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From Rachel's officially unreleased 1983 album, Uncommon. Has a similar beat and style to the classic Giorgio Moroder and Philip Oakey song, "Together In Electric Dreams" from 1984. I do not own this song, so if the artist wishes for me to unfortunately take it down, I will do so without any problems. Please contact me about copyright issues or general correspondence at phaota@gmail.com instead of giving me a strike via a YT takedown. Thanks. ++ If you are a YouTuber, please do not steal this content for your channel. I love bringing you 80s music, but please, in the spirit of my channel, do not take it for your own. Credit and link is appreciated. Thank You ++

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Music from the Original Soundtrack of [Phantasy Star Universe] Composer: Fumie Kumatani If you like what you hear, consider buying a copy to support the artist. All copyrights belong to their respective owners.

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«Si ante una pandemia global con crisis económica incluida en el marco de un planeta cuya supervivencia está claramente amenazada uno no acaba sucumbiendo a la ansiedad es porque es un psicópata». Así de clara se expresa la Asociación Internacional de Psiquiatría, encabezada por el doctor Jeremy North, en un comunicado difundido esta semana. Aclaran […]

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GUIDA TV SKY / NOW 28 LUGLIO - 3 AGOSTO 2024 Cerchi qualcosa da guardare su Sky e in streaming su NOW questa settimana? » Scopri il palinsesto

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HBO Greater Tuna 1984. I own no copyright of this material. All rights reserved by respective owners. My RCA VHS Hi-Fi copy of a 51 minute-long HBO version of the off-Broadway hit, featuring Joe Sears and Jaston Williams playing twenty-five slightly perverse characters living in the town of Tuna, Texas. An HBO Special of Greater Tuna, produced by Embassy Television and Norman Lear, was aired in 1984. Due to modern videography techniques, the various characters portrayed by Sears and Williams were able to be seen en masse for the first time. However, due to copyright conflicts between Embassy Television and the original copyright claimants (Joe Sears, Jaston Williams & Ed Howard) the broadcast was limited to only 3 months in 1984. It has never been broadcast again. Rare VHS taped copies have been sold on eBay in excess of $100. Perhaps some day we'll have a DVD/Blu-Ray. Seeing My RCA VHS Hi-Fi copy again shows me it's every bit as good as it was in 1984. TV REVIEW; OFF-BROADWAY COMEDY,'GREATER TUNA,' ON HBO By JOHN J. O'CONNOR - NY Times Published: November 14, 1984 WRITTEN by Joe Sears, Jaston Williams and Ed Howard, ''Greater Tuna,'' which had a successful run Off Broadway, features 24 speaking roles and a corpse. There is, to be sure, a gimmick. All the parts - male and female, child and adult, even the corpse - are played by Mr. Sears and Mr. Williams. The exercise is certainly curious and quite often hilarious, as is demonstrated in the one- hour adaptation going onto the schedule of Home Box Office, the pay-cable channel, tonight at 8, (November 14, 1984). The scene is Tuna, Tex., right smack in the rural middle of good- old-boy and better-old-girl country. The local news is broadcast on radio station OKKK by two smoking and drinking deejays named Thurston Wheelis and Arless Struvie. They announce events such as the school essay contest, with entries entitled ''Human Rights: Why I Differ'' and ''The Other Side of Bigotry.'' Their big news today, however, is that Judge W. R. (Shocking Roscoe) Buchner has been found dead in a turquoise 1950's Dale Evans bathing suit trimmed with cowgirl fringe. The reaction among the townfolk is almost unanimous: relief and amusement. Over in the Bumiller household, Mom is making breakfast for her favorite son, Stanley, who has just gotten out of reform school after painting over the town's stop signs. Not hungry, Stanley says he'll pick up some M & M's on the way to trade school. Actually, he is on his way to see his favorite aunt, Bertha, who, when not reading tea leaves, is taking a shotgun to dogs wandering onto her flower patch. Bertha is a member of Smut Snatchers, a group dedicated to eliminating dirty words from the nation's literature. Another member is her friend Vera, who spends most of her time coping with her Hispanic servants: ''Lupe, this coffee certainly isn't very caliente!'' The general air of whackiness stays, more or less, on that loony but not unfamiliar level. Stanley eventually finds himself charged with murdering the judge, who had sent him to reform school. There is a jury trial, in which the most important witness turns out to be the judge's Mexican maid, described for the court as a ''foreign domestic.'' (''I have my green card,'' she announces haughtily.) The new judge, suffering acute heartburn from his enchilada lunch, is counting on a death sentence to start his term with a bang. While Stanley manages to escape the noose, someone mutters, ''Don't worry, we'll get him next time.'' Throughout all of this, directed by Bruce Gowers and Tom Alderman, Mr. Sears and Mr. Williams do some fascinating slithering from one character to another. I did not see the stage production of ''Greater Tuna,'' but it's apparent that this Embassy TV version is significantly different. The varied settings are elaborately realistic, and, thanks to the flexibility of videotape, the actors can play off each other and themselves in the same scene. In a luncheonette setting, for instance, Mr. Sears appears as both the local sheriff and the woman doing the cooking in the kitchen. This technique is probably advisable for television, which does not take well to the theatrical device of actors' slipping in and out of characters while standing virtually still. But the film method does distract from the sheer virtuosity of the performers, shifting the focus of attention from them to the video prestidigitations. Nevertheless, the efforts of Mr. Williams and Mr. Sears remain hilariously impressive. As one impersonation tumbles over the other, it is impossible to make distinctions about the levels of their talents. Mr. Sears is the round one; Mr. Williams is the scrawny one. Their vehicle may be little more than a curiosity, but it serves them well. Michael Grade is the executive producer, Mr. Gowers and Carol Rosenstein the producers. Other presentation dates on HBO included Nov. 18, 20, 23, 26 and 29, 1984.

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In 1919, Hart Crane said of Sherwood Andersons Winesburg, Ohio: America should read this book on her knees. It is an important chapter in the Bible of her consciousness. Andersons modular novel -- a collection of interconnected short stories -- remains one of the highest regarded works of American literature to this day, yet has proved resistant to adaptation as a mainstream Hollywood feature. That resistance continues in Canadian director Daniel Nearings Chicago Heights, a black and white, experimental, non-linear interpretation of the antique narrative. The film takes the century-old rural stories and tells them with a predominantly African American cast in contemporary south Chicago, celebrating the universal power of the source while playing on its anachronisms. Chicago Heights is a series of inter-related vignettes that play out in the imagination of an elderly writer as he stares at the ceiling light in his bedroom. He senses that he is near death, and his mind has fractured. He does not know if the people he imagines are his creations, his memories, or his dreams. We cannot help but sense that they are stark yet somehow abstracted reflections on his coming of age, his relationship with his mother, who died when he was young, and his imagining the lives of others he may once have known, like the community pastor, a favorite teacher, and the therapist who treated his mother. In his mind, they are all grotesque. They have a strange archetypal meaning to him, and all seem to manifest aspects of an early confused struggle for sexual identity that may have kept him alone throughout his life. Shot largely in and around Chicago Heights in the summer immediately prior to the election of a black Chicagoan to the office of President, the film attempts to convey the longing for change that was in the air in south Chicago in the days preceding that exhilarating night in Grant Park, and underscores throughout the ongoing longing for renewed identity in black America. The narrative tries at turns to be as guileless as Anderson and as hermetic as Atom Egoyan, alternately human and abstract, moving from sequence to sequence with spirited, stark gospel songs rooted in Andersons text. The film is an overt homage to Welles and Ford, striving for painterly detail in its black and white compositions.

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@oliviadean #oliviadean #soeasy #tofallinlove #theartofloving #letralyrics Olivia Dean - So Easy (To Fall In Love) (Traducida al Español + Lyrics) Olivia Dean - So Easy (To Fall In Love) (Letra en Español + Lyrics) Olivia Dean - So Easy (To Fall In Love) (Sub Español + Lyrics) Olivia Dean - So Easy (To Fall In Love) (Canción subtitulada en Español) → Lyrics: [Verse 1] I could be the twist, the one to make you stop The icing on your cake, the cherry on the top There's Heaven in my heart, and we could find you some space Mm-mm I could be the world to you, the missing piece The extra sentimental kind of chemistry Some people make it hard, with me, that isn't the case [Chorus] 'Cause I make it so easy to fall in love So, come give me a call, and we'll fall into us I'm the perfect mix of Saturday night and the rest of your life Anyone with a heart would agree It's so easy To fall in love with [Verse 2] The way I do my hair, the way I make you laugh The way we like to share a walk in Central Park I could be fresh air, might be the girl of your dreams (Dreams, dreams) Mm There's no need to hide if you're into me 'Cause I'm into you quite intimately And maybe one night could turn into three Well, I'm down to see [Chorus] 'Cause I make it so easy to fall in love So, come give me a call, and we'll fall into us I'm the perfect mix of Saturday night and the rest of your life Anyone with a heart would agree It's so easy To fall in love with [Bridge] Me (Me, me) Me (Me, me) Me (Me, me) Me (Me, me) It's so easy (Me, me) It's so easy (Me, me) It's so easy (Me, me) Yeah (Me, me) [Chorus] So easy to fall in love So, come give me a call, and we'll fall into us I'm the perfect mix of Saturday night and the rest of your life Anyone with a heart would agree It's so easy To fall in love with me #oliviadean #soeasy #tofallinlove #theartofloving #letralyrics → Vídeo con fines informativos y de entretenimiento. All the copyright goes to Olivia Dean. [tags] olivia dean, so easy, to fall in love, so easy to fall in love, olivia dean so easy, español, sub español, lyrics español, subtitulada, traducción, traducida, subtitulos, letra, rayita, canciones subtituladas en español, música traducida, video letra español, video traducción español, the art of loving, subtítulos de canciones, letras de canciones, sienna español, música pop, pop, alternative, jazz, so easy sub español lyrics, man i need, nice to each other, dive, the hardest part, ok love you bye, lady lady

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1st place 92.50 This video is for educational purposes only. No copyright infringement is intended.

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I do not own the copyright to this recording. This video is for historical and educational purposes only.

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Nelle Marche c’è un sentiero meraviglioso di circa 400 km che porta alla scoperta di luoghi da sogno: il Cammino dei Cappuccini.

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Provided to YouTube by The Orchard Enterprises In Spite Of · XweaponX · Isaac Hale · Trey Garris · Bryan Garris Weapon X Demo ℗ 2022 XweaponX Released on: 2022-03-09 Mixing Engineer: Andy Nelson Recording Engineer: Isaac Hale Mastering Engineer: Pete Grossmann Music Publisher: Copyright Control Auto-generated by YouTube.

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"September In The Rain" was written by Harry Warren and Al Dubin in 1937, recorded by Frank Sinatra on August 31, 1960 at Capitol Records in Hollywood, and included in the LP, Sinatra's Swingin' Session! released in 1961. The album is similar to Sinatra's and Nelson Riddle's earlier albums, Songs for Swingin Lovers and a Swingin Affair. In 1998 the expanded album was released by Capitol on CD with the title, Sinatra's Swingin' Session! And More. The personnel on the recording are Frank Sinatra (ldr), Nelson Riddle (con, a), Buddy Collette, Chuck Gentry, William Green, Plas Johnson, Wilbur Schwartz (r), Carroll Lewis, Vito "Mickey" Mangano, George Seaberg, Clarence "Shorty" Sherock (t), George Arus, Tommy Pederson, Tom Shepard (tb), George Roberts (bt), Al Viola (g), Joe Comfort (b), Bill Miller (p), Kathryn Julye (hrp), Irv Cottler (d), Frank Flynn (per), Victor Arno, Victor Bay, Alex Beller, Jacques Gasselin, Joseph Livoti, Nathan Ross, Mischa Russell, Paul Shure, Felix Slatkin, Gerald Vinci (vn), Alvin Dinkin, Stan Harris (vl), Ossip Giskin, Armond Kaproff, Eleanor Slatkin (vc), Frank Sinatra (v) I do not own the right to the song, audio, or images contained in this video. The sound recording is administered by Made in Etaly & EMI. No copyright infringement is intended. This purpose of this upload is for viewer enjoyment and education not for monetary gain.

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This is the only version to check. I own no copy rights.

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Provided to YouTube by KudosRecords In the Wind · Yosi Horikawa Spaces ℗ Borrowed Scenery Released on: 2019-05-31 Main Artist: Yosi Horikawa Music Publisher: Copyright Control Composer: Yosi Horikawa Auto-generated by YouTube.

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The Hellacopters anuncian gira por salas para 2024

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Provided to YouTube by IIP-DDS Girls, Girls, Girls · Mötley Crüe Girls, Girls, Girls ℗ 2019 Masters 2000, Inc., under exclusive license to Eleven Seven Music Associated Performer: Mötley Crüe Producer: Tom Werman for Julia's Music Inc. Music Publisher: Tommyland Music (ASCAP) Music Publisher: WB Music Corp. (ASCAP) Music Publisher: Mars Mountain Music (ASCAP) Music Publisher: Copyright (C) 2000 Songs of Downtown (SESAC) Composer Lyricist: Mick Mars Composer Lyricist: Nikki Sixx Composer Lyricist: Tommy Lee Auto-generated by YouTube.

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Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

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Diciendo que quería «leerlo con calma», Juan Astier, CEO de una empresa de publicidad, ordenó a su secretaria que le imprimiera un email para tenerlo en papel, según han informado fuentes de la agencia de publicidad IPG. Tras leerlo durante unos minutos, el ejecutivo pidió a la misma secretaria que lo escaneara para tener una […]

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Provided to YouTube by Label Worx Ltd Ain't It Wild (Original Mix) · Scott Brown · Omar Santana The New York Connection ℗ 23rd Precinct Music Ltd / Copyright Control Released on: 2015-08-07 Composer: Scott Brown, Omar Santana Auto-generated by YouTube.

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Orange is the new blue today thanks to former Brooklyn Center Police officer Kimberly Ann Potter being arrested and charged with second degree manslaughter...

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Singapore rejected Wednesday Sri Lankan President Maithripala Sirisena’s allegation it was sheltering a former central bank chief wanted for fraud, saying Colombo failed to provide documents …

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Batman: Arkham City builds upon the intense, atmospheric foundation of Batman: Arkham Asylum, sending players soaring into Arkham City, the new maximum security "home" for all of Gotham City's thugs, gangsters and insane criminal masterminds. Set inside the heavily fortified walls of a sprawling district in the heart of Gotham City, this highly anticipated sequel introduces a brand-new story that draws together a new all-star cast of classic characters and murderous villains from the Batman universe, as well as a vast range of new and enhanced gameplay features to deliver the ultimate experience as the Dark Knight.

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Get ready for an exhilarating mini-documentary that captures the unforgettable moment when a video copy of Borg Hunters - A Star Trek Fan Production is gifted to the talented actor Garrett Wang! Experience the warmth and passion of the Star Trek community as fans unite to craft incredible stories. This video also dives into Garrett Wang's remarkable career, his iconic role in Star Trek: Voyager, and the deep bond he shares with the fandom.

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The organ has been regarded as an orchestra from its earliest beginnings, and over the years many composers have transposed vocal and orchestral works for the instrument. In the 19th and early 20th centuries we find many interesting examples of organ transcriptions, such as Max Reger’s organ arrangements of the piano parts in a number of Hugo Wolff’s songs. Sigfrid Karg-Elert arranged a number of passages from Wagner’s operas for harmonium, while Charles-Marie Widor gave several Bach movements a loving organ treatment in the collection “Bach’s Memento”, demonstrating the ability of composers and other musicians to be inspired by the compositions of other masters and to “re-compose” them for their own instrument. These transcriptions and adaptations were all made at a time when music could only be experienced by hearing it in live performance. In the case of the orchestral pieces, in particular, very few people would have had the opportunity to hear all these marvellous works. Orchestral concerts were rare and costly, which is one of the reasons why orchestral works were transcribed for piano and organ. The piano transcriptions could be played at home, while the organ transcriptions could be played in churches and concert halls where organs were available. Several of the great concert hall organs of the 19th and 20th centuries were thus directly justified by the fact that they could play the orchestral repertoire when an orchestra could not be afforded. Today, we can all listen to good recordings of the great classical works, but a real concert with real musicians is still something special. That is why it still makes sense to perform selected works in transcription for smaller ensembles, so that many more can have the opportunity to experience the music in real concerts. The moreintimate and transparent expressionof the transcriptions also emphasises different nuances andelements of the music, by comparison with the original versions. As part of my work with artistic research at The Royal Danish Academy of Music, I have had the opportunity to take a closer look at organ transcriptions and the use of the organ as an orchestral substitute, both from a historical and a practical perspective. This work has resulted, amongst other things, in an elaborate practical transcription of Richard Strauss’ Vier letzte Lieder for soprano, violin and organ, as well as Ernest Chausson’s Poème for violin and organ. As a further development of this work, I have taken a stylistic leap and worked out a number of organ transcriptions of symphonic rock classics from the 1960s and 1970s. The background to this has been a long-standing musical collaboration with my good friend the violinist Jochen Brusch, with whom I have for a number of years played adaptations of rock classics on our classical instruments, violin and organ, in recognition of the fact that we like to play good music that we care about – irrespective of style, as long as it is good music! But the organ is such a large and versatile instrument that it can also cope with the task alone. The symphonic rock music of the 1960s and 1970s largely drew its inspiration from classical music, and in particular from the composer Johann Sebastian Bach, sometimes using direct Bach quotations, at other times simply using musical phrases that are reminiscent of “old Bach”. It is therefore interesting to examine what happens when you add even more Bach, and play symphonic rock classics on a classical instrument: the organ. In these arrangements, the connection between Bach and Rock is underlined by a direct interweaving of rock music with quotations from Johann Sebastian Bach, with the result that the music flows together in a patchwork of baroque organ, Bach and symphonic rock “STAIRWAY to BACH – Rock classics with a hint of Bach”. The programme will be presented on the large Marcussen organ in the Concert Hall of The Royal Danish Academy of Music.

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The White House and bipartisan group of senators reached a deal on a $1 trillion infrastructure package, which Trump tried and failed to sabotage; four police officers testified at the first meeting o

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This is an audio-only clip, taken from a tape I made when I was in the sixth grade. I had found a cassette on the floor of the school bus as I was headed home on a Friday afternoon. It had a folk guitar class recorded on it, and my pal Jeff and I decided we should use it to make our own show. So, on Saturday, December 6th, 1980, he slept over and we borrowed my uncle's tape recorder. When we weren't coming up with our own goofy skits, we would just record stuff off the TV (my family wouldn't have a VCR until about four years later). We were both fans of the new PBS show "Matinee at the Bijou," which was airing that night on our local PBS station, WLIW 21. Before the show started, I put the microphone up to the television speaker to catch some of the interstitial music they would sometimes play, accompanied by a station ID slide. You can hear us goofing around during it, and at times randomly shutting off the recording and turning it back on again. After about a minute of that, the VO "From KMTF, Fresno" is heard. (That was the PBS affiliate in that city, channel 18.) The funding message is next, followed by the "MatB" theme song. Sung by Rudy Vallee, there are several videos to be found of it on YT, but this one includes the original host intro, delivered by Scott DeVenney, who you hear arriving by cab to an old moviehouse. The recording ends just before he begins to describe that episode's shorts and features. The thumbnail for this "video" is a collage of TV Guide material: The listing of the original debut broadcast on Garden City (Long Island), NY's WLIW, October 4th, 1980; and inserted are a few lines describing the show, taken from the TVG Fall Preview issue's look at new Public TV offerings. No rights held or implied. (If you'd like this video removed for copyright reasons, please contact me rather than notifying YouTube, I will gladly take it down from this channel.) Check out other nostalgic video nonsense at oldtvads.blogspot.com...

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#JazzBallad #VintageJazz #CozyJazz #JazzBallad #VintageJazz #CozyJazz ☕ 고요한 공간에 번지는 재즈의 결, 책장을 넘기듯 느릿하고 섬세한 선율. 밤의 정적 속에서 머무는 따뜻한 순간을 담았습니다. ???? ???????????????????????????????? 00:00 Late Lounge 02:02 Velvet Hour 05:21 Afterlights 08:15 Last Lamp On 11:04 Slow Night 14:04 Deep in the Quiet 16:55 Night Shift Jazz 20:02 Soft Frequency 22:41 Fade to Warm 25:34 Nocturne Room Music by JazzVintage92 Produced with Suno AI. All tracks are original compositions arranged for warmth, intimacy, and vintage charm. Copyright Notice ⓒ 2025 JazzVintage92. Unauthorized use, reproduction, or redistribution is prohibited. #재즈 #재즈플레이리스트 #카페음악 #독서재즈 #카페재즈 #VintageJazz #JazzPlaylist #CafeJazz #CozyJazz #ReadingMusic #StudyJazz #BackgroundMusic #JazzVintage92 #CafeMusic #MorningJazz #CoffeeJazz #BrunchJazz