Five for Fighting

Five for Fighting is the stage name of American singer-songwriter John Ondrasik. His 2000 album America Town went platinum in the U.S. largely due to the success of the song "Superman (It's Not Easy)" following the September 11 attacks in 2001. The 2004 album The Battle for Everything has also enjoyed chart success in the United States. Ondrasik has also released a DualDisc of his 2004 album which has one side containing The Battle for Everything in its entirety and the other side being a DVD containing bonus footage and the "100 Years" music video. Five for Fighting's fourth album, Two Lights, was released on August 1, 2006.

John Ondrasik
Singer/songwriter John Ondrasik has spent the past decade writing deeply personal songs that include social messages, invoke the human spirit and make an emotional connection. This can be heard on the past four albums by Five For Fighting, the band name under which he records and performs.

Ondrasik first came on the scene in 2001 with his Grammy-nominated song "Superman” from the Platinum certified America Town (Aware/Columbia) CD. Already climbing the charts prior to 9/11, "Superman" went on to have a life of his own, becoming a song of healing for the nation. John joined superstar musicians for the now legendary post 9/11 fundraiser The Concert For New York, which paid tribute to all the firefighters, police officers and paramedics affected by the events of September 11th. In 2004, John recorded the Platinum-certified album, The Battle For Everything, which yielded the retrospective hit, “100 Years,” a song that has become a part of classic American songbook.

With the 2006 release of Two Lights, featuring “World," the hit song “The Riddle," and "Freedom Never Cries," John continues to craft songs with material drawn from his personal experience in regards to love, war, culture, family, humanity and mortality. The single “World” is a call-to-arms that proposes the question “What kind of world do you want?"

In the fall of 2007, Ondrasik released the first live Five For Fighting CD titled Live, and the DVD, Back Country Live . The CD captures the band live in concert and the DVD features live concert footage, Five For Fighting Music videos, interviews and more.

In addition to his musical accomplishments John has a made a personal commitment towards causes that are important to him. In mid 2007, Ondrasik launched a unique charity-driven web site, whatkindofworlddoyouwant.com that raises money for various charities when users view video clips provided by visitors to the site. Current views are over three million with over two hundred thousand dollars pledged.

The success of the site has led to a recent collaboration between Ondrasik and The History Channel, with the launching a user-generated video contest. Fans can create a video on Eyespot.com describing what kind of world they want by making a video using archival footage of important historical events and the Five For Fighting song "World" as the music bed. One winning video will be chosen to air on The History Channel.

In March 2007, Ondrasik performed at Guantanamo Bay for service members on his first USO/Armed Forces Entertainment tour. Since then John has performed for US forces on USO tours in Hawaii, Guam and Japan.

Ondrasik also spearheaded “For the Troops,” a superstar compilation of recording artists that is available for free to every active service person in the US Armed Forces. The compilation includes Billy Joel, Brooks & Dunn, Josh Groban, The Fray, Melissa Etheridge, Los Lonely Boys as well as Five For Fighting's "100 Years." To date, Two Hundred Thousand physical CD’s have been distributed to troops in theatre, with over a quarter million songs downloaded from the Army/Air Force Exchange online store, aafes.com.

Along with numerous television licenses, film credits include compositions for "August Rush," "The Sisterhood of the Traveling Pants,"" We Were Soldiers," "Chicken Little" and "Everyone's Hero."

An avid sports enthusiast and part-time journalist John writes a regular hockey column for SportsIllustrated.com and free lances for various publications.

John is married with two children and resides on the outskirts of Los Angeles.

Five For Fighting Lyrics - Freedom Never Cries

I took a flag to a pawn shop
For a broken guitar
I took a flag to a pawn shop
How much is that guitar
I took a flag to a pawn shop
I Got me that guitar
What's a flag in a pawn shop to me?

I Saw a man on the TV
In a mask with a gun
A man on the TV
He had a ten-year old son
I Saw a man on the TV
His son had a gun
He says that he's coming for me

I never loved the soldier until there was a war
Or thought about tomorrow
'til my baby hit the floor
I only talk to God when somebody's about to die
I Never cherished Freedom

Freedom never cries.

I Wrote a song for a dead man
To settle my soul
A song for a dead man
Now I'll never grow old
I Wrote a song for a dead man
Now I'm out in the cold
What's a song to a dead man to me?

I never loved the soldier until there was a war
Or thought about tomorrow
'til my baby hit the floor
I Only talk to God when somebody's about to die
I Never cherished Freedom

Freedom never cries...

You can cry for her
Die for her
Lay down your life for her
Kiss and wave Goodbye to her
Anything at all

You can cry for her
Die for her
Make up your mind to her
Anything at all

There's a baby on the doorstep
Wailing away
There's a baby on the doorstep
Longing for the day
There's a baby on the doorstep
Who'd give his life to take
A flag to a pawn shop
A flag to a pawn shop

May he forget why he is crying some day

Five For Fighting Lyrics - World

Got a package full of wishes
A time machine, a magic wand
A globe made out of gold
No instructions or commandments,
Laws of gravity or indecisions to uphold
Printed on the box I see: ACME's Build a World to Be.
Take a chance, grab a piece
Help me to believe it

What kind of world do you want
Think anything
Let’s start at the start
Build a masterpiece
Be careful what you wish for
History starts now

Should there be people or peoples
Money, funny pedestals
For fools who never pay
Raise your army, choose your steeple
Don’t be shy, the satellites can look the other way
Lose the earthquakes, keep the faults
Fill the oceans without the salt
Let every man own his own hand.
Can you dig it baby?

What kind of world do you want
Think anything
Let’s start at the start
Build a masterpiece
Be careful what you wish for
History starts now

Sunlight’s on the bridge
Sunlight’s on the way
Tomorrow’s calling
There’s more to this than love

What kind of world do you want
(x3)
Think anything
Let's start at the start
Build a masterpiece
History starts now
Starts now
Be careful what you wish for

Start now
Now...

Five For Fighting lyrics- One More For Love

Baby there's something on my mind tonight
There's a reason to believe we almost got it right
There's a fire burning in the firelight
As we roll on tonight

There's paper promises and alibis
There is certainly uncertainty in all our eyes
But as long as you are here I'll be all right
As we roll on tonight

So you go out...I'll go on
If there's a doubt...we'll be strong
As we go on singing
One more for love my love
One more for love...

There's always blood to fill the heart betrayed
There are children being born to every house that's raised
And we're getting closer to where we got it made
As we roll on tonight

So you go out...I'll go on
If there's a doubt...we'll be strong
As we go on singing
One more for love my love
One more for love...

I'm never going to wait for anything
Never going to break for anything
Cause I am one more for love my love
One more for love
One more for love my love

Baby there's something on my mind tonight
There's a reason to believe that we got it right
And all and all you're all that's on my mind tonight As we roll on...

One more for love my love
One more for love

Beyonce Knowles Lyrics - If I were A Boy

If I were a boy
Even just for a day
I’d roll outta bed in the morning
And throw on what I wanted then go
Drink beer with the guys
And chase after girls
I’d kick it with who I wated
And I’d never get confronted for it.
Cause they’d stick up for me.

[Chorus]
If I were a boy
I think I could understand
How it feels to love a girl
I swear I’d be a better man.
I’d listen to her
Cause I know how it hurts
When you lose the one you wanted
Cause he’s taken you for granted
And everything you had got destroyed

If I were a boy
I could turn off my phone
Tell evveryone it’s broken
So they’d think that I was sleepin’ alone
I’d put myself first
And make the rules as I go
Cause I know that she’d be faithful
Waitin’ for me to come home (to come home)

(Chorus)

It’s a little too late for you to come back
Say its just a mistake
Think I’d forgive you like that
If you thought I would wait for you
You thought wrong

(Chorus)

But you’re just a boy
You don’t understand
Yeah you don’t understand
How it feels to love a girl someday
You wish you were a better man
You don’t listen to her
You don’t care how it hurts
Until you lose the one you wanted
Cause you’ve taken her for granted
And everything you have got destroyed
But you’re just a boy

Beyoncé Knowles

Beyoncé Giselle Knowles (born September 4, 1981),[1] commonly known as Beyoncé (pronounced /biːˈɑn.seɪ/), is an American R&B singer-songwriter, record producer, and actress. Born and raised in Houston, Texas, she enrolled in various performing arts schools, and was first exposed to singing and dancing competitions as a child. Knowles rose to fame in the late 1990s as the lead singer of girl group Destiny's Child, the best-selling girl group of all time.
After a series of commercial successes with the group, Knowles released her debut solo album, Dangerously in Love, in June 2003. The album became one of the most-successful albums of that year, spawning the number-one singles "Crazy in Love" and "Baby Boy". It earned Knowles five Grammy Awards in a single night in 2004, and its reception signaled her viability as a solo artist. The disbandment of Destiny's Child in 2005 facilitated her continued success; she released her second album, B'Day, in 2006, which spawned the UK number-one singles "Déjà Vu" and "Beautiful Liar", and the worldwide hit "Irreplaceable". Knowles has sold more than 30 million records worldwide as a solo artist.[1] Knowles will release her third solo album titled I Am… Sasha Fierce on November 18, 2008.
The success of her solo albums has established Knowles as one of the most marketable artists in the industry. She has added acting and endorsement deals to her repertoire. In 2006, she starred in the comedy film The Pink Panther, and, in the same year, scored the main role in the film adaptation of the 1981 Broadway musical Dreamgirls, which earned her a Golden Globe nomination. Knowles launched in 2004 her family's fashion line, House of Deréon, and among her many lucrative commercial deals are Pepsi, Tommy Hilfiger, and L'Oréal. Knowles has been with boyfriend Jay-Z since 2002, though they have been discreet about their relationship. After much speculation, they married on April 4, 2008.

Technology in and for the Instrumental Music Classroom(3)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.

As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)

But what of those students not fortunate enough to have a computer at home - let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.

Technology in and for the Instrumental Music Classroom(2)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)

Technology in and for the Instrumental Music Classroom(1)

Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

How to Establish yourself as a Music Teacher

Many people who put their heart into music, put their business into music teaching. There are many fields of music education and if you are proficient in one or more you will surely find work. The first thing that a music teacher has to do is choose what he or she will focus on, be it an instrument, voice coaching, music theory or even music history. Next comes the time to assess your own knowledge on the topic. If you have a degree of Bachelor of Music, Bachelor of Music Education or Master of Music, you are probably comfortable enough teaching at any level. However if your learning did no go that far, you should be teaching at a more basic level. In any case, be sure you are qualified and are honest about your qualifications with your clients.

Consider also who you want to teach. Maybe you would love to help young children take their first steps in music. Or maybe you want to work with older kids or adults on continuing or just starting their education. Be sure you adapt your teachings and, if you need to, talk to pedagogues so you know how to deal with a child. The planning of the classes can be tricky and do not think for a second that only adults can spot if you did not prepare the lesson. A kid will notice and can get bored and even give up if they feel you are not making an effort.

Scheduling can also be difficult. Whatever you do, do not book more than one student for a time slot and try not to extend the lesson pass its designated time. It just screams that you are unprofessional. Remember during which hours kids are in school and are not available. Moreover, keep in mind that a 6 year-old attention span is not the same as a 16 year-old's so the time which lesson takes depends very much on the student. It also depends on you personally and on your teaching method.

On that topic, there are a lot of different music teaching methods out there. One of the most popular is the Suzuki Method, but others include the Dalcroze Method and the Yamaha Method. Even if you choose not to follow any of these, it is very interesting to learn a bit about each. It will open your eyes and you will see your work under a whole new prism. In the end, you probably will take some directions from these methods, even if subconsciously.

These are the basics you should take into account when setting up as a private music teacher. Others are simple, practical choices like the place you want to teach, the prices you will charge and how to keep your financial books. However, most of it comes from practice and time. You are a music teacher, so you know that everything does.

Does Music Help Children?

This question has been debated for as long as time has existed. Even the great Greek and Roman philosophers approached the question: is music something that should be taught and does it help the development of children? Plato answered "I would teach children music, physics, and philosophy; but most importantly music, for in the patterns of music and all arts are the keys to learning." And again “what then is the education to be? Perhaps we could hardly find a better than that which the experience of the past has already discovered, which consists, I believe, in gymnastic, for the body, and music for the mind.”

In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.

Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.

In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullaby’s than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.

The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.

I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.

Hoobastank Lyrics - The Reason

I'm not a perfect person
There's many things I wish I didn't do
But I continue learning
I never meant to do those things to you
And so I have to say before I go
That I just want you to know

I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you

I'm sorry that I hurt you
It's something I must live with every day
And all the pain I put you through
I wish that I could take it all away
And be the one who catches all your tears
That's why I need you to hear

I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you [x4]

I'm not a perfect person
I never meant to do those things to you
And so I have to say before I go
That I just want you to know

I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you

I've found a reason to show
A side of me you didn't know
A reason for all that I do
And the reason is you

Nicole Scherzinger

Nicole Prescovia Elikolani Valiente Scherzinge (also known as Nicole Kea, born June 29, 1978) is an American pop singer, songwriter, dancer and occasional actress best known for her role as the lead vocalist for the Pussycat Dolls.She has a contralto vocal range.



Scherzinger was born in Honolulu, Hawaii to a Filipino father and a Hawaiian/Russian mother. Her mother Rosemary was 18 at the time of Nicole's birth and lived in an inner city neighborhood and separated from her father when Nicole was a baby. The family moved to Louisville, Kentucky when she was 6 years old, with her sister Ke'ala and German American stepfather Gary Scherzinger. She stated she had a "conservative Catholic" upbringing. Scherzinger began her life as a performer in Louisville, attending the Youth Performing Arts School at duPont Manual High School and performing with Actors Theatre of Louisville. Scherzinger majored in theater arts at Wright State University but put her studies on hold in 1999 to sing backing vocals for the rock band Days of the New.

Scherzinger appeared on the second album by Days of the New, released in 1999. She also recorded two songs with Barry Drake's F.O.B, which were released in 2001. In 2001, Scherzinger competed in the premiere season of The WB's television show Popstars, on which she earned a spot in the all-girl pop group Eden's Crush. She became one of the main vocalists for the group. The group's 2001 single "Get Over Yourself (Goodbye)" peaked at number one in sales and hit the top ten on Billboard Hot 100. "Love This Way" was the second single chosen from the Popstars album; however, their record company, London-Sire Records, folded and the group eventually disbanded. Songwriter Kara DioGuardi contributed one track to the album, and later went on to co-write with Scherzinger for PCD, Doll Domination and Her Name Is Nicole.
In November 2007, Scherzinger talked of her time in Eden's Crush

...it was hell... I was in a band with five other girls and every day was torture for me. We were on TV all the time and the atmosphere was awful.... Every day I was in that band I cried my eyes out. The band was meant to be fun and frivolous but the reality was that it was miserable.... I was too sensitive back then, but I got toughened up. I couldn't have gone into the Dolls without my experience in Crush.

After the disbanding of Eden's Crush, Scherzinger made a few promotional solo appearances under the stage name of Nicole Kea, including covering "Breakfast in Bed" for the soundtrack to 50 First Dates in 2003. This track was produced by Nick Hexum who was her boyfriend for three years.
Scherzinger worked with Yoshiki of Japanese rock band X Japan on in his Violet UK project. She sang the English version of "I'll Be Your Love" live with the Tokyo Symphonic Orchestra. The track also appeared on the 2003 Various Artists album Exposition of Global Harmony.

In May 2003, Scherzinger joined the Pussycat Dolls burlesque troupe, who were being re-cast as recording artists. She had first seen them performing on The Late Show with David Letterman in November 2002, where Carmen Electra sang "Big Spender" from the Bob Fosse musical Sweet Charity. In 2006, Scherzinger said "It caught my eye because I’d played Velma Kelly in [Fosse's] Chicago in college."The Pussycat Dolls now have world-wide status as a popular singing group, with "Don't Cha", "Buttons", "Stickwitu" and "When I Grow Up" as top ten hits in the U.S.. The album PCD went double-platinum in 2006. Scherzinger sang nearly all lead vocals on the album, with Carmit Bachar and Melody Thornton also contributing.
Scherzinger is the only group member with songwriting credits on PCD; she co-wrote "I Don't Need a Man" with Kara DioGuardi and producer Rich Harrison, and co-wrote "Buttons" with producer Sean Garrett. Another collaboration with DioGuardi, "Flirt", became a B-side to "Stickwitu" and a bonus track on PCD.
In 2006, Scherzinger toured with the Pussycat Dolls for their album promotion. It was revealed in 2006 that the Dolls are salaried employees of Interscope Records, giving the label a high level of control over the group's finances and business decisions.
She was ranked at number twenty-two on Maxim's Hot 100 in 2006 and twenty-one in 2007
Scherzinger appeared on the March 2008 cover of Men's Fitness magazine. She was called the lead or queen doll. Her latest single with the Pussycat Dolls is called "Whatcha Think About That" and it features rapper Missy Elliot.

Learning How to Breath Correctly When Singing Trains your Vocal Chords

While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer. Being comfortable with the songs you are singing will show in terms of your self confidence. Keep in mind that even successful singers have learned some techniques that is why they were able to maintain well-modulated singing voices. Singing isn't all based on talent. Lose all your inhibitions. Karaoke singing is a wonderful way to entertain yourself and the others.

When singing songs that are up tempo you don't need the technical ability it is more entertainment like karaoke. A good choice of song can make his performance better because the singer is comfortable with the song. Doing so, he'd be able to deliver the notes better, and feel the song best. A beautiful rendition of a song is noted most of the times, not because the singer has sung it well, but he did it with the right emotions overflowing. Doing so, he'd be able to deliver the notes better, and feel the song best.

Professional singers practice all the time, if you practice you will be amazed how you're breathing and voice improves when singing and making different tones. Singers have the ability to know how to breathe correctly when singing. When singers learn how to sing they do not sing from the throat they sing from the abdomen, the reason for this is because the abdomen is a large and strong muscle compared to the throat. Do not limit yourself to teachers close to home or work. Working with a coach that can bring out the best in your voice is the goal. While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer.

Many people believe they can sing and they don't need voice lessons, the decision to go ahead and admit that lessons are needed is a big and important step. Once you train your voice it will become strong and vibrant and your voice will improve over time because you know the basics. It will be worth the extra distance. Find an environment where you can express yourself freely and one that offers open communication so training can be modified with your changing interests.

Singing is one practical way of expressing one's feelings. Possessing a skill in singing is also a good technique of overcoming shyness and gaining self-confidence. Singing is, indeed, one of the most profitable passions in the industry today.

Each day, a singer is born to the music industry. It isn't enough that you have been trained by the best music school or that you can shift from one musical genre to another. Knowing the vocal quality of a singer will enable him to choose songs that are appropriate for his singing voice. Once an appropriate song has been chosen, the singer should take time to develop his own style. He shouldn't try to choose a difficult song which will just showcase his lack of singing prowess. A good choice of song can make his performance better because the singer is comfortable with the song. The voice produces sound; the technical explanation is that the chords called vocal chords vibrate which in turn produces sound. Singers use these vibrations to make different sounds at different frequencies which allow them to make variation of notes.

With all the talents available for the taking, making it big in the recording industry can be attributed more to a very good manager rather than on pure talent alone. Thus, singers should never question the importance of getting professional help to further their singing careers. Taking into consideration the popularity of singing talent searches, good singers can actually make a successful career in the entertainment industry.

LINKIN PARK Lyrics - Lying From You

When I pretend,
Everything is what I want it to be,
I looked exactly like what you had always wanted to see,
When I pretend,
I can’t forget about the criminal I am,
Stealing second after second just cause I know I can,
But I can’t pretend that this is the way, it'll stay, I’m just,
(Trying to bend the truth)
I can’t pretend I'm who you want me to be so I'm,
(Lying my way from)

You!!!!!!!!
(No, no turning back now)
I wanna be pushed aside, so let me go!!
(No, no turning back now)
Let me take back my life
I’d rather be, all alone!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you…
IS ME

I remember what they taught to me,
Remember condescending talk,
Of who I ought to be,
Remember listening to all of that,
And this again,
So I pretended up a person who was fitting in,
And now you think this person,
Really is me and I'm,
(Trying to bend the truth )
The more I push,
The more I’m pulling away,
Cause I’m,
(Lying my way from)

You!!!!!!!!
(No, no turning back now)
I wanna be pushed aside, so let me go!!!
(No, no turning back now)
Let me take back my life,
I’d rather be, all alone!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you….
The very worst part of you….
IS ME!!!!!

This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!!

YOU!!!!!!!!
(no turning back now)
I wanna be pushed aside, so let me go!!!
(No, no turning back now)
Let me take back my life,
I’d rather be all alone!!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you…
The very worst part of you…
IS ME!

LINKIN PARK Lyrics - FROM THE INSIDE

I don’t know who to trust no surprise
(Everyone feels so far away from me)
Heavy thoughts sift through dust and the lies
(Trying not to break but I’m so tired of this deceit)
(Every time I try to make myself
get back up on my feet)
(All I ever think about is this)
(All the tiring time between)
(And how trying to put my trust in you
just takes so much out of me)

[ Chorus ]
Take everything from the inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you

Tension is building inside steadily
(Everyone feels so far away from me)
Heavy thoughts forcing their way out of me
(Trying not to break but I’m so tired of this deceit)
(Every time I try to make myself
get back up on my feet)
[ Find more Lyrics at www.mp3lyrics.org/CS ]
(All I ever think about is this)
(All the tiring time between)
(And how trying to put my trust in you
just takes so much out of me)

[ Chorus ]
Take everything from the inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you

I won’t waste myself on you
You
You
Waste myself on you
You
You

I’ll take everything from the
inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you

Everything from the inside and just throw it all away
Cuz I swear for the last time I
won’t trust myself with you
You
You

Goals and Objectives of Singing

A clear statement of the goals to be reached should preface any approach to the study of singing. The single most important purpose in the training of a singing voice should be to develop or make possible the development of the utmost potential of that voice.

The ultimate goal to be reached is the ability to sing the literature for a particular type of voice - soprano, mezzo, or contralto; tenor, baritone or bass.

Vocal literature in itself sets up the goals or objectives for the singer to reach: quality, diction, agility, dynamic control, range, interpretation and style, and good vocal condition.

The technical goals or objectives involved in singing are as follows:

Normal quality - a ringing, resonant tone with a "cover" of beauty and a "metal" or point which carries or projects.

A diction that is understandable without sacrificing quality.

Agility - the ability to sing rapid and florid passages and difficult intervals.

Dynamic control - the ability to sing three gradations of loudness: pianissimo, mezzo piano, or mezzo forte or forte; and the ability to sing the messa di voce, from soft to loud and back to soft again through at least the lower three fourths of the singing range.

Range - the ability to sing approximately two octaves' range above the average normal pitch of the speaking voice.

Interpretation - the ability to change from the normal quality to other qualities for emotional effect.

Vocal hygiene - a technique of singing that not only tends to keep the voice in good condition but also tends to develop the voice to greater possibilities.

The goals and objectives are usually taken for granted, and yet they can be used as a measuring stick for a student's progress. Singing teachers hardly ever mention them. Most students when asked, "WHY are you studying singing?" can seldom give a straightforward answer.

There are other goals or objectives that one can list in addition to the literature and the technical goals.
Usually students of singing are interested in fields of singing, such as radio, church, concert, light opera, opera, and television, before they know where they will fit in vocally. In some instances, radio, for example, a vocal coach would be more helpful.

Many people are interested in singing for the enjoyment singing gives them. Many of these pride themselves on the fact that they just sing and know nothing about the technique of singing or how to read vocal music and don't want to know.

Others take singing lessons to improve their speaking voices, or to develop self confidence and poise, or for a keener appreciation of the art of singing and singers and of music in general.

The study of singing is thought by many to improve not only physical health by the practice of deep breathing, but also mental health by the emotional release and enjoyment singing affords; to strengthen and quicken the mental processes; to bring about good posture; and to develop personality. Perhaps the practice of singing should do all of these things, but there is considerable question whether it does, unless a relationship is brought out between singing and these objectives.

The singing teacher can easily justify his work as a singing teacher on emotional, mental, physical and personality grounds, but usually his approach is an artistic one. To some teachers, singing is an art and not a science; to others if is predominantly a science; and to still others, it is both an art and a science.
The modern singing teacher, if he is to keep step with the advances and discoveries in all fields related to singing and the teaching of singing, must combine the artistic and the scientific approaches. He must also suggest goals and objectives, such as those suggested above, for his singing student.

Five For Fighting Lyrics - Superman

I can’t stand to fly
I’m not that naive
I’m just out to find
The better part of me

I’m more than a bird...i’m more than a plane
More than some pretty face beside a train
It’s not easy to be me

Wish that I could cry
Fall upon my knees
Find a way to lie
About a home I’ll never see

It may sound absurd...but don’t be naive
Even heroes have the right to bleed
I may be disturbed...but won’t you concede
Even heroes have the right to dream
It’s not easy to be me

Up, up and away...away from me
It’s all right...you can all sleep sound tonight
I’m not crazy...or anything...

I can’t stand to fly
I’m not that naive
Men weren’t meant to ride
With clouds between their knees

I’m only a man in a silly red sheet
Digging for kryptonite on this one way street
Only a man in a funny red sheet
Looking for special things inside of me
Inside of me
Inside me
Yeah, inside me
Inside of me

I’m only a man
In a funny red sheet
I’m only a man
Looking for a dream

I’m only a man
In a funny red sheet
And it’s not easy, hmmm, hmmm, hmmm...

Its not easy to be me

How To Write Songs That Your Audience Like

So you would like to write your own original songs. However the few attempts that you have made did not turn out as you would have liked because the tune or the melody were not flowing so well or were not catchy enough for your audience to like.

So how do you write songs that your audience will like or will sing and hum along as you are performing them? Well, brace yourself because one of the methods to write catchy and be rather controversial, but it not only works and works darn well!

Sometimes, when somebody's original melody sounds good, they also sounded like another song. But you just cannot figure out which other song it sounded like. There is this vaguely familiar feeling that you have heard a sort of similar song before. Have you had that feeling?

I am sure all of us had this feeling before and I can even dare to say that it will happen again and again with other new songs. Actually, this subconscious feeling is rather common as after all because every song is a somewhat recycled tune given the limited number of musical notation, chords and rhythms.

So all new songs will somehow or other overlap other songs that are already in existence. Therefore all songs will have parts of their tune similar with another song or even songs. Therefore it is perfectly alright if parts of your song sounds like another song although you did not intend it that way.

As a matter of fact, if your new song sounds familiar, that may be a good thing. Before you jump up and shout copyright infringement, please be aware that I am not talking about infringing other songwriter's copyright, I am talking about a part of your tune that sounds somewhat like another song.

So why is this similarity a good thing? Well, it is simply because people can relate to your tune even more and so, they will like the song and remember it. They will want to listen to your song because of the familiarity. Song familiarity invoke a pleasant feeling of emotion and most of the time, they don't even know why they felt good hearing your melody. This is why your song can easily be remembered and will keep humming in people's head.

Even if your listeners realized parts of your song is somewhat similar to another song, so what, no big deal because as a whole, the song is in your own original song with your own original lyrics, your own melody and expressions and thus it is your own original song!

I must stress the point that you must not intentionally infringe upon other songwriter's copyright. This is not about ripping off other composer's works. This is about creating your own melodies and tunes that sound like a familiar tune.

So how do I go about writing familiar sounding songs? Well, let's start by choosing a song that you like and is familiar with and hum the tune. Just hum it but don't sing the lyrics out. This will get you thinking 'melodically' and soon, you should be able to hum certain variations of that tune. Just let your imagination take over and toss the melody around as you imagined it and let your creative juices flow.

Once you can jumble out the tune nicely, then sing it aloud and this will become your own tune. It is really that simple.

Another way to do this is to choose a song that you don't even know or heard of before. Listen to this song once, and then listen to it again. The second time when you are listening to it, sing along with the song. Yes, you probably will not remember the tune very well, but nevertheless, just sing along and this is when you make up a melody line of your own with the melodic structure of this obscure song.

Whichever method you have chosen to write a song with a somewhat familiar tune, you must feel good about it. It is your gut feeling of feeling pleasant that you know you have written a good catchy original tune that your audience will like and remember.

Coldplay Lyrics - Yellow

Look at the stars; look how they shine for you
And everything you do
Yeah, they were all yellow

I came along; I wrote a song for you
And all the things you do
And it was called yellow

So then I took my turn
Oh what a thing to have done
And it was all yellow

Your skin, oh yeah your skin and bones
Turn into something beautiful
D'you know?
You know I love you so
You know I love you so

I swam across; I jumped across for you
Oh what a thing to do
'Cos you were all yellow

I drew a line; I drew a line for you
Oh what a thing to do
And it was all yellow

And your skin, oh yeah your skin and bones
Turn into something beautiful
D'you know?
For you I bleed myself dry
For you I bleed myself dry

It's true
Look how they shine for you
Look how they shine for you
Look how they shine for…
Look how they shine for you
Look how they shine for you
Look how they shine

Look at the stars
Look how they shine for you
And all the things that you do

How To Protect Your Singing Voice

Most people think that singers with good voices are born with them. Yes, although some people have better singing voices than others, most, if not all good singers undergo vocal training to improve their voices. Most of the singer's training is done through specific vocal exercises to achieve certain effects such as singing powerfully, getting vibrato into the singing voice or even expanding your vocal range so that singing higher notes is a breeze. Unfortunately, this article cannot do that as the exercises must be physically demonstrated and manually practised. So instead of learning how to get a good voice, this article will show you how to protect and preserve your singing voice because your voice quality can be destroyed by bad habits that you may not even know you have. Your voice is produced by a delicate mechanism and when used correctly, it rarely gives you any problem. So take good care of your precious voice and will serve you well for your lifetime. The first golden rule to having a good voice quality is not to take up smoking and if you are already a smoker, do quit smoking before this nasty habit destroys your singing voice further. The thousands of irritants and chemicals in cigarettes damage your voice and will certainly shorten your singing career and even your life unless you are a rock singer and need to have a raspy and coarse voice. Always stay hydrated and as such, you need to stay away from caffeine, alcohol and other substance that dehydrates you. The vocal folds must be hydrated at all times to stay healthy and lubricated. So drink plenty of drink as much water everyday to keep them hydrated.If you are on medication, check with your doctor or pharmacist whether the medicine you are taking is dehydrating. As a general guide, your body should be well hydrated when your urine is clear and not cloudy. Everyone's voice has its own limitations. So get to know yours. Shouting, talking loudly or even singing forcefully is damaging to your vocal cords, this is sheer common sense, but many singers still abuse their voices this way. So don't shout. Unfortunately, some people think that to sing powerfully, they have to shout. No, they don't have to. You can develop a powerful voice with the correct vocal exercises without having to shout. Your vocal cords collide with each other more than a million times everyday when you produce a sound and so, any extra harsh activities like shouting puts further strain on the already overused vocal cords.When recovering from a coarse voice like say, from a sore throat, avoid any unnecessary conversations or phone calls to let your voice fully recover. Otherwise your recovery will be slower and even then, small permanent damages may occur. You need to know that your vocal cords are muscles and therefore like any muscles, they need a thorough warm up before it can perform at its peak when you are singing. By the same token, they need to be cooled down with vocal exercises after your performances. Just because you get away without warming up or cooling down now does not guarantee that you will not damage your voice in the future. Next on the list is to avoid late night eating because this may end up with your stomach acid spilling into your larynx when you lie down to sleep and causing a hoarse voice and over the long term, permanent voice damage. These are just some of the many things that you should not do to preserve, protect and maintain your voice producing mechanism so that you can have a good singing voice permanently.

Author: Chris Chew