Опубликовано: 31 мар. 2017 г.Hello everyone!
Here's a new video for you all! There's going to be a special extra video uploaded this weekend! Cause now we are 30.000 Joker Club members! That's insane! I can't thank you guys enough
Lyrics:
DJ Tim Johnson
I want everybody to stop what they doing
(Mr. 305)
Now if you know you're with somebody
That you're gonna take the hotel room tonight
Make some noise
Meet me at the hotel room
Meet me at the hotel room
Meet me at the hotel room
Meet me at the hotel room
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
She like that freaky stuff
Two in the «o» and one in the eye
That kinky stuff, you nasty
But I like your type
And like T.I., it's whatever you like
Bring your girls, just whatever the night
Your man just left, I'm the plumber tonight
I'll check yo pipes, oh, you the healthy type
Well, here goes some egg whites
Now gimme that sweet
That nasty, that Gucci stuff
Let me tell you what we gon' do
Two plus two, I'm gon' undress you
Then we're gonna go three and three
You gon' undress me
Then we're gonna go four and four
We gon' freak some more, but first
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
After party in hotel lobby
Then we off to the room, like vroom
Put them fingers in you mouth, or open up you blouse
And pull that g-string down south
Ooh, okay shawty, one's company
Two's a crowd, and three's a party
Your girl ain't with it, I got somebody
In my nature, she's naughty
Now gimme that sweet
That nasty, that Gucci stuff
Let me tell you what we gon' do
Two plus two, I'm gon' undress you
Then we're gonna go three and three
You gon' undress me
Then we're gonna go four and four
We gon' freak some more, but first
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
Forget about your boyfriend
And meet me at the hotel room
You can bring your girlfriends
And meet me at the hotel room
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
We at the hotel, motel, Holiday Inn
Bach: Toccata and Fugue, BWV 565 — Tariq Harb, guitar
Опубликовано: 22 дек. 2019 г.Guitarist Tariq Harb performs J.S. Bach's monumental Toccata and Fugue, BWV 565. This is an adaptation for solo guitar by Edson Lopes.
The Toccata and Fugue in D Minor, BWV 565, is a musical composition in two parts for organ, written sometime between 1708 and 1750 by Johann Sebastian Bach, and known for its majestic sound, dramatic authority, and driving rhythm. The piece is perhaps most widely known due to its appearance in the opening minutes of the 1940 Disney cult classic Fantasia, in which it was adapted for orchestra by the conductor Leopold Stokowski. It also has a strong association in Western culture with horror films; it was included in films such as Dr. Jekyll and Mr. Hyde (1931), The Black Cat (1934) and The Phantom of the Opera (1962).
The first part of Bach’s piece is a toccata, the name of which is derived from the Italian toccare, “to touch.” It represents a musical form for keyboard instruments that is designed to reveal the virtuosity of the performer’s touch. Bach’s take on the toccata is typical in that it has many fast arpeggios and runs up and down the keyboard but otherwise is generally free form and gives the composer much latitude for personal expression. In Bach’s day, toccatas often served as introductions to and foils for fugues, setting the stage for the complex and intricate composition to follow.
The fugue — a technique characterized by the overlapping repetition of a principal theme in different melodic lines (counterpoint) — that is the second part of Bach’s composition reflects the particular popularity of the form during the late 1600s and early 1700s. Bach made much use of the fugue in his compositions, most famously in solo organ pieces such as this one but also in instrumental works and choral cantatas. This particular fugue is quite unusual in its form; it is a plagal fugue using plagal cadences as opposed to the authentic cadences that Bach usually employs. It also does not introduce the subject in all the voices one after the other in the beginning of the fugue. Instead, Bach slips in sequences in between the announcements of the subjects which is again quite unusual for a Baroque fugue. The fugue, with its accompanying toccata, is not only the best known of Bach’s many fugues but the most famous of fugues by any composer.
Performance: Tariq Harb
Transcription: Edson Lopes
Guitar: Douglass Scott, 2018
Strings: Savarez basses and Augustine Regel trebels
Audio and video: Drew Henderson
Location of recording: Toronto, Ontario, Canada
