Soyuz spacecraft blast-off
- Length: 0:12
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- Author: JohnLenardWalson
Tags: Baikonur blast-off Cosmodrome Soyuz spacecraft
spacecraft WATCH THIS FILM NEXT IMPORTANT http://uk.youtube.com/watch?v=Jlb2em0V230PEACEthanks my best footage that no person has ever got i have years of film on hdthen i could of got better equipment to do my own modifications to the scopes i would like to getthese below on the links meade 20 inch scope and red cam,i know how to make modifications to my small scope to get these results, so if i do the same to this scope http://www.telescopes.com/telescopes/catadioptric-telescopes/meade20inchrcx400advancedritcheychretienonmaxroboticeqmounttripod.cfmand get this cam http://www.red.com/i will get the best footage everpeace and thanks i have so much more files for proofreceived the following comment about one of the videos. Does it answer all the questions? No, but perhaps some of them...From:Gerry GilmoreTo:john lenard (santamonicajohn@hotmail.com)H i John,thank you for the moon images: once again they show that you are anexcellent photographer.There are of course many satellites in orbit, only a few of which areanything to do with JPL, but these are readily seen byastro-photographers like yourself all over the world.You should just enjoy the excellence of your images, and make themavailable as widely as is possible, through the public web-sites,magazines, etc, so you can get the credit you deserve for your skills.best regards GerryFrom:Gerry Gilmore (gil@ast.cam.ac.uk)Sent:Thu 1/18/07 3:37 AMTo:john lenard (santamonicajohn@hotmail.com)Hello again,and again my congratulations on your superb astrophotographyYou are clearly getting some images at almost the diffraction limit ofyour telescope. In the very sharpest images there are hints of diffractionrings visible on the edges of the satellites. That is of course theabsolute limit of optical performance, and is only rarely attained.Interestingly, the process you have, of using a high-quality imagingsystem, with fast read-out, and then selecting the rare `perfect' imagesis something which has been developed and applied somewhat by one of mycolleagues here. You might like to look at our local web page presentingsome of this:http://www.ast.cam.ac.uk/~optics/Lucky_Web_Site/You might also be interested in a journal produced by theMIT Lincoln Laboratory - which is the group which has built some of thethings you are seeing. Much of what they do is what used to be theStar wars project, which no doubt involves some of your objects. Theydon't talk about the military satellites,of course, but there are many dicussions of earth surveillance, andrelated issues. It is distributed only to academic organisations, soyou may need to get your local library to borrow it, but youmay be able to get this (for free) fromSubscription CoordinatorRoom L-054Lincoln LaboratoryMIT244 Wood StreetLexingtonMA 0240-9185USAbest regardsGerry**************************************** ****************Gerry Gilmore FInstP ScDProfessor of Experimental PhilosophyInstitute of Astronomy
Anna Nalick-Breathe
- Length: 4:10
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- Author: BrainNinja00
FIRST VIDEO!Lyrics-2 AM and she calls me 'cause I'm still awake,"Can you help me unravel my latest mistake?,I don't love him. Winter just wasn't my season"Yeah we walk through the doors, so accusing their eyesLike they have any right at all to criticize,Hypocrites. You're all here for the very same reason'Cause you can't jump the track, we're like cars on a cableAnd life's like an hourglass, glued to the tableNo one can find the rewind button, girl.So cradle your head in your handsAnd breathe... just breathe,Oh breathe, just breatheMay he turned 21 on the base at Fort Bliss"Just a day" he said down to the flask in his fist,"Ain't been sober, since maybe October of last year."Here in town you can tell he's been down for a while,But, my God, it's so beautiful when the boy smiles,Wanna hold him. Maybe I'll just sing about it.Cause you can't jump the track, we're like cars on a cable,And life's like an hourglass, glued to the table.No one can find the rewind button, boys,So cradle your head in your hands,And breathe... just breathe,Oh breathe, just breatheThere's a light at each end of this tunnel,You shout 'cause you're just as far in as you'll ever be outAnd these mistakes you've made, you'll just make them againIf you only try turning around.2 AM and I'm still awake, writing a songIf I get it all down on paper, it's no longer inside of me,Threatening the life it belongs toAnd I feel like I'm naked in front of the crowdCause these words are my diary, screaming out loudAnd I know that you'll use them, however you want toBut you can't jump the track, we're like cars on a cable,And life's like an hourglass, glued to the tableNo one can find the rewind button nowSing it if you understand.and breathe, just breathewoah breathe, just breathe,Oh breathe, just breathe,Oh breathe, just breathe.
Mildred Bailey - Wrap Your Troubles in Dreams
- Length: 3:6
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- Author: kspm01
Tags: 78RPM And Away Bailey Dream Dreams In Mildred Troubles Wrap Your
This lovely performance is one of Mildred Baileys earliest records, waxed on September 15th, 1931. The accompanying orchestra remained uncredited, but fortunately Brunswick Records: A Discography of Recordings, 1916-1931 states we hear the Casa Loma Orchestra, active from 1927 to 1963. It did not tour after 1950 but continued to record as a studio group. It began its existence in 1927 as the Orange Blossoms, one of several Detroit-area groups that came out of the Jean Goldkette office. It was a co-operative organization, fronted for the first few years by violinist Hank Biagini, although the eventual leader, saxophonist Glen Gray (1900-1963) was from the very beginning "first among equals." The band had adopted the Casa Loma name by the time of its first recordings in 1929, shortly after it was supposed to play an engagement at Casa Loma in Toronto, which was then operating as a hotel. Ironically, as lead trombonist Billy Rauch noted, the band never actually played the Casa Loma. From 1929 until the rapid multiplication in the number of swing bands from 1935 on, the Casa Loma Orchestra was one of the top North American dance bands. Hits included "Casa Loma Stomp," "No Name Jive" and "Maniac's Ball". Part of the reason for the band's decline is that other big bands included in their books hard-swinging numbers emulating the hot Casa Loma style. In the late 1930s Gray took top billing, and by the mid-1940s (as the other original players left) Gray would come to own the band and the Casa Loma name. For a time, during this period, the band featured guitarist Herb Ellis, trumpeter Bobby Hackett, pianist Nick Denucci and cornetist Red Nichols. By 1950, the Casa Loma band had ceased touring, Gray retired to Massachusetts, and the later recordings on Capitol (the Sounds of the Great Bands series) were done by studio musicians in Hollywood. By the time this recording was made, some of the personel was as follows: "Pee Wee" Walter Hunt and Billy Rausch (trombones); "Joe the Horse" Howie Hall (pianist); Gene Gifford (guitarist/arranger/composer); Pat Davis (tenor sax) along with Bobby Jones (trumpet); Tony Briglia (drums); Stan Dennis (bass); Kenny Sargent (sax and vocals) and Clarence Hutchenrider (clarinet) along with Hutch's friend, trumpeter Grady Watts. Mildred Bailey (née Mildred Rinker in Tekoa, Washington) retained the last name of her first husband, Ted Bailey, when she moved to Seattle to bolster her singing career. With the help of her second husband, Benny Stafford, she became an established blues and jazz singer on the West Coast. She sang with Paul Whiteman's band from 1929 to 1931. Her first two records were as uncredited vocalist for an Eddie Lang Orchestra session in 1929 ("What Kind O' Man Is You?", a hardly known Hoagy Carmichael song that was only issued in the UK check merrihews channel for this recording) and a 1930 recording of "I Like To Do Things For You" for Frankie Trumbauer. She was Whiteman's popular female vocalist through 1932, when she left the band due to salary disagreements. She then recorded a series of records for Brunswick in 1933 (accompanied by The Dorsey Brothers), as well an all-star session with Benny Goodman's studio band in 1934 that featured Coleman Hawkins. As the recording presented here proves, however, she had occasionally recorded for Brunswick a couple of years earlier. In the mid 1930s, she recorded with her third husband Red Norvo. A dynamic couple, they earned the nicknames "Mr. and Mrs. Swing". During this period (from 1936-1939) Norvo recorded for Brunswick (with Bailey as primary vocalist) and Bailey recorded her own set of recordings for Vocalion, often with Norvo's band. Some of her recordings instead featured members of Count Basie's band. Despite her divorce from Norvo, she and Red would continue to record together until 1945. Suffering from diabetes and depression, she only made a few recordings following World War II. She died in Poughkeepsie of heart failure, aged only 44, chiefly due to her diabetes. Jazz vocal collectors have always considered her one of the best vocalists of her era. Despite her robust physique, Bailey had a sweet, rather small yet very expressive voice, and quite a light, unique swinging vocal style (refer to many recordings). Many of her most outstanding records were among the best versions recorded.
Big Girls Don't Cry
- Length: 2:3
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- Author: katherinejreilly14
Tags: 14 and Big Black Clumsy Cry Don't Fergie Girls Karaoke katherinejreilly14 old singing Video White year
Hi everyone its Katherine I know I haven't been making any new videos lately so here is a little Sneak Peak on what I have been working on.
Lycanthrope - +44 lyrics in description
- Length: 3:58
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- Author: cjmattmichael
Tags: +44 182 44 alternative barker blink electronic hoppus lycanthorpe lycanthrope mark music pop rock travis world
lyrics=I wake up at the end of a long, dark, lonely yearIt's bringing out the worst in meI hear your voice start breaking in fearWhen the lights go downAnd I still feel you looking over my shoulderYour sinking guilt and approaching nightmareAnd I know none of us will surviveBecause I know everythingAlrightAnd my dear I need you to move a little fasterThis second counts as the rest of your lifeYour final word and an itchy fingerAnd then it's taken awayAnd we'll be beaten down without mercy or meaningI turn my face to a careless skylineI'm searching hard for a sign from heavenBut they've forgotten me hereYou can just stop talking, I get itI hear your silence loud and clearI know it's barely a thought but it'll see us throughI'm only setting you free so just let it happenJust let it happen, no need to fearYeah you can just stop talking, I get itSex, f*ck, and fluorescent lightingA hollow point on an angry bulletWe're on the teeth of a crocodileWe're in the mouth of the gunAnd sometimes at night I feel I'm just a broken vesselAn instrument with a darker purposeI'm at the throat of the young and the helplessBecause they've got nothing to saySo you can just stop talking, I get itI hear your silence loud and clearI know it's barely a thought but it'll see us throughI'm only setting you free so just let it happenJust let it happen, no need to fearYeah you can just stop talking, I get it
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