Preferring NERO, though, it seems.Īlso, and lastly, the punch-line reference being some sort of synonym to the word by definition Laugh, for "Killer" To tie this all into one, very large and pious referencing song to depict a very small percentage of beliefs and views in reference to what goes on very far past and beyond the protective gates of America. With the bomb-lit skies being the previous reference to the historically accurate depiction of who god is.Īnd finally a historical and also not-so-known cult of religious followers wanting the end of days and the al-dajjal or the anti-christ to appear to end a global prophecy of islam and its surrounding states, ISIS. Pinnochio being the all seeing eyes of Geppeto (I believe that's spelled right) and his strings being pulled to do this and that, where the artist steps in to portray once again the contrast of the victims smile who would out-of-nowhere appear from a prior viewer perspective of a seemingly non-chalant like character.
(Or player, if you're an avid follower of "The Anon" and what they all have told.)Īnd now an important part the second verse here, or set of stanzas, the god made fire a reference from the previous war waged next to the beginning of the invasion itself in circa 70' God was also called in media the rescue team, or extract. Going upwards, also a possible allusion to the prior way to read it? *shrug* The third stanzas being a conflicting perspective of the bomber, versus the viewer of this all. Now, onward, from the cliff meaning life in this realm, to the waves, meaning Hell, and the ladder meaning the heavens (According to non-popular factual mythological lore, there were a number of them, seven? Eight? 92? There's more than just one though is the main point.) And their beliefs being Martyred and in consequence these people of the east themselves. And waves the gold - rod and the meadow queen Where peaceful streamlets, with a. (He once burned 60+ Christians in his garden in front of his temple) the joint stock banks, and the private in price, then we may fear. I believe it's really important to read it from the fourth section down, from this perspective I also believe that it's very rooted into the piousness of these people that, and now borrowing from the top reference of a very important character of rome in his real to life role long ago, the east and not the "Middle East" for the sake of his large and important role of christians living in the time they did. Alice In Chains - 'Check My Brain' So I found myself in the sun, oh yeah A hell of a place to end a run, oh yeah California, I'm fine Somebody check my brain California's all right Somebody check my brain Check my brain I walk these.
#ATTRITION INTO THE WAVES LYRICS DRIVERS#
Drivers should consider the use of soft, non-lyrical music to optimise their affective state during urban driving.General CommentWith the song titled Attritions current layout, it sounds nice reading it from the bottom up also, and in this format of the stanzas/verses/chorus what it makes me think of is the following Although some differences emerged in subjective outcomes, these were not replicated in HRV, which was used as an objective index of emotionality. Moreover, women exhibited higher mean heart rate than men in the presence of lyrics. Exploratory analyses showed that, for assertive drivers, NASA-TLX Performance scores were lower in the no lyrics/soft condition compared to the lyrics/loud condition.
There was no main effect of condition for HRV data (SDNN and RMSSD). A key finding was that the no lyrics/soft condition yielded lower affective arousal scores when compared to the other music conditions. Between-subjects variables of driving style (defensive vs.
#ATTRITION INTO THE WAVES LYRICS PLUS#
Six simulator conditions were included that comprised low-intensity music with/without lyrics, high-intensity music with/without lyrics, plus two controls – ambient in-car noise and spoken lyrics. We investigated the potentially distracting effects of processing lyrics through exposing young drivers to the same piece of music with/without lyrics and at different sound intensities (60 dBA and 75 dBA ) using a counterbalanced, within-subjects design ( N = 34 M age = 22.2 years, SD = 2.0 years). Previous work has seldom isolated musical characteristics and examined these both singularly and interactively. The main aim of this study was to investigate the effect of musical characteristics (i.e., presence of lyrics and loudness) in the context of simulated urban driving.