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"The Zone" is a song by Canadian singer the Weeknd featuring Canadian rapper Drake. It was originally recorded for the Weeknd's 2011 mixtape Thursday, the song was later remastered and released as the third single for his 2012 album Trilogy. It was released as a digital single on November 16, 2012, by XO and Republic Records.[1] The song serves as the first collaboration between the two artists.[2]
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The music video for "The Zone" premiered on November 7, 2012, on the Weeknd's personal YouTube account "xoxxxoooxo" and was directed by the Weeknd himself.[3] It was later uploaded to his Vevo account the following day on November 8, 2012. Since its release, the Vevo upload of the video has been viewed over 70 million times on YouTube. The music video features a different version of the song than the original version on Thursday, and the remastered version on Trilogy. In the music video-version of the song, the Weeknd's second verse has been removed, and replaced with Drake's verse, which was the third verse in the original version. The second chorus is also longer and features the added sound of strings. There are other slight changes as well, such as the outro being different.
Was listening to a Mike 2600 mix (link) and during a certain song, Ronnie Laws - Friends and Strangers, noticed a certain common riff especially in the beginning between that song and Sonic 1: Start Light Zone. Anybody else make the connection?
Joseph Wulf, born in 1912 in Chemnitz and raised in Krakow, had a rabbinical education and was trained as an agronomist. His life changed course with the Nazi invasion. He and other Jews were restricted to the Krakow ghetto, where he knew the folk poet and songwriter Mordecai Gebirtig and painter Abraham Neumann. Wulf managed to escape and join the resistance but was captured in 1943 and deported to Buna-Monowitz, a subcamp of Auschwitz, for slave labor.
You can just imagine Moro and Whits sitting in their office, having spent night and day working on the song lyrics and structure, excitedly discussing which current music superstar would perform their song for one of the biggest movies of the decade. The phone suddenly rings, its the Movie Studio Executive, and Moro takes the call while Whits listens on intently:
The opening to this song is full of energy, blazing guitar rifts and booming drums, with supporting lyrics to allow the listener to imagine the expert Top Gun pilot screaming through the sky at supersonic speed, defying all laws of physics with calculated aeronautical precision. Real seat-of-the-pants stuff.
I have my suspicions about what has transpired with this song, and its lyrical intent. But before I get onto that, we also need to raise an issue with the voice of these lyrics, ie from what viewpoint are the lyrics based on.
And that, surely, is exactly what Moro and Whits no doubt thought. They had the inside scoop that Top Gun would be released before Days Of Thunder, and having penned the song Danger Zone for the latter film, quickly realised what an absolute fuckin turkey it would turn out to be.
So with a quick revision of the lyrics, insertion of aeroplane-type metaphors such as touch-and-go and a line about spreading wings, they agreed to fast-track the song for Top Gun by finding the first person desperate enough to perform it; Kenny Loggins.
Dr. ZoneOne foot in the future/One foot in the past.Song informationPerformer(s):Jeff "Swampy" Marsh, Danny Jacob and Laura DickinsonGenre(s):PopLength:0:46Artist chronologyPrevious:Next:N/A"Welcome to Lard World" (Danny)VideoDr. Zone is the opening theme song of the TV show The Doctor Zone Files. It is the third song heard in the series and appears for the first time in the episode "The Doctor Zone Files".
Almond initially didn't want to include the track on the album, as he thought it was missing something, despite being content with lyrics and music. However the rest of the team greenlit the song and Almond agreed.[1]
The song first became public with a music video published on Marc Almond's official web site.[3] But when Pet Shop Boys got involved, the new version became the definitive one, and more preferable by Almond.[1] Vinyl edition of the album was long in production by that time, meaning that LP copies stayed with original version, while the rest formats got updated, and so will future vinyl repressings.[4] Album was released on May 6th, 2022.
In the Zone is a song sung by Maven in its eponymous episode. During the final verse, it is sung by the rest of the cast except for Roman Lutterotti, who is replaced by Amos Crawley reprising his role as elderly Arnold.
Maven: First somebody decided to call this place their home
Then, to know what time it was, they chose their own time zone
Sometimes, you'll find it's different than the time zone right next-door
It might be three-o'clock right here, but over there, it's four
Wonder zone is -|'s second song for the single released on March 6, 2013 . It is an insert song in Love Live! School idol project Season 1 Episode 9, sung by ++'s with Kotori Minami as the center role and writer of the song. It is also included in -|'s Best Album Best Live! Collection II and Season 1's original soundtrack Notes of School idol days.
There is actually some strategy to this game, and I'd be remiss if I didn't give proper credit to the people who put the work in, so here's a link to Chris Calabro's guide, right here on GameFAQs: -fantasy-zone/faqs/51202
While many correctly recall that ABBA and C|-line Dion were famous alumni, others seem to think that any and every campy, catchy, European song that has entered the American consciousness has tread the boards at Eurovision at some point. That being said, some of these red herrings could have easily made an impact on the scoreboard if they were actually ESC songs.
Such a deep song. I think it's about a guy who's hurt and just broken, from a relationship. This song is basically saying all he's been doing to cope with the pain of the break-up is self medicating til he can't "feel a damn thing" & that even though he's about to "have sex" or "hook-up" with somebody else in the song, he's only doing it cause he's been extremely lonely and he's going to fantasize about having sex with the girl he's heartbroken over anyways..
like a sort of "sleeping with ghosts"; Frank Ocean's novacane or hammock's departure songs. A lucid venture into past lovers through the pursuit of sensual pleasures. Love how that steady bass line carries the song into a hypnotic rhythm similar to massive attack. It's the bass that makes it very sexy, but the lyrics, vocals and guitar that turns it into a haunting, fragile tune. The intimacy belies the sexuality of the song. He speaks with tenderness like he would with a lover, yet there is also that carnality and nihilistic promiscuity. Slipping into his own impulses, dreams, the past... the down beat vibe is like him falling further and further into himself, into whoever he's with... losing himself and slipping in and out of consciousness... he's running and falling, remembering..
The Indochina area is a tectonic active region where creates complex topographies and tectonic structures. Especially, the Ma River shear zone plays an important role in understanding the mechanism and revolution of the escape process between the Indian plate and the Eurasian plate. In order to have better understanding the seismotectonic structures around the fault zone, this study has carried out a project to deploy 12 temporary broadband seismic stations around/near the Ma River area to record high quality waveform data. In this study, we adopt damping least-square inversion method to investigate the Vp structures and Vp/Vs ratios of the crust and upper mantle beneath the Ma River fault zone, northern Vietnam. From many studies, the velocity structure can be used as an indicator to identify the geometry of fault and precise the earthquake location. Therefore, the goal of this research is to analyze the degree of correlation between the velocity structure and the characteristics of the seismicity, and its tectonic implications. Finally the distribution of Vp/Vs ratio and its association with fault activities is also investigated. Our results indicate that the variation of velocity structure beneath the Ma River fault zone is caused by local geological structures, and the earthquake clusters are located between the Ma River fault and the Song-La fault in the northern Vietnam. Besides, the obtained focal mechanisms from the tomography inversion also exhibit that the orientations are northeast-southwest trending with normal faulting nearby the Ma river fault and should be highly correlation with local geological structures. Based on the analysis of focal mechanism solutions, this area is in extension status which is consistent with the geological survey. Finally, we find a dense cluster occurred in the bending segment of the Ma River fault, and according to the distribution of seismic events, there may exist a south-dipping fault in the southern part of Ma River fault. However, this argument needs to be investigated more in future study.
Clutch, Blade Runner and Boss Metal Zones? Three of our favourite things combined?! A new Clutch song is always reason for celebration, and this time there's a heavy reference to Boss's iconic / Marmite distortion pedal attached. It's even called Red Alert (Boss Metal Zone), in case there was any confusion.
I'm the Guitars Editor for MusicRadar, handling news, reviews, features, tuition, advice for the strings side of the site and everything in between. Before MusicRadar I worked on guitar magazines for 15 years, including Editor of Total Guitar. I've currently set aside any pipe dreams of getting anywhere with my own songs and I am enjoying playing covers in function bands.
Bird song is important in mate attraction and territoriality (Spector 1992; Brenowitz et al. 1997; Nowicki and Searcy 2004; Catchpole and Slater 2008; P|nckert 2018), and is considered to play an important role in reproductive isolation (Gill 1998; Alstr||m and Ranft 2003; Price 2008). In allopatric speciation, songs may diverge between geographically segregated populations as a result of selection and/or drift (Price 2008). During secondary contact, songs may diverge further through the process of reinforcement of prezygotic isolation as a result of selection against unfit hybrids (Butlin 1987; Howard 1993; Liou and Price 1994; Servedio and Noor 2003). Discrimination against foreign song may increase for the same reason, without further divergence of the songs themselves (Irwin and Price 1999). Alternatively, songs may converge, and hence become more similar, in the contact zone (Helb et al. 1985; Vabishchevich and Formozov 2010; Secondi et al. 2011; Vokurkova et al. 2013), potentially leading to increased rather than decreased interbreeding between the incipient species (De Kort et al. 2002; Qvarnstr||m et al. 2006; Sattler et al. 2007; Cros and Rheindt 2016). Several hypotheses have been formulated to explain the presence of mixed singers and song convergence (summarized in Secondi et al. 2011), for example, misimprinting (Helb et al. 1985; Olofsson and Servedio 2008), or to reduce the costs of interspecific territoriality by improved signaling (Cody 1969, 1973).
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