Auto news on Youtube Jul 31 2018

Whatever it is you have to do, just think about it...

what can happen?

In 99% of cases, nothing can happen.

If you say something, and it's wrong, you can always say

"oops!"

I was wrong

I've said that on television

who cares?

I might be popular, I might not be popular, but

people will always respect honesty

in a thing like that

So, you try it

maybe it works directly

you try it again...

It will work better. You try it again

and so on...

In this way, you work up

the confidence.

You work up believing in yourself

Chris: So... the scenario is

one guy says something on stage, but he's a little bit

of himself

and doesn't get much of a response.

Someone else says it

but with more confidence in what they're saying

and they get a massive round of applause

How does that work?

Frank: Pretty well! Hehe

It works in all different situations

you have that amongst others;

You have that situation when you're sitting in the classroom as a child

and your ordinary teacher is sick

and a substitute is coming in.

When you think about it...

You see already when this person comes into the room

Whether he has confidence or not.

The same second this person comes in

the kids know alreadyy

"This guy we can make shit with"

"We can make him feel like shit!"

"Like the worst part of shit!"

And another guy comes in,

since I'm a teacher I've been trying that many times,

coming in as a substitute.

Going in, and have them right away.

It works right away, without any kind of a problem

and I'm not doing anything; I'm not threatening them

I'm not throwing them out of the window or anything

nothing at all.

I just sit together with them

and start working

and they know immediately

that this Frank...

It's no use to try to

make him

a fool.

He makes us fools, yeah?

And the same thing goes up when you

come up into University

Exactly the same, "we have this professor

he is the biggest *blablabla*

and... or the other one says

"we got a professor, wow!

this guy doesn't need a microphone or anything, he just talks"

and everybody listens to him, it's something

you have inside of you or you dont

But you can learn how to get it

inside of you. You can learn to have

more confidence in yourself.

And the higher you come; and older you grow

You need more and more confidence.

And the easier it becomes to learn

how to have confidence - that's the funny thing

you just have to overcome

your fear, "I'm never going to

do that, I'm never going to manage"

to "I know what it takes

and since I know what it takes, I can also

present it.

So it's up to you completely, I've helped

many, many people to do that.

It always works.

Chris: How can someone work on becoming

more confident?

Frank: It depends on the person

You can never say "for everybody

without confidence they have to do this, that and the other

It doesn't work

I have to look at you, and I have to see "aha!

there is his problem." and then I take away the problem

and you can function, and the more you

start feeling functionable

the better it becomes

Chris: So a lack of self confidence always exists in the mind

how does that work? Is it an experience

someone has had

that they've held on to

and now it's in their subconscious. How does it normally work?

It works like...

"I'm doing something,

and I'm giving my best

and I see that it actually works

and my brain remembers it

the next time I'm going to do it, the brain remembers that

I actually do have those skills

Maybe not all of them, but the brain rememebers

that a little bit of it

has been there!

And the next time you have a little bit more

and a little bit more, and at the end

you are the one who gives the lectures.

Because you can't cheat your own brain.

You can lie to your brain, the brain will tell you

"Ha ha ha"

Your brain will also tell you "I've been fooling

myself for many years

that I can't do this, that and the other

and now..

"Frank, or whoever it was

told me and showed me

all the things I thought I never could do

I can do them!"

"and he made me do them!"

and it feels so good.

Coming the next time and being able to do more

'Learning by Doing'

A very simple recipe

very efficient REPESEE

recipe... recipe1

Chris: With the initial

process is that you have to first

do the thing you're scared of

How do people tell their mind

How do they give it importance enough to be able

to push past that initial barrier - the 'fear'

Well whatever it is that you have to do

just think about it, what can happen?

In 99% of cases, nothing can happen

If you say something and it's wrong, then you can always

say, "oops!"

there I was wrong.

I've said that on TV, who cares?

I might be popular, I might not be popular but

people will always respect

honesty in a thing like that

So, you try it

maybe it works directly, maybe you try it again

It will work better, you try it again

and so on

in this way you work up

the confidence, you work up

believing in yourself.

and if you have a chance to actually prepare

what you are doing, then the risk or the

chance of doing it 100%

is even bigger - much bigger

Just don't expect from yourself

that you are a master before you have done anything

even the best master

has been studying one time

and has been learning

until he comes higher and higer and higher

and feels...

"Look here, people do actually

respect me"

and then it goes much easier

Another thing is

just think about it...

what do you have to lose?

"Well people will think about me..."

What people?!

Who the hell do they care about you?

Why should they? Are you such a popular

such a well known person that

they say "look here!"

thats him!!

and he's an idiot!

Look around, how many of the people here

do actually know you?How many do you know!?

Then why the hell should you be afraid of talking to them ?

So if you go and talk to them, which I

can do at any time you want me to

and I do it here through this medium

yeah?

Most people don't care who you are

you are not that important in their life.

If you think about it correctly

then you'll find out that.,.

people care more about themselves

and about their own fear of failing

than listening to you

and saying "this is wrong. this is wrong.."

"Oh this idiot!" or anything like that!

Who cares?

Chris! You're playing around with your phone!

Am I so boring? Hahaha!

I'm joking! Chris: I was recording on Instagram at the same time - sorry

a bit distracting...

Chris: You were saying who cares what people think

Do you think that other people's opinions is what

holds most people back from trying something new?

Frank: You have to think about

who cares about you.

Why should they care about you so much so

they listen to ever word and say

"this is wrong, this is wrong..."

are you that important?

So that they can't cope without

listening to you and saying "this is a jerk"

"he's STUPID!"

They will listen to you

many of the things you talk about they don't

understand

So why criticize you when they don't understand

it themselves

and if they do understand it

the mind does something strange...

the mind listens, and transforms

what you say into what it should be

and at the end you say "is there anyone who could help

me a little bit? Tell me! You

know much more than I do"

"So please just help me" You will see

that this person who maybe has been able to switch it over

he will say "yeah you said that about this thing

but maybe you should use this frame" PERFECT!

Thank you very, very much

Chris: That's why we encourage criticism and things like that

on Instagram! Frank: Exactly..

That's totally right

and that's why we've been lucky for 3/4 years

now

and sending so many programs out

and up to now, even so we have

asked people to tell us "can you find

something wrong?"

Do you have a better idea? Please

just write to us, or call us

do whatever you feel like, yeah?

I am not only talking just to hear all the time

Fantastic! Oh good! Fantastic and so on...

I'm here just like everyone else

to LEARN.

Has it occurred to you that being a Doctor, Dr. Frank

that it doesn't mean

that I can know everything?

Has it occurred to you

that if you look only at psychology as such

I think you could study for 2,000 years

without covering everything!

And has it occurred to you, that what is right for you

within psychology, musn't be right for him

or her

All people are unique in their way

and that means also that they react in

unique ways

Isn't it then normal that if I tell you

"oh you're like that and that "

that there is a big chance that I'm wrong ?

and if I'm good at what I'm doing

I tell you that I might be totally wrong.

I am not afraid of saying that because

everyone is learning

I am 73

I hope I live many years yet

and I hope

that I'm going to learn even more years

even after I'm dead

because there is such an enormous amount to learn

and I don't know it yet!

For more infomation >> Self-Confidence｜Why people don't respect you - Duration: 13:28.

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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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Why Are You So Passive Aggressive? - Duration: 5:50.

For more infomation >> Why Are You So Passive Aggressive? - Duration: 5:50.

-------------------------------------------

DMEANOR (디미너) - Why Do We (English Ver.) (Are You Human Too? (너도 인간이니?) OST Part.8) - Duration: 4:19.

You hide behind shadows

Lock yourself indoors

Trying to fall asleep

You say this ain't real

When I'm right here for

You to understand it's me

They say time only heals you

But truth is it hurts you

Even when the scars aren't deep

I know it's not worth it

Believe me I know that

Memories don't fade away

See why do we

Why do we make this up

Even when I'm right beside you

Why do we keep this up

See why do we

Why do we try so hard

Cause nothing seems better

without you

Why do we make this up

Why do we keep this up

So tell me your in this

Mess that we're living

Only to fall right in

The things that we look for

Hoping there's something

Lets not just runaway

So why do we

Why do we make this up

Even when I'm right beside you

Why do we keep this up

So why do we

Why do we try so hard

When nothing seems better

without you

Why do we make this up

Why do we keep this up

Tell me if I'm the only one

Tell me that I'm the only one

Cause your the only one I want

The only one

Let me know I'm the only one

Cause I know you're the only one

This heart can only break so much

When it's you it wants

So why do we

Why do we make this up

Even when I'm right beside you

Why do we keep this up

See why do we

Cause nothing seems better

without you

Why do we make this up

Why do we keep this up

Why do we make this up

Why do we keep this up

For more infomation >> DMEANOR (디미너) - Why Do We (English Ver.) (Are You Human Too? (너도 인간이니?) 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.

-------------------------------------------

Yosuga No Sora [AMV] - Why Do I? - Duration: 3:36.

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: 3:36.

-------------------------------------------

Why Smart People Lose Election Campaigns They Should have Won - Duration: 2:27.

Why do you think so and so lost the election?

It is a common question after a hotly contested, high profile campaign.

One that I've been asked many times.

Today I'll share the most common reasons smart people lose, and the answers may surprise

you.

1.

They copycat.

They look at what worked for somebody else in a different year, in a different jurisdiction,

and then assume that the strategy that worked for someone else will work for them.

It won't and it doesn't, for every race requires a unique message, a unique plan to

execute the message, and a unique strategy.

By the way, candidates are not the only ones who make that mistake.

High-priced consultants do as well, including those who worked for Hillary Clinton.

2.

They don't delegate.

They spend too much time mired in the day to day operation of their campaign, to the

detriment of tasks only a candidate can do.

Candidates are the start performers in their own movie.

They must always be at the top of their game, and that is a full time job.

3.

They waste money.

On things that don't matter at the expense of things that do.

Usually because they are not up to date on how and where voters get their information.

Technology is changing everything.

Very quickly.

What was a great way to reach a target audience two years ago, or even last year, may not

be the best way to reach them this year.

4.

Their message is a confusing mess.

Voters are busy people.

If voters can't quickly grasp why a candidate wants the job and what the candidate is going

to do for them, they will not spend time deciphering a confusing morass of blather.

5.

They bomb on stage.

They blow a speech in front of an important audience, or wilt during a debate.

They say or do something stupid in an interview with a tv or newspaper reporter.

Usually because they were ill-briefed and ill-prepared.

This is why good people lose elections they could have won.

Every single one of these mistakes can be avoided.

If you are running for office now or soon, and would like some help with your campaign,

please visit my website at JayTownsend.com.