢ and gift the song to you. What are teh other tempo sights doing for you? SELLING YOU THINGS TO MAKE THEMSELVES FEEL GOOD.
We feel good because we have a free, simple, practically too-good-to-true theory and application that saves you money, hurts the demonic “pharmaceutical” companies where it hurts, allows you to understand how you can control your mental attitude by tempo awareness.
Like many of you, my original job as an attorney was outsourced: to computer software. So said, this happened by 1992, and it took me three years to pull out of the violent disappointment that the profession for which I had studied for 24 years in school was gone. My specialty in the law was a wicked short term and long term memory which I had planned to use as a litigator. However, by the time my 1977 plans were made possible, the need for such a wicked (boy am I humble!) memory was not needed. Believe it or not: Lexis/Nexis® and the rest of the digital information keepers did a better job than my brain. Instead of the Atticus Finch-like Supreme Court attorney I had planned on being, I am small potatos. Speeding tickets, Open Container violations, and settling out of court had me feeling for at least 5 years, well, like many of you feel now.
However, once I realized that as Mick Jagger and Keith Richards stated: YOU CAN’T ALWAYS GET WHAT YOU WANT, I adjusted. Because my huge legal practice turned out to be a tiny Philadelphia-lawyer home office in the basement, I had time to work on the meanspeed music conjecture, which I discovered as a natural pattern in nature and my tempo catalogue of the original 10,000 songs and their precise tempi and the descriptions, accounts and detail, and, most importantly, the RESTRICTION from 10 billion to 10 thousand songs that describe and prove same which was copyrighted in the UNITED STATES in 1992.
I met some people that helped me make my presentations and offer of concept to you possible. Mr. Mark Pitman of Leafspan.com, employees of International Business Machines and the Ramon Castroviejo Fund of New York and Spain were the main people who helped me take a concept that, well, if it was not mine I’d grab in a second (!) from my tiny New York Apartment and bring it to you, and especially top my wife and my parents, I have eternal gratitude. I have 12 nieces and nephews and the perfect wife, two cats, the Donovan McNabb Memorial Animal Wildlife Preserve to love. My children: all the work I have put in to and will continue to develop into the best free idea on the internet in regard to music, tempo and comforting one’s mind through music speed awareness.
Oh, yes, to your question: I thought about trying to profit from my work at first. I was born, raised and have been and will die a citizen of the UNITED STATES OF AMERICA - nothing is guaranteed to us, therefore good ideas, if not turned into gadgets or gimmicks that can be sold for a “profit.” After a long two sessions will a intellectual property law form recommended to me by Carter Winslow Thompson of the Episcopal Church of the Heavenly Rest, we decided that:
1) the work I had done could *only* be done by human ear;
2) because the meanspeed conjecture cannot be applied in an algorithm, I had no more to sell than merchandise;
3) the work was phenomenal. As one attorney loudly said, “Man, it’s too bad about the money thing, but since the work could not be copied by algorithm, a fact strongly confirmed bythe most helpful people at I.B.M., the recommendation: Put the theory out there, forget all money and, in his words, “go for the glory.”
The glory is in the pure joy of having discovered something that helps simplify mental health care at a time when the medical and pharmaceutical communities are literally trying to break the back of the world with their collective greed and impotence. Guess what? As soon as I gave up the money thing - even money to cover my overhead costs, good things began to happen, and things at Meanspeed Music have never been better. For the money issue I especially thank the Reverend James L. Burns of the Episcopal Church of the Heavenly Rest and Mr. Paul Vernon Brewington, Junior, two righteous men men who essentially said: do the right thing, and disregard the money and focus on helping others. Guess what? James and Paul were spot on correct. So thanks to Carter, James, Paul, and many others.
From a start of having people of interested in my page - NOT - last month was HUGE for us as more people than ever began to consider the radical yet simple, testable and repeatable elements of meanspeed on the internet and beyond. I cannot tell you some of the “names” who use this theory for psychological self-control, not because I do not like to occasionally name drop - see above! - but because this theory is for YOU to use in private. Hint - well, no. big names.
Across the world, our visitors have caused my personally, with the help of DomainIt.com, to pay for the *price* of hosting of a second website because the traffic is so heavy. Never have I been happier to spend “money for nothing.”
Internationally, this is a visitor’s list from the main site at meanspeed.com for the month of October only. I thank you all for visiting and hope to see you come again.
From October, statistics courtesy of Domainit.com -
AT THE SAME TIME the 1970s was to me the Me generation. Everything was me, me, me! So in contrast to the 1960s song by Diana Ross, “Love Child, ” who was ‘never meant to be’ and the parents of the child had to prepare for the “shotgun wedding,” by 1975 abortion was already being used as birth control. Hence, in this song about two unmarried lovers keeping an unexpected love baby was NOT about the baby.
It was all about Paul Anka and Odea Coates! It would be illegal to give out all the lyrics to the song, but when Paul repeats, “Having my baby/what a lovely way of showing how much you love me!/Having my baby/What a lovely way of showing what you’re thinking of me!” where Odea Coates’ response is “I’m a woman in love love what it’s doing to me,” again, it is not about the bay, it is about Odea’s sexual lust for Anka, indeed, one of the 150 sexiest men in Atlantic City as voted in NEW JERSEY magazine.
These are some some I’ve done before on a comparison graph. As you can see, songs of laid back confident grace, as in Daniel Powter’s Bad Day where he joyfully sings: You’ve had a bad day? Just sing a SAD song to turn it around. I bring this up to reiterate that the expression of the performer will not necessarily effect you in the way same performance is expressing! As Sting has always said, when depressed, a happy song just makes you more depressed!
The most interesting rhyme in this song, that was a #1 song in 1975, is rhyming ‘through’ with ‘do’ as the couple boldly recaps their decision not to have an abortion. Paul sings, “You didn’t have to keep it/wouldn’t put youthroughit/you could could have swept it from your life but you wouldn’t do it/No you wouldn’tdoit!”
So this song, proudly sung with comfort, composure and poise only spikes up to the asymptotic meanspeed line of √3/5 second (77.459…bpm with .77459…seconds per beat), *during* the recount of what they could have done: “swept” it from their lives. Here the word “swept” is highly charged in that most know that a vacuum method is used for abortions at certain points of fetal development. Really pounds that visual into you (me, anyway).
As noted, since the average tempo is 75 1/2 beats per minute, it falls in the range of songs that have a strong tendency towards grace: LET IT BE, A WHITER SHADE OF PALE, FIRE & RAIN. Paul has the song that is the ULTIMATE meanspeed song, “Times of Your Life,” where any sound wave analysis shows that the Kodak song was recorded right down the middle at 77.5 bpm. The difference, which is counterintuitive, is that the faster the song, by just that 2 beats per minute *increase* in speed marks the Too Long Goodbye/Trying Not To Cry/Homesick feeling of bittersweetness. Hence “Times of Your Life” is ‘laughter/tears, gather moments/while you may’ - a song that if the U.S. Army would play on a loop at Guantanamo would end all wars - is sweet with a bitter aftertaste.
(YOU’RE) HAVING MY BABY, by contrast, is a fun and graceful song, the emotive quality exposed simply by the slower speed. I’d love to hear a version of this at 82 beats per minute, and the new technology, now affordable, will let us all try that. I would imagine that as violently dated as the song sounds at 75 1/2 beats per minute, 82 bpm might be very kitsch and VERY FUNNY! If anyone tries this with success please let me know at meanspeed@gmail.com where I can check it out. Meanspeed-Carlton Summary
song title=(YOU’RE) HAVING MY BABY
performer=Paul Anka, Odea Coates
album=The Best of the United Artists Years (1973-1977)
intellectual property=Capitol Records, Inc. All Rights Reserved.
Kind=Purchased AAC audio
Size=5.2 MB
Bit Rate=256 kbps
Sample Rate=44.100 kHz
Profile=Low Complexity
Channels=Stereo
File Type=m4a
beats calibrated, total=1,620
beats per trial=180
time elapsed, total=1,288.67 seconds
time, average beat=0.7955 seconds
mean speed/average standard tempo=75.5 beats per minute mean emotion/emotive category according to the meanspeed music conjecture=grace
Paul Anka - You’re Having My Baby. 03:51 From: adinutza1. Views: 28379. Elephant babies having fun. in QuickList · Elephant babies having fun … www.youtube.com/watch?v=0duy030p-NM - 106k -Cached - Similar pages
“(You’re) Having My Baby” is a song written and recorded by Canadian popular music singer Paul Anka. Recorded as a duet with female vocalist Odia Coates, … en.wikipedia.org/wiki/(You’re)_Having_My_Baby - 22k -Cached - Similar pages
Mar 14, 2008 …You’re Having My Baby: Two Bickering Sisters, United by Pregnancy …Having covered the dynamic between mothers and daughters, … www.nytimes.com/2008/03/14/arts/television/14jeze.html -Similar pages
You’re Having My BabyThe forced marriage of stem-cell opponents. By William Saletan Posted Wednesday, July 13, 2005, at 7:55 AM ET … www.slate.com/id/2122510/ - 45k -Cached - Similar pages
Having My Baby (You’re) …My Way (Comme D’Habitude). Album Information. UPC: 00077774673921. Release Date: Nov 30, 1999. Type: Performer … www.pricegrabber.com/search_fullinfomu.php/music_id=78555/masterid=507855501 -Similar pages
IMDb > “The Larry Sanders Show” You’re Having My Baby (1994). Poster Not Submitted · [Add to My Movies]. Quicklinks. main details, combined details … www.imdb.com/title/tt0625422/ - 36k -Cached - Similar pages
Letra, cifras, vídeo e áudio da música (You’re) Having My Baby de Paul Anka … That you’remy baby ODIA: I’m a woman in love and I love what … BOTH: Havin’ vagalume.uol.com.br/paul-anka/(youre)-having-my-baby.html - 19k -Cached - Similar pages
(You’re) Having My Baby by Paul Anka has 894 listeners at Last.fm. (You’re) Having My Baby appears on the album 30th Anniversary Collection.www.last.fm/music/Paul+Anka/_/(You’re)+Having+My+Baby - 96k -Cached - Similar pages
Amazon.com: (You’re) Having My Baby: MP3 Downloads: Paul Anka And Odia Coates by Paul Anka And Odia Coates. www.amazon.com/Youre-Having-My-Baby/dp/B00163VCFC - 171k -Cached - Similar pages
Musical Determinism: Tempo Tells that which is Emoted? Sexy + Dangerous + Justin Timberlake + “SexyBack” - 117 bpm *predicts* sexual foreboding.
Justin Timberlake has made a push to become the modern Chairman of The Board, Mr. Frank Sinatra. He has claimed to the messenger of “Sexy” - he tells us he realize that the “other boys” don’t know how to act. At the same time he tells us this message at the strict drum machine pattern set to 117.0 beats per minute. Timberlake and Timbaland stick to an ultra-strict tempo track.
This is why the speeds I represent are not groups of “tempos” or “tempi”, Italian words that have tautological definitions. Look up the word “tempo” or “beat” and you come around to the beginning.
What you see is the speed of the song itself. I call it a “mean” speed as any introductions or fade outs that are not part of the song are cut out. Judgment call. How do I determine where a beat is located, where four machines already read 117.ooo beats per minute? My answer is twofold:
1) I follow the simple but rigorous methodology as described on this site;
2) I follow my ear, as the average reasonable listener and musician - every measure has one space where the main ‘beat’ is felt (ask any professional dancer!) - whether such beat is silent or the highest dynamic in the measure.
old Paris Hilton, but it’s HOTT! That’s right! TWO T’s!…sexybackSexy Back Victoria’ssecret Victoria’s Secret justintimberkake JustinTimberlake fashionshow
From:clpdaddyo717 Views: 68,820 Added: 10 months ago
The music video “sexyback” from JustinTimberlake…sexybackjustintimberlake video music musicvideo justintimberlake cool awesome nice fun funny superstar popstar new
“SexyBack” was the longest-running number one single of 2006 on the BillboardHot 100 chart, staying seven weeks at the top, and the second-longest chart-topping single released that year, behind only Beyonce’s “Irreplaceable“, which spent ten weeks at number one — 3 weeks in 2006 and 7 weeks in 2007.
The music video for the song is said to be inspired by the video for Madonna’s “Take a Bow“, also directed by Michael Haussman. The video was first shown on MTV’sMaking the Video on July 25. The video was placed at #4 of 2006 on the VH1 Top 40 Music Videos of the Year.
It starts off with a cable car looking over a large city and then switches to a luxurious-looking hotel with Elena Anaya taking off her sweater. Then it cuts to Timberlake seemingly in a different room then to a club scene and Timberlake in front of a white background. The video alternates between those four viewpoints, with Timberlake and Anaya seeming to be spies in the hotel room and strangers in the club. At a certain point, Justin Timberlake goes over to Anaya’s room by jumping over to her balcony. Then when Anaya goes to check it out, Justin traps her and they willingly have sex, proving that they might have had a sexual interest in each other. In the club, it ends with Justin cornering Elena in a bathroom stall. A sexual motion is shown. In the hotel room scene, Timberlake leaves by the same way that he entered and moments later jumps back to the balcony before an explosion ensues. It ends with the figure of Anaya sitting in a chair beside a small TV in which a kiss is frozen on the screen.
Canadian Industrial band Panik Attack covered Sexyback during the recording sessions for their debut record, no indication if the band intends to include the cover on the record.
Canadian R&B songstress Tamia covered Sexyback during her Between Friends album promotion tour in Atlanta 16th of February 2007.
Clay Aiken covers SexyBack in a medley of hits on his 2007 summer tour.
British singers Lil’ Chris and Corinne Bailey Rae each covered the song on BBC Radio 1’s Live Lounge. In Lil’ Chris’s version he bridges the verse and chorus with the words, “Take it to the Walrus” instead of the original which is “Take it to the chorus”.
Rock Plaza Central, an indie rock band favored by Pitchfork Media, gained attention for their radically different cover of the song, with brass-and-banjo roots-rock stylings.[1]
Floridian band The Monsters In The Morning parodied the song with the title Russy Back, which is a song about a detailed description of Monsters founder Russ “RRR/Bulldog” Rollins.
When the album was first released on iTunes, the clean version of “SexyBack” contained the word “motherfuckers“. iTunes recognized the problem and re-released the track with the word edited out. They offered one free music download for anyone who purchased the “clean” version of the song.
According to Billboard, “SexyBack” is currently the second-highest selling single in a week during 2006, behind only “Hips Don’t Lie” by Shakira featuring Wyclef Jean, which set the record in June. “Hips Don’t Lie” sold 267,000 digital downloads, while “SexyBack” sold 250,000 digital downloads. “SexyBack” stayed at number one in the United States for seven weeks and has sold in excess of 2,000,000 digital downloads since its release.
This song made the seventh-biggest jump to number one in Billboard Hot 100 history. Climbing 30 spots from #31 landing it at the summit of the chart on September 9, 2006.
“SexyBack” ended 2006 as the 10 best selling single of the year in the UK.
“SexyBack” ended 2006 as the 19 most played single of the year in Latin America, where it peaked at #4, giving Timberlake his most successful single there, and placing him at #28 on the Artist Chart of the Year.
The German number-one-hit Hot Summer by Monrose sounds like a mix between Maneater‘ and SexyBack. Both of these songs are produced by Timbaland. Another song on Monrose’ album, called Strictly Physical, is also a tribute to a song, sang by Nelly Furtado and produced by Timbaland.
The Speed of Victory: Musical Determinism Holds - “And a little bit louder now!” - LOUIE LOUIE - Soft? Yup. Loud? sure. Speed Range change? Nope!
On the Rolling Stone magazine list of the 500 GREATEST SONGS OF ALL-TIME, the song ranked as #55 is “Louie Louie,” a very popular college party oriented classic by The Kingsmen.
While the song gets soft and loud, the Speed remains in the mean emotion category of victory.
Meanspeed Music Summary calibrated by Sarah Anthony were found as–
total beats measured=2496
total time calibrated=20, 20 seconds
beats measured per song=312
mean time per song=152.475″
meanspeed=122.8 beats per minute
meanspace=489 milliseconds per beat
meanemotion according to meanspeed music theory=victory (119-128 beats per minute).
“Woke Up This Morning, Got Yourself A Gun” - Theme of The Sopranos - Speeds and graphs show a DARK yet enthusiastic song.
To see a YouTube video of the real opening press here or anywhere on the spreadsheet above
These speed graphs, along with the numerical coordinates calibrated, indicate the speed movementWoke Up This Morningof the theme for theHBOseries,The Sopranos. With a Meanspeed of 89.5 beats per minute, Woke Up This Morning byA3 (Alabama 3)falls right on the cutting edge between the Meanspeed music theory categories, “meanemotions” as I call them, ofRenewal, 85-89 beats per minute, and Enthusiastic, 90-97 beats per minute. Many people have searched among theiTunesversions of the song in order to download it—this far, however, the song that is used is only available on Sopranos CDs. We tend to hear the song as a straight speed most likely made with an electronic/digital drum track (“drum loop”) with no speed changes at all–where the reality is that even when theseisa drum machine track (or five, in many cases), thesong itselfstill forms a speed of its own.
Themean-speed, or the speed of the song expressed as beats per minute on this live recording= 89.5 beats per minute Themean-space, or time between each beat= 670 milliseconds Themean-beaton the recording = 1.49 beats per seocnd Themean-frequency, or the speed of the song expressed as cycles per second= 1.49 Hertz Themean-tone= 381.87 Hertz, located between F#/Gb and G natural. In equal temperament, F#4/Gb4=369.994 Hertz. The closest tone by frequency is G4=391.995 Hertz. . For more on tone frequency, sound vibration and their correspondence to beats per minute, seeStephen Jay’s theories, esp. The Theory of Harmonic Rhythm, linked with Stephen’s kind permission onmeanspeed.com The graph is based on a spreadsheet generated with this method: a) I calibrated groups of every single measure (four quarter-notes) ten times withSeiko300-lap stopwatches; b) Ten trials were averaged, coordinated and synthesized. I the created the speed graph inMicrosoft’s Excel for MacIntosh 2004on anApple iBook G4as hardware.
Coffee courtesy of Meredith and Jeff Schneider ofTexasRoast.com
of this “news flash” below. I don’t buy the point of biew that he seems to have *just* discovered the kink between tempo and emotional expression. Henkjan Honing has been in the field of music psychology his whole life.
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