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Join Eric Buscher and Eileen Becker as they discuss the hit television show Midsomer Murders! Each month, we rewatch an episode and dissect all the murders, the suspects, the detectives, and the weirdness. If you love Midsomer, grab a bottle of (u...

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Get to know what a copilot is: an easy-to-use AI assistant. Learn the capabilities of this AI tool for individuals and businesses and see how to use it.

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Easter Sunday 2007, Coral Ridge Presbyterian Church. For complete information on the arrangements used, and to get a copy of the Bell Processional please email: samuel@metzgermusic.com.

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Millions of copies of the "Keep Calm and Carry On" poster were printed on the eve of World War II, but never displayed. Now the message has taken on a new lease of life in our troubled peacetime.

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Provided to YouTube by Parlophone Sweden The Girl · Charlotte Perrelli The Girl ℗ 2012 The copyright in this sound recording is owned by EMI Music Sweden AB Producer: Alexander Jonsson Producer: Elias Kapari Mixer: Ronny Lahti Mastering Engineer: Bjørn Engelmann Spoken Voice Producer: Fredrik Kempe Composer: Alexander Johnsson Composer: Fredrik Kempe Auto-generated by YouTube.

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Régine Detambel, bibliothérapeute vous invite à découvrir ses formations en bibliothérapie, toute l'année, en présentiel ou à distance.

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A song from episode "The Copycats" by Gumball, Sarah, Mr. Small and a potato. Lyrics: Potato! Potato! Hello, Darwin, nice to see you Glad to have you back with us We have things we need to tell you If it isn't too much fuss We really can't forgive you When you cut us into pieces We wish you hadn't eaten All our nephews and nieces Mashed, and baked, and fried, and roasted Sautéed, boiled, and grilled, and toasted Peeled off all our skin, dug out all our eyes Diced us into wedges, and you sliced us into fries We are glad we came to see you, one more thing we must discuss The final thing we need to say is Potatoes: Please, will you stop eating us?! ---------------------------------------------------------------- Produced by Great Marlborough Productions Limited for Cartoon Network | ™ & @ 2016 Turner Broadcasting System Europe Limited. All rights reserved!

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Capricorn One 1977 Cast Reveals Shocking Secrets Fans Never Knew! The Capricorn One (1977) cast reveals shocking secrets fans never knew! From on-set tensions to hidden production challenges, uncover the untold stories behind this thrilling sci-fi conspiracy classic. Get ready for behind-the-scenes drama and revelations that will change how you see the film! #CapricornOne #CapricornOne1977 #SciFiMovies #MovieSecrets #BehindTheScenes Business Inquiries and Contact • For business inquiries, copyright matters, or other inquiries please contact us at: dhstudio345@gmail.com. Copyright Questions • If you have any copyright questions or issues you can contact us at dhstudio345@gmail.com.

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Provided to YouTube by Universal Music Group Go Find Yourself or Whatever · Carly Rae Jepsen The Loneliest Time ℗ 2022 School Boy/Interscope Records Released on: 2022-10-21 Composer Lyricist, Drumprogrammer, Producer, Engineer: Rostam Batmanglij Mixing Engineer, Engineer: Geoff Swan Composer Lyricist, Vocalist: Carly Rae Jepsen Background Vocalist: Lauren Jones Background Vocalist: Quinn D'Andrea Background Vocalist: Georgia Greene Additional Engineer: Matt Cahill Additional Engineer: Niko Battistini Engineer: Joey Messina-Doerning Mastering Engineer: Emily Lazar Mastering Engineer: Chris Allgood Auto-generated by YouTube.

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0:00 D.I. - Richard Hung Himself [Live] 03:53 T.S.O.L. - Wash Away [Live] 07:47 T.S.O.L. - Darker My Love [Live] 11:43 Vandals - The Legend of Pat Brown [Live] [Non-commercial] All rights and respect go to the bands. THIS IS FOR PROMOTIONAL PURPOSES ONLY, NO COPYRIGHT INTENDED. Thanks For Watching Don't Forget To Like & Subscribe :) #Suburbia #Punk #PunkRock #Music #YoDubMixes

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AI Short Film – Surreal Zaouli Dance Music Video 4K (Part II) Why this film exists This second chapter was created for those who understand that rhythm does not fade with time, it matures. Surreal Zaouli Dance – Part II is not about performance or spectacle. It is a quiet cinematic reflection on memory, presence, and the simple truth that movement can still connect us, to our bodies, to one another, and to the light ahead. About the film Inspired by West African Zaouli traditions, this film continues the surreal AI journey begun in Part I, but with a different intention. Part II leans into stillness, repetition, and collective motion. The dance slows down, breathes, and listens. What emerges is not something to watch quickly, but something to stay with, a shared ritual shaped by rhythm and time. The visual work This film was built image by image through 470 unique ceremonial costume designs, each corresponding to a single frame. Every costume represents a distinct moment within the ritual. Care was taken to highlight texture, form, and movement, allowing the dance to unfold as a sequence of memories rather than a single performance. Each stomp, pause, and return carries meaning. Music and emotional arc The music was composed specifically to guide the emotional flow of the film. The four original tracks move gently from momentum to reflection, from resilience to togetherness, and finally toward warmth and calm. Sound and image were synchronized frame by frame so the rhythm could be felt as much as heard. ???? Tracks on Bandcamp (Surreal AI): 00:00 – One More Stomp (Stay for the Light) 03:11 – Still Moving in the Dark 06:31 – We Don’t Dance Alone 09:47 – Lanterns in the Drum How this film was made (original work, AI-assisted) This project is an entirely original creation. I composed all music and designed all visuals using AI-assisted tools, carefully aligning each image with the emotional tone of the soundtrack. Visual concepts and costume designs were created using Nano Banana and Midjourney, cinematic motion was animated with Veo 3, and the original music was composed with Suno. AI was my instrument, but every creative choice, emotion, and rhythm came from lived human perspective. If this film slowed you down, brought you a sense of calm, or reminded you of something you once felt but couldn’t quite name, then it has done its work. Thank you for spending this time here. Your presence matters. If you enjoy surreal AI films, music, and gentle cinematic experiences, consider subscribing for future releases. #SurrealAI #ZaouliDance #AIShortFilm #AIDanceVideo #CinematicAI #WestAfricanDance #RitualDance #4KFilm Legal / Copyright © 2025 Surreal AI. All visuals and music in this video are original works created using AI-assisted tools. All creative direction, composition, editing, and final authorship belong exclusively to the creator. Unauthorized re-uploads, reposting, remixing, or reuse is prohibited and protected under DMCA and digital fingerprinting systems.

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Little Bobby Hutton (age 17) of the Black Panther Party was shot dead by the Oakland police.

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Alongside new and old allies, Parn saves his village from the ruthless attacks of a goblin tribe. Following their victory, Parn, his priest friend Etoh, the elf Deedlit, the dwarf Ghim, and the magician Slayn set out on a journey together to investigate the evil that has started to haunt the island of Lodoss. The party engages suspicious demonic creatures but gets arrested by the soldiers of a fortified city. Although Parn and his friends are quickly released, they cannot stop Ashram—a powerful warrior tasked by the rogue hero Beld to subjugate Lodoss—from conquering the city and murdering its beloved captain. Ashamed by his own weakness, Parn swears an oath to surpass Ashram. However, hiding behind Beld's political ambitions, the witch Karla seems to have set darker plans into motion, and Parn will have to enlist additional help to stop a major catastrophe from destroying Lodoss and everything he holds dear. [Written by MAL Rewrite]

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If you want a picture of the future, imagine a boot stamping on a human face — forever. • George Orwell “Whether the mask is labeled fascism, democracy, or dictatorship of the proletariat, our great adversary remains the apparatus—the bureaucracy, the police, the military. Not the 1 facing us across the frontier of the battle lines, ... but the 1 that calls itself our protector & makes us its slaves. • Simone Weil Its that time again to post a music against violence+war+fascism+oppression WTM. Heart-warming to find great new material – way too much to use however. Thnx to friends for their suggestions: Melvin Q. W., Pieter Punk, Robin S., Paloma, AleXander, Maya K, Jose Padua, Black Sifichi, Erella G., Herman de T., Dan A. It's a strong mix but also enlightening. Plenty of insight, passion, great lyrics & musicality. "I think people ought to know that we’re anti-fascist, we’re anti-violence, we’re anti-racist and we’re pro-creative. We’re against ignorance." • Joe Strummer

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Provided to YouTube by Kontor New Media GmbH Sustain · GusGus Mexico ℗ Kompakt Released on: 2014-06-23 Artist, Producer: GusGus Composer, Lyricist: Birgir Thorarinsson Composer, Lyricist: Daníel Ágúst Haraldsson Composer, Lyricist: Högni Egilsson Composer, Lyricist: Stephan Stephensen Music Publisher: Copyright Control Auto-generated by YouTube.

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I made free energy with 12v motor in my bicycle #12vmotor #freeenergy The background music used in this video is from the NCS NoCopyrightSounds youtube channel.

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With Trump looking on, three judges grilled his lawyer on his claim that he cannot be prosecuted for subverting the 2020 election.

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Tucker: The Man and His Dream (1988) The story of Preston Tucker, the maverick car designer and his ill-fated challenge to the auto industry with his revolutionary car concept. Director: Francis Ford Coppola Writers: Arnold Schulman, David Seidler Stars: Jeff Bridges, Joan Allen, Martin Landau

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The legend that is Tuvok entertains us today with some of his finest moments....Enjoy Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

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King Oliver And His Dixie Syncopators (as The Savannah Syncopators) play "Sugar Foot Stomp". Fletcher Henderson's band, with Louis Armstrong, also recorded Oliver's famous composition, but their approach seems almost polite in comparison with the full throttle, full bodied version heard here. Even the harsh-sounding Brunswick "Light Ray" recording process doesn't hinder the band, and if anything emphasises the punchy, aggressive performance! KING OLIVER AND HIS DIXIE SYNCOPATORS (as The Savannah Syncopators) King Oliver, cornet, directing: Bob Shoffner - cornet / Kid Ory - trombone / Albert Nicholas and Billy Paige - alto sax, baritone sax, clarinet / Barney Bigard - tenor sax, clarinet / Luis Russell - piano / Bud Scott - banjo / Bert Cobb - brass bass / Paul Barbarin - drums Recorded Chicago, May 29, 1926 E-3179 Sugar Foot Stomp Brunswick 3361

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Don’t we all feel turmoil in the air? There’s too much happening, too fast. The planet seems scarier and more chaotic than ever. Yet, there’s one member of my family who always seems, well…calm. She’s my little terrier, Libby. And here are some coping skills she's taught me… Live in the Present – Yes, a dog’s life is less complicated than a human's, but boy, I envy their “joie de vivre.” Like any canine, Libby loves the small things in life -- her morning bark-fest at any animal in the woods, treat-time at lunch (keeps her distracted from begging

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In 1966, the documentary "Rush to Judgment" presented for the first time a simple, concise legal argument that the Warren Commission was hiding something, suggesting a broader conspiracy. Lee Harvey Oswald could not have single-handedly killed President John F. Kennedy. Director Emile de Antonio and lawyer Mark Lane recorded unpolished, first-hand interviews from witnesses with direct proximity to the murders–but who were not given a platform in the official inquiry. For a subject that has been rehashed and sensationalized so many times in the intervening 60 years, this documentary brings fresh clarity and presents a cool-headed argument that is untouched by time. Some of the assassination witnesses who present their observations on-camera include Nelson Delgado, James Tague, Charles Brehm, Mary Moorman, Lee Bowers, Sam Holland, Jim Leavelle, James Simmons, Richard Dodd, Jessie Price, Orville Nix, Patrick Dean, Napoleon Daniels, Nancy Hamilton, Joseph Johnson, Roy Jones, Harold Williams, Penn Jones, Jr. and Acquilla Clemons.

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Wim Wenders' 1984 classic "Paris, Texas" - a music video featuring the song "My Heart is an Apple" by Arcade Fire. This was a project for fun, no copyright infringement intended! Thanks for viewing. :-)

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Glenn Hughes: It was when the world was fresh, everything was rosy and fantastic, and I was drinking lemonade. I remember very clearly what was going on. One of the higher-ups at Warner Brothers even bought me an expensive white suit to wear on stage. The idea was to make a contrast with Ritchie, who was known as the Man In Black. What’s the story behind the bonkers climax to the set? David Coverdale: We were supposed to go on stage at sunset. That was actually written into our contract. But the California Jam was running ahead of schedule. We’d just flown in by helicopter and I remember being in my backstage caravan, pouring myself a scotch and Coke, when somebody came in and said: “It’s time for you to get out on stage.” Blackmore was very cheesed off when he was asked to go on stage early. DC: Ritchie wanted Purple to be the first band to use lights on stage. He refused to go on stage until the contracted time, and he was absolutely correct. I remember someone saying: “Do you know who you’re dealing with there?” There was inference the Mafia was involved. GH: There was lots of screaming and yelling. Ritchie locked the door to his trailer. They had to break in to get him out of there. Was there a chance Purple’s show might not have gone ahead? DC: Yes. The festival organiser told us: “Right, that’s it, we’re pulling the plug. You’re all going to fucking hell.” And he stormed off to announce that we wouldn’t be appearing. Luckily our tour manager, Ossie Hoppe, beat him in a race to the stage. Ossie grabbed the mic and shouted to the crowd: “Do you wanna see Deep Purple?!” And a quarter of a million people went: “Yeah!” GH: We managed to delay by about 20 minutes but the sun only went down about halfway through our set. But it fired us up; it gave a bit of an edge to our performance. Ritchie had a bit of a moan – he hadn’t had time to change into his stage clothes. Then Blackmore attacked a cameraman. DC: That was never supposed to be part of the show, to smack the cameraman. But he was on Ritchie’s arse from the word go. Ritchie would do his thoughtful, melodic little pieces and there’d be this abrasive voice going: “Hey, step back so I can get a decent shot of you.” What about the explosive climax? DC: It went a bit too far. There was too much explosive. It looks great, I agree, but Ritchie got burned, Paicey got burned, and some of the crew got burned. Thankfully it was nothing too serious. GH: We sold a lot of records and concert tickets in America after that. It was a big, bold statement and it deserves its place in rock’s history books. GH: I want to make this clear – Purple were the headliners. A few months before, we added ELP to bring some more people in. But we chose not to go on last [as ELP did]. All I can say is that the freeway was jam packed with cars as we left. 1974 was an amazing year for Purple. GH: It was a fabulous year. You could actually see the band uniting on stage on that American tour, culminating in the California Jam appearance. It’s the Mk III line-up in all its glory. DC: Contrary to reports, Purple was a happy camp. I still appreciate the incredible courage Purple had in taking me on. I was unknown before I joined them. I’d like to reconnect with Blackers and say to him: “Thanks a fucking bunch.” When Purple did Smoke On The Water, the lyrics were changed from ‘We all came down to Montreux’ to ‘They all came down to Montreux’. DC: That was a tip of the hat to the Mk II line-up. GH: Mk II were a great band. But I thought the beauty of Mk III was having two new guys come in that were totally different to the other chaps. It was a bold move. David, you also grappled with an extraordinary L-shaped mic stand at the California Jam. DC: That stand was my idea. I wanted to have my own identity on stage. The ‘rainbow arch’ effect at the back of the California Jam stage obviously gave Blackmore some ideas for the future. GH: Absolutely. It really did. Is it true that Linda Lovelace knocked on the door of Purple’s trailer – but was ignored? DC: Yes. Nobody had heard of her at the time, so she wasn’t allowed in. That ruined my reputation! What do you think when you look back at the California Jam footage now? DC: When I see it I realise I learned shitloads from that performance. It helped set me on my way. GH: I love playing in front of a lot of people. You can see that from the show footage. I was ready for that. I was born to play the California Jam.

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After giving a quick update on the incredible progress of Rumble, the neutral free speech competitor to YouTube, Charlie welcomes to the show Dr. Stephen Meyer, a philosopher of science, the Director of the Center for Science and Culture at the Discovery Institute, and author of the new book, "The Return of the God Hypothesis: Compelling Scientific Evidence for the Existence of God." Beginning their discussion by diving into one of Stephen previous books, "Darwin's Doubts" the two explore how modern science has essentially disproven Darwin's central, evolutionary premise, and add significant weight to the advocates of intelligent design. Stephen challenges a purely materialistic view of creation  by examining three scientific discoveries with decidedly theistic implications. He then argues that theism—with its affirmation of a transcendent, intelligent and active creator—best explains the evidence we have concerning biological and cosmological origins.

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1. In Law, this is why one committed the crime, the inducement, reason, or willful desire and purpose behind the commission of an offense. Whether the purpose was good, like helping someone commit suicide, or bad, like committing murder, it is not a deciding factor in deciding guilt or innocence. But, intent is. In a […]

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Release Date//2013-03-15 Label//Irregular Catalog//IRREGULARCD09 The long awaited moment has finally come. Following their epic debut album, The Suicide of Western Culture, returns to bring you their haunting second album, "Hope Only Brings Pain¨ (Irregular, 2013). The Suicide Of Western Culture is no longer a secretive duo. Their eponymous first album was named the best Spanish electronic music album by press, public and critics in 2010. Since then, theyve been touring around half of the world (SXSW, FYF Festival, The Great Escape, Eurosonic, C/O Pop, Wilsonic, Popkomm, Primavera Sound, Sónar, Rockmotives, Vienna Electronic Beats, LeFest, Canadian Music Week, etc.) and supported artists such as Animal Collective, Orbital, Cut Copy, Clark, etc. Now, it is time to strike back again. Undoubtedly Hope Only Brings Pain means a step further in their musical career. They have even managed to improve their music, a sound very well linked to the dont waste it, use it movement. This new album is an organized, mechanical, playful, musical chaos. Tragic but hopeful in every note. The eclectic album with a sci-fi feel is composed of ten massive tracks that are guaranteed to send shivers down your spine. An unstoppable combination of lo-fi electronics, noisy-analog beats and emotional post-rock to take you on a journey from the dark to the uplifting.

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from the album Broken Open

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Four years ago, the Laredo Police Department arrested a citizen journalist for the crime of receiving an answer to a question she asked. Priscilla Villarreal patrols the streets of Laredo with her …