Billionaire Lyrics – Travie McCoy feat Bruno Mars

Bruno Mars
I wanna be a billionaire so frickin bad
Buy all of the things I never had
I wanna be on the cover of Forbes Magazine
Smiling next to Oprah and the Queen
Oh every time I close my eyes
I see my name in shining lights, yeaaah
A different city every night oh I swear
The world better prepare for when I’m a billionaire
Travie McCoy
Yeah I would have a show like Oprah
I would be the host of
Everyday Christmas give Travie a wish list
I’d probably pull an Angelina and Brad Pitt
and adopt a bunch of babies that ain’t never had sh!t
Give away a few Mercedes like here lady have this
And last but not least grant somebody their last wish
It’s been a couple months since I’ve single so
You can call me Travie Claus minus the ho-ho
Get it, I’d probably visit where Katrina hit
And damn sure do a lot more than FEMA did
Yeah can’t forget about me stupid
Everywhere I go Imma have my own theme music
Bruno Mars
Oh every time I close my eyes
I see my name in shining lights
A different city every night oh I swear
The world better prepare for when I’m a billionaire
(oooh ooh) when I’m a Billionaire
(oooh ooooh)
Travie McCoy
I’ll be playing basketball with the President
Dunking on his delegates
Senator … his political etiquette
Toss a couple milli in the air just for the heck of it
But keep the fives, twenty’s …completely separate
And yeah I’ll be in a whole new tax bracket
We in recession but let me take a crack at it
I’ll probably take whatever left and just split it up
So everybody that I love can have a couple bucks
And not a single tummy around me
Would know what hungry was
Eating good sleeping soundly
I know we all have a similar dream
Go in your pocket pull out your wallet
And put it in the air and sing
Bruno Mars
I wanna be a billionaire so frickin bad (so bad)
Buy all of the things I never had
I wanna be on the cover of Forbes Magazine
Smiling next to Oprah and the Queen
Oh every time I close my eyes
I see my name in shining lights
A different city every night oh I swear
The world better prepare for when I’m a billionaire
(oooh ooh sing it) when I’m a Billionaire
(oooh ooooh)
I wanna be a billionaire so frickin bad

perbedaan fungsi otak kanan dan otak kiri

Perbedaan Fungsi Otak Kanan & Otak Kiri

Gambar Ilustrasi Fungsi Otak Kanan & Otak Kiri

Perbedaan dua fungsi otak sebelah kiri dan kanan akan membentuk sifat, karakteristik dan kemampuan yang berbeda pada seseorang. Perbedaan teori fungsi otak kiri dan otak kanan ini telah populer sejak tahun 1960an, dari hasil penelitian Roger Sperry.

Otak besar atau cerebrum yang merupakan bagian terbesar dari otak manusia adalah bagian yang memproses semua kegiatan intelektual, seperti kemampuan berpikir, penalaran, mengingat, membayangkan, serta merencanakan masa depan.

Otak besar dibagi menjadi belahan kiri dan belahan kanan, atau yang lebih dikenal dengan Otak Kiri dan Otak Kanan. Masing-masing belahan mempunyai fungsi yang berbeda. Otak kiri berfungsi dalam hal-hal yang berhubungan dengan logika, rasio, kemampuan menulis dan membaca, serta merupakan pusat matematika. Beberapa pakar menyebutkan bahwa otak kiri merupakan pusat Intelligence Quotient (IQ).

Sementara itu otak kanan berfungsi dalam perkembangan Emotional Quotient (EQ). Misalnya sosialisasi, komunikasi, interaksi dengan manusia lain serta pengendalian emosi. Pada otak kanan ini pula terletak kemampuan intuitif, kemampuan merasakan, memadukan, dan ekspresi tubuh, seperti menyanyi, menari, melukis dan segala jenis kegiatan kreatif lainnya.

Belahan otak mana yang lebih baik? Keduanya baik. Setiap belahan otak punya fungsi masing-masing yang penting bagi kelangsungan hidup manusia. Akan tetapi, menurut penelitian, sebagian besar orang di dunia hidup dengan lebih mengandalkan otak kirinya. Hal ini disebabkan oleh pendidikan formal (sekolah dan kuliah) lebih banyak mengasah kemampuan otak kiri dan hanya sedikit mengembangkan otak kanan.

Orang yang dominan otak kirinya, pandai melakukan analisa dan proses pemikiran logis, namun kurang pandai dalam hubungan sosial. Mereka juga cenderung memiliki telinga kanan lebih tajam, kaki dan tangan kanannya juga lebih tajam daripada tangan dan kaki kirinya. Sedangkan orang yang dominan otak kanannya bisa jadi adalah orang yang pandai bergaul, namun mengalami kesulitan dalam belajar hal-hal yang teknis.

Ada banyak cara untuk mengetahui apakah seseorang dominan otak kanan atau dominan otak kiri. Misalnya dengan melihat perilaku sehari-hari, cara berpakaian, dengan mengisi kuisioner yang dirancang khusus atau dengan peralatan Electroencephalograph yang bisa mengamati bagian otak mana yang paling aktif.

Disekitar Anda pastinya ada orang yang pandai dalam ilmu pengetahuan, tapi tidak pandai bergaul. Sebaliknya ada orang yang pandai bergaul, tapi kurang pandai di sekolahnya. Keadaan semacam ini disebabkan oleh ketidakseimbangan antara otak kanan dan otak kiri.

Idealnya, otak kiri dan otak kanan haruslah seimbang dan semuanya berfungsi secara optimal. Orang yang otak kanan dan otak kirinya seimbang, maka dia bisa menjadi orang yang cerdas sekaligus pandai bergaul atau bersosialisasi.

Untuk mengoptimalkan dan menyeimbangkan kinerja dua belahan otak, Anda bisa menggunakan teknologi Brainwave Entrainment atau yang dikenal dengan Terapi Gelombang Otak. Metode ini sangat mudah diikuti karena Anda hanya perlu mendengarkan semacam musik instrumental yang dirancang khusus untuk menyelaraskan dan mengaktifkan kedua belahan otak Anda.

Tips Cara Mengontrol Emosi Pada Diri

Tips Cara Mengontrol Emosi Pada Diri

Mengontrol emosi pada diri kita sendiri sebenarnya tidak sulit. Apabila Anda marah dan tidak bisa mengontrol emosi pada diri Anda, kemungkinan perilaku Anda pun juga tidak karuan Dan hal ini akan berdampak negatif untuk Anda. Tapi emosi seperti itu pasti bisa Anda kontrol. Saya punya sedikit tips atau cara agar Anda bisa mengontrol emosi Anda.
Tipsnya sebagai berikut:

1. Waktu rasa marahmu terpancing, pertama yang harus dilakukan adalah DIAM. Jangan biarkan mulutmu mengeluarkan suara bahkan kata-kata yang tidak karuan atau tidak sopan, kemungkinan hal ini terjadi secara reflex, tapi sebenarnya masih bisa di kontrol atau di kendalikan.
2. Ambil nafas panjang dari hidung, tahan selama 10 detik, lalu buang lewat mulut. Kenapa? Karena waktu marah, darah mengalir ke atas, tapi waktu kita ambil nafas, oksigen masuk ke ruang otak yang membuat kita menjadi lebih rileks atau tenang.
3. Ketika diri kita sudah agak tenang, otomatis otak bisa berpikir dengan jernih. Karena kebanyakan emosi membawa kita kepada hal-hal 'nonsense' yang kita lakukan, yang nantinya akan kita sesali.
4. Ingatkan diri sendiri, manusia yang tak bisa mengontrol emosi itu orang yang lemah. Pikirkan hal-hal yang sebaliknya, meskipun sepertinya tak ada, pikirkan hal-hal yang baik.
5. Dengar musik favorit, lakukan hal yang menyenangkan.
6. Jangan biarkan emosimu terus berlarut. karena emosi yang diberi makan dan menjadi gemuk, nantinya bisa menjadi raksasa penghancur yang bukan hanya menghancurkan sekelilingmu, tapi juga REPUTASIMU. Emosi diberi makan dengan cara apa? Dengan cara membiarkan dirimu hanyut dalam kemarahan, rasa marah itu diingat-ingat terus, rasa merasa diperlakukan tidak adil itu dipertajam, dan jadinya kemarahan akibat emosi sesaat itu mengakibatkan kebencian yang bisa berakar. Tentunya itu tak baik untuk kesehatanmu sendiri.
7. Pikir panjang apa yang akan terjadi selanjutnya apabila kamu marah. Banyak orang cenderung tak berpikir panjang waktu mau marah-marah, dan bertindak buruk bahkan jahat kalau sudah marah. Tapi reputasi bener-bener menjadi buruk kalau sudah dibicarakan soal emosi.
8. Pikirkan akibatnya. Kalau emosimu dilanjutkan, apa akibatnya? Selain reputasi yang buruk, kita juga jadi sasaran empuk maenan setan, karena kemarahan yang gak terkontrol menumpuk bata kebencian di hati kita.
9. Segala sesuatu dimulai dari pikiran. Kontrol pikiranmu, kamu bisa kontrol emosimu. Berpikir benar membuahkan tindakan benar, berpikir salah membuahkan tindakan salah. Sekarang semuanya terserah diri kita sendiri!

sang pemilik hati

Lirik Lagu Armada Pemilik Hati Lyrics

intro: C F 2x
*courtesy of LirikLaguIndonesia.net
C
lihat ku disini
F
kau buatku menangis
Dm
kuingin menyerah
G
tapi tak menyerah
Dm
mencoba lupakan
G
tapi ku bertahan
chorus:
C       G          Am
kau terindah kan slalu terindah
G      Dm             G
aku bisa apa tuk memilikimu
C      G           Am
kau terindah kan slalu terindah
G      Dm                  G
harus bagaimana ku mengungkapkannya
Dm          G   C
kau pemilik hatiku
int: C F
C
mungkin lewat mimpi
F
kubisa tuk memberi
Dm
ku ingin bahagia
G
tapi tak bahagia
Dm
ku ingin dicinta
G
tapi tak dicinta
chorus:
C       G          Am
kau terindah kan slalu terindah
G      Dm             G
aku bisa apa tuk memilikimu
C      G           Am
kau terindah kan slalu terindah
G      Dm                  G
harus bagaimana ku mengungkapkannya
Dm          G   C
kau pemilik hatiku
solo: F G Em A
F G
chorus:
C       G          Am
kau terindah kan slalu terindah
G      Dm             G
aku bisa apa tuk memilikimu
C      G           Am
kau terindah kan slalu terindah
G      Dm                  G
harus bagaimana ku mengungkapkannya
Em A
hoooo ooo oo
Dm          G   Am G
kau pemilik hatiku
Dm
kau pemilik hati
Em          A
kau pemilik hati
Dm          G   C
kau pemilik hatiku

A border passage

		A Border Passage Leila Ahmed

 
INTRODUCTION

"It was as if there were to life itself a quality of music in that time, the era of my childhood, and in that place, the remote edge of Cairo. There the city petered out into a scattering of villas leading into tranquil country fields. On the other side of our house was the profound, unsurpassable quiet of the desert."
—A Border Passage

"That," says Leila Ahmed, "is how it was in the beginning... to come to consciousness in...a world alive, as it seemed, with the music of being." Indeed, the early years of Ahmed's youth in Cairo were blessed, and her recollections of her parents' vibrant garden and of a city surrounded by expanses of breathtaking desert are exquisite and, at times, mystical. They do not, however, foretell the events that would splinter the lives of the Ahmed family. For the Egypt of Leila Ahmed's childhood—a country that tolerated and even admired the European culture of the British colonizers, a country that embraced its diverse population and that for decades functioned under King Farouk as a republic (with, of course, occasional "intervention" from England)—was becoming increasingly unfamiliar. As Ahmed approached her teenage years, Egypt underwent a revolution. It is from this revolution that Nasser and Anwar al-Sadat emerged, espousing new messages of socialism, anti-imperialism, and Arab nationalism to the Egyptian people. It is in this era that Sadat penned his own memoir entitled In Search of Identity. And, as Ahmed astutely observed, "if the president of Egypt himself...was searching for his identity, no wonder that I, crossing the threshold into my teenage years in that era of revolution, would find myself profoundly confused and conflicted."
Even as a child, Ahmed straddled several different cultures. There was the nanny with whom Ahmed spent most of her time, a Yugoslavian woman who spoke German, French, and Italian. Ahmed has said that the taste of her kugelof, cannelloni, and apricot jams represent for her the "distillation of childhood." There was the private world created by her mother, her aunts, and her grandmother, all of whom embodied the pacifist, life-affirming qualities of an Islam that was steeped in a rich, living oral tradition. This was in sharp contrast to the more severe tenets of the official Islam—drawn by men from arcane written texts—that were beginning to be reimposed with new emphasis throughout the Middle East. There were the children with whom she attended the English school in Cairo—Syrians, Lebanese, and Palestinians as well as of Christian, Egyptian, Jewish and Muslim backgrounds—and, of course, there were the English.
Ahmed's connection to the European culture brought to Egypt by the British colonizers was, to say the least, intensely complicated. Upper-class families such as Ahmed's often grew up speaking English and French. Ahmed herself readily admitted that as a young girl she cherished the works of Somerset Maugham. But while they recognized the strides made by the European powers in the arts, democracy, and science, they were appalled by the horrors of World War II. The days of the British Empire were waning, and as the issues pertaining to Israel became increasingly volatile, a tidal wave of "Arab nationalism" washed over Egypt.
In writing this memoir, Ahmed found two of the most intractable issues to be of Arab nationalism and the "cargo of negatives" attached to Islam by Western academia. What, she asks, does it mean to be an Arab? And how does a Muslim woman bridge the divides in her own religion, and how does she foster meaningful, supportive discourse about being a feminist and being a Muslim in an academic atmosphere that assumes the two are mutually exclusive?
In A Border Passage, Leila Ahmed lucidly addresses all of these questions, crystallizing for readers the mysterious, confounding process by which her identity was constructed amid a political hotbed. Her search for answers takes readers from a rooftop angel-watch in Alexandria to the polished classrooms of Cambridge, and from the surreal cities nestled in the dunes of Abu Dhabi to the ivory towers of academic America. Still, the most fascinating journey described within these pages is the journey taken to the self. The discoveries made there are profound and, in a world of dissolving boundaries and clashing cultures, can be translated into each of our lives.
 
ABOUT LEILA AHMED
Leila Ahmed is the first professor of Women's Studies and Religion at Harvard Divinity School. She is the author of Women and Gender in Islam and, the memoir, A Border Passage.
 
AN INTERVIEW WITH LEILA AHMED
Early on in the book, you address the issue of Arab nationalism, saying "we are so used to the idea of Egypt as 'Arab' that it seems unimaginable that Egyptians ever thought of themselves as anything else." You then go on to explain that the truth of this assumption shifted as you began to write your book. Things, apparently, were not what they seemed. Did these revelations change the original focus of your memoir?
This is a difficult question to answer—precisely because my coming to understand this—that our identity as Arabs was not just "objective fact" but politically constructed—was so fundamentally transformative. In fact I think I might never have finished the book if I hadn't figured this out—I came to a dead stop in the midst of writing it and found myself suddenly completely unable to write. This went on for months—it was a miserable time and I had no idea what the problem was—except that I did know of course that I felt an enormous sense of guilt about my feelings about being Arab and I simply couldn't imagine how I could ever write openly about such things.Looking back now I believe I was extremely lucky that my memory of the scene between myself and the Arabic teacher was as vivid as it was to me. Turning it over in my mind led me to realize that in order to make sense of both the scene and of my own feelings I needed to understand the history I'd lived through rather than simply examining and reexamining my own purely personal inner feeling and memories. And so I guess it did change the focus in the sense that I had set out intending to write simply of my own memories and not at all of history or politics—and found that I couldn't understand my own experiences without these.
How long did it take you to write A Border Passage? Had you been keeping a journal throughout your travels?
It took me about six or seven years to write. For most of that time I was teaching as well, so basically I was writing only during the vacations, although occasionally during the semester I'd be able to get to it on a weekend. I've sometimes kept a journal—but very sporadically. I began writing this book sort of sideways—almost as if I didn't really mean to do it, not seriously anyway. And yet I also think the truth is I had been desperately waiting for the moment when I could begin. Anyway, I remember I began setting down some thoughts and memories—those that now make up much of the first chapter—the day I was finally done with my last book. I mailed off the corrected manuscript and came back from the post office and went straight to my desk. In the beginning I wrote simply as if I were starting a new journal. It was summer so I was able to keep writing, sitting at it for a few hours every morning, looking out onto the trees, watching the wind in between. That too now, those wonderful trees and woods, are part of the past, no longer part of my life.
When writing the book, did you confer with friends and family—namely your siblings—or did you reconstruct events purely from your own memories?
It never occurred to me to confer with anyone because there was never a point when I thought that what I wanted to write was an "objective" reconstruction of facts, events, and so on. Always what I wanted to write, what I felt a kind of driving, passionate yearning and even need to do, was to set down and to be true to the living of this particular life. "Facts" and history and politics are of course—and far more than I understood to begin with—part of that story, but it's really how we saw and experienced these, their trace and residue in our consciousness and the workings of memory, that make up the stories that we tell and that are the stuff of memoirs. I know very well—all of us know this—that different people can witness the same event, brothers and sisters grow up in the same home, and experience them and remember them quite differently. In any case, too, I didn't want to tell my family that I was writing this book because I imagined it would cause a hullabaloo—that everybody would be trying to tell me what I could write, and should write, and very likely, too, above all telling me that I was absolutely not to write it. And writing was hard enough without all this. So I didn't tell the family—until it was done and actually in proofs. And I was right, there was a tremendous hullabaloo. Happily, though, that has now passed.
One of the most interesting topics explored in your book is the difference between living, oral traditions and written texts. When taken within the context of Islam, do you think that there will ever be a bridge between the living Islam of Muslim women and the official Islam? Universally, is it usually women that keep oral traditions alive, or is this specific to Islam?
This question is difficult to answer. Today Islam (like other religions), which already has all those internal differences and diversities, is undergoing further tremendous permutations and transformations as a result, for one thing, of the process of "globalization" that we're all living through. I could answer your question in a variety of different ways—depending, for example, on which part of the world we look toward, and which element in any given complicated scene we choose to focus on. If we look, for instance, to countries where Islamic "fundamentalism" is entrenched or growing, it would seem that the future of the oral tradition of Islam that I grew up with is simply hopeless. But if you consider that today there are more than six millions Muslims in America, and that we're in the process of witnessing the development of an Islam that, for the first time in history, is unfolding in a country where the freedoms of thought and speech are guaranteed political rights, then the possibilities are quite different. Or take the fact that Jaluddin Rumi, the poet I quote several times in the book because his vision so perfectly exemplifies the oral Islam I wrote about, is today the best-selling poet in America. We could take that perhaps as an indication that the future of this kind of Islam is actually enormously promising.

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