"Let's Dance" is a song by English singer-songwriter David Bowie, originally released as the lead single and title track of his 1983 album of the same name. Co-produced by Nile Rodgers of the band Chic, it was recorded in late 1982 at the Power Station in New York City. With the assistance of engineer Bob Clearmountain, Rodgers transformed the song from its folk origins to a dance-number through studio effects and new musicians Bowie had yet to work with. Bowie hired then-unknown Texas guitarist Stevie Ray Vaughan, who added a blues-edge.
Let\\u2019s Dance \\u2013 After Effects Projects
Artists who have covered "Let's Dance" for specific projects include the Futureheads for a CD called The Eighties, given away with Q magazine in 2006, and M. Ward for the Starbucks compilation Sounds Eclectic: The Covers Project in 2007.[7][68] Discussing his cover with Spitz in 2009, M. Ward stated: "I always wanted to do a stripped down version of a dance song. The beautiful thing about 'Let's Dance', I found, are the lyrics. The production is great but it tends to hide the fact that the lyrics are so good."[26] Spitz described his take on the song as a reimagined Nina Simone torch song.[26] Also in 2007, Dutch outfit hi_tack enjoyed club chart success with several remixes of Bowie's original and a salsa-style cover by Stellarsound featuring Paula Flynn was released as a single after being featured in an Irish commercial for Ballygowan mineral water.[7] In 2014, will.i.am and his protégés played the song during the semi-final of the BBC's The Voice; Pegg says the artist "brutally assaulted" it.[7]
To further understanding of how collective music and dance influences cooperation, we conducted three studies designed to disentangle the social effects of synchrony and shared intentionality. In Experiment 1, we compared a condition in which shared intentionality was used to create synchrony with conditions in which synchrony and asynchrony were created as a by-product of hearing the same or different rhythmic beats. Our results from Experiment 1 helped to clarify whether shared intentionality is an important factor in producing cooperative effects from group synchrony. In Experiment 2, we measured cooperation after varying intentional synchrony with intentional asynchrony. This helped us to understand whether synchrony matters to cooperation. In Experiment 3 we manipulated both shared intentionality and synchrony to examine how their interaction affected cooperation.
Shared intentionality combined with synchrony produced the highest level of cooperation and self-reported prosociality across all measures. Although the linear trend for cooperation in the public goods game was significant across the four conditions, the shared goal condition was only significantly greater than the asynchrony condition. However, the significant negative skew in the shared goal condition, with the majority of participants (55%) choosing the full $5, suggests that this cooperation measure may have been influenced by a ceiling effect. In line with expectations, we observed substantive differences across the experimental conditions for interdependent self-construal. Participants in the shared goal condition felt significantly closer to their fellow performance group members than compared to all of the other conditions, suggesting that working together to create synchrony results in participants seeing their self as more integrated with the group. This finding is important because it supports the idea that shared intentionality might be an important factor in producing the cooperative effects of collective music and dance.
There are a number of key opportunities to build and shape the body of research for a future, broader impact on the health discipline. Major gaps in the research relating to age, gender, and minority and Indigenous groups need to be considered and more research is needed in order to ensure the best outcome for all groups. More research is needed to target people in their middle years of life and children, as well as the elderly. Targeting these groups will ensure that the protective health effects of music and dance can carry on into old age, and future policy needs to reflect this.
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