The Soundtrack of Your Life
This song was pretty much the national anthem of my high school years. I can't not include it. Bad Religion - Generator. This band basically defined my taste in music. This was the turning point for me. I was into hiphop exclusively and thanks to Bad Religion I branched out into rock, and punk more specifically. Goodie Mob - Cell Therapy. For the longest time this was my favourite song.
My all-time favourite band. Has to be included, of course. One of my favourite singers. I was into her music but this song made me a mega-fan. Really blew me away. I can also kind of relate to the lyrics.
What Would The Soundtrack Of Your Life Sound Like?
Dead Kennedys - Riot. Nothing ever became less awesome because of Jello Biafra. Also could be symbolic for me taking an interest in politics, sort of. Refused - Liberation Frequency. My other all-time favourite band. OutKast - Spottieottiedopalicious. Basically what got me into music, at all.
Andrew Jackson Jihad - Growing Up. I didn't like growing up very much. Turbonegro - Wasted Again. Obligatory soundtrack to the drunken party scene. Whoa, that's the first time I've seen that song mentioned on Reddit. I feel like it pairs well with FC Kahuna - Hayling. Just what's coming to mind right now, and some of them are kind of gay in the most respectful way , but you know, emotions are tough Drive - R. This is the song that was always stuck in my head, was always played in the car or in the house when I was a kid.
Select Your Birth Date and We’ll Tell You Which Disney Movie is the Soundtrack to Your Life
Even Flow - Pearl Jam I rediscovered this band, which eventually got me into rock. Dyers Eve - Metallica Not the song that introduced me to heavy metal or Metallica or something, but it is just so fucking powerful. Gimme Shelter - the Rolling Stones This I consider to be one of the top 5 songs of all time, also a favorite of my parents.
Squier died the same year, of pneumonia. Muzak is probably called elevator music because soothing melodies were used in early skyscrapers to make people feel less nervous about stepping into a contrivance that looked like a death trap. In the forties, Muzak introduced a trademarked concept, called Stimulus Progression, which held that most workers would be more productive if they were exposed to music of gradually increasing intensity, in fifteenminute cycles. The process was said to be subliminal: Muzak affected you the way hypnosis did, whether you wanted it to or not.
Only sanitized instrumental arrangements were used, because the absence of lyrics made the music less likely to intrude upon conscious thought. It was sometimes said that if the songs in a Stimulus Progression program were played in reverse order a listener would helplessly fall asleep.
Stimulus Progression acquired a vast supporting apparatus of baffling in-house research studies and impenetrable charts and diagrams. It was pseudoscience, but it remained alive at the company until the late nineties, partly because it was a useful marketing tool and partly because it seemed so plausible: most people really were happier and more productive when there was something humming along in the background.
Today, the company estimates that its daily audience is roughly a hundred million people, in more than a dozen countries, and that it supplies sixty per cent of the commercial background music in the United States. Modern Muzak is delivered to customers by satellite, over broadband, and on high-capacity disks. Foreground music violated all the central principles of Stimulus Progression.
By the time Yesco came along, though, Muzak and popular music had diverged, and generational differences in taste were unbridgeable. Muzak was slow to adapt. In , Marshall Field V, the Chicago department-store heir, bought the company, and the following year he took over Yesco and merged the two. He is fifty-three, tall, and extremely thin, and he wears a nearly unvarying uniform: nice black T-shirt, unfaded jeans, high-top sneakers, coollooking wristwatch, designer glasses. Not long ago, we met in the courtyard of the Trump Tower, where he had just had a meeting with the marketing executives of a luxury clothier, which was considering hiring Muzak to create musical programs for its stores.
Collis, who recently left Muzak to become an independent consultant, is from Victoria, British Columbia.
After graduating from high school, in , he bummed around Canada and Europe for a couple of years, and eventually moved to Seattle without a green card. He thought of himself primarily as a post-punk musician, a performance artist, and a storyteller. In the eighties, he worked as a freelance sound engineer, and did jobs sporadically for Yesco, and then for Muzak after the two companies merged.here
Soundtrack to Your Life (song) - Wikipedia
Once, he and a group of other engineers were adding a musical soundtrack to a movie a project unrelated to Muzak. They were working on a love scene, which they knew was supposed to make moviegoers cry. The first time the engineers watched the scene, though, they all laughed. The men spent the next three hours trying to find the right background song for the scene. These were all crusty old guys, and by that time we had watched that scene probably twenty-five or thirty times.
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Suddenly, I understood that the emotional content of a movie is driven largely by your ears. Several years later, Collis was doing an engineering job for Muzak. It was about selling emotion—about finding the soundtrack that would make this store or that restaurant feel like something, rather than being just an intellectual proposition. Muzak went through an exhilarating period of self-examination and redefinition, and moved its headquarters from Seattle to Fort Mill—mainly for economic reasons, but also to sever itself from its stodgy past.
In a relatively short time, it transformed itself from a company that sold boring background music into one that was engaged in a far more interesting activity, which it called audio branding. It attracts some customers and repels others, and it gives pedestrians walking past the front door an immediate clue about whether they belong inside. A chain like J. Audio architects have to keep all this in mind as they build their programs. Audio architects also have to screen lyrics carefully. Most storms have caught me by surprise, so I had to learn very quickly to look further and understand that I am not capable of controlling the weather, to exercise the art of patience and to respect the fury of nature.
Paulo Coelho. Nature Life Patience Weather. My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humor, and some style. Maya Angelou.
Life Inspirational Passion Style.