MegaEpix Enormous

[Intro]
What the heck is it?
[Break]
I don’t know. What is it?
[Break]
It’s huge
[Instrumental]

[Verse 1]
Mega epic
Music
Enormous
Volumes for us

[Chorus]
It’s the big time
Beats that rhyme
Volumes of volume
To consume
[Bridge]
Set yourself free
Music as company
A true friend
Until The End
[Instrumental]

[Break]
What the heck is it?
[Break]
I don’t know. What is it?
[Break]
It’s huge
[Instrumental]

[Verse 2]
Mega epic
Like magic
Enormous
Voluptuousness

[Chorus]
It’s the big time
Beats that rhyme
Volumes of volume
To consume
[Bridge]
Set yourself free
Music as company
A true friend
Until The End
[Instrumental]

[Break]
What the heck is it?
[Break]
I don’t know. What is it?
[Break]
It’s huge
[Instrumental]

[Verse 3]
Mega epic
An epic epoch
Enormous
Inform us

[Chorus]
It’s the big time
Beats that rhyme
Volumes of volume
To consume
[Bridge]
Set yourself free
Music as company
A true friend
Until The End
[Outro]
What the heck is it?
It’s something, that’s for sure
Pretty sure it’ll endure
[End]

From the album: MegaEpix Enormous

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Innate Rhythmic Response (Dance, Baby, Dance)

[Intro]
My baby loves to dance
[Break]
Dance!
[Instrumental]
[Verse 1]
My baby got an innate rhythmic response
So, I said, “Dance, baby, dance.”
With a new nuance
At every advance… dance
[Bridge]
Sooooo…
[Chorus]
Dance, baby, dance
Sweet innate ability
Dance, baby, dance
Simply lovely to be
[Break]
Dance!
[Break]
[Bridge]
Oh, my baby
She loves to dance
[Break]
Dance!
[Break]

[Break]
My baby loves to dance
[Break]
Dance!
[Instrumental]
[Verse 2]
She’s got innate rhythmic response
So, go, “Dance, baby, dance.”
All your energy, every ounce
Take the chance to advance
And, dance
[Bridge]
Sooooo…
[Chorus]
Dance, baby, dance
Sweet innate ability
Dance, baby, dance
Simply lovely to be
[Break]
Dance!
[Break]
[Bridge]
Oh, my baby
She loves to dance
[Break]
Dance!
[Break]

[Break]
Ohhhh, my, my
My baby loves to dance
[Break]
Dance!
[Instrumental]
[Verse 3]
Innate rhythmic response
Detectin’ rhythm, can’t help but respond:
Dance
[Break]
Innate primate
Pre-date your arrival…
Survival.
Keep on dancing, “Dance, baby, dance.”
All your energy, every ounce
Take the chance to advance
And, dance
[Bridge]
Sooooo…
[Chorus]
Dance, baby, dance
Sweet innate ability
Dance, baby, dance
Simply lovely to be
[Break]
Dance!
[Break]
[Outro]
Oh, my baby
She loves to dance
Sweet innate ability
Dance, baby, dance
Simply lovely to be
[Break]
Dance!
[End]
[Silence]

A SCIENCE LESSON
Babies, like many humans, are naturally inclined to respond to music. There are several reasons why a baby might dance or move in response to certain music:

  1. Innate Rhythmic Response: Even before birth, babies are exposed to rhythmic patterns, including the heartbeat of the mother. Research suggests that babies are born with an innate ability to detect and respond to rhythm. When they hear music with a strong beat or rhythm, they may instinctively move in response.
  2. Sensory Stimulation: Music engages multiple senses, including hearing and sometimes even touch (if they feel vibrations). The combination of auditory and sometimes tactile stimulation can be exciting and pleasurable for babies, prompting them to move in response to the sensory input.
  3. Emotional Response: Music can evoke emotions, even in very young children. Certain types of music may elicit feelings of joy, excitement, or happiness in babies, leading them to express these emotions through movement, such as dancing or swaying.
  4. Imitation and Social Learning: Babies are natural imitators and often learn by observing and copying the behaviors of others, including caregivers. If they see others dancing or moving to music, they may mimic these movements themselves, even before they fully understand the cultural significance of dancing.
  5. Brain Development: Moving to music can also stimulate brain development in babies. Research suggests that music activates various areas of the brain associated with movement, emotion, and auditory processing. Engaging in rhythmic movements while listening to music may help strengthen neural connections and promote motor development in infants.

Overall, a combination of innate predispositions, sensory stimulation, emotional responses, social learning, and brain development likely contributes to why babies often dance or move in response to certain types of music. It’s a natural and enjoyable way for them to interact with their environment and express themselves, even from a very young age.

From Daniel’s Multimedia Album: Omnilogy

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Stomp Your Feet and Bang Your Head

[Intro]
Ga, ga
[Break]
What did you say?
[Break]
“Ga, ga,” Dada
[Break]
[Instrumental, Guitar Solo, Drum Fills]
[Bridge]
So….
Stomp your feet (Defeat)
Band your head (What can be said?)
[Verse 1]
Sensory Stimulation
Vibration in my skull
Sheer sensation
As my words fall null

[Chorus]
Stomp your feet, (feet, feet, feet)
Won’t stand for…
Won’t stand for defeat (eat, eat, eat)
(on my seat!)
You go off to bed, I’ll stay and get fed
Tired of being led
You go to bed.
[Instrumental]
[Bridge]
I don’t wanna go
Oh, no, no, no
Noooooo

[Break]
So….
Stomp your feet (Defeat)
Band your head (What can be said?)
[Verse 2]
My words, stole
“Out-of-control in your role!”
Hold my breath, till death!
Sheer sensation cessation
As my words fall deaf

[Chorus]
Stomp your feet, (feet, feet, feet)
Won’t stand for…
Won’t stand for defeat (eat, eat, eat)
(on my seat!)
You go off to bed, I’ll stay and get fed
Tired of being led
You go to bed.
[Instrumental]
[Bridge]
I don’t wanna go
Oh, no, no, no
Noooooo

[Break]
So….
Stomp your feet (Won’t go down in defeat!)
Band your head (What can be said?)
Put it to bed

[Verse 3]
My words, stole
“Out-of-control in your role!”
Hold my breath, till death!
Sheer sensation cessation
As my words fall deaf

[Chorus]
Stomp your feet, (feet, feet, feet)
Won’t stand for…
Won’t stand for defeat (eat, eat, eat)
(on my seat!)
You go off to bed, I’ll stay and get fed
Tired of being led
You go to bed.
[Instrumental]
[Bridge]
I don’t wanna go
Oh, no, no, no
Noooooo

[Chorus]
Stomp your feet, (feet, feet, feet)
Won’t stand for…
Bang my head to the beat (beat, beat, beat)
(Off my feet!)
You go off to bed, I’ll stay and a while
Tired of being led
Sick of your style
Sick and tired…
… go to bed!
[Instrumental]
[Outro]
I don’t wanna go
Oh, no, no, no
Noooooo

[End]
[Silence]

Why do children stomp their feet or bang their head if they have to take a bath or go to bed?

Sensory Stimulation: Stomping feet or banging their heads may provide sensory stimulation and a sense of physical release for children. It’s a way for them to express frustration, anger, or discomfort through physical actions when they don’t have the vocabulary to articulate their feelings verbally.

From Daniel’s Multimedia Album: Omnilogy

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The Snowball Effect (Roll, Baby, Roll)

[Intro]
I didn’t really know what I was doing at the time…
You see, I was under the influence of gravity
[Instrumental, Organ, Saxophone, Bass]

[Verse 1]
Conservation of my momentum
Conversation: go get ’em
Time to roll
It’s all downhill from… hear
[Bridge]
Hear the diction of friction
Your warm affection
I’ve the notion
Accelerates my motion
[Break]
Roll, baby, roll
[Chorus]
Roll, baby, roll (Roll, baby, roll)
It’s all downhill from here
We’re on a roll (Roll, baby, roll)
Make sure our path is clear
Don’t want our ride to collide
[Instrumental]

[Break]
In the first place
[Verse 2]
In the first place
I was under the influence of gravity
And, it really got to me
[Break]
Pull
[Break]
Pull
[Break]
Pull
[Break]
I have to go
‘least, it’s all downhill from… hear
[Bridge]
Hear the diction of friction
Your warm affection
I’ve the notion
Accelerates my motion
[Break]
Roll, baby, roll
[Chorus]
Roll, baby, roll (Roll, baby, roll)
It’s all downhill from here
We’re on a roll (Roll, baby, roll)
Make sure our path is clear
Don’t want our ride to collide
[Instrumental]

[Break]
Foot on the gas
[Verse 3]
Gaining mass
While time goes past
Conserving my momentum
I am…
Going big
Big, big, big
[Break]
Pull
[Break]
Pull
[Break]
Pull
[Break]
I have to go
‘least, it’s all downhill from… hear
[Bridge]
Hear the diction of friction
Your warm affection
I’ve the notion
Accelerates my motion
[Break]
Roll, baby, roll
[Chorus]
Roll, baby, roll (Roll, baby, roll)
It’s all downhill from here
We’re on a roll (Roll, baby, roll)
Make sure our path is clear
Don’t want our ride to collide

[Outro]
I didn’t really know what I was doing at the time…
I was really under the influence of gravity
And, she said, “Let’s roll.”
So, we went for a stroll
[End]
[Silence]

A SCIENCE LESSON
When a snowball rolls down a hill, it accumulates mass, accelerates, and gains inertia, mirroring the progression of human-induced climate change. Tipping points, once breached, set off self-sustaining feedback loops independent of human influence. This phenomenon is akin to a falling domino striking two more, setting off a chain reaction—hence the term “The Domino Effect”. In climate science, it’s often termed “tipping cascades.” This concept can also be likened to “The Snowball Effect.” A tipping point resembles a snowball gathering mass and velocity (momentum) as it rolls downhill. Once passed, it leads to cumulative and reinforced global warming.

  1. Conservation of Momentum: According to Newton’s first law of motion, an object in motion tends to stay in motion unless acted upon by an external force. As the snowball starts rolling down the hill, it gains momentum. Momentum is the product of mass and velocity, so as the snowball gains mass by accumulating more snow, its momentum increases.
  2. Friction: Friction between the snowball and the surface of the hill plays a crucial role. Friction opposes the motion of the snowball, which means it acts in the direction opposite to the snowball’s velocity. However, as the snowball accumulates more mass, it also gains more surface area in contact with the hill, which increases the frictional force. This can help accelerate the snowball’s motion, especially if the hill is steep enough.
  3. Gravity: Gravity is what pulls the snowball downhill in the first place. As the snowball rolls down the hill, it accelerates under the influence of gravity. The force of gravity acting on the snowball increases its velocity, contributing to its momentum.
  4. Impact and Collisions: As the snowball accumulates more mass, it may collide with other objects like rocks or other snowballs on its way down the hill. These collisions can transfer momentum and alter the snowball’s trajectory and velocity.

Overall, the snowball’s momentum is a result of the interplay between these factors. As it gains mass and velocity while rolling down the hill, its momentum increases, governed by the principles of classical mechanics.

Chaos theory, the concept of The Snowball Effect, tipping points and feedback loops provide valuable insights into understanding the acceleration of climate change.

  1. Chaos Theory: Chaos theory deals with complex systems that are highly sensitive to initial conditions, where small changes can lead to significant differences in outcomes. The Earth’s climate system is a classic example of such a complex system. Small perturbations, such as changes in greenhouse gas concentrations or variations in ocean currents, can lead to large-scale and often unpredictable changes in weather patterns and climate dynamics. Chaos theory helps us understand why seemingly small changes in atmospheric composition or temperature can have profound and sometimes unexpected effects on global climate patterns.
  2. Tipping Points: Tipping points are thresholds in a system where a small change can lead to a significant and often irreversible shift in the system’s state. In the context of climate change, tipping points represent critical thresholds in Earth’s climate system, such as the melting of polar ice caps or the collapse of large ice sheets. Once these tipping points are crossed, they can trigger feedback loops that amplify warming and accelerate climate change. For example, the melting of Arctic sea ice reduces the Earth’s albedo, leading to more absorption of solar radiation and further warming of the Arctic, creating a positive feedback loop.
  3. Feedback Loops: Feedback loops are mechanisms by which changes in one part of a system amplify or dampen changes in another part of the system. In the climate system, there are both positive and negative feedback loops. Positive feedback loops amplify changes and tend to destabilize the climate system, while negative feedback loops dampen changes and promote stability. For example, as temperatures rise, permafrost thaw releases methane, a potent greenhouse gas, which further accelerates warming, creating a positive feedback loop. On the other hand, increased atmospheric CO2 levels can stimulate plant growth, leading to more carbon uptake through photosynthesis, which acts as a negative feedback loop.

By considering chaos theory, tipping points, and feedback loops, we can better understand the non-linear dynamics of the climate system and why climate change can accelerate rapidly once certain thresholds are crossed. This understanding is crucial for developing effective strategies to mitigate and adapt to climate change.

Tipping points are Critical Milestones that directly impact the rate of acceleration in climate change by multiplying the number and intensity of feedback loops. Identifying and understanding these tipping points is crucial for climate science and policymaking. Crossing multiple tipping points could lead to a domino effect, resulting in a much more rapid and severe climate change than currently projected.

Tipping Points

Push a glass toward the edge of a table and eventually it will fall off on its own. No matter how slowly or meticulously you push… no matter how you weight or fill the glass, it will reach a tipping point and fall off before being pushed completely off the table. No matter whether you believe the glass is half-empty or half-full, when the tipping point is reached it will plummet out-of-control to its end. This is science not fate, faith, nor belief. Human induced climate change has resulted in environmental tipping points being breached.

Tipping points, when crossed, trigger self-sustaining feedback loops that are no longer dependent on human activity. Similar to when a domino topples over hitting two more dominoes that in turn fall hitting more dominoes. Thus, the name The Domino Effect. It can also be visualized as The Snowball Effect. A tipping point is like a snowball rolling down a hill growing in mass and velocity (momentum). When a tipping point is crossed, it results in cumulative and reinforced global warming.

From Daniel’s Multimedia Album: Omnilogy

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Running at the Speed of Light

 

If I could run as fast as the speed of light,
could I catch up to my yesterday?
[Space Intro]
[Break]
Know
[Break]
Oh, know
[Break]
[Verse 1]
If I could run as fast as the speed of light,
could I catch my yesterday?
No. No way.
You’d lose your future
You’d lose your past

[Chorus]
Lose your future
Lose your past
Traveling that fast
Have no future
Passed past
Standing still, aghast
[Break]
Whoa
[Break]
I didn’t know
[Bridge]
If one endures, dilation occurs
Theoretically stationary…
In time
[Instrumental, Guitar Solo, Drum Fills]

[Break]
Know
[Break]
Oh, know
[Break]
[Verse 2]
From the past, can’t run away
Where it’s going, it’s gonna stay
Lost your future
Lost your past
Boredom, who’ll outlast?

[Chorus]
Lose your future
Lose your past
Traveling that fast
Have no future
Passed past
Standing still, aghast
[Break]
Whoa
[Break]
I didn’t know
[Bridge]
If one endures, dilation occurs
Theoretically stationary…
In time
[Instrumental, Bass Solo, Drum Fills, Guitar Solo]

[Verse 3]
If I could run as fast, (blast)
As the speed of light, (out-of-sight)
Would I catch my yesterday?
No. No way.
I’d lose the future
I’d lose the past
All my time, at last

[Chorus]
Lose your future
Lose your past
Traveling that fast
Have no future
Passed past
Standing still, aghast

PART II
[Verse 2]
Running so fast, I’m standing still
Questioning my freewill
Running so fast, I’m standing still
Standing still Until

[Break]
Whoa
[Break]
I didn’t know
[Bridge]
If one endures, dilation occurs
Theoretically stationary…
In time
[Instrumental, Bass Solo, Drum Fills, Guitar Solo]

[Outro]
Whoa
I didn’t know
If one endures, dilation occurs
Theoretically stationary…
In time
[End]
[Silence]

If I could run as fast as the speed of light, could I catch up to my yesterday?

In classical physics, the answer would be no. According to Einstein’s theory of relativity, as you approach the speed of light, time dilation occurs. Essentially, time slows down for you relative to someone who is stationary. So, theoretically, if you were traveling at the speed of light, time would stand still for you, and you wouldn’t experience the passage of time. This means you wouldn’t be able to catch up to your yesterday because time wouldn’t be passing for you in the same way it does for someone who is stationary.

However, this is a purely theoretical concept as nothing with mass can travel at the speed of light according to our current understanding of physics. Also, as you approach the speed of light, your mass would increase infinitely, requiring infinite energy to continue accelerating, which is not feasible. So, while it’s an intriguing idea to entertain, it remains firmly in the realm of science fiction for now.

From Daniel’s Multimedia Album: Omnilogy

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Push

[Verse 1]
Push in the direction
You know you want to go
Push for the solution
You know you want to know

[Chorus]
Interception perfection
Meet your future in a dream
Relativity’s perception
Watching future turn to scene
[Break]
Push
[Break]
Ambush the future

[Instrumental, Guitar Solo, Drum Fills, Saxophone]

[Verse 2]
Push for introspection
You know you want to show
Push for the education
You know you want to know

[Chorus]
Interception perfection
Meet your future in a dream
Relativity’s perception
Watching future turn to scene
[Break]
Push
[Break]
Ambush the future

[Instrumental, Guitar Solo, Drum Fills, Organ]

[Verse 3]
Push for truth and integrity
You know you want to know
Push for peace and harmony
You know you want to be

[Chorus]
Interception perfection
Meet your future in a dream
Relativity’s perception
Watching future turn to scene
[Break]
Push
[Break]
Ambush the future

[Instrumental, Guitar Solo, Drum Fills, Bass]

[Bridge]
Push
[Break]
Push and shove
Toward the love
We meant
Movement!
[Break]
Push!
[Break]
[Instrumental]
[Chorus]
Interception perfection
Meet your future in a dream
Relativity’s perception
Watching future turn to scene
[Break]
Push
[Break]
Ambush the future
[Outro]
Push and shove
Toward the love
To ensure
Ambush the future
[End]
[Silence]

From the album: The Future

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Moving Target

[Space Intro]
[Break]
Aim
[Break]
Fire
[Break]
Better aim higher

[Verse 1]
The future is a moving target
Aim sure, or regret
Is what is to come
Welcome?

[Chorus]
Observe. Anticipate the rate.
Lead the future, to be sure.
Adjust your aim, to miss a shame
Prediction’s satisfaction
[Break]
Aim
[Break]
Fire
[Break]
Aspire
[Instrumental]

[Verse 2]
A combination
Observation, prediction
What is meant:
Make an adjustment.

[Chorus]
Observe. Anticipate the rate.
Lead the future, to be sure.
Adjust your aim, to miss a shame
Prediction’s satisfaction
[Break]
Aim
[Break]
Fire
[Break]
Aspire
[Instrumental]

[Verse 3]
Predict the future
Intercept it
Seems seams suture
Intercepted

[Chorus]
Observe. Anticipate the rate.
Lead the future, to be sure.
Adjust your aim, to miss a shame
Prediction’s satisfaction
[Break]
Aim
[Break]
Fire
[Break]
Aspire
[Outro]
Aiming at a moving target involves predicting the target’s future position and adjusting your aim accordingly to intercept it.
[Break]
Fire!
[End]
[Silence]

Aiming at a moving target involves predicting the target’s future position and adjusting your aim accordingly to intercept it. Here are some general steps to aim at a moving target:

  1. Observe the Target: Pay close attention to the target’s movement patterns, speed, and direction. Understanding how the target is moving is crucial for predicting its future position.
  2. Anticipate the Target’s Path: Based on your observations, anticipate where the target will be in the near future. Consider factors such as the target’s speed, acceleration, and any obstacles in its path.
  3. Lead the Target: Aim slightly ahead of the target’s current position to compensate for the time it will take for your projectile or action to reach the target. The amount you lead the target depends on its speed and distance.
  4. Adjust Your Aim: Continuously adjust your aim as the target moves to ensure that your projectile or action intercepts it. Keep tracking the target’s movement and make small corrections as necessary.
  5. Practice and Refinement: Aiming at moving targets takes practice and experience. Through repetition and refinement of your technique, you can improve your ability to accurately aim at moving targets.

Whether you’re throwing a ball, shooting a projectile, or engaging in a dynamic activity, mastering the skill of aiming at moving targets requires a combination of observation, prediction, and adjustment.

From the album: The Future

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Light Years

[Space Intro]

[Verse 1]
Watch the future flee
At light speed
Watch the past come
Light speed, undone

[Chorus]
A glimpse of the past
Moving, passed fast
Maybe a hundred years ago
Or, so…
[Bridge]
Maybe billion or more
So you know
What’s to come before
See the light might
Show us what’s in store
[Instrumental]

[Verse 2]
The past coming at you again
At light speed
Tomorrow, back to begin
Light speed freed

[Chorus]
A glimpse of the past
Moving, passed fast
Maybe a hundred years ago
Or, so…
[Bridge]
Maybe billion or more
So you know
What’s to come before
See the light might
Show us what’s in store
[Instrumental]

[Verse 3]
At last, relive the past
Bleed at light speed
Tomorrow is here to last
Light speed freed

[Chorus]
A glimpse of the past
Moving, passed fast
Maybe a hundred years ago
Or, so…
[Bridge]
Maybe billion or more
So you know
What’s to come before
See the light might
Show us what’s in store
[Outro]
Watch the future flee
At light speed
Watch the past come
Light speed, undone
[End]
[Silence]

Light years allow us to see the past because light travels at a finite speed, approximately 299,792 kilometers per second (186,282 miles per second) in a vacuum. When we observe objects in space, we are actually seeing the light that they emitted in the past. Since light takes time to travel from distant objects to our eyes or telescopes, the farther away an object is, the longer it takes for its light to reach us.

For example, if a star is located 100 light years away from Earth, the light we see from that star today actually left the star 100 years ago. Similarly, if we observe a galaxy that is millions or even billions of light years away, we are seeing the light that was emitted by the galaxy millions or billions of years ago. In essence, by looking at objects in space, we are looking back in time and gaining insights into the universe’s history.

From the album: The Future

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Living in Space

[Space Intro]
Someday…
The human race
Will be living in space
[Instrumental]
[Verse 1]
Someday, the human race will be living in space
Maybe soon, walking on the moon
Mayday, before we leave without a trace
Feel the future loom

[Chorus]
Man, living in space
Watch him race
Unaware
He’s already there
Oh, living in space
Souls bare
[Instrumental]

[Break]
The human race
Will be living in space
[Instrumental]
[Verse 2]
Someday, the human race may come to embrace
Maybe soon, appreciate the state
Mayday, while finding our place
We’ve gone irate

[Chorus]
Man, living in space
Watch him race
Unaware
He’s already there
Oh, living in space
Souls bare
[Instrumental]

[Break]
The human race
Will be living in space
[Break]
[Verse 3]
Someday, the human race may find their pace
Maybe soon, stop running low
Today, out searching for grace
Oh, no, do you know?

[Chorus]
Man, living in space
Watch him race
Unaware
He’s already there
Oh, living in space
Souls bare
[Outro]
Today…
The human race
Is living in space
[End]
[Silence]

From the album: The Future

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Time (And Time Again)

[Space Intro]
[Break]
Ground control to Man:
[Break]
Who’s in command?
[Break]

[Verse 1]
Though time is here today
It must be moving along
I’m trying to find a way
Capture her in song

[Chorus]
Time, not one for long goodbyes
I’m, not one that whines and cries
But, I’d sure love you to find away
To stay
[Bridge]
Find our way
Tell us: everything will be O.K.
[Instrumental]

[Break]
Ground control to Man:
[Break]
Who’s in command?
[Break]

[Verse 2]
Time keeps ticking away (way away)
Moving along strong (moving along)
I’m trying to find a way
Capture her in song

[Chorus]
Time, not one for long goodbyes
I’m, not one that whines and cries
But, I’d sure love you to find away
To stay
[Bridge]
Find our way
Tell us: everything will be O.K.
[Instrumental]

[Break]
Ground control to Man:
[Break]
Who’s in command?
[Break]

[Verse 3]
Time, spilling sand in an hourglass
Slipping through my fingers
Time, keeps running past
No, she never lingers

[Chorus]
Time, not one for long goodbyes
I’m, not one that whines and cries
But, I’d sure love you to find away
To stay
[Bridge]
Find our way
Tell us: everything will be O.K.

[Outro]
Getting to know the flow
I’m…
… floating on time
[End]
[Silence]

From the album: The Future

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1984

[Instrumental, Guitar Solo, Synth, Drum Fills]
[Space Intro]
[Break]
Is it 1984
[Break]
Forevermore?
[Break]
[Instrumental]
[Verse 1]
In the corridors of power, their secrets lie,
Whispers of control, beneath the sky.
Who holds the past, holds the key,
To shape the future, as they decree.

[Chorus]
War is peace, in the world’s design,
Freedom’s chains, a clever sign.
Ignorance reigns, in the halls of might,
Where truth is twisted, out of sight.

[Break]
Is it 1984
[Break]
Forevermore?
[Break]
[Instrumental]

[Verse 2]
They say the present’s theirs to command,
With every move, they tighten their hand.
But those who resist, they’ll never sway,
In the face of darkness, they find their way.

[Chorus]
War is peace, in the world’s design,
Freedom’s chains, a clever sign.
Ignorance reigns, in the halls of might,
Where truth is twisted, out of sight.

[Break]
Is it 1984
[Break]
Forevermore?
[Break]
[Instrumental]

[Bridge]
But in the hearts of those who see,
The seeds of change, forever free.
They know the power of truth’s embrace,
To break the chains and find our place.

[Outro]
So let us rise, and stand as one,
Against the darkness, until it’s done.
For in our unity, lies the key,
To rewrite the future, and set us free.

[End]

“Who controls the past,
Controls the future.
Who controls the present,
Controls the past.”
“War is peace.
Freedom is slavery.
Ignorance is strength.”
― George Orwell, 1984

From the album: The Future

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The War of the Worlds

[Space Intro]
[Verse 1]
In the early years of the 21st century,
This world was watched by eyes we couldn’t see.
Greater than Man’s, yet mortal as our own,
Their plans against us, quietly they’ve sown.

[Chorus]
War of the Worlds, a new version unfolds,
Minds vast and cool, plans foretold.
Infinite complacence, we were observed,
As they drew their plans, our world unnerved.
[Break]
War1
[Break]
Of the worlds
[Break]
Perils
[Instrumental]

[Verse 2]
People went about, with little care,
Unaware of the eyes in the cosmos, there!
With envious gaze, across the ethereal gulf,
They watched our world, their plans unfurl.

[Chorus]
War of the Worlds, a new version unfolds,
Minds vast and cool, plans foretold.
Infinite complacence, we were observed,
As they drew their plans, our world unnerved.
[Break]
War1
[Break]
Of the worlds
[Break]
Perils
[Instrumental]

[Bridge]
In the 24th year, the great disillusionment,
October’s eve, with a sense of lament.
Business was better, the war scare had waned,
But on the airwaves, their story was framed.

[Chorus]
War of the Worlds, a new version unfolds,
Minds vast and cool, plans foretold.
Infinite complacence, we were observed,
As they drew their plans, our world unnerved.
[Break]
War1
[Break]
Of the worlds
[Break]
Perils
[Instrumental]

[Outro]
On that October evening, the world tuned in,
To hear the story of how the chaos did begin.
A tale of invasion, of worlds beyond our own,
The War of the Worlds, forever etched in stone.
[End]
[Silence]

“The War of the Worlds” was a Halloween episode of the radio series The Mercury Theatre on the Air, directed and narrated by Orson Welles. This adaptation of H. G. Wells’s novel “The War of the Worlds” (1898) was performed and broadcast live at 8 pm ET on October 30, 1938, over the CBS Radio Network. The episode gained notoriety for its realistic portrayal, which led to panic among some members of the listening audience, convincing them that a Martian invasion was underway.

“The War of the Worlds” begins with a paraphrase of the beginning of the novel, updated to contemporary times. The announcer introduces Orson Welles:

We know now that in the early years of the 20th century, this world was being watched closely by intelligences greater than man’s and yet as mortal as his own. We know now that as human beings busied themselves about their various concerns, they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water. With infinite complacence, people went to and fro over the earth about their little affairs, serene in the assurance of their dominion over this small spinning fragment of solar driftwood which by chance or design man has inherited out of the dark mystery of Time and Space. Yet across an immense ethereal gulf, minds that are to our minds as ours are to the beasts in the jungle, intellects vast, cool and unsympathetic, regarded this earth with envious eyes and slowly and surely drew their plans against us. In the 39th year of the 20th century came the great disillusionment. It was near the end of October. Business was better. The war scare was over. More men were back at work. Sales were picking up. On this particular evening, October 30th, the Crossley service estimated that 32 million people were listening in on radios….

From the album: The Future

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Stellar Collision

[Verse]
Rockets roar
Piercing through the sky
Lost in time
Flying high
Oh my
In a space jungle where beasts reside
Future’s calling
Gotta survive
Gotta fight

[Verse 2]
Neon lights illuminate the unknown
Creatures creep
Vibes of danger shown
In this cosmic dance
We’re all alone
Survival instinct
Fear unknown

[Chorus]
Welcome to the future
Where worlds collide
In the space jungle
We can’t hide
Raging battles
Fires ablaze
Future’s awaiting
In a cosmic maze

From the album: The Future

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Future

[Instrumental, Electronica, Piano, Saxophone, Guitar Solo[
[Space Intro]
The current moment, the here and now
Time intersects our immediate experience
The future what is yet to come somehow
At times, much more precarious
[Instrumental]
[Verse 1]
In the present, we stand, the moment’s embrace,
Where time and reality weave in grace.
Each breath we take, each step we tread,
In the here and now, where life is led.

[Chorus]
The current moment, the here and now,
Where past and future softly bow.
But the future’s horizon, uncertain, unknown,
A realm of possibilities, yet to be shown.
Come in to known.
[Instrumental]

[Verse 2]
The future looms large, a vast expanse,
A realm of dreams, of chance and dance.
It holds the promise of what may be,
A canvas of hope, for you and me.
[Chorus]
The current moment, the here and now,
Where past and future softly bow.
But the future’s horizon, uncertain, unknown,
A realm of possibilities, yet to be shown.
Come in to known.
[Instrumental]

[Bridge]
In the present, we find our strength,
Guided by the past, yet facing the length,
Of the road ahead, the journey untold,
With courage and faith, we’ll be bold.
Let it roll.
[Chorus]
The current moment, the here and now,
Where past and future softly bow.
But the future’s horizon, uncertain, unknown,
A realm of possibilities, yet to be shown.
Come in to known.
[Instrumental]

[Outro]
Embrace each moment we find, all kind.
For in the present, our destinies entwined.
And as we journey into the great unknown,
May hope be our compass, our guide, our own.
[End]
[Silence]

The future and the present are differentiated by the passage of time and the sequence of events. The present refers to the current moment, the here and now, where time intersects with our immediate experience. It is the moment we are living in, characterized by its immediacy and tangible reality.

In contrast, the future represents what is yet to come, the moments and events that lie ahead of the present. It encompasses the passage of time beyond the present moment and encompasses the potential outcomes, possibilities, and uncertainties that await us. The future is characterized by its unknown nature, as it has not yet unfolded and is subject to change based on various factors such as our actions, decisions, and external circumstances.

While the present is concrete and tangible, the future is abstract and speculative, existing only in our imaginations and projections. It is shaped by our hopes, fears, aspirations, and plans for what lies ahead. Despite its uncertainty, the future holds the promise of new opportunities, experiences, and possibilities for growth and transformation.

From the album: The Future

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Favorite Thing

[Verse 1]
Love’s my favorite thing to do
How about you?
As long as I keep love in view
I’m in love with you

[Chorus]
I love to love
Love to be in harmony
When push comes to shove
I’m in love
[Break]
My favorite thing to sing:
[Break]
I’m in love

[Bridge]
Peace and understanding
Feel in the flow
Far from deMANding
Into the know

[Instrumental]

[Break]
My favorite thing to bring:
[Break]
Bring on love

[Verse 2]
What’s your favorite thing to do
Finding love true?
As long as I keep hope in view
I’m in love, too

[Chorus]
I love to love
Love to be in harmony
When push comes to shove
I’m in love
[Break]
My favorite thing to sing:
[Break]
I’m in love

[Bridge]
Peace and understanding
Feel in the flow
Far from deMANding
Into the know

[Instrumental]

[Break]
My favorite thing to bring:
[Break]
Bring on love

[Verse 3]
What’s our favorite thing to do —
Finding love anew
As long as we keep faith in view
We’ll find love, too

[Chorus]
I love to love
Love to be in harmony
When push comes to shove
I’m in love
[Break]
My favorite thing to sing:
[Break]
I’m in love

[Outro]
Favorit3 thing
Sing
I’m in love
Love, sweet, sweet, love
Sing
[End]
[Silence]

From the Album
Love Love: Embracing Love’s Power to Save the World

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