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famous melody

Puppet

14,393 subscribers

15,020 次观看 • 3 年前 •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

9 条评论

rosewither🏳️‍⚧️ 的头像

rosewither🏳️‍⚧️3 年前

ur soundscapes are always the coolest stuff

ًLorsh 的头像

ًLorsh3 年前

Feels like such a blend of the old and the new here

Garrett 的头像

Garrett3 年前

Bro bumping the guitar is so cool

stow 的头像

stow3 年前

Sick

jack 的头像

jack3 年前

so unreal like

Jasper 的头像

Jasper3 年前

I NEED that Ignorant Fool tapestry in my life

Puppet 的头像

Puppet3 年前

I'll make it happen

Kendell 的头像

Kendell3 年前

It's almost indescribable how cathartic your soundscapes are

ENIXRecordzZ 的头像

ENIXRecordzZ3 年前

OMG...Nice intro

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Melody Lane has given birth to her first foal 🐴 This is a filly by Benbatl, born at Okada Stud - the same place where Melody Lane herself was born and raised. Melody Lane is famous for breaking the record for the lowest winning weight in the JRA (338kg).

Melody Lane has given birth to her first foal 🐴 This is a filly by Benbatl, born at Okada Stud - the same place where Melody Lane herself was born and raised. Melody Lane is famous for breaking the record for the lowest winning weight in the JRA (338kg).

Archie

11,708 次观看 • 6 个月前

🎧"Take Five" is a landmark 1959 jazz piece by The Dave Brubeck Quartet, famous for its distinctive 5/4 time signature and catchy saxophone melody written by Paul Desmond.

🎧"Take Five" is a landmark 1959 jazz piece by The Dave Brubeck Quartet, famous for its distinctive 5/4 time signature and catchy saxophone melody written by Paul Desmond.

🎼 sedrul

41,963 次观看 • 5 个月前

As we observe the 47th Yahrtzeit of Grand Rebbe Joel Teitelbaum OBM (1887-1979) founder of the Satmar empire, Listen to the beautiful famous melody the Grand Rebbe used to sing daily while studying the Torah.

As we observe the 47th Yahrtzeit of Grand Rebbe Joel Teitelbaum OBM (1887-1979) founder of the Satmar empire, Listen to the beautiful famous melody the Grand Rebbe used to sing daily while studying the Torah.

Satmar Headquarters

24,203 次观看 • 1 个月前

henry explaining that it was for a famous drama (wyws) starring the beautiful girl SUZY and got inspired while looking at suzy’s picture EVERYDAY and made the melody of “It’s youuu.. youuu.. youu..” after 7 years, we got to know the story behind the legendary ost! 🥹🤍

henry explaining that it was for a famous drama (wyws) starring the beautiful girl SUZY and got inspired while looking at suzy’s picture EVERYDAY and made the melody of “It’s youuu.. youuu.. youu..” after 7 years, we got to know the story behind the legendary ost! 🥹🤍

luv, 숮지🐰ྀི

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“maybe” -kim taehyung snippet song 2023 “maybe, if we met on the famous streets we walk and breathe oh our loves melody” im so happy for you my loves jennie and taehyung you’re so brave “idgaf” taennie the eye opener and ice breaker in kpop dating history! 😭❤️ TAENNIE IS REAL

“maybe” -kim taehyung snippet song 2023 “maybe, if we met on the famous streets we walk and breathe oh our loves melody” im so happy for you my loves jennie and taehyung you’re so brave “idgaf” taennie the eye opener and ice breaker in kpop dating history! 😭❤️ TAENNIE IS REAL

Vear ♡

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Former Prime Minister Shaheed Zulfiqar Ali Bhutto wanted to make Sohni Dharti the second national anthem of Paksitan. The footage was captured in 1973 in Lahore during a public event. Bhutto stands with the famous music director Sohail Rana and a group of young children. He enthusiastically claps, smiles, and sings along to the melody.

Former Prime Minister Shaheed Zulfiqar Ali Bhutto wanted to make Sohni Dharti the second national anthem of Paksitan. The footage was captured in 1973 in Lahore during a public event. Bhutto stands with the famous music director Sohail Rana and a group of young children. He enthusiastically claps, smiles, and sings along to the melody.

Rubab

60,169 次观看 • 22 天前

🌈WHEN A GENIUS PLAYS "FÜR ELISE" "Für Elise" (loosely translated as "For Elise") is one of Ludwig van Beethoven’s most famous piano pieces. Composed in 1810, it was only published in 1867—40 years after his death. This piece, cataloged as WoO 59, belongs to the bagatelle genre in A minor. It is characterized by its hauntingly beautiful melody and simple yet deeply expressive structure, making it a favorite among piano learners and audiences alike. 🎶Now, enjoy Ivo Pogorelich’s performance of this masterpiece!

🌈WHEN A GENIUS PLAYS "FÜR ELISE" "Für Elise" (loosely translated as "For Elise") is one of Ludwig van Beethoven’s most famous piano pieces. Composed in 1810, it was only published in 1867—40 years after his death. This piece, cataloged as WoO 59, belongs to the bagatelle genre in A minor. It is characterized by its hauntingly beautiful melody and simple yet deeply expressive structure, making it a favorite among piano learners and audiences alike. 🎶Now, enjoy Ivo Pogorelich’s performance of this masterpiece!

🎶𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 ✨

19,141 次观看 • 4 个月前

Peter Doherty strips “The Drugs Don’t Work” back until there is almost nowhere for the song to hide. Richard Ashcroft wrote one of The Verve’s most emotionally direct songs around grief and the helplessness of watching someone you love deteriorate, and Doherty’s fragile delivery gives those words a different weight. Without the sweeping strings and carefully layered production of the Urban Hymns recording, the focus falls almost entirely on the lyric and melody. It feels less like Doherty trying to reinterpret a famous song and more like someone quietly inhabiting it for a few minutes.

Peter Doherty strips “The Drugs Don’t Work” back until there is almost nowhere for the song to hide. Richard Ashcroft wrote one of The Verve’s most emotionally direct songs around grief and the helplessness of watching someone you love deteriorate, and Doherty’s fragile delivery gives those words a different weight. Without the sweeping strings and carefully layered production of the Urban Hymns recording, the focus falls almost entirely on the lyric and melody. It feels less like Doherty trying to reinterpret a famous song and more like someone quietly inhabiting it for a few minutes.

Batfox Pictures

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Fun Fact: Abhimaan (1973) is loosely based on the life of Kishore Kumar and his first wife. Despite that, Hrishikesh Mukherjee swore it wasn’t about Amitabh and Jaya, though rumors were rife that it was. Jaya, like her character in the movie, was the bigger star, which made it eerily real. The score earned S.D. Burman the 1973 Filmfare Award for Best Music Director. It was among his final films. Burman didn’t compose its most famous melody from scratch, he adapted it from Rabindra Sangeet. The film ran for 590 days at the Empire cinema in Colombo.✨ #JustAchaanak

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Siim⚓️

64,981 次观看 • 1 个月前

“It’s Raining Again” was written by Roger Hodgson for Supertramp’s 1982 album …Famous Last Words…. Hodgson said the song came to him on a rainy day while he was feeling down after losing a friend. Sitting by a window and playing chords on a pump organ, he began writing the song almost spontaneously. The track’s cheerful melody contrasts with its melancholy origins, reflecting Hodgson’s idea that even after difficult times, brighter days can return. The track was released in October 1982 as the lead single from …Famous Last Words… and became one of Supertramp’s biggest international hits. It reached No. 11 on the Billboard Hot 100, No. 5 on the US Adult Contemporary chart, and No. 7 on the US Mainstream Rock chart. It also reached No. 26 in the UK, No. 3 in Germany, No. 2 in Switzerland, and No. 4 in Canada. One of its most memorable touches is the ending, which incorporates the traditional English nursery rhyme “It’s Raining, It’s Pouring,” adding a playful contrast to the song’s wistful theme.

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Hollywood Golden Age of Cinema

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“Da Ya Think I’m Sexy?” is from Rod Stewart’s 1978 album Blondes Have More Fun. The disco-infused rock track became one of his biggest commercial successes, spending four weeks at #1 on the Billboard Hot 100 and topping the charts in the US, UK, Canada and Australia. However, its famous melody later sparked an international plagiarism dispute involving Brazilian music legend Jorge Ben Jor. The song's chorus closely resembled Jorge Ben Jor's 1972 composition "Taj Mahal." After the dispute was settled out of court, Rod Stewart acknowledged what he described as "subconscious plagiarism" and voluntarily donated the song's royalties to UNICEF. Despite becoming one of the hits of the disco era, the track was reportedly disliked by several of Stewart's own band members, who felt he was moving too far away from his rock-and-roll roots.

“Da Ya Think I’m Sexy?” is from Rod Stewart’s 1978 album Blondes Have More Fun. The disco-infused rock track became one of his biggest commercial successes, spending four weeks at #1 on the Billboard Hot 100 and topping the charts in the US, UK, Canada and Australia. However, its famous melody later sparked an international plagiarism dispute involving Brazilian music legend Jorge Ben Jor. The song's chorus closely resembled Jorge Ben Jor's 1972 composition "Taj Mahal." After the dispute was settled out of court, Rod Stewart acknowledged what he described as "subconscious plagiarism" and voluntarily donated the song's royalties to UNICEF. Despite becoming one of the hits of the disco era, the track was reportedly disliked by several of Stewart's own band members, who felt he was moving too far away from his rock-and-roll roots.

Ladytron Fan Account

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David Gilmour Plays “Wish You Were Here” Like a Man Who Has Lived Long Enough to Understand It There is a point in David Gilmour’s unplugged performance of “Wish You Were Here” when the song stops feeling like a piece of rock history and starts feeling strangely personal. The melody is familiar enough to belong to everyone now, but Gilmour plays it with none of the distance that usually comes with a classic being performed decades after its release. There is no attempt to recreate the scale of Pink Floyd or to turn the song into a grand retrospective. He simply sits with the guitar and lets the music occupy the room. That simplicity changes the way the song lands. When “Wish You Were Here” was released in 1975, its sense of absence was closely connected to Syd Barrett and to the growing distance between the person he had been and the band that had moved on without him. The song was written in a very specific moment, but its emotional reach turned out to be much wider. Almost anyone can hear something of their own life in the idea of looking at someone or something that is no longer within reach. The original recording even builds that feeling of distance into its opening. Gilmour’s guitar appears to come through the sound of a radio before the fuller acoustic guitar enters, creating the impression that the music is arriving from somewhere else. In the unplugged performance, that barrier is largely removed. The guitar is no longer coming through a radio or surrounded by the elaborate atmosphere of a Pink Floyd production. It is right there, close and unprotected, which makes the words feel less like part of a famous recording and more like something being remembered in real time. Gilmour’s restraint is important here. He does not need to prove that he can still play the song. The phrasing does the work. Notes are allowed to hang in the air, while the small pauses between them give the melody room to breathe. His voice carries the effects of time rather than trying to hide them, and that may be the most affecting part of the performance. The song has aged because the person singing it has aged, and the years between the original recording and this performance are suddenly part of what we hear. That gives “Wish You Were Here” another meaning. The song is still about absence, but absence changes as we grow older. It can mean a friend who disappeared from your life, a place that no longer exists, a relationship that could not survive, or simply a version of yourself that you can remember but never return to. Gilmour does not have to explain any of that. His age, his voice and the stripped-down arrangement allow the listener to bring those memories into the song. Perhaps that is why this performance feels more moving than a faithful recreation of the original ever could. Gilmour is not trying to take the listener back to 1975. He is showing what happens when a song survives for decades and gathers new meaning along the way. The melody remains almost exactly where we left it, but the person hearing it is no longer the same. And that may be the quiet power of “Wish You Were Here”: the song has stayed still long enough for all of us to change around it.

David Gilmour Plays “Wish You Were Here” Like a Man Who Has Lived Long Enough to Understand It There is a point in David Gilmour’s unplugged performance of “Wish You Were Here” when the song stops feeling like a piece of rock history and starts feeling strangely personal. The melody is familiar enough to belong to everyone now, but Gilmour plays it with none of the distance that usually comes with a classic being performed decades after its release. There is no attempt to recreate the scale of Pink Floyd or to turn the song into a grand retrospective. He simply sits with the guitar and lets the music occupy the room. That simplicity changes the way the song lands. When “Wish You Were Here” was released in 1975, its sense of absence was closely connected to Syd Barrett and to the growing distance between the person he had been and the band that had moved on without him. The song was written in a very specific moment, but its emotional reach turned out to be much wider. Almost anyone can hear something of their own life in the idea of looking at someone or something that is no longer within reach. The original recording even builds that feeling of distance into its opening. Gilmour’s guitar appears to come through the sound of a radio before the fuller acoustic guitar enters, creating the impression that the music is arriving from somewhere else. In the unplugged performance, that barrier is largely removed. The guitar is no longer coming through a radio or surrounded by the elaborate atmosphere of a Pink Floyd production. It is right there, close and unprotected, which makes the words feel less like part of a famous recording and more like something being remembered in real time. Gilmour’s restraint is important here. He does not need to prove that he can still play the song. The phrasing does the work. Notes are allowed to hang in the air, while the small pauses between them give the melody room to breathe. His voice carries the effects of time rather than trying to hide them, and that may be the most affecting part of the performance. The song has aged because the person singing it has aged, and the years between the original recording and this performance are suddenly part of what we hear. That gives “Wish You Were Here” another meaning. The song is still about absence, but absence changes as we grow older. It can mean a friend who disappeared from your life, a place that no longer exists, a relationship that could not survive, or simply a version of yourself that you can remember but never return to. Gilmour does not have to explain any of that. His age, his voice and the stripped-down arrangement allow the listener to bring those memories into the song. Perhaps that is why this performance feels more moving than a faithful recreation of the original ever could. Gilmour is not trying to take the listener back to 1975. He is showing what happens when a song survives for decades and gathers new meaning along the way. The melody remains almost exactly where we left it, but the person hearing it is no longer the same. And that may be the quiet power of “Wish You Were Here”: the song has stayed still long enough for all of us to change around it.

Emotion & Music

106,621 次观看 • 8 天前

A 45-Year-Old Song Still Stops People Cold Lucy Thomas did not try to modernize Woman in Love. She trusted it. The song was written in 1980 by Barry and Robin Gibb and first recorded by Barbra Streisand. It is a ballad about a woman who will do anything to pull someone into her world. The emotion is simple. That is why it is dangerous. If the singer overacts, it turns syrupy. If she underplays it, it disappears. Lucy does neither. Her official video has passed 10 million views for a reason that has little to do with trends. The arrangement stays close to the original: slow build, a chorus that opens like a confession, no frantic cuts, no concept piled on top of the melody. The camera stays with her face and her voice. You are asked to listen. What people keep noticing is the instrument itself. The lower register is warm and slightly smoky. The high notes rise without strain. She does not shout to prove power. She places the line and lets it land. That control is what makes older listeners compare her to Streisand without treating the comparison as a contest. They are not saying she replaced the original. They are saying the song still works when someone actually sings it. The comments tell the rest of the story. People in their sixties, eighties, even nineties write that they knew the Streisand version when it was new, then found themselves pulled back in. Younger viewers hear the same track as if it had just been written. That overlap matters. A hit does not survive 45 years because it was famous once. It survives because the feeling inside it did not expire. This is the opposite of a “updated classic.” Lucy does not dress the song in current production so it can pass for new. She treats it as finished work. The MV’s warm light and unhurried pacing reinforce that choice. Nothing distracts from the vocal. Nothing begs for a trend cycle. That is also why the performance feels connected to a larger idea about music. Songs that last are not locked to the year they were released. They wait for the right interpreter. Streisand gave Woman in Love its first life. Lucy Thomas gave it another without erasing the first. A golden voice helps. Restraint helps more. She sings as if the lyric still costs something. That is why an old Bee Gees melody, carried by a young English singer on a quiet set, can still make strangers stop scrolling and stay until the last note.

A 45-Year-Old Song Still Stops People Cold Lucy Thomas did not try to modernize Woman in Love. She trusted it. The song was written in 1980 by Barry and Robin Gibb and first recorded by Barbra Streisand. It is a ballad about a woman who will do anything to pull someone into her world. The emotion is simple. That is why it is dangerous. If the singer overacts, it turns syrupy. If she underplays it, it disappears. Lucy does neither. Her official video has passed 10 million views for a reason that has little to do with trends. The arrangement stays close to the original: slow build, a chorus that opens like a confession, no frantic cuts, no concept piled on top of the melody. The camera stays with her face and her voice. You are asked to listen. What people keep noticing is the instrument itself. The lower register is warm and slightly smoky. The high notes rise without strain. She does not shout to prove power. She places the line and lets it land. That control is what makes older listeners compare her to Streisand without treating the comparison as a contest. They are not saying she replaced the original. They are saying the song still works when someone actually sings it. The comments tell the rest of the story. People in their sixties, eighties, even nineties write that they knew the Streisand version when it was new, then found themselves pulled back in. Younger viewers hear the same track as if it had just been written. That overlap matters. A hit does not survive 45 years because it was famous once. It survives because the feeling inside it did not expire. This is the opposite of a “updated classic.” Lucy does not dress the song in current production so it can pass for new. She treats it as finished work. The MV’s warm light and unhurried pacing reinforce that choice. Nothing distracts from the vocal. Nothing begs for a trend cycle. That is also why the performance feels connected to a larger idea about music. Songs that last are not locked to the year they were released. They wait for the right interpreter. Streisand gave Woman in Love its first life. Lucy Thomas gave it another without erasing the first. A golden voice helps. Restraint helps more. She sings as if the lyric still costs something. That is why an old Bee Gees melody, carried by a young English singer on a quiet set, can still make strangers stop scrolling and stay until the last note.

🌷🦋 Love Music 🎶 & Dance 💃🏻🕺🏻

21,410 次观看 • 4 天前

There is something very different about watching Whitney Houston in 1985.🔥🔥 She had not yet become the Whitney Houston that the whole world knew. No massive tours, no stadiums, no legendary ballads, no enormous expectations attached to her name. She was only 22, standing in a television studio in Germany with a microphone in her hand, wearing a leather jacket, a hoodie, and a white headband. And then she started singing. What I find most interesting about this performance of How Will I Know is how little she seems to struggle. The song itself is light, youthful, and almost playful. The rhythm is bright, the melody moves quickly, and the lyrics capture that familiar uncertainty of having a crush on someone: Does he like me? Does he feel the same way? It could easily sound nervous or overly sweet in the wrong hands. Whitney doesn't sing it that way. Her voice has an unusual combination of clarity and strength. She doesn't need to push the notes to make them sound powerful. The higher phrases come out cleanly, the pitch stays remarkably stable, and she moves between her chest voice and upper register without making the transitions feel like technical demonstrations. That is what makes her early performances so fascinating. You can hear the training, but you don't constantly hear the effort behind the training. And there is another detail I like even more: she doesn't behave like someone who knows she is about to become famous. She smiles at the audience. She moves with the beat. She turns toward people standing near the stage. She gives a little gesture here, a playful expression there. Nothing feels excessively rehearsed. She isn't trying to manufacture a “legendary moment.” She is simply having fun. That matters. Because when we look back at famous artists, we often see them through the weight of everything that happened afterward. We know the success that is coming. We know the enormous career, the awards, the expectations, the personal struggles, and the tragedy that would eventually become part of the public story. But Whitney in this clip doesn't know any of that yet. She is just a young woman singing a pop song. And perhaps that is why the footage feels so refreshing. There is no need to turn her into a symbol of tragedy or perfection. Before all the headlines and expectations, there was simply a remarkable young performer who clearly understood her instrument. Listen closely to the way she phrases the melody. She doesn't treat every line with the same weight. She knows when to stay light, when to lean into a note, when to release a phrase, and when to let the rhythm carry her forward. Even in a song designed for radio, there is musical judgment happening underneath the apparent effortlessness. That is the part people sometimes miss when they talk about Whitney only as a “great voice.” A great voice alone is not enough. You need control. You need timing. You need phrasing. You need the ability to make difficult things sound ordinary. Whitney had that ability very early. And watching her here, I don't think the most interesting question is whether she already knew she was going to become a superstar. She probably didn't. The more interesting thing is that, for a few minutes, she didn't need to be one. She could simply sing. The world would eventually place an enormous amount of expectation on that voice. But here, in this old television studio, before all of that arrived, we get to see something much simpler: a young Whitney Houston enjoying a song, trusting her technique, connecting with an audience, and sounding completely at home in front of a microphone. Sometimes the most valuable footage from a great artist isn't the biggest performance. It's the early one. The one where you can still see the person before the legend takes over.

There is something very different about watching Whitney Houston in 1985.🔥🔥 She had not yet become the Whitney Houston that the whole world knew. No massive tours, no stadiums, no legendary ballads, no enormous expectations attached to her name. She was only 22, standing in a television studio in Germany with a microphone in her hand, wearing a leather jacket, a hoodie, and a white headband. And then she started singing. What I find most interesting about this performance of How Will I Know is how little she seems to struggle. The song itself is light, youthful, and almost playful. The rhythm is bright, the melody moves quickly, and the lyrics capture that familiar uncertainty of having a crush on someone: Does he like me? Does he feel the same way? It could easily sound nervous or overly sweet in the wrong hands. Whitney doesn't sing it that way. Her voice has an unusual combination of clarity and strength. She doesn't need to push the notes to make them sound powerful. The higher phrases come out cleanly, the pitch stays remarkably stable, and she moves between her chest voice and upper register without making the transitions feel like technical demonstrations. That is what makes her early performances so fascinating. You can hear the training, but you don't constantly hear the effort behind the training. And there is another detail I like even more: she doesn't behave like someone who knows she is about to become famous. She smiles at the audience. She moves with the beat. She turns toward people standing near the stage. She gives a little gesture here, a playful expression there. Nothing feels excessively rehearsed. She isn't trying to manufacture a “legendary moment.” She is simply having fun. That matters. Because when we look back at famous artists, we often see them through the weight of everything that happened afterward. We know the success that is coming. We know the enormous career, the awards, the expectations, the personal struggles, and the tragedy that would eventually become part of the public story. But Whitney in this clip doesn't know any of that yet. She is just a young woman singing a pop song. And perhaps that is why the footage feels so refreshing. There is no need to turn her into a symbol of tragedy or perfection. Before all the headlines and expectations, there was simply a remarkable young performer who clearly understood her instrument. Listen closely to the way she phrases the melody. She doesn't treat every line with the same weight. She knows when to stay light, when to lean into a note, when to release a phrase, and when to let the rhythm carry her forward. Even in a song designed for radio, there is musical judgment happening underneath the apparent effortlessness. That is the part people sometimes miss when they talk about Whitney only as a “great voice.” A great voice alone is not enough. You need control. You need timing. You need phrasing. You need the ability to make difficult things sound ordinary. Whitney had that ability very early. And watching her here, I don't think the most interesting question is whether she already knew she was going to become a superstar. She probably didn't. The more interesting thing is that, for a few minutes, she didn't need to be one. She could simply sing. The world would eventually place an enormous amount of expectation on that voice. But here, in this old television studio, before all of that arrived, we get to see something much simpler: a young Whitney Houston enjoying a song, trusting her technique, connecting with an audience, and sounding completely at home in front of a microphone. Sometimes the most valuable footage from a great artist isn't the biggest performance. It's the early one. The one where you can still see the person before the legend takes over.

💖🌼Music, Kindness, and Inspiring Stories

88,497 次观看 • 14 天前