Pray - Justin Bieber lyrics

Ohh Ohh Ohh .. and I pray
I just cant sleep tonight.
Knowing that things aint right.
Its in the papers, its on the tv, its everywhere that I go.
Children are crying.
Soldiers are dying
Some people don't have a home
But I know there's sunshine behind that rain
I know there's good times behind that pain, hey
Can you tell me how I can make a change
I close my eyes and I can see a better day
I close my eyes and pray
I close my eyes and I can see a better day
I close my eyes and pray

  

I lose my appetite, knowing kids starve tonight.
And when I sit up, cause my dinner is still on my plate.
Ooo I got a vision, to make a difference.
And its starting today.

Cause I know there's sunshine behind that rain
I know there's good times behind that pain, hey
Haven`t tell me how I can make a change
I close my eyes and I can see a better day
lyricsalls.blogspot.com
I close my eyes and pray
I close my eyes and I can see a better day

I close my eyes and pray
For the broken-hearted.
I pray for the life not started
I pray for all the ones not breathing.
I pray for all the souls in need.
I pray. Can you give em one today.
I just cant sleep tonight
Can someone tell how to make a change ?

I close my eyes and I can see a better day
I close my eyes and pray
I close my eyes and I can see a better day
I close my eyes and I pray

I pray ..

I close my eyes and pray ..

Avril Lavigne - What the Hell lyric

You say that I'm messing with your head
(yeah, yeah, yeah, yeah)
All 'cause I was making out with your friend
(yeah, yeah, yeah, yeah)
Love hurts, whether it's right or wrong
(yeah, yeah, yeah, yeah)
I can't stop 'cause I'm having too much fun
(yeah, yeah, yeah, yeah)

You're on your knees,
beggin' please
'stay with me'
But honestly,
I just need to be a little crazy

All my life I've been good but now,
I'm thinking 'What the hell'
All I want is to mess around,
and I don't really care about
If you love me, if you hate me,
you can't save me, baby, baby
All my life I've been good but now,
whoa 'What the hell'

What,
What,
What,
What the hell

So what if I go out on a million dates
(yeah, yeah, yeah, yeah)
You never call or listen to me anyway
(yeah, yeah, yeah, yeah)
I'd rather rage than sit around and wait all day
(yeah, yeah, yeah, yeah)
Don't get me wrong,
I just need some time to play (yeah)

You're on your knees,
beggin' please
'stay with me'
But honestly,
I just need to be a little crazy

All my life I've been good but now,
I'm thinking 'What the hell'
All I want is to mess around,
and I don't really care about
If you love me, if you hate me,
you can't save me, baby, baby
All my life I've been good but now,
whoa 'What the hell'

La la la la la la la la, whoa, whoa
La la la la la la la la, whoa, whoa

You say that I'm messing with your head
Boy, I like messing in your bed
Yeah, I am messing with your head
When I'm messing with you in bed

All my life I've been good but now,
I'm thinking what the hell (what the hell)
All I want is to mess around and I don't really care about (I don't care about)
All my life I've been good but now, I'm thinking what the hell
All I want is to mess around and I don't really care about. (if you love me)
If you love me (no), if you hate me (no)
You can't save me, baby, baby (if you love me)
All my life I've been good but now, whoa, what the hell

La la, La la la la la la, La la, La la la la la la la

Jazz

The Definition of Jazz Music

 Jazz can be very difficult to determine because it stretches from the waltz ragtime to fusion era of the 2000s. Although many efforts have been made to determine from the viewpoint of jazz beyond jazz, such as using the history of European music or African music, jazz critic Joachim Berendt argued that all these efforts are not satisfactory. One way to get around the problem of definition is to define jazz "term" wider. Berendt define jazz as a form of "art music which originated in the United States through the confrontation of blacks with European music", he argues that jazz differs from European music in the jazz that had a "special time, which is defined as 'swing'," " a spontaneity and vitality of musical production in which improvisation plays a role ", and" sonority and expression that mirrors the way the individuality of jazz musicians perform. "
Travis Jackson also proposes a broader definition of jazz that is able to cover the entire era of radically different: he claimed it was the music that includes qualities such as 'swinging', improvising, group interaction, developing an "individual voice, and become 'open' to possibility of different music Krin Gabbard claimed that "jazz is a construct" or category that, while artificial, is still useful to designate "a number of musics with enough general to be understood as part of a coherent tradition".
While jazz may be difficult to define, improvisation is clearly one key element. Early blues are generally structured around patterns of call-and-response of recurrent, common elements in the African American oral tradition. A form of folk music which rose in part from work songs and field hollers of rural Black, early blues was also highly improvisational. These features are fundamental to the nature of jazz. WhilProxy-Connection: keep-alive Cache-Control: max-age = 0 in the elements of European classical music interpretation, ornamentation and accompaniment are sometimes left to the discretion of achievement, the main goal is to play a player like that written composition.

In jazz, however, expert players will interpret a song with a very individual way, never played the exact same composition in the same way twice. Depending on the mood of the players and personal experience, interactions with fellow musicians, or even members of the audience, a jazz musician / player can change the melody, harmonies or time signature at will. European classical music composer media has said. Jazz, however, is often characterized as egalitarian product creativity, interaction and collaboration, placing equal value on the contributions of composers and actors, 'agile weight [ing] the claims of each composer and improvisation'.

In New Orleans and Dixieland jazz, performers took turns playing the melody, while others countermelodies improvisation. With the swing era, big bands come to rely more on arranged music: arrangements whether written or learned by ear and memorized - many early jazz artists can not read music. Individual soloists would improvise within these arrangements. Later, in bebop the focus shifted towards small groups and minimal arrangements; melody (known as the "head") will be stated briefly at the beginning and end parts, but the core of the performance will be a series of improvisations in the middle. Then jazz styles such as jazz capital of leaving strict notion of progress chord, which allows individual musicians to improvise even more freely in the context of a particular scale or mode. avant-garde and free jazz idioms permit, even call, leaving the chords, scales, and rhythmic meters.

There has long been debate in the jazz community over the definition and boundaries of "jazz". Although alteration or transformation of jazz by new influences has often been criticized initially as a humiliation "," Andrew Gilbert argues that jazz has the ability "to absorb and transform influences" from diverse musical styles. While some enthusiasts of certain types of jazz argued for narrower definitions which exclude many types of music also known as the "jazz", jazz musicians themselves are often reluctant to define the music they play. Duke Ellington concluded by saying, "It's all music." Some critics even stated that Ellington music was not jazz because it is set and adjust. On the friend the other hand Ellington twenty solo Earl Hines's "transformative versions" composition Ellington (on Earl Hines Plays Duke Ellington recorded in 1970) described by Ben Ratliff, New York Times critic jazz, like "as a good example of the process of jazz as something out there ".

Commercially oriented or popular music influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz [era fusion and many others] as a period of decline in the commercial value of music. According to Bruce Johnson, jazz music has always had tension "between commercial music and jazz as an art form" Gilbert notes that. As the idea of a canon of jazz is developing, "past performance" can become "... privileged over special creativity ..." and innovation of artists at the Village Voice. jazz critic Gary Giddins argues that as the creation and dissemination of jazz increasingly institutionalized and dominated by big entertainment companies, jazz is facing "a. .. the future of respectability and acceptance interested dangerous" David Ake. warned that the creation of "norms" in jazz and the establishment of the jazz tradition "may exclude or sideline other newer, avant-garde forms of jazz. Controversies also arise over new forms of contemporary jazz is made outside the United States and depart significantly from the American style in one view they are an important part of the current development of jazz that;. in others they are sometimes criticized as a rejection of the jazz tradition is important.

Jazz is one of the most sought-after word origins in modern American English. The word's intrinsic interest - the American Dialect Society named it The word Century Twenty - has resulted in substantial research, and its history is well documented. As explained in more detail below, jazz began as a West Coast slang term around 1912, meaning that varies but does not refer to music or sex. Jazz came to mean jazz in Chicago around 1915. Jazz played in New Orleans before that time, but not called jazz.

Jazz word makes one of the earliest appearance in San Francisco baseball writing in 1913. "Jazz was introduced to San Francisco in 1913 by William (Spike) Slattery, Call sports editor, and distributed by the leader of a band called Art Hickman, was achieved. Chicago in 1915 but not heard in New York until a year later." One of the uses known The first of the word jazz came on March 3, 1913, article in the San Francisco Bulletin baseball by ET "Scoop" Gleeson.

The Jazz Age

Prohibition in the United States (from 1920 to 1933) banned the sale of alcoholic drinks, resulting in illicit speakeasies becoming lively venues of the "Jazz Age", an era when popular music included current dance songs, novelty songs, and show tunes. Jazz started to get a reputation as being immoral and many members of the older generations saw it as threatening the old values in culture and promoting the new decadent values of the Roaring 20s. Professor Henry Van Dyck of Princeton University wrote “...it is not music at all. It’s merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion.”
Even the media began to denigrate jazz. The New York Times took stories and altered headlines to pick at Jazz. For instance, villagers used pots and pans in Siberia to scare off bears, and the newspaper stated that it was Jazz that scared the bears away. Another story claims that Jazz caused the death of a celebrated conductor. The actual cause of death was a fatal heart attack (natural cause).
  From 1919 Kid Ory's Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles where in 1922 they became the first black jazz band of New Orleans origin to make recordings. However, the main centre developing the new "Hot Jazz" was Chicago, where King Oliver joined Bill Johnson. That year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers.


Bix Beiderbecke formed The Wolverines in 1924. Also in 1924 Louis Armstrong joined the Fletcher Henderson dance band as featured soloist for a year, then formed his virtuosic Hot Five band, also popularizing scat singing. Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra. In 1924 Whiteman commissioned Gershwin's Rhapsody in Blue, which was premièred by Whiteman's Orchestra. Other influential large ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the Cotton Club in 1927) in New York, and Earl Hines's Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.

Picture of Jazz Music 

Famous jazz musicians :

     * Louis Armstrong, (1901-1971)
     * Duke Ellington, (1899-1974)
     * Charlie Parker, (1920-1955)
     * Dizzy Gillespie, (1917-1993)
     * Miles Davis, (1926-1991)
     * John Coltrane (1926-1967)
     * Chick Korea
     * Ornette Coleman, (born 1930)
     * Chris Botti
     * Dave Koz
     * Bob James
     * Lee Ritenour
     * Kenneth Bruce Gorelick / Kenny G, (born 1956)


Streams in the jazz :

     * New Orleans jazz
     * Big-band/swing
     * Bebop
     * Ragtime
     * free jazz / avant-garde jazz
     * Smooth jazz
     * Fusion jazz
     * Funk
     * Acid jazz


Musical instruments used :

     * Acoustic and electric guitar, bass guitar
     * Piano
     * Saxophone
     * horn
     * trombone
     * Violin, usually electricity
     * Drum

Jonas Brothers - L . A Baby

LA, LA baby
(She's a) LA, LA baby
(You're my) LA, LA baby
(She's a) LA, LA baby

Driving down the highway where
The California air breeze in my head
(yeah yeah, yeah yeah, yeah yeah!)
Out on your vacation baby
That's my destination, see you there
(yeah yeah, yeah yeah, yeah yeah!)

Here we go, so now let's go
You gotta, go go! Bring it on

The two of us tonight we can make it last forever
We'll need to realize, it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of, where dreams are made of

Did have the movie on number one
The light is us in on my way
(yeah yeah, yeah yeah, yeah yeah!)
We can do whatever you can take a place

And tell me what to say
(yeah yeah, yeah yeah, yeah yeah!)

Here we go, so now let's go
You gotta, go go! Bring it on

The two of us tonight we can make it last forever
We'll need to realize, it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of, where dreams are made of

L.A, L.A baby
(She's a) LA, LA baby
(You're my) LA, LA baby
(She's a) LA, LA ....

The two of us tonight we can make it last forever
We'll need to realize, anekatips it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of oh yeah
Where dreams are made of oh yeah
Where dreams are made of ... come on
Where dreams are made of

Ronan Keating - If Tomorrow never comes

Sometimes late at night
I lie awake and watch her sleeping
She's lost in peaceful dreams
So I turn out the lights and lay there in the dark
And the thought crosses my mind
If I never wake up in the morning
Would she ever doubt the way I feel
About her in my heart

If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes

'Cause I've lost loved ones in my life
Who never knew how much I loved them
Now I live with the regret
That my true feelings for them never were revealed
So I made a promise to myself
To say each day how much she means to me
And avoid that circumstance
Where there's no second chance to tell her how I feel

If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes

So tell that someone that you love
Just what you're thinking of
If tomorrow never comes

Richard Marx - Love Goes on Lyrics

Elusive happiness
Can be like promises
That rest so gently on our pillow
We stood out on the ledge
And leaned over the edge
And nearly fell right through that window

There were those who had us done by now
Baby, we've only just begun

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on
Our love goes on

No one may recognize
What lives behind our eyes
Sometimes the good times are the hardest
And when my strength is gone
It's you that I lean on
A light at the end of all my darkness

And in the end if I know nothing else
The answer is only in your arms

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on

And in the end if I know nothing else
The answer is right here in your arms
It's always in your arms

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on

Oh love goes on

It may look out of reach
And time may rob us like a thief
But love goes on

Richard Marx - Right here waiting Lyrics

Oceans apart day after day and I slowly go insane
I hear your voice on the line but it doesn't stop the pain
If I see you next to never how can we say forever

* Wherever you go whatever you do
I will be right here waiting for you
Whatever it takes or how my heart breaks
I will be right here waiting for you

I took for granted, all the times that I though would last somehow
I hear the laughter, I taste the tears but I can't get near you now
Oh, can't you see it baby you've got me goin' crazy

[Repeat *]

I wonder how we can survive this romance
But in the end if I'm with you I'll take the chance
Oh, can't you see it baby you've got me goin' crazy

[Repeat *]