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[Business] is thinking about the direct to consumer space,

and how we move online.

What role do you see physical retail playing in all of this?

There's the shift for all these direct to consumer brands

to create physical stores.

Why do you see that happening?

What's the reason behind that?

I think the mistake a lot of people make is opening a popup gets attention

and that's all you need.

The reality is (and what we've noticed looking at the data) is... that opening a store

or a storefront is great if people purchase more than one thing,

and the second time they purchase they're purchasing directly from you online.

If somebody is going in [to a pop-up], they have no loyalty, they're buying once and they never buy again.

That popup strategy does not work.

If they're going in, if they're buying, if they like the product, and they're like,

"Oh my God.

I want to buy three more of these."

Let's say they're flats, and you wear them out,

and you love them and you want to another pair?

Or it's Denim? Or name whatever kind of case you want,

that's where that flywheel will really start to work.

That's how you can build a loyal customer base.

I think that's really the importance of it.

Customer acquisition actually is what it is.

For more infomation >> Why Pop-Up Stores Don't Work For Start Ups - Duration: 1:37.

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[MV] DMEANOR (디미너) - Why Do We (Are You Human Too? (너도 인간이니?) OST Part.8) - Duration: 4:39.

For more infomation >> [MV] DMEANOR (디미너) - Why Do We (Are You Human Too? (너도 인간이니?) OST Part.8) - Duration: 4:39.

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Why do we sing? - Duration: 14:30.

(SPEAKERS HUM)

LINDA: Music is this amazing cocktail of emotion and science.

DAN: We've been using it to connect with each other

for thousands of years.

How does music work its magic on us?

Why does it affect us with such intensity?

Hey, I'm Linda Marigliano. And I'm Dan Golding.

And this is What Is Music?

A show about how music works, how it's made and how it affects us.

In this series we're gonna be looking at a whole heap of questions

that you might have about music from why do humans like a good beat,

to how do you write a hit song.

In this first episode we're getting back to the basics -

to the voice, to the original instrument to make music.

Because, "We're the voice, try and understand it.

"Make a noise and make it clear."

Later on in the show I'm gonna be chatting to some professional singers

about how they shape their voices to suit their different styles.

But first, how do we actually sing?

I'm here at the University of Sydney's Voice Lab

and they're gonna test me like a guinea pig

for a whole bunch of things like how much air I use when singing

and how efficient I am with my voice.

WOMAN: Take a deep, deep breath for us.

Pee, pee, pee, pee, pee.

Science is weird.

Good. And now can you sing for us.

# There's a bear in there

# And a chair as well... #

Voice lab director Cate Madill is one of the driving forces

in the study of how and why we sing.

To make voice we actually need our three elements.

There's the power, which is the lungs that we get the air into.

So, we've got the air now coming up through the windpipe.

We hit what we call the larynx, or the voice box.

And inside we've got two strips of muscle.

(SINGS OPERATICALLY)

So, if I re-create that vocal cord

I'll have a firm base and a floppy edge.

Now, if I put an airstream over it... (BLOWS)

..it will flutter and make sound.

(SINGS OPERATICALLY)

Once we've made the sound, it's gotta come out.

# Ah. #

This is a tube that it's coming out of.

(PITCH OF RECORDING CHANGES)

The sound of the voice can actually change

depending on the shape of the tube.

# I really came up from the bottom... #

# The captain, he swore... #

(SCREAMS)

# It's Play School. #

We can actually see that you have too much air when you're singing

and you have to get rid of it.

Right.

See these big... (EXHALES HEAVILY) ..peaks here?

They're actually at the ends of your phrases.

You went... (INHALES SHARPLY) # There's a bear in there... #

(EXHALES) "There's too much air." Yeah. Yeah.

BOTH: # Fall in your ways... #

So, in fact, singing is a very athletic, extreme form of speaking.

That we can change the tone through multiple ways in the instrument,

which is why of course we are so impressed with very good singing.

It represents an enormous achievement in control of the human body.

(SINGS OPERATICALLY)

Luckily we have opera veteran Jermaine on hand

to show us how a real professional uses their voice.

(SINGS) # Baa, baa, baa, baa. #

(SPEAKS GRUFFLY) Baa, baa, baa, baa.

It's still pretty weird.

(SINGS OPERATICALLY) # Stories to tell

# Open wide, come inside

# It's Play School. #

When Jermaine is singing, she's taking much bigger deep breaths,

expanding both her rib cage and her abdomen.

And when she's using her voice,

she's actually keeping her abdomen extended

as a way of managing and controlling the air.

Whereas when Dan was singing,

he would just let his abdomen collapse really quickly.

OK, I get it, my abdomen sucks.

But we couldn't leave without one more extremely invasive test.

So, we're about to see a slow-motion view of my vocal cords.

A camera's going in my mouth, which is going to be interesting and fun.

I hope.

Well done, Dan. Nobody thinks you're afraid.

Tongue out, yeah? Mm-hm.

And deep breath for me. Deep breath for me.

Ah...

Gross.

(HOLDS NOTE) # Ah... #

Deep breath, deep breath.

That is disgusting. Let's see it in slow-mo.

(DISTORTED NOTE)

This deeply disturbing image is my vocal folds

filmed at 4,000 frames a second.

But, hey, we've all got 'em.

I think one of the most common misconceptions

is that you can only sing if you've had training.

Anybody can sing.

The judgement that we might put on ourselves about that

is often the limiting factor, not anything to do with the voice itself.

(CROWD SINGS INDISTINCTLY)

Singing is essentially a joyous way

of expressing who you are and how you feel.

And whether you're on pitch or not,

whether you're singing the right words or not

and whether you're singing in the right rhythm or not

doesn't change that.

Well, in that case I guess this one goes out to me.

# Eeee... #

(GASPS)

Dan, your flaps! They're really out there!

Yeah, for the whole world to see. I love them.

I feel a little exposed, yeah. Be proud.

Free the flaps, man. (LAUGHS)

Look, now that we know the physical side of singing,

it is time to take it to the next step.

So, I sat down with three people

at polar opposites of the music spectrum - a soul singer...

# I just try some more... #

..a metal singer...

# Tell me why I didn't die in that swimming pool... #

..and an opera singer...

(JERMAINE SINGS OPERATICALLY)

..to discover how differently they manipulate their voices.

(SINGS OPERATICALLY)

(SINGS BREATHILY)

You have such different styles,

and there are so many other styles of singing as well.

But how did you each find what you do specifically?

I just have always loved singing low,

and so I always kind of thought it was like my rebel voice.

(ALL LAUGH) Your alter ego.

Yeah, so when I discovered jazz I just got really obsessed.

The different tones people can access, it's just kind of limitless.

# Now they're, now they're knee-deep

# Mad for my vices

# Loved up and knee-deep

# Mad for my vices... #

You're supposed to be able to find a fingerprint of your voice,

like, and that's what you're working towards, almost.

How do you sound different to everyone else?

I think I heard, like, a lot of other bands doing it,

obviously liked that kind of genre of music,

so I was like, "I want to do this."

And there's not really any, like, lessons

or anything you can do to kind of work it out.

Are you imitating?

Like, are you trying to hear somebody else sing and re-create it?

Yeah, exactly. That's kind of how it started, I guess.

Like, to imitate what they were doing.

But, then, even that's kind of, like, really strange

because you don't know exactly what they're doing.

They're literally screaming.

(ALL LAUGH)

# I owe to you and all your guidance

# I've finally

# Made room to grow... #

To start off with I just kind of, like,

had to wait till all my housemates left and scream,

literally scream in my room

and then just hope I don't get institutionalised for it.

I do a lot of word painting.

So, you kind of, like, try and, like, get inside a word

and, like, figure out what way to lean.

Like, if there's, like, a little bit of a smile in what you're doing.

(SINGS SOULFULLY)

Like, that's kind of, like, you're kind of, you're smiling

while you're singing.

Or you could go, like, the same line...

(SINGS STRAIGHT-AHEAD

I kind of think about it really...

It's quite psychological for me,

less about the actual mechanics of it.

We also challenged our trio to have a go at singing in the other styles.

So, yeah, so I guess kind of like letting a lot of breath out

and trying to make it quite rhythmic.

ALL: # Ooh, baby, give me one more chance

# To show you that I love you

# Won't you please let me

# Back in your heart? #

People are always quite excited when we do start to sing

and they're like, "Oh, that's interesting."

They're like, "Oh, my gosh, how do they make that sound?"

# Love is like a defiant bird

# That none can catch and none can tame... #

What's, like, the hardest thing that you need to nail technique-wise?

Movement. Like, before when I was singing the run... The runs.

It's the runs that I find really difficult.

(SINGS SCALE RUNS)

(CONTINUES SINGING)

Something like that!

Wow. Oh, my God, amazing.

It's like, "Ah..." And then you go, "Where am I going?"

But then you're just like, "Don't think about it too much."

Because if you think about it too much it gets stodgy.

If you're singing the scale and you're not emphasising every note,

your ears fill in the notes that I haven't emphasised.

And so it's almost an illusion, like, in your ear.

Right. Kind of like reading? Yeah! Yeah!

You can see, like, certain letters and it's like,

"Oh, yeah, cool, it's that word."

If you run your tongue from your teeth to back,

it's hard until this back bit.

That's your soft palate.

(WITH TONGUE IN SOFT PALATE) So, what does that...

Wait. So, what, I'm singing into that or...

You're singing into that, but that needs to be arched.

# Oh, oh... #

Is that it?

It needs to be up, that's all.

You don't need to sing into it, it needs to just be up.

I think I'm an opera singer now. (LAUGHS)

Because opera's often in Italian, we often sing with quite round vowels.

# Oh, oh, baby

# Oh, baby, baby... #

ALL: # Oh, baby, give me one more chance

# Won't you please let me

# Back in your heart? #

(LAUGHS) That was good.

I feel like it's this general perception that opera singers sing

so, so loud, like, that it was gonna break, shatter some glass.

Which is probably the stupidest thing to say to you.

(SINGS OPERATICALLY)

But actually it was John that was ridiculously loud.

# Oh, baby, give me one more chance... #

It didn't? Did it peak?

But how does it work, in terms of volume?

Like, are you thinking about how loud you need to be?

For opera singing, it's more about cut.

It's that you actually have to sing within a certain frequency

so that every other instrument in the orchestra

isn't singing at your frequency.

And so that's what people hear out there.

It's like you're aiming for a target

rather than trying to sing as loud as you can.

I'm interested about, like, John,

when you sing because you do this amazing thing where you go

from screaming to, like, melodic singing and then back to screaming,

and then two seconds later back into melody.

# I made it out And I'm happy now

# I'm your friend, I'm your brother, I'm your lover

# I'm your son... #

Mm. What is going on?

How does that work? I don't know.

Do you know how I got that sound was because I couldn't sing high enough,

so I just screamed it instead,

'cause it was kinda easier to scream.

# Some of my friends sell drugs

# But I just sell sad songs... #

It surprised me how resonant the screaming was.

Like, it had tone to it. Yeah, yeah.

You can change pitch within itself.

Yeah, you can kind of eventually control it.

# Oh, baby, give me one more chance

# Won't you please let me

# Back in your heart? #

Well done. It's there.

Yeah, well, right, so to do that you just gotta scream.

(ALL LAUGH)

Do you take higher breaths?

No, no, I, like, fill my tummy up and then just kind of, like, push it

until it kind of crackles.

Some really topnotch music theory for you.

(LAUGHS) The crackle.

The crackle. You've gotta get that crackle.

YEAH! Like that.

WOMEN: YEAH! (ALL LAUGH)

You nailed it! I'm like, "Imitate now!"

One, two, three, four.

ALL: # Oh, baby, give me one more chance...

(ALL LAUGH)

WOMEN: # Won't you please let me

# Back in your heart? #

(ALL LAUGH) You're just singing loud.

Well, thank you. Thank you.

What I loved about that is that they all had so much in common,

but that they all really wanted to get better as well.

I know. They were so curious about each other's styles,

even though they were so different.

Like, Jermaine was even saying at the end that she wanted to incorporate

metal screamo into her opera singing in the future, which I just loved.

Yeah, I mean, people think of singing as, like,

a gift that you're born with, but that's not actually true at all.

Yeah, exactly. It's a tool for communication.

You can always improve on it, so basically

if you want to sing, Dan, you should sing.

I think I will.

And if I wanna sing or if you wanna sing, you definitely should.

And in fact here are some top tips.

Posture's really important,

so it's a good idea to keep everything as upright as you can.

So, relax your shoulders, lift your body up from your chest.

Support.

Put your hands on your rib cage, breathe in and then breathe out.

Feel these muscles around here?

Make sure these are engaged while you're singing.

Remember to relax.

Your mouth doesn't need to be wide enough to fit a fist in it,

but keep your jaw relaxed.

# Ah! #

For more infomation >> Why do we sing? - Duration: 14:30.

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[MV] DMEANOR (디미너) - Why Do We 너도 인간이니? OST Part 8 (Are You Human? OST Part.8) - Duration: 4:19.

For more infomation >> [MV] DMEANOR (디미너) - Why Do We 너도 인간이니? OST Part 8 (Are You Human? OST Part.8) - Duration: 4:19.

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Why do we love a good beat? - Duration: 10:35.

(TECHNO BEAT)

Hey, I'm Linda.

And I'm Dan, and this is What Is Music?

Dan, do you like a good groove?

I do, actually.

I think rhythm is so important to what I like about music.

Maybe even more important than melody, actually.

I'm the same.

I am all about the rhythm a lot of the time.

I love this idea of us having a heartbeat, having a pulse,

people having a cadence to the way that they walk and they talk

in everyday life.

Yeah, I think rhythm is really intrinsically human, actually,

and that's why this whole episode is about why we love a good beat.

I went to the MARCS Institute to find out how our brains react to a beat.

One of the main functions

of the MARCS Institute for Brain, Behaviour and Development

at Western Sydney Uni

is to study how music and dance communicate universally.

If you think about music generally, it's a time-based art form,

and rhythm is the patterning of time

and beat is something by which rhythmic durations can be measured.

We like a good beat for three reasons.

One is it makes us move, almost literally.

Secondly, a good beat is predictable,

and the brain likes that.

The brain is a rhythm generating machine in some sense.

It can lock on to the regularity of a good beat.

And the third reason is that

one of the key systems in the brain for processing the beat

is involved also in regulating the sense of reward and motivation.

To see how my body reacts to beats,

I'm gonna be tested by Peter's students, Tomas and Cecile.

OK, so tell me, what is happening?

So, we're going to do an EEG experiment with you.

EEG measures the electrical activity in the brain,

and we're about to measure my huge noggin.

It's gonna be a small one. It's a small one.

Perhaps it's just my ego that's huge.

It is quite natural for humans to perceive beat in music.

We often synchronise just by tapping our foot or bobbing our head.

(FLUTE PLAYS)

So do you want me to do that or...

I want you to try to focus on the beat

as if you were sort of dancing to music

but at the same time try not to move with the music.

I want to put a cool wig on now.

So I'm about to be played three different tracks

and I have to sit really still and stare at this little dot

for the next half-hour.

Everything alright there? Great.

OK.

(ELECTRONIC FUNK BEAT)

KELLER: The body reacts to the beat

because the brain regions and the brain systems in fact

that are activated the beat follow two pathways.

So of course we're processing sound.

The auditory sensory system is activated.

But this is very closely linked in humans to the movement system,

the motor system of the brain.

Therefore when we hear a rhythmic beat,

it can also harness or call into activation

the movement system of the brain and trigger movement.

At this point I want to move so badly,

but I can't and we're only halfway through -

because science likes to take its sweet time.

Our bodies and in fact brains recognise beat

through a phenomenon that is referred to as entrainment.

It's been observed in biological species, fireflies synchronising,

frogs and crickets, but they don't change their tempo

or the rate at which they are producing a beat at will.

Whereas humans are able to do this, we're able to get faster,

get slower, double the tempo, halve the tempo.

I think that makes us special

in terms of our beat-keeping capacities.

Score one for the humans.

We are beat machines.

Now, fast forward a couple of weeks.

Let's see how my brain did.

Hi, Linda. This is Dr Keller.

Hello.

Hi, your test results are in. OK.

The good news is your brain locks onto the musical beat.

Yay!

So we prepared this little figure

where we logged your brain activity.

So in Daft Punk, large numbers of neurons become synchronised

at this particular frequency.

We got such a nice strong response.

When the Daft Punk song came on, I knew it

so I was dancing to it in my head.

And the picture is a little bit different for the other two pieces.

This broken beat track from the '90s.

Yeah.

(IRREGULAR DRUM BEATS)

The rhythm there was complex.

Most people have difficulty to actually find the beat

and synchronise to it

because it's not very prominent in the rhythm in the actual music.

But Linda actually did find the beat,

but it's not as strong as the Daft Punk.

Because that sounded more complex to me,

I found myself paying attention heaps more to find the beat.

But when you look at the very right, that track,

there was a very clear beat.

So we would expect that your brain tracks this pretty well,

but I don't know what happened there.

Your brain wasn't interested in that one for some reason.

It's a mystery.

That one to me felt kind of like an easy beat,

so I didn't pay attention that much.

So maybe that's what it was.

Rank my brain.

What was it, like...

Was it good at locking into the beat? Did it work?

I think your brain is pretty, pretty high.

(LAUGHS) Yes!

It's a very nice response.

Congratulations. Alright.

See you, guys. OK, see you. Bye.

I was having to sit so still and stare at one spot on a screen.

It was so hard.

But you can still see

that your brain is looking on to the rhythm too.

Yeah, for me, in terms of the songs that I didn't know so much,

it was actually where my brain was paying way more attention.

So essentially the lesson for me was that

you can train your brain to lock onto rhythms.

I mean, just moving away from the science for a moment,

I mean, I've been a musician for a while,

I can count and play in pretty complicated rhythms

and time signatures,

but I've never really been able to articulate that to my body, I guess.

Do you mean dancing?

Yeah, dancing.

Do you want to do a dance class with me?

No.

WOMAN: Five, six, seven, and...

(ELECTRONIC BEAT)

And double, double.

Single, single. Double, double.

So why do you think that everybody should dance?

I think everyone should dance 'cause it's a lot more fun than running.

(BOTH LAUGH)

Yeah.

And so what's special about rhythm?

We have a natural inclination tow rhythm that even if someone's like,

"I can't dance, I have no rhythm," and some people don't,

but it can still help to organise a pace of something.

It's something that we can all feel.

So you want to think about both your foot going out

and your arm going out, and then they're crossing over.

So, out, cross, out, in.

And out, cross, side.

(ELECTRONIC BEAT)

For me, the different types of music that I've listened to or engaged to

have also played quite a big part in identity

and things that I've felt like I've related to.

I remember listening to punk when I was, like, a teenager

and feeling angsty

but also too listening to a lot of N.W.A. and Dr Dre and hip-hop.

The most instant connection was taping songs off the radio

and then making up dances to them,

or taping songs from the television and then learning the movements.

Mostly watching the lines that they would make with their body

and what they were using, what objects they were dancing with

and I guess it kind of spurred a greater trajectory into it.

But, I mean, most of the time when I'm making dance now,

the sound or the music would support what it is that I'm making

rather than the other way around.

Next song? Easy.

So now that you guys have mastered the slower,

we're gonna move on to a slightly faster song,

and this song I chose because of the lyricism in it

and I guess we're kind of moving through the lyricism of the rapping,

but also too doing a lot of repetitive grooves.

So a similar movement to what we were doing before

but we're just gonna try and short cut it in a couple of ways.

Yeah? I like short cuts.

(LAUGHS) So do I. (CHUCKLES)

And one, one, and double.

Boom, boom, and back.

And slow, hop. And slow, hop.

One, two, three, four.

And ooh-ooh, slide.

Ooh-ooh, slide.

Yeah. Oh, I did that before.

So, what does dance mean to you?

It is so many things.

My career and something that I enjoy very, very much.

But usually the definition that I give to somebody else

is the organisation of time and space and my autonomy over that.

So when I'm telling you how to dance, will be organising time,

or timing,

and the space that we're in.

So time travel? Mm-hm.

(LAUGHS) Pretty much, yes.

(LAUGHS)

So, how did that feel?

Yeah, actually surprisingly good.

But you know what - the next morning I woke up

and I sort of found myself still moving in the same way.

Still thinking about the moves. You were going through it.

Yeah! That's totally a dancer's thing.

Because you've been a dancer for ages, right?

Yeah, I was quite hard-core with dancing

from the time I was about nine until about 21, 22,

and even now I dip in and out of classes.

I love it.

I mean, I think that kind of experience helps you

articulating the rhythm to your body.

You know what you're doing. You've got to practise, Dan.

Are you gonna come back and do another class with me?

(LAUGHS) Sure.

Well, it's clear our brains love a good beat.

It locks onto it, it helps your body move along,

and how well you move is then up to you.

Captions by Red Bee Media

Copyright Australian Broadcasting Corporation

For more infomation >> Why do we love a good beat? - Duration: 10:35.

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Yosuga No Sora [AMV] - Why Do I? - Duration: 3:35.

Messing with my head again

You had your heart set on me

But these feelings they come and go

And they come so easily

Tell me what it is

About you that I can't forget

But you're breaking down my walls again

Just to set me free

Why do I, baby, why do I?

Love the way you only always leave me

Why do I, baby, why do I?

Love the touch but never love the feeling

Why do I, baby, why do I?

Love the way you only always leave me

Why do I, baby, why do I?

Love the touch but never love the feeling

Staying up when I go out

You gotta know I'm all yours

But when I say what's that about

You start slurring your words

Tell me why you have to seem so

Distant when I'm holding you

Your fingertips are drifting away

And I f*cking love how it hurts

Why do I, baby, why do I?

Love the way you only always leave me

Why do I, baby, why do I?

Love the touch but never love the feeling

Why do I, baby, why do I?

Love the way you only always leave me

Why do I, baby, why do I?

Love the touch but never love the feeling

Why do I, baby, why do I?

Why do I, baby, why do I?

Why do I, baby, why do I?

Love the touch but never love the feeling

For more infomation >> Yosuga No Sora [AMV] - Why Do I? - Duration: 3:35.

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Do More of What You Want This Summer - Duration: 0:31.

Yeah! What what!

Cannonball!

*Phone Beeps*

Hey guys, how's it going?

Oh, Oh! Fries are mine!

No no no, the fries are mine.

Yes.