Define wrong by antonis koundourakis : AOL Video feed

Eho Esena

Wed, 09 Dec 2009 18:46:21 -0500

Ela Na Me Telioseis

Thu, 10 Dec 2009 05:11:36 -0500

Ekato Fores Kommatia

Wed, 09 Dec 2009 18:42:09 -0500

Dio Mas

Thu, 10 Dec 2009 05:19:25 -0500

Groove This (instrumental) Prod. by Eye Lid funky hip hop beat

Wed, 30 Dec 2009 04:10:37 -0500

fl studio rate and subscribe! go to my channel for the link to my myspace!

Underoath In Regards to Myself Official Music Video

Wed, 30 Dec 2009 03:01:14 -0500

In very good quality.

P. Diddy, Faith Evans, 112 - I'll Be Missing You

Thu, 03 Jul 2008 09:29:28 -0400

"This right here Goes out to everyone that has lost someone that they truly loved" - Sean Combs (P. Diddy) R.I.P. The Notorious B.I.G. aka Christopher Wallace (May 21, 1972 -- March 9, 1997) "Seems like yesterday we used to rock the show I laced the track, you locked the flow So far from hangin on the block for dough Notorious, they got to know that Life ain't always what it seem to be (uh-uh) Words can't express what you mean to me Even though you're gone, we still a team Through your family, I'll fulfill your dream (that's right) In the future, can't wait to see If you open up the gates for me Reminisce some time, the night they took my friend (uh-huh) Try to black it out, but it plays again When it's real, feelings hard to conceal Can't imagine all the pain I feel Give anything to hear half your breath (half your breath) I know you still living your life, after death Chorus: Faith Evans Every step I take, every move I make Every single day, every time I pray I'll be missing you Thinkin of the day, when you went away What a life to take, what a bond to break I'll be missing you [Puff] I miss you Big Verse Two: Puff Daddy It's kinda hard with you not around (yeah) Know you in heaven smilin down (eheh) Watchin us while we pray for you Every day we pray for you Til the day we meet again In my heart is where I'll keep you friend Memories give me the strength I need (uh-huh) to proceed Strength I need to believe My thoughts Big I just can't define (can't define) Wish I could turn back the hands of time Us in the 6, shop for new clothes and kicks You and me taking flicks Makin hits, stages they receive you on I still can't believe you're gone (can't believe you're gone) Give anything to hear half your breath (half your breath) I know you still living you're life, after death Chorus Every step I take, every move I make Every single day, every time I pray I'll be missing you Thinkin of the day, when you went away What a life to take, what a bond to break I'l...

Superman - Orquesta Sinfónica de Puerto Rico

Mon, 10 Mar 2008 21:10:51 -0400

by John WilliamsFew fictional characters have been as prolific in mainstream entertainment as the Man of Steel. From the original comic stories in the 1930's to the Clayton Collyer radio show and Paramount's animated shorts in the 40's, the Kirk Alyn television shows of the 50's, the musical adaptation for theatre and George Reeves series of the 60's, the feature films of the 70's and 80's, the television spin-offs of the 90's and 00's, and finally, a resurrection to the big screen in 2006, the legend of Superman has thrived for more than 60 years. Upon the first major motion picture production in the mid-70's, director Richard Donner and his producers determined that the character would be treated with respect while, after all his adventures, providing him with a massive scale on which to generate his wonder. Their success in that production yielded four Oscar nominations (with one win) and a permanent "most favored Superman" status for actor Christopher Reeve. While the sequels for the 1978 film maintained much of the same cast, the legend was watered down to campy levels. One member of the crew who refused to kneel before General Zod was John Williams, whose score for the original Superman was such a natural fit with both the legend of the character and audiences' expectations that he had nothing left to prove by scoring the laughable sequels. In retrospect, Williams' music for Superman was so perfectly placed in both the film and in the history of cinema that this score, perhaps more than Star Wars, confirmed the renaissance of the operatic orchestral fanfare to the big screen. It proved that his Oscar-nominated work for Close Encounters of the Third Kind and Star Wars the previous year was no fluke, leading the composer on the journey of five subsequent years that would change film music forever. His Wagnerian extravaganza was so beloved by both fans of the legend and the mainstream that his sound for the character would endure in three immediate sequels and...