વેકેશન એક્સ્ટેન્શન

આજના આ સ્પેક્ટ્રોમીટરનાં લેખમાં   તમે જે મ્યુઝિક / મ્યુઝિક વિડીયો વિષે વાંચ્યું, એ સાંભળો અને નિહાળો , જલસા ગેરેન્ટીડ !  (ગયા વખતે પણ અહીં વિડીયો મુક્યા હતા ) પણ લેખ વાંચ્યા વિના આ જોવાનો કોઈ જ મતલબ નથી. માટે આગળ આ લાલ ફોન્ટમાં લિંક પર ક્લિક કરી પહેલા લેખ વાંચો પ્લીઝ. હા, પોસ્ટ લાંબી છે – કારણ કે એમાં ટેક્સ્ટ ઘણી જગ્યાએ મૂકી છે, પણ આ પોસ્ટના છેડે બહુ જ સ્પેશ્યલ વિડીયો છે – એ શાંતિથી સાંભળવાનું ચુકતા નહિ. આ સખત પ્રવાસ વચ્ચે માત્ર આપને ખાતર વીણી વીણી સતત ઉજાગરા વેઠીને એટલે મુકું છું કે આનો અવનવો ટેસ્ટ કલ્ટીવેટ થાય 🙂 

તારકનનાં આ સોંગનો અંગ્રેજી અનુવાદ આ મુજબ છે :

Taking some other man by the arm
She’s tearing me in two
Blowing bubbles with her gum
She bursts them impudently

Maybe that’s why I’ve been ensnared by her
Because I don’t own her
Can my masculinity accept you spoilt thing?
Has the world turned upside down ?

She’s lined her eyes with mascara
Her lips coquettishly bright red
Flaunting in front of me audaciously
Grinning, merely to spite me

We weren’t raised that way
She’s making us look like a fool
New customs have come to town
Boys, we’re lost

You vamp you
You lure the snake from its place
My fate’s crazy adventure
If I get a hold of you (kiss kiss)

I’ve fallen in your furnace, baby
I’ve fallen in your lap, baby
I’ve fallen for your warmth, baby
Oh my!

રેઇન ઓવર મીના શબ્દો :

[Marc Anthony]
Girl my body don’t lie
I’m outta my mind
Let it rain over me
I’m rising so high
Out of my mind
So let it rain over meAy ay ay
Ay ay ay
Let it rain over me
Ay ay ay
Ay ay ay
Let it rain over me[Pitbull]
A billion’s a new million
Voli’s a new vodka
Forty is the new 30
Baby you’re a rock star
Dale veterana, que tú sabe
Más de la cuenta, no te hagas
Teach me baby, or better yet,
Freak me baby, yes, yes
I’m freaky baby, I’mma make sure that your peach feels peachy baby
No bullshit broads, I like my women sexy, classy, sassy
Powerful yes, they love to get a little nasty, ow
This ain’t a game you’ll see, you can put the blame on me
Dale muñequita, abre ahí, and let it rain over me

[Marc Anthony]
Girl my body don’t lie
I’m outta my mind
Let it rain over me
I’m rising so high
Out of my mind
So let it rain over me

Ay ay ay
Ay ay ay
Let it rain over me
Ay ay ay
Ay ay ay
Let it rain over me

[Pitbull]
A billion’s a new million
Voli’s a new vodka
Latin is the new majority, ya tú sabe
Next step la Casablanca
No hay carro, nos vamos en balsa
Mami you know the drill, they won’t know what I got ’til they read the will
I ain’t trying, I ain’t trying to keep it real
I’m trying to keep wealthy that’s for real
Pero mira que tú ‘tas buena, y mira que tú ‘tas dura
Baby no me hables más, y tíramelo mami chula
No games you’ll see, you can put the blame on me
Dale muñequita, abre ahí, and let it rain over me

[Marc Anthony]
Girl my body don’t lie
I’m outta my mind
Let it rain over me
I’m rising so high
Out of my mind
So let it rain over me

Ay ay ay
Ay ay ay
Let it rain over me
Ay ay ay
Ay ay ay
Let it rain over me

[Bridge]
Mr. Worldwide, Marc Anthony, tú sabe
I was playing with her, she was playing with me
Next thing you know, we were playing with three
Oh oh oh oh oh oh
I was playing with her, she was playing with me
Next thing you know, we were playing with three
Oh oh oh oh oh oh
Rain over me

[Marc Anthony]
Girl my body don’t lie
I’m outta my mind
Let it rain over me
I’m rising so high
Out of my mind
So let it rain over me (over me)

Ay ay ay
Ay ay ay
Let it rain over me (over me)
Ay ay ay
Ay ay ay
Let it rain over me (aa aaa)
Ay ay ay
Ay ay ay
Let it rain over me.
Ay ay ay
Ay ay ay
Let it rain over me.

એમી ગ્રાન્ટના બેબી બેબી ગીતના શબ્દો :

This song is dedicated to Millie, whose six-week-old face was my inspiration

Baby, baby
I’m taken with the notion
To love you with the sweetest of devotion.

Baby, baby
My tender love will flow from
The bluest sky to the deepest ocean.

Stop for a minute
Baby, I’m so glad you’re mine, yeah
You’re mine.

Baby, baby
The stars are shining for you
And just like me I’m sure that they adore you.

Baby, baby
Go walking through the forest
The birds above a’ singing you a chorus.

Stop for a minute
Baby, they’re so glad you’re mine, oh yeah
And ever since the day you put my heart in motion
Baby I realize that there’s just no getting over you.

Baby, baby
In any kind of weather
I’m here for you always and forever.

Baby, baby
No muscle man could sever
My love for you is true and it will never

Stop for a minute
Baby, I’m so glad you’re mine
And ever since the day you put my heart in motion
Baby I realize that there’s just no getting over you.

And ever since the day you put my heart in motion
Baby I realize that there’s just no getting over you.
Over you.

Baby, baby
Always and forever
Baby I’m so glad that
Here for you baby
So glad you’re mine
Baby I’m so glad that
When I think about you it makes me smile
Baby, baby be mine
Baby I’m so glad that
Don’t stop giving love
Don’t stop, no
Baby I’m so glad that you’re mine
Baby I’m so glad
Baby I’m so glad that
When I think about you it makes me smile.

*કોલ ઓફ ધ વેલીની એક ઝલક

* એડેલના “૨૧”ની એક ઝલક એના ફેમસ સોંગ રોલિંગ ઇન ધ ડીપ દ્વારા. નીચે ગીતના શબ્દો પણ છે. ( એ આલ્બમનાં અન્ય ગીતો સર્ચ કરી માણી શકશો નેટ પર )

There’s a fire starting in my heart

Reaching a fever pitch and it’s bring me out the dark

Finally I can see you crystal clear

Go ahead and sell me out and I’ll lay your ship bare

 

See how I’ll leave, with every piece of you

Don’t underestimate the things that I will do

There’s a fire starting in my heart

Reaching a fever pitch and it’s bring me out the dark

 

The scars of your love remind me of us

They keep me thinking that we almost had it all

The scars of your love, they leave me breathless

I can’t help feeling

 

We could have had it all

Rolling in the deep

You had my heart inside your hand

And you played it to the beat

 

Baby, I have no story to be told

But I’ve heard one of you and I’m gonna make your head burn

Think of me in the depths of your despair

Making a home down there as mine sure won’t be shared

 

The scars of your love remind you of us

They keep me thinking that we almost had it all

The scars of your love, they leave me breathless

I can’t help feeling

 

We could have had it all

Rolling in the deep

You had my heart inside your hand

And you played it to the beat

 

Could have had it all

Rolling in the deep

You had my heart inside your hand

But you played it with a beating

 

Throw your soul through every open door

Count your blessings to find what you look for

Turn my sorrow into treasured gold

You pay me back in kind and reap just what you sow

 

(Now I’m gonna wish you never had met me)

We could have had it all

(Tears are gonna fall, rolling in the deep)

We could have had it all

 

(Now I’m gonna wish you never had met me)

It all, it all, it all, it all

(Tears are gonna fall, rolling in the deep)

 

(Now I’m gonna wish you never had met me)

We could have had it all

(Tears are gonna fall, rolling in the deep)

Rolling in the deep

 

(Now I’m gonna wish you never had met me)

You had my heart and soul

(Tears are gonna fall, rolling in the deep)

And you played it to the beat

 

(Now I’m gonna wish you never had met me)

Could have had it all

(Tears are gonna fall, rolling in the deep)

Rolling in the deep

 

(Now I’m gonna wish you never had met me)

You had my heart and soul in your hand

(Tears are gonna fall, rolling in the deep)

But you played it, you played it, you played it to the beat

 

*ગેન્ગ્સ ઓફ વાસેપુરના સોન્ગ્સ ઓનલાઈન અહીં સાંભળી શકાશે. : ભાગ-૧  અને ભાગ -૨ 

* લાઈફ ઓફ પાઈનો સાઉન્ડટ્રેક ઓનલાઈન અહીં સાંભળી શકો : life of pi songs  

* કેન રોબિન્સનની અચૂક સાંભળવા જેવી ૨૦ મિનીટની ટોકનો વિડીયો અને નીચે એની ટ્રાન્સસ્ક્રીપ્ટ ટી.ઈ.ડી. ટેડનાં સૌજન્યથી.

Good morning. How are you? It’s been great, hasn’t it? I’ve been blown away by the whole thing. In fact, I’m leaving. (Laughter) There have been three themes, haven’t there, running through the conference, which are relevant to what I want to talk about. One is the extraordinary evidence of human creativity in all of the presentations that we’ve had and in all of the people here. Just the variety of it and the range of it. The second is that it’s put us in a place where we have no idea what’s going to happen, in terms of the future. No idea how this may play out.

 I have an interest in education — actually, what I find is everybody has an interest in education. Don’t you? I find this very interesting. If you’re at a dinner party, and you say you work in education — actually, you’re not often at dinner parties, frankly, if you work in education. (Laughter) You’re not asked. And you’re never asked back, curiously. That’s strange to me. But if you are, and you say to somebody, you know, they say, “What do you do?” and you say you work in education, you can see the blood run from their face. They’re like, “Oh my God,” you know, “Why me? My one night out all week.” (Laughter) But if you ask about their education, they pin you to the wall. Because it’s one of those things that goes deep with people, am I right? Like religion, and money and other things. I have a big interest in education, and I think we all do. We have a huge vested interest in it, partly because it’s education that’s meant to take us into this future that we can’t grasp. If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue — despite all the expertise that’s been on parade for the past four days — what the world will look like in five years’ time. And yet we’re meant to be educating them for it. So the unpredictability, I think, is extraordinary.

 And the third part of this is that we’ve all agreed, nonetheless, on the really extraordinary capacities that children have — their capacities for innovation. I mean, Sirena last night was a marvel, wasn’t she? Just seeing what she could do. And she’s exceptional, but I think she’s not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary dedication who found a talent. And my contention is, all kids have tremendous talents. And we squander them, pretty ruthlessly. So I want to talk about education and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. (Applause) Thank you. That was it, by the way. Thank you very much. (Laughter) So, 15 minutes left. Well, I was born … no. (Laughter)

 I heard a great story recently — I love telling it — of a little girl who was in a drawing lesson. She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her and she said, “What are you drawing?” And the girl said, “I’m drawing a picture of God.” And the teacher said, “But nobody knows what God looks like.” And the girl said, “They will in a minute.” (Laughter)

 When my son was four in England — actually he was four everywhere, to be honest. (Laughter) If we’re being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story? No, it was big. It was a big story. Mel Gibson did the sequel. You may have seen it: “Nativity II.” But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: “James Robinson IS Joseph!” (Laughter) He didn’t have to speak, but you know the bit where the three kings come in. They come in bearing gifts, and they bring gold, frankincense and myrhh. This really happened. We were sitting there and I think they just went out of sequence, because we talked to the little boy afterward and we said, “You OK with that?” And he said, “Yeah, why? Was that wrong?” They just switched, that was it. Anyway, the three boys came in — four-year-olds with tea towels on their heads — and they put these boxes down, and the first boy said, “I bring you gold.” And the second boy said, “I bring you myrhh.” And the third boy said, “Frank sent this.” (Laughter)

 What these things have in common is that kids will take a chance. If they don’t know, they’ll have a go. Am I right? They’re not frightened of being wrong. Now, I don’t mean to say that being wrong is the same thing as being creative. What we do know is, if you’re not prepared to be wrong, you’ll never come up with anything original — if you’re not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this, by the way. We stigmatize mistakes. And we’re now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this — he said that all children are born artists. The problem is to remain an artist as we grow up. I believe this passionately, that we don’t grow into creativity, we grow out of it. Or rather, we get educated out if it. So why is this?

 I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition that was. (Laughter) Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare’s father was born. Are you struck by a new thought? I was. You don’t think of Shakespeare having a father, do you? Do you? Because you don’t think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. I mean, he was seven at some point. He was in somebody’s English class, wasn’t he? How annoying would that be? (Laughter) “Must try harder.” Being sent to bed by his dad, you know, to Shakespeare, “Go to bed, now,” to William Shakespeare, “and put the pencil down. And stop speaking like that. It’s confusing everybody.” (Laughter)

 Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition, actually. My son didn’t want to come. I’ve got two kids. He’s 21 now; my daughter’s 16. He didn’t want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He’d known her for a month. Mind you, they’d had their fourth anniversary, because it’s a long time when you’re 16. Anyway, he was really upset on the plane, and he said, “I’ll never find another girl like Sarah.” And we were rather pleased about that, frankly, because she was the main reason we were leaving the country. (Laughter)

 But something strikes you when you move to America and when you travel around the world: Every education system on earth has the same hierarchy of subjects. Every one. Doesn’t matter where you go. You’d think it would be otherwise, but it isn’t. At the top are mathematics and languages, then the humanities, and the bottom are the arts. Everywhere on Earth. And in pretty much every system too, there’s a hierarchy within the arts. Art and music are normally given a higher status in schools than drama and dance. There isn’t an education system on the planet that teaches dance everyday to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, but so is dance. Children dance all the time if they’re allowed to, we all do. We all have bodies, don’t we? Did I miss a meeting? (Laughter) Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up. And then we focus on their heads. And slightly to one side.

 If you were to visit education, as an alien, and say “What’s it for, public education?” I think you’d have to conclude — if you look at the output, who really succeeds by this, who does everything that they should, who gets all the brownie points, who are the winners — I think you’d have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn’t it? They’re the people who come out the top. And I used to be one, so there. (Laughter) And I like university professors, but you know, we shouldn’t hold them up as the high-water mark of all human achievement. They’re just a form of life, another form of life. But they’re rather curious, and I say this out of affection for them. There’s something curious about professors in my experience — not all of them, but typically — they live in their heads. They live up there, and slightly to one side. They’re disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads, don’t they? (Laughter) It’s a way of getting their head to meetings. If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night. (Laughter) And there you will see it — grown men and women writhing uncontrollably, off the beat, waiting until it ends so they can go home and write a paper about it.

 Now our education system is predicated on the idea of academic ability. And there’s a reason. The whole system was invented — around the world, there were no public systems of education, really, before the 19th century. They all came into being to meet the needs of industrialism. So the hierarchy is rooted on two ideas. Number one, that the most useful subjects for work are at the top. So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds that you would never get a job doing that. Is that right? Don’t do music, you’re not going to be a musician; don’t do art, you won’t be an artist. Benign advice — now, profoundly mistaken. The whole world is engulfed in a revolution. And the second is academic ability, which has really come to dominate our view of intelligence, because the universities designed the system in their image. If you think of it, the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they’re not, because the thing they were good at at school wasn’t valued, or was actually stigmatized. And I think we can’t afford to go on that way.

 In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history. More people, and it’s the combination of all the things we’ve talked about — technology and its transformation effect on work, and demography and the huge explosion in population. Suddenly, degrees aren’t worth anything. Isn’t that true? When I was a student, if you had a degree, you had a job. If you didn’t have a job it’s because you didn’t want one. And I didn’t want one, frankly. (Laughter) But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other. It’s a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet. We need to radically rethink our view of intelligence.

 We know three things about intelligence. One, it’s diverse. We think about the world in all the ways that we experience it. We think visually, we think in sound, we think kinesthetically. We think in abstract terms, we think in movement. Secondly, intelligence is dynamic. If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive. The brain isn’t divided into compartments. In fact, creativity — which I define as the process of having original ideas that have value — more often than not comes about through the interaction of different disciplinary ways of seeing things.

 The brain is intentionally — by the way, there’s a shaft of nerves that joins the two halves of the brain called the corpus callosum. It’s thicker in women. Following off from Helen yesterday, I think this is probably why women are better at multi-tasking. Because you are, aren’t you? There’s a raft of research, but I know it from my personal life. If my wife is cooking a meal at home — which is not often, thankfully. (Laughter) But you know, she’s doing — no, she’s good at some things — but if she’s cooking, you know, she’s dealing with people on the phone, she’s talking to the kids, she’s painting the ceiling, she’s doing open-heart surgery over here. If I’m cooking, the door is shut, the kids are out, the phone’s on the hook, if she comes in I get annoyed. I say, “Terry, please, I’m trying to fry an egg in here. Give me a break.” (Laughter) Actually, you know that old philosophical thing, if a tree falls in a forest and nobody hears it, did it happen? Remember that old chestnut? I saw a great t-shirt really recently which said, “If a man speaks his mind in a forest, and no woman hears him, is he still wrong?” (Laughter)

 And the third thing about intelligence is, it’s distinct. I’m doing a new book at the moment called “Epiphany,” which is based on a series of interviews with people about how they discovered their talent. I’m fascinated by how people got to be there. It’s really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of; she’s called Gillian Lynne — have you heard of her? Some have. She’s a choreographer and everybody knows her work. She did “Cats” and “Phantom of the Opera.” She’s wonderful. I used to be on the board of the Royal Ballet in England, as you can see. Anyway, Gillian and I had lunch one day and I said, “Gillian, how’d you get to be a dancer?” And she said it was interesting; when she was at school, she was really hopeless. And the school, in the ’30s, wrote to her parents and said, “We think Gillian has a learning disorder.” She couldn’t concentrate; she was fidgeting. I think now they’d say she had ADHD. Wouldn’t you? But this was the 1930s, and ADHD hadn’t been invented at this point. It wasn’t an available condition. (Laughter) People weren’t aware they could have that.

 Anyway, she went to see this specialist. So, this oak-paneled room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian was having at school. And at the end of it — because she was disturbing people; her homework was always late; and so on, little kid of eight — in the end, the doctor went and sat next to Gillian and said, “Gillian, I’ve listened to all these things that your mother’s told me, and I need to speak to her privately.” He said, “Wait here. We’ll be back; we won’t be very long,” and they went and left her. But as they went out the room, he turned on the radio that was sitting on his desk. And when they got out the room, he said to her mother, “Just stand and watch her.” And the minute they left the room, she said, she was on her feet, moving to the music. And they watched for a few minutes and he turned to her mother and said, “Mrs. Lynne, Gillian isn’t sick; she’s a dancer. Take her to a dance school.”

 I said, “What happened?” She said, “She did. I can’t tell you how wonderful it was. We walked in this room and it was full of people like me. People who couldn’t sit still. People who had to move to think.” Who had to move to think. They did ballet; they did tap; they did jazz; they did modern; they did contemporary. She was eventually auditioned for the Royal Ballet School; she became a soloist; she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School and founded her own company — the Gillian Lynne Dance Company — met Andrew Lloyd Weber. She’s been responsible for some of the most successful musical theater productions in history; she’s given pleasure to millions; and she’s a multi-millionaire. Somebody else might have put her on medication and told her to calm down.

 Now, I think … (Applause) What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson. I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth: for a particular commodity. And for the future, it won’t serve us. We have to rethink the fundamental principles on which we’re educating our children. There was a wonderful quote by Jonas Salk, who said, “If all the insects were to disappear from the earth, within 50 years all life on Earth would end. If all human beings disappeared from the earth, within 50 years all forms of life would flourish.” And he’s right.

What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift wisely and that we avert some of the scenarios that we’ve talked about. And the only way we’ll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future. By the way — we may not see this future, but they will. And our job is to help them make something of it. Thank you very much.

 

*અને છેલ્લે મોસ્ટ સ્પેશ્યલ: ફલક શબ્બીરના અવાજમાં મધરાતની નીરવ શાંતિમાં એકાંતમાં સાંભળવા જેવું ગીત. અગાઉ “જન્નત-૨”ના નામે નેટ પર ચાલ્યું હતું. પણ હવે સત્તાવાર રીતે “આઈ લવ એનવાય” ફિલ્મમાં આવી રહ્યું છે.