Showing posts with label youtube. Show all posts
Showing posts with label youtube. Show all posts

Friday, June 24, 2022

MAGIC MUSIC - The song you would like to hear

MAGIC MUSIC - The song you would like to hear: 

VISIT US 


GIF MAGIC MUSIC - The song you would like to hear




Posted by Nelio Inacio at 11:06 AM
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CORACAO TAMBOR - The song you would like to hear

CORACAO TAMBOR - The song you would like to hear :

VISIT US



GIF CORACAO TAMBOR - The song you would like to hear


Posted by Nelio Inacio at 10:58 AM
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SILVER MOON - The song you would like to hear

SILVER MOON - The song you would like to hear :

VISIT US

MOON GIF


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Thursday, October 22, 2015

FASHION MODEL AMANDA CERNY WALLPAPER HD

FASHION MODEL AMANDA CERNY WALLPAPER HD :
MODEL AMANDA CERNY BIRTHDAY June 26, 1991 BIRTHPLACE Pennsylvania AGE 23 years old BIRTH SIGN Cancer ABOUT Fitness professional, television personality, and founder of Play Foundation who has a strong online presence on both YouTube and Vine. She reached 1 million Vine followers by July of 2014. BEFORE FAME She is a former Playboy Playmate of the Month for the month of October in 2011. TRIVIA She was a cover model for Health & Wellness magazine. FAMILY LIFE She was born in Pittsburgh and later moved to Los Angeles, California. ASSOCIATED WITH She has collaborated with Rudy Mancuso on Vine videos. Tags : Amanda Cerny, 138 Water, HD Wallpaper, Bikini, Fashion, Beauty, Wallpaper, Style, Model, Supermodel
MODEL AMANDA CERNY BIOGRAPHY 
BIRTHDAY June 26, 1991
BIRTH PLACE Pennsylvania
AGE 23 years old
BIRTH SIGN Cancer

 ABOUT
Fitness professional, television personality, and founder of Play Foundation who has a strong online presence on both YouTube and Vine. She reached 1 million Vine followers by July of 2014.
BEFORE FAME
She is a former Playboy Playmate of the Month for the month of October in 2011.
TRIVIA
She was a cover model for Health & Wellness magazine.
FAMILY LIFE
She was born in Pittsburgh and later moved to Los Angeles, California.
ASSOCIATED WITH
She has collaborated with Rudy Mancuso on Vine videos.
Tags : Amanda Cerny, 138 Water, HD Wallpaper, Bikini, Fashion, Beauty, Wallpaper, Style, Model, Supermodel
Posted by Nelio Inacio at 6:10 PM
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Saturday, January 31, 2015

Video FORRO DOS CUMPADRE - Nelio Guerson and Carlos Guerson ( HD ) Pop Music Forro





Posted by Nelio Inacio at 3:33 PM
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Video NOT ANYMORE - Nelio Guerson ( HD ) Original Pop Music





Posted by Nelio Inacio at 3:30 PM
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Wednesday, May 21, 2014

AMAZING VIDEO [HD] Victoria's Secret Fashion Show 2013 - Taylor Swift



Published on Dec 10, 2013
Taylor Swift at the 2013 Victoria Secret Fashion Show performing "My Songs Know What You Did In The Dark" with Fallout Boy, and singing her single "I Knew You Were Trouble"
Category
Entertainment

RECOMMENDED BY GOOGLE + Victoria´s Secret

https://plus.google.com/u/0/b/102113956940289359913/102113956940289359913/posts

Posted by Nelio Inacio at 10:43 AM
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Wednesday, February 08, 2012

GISELE BUNDCHEN SCANDAL & Youtube Video

GISELE BUNDCHEN SCANDAL & Youtube Video :






Gisele defends Tom Brady, slams Patriots
New York Daily News - ‎Feb 7, 2012‎
By Joyce Chen AND Janon Fisher / NEW YORK DAILY NEWS Gisele Bundchen comforted husband Tom Brady after the Patriots' Super Bowl loss to the Giants 21-17.
Gisele Bundchen gives Patriot wives more reason to hate her Chicago Sun-Times
Gisele Bundchen blames receivers, not husband, for Patriots' loss CBS News

Us Magazine Fashion:
Gisele Bundchen's, Maria Menounos' Super Bowl woes
Los Angeles Times - ‎Feb 7, 2012‎
Houston Chronicle :
Supermodel Gisele Bundchen thinks husband Tom Brady played the game of his life quarterbacking the Patriots in the Super Bowl.
Maria Menounos shows off hot bod in Giants bikini The CelebrityCafe.com
Maria Menounos paid up, stripped down, and gave up betting in one round? Green Celebrity Network

TMZ Live Gisele's BIG Mouth
TMZ.com - ‎Feb 7, 2012‎
Gisele Bundchen's blasting of Tom Brady's teammates sparked a major debate -- should wives of professional athletes keep their mouths shut when it comes to the team?



About Gisele Bundchen

Born Gisele Caroline Bundchen 20 July 1980 (age 31) Horizontina, Rio Grande do Sul, Brazil
Height 1.80 m (5 ft 11 in)
Hair color Light Brown
Eye color Blue
Measurements 35-23-35.5 (89-59-90)
Weight 57 kg (130 lb; 9.0 st)
Dress size 38 EU/6 US
Shoe size 37 EU/6 US/4 UK 
Agency IMG Models
Spouse Tom Brady (2009–present)


==Gisele Bundchen Biography==
Gisele Caroline Bundchen ( born July 20, 1980 in Horizontina, Rio Grande do Sul, Brazil) is a Brazilian model, occasional film actress and goodwill ambassador for the United Nations Environment Program. According to Forbes, she is the highest-paid model in the world and also the sixteenth richest woman in the entertainment world, with an estimated $150 million fortune.

==Family and early life==
Bundchen was born in the Brazilian town of Tres de Maio and grew up in Horizontina, Rio Grande do Sul, to Vania Nonnenmacher, a bank clerk pensioner, and Valdir Bundchen, a university teacher and writer. She has five sisters - Raquel, Graziela, Gabriela, Rafaela and her fraternal twin Patrícia, Gisele's junior by five minutes. Bundchen is Roman Catholic and speaks Portuguese as her native language. She also speaks Spanish and English.

- I was born in Horizontina, a town in the backcountry of (Brazilian) state Rio Grande do Sul. The town was once mainly colonized by Germans. In the school which I attended, learning German was actually obligatory from third grade on. But being out of touch with the language for such a long time, I unfortunately forgot it.  I belong to the sixth generation of my family in Brazil.  

==Modeling career==
Originally, Bundchen wanted to be a professional volleyball player and considered playing for the Brazilian team, Sogipa. While in school, Bundchen was so thin that her friends used to call her "Olivia Palito" (Portuguese for Olive Oyl, Popeye's skinny girlfriend) and "Saracura" (a type of Brazilian shorebird).

In 1993, a then-13-year-old Bundchen joined a modeling course with her sisters Patrícia and Gabriela at her mother's insistence.The following year, Bundchen went to Sao Paulo on a school excursion to give them an opportunity to walk in a big city. In a shopping mall, while eating at McDonald's with her friends, Bundchen was discovered by a modeling agency. She was subsequently selected for a national contest, Elite Look of the Year, in which she placed second Claudia Menezes, from Bahia, took first place. Bundchen placed fourth in the world contest, held in Ibiza, Spain. In 1996, Bundchen moved to New York City usa to begin her modeling career, debuting at Fashion Week.

Gisele Bundchen on the Fashion Rio Inverno 2006, January 30, 2006. Her debut on the cover of the July 1999 issue of Vogue magazine, and the accompanying editorial entitled "The Return of the Sexy Model", is widely viewed as marking the end of the fashion's "heroin chic" era. She graced the cover again in November and December of that year. She won the VH1/Vogue Model of the Year for 1999, and a January 2000 cover gave her the rare honor of three consecutive Vogue covers. In 2000, she became the fourth model to appear on the cover of the music magazine Rolling Stone, when she was named "the most beautiful girl in the world." Bundchen has been on the covers of many top fashion magazines including W, Harper's Bazaar, ELLE, Allure, international editions of Vogue, as well as style and lifestyle publications such as i-D, The Face, Arena, Citizen K, Flair, GQ, Esquire, and Marie Claire. She has been featured both in the Pirelli Calendar 2001 and 2006 and in broader market publications such as Time, Vanity Fair, Forbes, Newsweek and Veja, more than 500 magazine covers throughout the world.

Bundchen consistently works with acclaimed photographers such as Mario Testino, Steven Meisel, Nick Knight, Mert and Marcus, Rankin, Annie Leibovitz, Karl Lagerfeld, Peter Lindbergh, David LaChapelle, Mario Sorrenti, Nino Munoz and Patrick Demarchelier, and with renowned directors such as Jean Baptiste Mondino and Bruno Aveillan.

Claudia Schiffer said: "Supermodels, like we once were, don't exist any more" and reckoned that Gisele Bundchen was the only one close to earning the supermodel title.

Naomi Campbell said: "Models need to earn their stripes - I just think the term is used a little too loosely. Kate Moss is obviously a supermodel but, after Gisele, I don’t think there’s been one."

On August 26, 2008, the New York Daily News, in a list, named Bundchen the fourth-most-powerful person in the fashion world.

On May 12, 2009, The Independent, called her the biggest star in fashion history.

==Endorsements and earnings==
Since her debut, Bundchen has been the face of a variety of advertising campaigns including several seasons of Christian Dior, Balenciaga, Mervyn's, Dolce & Gabbana, Missoni, Versace, Givenchy, Bvlgari, Lanvin, Guerlain, Valentino, Ralph Lauren, Earl Jean, Zara, Chloé, Michael Kors, Louis Vuitton and Victoria's Secret. She has appeared in advertisements for Nivea lotion and is the face of several Brazilian brands including Vivo, Multiplan (Shopping Malls), Colcci, Credicard (Citibank) and Volkswagen do Brasil. After C&A Brazil hired Bundchen as a spokesmodel and began airing television commercials, sales increased by 30%.

At the Fashion Rio Inverno 2006In May 2006, Bundchen signed another multi-million dollar deal, this time with American giant Apple Inc.. She starred in an advertising campaign to promote the new Macintosh line through the Get a Mac advertisements. Also in 2006, Bundchen became the new face of Swiss luxury watchmaker Ebel.

She has her own line of sandals with footwear company Grendene called Ipanema Gisele Bundchen. Forbes puts her 53rd on their list of the most powerful celebrities of 2007 because of the international success of her shoe line, making the brand Ipanema the most sold Brazilian flip-flop in the world, surpassing the legendary Havaianas. Custom Ipanema flip-flops sell for as much as $230 a pair. She is also the owner of a hotel in the south of Brazil, the Palladium Executive.

On May 1, 2007, it was announced that Bundchen had ended her contract with Victoria's Secret.

In July 2007, having earned an estimated total of $33 million in the past 12 months, Forbes magazine named her the world's top-earning model in the list of the World's 15 Top-Earning Supermodels.

An American economist named Fred Fuld developed a stock index to measure the profit performance improvement of companies represented by Bundchen compared with the Dow Jones Industrial Average. According to Fuld, the Gisele Bundchen Stock Index was up 15% between May and July 2007, substantially surpassing the Dow Jones Industrial Average which was up just 8.2%.


==Charity activities==
Bundchen lends her support and image to a number of charities and humanitarian causes, such as the I am African campaign, in which she painted her face to protest the lack of attention given to Africa's HIV/AIDS victims. Without receiving payment, Bundchen was, in 2006, the face of American Express Red Card, an initiative launched by U2 front man Bono and Bobby Shriver to send a percentage of monies earned from the financial transactions of this credit card to Africa's HIV/AIDS victims.

In 2009, she appeared almost simultaneously in more than 20 covers of the international issues of Elle magazines wearing (Product) Red clothing and posing with products from companies who support the same cause. (RED)’s primary objective is to engage the private sector in increasing assistance for the Global Fund, to help defeat AIDS in Africa. Companies whose products take on the mark contribute a percentage of the sales or portion of the profits from that product to the Global Fund to finance AIDS programs in Africa, with special attention on the health of women and children.

At the Fashion Rio Inverno 2006In 2003, Bundchen designed an exclusive and limited edition of platinum hearts, working with Platinum Guild International and Harper’s Bazaar, crafted by jewelers Gumuchian Fils. These platinum hearts were sold to raise money for St. Jude Children's Research Hospital which specializes in cancer treatment. She served as the spokesperson and campaign model for Fashion Targets Breast Cancer. Bundchen already gave a Sao Paulo Fashion Week's payment check for Zero Hunger (in Portuguese: Fome Zero), a Brazilian-government program introduced by Brazilian president Luiz Inacio Lula da Silva also in 2003.

She was, in 2009, one of the celebrities to sign up for the auction fundraiser of celebrities autographed iPods to raise cash for the victims of Hurricane Katrina, organised by Tonic.com., alongside former U.S.A.'s president Bill Clinton, Cher, Beyonce, Britney Spears, Mariah Carey, Ellen DeGeneres and others. The money is for the Music Rising institution which aims to recover and invest in the musical culture of the destroyed areas.

She promotes protecting the Brazilian Atlantic Forest and Amazon Rainforest water sources, donating to this cause a percentage of profits from her line of sandals named Ipanema Gisele Bundchen. Also, Bundchen helps projects such as Nascentes do Brasil, ISA, Y Ikatu Xingu and De Olho nos Mananciais.

Bundchen and Grendene, the company that produces and disseminates her line of sandals, also joined the Florestas do Futuro project for the reforestation of the Brazilian Atlantic Forest. The project was created by the NGO named SOS Atlantic Forest in 2004. The new forest, named for Gisele Bundchen Sementes, started with 25,500 shoots of 100 different species, enough to revitalize an area of 15 hectares.

On 20 September, 2009, she was designated Goodwill Ambassador for the United Nations Environment Programme (UNEP).

==Acting career==
In 2004, Bundchen entered the film industry, playing the bank robbers' leader, Vanessa, in the 2004 remake Taxi. In 2006, she played a minor character in The Devil Wears Prada.

Personal life and Relationships:
On Thursday, February 26, 2009, Bundchen married New England Patriots quarterback Tom Brady in a small Catholic ceremony in Los Angeles ( la ). On April 5, 2009, the couple remarried in Costa Rica with Brady's son, John Edward Thomas Moynahan, present. For the ceremony, Gisele wore a dress and veil designed by famed fashion designer John Galliano. Bundchen's three dogs were also present at the ceremony. Bundchen and Brady had been dating since late 2006. Before marrying him, she dated actor Leonardo DiCaprio and professional surfer Kelly Slater. On Friday, June 19 2009, People magazine reported that Gisele was pregnant with her first child with husband Tom Brady. The baby is due on December 14, 2009. 

==Music tribute==
As an homage to Bundchen, Brazilian singer and songwriter Gabriel Guerra, along with musician Pedro Cezar, wrote the song Tributo a Gisele (Tribute to Gisele in English), which is currently the theme of the model's official website. In January 2008, Bundchen met Gabriel Guerra at Copacabana Palace Hotel in Rio de Janeiro.
There's another music called "Coisa Linda" ( Pretty Woman ) dedicated to Gisele Bundchen by Nelio Guerson and Carlos Guerson. More info on Palco MP3, Last FM and Garagem MP3.

==One reason to love New York==
In the December 2005 issue, New York magazine chose and publicized a list of 123 reasons to love New York City with reason number 43 being that Gisele Bundchen lives there.

==Nude photography==
On April 11, 2008, a black-and-white photo of Bundchen, shot by Irving Penn, was auctioned for US$193,000 (£96,000). The picture was one of dozens from the collection of Gert Elfering that were sold at Christie's International in New York. In all, the auction tallied US$4.27 million and included pictures of Brigitte Bardot, Kate Moss, Naomi Campbell, Christy Turlington and Carla Bruni. Bundchen's picture reached the highest price in comparison with the others. Bardot was the second with US$181,000 (£90,000).

In 2009, Gisele featured, on artistic nude picture, the cover of the work retrospective book of Australian photographer Russell James.

==Image inspiration==
In 2006, Elle magazine bosses surveyed the American leading stylists and asked them to name the star whose hair is a favourite for their clients. More than 50 per cent gave Gisele the title of best hair in Hollywood, followed by Sienna Miller in at second place and Nicole Richie in at third position.

In February 2008, a result of research was publicized by The International Society of Aesthetic Plastic Surgery (ISAPS) to reveal how world celebrity images, which overwhelm popular media, influence people's choices and decisions to undergo plastic surgery. The question asked was "What influences do celebrities have on the decisions patients make?". The survey was sent to more than 20,000 plastic surgeons in 84 countries. Gisele Bundchen, Jennifer Lopez, Angelina Jolie, Nicole Kidman, Pamela Anderson, Sophia Loren, Brad Pitt and George Clooney were the most frequently mentioned celebrities. Gisele won the abdomen and hair categories and took second place in the breasts category.

==Controversies==
PETA anti-fur target
In 2002, during the taping of the annual Victoria's Secret Fashion Show, Bundchen was the target of a protest made by four members of People for the Ethical Treatment of Animals because she was signed to be the new face of Blackglama, a trademark of a fur-farming cooperative. When Bundchen was on stage, four women jumped onto the runway holding posters that read "Gisele: Fur Scum" and included the logo for PETA. Bundchen tried to ignore them while several security guards detained the protesters. Bundchen told CNN that the protest was "unwarranted" because the fashion show featured only faux fur. After the incident, the producers decided to stop the music and redid Bundchen's segment once the protesters were removed.

Posted by Nelio Inacio at 5:14 PM
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Tuesday, December 20, 2011

YOUTUBE VIDEO - DisneyDreaming.com Music Playlist December 17, 2011

DisneyDreaming.com Music Playlist December 17, 2011:


Ever wonder which songs WE can’t get out of our heads? Here are the tracks we can’t get enough of today!

Jonas Brothers – Dance Until Tomorrow





Hilary Duff and Haylie Duff – Our Lips Are Sealed





Bella Thorne and Pia Mia – Bubblegum Boy





Justin Bieber – Mistletoe





Selena Gomez – Hit The Lights






Posted by Nelio Inacio at 10:35 AM
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Monday, November 28, 2011

FREE MUSIC - DOWNLOAD MUSIC - Song : Not Anymore

FREE MUSIC - DOWNLOAD MUSIC - Song : Not Anymore

Google Music

















NOT ANY MORE
( Words and Music by Nelio Guerson & Carlos Guerson )
(P) 1990 All Rights Reserved SR 113616
Free Music - Download Music at Palco MP3

CHORUS
Not any More, not any more, not any more

I used to say that I loved you
Not any More
You never told me the truth
You did that before

I don't blame you for being sore
The game is over I'm looking for another girl
Not you...Not any more
Not any more
Not any more

Tags : free music, download music, youtube music, youtube, music video, music lyrics, lyrics, sheet music, mp3, music mp3,ipod, itunes, yahoo music, myspace music, myspace, 4shared music, google music.



















DOWNLOAD MUSIC LEGALLY

Palco MP3 Download Music Legally Garagem MP3 Download Music Legally LAST FM Beatles Style Download Music Legally TRAMA UOL Download Music Legally Beatles Similar


Posted by Nelio Inacio at 9:02 AM
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FREE MUSIC - DOWNLOAD MUSIC - Song : Magic Music

FREE MUSIC - DOWNLOAD MUSIC - Song : Magic Music

Google Music


















MAGIC MUSIC
( Words and Music By Nelio Guerson & Carlos Guerson )
(P) 1990 All Rights Reserved SR 200441
Download direct from artist at Palco MP3


( Prelude )
This kind of magic is you, it's me...

This Magic Music
Comes to take care of me
And every one can see
How much it means to me
This kind of magic
Comes down to shine on me
This magic music is good to me

Magical mistery
Part of you part of me
Magical song for us
A delight for all of us
This magic music
Comes down to enlighten me
This kind of magic is you, it's me

Magical mistery
Part of you part of me
Magical song for us
A delight for all of us
This magic music
Comes down to light on me
This kind of magic is you. It's me

Tags : free music, download music, youtube music, youtube, music video, music lyrics, lyrics, sheet music, mp3, music mp3,ipod, itunes, yahoo music, myspace music, myspace, 4shared music, google music.

















DOWNLOAD MUSIC LEGALLY

Palco MP3 Download Music Legally Garagem MP3 Download Music Legally LAST FM Beatles Style Download Music Legally TRAMA UOL Download Music Legally Beatles Similar


Posted by Nelio Inacio at 8:24 AM
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Friday, September 30, 2011

MP3

MP3:
MP3

Magic Music by Nelio Guerson & Carlos Guerson

MP3
MP3

MPEG-1 Audio Layer 3 Filename extension .mp3 Internet media type audio/mpeg, audio/MPA, audio/mpa-robust Type of format Audio Standard(s) ISO/IEC 11172-3, ISO/IEC 13818-3 MPEG-1 Audio Layer 3, more commonly referred to as MP3, is a patented digital audio encoding format using a form of lossy data compression. It is a common audio format for consumer audio storage, as well as a de facto standard of digital audio compression for the transfer and playback of music on digital audio players. MP3 is an audio-specific format that was designed by the Moving Picture Experts Group as part of its MPEG-1 standard. The group was formed by several teams of engineers at Fraunhofer IIS in Erlangen, Germany, AT&T-Bell Labs (now a division of Alcatel-Lucent) in Murray Hill, NJ, USA, Thomson-Brandt, and CCETT as well as others. It was approved as an ISO/IEC standard in 1991. The use in MP3 of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners. An MP3 file that is created using the setting of 128 kbit/s will result in a file that is about 1/11th the size of the CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bit rates, with higher or lower resulting quality. The compression works by reducing accuracy of certain parts of sound that are deemed beyond the auditory resolution ability of most people. This method is commonly referred to as perceptual coding. It internally provides a representation of sound within a short-term time/frequency analysis window, by using psychoacoustic models to discard or reduce precision of components less audible to human hearing, and recording the remaining information in an efficient manner. This technique is often presented as relatively conceptually similar to the principles used by JPEG, an image compression format. The specific algorithms, however, are rather different: JPEG uses a built-in vision model that is very widely tuned (as is necessary for images), while MP3 uses a complex, precise masking model that is much more signal dependent. ==History== ==Development== The MP3 lossy audio data compression algorithm takes advantage of a perceptual limitation of human hearing called auditory masking. In 1894, Alfred Marshall Mayer reported that a tone could be rendered inaudible by another tone of lower frequency. In 1959, Richard Ehmer described a complete set of auditory curves regarding this phenomenon. Ernst Terhardt et al. created an algorithm describing auditory masking with high accuracy. This work added on a variety of reports from authors dating back to Fletcher, and to the work that initially determined critical ratios and critical bandwidths. The psychoacoustic masking codec was first proposed in 1979, apparently independently, by Manfred R. Schroeder, et al. from AT&T-Bell Labs in Murray Hill, NJ, and M. A. Krasner both in the United States. Krasner was the first to publish and to produce hardware for speech, not usable as music bit compression, but the publication of his results as a relatively obscure Lincoln Laboratory Technical Report did not immediately influence the mainstream of psychoacoustic codec development. Manfred Schroeder was already a well-known and revered figure in the worldwide community of acoustical and electrical engineers, and his paper had influence in acoustic and source-coding (audio data compression) research. Both Krasner and Schroeder built upon the work performed by Eberhard F. Zwicker in the areas of tuning and masking of critical bands, that in turn built on the fundamental research in the area from Bell Labs of Harvey Fletcher and his collaborators. A wide variety of (mostly perceptual) audio compression algorithms were reported in IEEE’s refereed Journal on Selected Areas in Communications. That journal reported in February 1988 on a wide range of established, working audio bit compression technologies, some of them using auditory masking as part of their fundamental design, and several showing real-time hardware implementations. The immediate predecessors of MP3 were “Optimum Coding in the Frequency Domain” (OCF), and Perceptual Transform Coding (PXFM). These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality competition, but that was mistakenly rejected as too complex to implement. The first practical implementation of an audio perceptual coder (OCF) in hardware (Krasner’s hardware was too cumbersome and slow for practical use), was an implementation of a psychoacoustic transform coder based on Motorola 56000 DSP chips. MP3 is directly descended from OCF and PXFM. MP3 represents the outcome of the collaboration of Dr. Karlheinz Brandenburg, working as a postdoc at AT&T-Bell Labs with Mr. James D. Johnston of AT&T-Bell Labs, collaborating with the Fraunhofer Society for Integrated Circuits, Erlangen, with relatively minor contributions from the MP2 branch of psychoacoustic sub-band coders. MPEG-1 Audio Layer 2 encoding began as the Digital Audio Broadcast (DAB) project managed by Egon Meier-Engelen of the Deutsche Forschungs- und Versuchsanstalt für Luft- und Raumfahrt (later on called Deutsches Zentrum für Luft- und Raumfahrt, German Aerospace Center) in Germany. The European Community financed this project, commonly known as EU-147, from 1987 to 1994 as a part of the EUREKA research program. As a doctoral student at Germany’s University of Erlangen-Nuremberg, Karlheinz Brandenburg began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989 and became an assistant professor at Erlangen-Nuremberg. While there, he continued to work on music compression with scientists at the Fraunhofer Society (in 1993 he joined the staff of the Fraunhofer Institute). In 1991 there were two proposals available: Musicam and ASPEC (Adaptive Spectral Perceptual Entropy Coding). The Musicam technique, as proposed by Philips (The Netherlands), CCETT (France) and Institut für Rundfunktechnik (Germany) was chosen due to its simplicity and error robustness, as well as its low computational power associated with the encoding of high quality compressed audio. The Musicam format, based on sub-band coding, was the basis of the MPEG Audio compression format (sampling rates, structure of frames, headers, number of samples per frame). Much of its technology and ideas were incorporated into the definition of ISO MPEG Audio Layer I and Layer II and the filter bank alone into Layer III (MP3) format as part of the computationally inefficient hybrid filter bank. Under the chairmanship of Professor Musmann (University of Hannover) the editing of the standard was made under the responsibilities of Leon van de Kerkhof (Layer I) and Gerhard Stoll (Layer II). A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s. All algorithms were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3, published in 1993. Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3, originally published in 1995. There is also MPEG-2.5 audio, a proprietary unofficial extension developed by Fraunhofer IIS. It enables MP3 to work satisfactorily at very low bitrates and added lower sampling frequencies. Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. Karlheinz Brandenburg used a CD recording of Suzanne Vega’s song “Tom’s Diner” to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some jokingly refer to Suzanne Vega as “The mother of MP3″. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. ==Going public== A reference simulation software implementation, written in the C language and known as ISO 11172-5, was developed by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. Later, on July 7, 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on July 14, 1995 (previously, the files had been named .bit). With the first real-time software MP3 player Winplay3 (released September 9, 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. ==Internet== From the first half of 1994 through the late 1990s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft’s audio player Winamp (released in 1997), and the Unix audio player mpg123. In 1998, the Rio PMP300, one of the first portable MP3 players was released, despite legal suppression efforts by the RIAA. In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argue that this free sharing of music reduces sales, and call it “music piracy”. They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. Despite the popularity of the MP3 format, online music retailers often use other proprietary formats that are encrypted or obfuscated in order to make it difficult to use purchased music files in ways not specifically authorized by the record companies. Attempting to control the use of files in this way is known as Digital Rights Management. Record companies argue that this is necessary to prevent the files from being made available on peer-to-peer file sharing networks. This has other side effects, though, such as preventing users from playing back their purchased music on different types of devices. However, the audio content of these files can usually be converted into an unencrypted format. For instance, users are often allowed to burn files to audio CD, which requires conversion to an unencrypted audio format. Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, and Amazon.com sell unrestricted music in the MP3 format. ==Encoding audio== The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At the present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. It must be kept in mind that an encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples. If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) ==Decoding audio== Decoding, on the other hand, is carefully defined in the standard. Most decoders are “bitstream compliant”, which means that the decompressed output – that they produce from a given MP3 file – will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). ==Audio quality== When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. Using a lower bit rate provides a relatively lower audio quality and produces a smaller file size. Likewise, using a higher bit rate outputs a higher quality audio, but also results in a larger file. Files encoded with a lower bit rate will generally play back at a lower quality. With too low a bit rate, compression artifacts (i.e. sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. Quality is dependent on the choice of encoder and encoding parameters. However, in 1998, MP3 at 128 kbit/s was providing quality only equivalent to AAC at 64 kbit/s and MP2 at 192 kbit/s. The simplest type of MP3 file uses one bit rate for the entire file — this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular “quality setting” that is transparent to their ears can use this value when encoding all of their music, and not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3 quality music has risen each year. Berger said the students seem to prefer the ‘sizzle’ sounds that MP3s bring to music. Others have reached the same conclusion, and some record producers have begun to mix music specifically to be heard on iPods and mobile phones. ==Bit rate== Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, and the available sampling frequencies are 32, 44.1 and 48 kHz.[21] Additional extensions were defined in MPEG-2 Audio Layer III: bit rates 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s and sampling frequencies 16, 22.05 and 24 kHz. A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. 128 kbit/s is the most common, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates like 160 and 192 kbit/s have increased in popularity. Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively. Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s. ==VBR== MPEG audio may use variable bitrate (VBR). Layer III can use bitrate switching and bit reservoir. Variable bitrate is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable than with constant bitrate. Average bitrate is a compromise between the two – the bitrate is allowed to vary for more consistent quality, but is controlled to remain near an average value chosen by the user, for predictable file sizes. Although technically an MP3 decoder must support VBR to be standards compliant, historically some decoders have bugs with VBR decoding, particularly before VBR encoders became widespread. ==File structure== An MP3 file is made up of multiple MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Frames are not independent items (“byte reservoir”) and therefore cannot be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames; as noted in the diagram. ==Design limitations== This section does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2008) There are several limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. Newer audio compression formats such as Vorbis, WMA Pro and AAC no longer have these limitations. In technical terms, MP3 is limited in the following ways: Time resolution can be too low for highly transient signals and may cause smearing of percussive sounds. Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. The combining of the two filter banks’ outputs creates aliasing problems that must be handled partially by the “aliasing compensation” stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency. Frequency resolution is limited by the small long block window size, which decreases coding efficiency. There is no scale factor band for frequencies above 15.5/15.8 kHz. Joint stereo is done only on a frame-to-frame basis. Internal handling of the bit reservoir increases encoding delay. Encoder/decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. The data stream can contain an optional checksum, but the checksum only protects the header data, not the audio data. ==ID3 and other tags== Main articles: ID3 and APEv2 tag A “tag” in an audio file is a section of the file that contains metadata such as the title, artist, album, track number or other information about the file’s contents. As of 2006, the most widespread standard tag formats are ID3v1 and ID3v2, and the more recently introduced APEv2. APEv2 was originally developed for the MPC file format. APEv2 can coexist with ID3 tags in the same file or it can be used by itself. Tag editing functionality is often built into MP3 players and editors, but there also exist tag editors dedicated to the purpose. ==Volume normalization== Since volume levels of different audio sources can vary greatly, it is sometimes desirable to adjust the playback volume of audio files such that a consistent average volume is perceived. The idea is to control the average volume across multiple files, not the volume peaks in a single file. This gain normalization, while similar in purpose, is distinct from dynamic range compression (DRC), which is a form of normalization used in audio mastering. Gain normalization may defeat the intent of recording artists and audio engineers who deliberately set the volume levels of the audio they recorded. A few standards for storing the average volume of an MP3 file in its metadata tags, enabling a specially designed player to automatically adjust the overall playback volume for each file, have been proposed. A popular and widely implemented such proposal is “Replay Gain”, which is not MP3-specific. When used in MP3s, it is stored differently by different encoders, and as of 2008, Replay Gain-aware players don’t yet support all formats. ==Licensing and patent issues== This section may require cleanup to meet Wikipedia’s quality standards. Please improve this section if you can. (November 2008) Many organizations have claimed ownership of patents related to MP3 decoding or encoding. These claims have led to a number of legal threats and actions from a variety of sources, resulting in uncertainty about which patents must be licensed in order to create MP3 products without committing patent infringement in countries that allow software patents. The various MP3-related patents expire on dates ranging from 2007 to 2017 in the U.S. The initial near-complete MPEG-1 standard (parts 1, 2 and 3) was publicly available in December 6, 1991 as ISO CD 11172. In the United States, patents cannot claim inventions that were already publicly disclosed by the inventor more than a year prior to the filing date, but for patents filed prior to June 8, 1995, submarine patents made it possible to extend the effective lifetime of a patent through application extensions. Patents filed for anything disclosed in ISO CD 11172 a year or more after its publication are questionable; if only the known MP3 patents filed by December 1992 are considered MP3 decoding, then MP3 may be patent free in the US by December of 2012. Thomson Consumer Electronics claims to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada and EU countries. Thomson has been actively enforcing these patents. MP3 license revenues generated about €100 million for the Fraunhofer Society in 2005. In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to “distribute and/or sell decoders and/or encoders”. The letter claimed that unlicensed products “infringe the patent rights of Fraunhofer and Thomson. To make, sell and/or distribute products using the [MPEG Layer-3] standard and thus our patents, you need to obtain a license under these patents from us.” However, there exist both free and/or proprietary alternatives, with free formats such as Vorbis, AAC, and others. Microsoft’s usage of its own proprietary Windows Media format allows it to avoid licensing issues associated with these patents by avoiding usage of the MP3 format entirely. Until the key patents expire, unlicensed encoders and players could be infringing in countries where the patents are valid. In spite of the patent restrictions, the perpetuation of the MP3 format continues. The reasons for this appear to be the network effects caused by: familiarity with the format, the large quantity of music now available in the MP3 format, the wide variety of existing software and hardware that takes advantage of the file format, the lack of DRM restrictions, which makes MP3 files easy to edit, copy and play in different portable digital players (Samsung, Apple, Creative, etc.), the majority of home users not knowing or not caring about the patents’ controversy and often not considering such legal issues when choosing their music format for personal use. Additionally, patent holders declined to enforce license fees on free and open source decoders, which allows many free MP3 decoders to develop. Thus, while patent fees have been an issue for companies that attempt to use MP3, they have not meaningfully impacted users, which allows the format to grow in popularity. Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola also recently signed with Audio MPEG to license MP3-related patents. In September 2006, German officials seized MP3 players from SanDisk’s booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, “bringing the Patent Wild West to Germany” in the words of one commentator. On February 16, 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk with a patent-infringement lawsuit regarding portable MP3 players. The suit was filed in Marshall, Texas; this is a common location for patent infringement suits due to the speed at which trials are conducted there. Texas MP3 Technologies claimed infringement with U.S. patent 7,065,417, awarded in June 2006 to multimedia chip-maker SigmaTel, covering “an MPEG portable sound reproducing system and a method for reproducing sound data compressed using the MPEG method.” Alcatel-Lucent also claims ownership of several patents relating to MP3 encoding and compression, inherited from AT&T-Bell Labs. In November 2006 (prior to the companies’ merger), Alcatel filed a lawsuit against Microsoft (see Alcatel-Lucent v. Microsoft), alleging infringement of seven of its patents. On February 23, 2007, a San Diego jury awarded Alcatel-Lucent a record-breaking US$1.52 billion in damages. The judge, however, reversed the jury verdict and ruled for Microsoft, and this ruling was upheld by the court of appeals. The appeals court actually ruled that Fraunhofer was a co-owner of one patent claimed to be owned by Alcatel-Lucent, due to work by James D. Johnston while Dr. Brandenburg worked at AT&T. In short, with Thomson, Fraunhofer IIS, Sisvel (and its U.S. subsidiary Audio MPEG), Texas MP3 Technologies, and Alcatel-Lucent all claiming legal control of relevant MP3 patents related to decoders, the legal status of MP3 remains unclear in countries where those patents are valid. ==Security issues== Microsoft Windows Media Format Runtime in Windows 2000, Windows XP, Windows Vista and Windows Server contained a coding error that permitted “remote code execution if a user opened a specially crafted media file”. Such a file would allow the attacker to “then install programs; view, change, or delete data; or create new accounts with full user rights”, if the account on which the file was played had administrator privileges. The problem was addressed in a critical update issued on September 8, 2009 (KB968816). ==Alternative technologies== Main article: List of codecs Many other lossy and lossless audio codecs exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these codecs as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T. In addition, there is also the open source file format Ogg Vorbis that has been available free of charge and without patent restrictions. ==See also== Audio compression (data) Comparison of audio codecs Copyright infringement Digital audio player ID3 Joint stereo LRC (file format) Media player MP3 blog MP3 Surround Streaming Media DJ digital controller AAC Ogg Vorbis Related MP3 Apple iPod Touch 8 GB (4th Generation) Apple iPod Touch 32 GB (4th Generation) Apple iPod classic Digital player – Black Pyrus Electronics 4GB MP3 / MP4 / MP5 Player with 2.8 Inch Touch Kanguru Micro MP3 4 GB Digital player / radio mp3 music mp3 songs mp3 players mp3 zing mp3 rocket mp3 codes mp3 sample mp3 search cool music palco mp3.

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Sunday, August 07, 2011

Flashdance Youtube Video



Directed by Adrian Lyne
Produced by Don Simpson
Jerry Bruckheimer
Tom Jacobson
Lynda Rosen Obst
Peter Guber
Jon Peters
Written by Tom Hedley
Joe Eszterhas
Starring Jennifer Beals
Michael Nouri
Music by Giorgio Moroder
Cinematography Donald Peterman
Editing by Walt Mulconery
Bud Smith
Studio PolyGram Filmed Entertainment
Distributed by Paramount Pictures
Release date(s) April 15, 1983 (1983-04-15)
Running time 95 minutes
Country United States
Language English
Box office $92,921,203 (USA)
Flashdance is a 1983 American romantic musical film that was the first collaboration of producers Don Simpson and Jerry Bruckheimer and its presentation of some sequences in the style of music videos was an influence on other 1980s films including Top Gun (1986), Simpson and Bruckheimer's most famous production. Flashdance opened to bad reviews by professional critics but was a surprise box office success, becoming the third highest grossing film of 1983 in the USA. It had a worldwide box-office gross of more than $100 million. Its soundtrack spawned several hit songs, among them "Maniac" performed by Michael Sembello and the Academy Award-winning "Flashdance... What a Feeling", performed by Irene Cara, which was written for the film.
Contents
1 Plot
2 Cast
3 Music
4 History
5 Locations
6 Critical response
7 Flashdance and the MTV connection
8 Legal action by Maureen Marder

Plot
Jennifer Beals and Michael Nouri star in FlashdanceEighteen-year-old Alexandra (Alex) Owens (Jennifer Beals) works as a welder at a steel mill in Pittsburgh, Pennsylvania during the day, and as a dancer at Mawby's bar in the evenings. She lives alone in a converted warehouse with her pet dog, Grunt. Despite a lack of formal dance training, she aspires to be accepted by a prestigious dance school, the fictional Pittsburgh Conservatory of Dance and Repertory. During one of her performances at Mawby's, she attracts the interest of Nick Hurley (Michael Nouri), her boss at the steel mill, and he learns that Alex is one of his employees.
Alex's best friends also work at Mawby's, and they have their own aspirations to fame. Jeanie Szabo (Sunny Johnson) is a waitress who wants to be a professional ice skater, and Jeanie's boyfriend Richie Blazik (Kyle T. Heffner) is a cook who wants to be a professional stand-up comedian. Also prominent in the film is Johnny C. (Lee Ving), who runs the local strip club The Zanzibar, and is accompanied invariably by his strong but unintelligent bodyguard Cecil (Malcolm Danare). Johnny C. visits Mawby's to see the dancers, and tries to recruit both Alex and Jeanie to work at The Zanzibar.
Alex goes to the Conservatory to ask for an application form for an audition, but runs out of the building when she realizes that she lacks any formal training, and will have to leave that section of the form blank. Alex's dance teacher and mentor is a retired ballet dancer named Hanna Long (Lilia Skala), who encourages Alex to pursue her dream of becoming a professional ballet dancer. After Jeanie falls twice while auditioning for an ice show, she loses confidence in herself and becomes a dancer at The Zanzibar, where she performs in the nude, and Alex goes to the strip club to rescue Jeanie.
Alex and Nick become lovers, but he has an ex-wife named Katie (Belinda Bauer), and they have a hostile encounter in a local restaurant. Nick uses his contacts at the Conservatory to secure an audition. Just before this Alex goes to Hanna's house and learns that she has died.
At the audition, Alex falls at the beginning of her routine, but starts over and completes the routine successfully. In the final scene, Alex runs out of the Conservatory building with a smile on her face and is hugged by Nick, who gives her a bouquet of red roses. She gives a rose to him, and the film ends with a freeze frame. The ending of the film does not say directly whether Alex wins a place at the Conservatory as a result of her audition.
Cast
Jennifer Beals as Alex Owens
Michael Nouri as Nick Hurley
Lilia Skala as Hanna Long
Sunny Johnson as Jeanie Szabo
Kyle T. Heffner as Richie
Lee Ving as Johnny C.
Ron Karabatsos as Jake Mawby
Belinda Bauer as Katie Hurley
Malcolm Danare as Cecil
 Phil Bruns as Frank Szabo
Micole Mercurio as Rosemary Szabo
Lucy Lee Flippin as Secretary
Don Brockett as Pete
Cynthia Rhodes as Tina Tech
Durga McBroom as Heels
Stacey Pickren as Margo
Liz Sagal as Sunny
Marine Jahan as Alex Owens in dance sequences (uncredited)
MusicMain article: Flashdance (soundtrack)

Cover of the 1983 single "Flashdance... What a Feeling"."Flashdance... What a Feeling" was performed by Irene Cara, who also sang the title song for the similar 1980 film Fame. The music for "Flashdance... What a Feeling" was composed by Giorgio Moroder, and the lyrics were written by Keith Forsey and Irene Cara. The song won an Academy Award for Best Original Song, as well as a Golden Globe and numerous other awards. It also reached number one on the Billboard Hot 100 in May 1983. Despite the song's title, the word "Flashdance" is not used in the lyrics. The song is used in the opening title sequence of the film, and is the music used by Alex in her dance audition routine at the end of the film.
Irene Cara - "Flashdance... What a Feeling"
Another song used in the film, "Maniac", was also nominated for an Academy Award. It was written by Michael Sembello and Dennis Matkosky, and was inspired by the 1980 horror film Maniac. The lyrics about a killer on the loose were rewritten so that it could be used in Flashdance. The song was disqualified from the Academy Award nomination when it was publicized that it had not been written specifically for the film. Like the title song, it reached number one on the Billboard Hot 100 in September 1983.
Other songs in the film include "Lady, Lady, Lady", performed by Joe Esposito, "Gloria" and "Imagination" performed by Laura Branigan, and "I'll Be Here Where The Heart Is", performed by Kim Carnes.
The soundtrack album of Flashdance sold 700,000 copies during its first two weeks on sale and has gone on to sell over 6,000,000 copies in the US alone. In 1984, the album won the Grammy Award for Best Album of Original Score Written for A Motion Picture or a Television Special.
History
Adrian Lyne, whose background was primarily in directing television commercials, was not the first choice as director of Flashdance. David Cronenberg turned down an offer to direct the film, as did Brian De Palma, who instead chose to direct Scarface (1983). Executives at Paramount were unsure about the film's potential and sold 25% of the rights prior to its release. The role of Alex Owens was originally offered to Melanie Griffith, who turned it down. Producers wanted an unknown for the part. The audition for the part of Alex Owens was narrowed down to a final shortlist of three candidates, Jennifer Beals, Demi Moore, and Leslie Wing before Beals won the part. Flashdance is often remembered for the sweatshirt with a large neck hole that Jennifer Beals wore on the poster advertising the film. Beals said that the look of the sweatshirt came about by accident when it shrank in the wash and she cut out a large hole at the top so that she could wear it again. The role of Nick Hurley was originally offered to KISS lead man Gene Simmons, who turned it down because it would conflict with his "demon" image. Pierce Brosnan, Robert De Niro, Richard Gere, Mel Gibson, Tom Hanks and John Travolta were also considered for the part. Kevin Costner, a struggling actor at the time came very close for the role of Nick Hurley, that went to Michael Nouri.
Flashdance was the first success of a number of filmmakers who became top industry figures in the 1980s and beyond. The film was the first collaboration between Don Simpson and Jerry Bruckheimer, who went on to produce Beverly Hills Cop (1984) and Top Gun (1986). Joe Eszterhas, the screenwriter of Basic Instinct (1992), received his second screen credit for Flashdance, while Adrian Lyne went on to direct 9½ Weeks (1986), Fatal Attraction (1987), Indecent Proposal (1993) and Lolita (1997). Lynda Obst, who developed the original story outline, went on to produce Adventures in Babysitting (1987), The Fisher King (1991) and Sleepless in Seattle (1993).
Flashdance was executive producers Jon Peters and Peter Gruber's follow-up to Endless Love (1981), another PolyGram Pictures release.
There were discussions about a sequel to Flashdance, but the film was never made. In March 2001, a Broadway musical version was proposed with new songs by Giorgio Moroder, but this also failed to materialize. In July 2008, a stage musical adaptation Flashdance The Musical premiered at the Theatre Royal in Plymouth, England. The book is co-written by Tom Hedley, who created the story outline for the original film, and the choreography is by Arlene Phillips.
Locations
Most of the movie was filmed on locations around Pittsburgh, Pennsylvania.
The ice skating rink on which Jeanie falls was filmed at Monroeville Mall. This was the same ice skating rink used in the George A. Romero horror film Dawn of the Dead (1978).
The fictional Pittsburgh Conservatory of Dance and Repertory was filmed inside the lobby and in front of Carnegie Music Hall, a part of the Carnegie Museum of Art, located near the University of Pittsburgh campus in Oakland.
Alex's apartment was located in the South Side neighborhood of Pittsburgh.
Alex is seen riding one of the Duquesne Incline cable cars when she goes to visit Hannah.
Hannah's apartment is located at 2100 Sidney Street at the southeast corner of South 21st Street. The entrance to the apartment is from South 21st Street.
The opening sequence of scenes with Alex riding her bicycle starts on Warren Street at its intersection with Catoma Street. She rides south on Warren Street to Henderson Street. She makes a hairpin turn from Henderson Street onto Fountain Street. She is next shown riding south on Middle Street. The last scene of the sequence shows Alex riding east over the Smithfield Street Bridge which is a continuity error.
Critical response
Flashdance has seldom received favorable reviews from professional critics. Roger Ebert placed it on his list of Most Hated films, stating: "Jennifer Beals shouldn't feel bad. She is a natural talent, she is fresh and engaging here, and only needs to find an agent with a natural talent for turning down scripts". Halliwell's Film Guide gave it one star out of four while The New Yorker described the film as "Basically, a series of rock videos." The Guardian described it as "A preposterous success." Detractors of the film argue that in addition to the shallow plot, the film represents the worst excesses of 1980s film making with its emphasis on short sequences and rapid editing between shots. The screenplay of the film was nominated for a Razzie (Golden Raspberry) award. A common criticism is that Michael Nouri, who was thirty-six at the time of filming, seems too old to be the love interest of eighteen year-old Jennifer Beals. Critics have also questioned whether an eighteen year-old woman would have been given a job as a welder in an old-fashioned steel mill.
The dimly-lit cinematography and montage-style editing are due in part to the fact that most of Jennifer Beals' dancing in the film was performed by a body double. Her main dance double is the French actress Marine Jahan, while the breakdancing that Alex performs in the audition sequence at the end of the film was doubled by the male dancer Crazy Legs. The shot of Alex diving through the air in slow motion during the audition sequence was performed by Sharon Shapiro, who was a professional gymnast.
Although Flashdance has been compared to Saturday Night Fever (1977) with a female lead, the tone of the two films is very different. Saturday Night Fever takes a much more downbeat look at the world of people trapped in low-paid jobs, while Flashdance works best as a Post-disco/New Wave era retelling of the Cinderella story with all the implausibilities that this brings. Like the original theatrical release of Saturday Night Fever (also from Paramount Pictures), Flashdance was rated R by the MPAA, which meant that audience members under seventeen years old required an accompanying parent or guardian to watch the film. This was due to some strong language, nudity and sexual content which were removed for the television version of the film.
Flashdance and the MTV connection
Flashdance is not a musical in the traditional sense as the characters do not sing, but rather, the songs are presented in the style of self-contained music videos. The success of this film is attributed in part to the 1981 launch of the cable channel Music Television (MTV), as it was the first to exploit the new medium effectively. By excerpting segments of the film and running them as music videos on MTV, the studio benefited from extensive free promotion, and thus established the new medium as an important marketing tool for movies. In the mid 1980s, it became almost obligatory to release a music video to promote a major motion picture — even if the film was not especially suited for one. An example from the era is the song and music video Take My Breath Away from Top Gun (1986), also from Flashdance producers Don Simpson and Jerry Bruckheimer. Giorgio Moroder composed Take My Breath Away and several of the songs for Flashdance.
Legal action by Maureen Marder
Suit against filmmakers
Flashdance was inspired by the real life story of Maureen Marder, a construction worker/welder by day and dancer by night in a Toronto strip club. Like the character of Alex Owens in the film, she aspired to enroll in a prestigious dance school. Tom Hedley wrote the original story outline for Flashdance, and on December 6, 1982, Marder signed a release document giving Paramount Pictures the right to portray her life story on screen, for which she was given a one-off payment of $2,300. Flashdance is estimated to have grossed $150 million worldwide. In June 2006, the U.S. Court of Appeals for the Ninth Circuit in San Francisco affirmed a lower court's ruling that Marder gave up her rights to the film when she signed the release document in 1982. The panel of three judges stated in its ruling: "Though in hindsight the agreement appears to be unfair to Marder—she only received $2,300 in exchange for a release of all claims relating to a movie that grossed over $150 million—there is simply no evidence that her consent was obtained by fraud, deception, misrepresentation, duress or undue influence." The court also noted that Marder's attorney had been present when she signed the document.
Suit against Jennifer Lopez and filmmakers over music video
In 2003, following the use of dance routines from the film by Jennifer Lopez in her music video I'm Glad (directed by David LaChapelle), Marder sued Lopez, Sony Corporation (the makers of the music video) and Paramount in an attempt to gain a copyright interest in the film. Although Lopez argued that her video for I'm Glad was intended as a tribute to Flashdance, in May 2003 Sony agreed to pay a licensing fee to Paramount for the use of dance routines and other story material from the film in the video.




Posted by Nelio Inacio at 5:01 PM
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