This time, she is featured in a music video with rapper Future. Cyrus is known for pushing the boundaries when it comes to her expression of music, and her latest project with rapper Future doesn’t disappoint. The 20-year-old songstress strips down naked to portray an alien for his video for “Real and True,” a track featuring Cyrus on his forthcoming album, “Honest.” Dan Steinberg/Invision for Epic Records/AP Images Miley Cyrus strips down and is coverd in body paint on the set of Future’s new music video for ‘Real and True.’ While the “We Can’t Stop” singer’s nudity is masked by metallic body pant, the photos released Wednesday give a clear sneak peek of what is to come in the futuristic clip. RELATED: MILEY CYRUS THANKS LIAM HEMSWORTH IN NEW ALBUM DEDICATIONS Cyrus’ collaboration with Future was a returned favor, as he is featured on Cryus’ new album, “Bangerz, in the emotional track “My Darlin.'” “We got a lot of great records, and it all came from conversation and having a nice vibe,” Future explained in an interview with MTV. Frank Micelotta/Invision for Epic Records/AP Images Future and Miley Cyrus behind the scenes of his new music video for ‘Real and True,’ which will be on his album ‘Honest.’ RELATED: MILEY CYRUS BREAKS SILENCE ON BROKEN ENGAGEMENT TO LIAM HEMSWORTH “Whenever she allowed me in her personal life through conversation, I tried to take that vibe and go to the booth. I told her, ‘You’ve gotta embrace your fears. If something’s bothering you, you’ve gotta run toward it. If you’re crying about it, you need to cry till you can’t cry anymore. If you try to hold it back, then it’s gonna eat you up. But if you embrace [it], the music moves.'” “The songs I did with her [are] very touching,” he added about their meaningful jams. RELATED: MILEY CYRUS’ ‘BANGERZ’ HITS NO. 1 ON BILLBOARD TOP 200 CHART “Certain days it’s about money, partying and vibing, and some days [it’s about needing] somebody to stand by you and hold you down.
Miley Cyrus strips down naked, wears metallic body paint for Future’s ‘Real and True’ music video
You don’t pick a song or artist and then let the service build a randomly-generated playlist for you. Instead, for $10 a month, you have unfettered access to an online jukebox with tens of millions of songs. What really separates Rdio from the competition is its social backbone. You can follow friends, strangers, musicians, businesses, etc. and get a sense of what they’re listening to. Rdio will also recommend songs and artists for you to check out based on your friends’ interests. That may not seem like a big deal, but when you’re not quite sure what to listen to, this feature is one of the best in helping you figure it out. Another standout Rdio feature is the ability to build an online library full of “your” tracks. With rival services, having your favorite music in front of you means scrolling through hundreds of playlists in the sidebar of the app. It’s less than ideal. Rdio instead presents your collection as a highly visual array of album thumbnails that can be sorted in a variety of manners. But functionality aside, Rdio is just laid out and presented across all platforms (desktop, phone and Web) in manner that’s visually cleaner and easier to process than its competitors. You’re immediately welcomed by those friend-generated recommendations. Other details, such as being able to easily and intuitively cache an album or playlist to your phone for offline listening, also make a huge difference for average users. If you’re someone who needs the ability to integrate their locally stored music with their streaming library, or if you want the service that gets all the newer, slightly more obscure music first, Rdio might not be for you.
How music alleviates physical exertion (Video)
Researchers have contributed significantly towards a first explanation for the development of music. Contrary to what was previously suspected, music does not simply distract us when physically working hard by making the work seem a lot easier, but actually the music reduces the effort. This new insight permits on the one hand a conclusion to mans historical development of music, and on the other hand provides an important impulse for the expansion of the therapeutical use of music. Listening to music makes physical exertion less exhausting, probably because of improved muscle coordination, says an October 16, 2013 Max-Planck-Gesellschaft news release, ” Working to the beat .” The study is published in the journal known as the Proceedings of the National Academy of Sciences . Here in Sacramento, music therapy also spans hospital pediatrics, such as the pediatrics division at UC Davis Children’s Hospital in Sacramento, CA. For example, there has been an internship consisting of clinical training hours with Music Works, a private music therapy agency in Sacramento, CA where a student could work with Sutter Senior Care (geriatric day program), Southside Art Center (day program for adults with disabilities), and Shriners Hospital for Children (pediatric orthopedic/burn care) in the field of music therapy. See, ” Karen Rae Sanchez – In Harmony Music Therapy Services .” What’s new in a recent European ( Max-Planck-Gesellschaft ) Max Planck Institute study of music and physical effort is that certain genres of music can help people work to the right type of musical beat. For example, soldiers marching often sing a particular type of song with a beat that matches their physical labor or marching efforts. Certain genres of music like Blues and Gospel are, in their formation, directly linked to hard physical work When the slaves toiled in the cotton fields, they sang. When chained prisoners chipped stones in the quarries, they sang, and incorporated the sounds of work into their music. When sportsmen and women want to achieve peak performance they often let themselves be driven by music and occasionally also fans singing and chanting. It has been suspected for a long time now that there must be a correlation between music and bodily exertion, but such a connection with music making has not yet been researched in more depth from a neuroscientific perspective. Up until now we assumed that being active with music would relieve the severely stressed from the self awareness of ones own body proprioception so that the bodily response to the stress would be simply less clearly perceived.
Music and the Politics of Resistance
Marie, offered a simialr message with her hit, “Universal Soldier.” Even the Jazz musicians used song titles and instrumental melodies to get their social and political messages across. When Charles Mingus composed “Better Get It In Yo’ Soul”, man, he meant it. And when John Coltrane composed the mournful melodies of “Alabama”, it was in honor of the four girls killed in the Birmingham church bombings. Even with just a song title and a melody, instrumental Jazz allowed the listener to create their own storyline in their mind. One of the greatest songwriters of all time, Bruce Springsteen, continues to tell powerful stories about the everyman/woman who struggles for identity in an increasingly corporatized and homogenized world. I often wonder, who will be the next Springsteen, Wonder, Dylan, Franklin, or Holiday? And why are we not hearing their young voices on the radio or on television today? Are we truly listening, or are they being blocked out? Or are we just all-consumed by the dancing icons of our “smartphones,” which seem to be making us less smart and more docile? One thing we do know: music in the United States has led directly to environmental action, the equality of our citizens, a movement against war and violence, and it has raised the voices of the working American. We now need to point it toward direct political action. Powerful songs have always been the engine behind the greatest social movements — it is the marching soundtrack that unites the people and gives them focus and resolve, and it’s not limited to the U.S. In 1970s Nigeria, Fela Kuti invented Afro Beat music as a way to protest the oil company regime of Nigeria. His song “Zombie” became a global hit that railed against Nigeria’s military dictators.