Meanspeed® Music Review

Athletic Ceremony Music & the Irony of Freddie Mercury’s timeless “WE ARE THE CHAMPIONS” – Professional Football & The Speed of the Victory

April 22, 2008 · Comments Off

Meanspeed Music Tempo Map - WE ARE THE CHAMPIONS - Queen - The Speed of Ritual 1

Meanspeed Music Tempo Map - WE ARE THE CHAMPIONS - Queen - The Speed of Ritual 4

Meanspeed Music Tempo Map – WE ARE THE CHAMPIONS – Queen – The Speed of Ritual 4

“We are the Champions” is brought to you to today celebrating the victory of the New York ‘football’ Giants over the Lambeau-leaping, cheese-hat wearing Green Bay Packers. Celebrations here in my newly adopted state of my old high-school state f New Jersey – the state where Thomas Edison invented the electric light, the sound recording itself – and the original set of speakers built to play recorded, for what is a good record with speakers upon which to blast same?!

Meanspeed Music Tempo map - WE ARE THE CHAMPIONS - Queen

The classic song of ceremony by Queen song of ceremonial glory that gets better with age. Who knew that Queen would be so dominant in the sports area? Such popularity destroys the idea that a gay man can no t *feel sport*. Fred Mercury, the musician, singer and composer who led Queen before he passed away from terrible developmental complications from the HIV virus. So much for the idea that gay men cannot feel the brute of sport. “Let us not assume that Clay Aiken is gay, nor assume that Randy Moss is straight,” said Professor Jamal Harrison of Union County Community College. “In fact, it is the gay, I tell you, that gets it on in a rougher than the straight man!”

Queen’s “We Will Rock You” soundtrack is still the most played soundtrack to inspire fans to noise in support of a home ball team. In basketball, which we asserted is more of a ballet event than a sport insofar as the music is blasted through games and effects the play of the [sport].

Sure enough, at the end of the season when a champion is crowned, this song is often played – the sexual orientation of the composer doesn’t matter! As Michael said, “We’ve come a long way baby!”

Congratulations to Eli Manning and the New York Giants, the champions of the National Football Conference. Congratulations to 38 year old Brett Favre of the Green Bay Packers who lost top the Giants. Come back Brett! One more year.

The Meanspeed Summary of Queens WE ARE THE CHAMPIONS -
average standard tempo (meanspeed)=63.2 beats per minute
emotive category according to meanspeed music theory=ceremony
average beat length=949 milliseconds per beat.
corresponding pitch=270 Hertz.

Good luck Giants and Patriots. Los Angeles: you are defined as the city with no football team. Shameful! Well, not shameful, but profoundly feeble. The Jets have haunted me for 37 year. Could the city find a buyer and move the Jets to Los Angeles, as you too the Brooklyn Dodgers? Please!!!

Enjoy the tempo maps. I thank the players for providing fantastic entertainment and athletic prowess that make most Olympic events look like physical education class in high school.

Meanspeed Music Modern tempo map - We Are The Champions

Who is the man? *THE* man? Two words: ELISHA MANNING. From the world’s best encyclopedia, the PEOPLE’s free reference, WIKI:

Eli Manning
From Wikipedia, the free encyclopedia
Eli Manning
The 2006 President’s Council on Physical Fitness & Sports
New York Giants — No. 10
Quarterback
Date of Birth: January 3, 1981 (1981-01-03) (age 27)
Place of Birth: New Orleans, Louisiana
Height: 6 ft 4 in (1.93 m) Weight: 225 lb (102 kg)
National Football League Debut
2004 for the New York Giants
Career History
College: Mississippi (Ole Miss)
NFL Draft: 2004 / Round: 1 / Pick: 1
Teams:

* New York Giants (2004-present)

Current Status: Active
Career Highlights and Awards

Meanspeed Music Tempo Map - WE ARE THE CHAMPIONS - Queen - The Speed of Ritual 2

Meanspeed Music Tempo Map - WE ARE THE CHAMPIONS - Queen - The Speed of Ritual 3

* Johnny Unitas Golden Arm Award (2003)
* Maxwell Award (2003)
* Conerly Trophy (2001, 2003)
* Other awards and honors

Selected NFL statistics
(through Week 17 of the 2007 NFL season)
TD-INT 77-64
Passing yards 11,385
QB Rating 73.4
Completions/Attempts 987/1,805
Completion % 54.7
Stats at NFL.com

Elisha Nelson “Eli” Manning (born January 3, 1981) is an American football quarterback for the New York Giants of the National Football League.[1] He was drafted by the San Diego Chargers with the first overall pick in the 2004 NFL Draft. However, a draft-day trade sent Manning to the Giants in return for the fourth overall pick Philip Rivers, a third round selection in the 2004 NFL Draft and the Giants’ first- and fifth-round picks in the 2005 NFL Draft. He played college football at University of Mississippi. He is the younger brother of Peyton Manning and Cooper Manning and the son of Archie Manning and Olivia Manning.[1]

Ian Schneider
NYC
April 22, 2008

Comments OffCategories: Alternative Therapy · BPM · International Language · Mathematical Psychology · Modern Tempo Map · Music Genome Project · Neurology · Psychology · Rhythm · Science of Music · Self-Help · Speed · Tempo · autopsychiatry · beats · beats per minute · behaviorism · bpm addiction · meanspeed constant · music · music psychology · pattern · philca
Tagged: "We Are The Champions", beats per minute, conceptual tempo, Eli Manning, entertainment, Favre, Freddie Mercury, Mathematical Psychology, meanspeed conjecture, music psychology, music tempo, musical conditioning, Packers, pattern, PoC, Psychology, Queen, Rhythm, Self-Help, self-hypnosis, sort by speed, Speed, Tempo, Tempo Catalog, theory, Time

The Psychology of the Speed of Foreboding and the Secret of Thomas & Santana’s “Smooth” – Meanspeed calibrations, tempo maps, video example of a song that virtually defines the territory in which it sits (~114-117.7 bpm)

July 18, 2009 · Leave a Comment

SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 2

The psychology of determinism and fatalism enters in to play because without the underlying un-ease that 116 beats per minute almost always brings to a song of that speed. The SECRET of “Smooth” simply the speed. Look at the list of hundred of songs at or with 114-118 bpm, on this page or anywhere else you can find accurate bpm, the pattern of foreboding expression smacks you in the face, as if to say this is clear to the point of obvious – how could no one have noticed this before? Here, right in the middle of this haunted speed, a rocking song about the anger a man has when argues woman he loves, casting a haunted, foreboding shadow both over their relationship and a shadow over the song itself.

What is foreboding, anyway? Courtesy of Mirriam Webster’s Collegiate 11th edition: coined c 14 c.–an omen, prediction or presentiment esp. of coming evil: portend. Most useful: the descriptive word “foreboding”‘ is the presentiment or foretelling which indicates that the speaker/singer/musician feels an indescribable force–often, as noted, a bad omen. Then again, as anyone knows who has been in a situation where all hopes seemed dashed by a terrible sign of things to come, all matters about which you stress are resolved with a positive ending .

SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 1 copy

The average beat, or the speed of the song expressed as beats per minute on this live recording= 116.1 beats per minute.
The average beat= 517 milliseconds.
The mean slow phase= 1.94 beats per second.
The corresponding tone= 495.36 hertz.

SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 1 copy

Rob Thomas from Matchbox Twenty wrote this with Itaal Shur, a songwriter and producer who has worked with Jewel, Robi Rosa and Maxwell (co-writing his first hit, “Ascension (Don’t Ever Wonder).” Says Shur:
I was already active in the music business. I had some hit records with Maxwell and I was already touring the world with Groove Collective, so people knew me more in the underground scene, but I wasn’t as big as Rob Thomas, of course. My manager at the time told me that Pete Ganbarg, who was working at the time at Arista, he was looking for music for the new Santana record. At the time, I had my own band and was performing a lot around the city. I jumped at it because I grew up with an older brother who hipped me up to Classic Rock and I always loved Santana. I went up to the office and I wanted to hear what they had first to see what kind of direction they were going for, and when I went up there I heard the Wyclef track, I heard the Dave Matthews track, I heard a couple of other tracks, and I realized there wasn’t the kind of track that was, in my opinion, a standard Santana groove like Black Magic Woman, Oye Como Va, Evil Ways. So I went home and wrote this track on guitar with all the arrangements called Room One Seven. It was about this couple that meet after a long time and have a little tryst in the hotel room. I brought it to Arista and they loved the instrumental and they liked parts of the melodies, but they didn’t like the lyrics – they thought it was a little too sexual for Santana – so they asked me if I wanted to work with Rob Thomas. I didn’t know him; I’d heard a little bit about Matchbox Twenty. He happened to live at the time in Soho very close to me. He came over and he had already written the verses to the instrumental that Arista gave him. I had a chorus that had the same melody: ‘Room One Seven on the seventeenth floor. Take the elevator and I’ll meet you at the door.’ He didn’t have a chorus, so before he came, I changed the words around to, ‘Give me the ocean, give me the moon, give me something hot to make my body move,’ and this turned into the chorus that we all know.”

Thomas sang lead on this, but when he was writing it he thought they were going to use someone else. He and Shur would try to figure out who they would get to sing it, but then Arista contacted Thomas and asked him to do it.

Many of the lyrics are Thomas’ ode to his wife, who is Puerto Rican (“My Mu Equita” translates to “My Little Doll” in Spanish). She ended up in the video.

Shur: “The guitar solo from my demo, Santana copied that solo, which was a huge compliment and all the breaks were also on my demo. It was really weird, my demo was kind of like a template for the live band to play. They sped up the song 2 beats: it was like at 1/13 and went to 1/15 and it went from A Flat Minor to A Minor. They played it as a band and recorded it all live, pretty much. Me and Rob, when we were writing the song, the verses were fine, but we went through about 4 or 5 changes with the record company; from like, “Give me the ocean, give me the moon,” “You’re just like the ocean…” Pete Ganbarg, who if it wasn’t for him this song wouldn’t have come together because he put me and Rob together, he said some really good comments about the lyrics – he was an English major and really picky about lyrics. It was a really good collaboration.” (Thanks to Itaal for speaking with us about this song. For more, check out itaalshur.com)

This won Song Of The Year, Record Of The Year and Best Pop Collaboration With Vocals at the 2000 Grammys. Supernatural also won for Best Rock Album and Album Of The Year. (thanks, Jim – Oxnard, CA)

Clive Davis is a legendary record executive who was the mastermind behind this album. Santana had not had a hit since “Hold On” in 1982, so Davis teamed him up with contemporary musicians like Wyclef Jean, Everlast and Lauryn Hill to make sure the younger generation took notice. The result was a wildly successful album that went over well with Santana’s old fans and created a legion of new ones. This was the first single, and it spent 12 weeks at #1 in the US.

Santana has the distinction of waiting the longest between his first charting single and first #1 hit. In 1969, “Tango” hit #56 in the US, and 30 years later this was #1. (thanks, Edward Pearce – Ashford, Kent, England)

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Ray, you’re legend… Hip hop and rap were good in the 80s and early 90s but hell, you can’t beat real beats and lyrics
- Luke, Manchester, England

This song is unbelievable. Santana is unbelievable. Boy bands have no talent other than that have choreography. I’m only 14 but i wish the 60s and 70s were around because hip-hop and rap are ABSOLUTELY TERRIBLE and that boy bands have NO TALENT whatsoever. hip-hop and rap is just screaming fast rhyming poems. Boy bands dress in sequin and dance around with choreography and they can’t write music or lyrics for their life. This song showed that boy bands and hiphop rap aren’t good. In the 60s, and 70s bands and artists did drugs for the lyric process. Now rappers do drugs because their amped up crack addicts who do it to be cool. It’s terrible. This song symbolizes that rap and boy bands are boring and that the 70s still rule.
- Ray, Stockton, NJ

this song had to be on the vh1 countdown for at least 3 years and who knows, it’s probably still on.
- Rick, humboldt, IA

Quick correction: “My MuÃ±equita” not “My Mu Equita”
- Otto, Miami, FL

In the 30’s Big Band was popular. In the 50’s Doo Wop was popular. In the 60’s Protest Songs were popular. In the late 70’s Disco was popular. In the 80’s Synth was popular. In the late 90’s Boy Bands were popular. Now Rap and Hip Hop is popular. What will come next? This song gives me a pretty good idea that it will be Latin music of some kind.
- Mason, Prior Lake, MN

SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 2 copy

/Ian Andrew Schneider/
July 18, 2009

this is an updated version of an article published here on Ocotber 12, 2007

(this is an updated version of an article I wrote and first published on May 26, 2006)

→ Leave a CommentCategories: Alternative Public Education · BPM · Biology · Education · Entertainment · International Language · John Mayer · Mathematical Psychology · Modern Tempo Map · Mood · Music Psychology · Music Tempo · Neurology · Objectivism · Phil Collins · Rhythm · STOP INTELLECTUAL THIEVES · Sarah Palin · Self-Help · Speed · Tempo Graphic · Time · Timing · attitude · autopsychiatry · bpm addiction · conceptual tempo · conditioning · self-control · self-help · sports psychology · tempo map
Tagged: bpm_graph, Carlos Santana, contemporary_tempo_map, foreboding, music, Neurology, placebo_effect, Psychology, psychology_of_tempo_map, Rob Thomas, Smooth, speed_map, Tempo, tempo_graph

Van Halen – “JUMP” – A Meanspeed® Free School Analysis with speed measurements, contemporary tempo maps in 2 & 3 dimensions, videos.

November 3, 2009 · Leave a Comment

The year the song “Jump” was popular was the first year I to drive. At the time I was addicted to the ABC® dramatic series called ALL MY CHILDREN (“AMC”). Many who were in that cast are still thriving actors.

For me the man for whom I have the most respect is Peter Bergman. At the time, the plot of AMC featured Peter as Dr. Clifford Warner, the young husband of heiress the blond and gorgeous Taylor Miller as Nina Courtland. Peter Cooney who still portrays Business magnate Palmer Courtland, the most fun character I ever disliked knowing that it was all “just” a “soap opera.”
These were the days of Greg Nelson and Jenny Gardner (Laurence Lau and Kim Delaney), Liza Colby (Marcy Walker), Liza’s best friend Amanda (Amanda Bearse), Jesse Hubbard and Angie Baxter (Darnell Williams and Debbi Morgan) and a now-grown-up Tad Martin (Michael E. Knight), who was now legally Ruth and Joe’s son, enter the scene.

Lesley Wilson who played Dr. Langley Wallingford was a customer during a year in which I was retail man in Manhattan. To coin a phrase: I have never met a kinder man. When I said “My friends and I would eat lunch in high school sitting around the television, you were such a favorite that a best friend when earned the nickname “Langley.” It definitely was not my brother who does not do translations at the United Nations, or , a bold multi-world traveler for a good photo as B.B. King said about same brother , “You mean, you took these photos for the Youuuuuuuuuuuuuuuuu Eeeeeeeeeeehhhhhhhhhhhn? The Yuuuuuuniiiiited Naaaaaaaaations!” Followed by a B.B. (only in New York) pregnant pause that I could never time. Another photo. Another: “The U.N. [Indefinable pregnant pause]…the United Nations!” Heck, it was my birthday and B.B. was there to please his clientele.

Lest I digress: One day my brothers and a friend of mine decided to go see all the actors on All my Children which filmed when in Manhattan in a building which is now replaced by a gentrified building, and described with gutsy, bold emotion by Pete Bergman in last year Soap Opera Digest®, which goes well in the bathroom along with Newsweek,® Time® , and, yup, the CBS® Soaps In Depth™.

Speed-Space tempo graph - JUMP - Van_Halen_meanspeed_school 1121

Peter, who played squeaky clean Cliff Warner now plays the Angel on the right shoulder, Devil on the left shoulder business magnate and family patriarch of the Abbott family of television’s best drama, The Young And The Restless®. Night television is now dominated by Reality and Comedies, with American Idol®, or FOX®, Survivor® of CBS®, The Office® originally written by Ricky Gervais of the BBC® of ABC®, and last and best and for sure the most brazen 30 Rock® of NBC®. Peter talks about passing his old digs at ABC® – the days when he was the “good solid doctor” only to see that the demolished building, destroyed only the day before his visit.

tempo_catalog_screen_shot_Jump_Van_Halen

tempo_catalog_screen_shot_Jump_Van_Halen 2

I think he was only in New York for the Daytime Emmy® Awards, and he turned to his wife and said: “It’s true what they say. You can never go home again.” Was that too much information about my family reading material’s locale? My email box is quiet on the most active among you. Don’t worry, I won’t blow your cover!

Ok: My high school friend was so exuberant about seeing the cast, especially Jenny and Nina that at a stoplight at 4:30 AM, as these actors show up at 5 AM an d leave in the night

The thing I remember the most about that day was the friend in the car psyching the rest of us up at 4:30 by getting out of the car on a dead street on a long red light as JUMP was blaring from my car. “George Parks” got out of the car and did a David Lee Roth meets George Bush 43 as his cheerleading days at Yale. George made the day – Tad was cool, he was wearing a radio Walkman™ before anyone thought it “stylish,” the actor who played Erica Cane

Speed-Space tempo graph - JUMP - Van_Halen_meanspeed_school_0419

played by the dazzling lovely Susan Lucci , & the character BRANDON KINGSLEY was cordial. Mainly: it was Jump.

Speed-Space tempo graph - JUMP - Van_Halen_0121

The song just fit the times, just like Boulevard of Broken Dreams by Green Day defined its times and the way Halloween, especially the live GORGE version, a known John Edward’s favorite according to a source close to the Kerry 2012 camp, by the DAVE MATTHEWS BAND defined Clinton’s times, the way Let’s Roll dominated Bush 43’s early years and the way that U2 played on the Lincoln Memorial after racism by law and in fact had been stamped out, from the law, singing IN THE NAME OF LOVE. Frankly when, James Manning-san and I thought Bono’s relaxation upon the monument was disrespectful. Then I reminded myself: he’s celebrating freedom.

Speed-Space tempo graph - JUMP - Van_Halen_meanspeed_school 2628

And of course Harold Loomis who, with Every Breath You Take in the background had kidnapped everyone’s secret crush, I know she was mine: Brooke English as portrayed by Julia Barr! My Harold Loomis Halloween costume.

Speed-Space tempo graph - JUMP - Van_Halen_meanspeed_school 26282

Halloween, I’m late, I know. I saw the Jets play live, so please understand.

Speed-Space tempo graph - JUMP - Van_Halen_meanspeed_school 1121

Meanspeed/Spencer/Carlton Summary
Song title=Jump
Performer=Van Halen
Album=’1984’
Bit Rate=128 kbps
Sample Rate=44.100 kHz
File type=Protected AAC audio file
File extension=M4P
Intellectual Property=(p) Warner Brothers, Incorporated
Profile=Low Complexity
Channels=Stereo
Fair Play Version=2
Genre according to iTunes® by Apple®=’Rock’
Composer=Edward Van Halen & David Lee Roth
Arithmetic mean speed / average expected tempo =130.0 beats per minute, 0.4615 seconds per beat
Whole note=1.85 seconds
Tempo surveying and chart synthesis=Meanspeed® Free School