T-ARA is releasing their second music video of «Lovey-Dovey» in a zombie version. Starred by actress Lim Soo-Hyang, it shows a zombie coming to a club and infecting people who start dancing the shuffle dance — the choreography to «Lovey-Dovey».
«Lovey-Dovey» is a pop dance song with electronic sounds topping powerful beats and a fun and addictive melody. The «Lovey-Dovey [Club Remix ver.]» is a reinterpretation of the original song with added club music elements.
ティアラ（T-ARA）_ ラビダビ（Lovey-Dovey）（ゾンビver.)
ティアラが「Lovey-Dovey（ラビダビ）」の二番目のゾンビ・バージョンのミュージックビデオを公開する。このミュージックビデオには俳優のイム・スヒャンが出演した。あるクラブにゾンビが現れ徐々に皆を感染させていく。感染された人々が一緒になって「ラビダビ」の振付であるシャッフルダンスを踊る内容だ。
「Lovey-Dovey」は強いビートのエレクトロニック・サウンドが引き立つノリのいい中毒性のあるメロディーのポップダンス曲だ。「Lovey-Dovey Club Remix ver．」は、既存の「Lovey-Dovey（ラビダビ）」を再解釈して、クラブ的音楽要素を加えた曲だ。
티아라가 'Lovey-Dovey(러비더비)' 두번째 좀비버전 뮤직비디오를 공개한다. 좀비버전 뮤직비디오는 배우 임수향이 출연을 했으며, 한 클럽에 좀비가 나타나 모두에게 점점 감염을 시키며, 감염된 사람들이 함께 '러비더비' 안무인 셔플댄스를 추는 내용을 담고 있다.
'Lovey-Dovey'는 강한 비트에 일렉트로닉 사운드가 돋보이는 신나고 중독적인 멜로디의 팝댄스곡으로'Lovey-Dovey'Club Remix ver.'은 기존 'Lovey-Dovey(러비더비)를 재해석해 클럽적인 음악요소를 더욱더 가미한 곡이다.
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Dua Lipa Became a Redman, Method Man and 50 Cent Stan at Age 13
Опубликовано: 19 дек. 2019 г.Dua Lipa recounts an embarrassing moment she had with Jimmy after making her US TV debut on The Tonight Show and explains how living in Kosovo led to her obsession with hip-hop.
The Tonight Show Starring Jimmy Fallon features hilarious highlights from the show, including comedy sketches, music parodies, celebrity interviews, ridiculous games, and, of course, Jimmy's Thank You Notes and hashtags! You'll also find behind the scenes videos and other great web exclusives.
MACKLEMORE & RYAN LEWIS — WHITE WALLS — FEAT. SCHOOLBOY Q AND HOLLIS (OFFICIAL MUSIC VIDEO)
Опубликовано: 9 сент. 2013 г.Macklemore & Ryan Lewis present the official music video for White Walls feat. ScHoolboy Q and Hollis. White Walls is available now on iTunes: https://itunes.apple.com/us/album/whi...
DIRECTOR OF PHOTOGRAPHY — SEAN KILGUS
SECOND UNIT DIRECTOR OF PHOTOGRAPHY — NICK MAHAR
MOVI CAMERA OPERATORS:
RYAN HAUG
COREY KONINIEC
MIKE HAGADORN
JOEL CLARE
SAM NUTTMAN
CAMERA ASSISTANT — KENNY BREIT
CAMERA ASSISTANT — LANDON MOSESON
STEADICAM — CHRIS DUERKOPP
COLOR & FINISHING — KEVIN ADAMS
PRODUCTION ASSISTANT — JACKIE GANGER
PRODUCTION ASSISTANT — HOLLIS WONG-WEAR
PRODUCTION ASSISTANT — NIC ADENAU
PRODUCTION ASSISTANT — BAYLEE SINNER
PRODUCTION ASSISTANT — ZACH ASHMAN
PRODUCTION ASSISTANT — SAMMY ABDOU
PRODUCTION ASSISTANT — JOE SEILER
«DRONE DUDES» OPERATORS:
AARON LIEBER
JEFF BLANK
ANDREW PETERSEN
KEYGRIP — DAVE HAYES
GRIP — RYAN MIDDLETON
GRIP — NICK SCHWARTZ
CAMERA CAR — MARSHALL CHABOT
LEAD STYLIST — JEAN COURTNEY
STYLIST — KELVIN SEAH
MOTORHOME — DAVE NUGENT
MOTORHOME — JOHN GOETZ
ACCOUNTING — ROBIN FOSTER
SWING — COLLEN NEWBERRY
SWING — STEVE COLGROVE
SWING — LENNIE HAGLUND
SPECIALTY RIGGING — IAN BONDI
CAST
BIG BOI of OUTKAST
WIZ KHALIFA
SIR MIX-A-LOT
A$AP ROCKY
TRINIDAD JAMES
DJ DRAMA
AMAIR TAYLOR
MARVEL TAYLOR
KAIJA TOWNER
PRETTY BHAMIDI
MARY DALLAS
JOHN WHALEY
PAITOON CHEUNG
BERNADETTE SCULLY
GLORIA BARKE
HELEN JORDAN
JUNE AVILEZ
TONI JONES
AZI MOAVENI
FRANCES WELTER
RHODA PELL
GWENN LEWIS
PAT RUBINO
RICK FREEMAN
JOSH COURTNEY
KURTIS WALTER
ROMAINE BREDA
DEVON JORDAN
BARON COURTNEY
CAMERON MARCUS MARTINEZ
TONY JAIME
SONG CREDITS:
MACKLEMORE & RYAN LEWIS
WHITE WALLS FEAT. SCHOOLBOY Q & HOLLIS
ALBUM: THE HEIST, MACKLEMORE LLC (2012)
SCHOOLBOY Q COURTESY OF TDE/INTERSCOPE
WRITTEN BY BEN HAGGERTY, RYAN LEWIS, HOLLIS WONG-WEAR, QUINCY HANLEY
PRODUCED BY RYAN LEWIS
VOCALS BY BEN HAGGERTY, HOLLIS, SCHOOLBOY Q
ADDITIONAL VOCALS BY TYLER «XP» ANDREWS
MIXED BY RYAN LEWIS, BEN HAGGERTY
ORIGINAL SONG MASTERED BY STERLING SOUND
ADDITIONAL MASTERING BY BIG BASS" BRIAN GARDNER FOR VIDEO VERSION
ADDITIONAL CREDITS FOR VIDEO VERSION
GUITAR BY JOSH KARP
TRUMPET BY OWUOR ARUNGA
TROMBONE BY GREG KRAMER
ORGAN, HARMONICA BY JOSH RAWLINGS
CLAPS BY REFERENCED MUSICIANS AND RYAN LEWIS
SPECIAL THANKS:
RED DIGITAL CINEMA
FREEFLY
DICKS DRIVE IN / SAUL SPADY
EVERETT AUTO WRECKING
RON BRIDENBACK
KNIEP FARMS
THE COURTNEY FAMILY
LISA WHITE
LUCAS MOEN
ALICE KIM
MIKE ADENAU
BEAVERTON AUTO UPHOLSTERY
JIM GILBERT / WEST COAST HYDROGRAPHICS
LOUIS HOUSTON, III and VOGUE TYRE
Patrick LaValley
C.R. Saxton
IMAGINE
Imagine there's no heaven, it's easy if you try
No hell below us, above us only sky
Imagine all the people living for today...
Imagine there's no countries, it isn't hard to do
Nothing to kill or die for, and no religion too
Imagine all the people living life in peace...
Imagine no possessions, I wonder if you can
No need for greed or hunger — a brotherhood of man
Imagine all the people sharing all the world…
You may say I'm a dreamer, but I'm not the only one
I hope someday you'll join us and the world will live as one
written by John Lennon & Yoko Ono
ABOUT IMAGINE
John: ‘Imagine’ is a song conceived in my head without melody. The first verse came to me very quickly in the form of a childlike street chant ‘da da da da da dee dee da dee da ee a eeeh’. The piano intro I’ve had hanging around in my head for a few years – the chords and melody followed naturally from this.
The middle eight was ‘conceived’ to finish off the song. I think it works as a song. Of course, there is always room for improvement – otherwise I wouldn’t make any more. The third verse came to me in an eight-seater plane. It’s a song for children.
Yoko: ‘Cloud Piece’: ‘Imagine the clouds dripping, dig a hole in your garden to put them in.’ This is not a piece of poetry. Poetry to me is nouns or adjectives. This is verbs. And you have to do them. These are all instructions and when you just do it, then you start to understand it.
John: ‘Imagine’ was inspired by Yoko’s Grapefruit. There’s a lot of pieces in it saying like ‘Imagine this’ or ‘Imagine that’. If you get a copy of Grapefruit and look through, you’ll see where I was influenced by her. ‘Imagine’ could never have been written without her. And I know she helped on a lot of the lyrics but I wasn’t man enough to let her have credit for it. So that song was actually written by John & Yoko, but I was still selfish enough and unaware enough to take her contribution without acknowledging it. The song itself expresses what I’d learned through being with Yoko and my own feelings on it. It should really have said ‘Lennon/Ono’ on that song, because she contributed a lot of that song.
Alan White (drummer): Every song we did on Imagine, John would make us read the lyrics and insist that we understood the meaning of the song before started playing it. That had quite an impact for me.
Klaus Voormann (bass): When we played ‘Imagine’ and heard the lyrics, the possibility that this was going to be such a big song was apparent. It definitely was. I even thought I didn’t want to play on it because it was so amazing with just John playing piano. It was so true and honest. That would have been enough. I hope you’ve got a version of just John playing it.
Phil McDonald (engineer): ‘Imagine’ was one of the easiest tracks to record, almost all live, in a few takes. We mixed the track at Tittenhurst and Phil Spector added strings on top of the stereo tape in the USA.
Yoko: John and I were both artists and we were living together, so we inspired each other. And the song ‘Imagine’ embodied what we believed together at the time. John and I met – he comes from the West and I come from the East – and still we are together. We have this oneness and ‘the whole world would eventually become one’ is the sense that we will all be café-au-lait colour and we will all be very happy together. All these instructions are for people for how to spend eternity, because we have lots of time.
John: If you can imagine a world of peace, if you can imagine a world with no denominations of religion – not without religion, whatever religion is – but without this divisive ‘My god is bigger than your god’ business… Then, if you can imagine the possibility, then it can be true.
Yoko: ‘Imagine’ is a complete vision. A succinct bible of truth. It will start to unfold as you believe in it. The film? Well, it just happened naturally. I was well aware of the symbolism of everything – closing and then opening the shutters to let the light in. It’s rather personal, but I had a definite reason why I smiled at the end, in addition to loving being next to John.
Imagine The Ultimate Collection: Explore and enjoy the IMAGINE album and the 1971 Ascot Sound Studios & Record Plant Sessions like you’ve never seen or heard them before.
