10 Man ICC – Deathbringer Saurfang
A sort of strat on saurfang. Check this collab channel I’m in: http://www.youtube.com/thewowfanatix
Duration : 0:7:46
Jericho trailer
suif6666666666http://gdata.youtube.com/feeds/api/users/suif6666666666EntertainmentJericho, 1.seasonJericho trailer
Duration : 0:1:15
Google TV Prototype Presentation 2010 GoogleTVexpelled04
“Expelled – No intelligence allowed” – CZ TITULKY Dokumentarni film, ktery stoji za to videt !!!
Duration : 0:9:36
Salbuchi – Soukromá moc (2. ?ást) Titulky aktivuj v pravém dolním rohu (trojúhelník,CC)
http://www.zonaremix.cz/
http://zonaremixeng.blogspot.com/
Duration : 0:9:58
2001 A Space Odyssey – Part 2/13
http://totallyfreeenergy.zxq.net
Apes discover weapons. Man discovers space and escape velocity.
Duration : 0:10:30
silver apples – gypsy love
The group grew out of a traditional rock band called The Overland Stage Electric Band, working regularly in the East Village. Simeon was the singer, but began to incorporate a 1940s vintage audio oscillator into the show, which alienated the other band members to the extent that the group was eventually reduced to the duo of Simeon and Taylor, at which point they renamed themselves The Silver Apples, after the William Butler Yeats poem The Song of the Wandering Aengus. The arsenal of oscillators eventually grew, according to their first LP liner notes, to include “nine audio oscillators piled on top of each other and eighty-six manual controls to control lead, rhythm and bass pulses with hands, feet and elbows”. Simeon devised a system of telegraph keys and pedals to control tonality and chord changes, and reportedly never learned to play traditional piano-styled keyboards or synthesizers.[2]
They were signed to Kapp Records and released their first record, Silver Apples, in 1968, and from that released a single, “Oscillations,” a song that Simeon has cited as the first song he’d ever written. On the debut album, seven of the nine songs had lyrics by Stanley Warren (not Warren Stanley as incorrectly credited on the re-release of the 1997 MCA CD), including the group’s signature song, “Oscillations.” Warren, who subsequently became a published poet, met Simeon and Taylor at the Third Annual Avant Garde Arts Festival in 1968 in New York City, organized by Charlotte Moorman, who was famous as the “topless cellist”. Soon after, Simeon became acquainted with Warren’s early work, and set a poem, “MJ”, to music as “Seagreen Serenades.” Inspired by Simeon’s interest, in the next few months Warren wrote the remaining six songs used on the “Silver Apples” album. Another song, “Gypsy Love,” was used in the second album, “Contact.” In recent performances, Simeon still plays some of his and Warren’s works from the early days of Silver Apples.[1]
The following year, they released their second LP, Contact and toured the United States. A third album was recorded in 1970, but Kapp was folded into MCA Records, leaving the album unreleased, and the group defunct.[1]
Silver Apples
Origin New York City, U.S.
Genres Psychedelic rock
Electronic music
Proto-punk
Experimental music
Years active 19671970, 19961999; 2006present
Labels Kapp
Website http://www.silverapples.com/
Members
Simeon
Former members
Danny Taylor
Xian Hawkins
Duration : 0:5:38
2001 A Space Odyssey – Space Sequences Tribute Part 4of4
And here the “Mother” (well the real mother is probably “Metropolis”) of all Science Fiction Movie Special Visual Effects: Stanley Kubricks “2001 – A Space Odysee” from 1968. All seen here is of course handmade. All photographic effects, no CGI. And all SFX Scenes from the Movie are cut toghether in full length and in chronological order.
Because it’s more than 36 Minutes of FX, including the “changing Dimensions” FX, i had to split in into 4 parts. And don’t adjust your volume when there’s nothing to hear. It’s meant that way 
The Music: (thanks door2yourheart for your comment) QUOTE WIKI: “Atmosphères (1961 – by György Ligeti) is written for large orchestra and is not musically related to the earlier electronic piece of the same name, although some of its aesthetic intentions are similar. It is seen[who?] as a key piece in Ligeti’s output, laying out many of the concerns he would explore through the 1960s. Out of the four elements of music — melody, harmony, rhythm and timbre — the piece almost completely abandons the first three, concentrating on the texture of the sound, a technique known as sound mass. It opens with what must be one of the largest cluster chords ever written — every note in the chromatic scale over a range of five octaves is played at once. Out of the fifty-six string players ushering in the first chord, no two play the same note. The piece seems to grow out of this initial massive, but very quiet, chord, with the textures always changing. For this compositional technique not only used in the aforementioned work, Atmosphères, but also in Apparitions and his other works of the time, Ligeti coined the term “micropolyphony”.[citation needed]
The Requiem for soprano, mezzo-soprano, five-voice chorus, and orchestra is a four-movement work in the same totally-chromatic style as Atmosphères (a portion of this work too received wide currency in the scene on the movie 2001: A Space Odyssey, in the scene of the proto-humans approaching the monolith). The first movement of Requiem, the “Introitus”, has a thin texture, but the “Kyrie/Christe” is a stunning, brilliant evocation of searing appeal.[citation needed] It is a massive (twenty-part choral) quasi-fugue where the counterpoint is re-thought in terms of the material, consisting of melismatic masses interpenetrating and alternating with complex skipping parts. It was a part of this movement that accompanied the enigmatic monolith scenes in Kubricks 2001: A Space Odyssey. The last instance quoted in the movie (at Jupiter: Beyond the Infinite), this movement (interrupted by a loud radio-tone screech from the monolith) segues to the opening of Atmosphères. The penultimate movement, “de Die Judicii Sequentia” (Day of Judgement Sequence) is a colossal montage of contrasts: fff loud versus ppp soft, masses of sound versus soloists, etc. In the final movement, “Lacrimosa” (weeping), the chorus is muted, and only a reduced orchestra accompanies the plangent singing of the soloists.
Lux Aeterna is a 16-voice a cappella piece whose text is also associated with the Latin Requiem, which also was partially used in Kubricks movie (for the moon-bus scene en route to the TMA-1 monolith in the crater Tycho). The piece is strongly modeled after the masterful mensuration canons of Johannes Ockeghem and accomplishes much the same effect, but with secundal, rather than tertian harmony, in a paradoxically thick-but-transparent 16-voice texture.
The third Kubrick use of Ligetis music was from his mimodrama Aventures (in the even more cryptic final scenes), distorted by an echo chamber.”
Last Music, at 5:00, is of course “Also sprach Zarathustra” (Thus Spoke Zoroaster), tone poem for orchestra, Op. 30 (TrV 176) Opening. Composed by Richard Strauss, performed by Vienna Philharmonic Orchestra, conducted by Herbert von Karajan.
Quote Stanley Kubrick (source:Wikipedia): “I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to „explain” a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You’re free to speculate as you wish about the philosophical and allegorical meaning of the film — and such speculation is one indication that it has succeeded in gripping the audience at a deep level — but I don’t want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he’s missed the point.”
Stanley Kubrick 1922 – 1999.
Duration : 0:6:23
proto of my taf vid2001 A Space Odyssey – Space Sequences Tribute Part 3of4
And here the “Mother” (well the real mother is probably “Metropolis”) of all Science Fiction Movie Special Visual Effects: Stanley Kubricks “2001 – A Space Odysee” from 1968. All seen here is of course handmade. All photographic effects, no CGI. And all SFX Scenes from the Movie are cut toghether in full length and in chronological order.
The Music in PART2of4 at 1:20 and 6:42 is right out of the Movie. Gayane Ballet Suite (Adagio) Aram Khachaturian. You should find it on the Originial Movie Soundtrack. It was also used “extracted” in the ALIENS Movie!
The “Changing Dimensions” Music 5:23 : QUOTE WIKI: “Atmosphères (1961 – by György Ligeti) is written for large orchestra and is not musically related to the earlier electronic piece of the same name, although some of its aesthetic intentions are similar. It is seen[who?] as a key piece in Ligeti’s output, laying out many of the concerns he would explore through the 1960s. Out of the four elements of music — melody, harmony, rhythm and timbre — the piece almost completely abandons the first three, concentrating on the texture of the sound, a technique known as sound mass. It opens with what must be one of the largest cluster chords ever written — every note in the chromatic scale over a range of five octaves is played at once. Out of the fifty-six string players ushering in the first chord, no two play the same note. The piece seems to grow out of this initial massive, but very quiet, chord, with the textures always changing. For this compositional technique not only used in the aforementioned work, Atmosphères, but also in Apparitions and his other works of the time, Ligeti coined the term “micropolyphony”.[citation needed]
The Requiem for soprano, mezzo-soprano, five-voice chorus, and orchestra is a four-movement work in the same totally-chromatic style as Atmosphères (a portion of this work too received wide currency in the scene on the movie 2001: A Space Odyssey, in the scene of the proto-humans approaching the monolith). The first movement of Requiem, the “Introitus”, has a thin texture, but the “Kyrie/Christe” is a stunning, brilliant evocation of searing appeal.[citation needed] It is a massive (twenty-part choral) quasi-fugue where the counterpoint is re-thought in terms of the material, consisting of melismatic masses interpenetrating and alternating with complex skipping parts. It was a part of this movement that accompanied the enigmatic monolith scenes in Kubricks 2001: A Space Odyssey. The last instance quoted in the movie (at Jupiter: Beyond the Infinite), this movement (interrupted by a loud radio-tone screech from the monolith) segues to the opening of Atmosphères. The penultimate movement, “de Die Judicii Sequentia” (Day of Judgement Sequence) is a colossal montage of contrasts: fff loud versus ppp soft, masses of sound versus soloists, etc. In the final movement, “Lacrimosa” (weeping), the chorus is muted, and only a reduced orchestra accompanies the plangent singing of the soloists.
Because it’s more than 36 Minutes of FX, including the “changing Dimensions” FX, i had to split in into 4 parts. And don’t adjust your volume when there’s nothing to hear. It’s meant that way
Quote Stanley Kubrick (source:Wikipedia): “I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to „explain” a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You’re free to speculate as you wish about the philosophical and allegorical meaning of the film — and such speculation is one indication that it has succeeded in gripping the audience at a deep level — but I don’t want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he’s missed the point.”
Stanley Kubrick 1922 – 1999.
Duration : 0:9:59