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This is the very first issue of this rare & private Live video of The Lord’s Prayer, originally composed by Albert Hay Malotte and rendered quite famous through Mario Lanza, who offered a wonderful & magic unforgettable interpretation of this aria in his movie “Because you’re mine”. This new current version you’re listening shows an original musical arrangement for symphonic orchestra, piano, male chorus & solo voice. It was specially composed for and sung during the celebration of a marriage in Switzerland on July 31, 1999. The Lord's Prayer, also known as the Our Father or Pater noster, is probably the best-known prayer in Christianity. On Easter Sunday 2007 it was estimated that 2 billion Protestant, Catholic, and Eastern Orthodox Christians read, recited, or sang the short prayer in hundreds of languages in houses of worship of all shapes and sizes. Although many theological differences and various modes and manners of worship divide Christians, according to Fuller Seminary professor Clayton Schmit "there is a sense of solidarity in knowing that Christians around the globe are praying together, and these words always unite us. Two versions of it occur in the New Testament, one in the Gospel of Matthew 6:9–13 as part of the discourse on ostentation, a section of the Sermon on the Mount, and the other in the Gospel of Luke 11:2–4. The prayer's absence from the Gospel of Mark (cf. the Prayer for forgiveness of 11:25–26), taken together with its presence in both Luke and Matthew, has caused many scholars who accept the Q hypothesis (as opposed to Proto-Matthean theory) to conclude that it is a quotation from the Q document, especially because of the context in Luke's presentation of the prayer, where many phrases show similarity to the Q-like Gospel of Thomas. The context of the prayer in Matthew is as part of a discourse attacking people who pray simply for the purpose of being seen to pray. Matthew describes Jesus as instructing people to pray after the manner of this prayer. Taking into account the prayer's structure, flow of subject matter and emphases, many interpret the Lord's Prayer as a guideline on how to pray rather than something to be learned and repeated by rote. Some disagree, suggesting that the prayer was intended as a specific prayer to be used. The New Testament reports Jesus and the disciples praying on several occasions; but as it never describes them actually using this prayer, it is uncertain how important it was originally viewed as being. There are several different translations of the Lord's Prayer. One of the first texts in English is the Northumbrian translation from around 650. The three best-known in English speaking groups are The English translation in the 1662 Anglican Book of Common Prayer (BCP) The translation of the English Language Liturgical Consultation (ELLC), an ecumenical body The Latin version used in the Roman Catholic Church In three of the texts given below, the square brackets indicate the doxology with which the prayer is often concluded. This is not included in critical editions of the New Testament, such as that of the United Bible Societies, as not belonging to the original text of Matthew 6:9–13, nor is it always part of the Book of Common Prayer text. The Roman Catholic form of the Lord's Prayer never ends with it. Our Father, which art in Heaven, Hallowed be thy Name. Thy Kingdom come. Thy will be done, in earth as it is in Heaven. Give us this day our daily bread. And forgive us our trespasses, As we forgive them that trespass against us. And lead us not into temptation; But deliver us from evil. For thine is the Kingdom, and The power, and the Glory, For ever. Amen. Variants of the 1662 BCP version (first column) are also in use. In the 1928 edition of the Church of England Prayer Book, "which" was changed to "who," "in earth" to "on earth," and "them that" to "those who" and this version is widely known. The Eastern Orthodox Churches also use a modified version of this form of the Our Father in their English services. Some non-Christian groups, such as religious science sometimes use the prayer also, often with modified wording, such as replacing the word "evil" with "error." Though Matthew 6:12 uses the term debts, the 1662 version of the Lord's Prayer uses the term trespasses, while ecumenical versions often use the term sins. The latter choice may be due to Luke 11:4, which uses the word sins, while the former may be due to Matthew 6:12 (immediately after the text of the prayer), where Jesus speaks of trespasses. As early as the third century, Origen used the word trespasses (παραπτώματα) in the prayer. Though the Latin form that was traditionally used in Western Europe has debita (debts), most English-speaking Christians (except Presbyterians and others of the Reformed tradition), use trespasses. The Established Presbyterian Church of Scotland follows the version found in Matthew 6 in the Authorized Version (known also as the King James Version), which in the prayer uses the words "debts" and "debtors." Roman Catholics usually do not add the doxology "For Thine is the kingdom, power, and glory, forever and ever." However, this doxology, in the form "For the kingdom, the power, and the glory are yours, now and for ever," is used in the Catholic Mass, separated from the Lord's Prayer by a prayer, spoken or sung by the priest, that elaborates on the final petition, "Deliver us from evil." In the 1975 ICEL translation, this prayer reads: "Deliver us, Lord, from every evil, and grant us peace in our day. In your mercy keep us free from sin and protect us from all anxiety as we wait in joyful hope for the coming of our Savior, Jesus Christ." All these versions are based on the text in Matthew, rather than Luke, of the prayer given by Jesus: Matthew 6:9–13 (KJV) After this manner therefore pray ye: Our Father which art in Heaven, Hallowed be thy name. Thy kingdom come. Thy will be done in earth, as it is in Heaven. Give us this day our daily bread. And forgive us our debts, as we forgive our debtors. And lead us not into temptation, but deliver us from evil: For thine is the kingdom, and the power, and the glory, for ever. Amen. Luke 11:2–4 (KJV) And he said unto them, When ye pray, say, Our Father which art in Heaven, Hallowed be thy name. Thy kingdom come. Thy will be done, as in Heaven, so in earth. Give us day by day our daily bread. And forgive us our sins; for we also forgive every one that is indebted to us. And lead us not into temptation; but deliver us from evil. "Our Father, which art in Heaven" The opening pronoun of Matthew's version of the prayer—our—is plural, which is viewed by many as a strong indication that the prayer was intended for communal, rather than private, worship. Together, the first two words—Our Father—are a title used elsewhere in the New Testament, as well as in Jewish literature, to refer to God. This is most likely the intent of the prayer. "Hallowed be thy Name" Having opened, the prayer begins in the same manner as the Kaddish, hallowing the name of God, and then going on to express hope that God's will and kingdom will happen. In Judaism the name of God is of extreme importance, and honouring the name central to piety. In that era names were not simply labels, but were seen as true reflections of objects' nature. Therefore, when the prayer seeks to hallow God's name, it was seen as equivalent to actually hallowing God. Hallowed is the passive voice and future tense, which to some makes it unclear how this hallowing is meant to occur. One interpretation is that this is a call for all believers to honour God's name. Those who see the prayer as primarily eschatological understand the prayer to be an expression of desire for end times when God's name, in the eyes of those carrying out the prayer, would be universally honoured. "Thy kingdom come" The request for God's kingdom to come is usually interpreted as a reference to the belief, common at the time, that a Messiah figure would bring about a Kingdom of God. Some scholars have argued that this prayer is pre-Christian and was not designed for specifically Christian interpretation. Many evangelicals see it as quite the opposite—a command to spread Christianity. "Thy will be done, in earth as it is in Heaven" The prayer follows with an expression of hope for God's will to be done. This expressing of hope can be interpreted in different ways. Some see it as an addendum to assert a request for Earth to be under direct and manifest divine command. Others see it as a call on people to submit to God and his teachings. In the Gospels, these requests have the added clarification in earth, as it is in Heaven, an ambiguous phrase in Greek which can either be a simile (i.e., make earth like Heaven), or a couple (i.e., both in Heaven and earth), though simile is the most common interpretation. "Give us this day our daily bread" The more personal requests break from the similarity to the Kaddish. The first concerns daily bread. What this means is slightly obscure, since the word that is normally translated as daily—ἐπιούσιος epiousios—is almost a hapax legomenon, occurring only in Luke and Matthew's versions of the Lord's Prayer, and in an Egyptian accounting book, with no other surviving written citations. Daily bread appears to be a reference to the way God provided manna to the Israelites each day while they were in the wilderness, as in Exodus 16:15–21. Since they could not keep any manna overnight, they had to depend on God to provide anew each morning. Etymologically epiousios seems to be related to the Greek word ousia, meaning substance. Early heterodox writers connected this to Eucharistic transubstantiation. Modern scholars tend to reject this connection on the presumption that Eucharistic practise and the doctrine of transubstantiation both developed later than Matthew was written. Protestants concur since they reject belief in transubstantiation. Epiousios can also be understood as existence, i.e., bread that was fundamental to survival. In the era, bread was the most important food for survival. However, scholars of linguistics consider this rendering unlikely since it would violate standard rules of word formation. Koine Greek had several far more common terms for the same idea. The usage of epiousios in the Egyptian papyrus is in the sense of for tomorrow. That is more clearly stated in the wording used by the Gospel of the Nazoraeans for the prayer. Therefore, the common translation is daily, a translation conveniently close in meaning to the other two possibilities as well. Those Christians who read the Lord's Prayer as eschatological view epiousios as referring to the second coming—reading for tomorrow (and bread) in a metaphorical sense. Most scholars disagree, particularly since Jesus is portrayed throughout Luke and Matthew as caring for everyday needs for his followers, particularly in the bread-related miracles that are recounted. "And forgive us our trespasses, as we forgive them that trespass against us" After the request for bread, Matthew and Luke diverge slightly. Matthew continues with a request for debts to be forgiven in the same manner as people forgive those who have debts against them. Luke, on the other hand, makes a similar request about sins being forgiven in the manner of debts being forgiven between people. According to literal translation of the Greek, the debts are financial debts. However, in Aramaic, the word for debt can also mean sin. The difference between Luke and Matthew's wording could be explained by the prayer about which they were writing was originally written in Aramaic. It is generally accepted that the request is talking about forgiveness of sin, rather than merely loans. This is the traditional interpretation, although some groups read it literally as a condemnation of all forms of lending. Asking for forgiveness from God was a staple of Jewish prayers. It was also considered proper for individuals to be forgiving of others, thus requiring the sentiment expressed in the prayer would have been a common one of the time. "And lead us not into temptation" Interpretations of the penultimate petition of the prayer—not to be led by God into peirasmos—vary considerably. Peirasmos can mean temptation, or just test of character. Traditionally it has been translated temptation. Since this would seem to imply that God leads people to sin, individuals uncomfortable with that implication read it as test of character. There are generally two arguments for this reading. First, it may be an eschatological appeal against unfavourable last judgement, though nowhere in literature of the time, not even in the New Testament, is the term peirasmos connected to such an event. The other argument is that it acts as a plea against hard tests described elsewhere in scripture, such as those of Job. Yet, this would depart heavily from Jewish practice of the time when pleas were typically made, during prayer, to be put through such tests. "But deliver us from evil" Translations and scholars are divided over whether the evil mentioned in the final petition refers to evil in general or the devil in particular. The original Greek is quite vague. In earlier parts of the Sermon on the Mount, in which Matthew's version of the prayer appears, the term is used to refer to general evil. Later parts of Matthew refer to the devil when discussing similar issues. However, the devil is never referred to as the evil in any Aramaic sources. While John Calvin accepted the vagueness of the term's meaning, he considered there to be little real difference between the two interpretations, and therefore of no real consequence. "For thine is the kingdom, and the power, and the glory, for ever. Amen" The doxology of the prayer is not contained in Luke's version, nor is it present in the earliest manuscripts of Matthew. The first known use of the doxology (in a less lengthy form) as a conclusion for the Lord's Prayer is in the Didache. In it are at least ten different versions among the early manuscripts before it seems to have standardized. Jewish prayers at the time had doxological endings. The doxology may have been originally appended for use during congregational worship. If so, it could be based on 1 Chronicles 29:11. Most scholars and many modern translations do not include the doxology except in footnotes. Nevertheless, it remains in use liturgically in Eastern Christianity and among Protestants. A minority, generally fundamentalists, posit that the doxology was so important that early editions neglected it due to its obviousness, though several other quite obvious things are mentioned in the Gospels. A map of European languages (1741) had the first verse of the Lord's Prayer put in every language. Since the publication of the Mithridates books, translations of the prayer have often been used for a quick comparison of languages, primarily because most earlier philologists were Christians, and very often priests. Due to missionary activity, one of the first texts to be translated between many languages has historically been the Bible, and so to early scholars the most readily available text in any particular language would most likely be a partial or total translation of the Bible. For example, the only extant text in Gothic, a language crucial in the history of Indo-European languages, is Codex Argenteus, the incomplete Bible translated by Wulfila. This tradition has been opposed recently from both the angle of religious neutrality and of practicality: the forms used in the Lord's Prayer (many commands) are not very representative of common discourse. Philologists and language enthusiasts have proposed other texts such as the Babel text (also part of the Bible) or the story of the North Wind and the Sun. In Soviet language sciences the complete works of Lenin were often used for comparison, as they were translated to most languages in the 20th century. Latin version The Latin version of this prayer has had cultural and historical importance for most regions where English is spoken. The text used in the liturgy (Mass, Liturgy of the Hours, etc.) differs slightly from that found in the Vulgate and probably pre-dates it. The doxology associated with the Lord's Prayer is found in four Vetus Latina manuscripts, only two of which give it in its entirety. The other surviving manuscripts of the Vetus Latina Gospels do not have the doxology. The Vulgate translation also does not include it, thus agreeing with critical editions of the Greek text. In the Latin Rite liturgies, this doxology is never attached to the Lord's Prayer. Its only use in the Roman Rite liturgy is in the Mass as revised after the Second Vatican Council. It is there placed not immediately after the Lord's Prayer, but instead after the priest's prayer, Libera nos, quaesumus..., elaborating on the final petition, Libera nos a malo (Deliver us from evil). Relation to Jewish prayer There are similarities between the Lord's Prayer and both Biblical and post-Biblical material in Jewish prayer. "Hallowed be thy name" is reflected in the Kaddish. "Lead us not into sin" is echoed in the "morning blessings" of Jewish prayer. A blessing said by some Jewish communities after the evening Shema includes a phrase quite similar to the opening of the Lord's Prayer: "Our God in heaven, hallow thy name, and establish thy kingdom forever, and rule over us for ever and ever". Malotte graduated from Tioga High School and sang at Saint James Episcopal Church in Philadelphia as a choir boy. He studied with Victor Herbert, W. S. Stansfield, and later in Paris with Gordon Jacob. His career as an organist began in Chicago where he played for silent pictures and later concertized throughout the US and Europe. During World War II he held the rank of Captain in the Special Services for two years while he toured with the USO and entertained troops in New Guinea, Australia and Europe. At one point he sponsored his own troup of entertainers that included Judith Anderson, Ann Triola and Helen McClure Preister. Malotte was an amateur pilot, avid golfer and even boxed with Jack Dempsey in Memphis, Tennessee. He spent most of his career as a composer in Hollywood. Malotte composed a number of film scores, including mostly uncredited music for animations from the Disney studios. Although two movies for which he composed scores won best Short Subject Academy Awards (Ferdinand the Bull in 1939 and The Ugly Duckling in 1940), he is best remembered for a setting of the Lord's Prayer. Written in 1935, it was recorded by the baritone John Charles Thomas, and remained highly popular for use as a solo in churches and at weddings in the US for some decades. He composed a number of other religious pieces, including settings of the Beatitudes and of the Twenty-third Psalm which have also remained popular as solos. His secular songs, such as "Ferdinand the bull" (from the Disney animated short of the same name), "For my mother" (a setting of a poem by 12-year-old Bobby Sutherland) and "I am proud to be an American" are less well remembered. Some of his works are collected in the library of the University of California Los Angeles and the Library of Congress. In addition, Malotte wrote uncredited stock music for many other films in the 1930s and early 1940s, including twenty-two of the Disney Silly Symphonies and other shorts such Little Hiawatha as well as Ferdinand the Bull. He also composed cantatas, oratorios, musicals and ballets. Malotte owned Apple Valley Music. Tags: Almighty God pray praying religion religious Christian Christians Christianity love hereafter paradise theology theological Jesus spiritual spirituality faith catholic Catholicism Anglican belief believe believing croyance croire Jesus Christ spiritual spirituality Theology Mario Lanza song vocal Gospel praise the Lord Albert Hay Malotte The Lord's Prayer Christian God Jesus pray theology religious Mario Lanza Syr Maestro Sir Reginald Mother Teresa Vatican Pope popes Benedict XVI Benoît XVI Benedictus XVI John Paul II Jean-Paul II Jean Paul II missionary missionaries of Charity missionaire missionnaire de la charité chrétien chrétiens chrétienne chrétiennes chrétienté résurrection âme soul Seele Seele élévation de l’âme Padre nostro fede religione religioso Vaticano God Lord Jesus Christ pray religion religious Christian Christians theology theological spiritual spirituality faithCatholic Prayer God Lord Christians Power Mother Teresa Mère Teresa Theresa Calcutta music musical opera operatic chant cantique cantical lyrique recueillement adoration choeur chorus vocal voce bel canto melody melodie melodia Saint ST holy holiness blessing blessings bless blessed benediction benedictions benedetto benedetta benedizione heilig Heiligkeit transcend transcendance
21 Jun 2007
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I am an experienced plasterer serving the Essex area and have built up a great reputation for myself, my quality workmanship and friendly customer service. You can read some of my customer testimonials on my site *******plastererinessex**** As well as plastering I offer screeding, dry lining and rendering services. All my work is fully guaranteed and I pride myself in being friendly and easy to work with. The majority of my work is in and around Benfleet in Essex but I also love to do work outside from time to time. The areas I cover include Benfleet, Leigh on Sea, Rayleigh, Southend on Sea, Wickford and the surrounding areas. I offer free no obligation quotes and would be happy to discuss your job, no matter how big or small. DWH Plastering 63 Stansfield Road, Benfleet, Essex SS7 4NA Phone: 01268 565751 Mobile: 07590 634936 Email:daveplastererinessex****
1 Feb 2013
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I am an experienced plasterer serving the Essex area and have built up a great reputation for myself, my quality workmanship and friendly customer service. You can read some of my customer testimonials on my site *******plastererinessex**** As well as plastering I offer screeding, dry lining and rendering services. All my work is fully guaranteed and I pride myself in being friendly and easy to work with. The majority of my work is in and around Benfleet in Essex but I also love to do work outside from time to time. The areas I cover include Benfleet, Leigh on Sea, Rayleigh, Southend on Sea, Wickford and the surrounding areas. I offer free no obligation quotes and would be happy to discuss your job, no matter how big or small. DWH Plastering 63 Stansfield Road, Benfleet, Essex SS7 4NA Phone: 01268 565751 Mobile: 07590 634936 Email:daveplastererinessex****
1 Feb 2013
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I am an experienced plasterer serving the Essex area and have built up a great reputation for myself, my quality workmanship and friendly customer service. You can read some of my customer testimonials on my site *******plastererinessex**** As well as plastering I offer screeding, dry lining and rendering services. All my work is fully guaranteed and I pride myself in being friendly and easy to work with. The majority of my work is in and around Benfleet in Essex but I also love to do work outside from time to time. The areas I cover include Benfleet, Leigh on Sea, Rayleigh, Southend on Sea, Wickford and the surrounding areas. I offer free no obligation quotes and would be happy to discuss your job, no matter how big or small. DWH Plastering 63 Stansfield Road, Benfleet, Essex SS7 4NA Phone: 01268 565751 Mobile: 07590 634936 Email:daveplastererinessex****
1 Feb 2013
102
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I am an experienced plasterer serving the Essex area and have built up a great reputation for myself, my quality workmanship and friendly customer service. You can read some of my customer testimonials on my site *******plastererinessex**** As well as plastering I offer screeding, dry lining and rendering services. All my work is fully guaranteed and I pride myself in being friendly and easy to work with. The majority of my work is in and around Benfleet in Essex but I also love to do work outside from time to time. The areas I cover include Benfleet, Leigh on Sea, Rayleigh, Southend on Sea, Wickford and the surrounding areas. I offer free no obligation quotes and would be happy to discuss your job, no matter how big or small. DWH Plastering 63 Stansfield Road, Benfleet, Essex SS7 4NA Phone: 01268 565751 Mobile: 07590 634936 Email:daveplastererinessex****
1 Feb 2013
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I am an experienced plasterer serving the Essex area and have built up a great reputation for myself, my quality workmanship and friendly customer service. You can read some of my customer testimonials on my site *******plastererinessex**** As well as plastering I offer screeding, dry lining and rendering services. All my work is fully guaranteed and I pride myself in being friendly and easy to work with. The majority of my work is in and around Benfleet in Essex but I also love to do work outside from time to time. The areas I cover include Benfleet, Leigh on Sea, Rayleigh, Southend on Sea, Wickford and the surrounding areas. I offer free no obligation quotes and would be happy to discuss your job, no matter how big or small. DWH Plastering 63 Stansfield Road, Benfleet, Essex SS7 4NA Phone: 01268 565751 Mobile: 07590 634936 Email:daveplastererinessex****
1 Feb 2013
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6:35
Which weapon will be next? ► Subscribe! *******bit.ly/AWEsub Every other Monday this summer, our team of blacksmiths and craftsman will be taking some of your favorite characters and items to mash up into brand new hybrid weapons that you've never seen before. This week, they will mash together Batman's batarangs with Wolverine's claws! Get your Awe Me or Man At Arms Swag: *******aweme.spreadshirt**** And let us know in the comments below which ultimate dream weapon you'd like to see us build next! More AWEme on Facebook: *******facebook****/awemechannel Follow us on Twitter: *******twitter****/awemechannel Kerry Stagmer - Swordsmith and Machinist Matt Stagmer - Swordsmith Ilya Alekseyev - Master Armourer and Engraver Sam Salvati - Blacksmith Lauren Schott - Goldsmith and Casting John Mitchell - Fabricator Filmed on Location at Baltimore Knife and Sword -- *******www.baltimoreknife**** Series Created & Directed by Andy Signore *******twitter****/andysignore Series Produced & Episode Builds Directed by Brent Lydic Line Producer - Phil Rogers Production Manager - Benjamin Montague Production Coordinator - Brendan Kennedy Script Supervisor - David Cross Director of Photography - Corey Jennings Crew & Gear provided by Mark Leisher Productions: 1st AC - Shane Yeager Gaffer - Ross Stansfield Swing - Jake Swinney PA - David Van Tassel PA / Runner - Greg Shull Set Medic - Kevin Durgard DIT - Steven Belcher Edited by Jordan Harris & Christopher Otwell Lead Assistant Editor - Gracie Hartmann Post Production Supervisor - Michael Gallagher DIT - Steven Belcher Animated Illustrations by Shawn Coss Stunt Coordinator / Stunts - Jim Frank
18 Nov 2014
22011
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9:07
Which weapon will be next? ► Subscribe! *******bit.ly/AWEsub Every other Monday this summer, our team of blacksmiths and craftsman will be taking some of your favorite characters and items to mash up into brand new hybrid weapons that you've never seen before. This week, they're mashing together a Star Wars lightsaber and a katana! Get your Awe Me or Man At Arms Swag: *******aweme.spreadshirt**** And let us know in the comments below which ultimate dream weapon you'd like to see us build next! More AWEme on Facebook: *******facebook****/awemechannel Follow us on Twitter: *******twitter****/awemechannel Kerry Stagmer - Swordsmith and Machinist Matt Stagmer - Swordsmith Ilya Alekseyev - Master Armourer and Engraver Sam Salvati - Blacksmith Lauren Schott - Goldsmith and Casting John Mitchell - Fabricator Filmed on Location at Baltimore Knife and Sword -- *******www.baltimoreknife**** Series Created & Directed by Andy Signore *******twitter****/andysignore Series Produced & Episode Builds Directed by Brent Lydic Line Producer - Phil Rogers Production Manager - Benjamin Montague Production Coordinator - Brendan Kennedy Script Supervisor - David Cross Director of Photography - Corey Jennings Crew & Gear provided by Mark Leisher Productions: 1st AC - Shane Yeager Gaffer - Ross Stansfield Swing - Jake Swinney PA - David Van Tassel PA / Runner - Greg Shull Set Medic - Kevin Durgard DIT - Steven Belcher Edited by Jordan Harris & Christopher Otwell Post Production Supervisor - Michael Gallagher DIT - Steven Belcher Animated Illustrations by Shawn Coss Stunt Coordinator / Stunts - Jim Frank Special thanks to the Members of the: Old Line Garrison, 501st Legion Terrapin Base, Rebel Legion Darth Vader - Rob Davis Boba Fett - Rob Spencer Storm Trooper - Rob Slater X-Wing Pilot - Charles Wright Jawa - Kellie Hendley
14 Sep 2014
14849
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8:32
Which weapon will be next? ►► Subscribe! *******bit.ly/AWEsub Every other Monday this summer, our team of blacksmiths and craftsman will be taking some of your favorite characters and items to mash up into brand new hybrid weapons that you've never seen before. This week, they imagine what it would look like if Iron Man had a sword! Get your Awe Me or Man At Arms Swag: *******aweme.spreadshirt**** And let us know in the comments below which ultimate dream weapon you'd like to see us build next! More AWEme on Facebook: *******facebook****/awemechannel Follow us on Twitter: *******twitter****/awemechannel Kerry Stagmer - Swordsmith and Machinist Matt Stagmer - Swordsmith Ilya Alekseyev - Master Armourer and Engraver Sam Salvati - Blacksmith Lauren Schott - Goldsmith and Casting John Mitchell - Fabricator Filmed on Location at Baltimore Knife and Sword -- *******www.baltimoreknife**** Series Created & Directed by Andy Signore *******twitter****/andysignore Series Produced & Episode Builds Directed by Brent Lydic Line Producer - Phil Rogers Production Manager - Benjamin Montague Production Coordinator - Brendan Kennedy Script Supervisor - David Cross Director of Photography - Corey Jennings Crew & Gear provided by Mark Leisher Productions: 1st AC - Shane Yeager Gaffer - Ross Stansfield Swing - Jake Swinney PA - David Van Tassel PA / Runner - Greg Shull Set Medic - Kevin Durgard DIT - Steven Belcher Edited by Jordan Harris & Christopher Otwell Lead Assistant Editor - Gracie Hartmann Post Production Supervisor - Michael Gallagher DIT - Steven Belcher Animated Illustrations by Shawn Coss Stunt Coordinator / Stunts - Jim Frank
16 Dec 2014
11827
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4:23
Lisa and Barry White singing All around the world. Enjoy it
21 Dec 2008
11655
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0:38
Bo Burnham features in an exclusive Bob's Honda advert, originally broadcast in Volume II of SJPN's Super 8 High School Gameday coverage. Unscripted, footage shot by PJ Mugford and Sean O'Hara, Edited and Produced by Josh Stansfield and Craig Cannon.
25 Apr 2009
10851
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1:44
*******www.bbc******/bang Follow Bang on Twitter bbcbang and #bbcbang. Jem Stansfield travels to the Solar Furnace Research Facility in Southern France. He witnesses the incredible power generated by highly concentrated sunlight.
11 Dec 2010
8623
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9:31
*******mitici80**** In 10 minuti, tanti brani mitici '80 (best 80) Video music dance anni 80. A selection of video clips of various artists dance hits 80s. A selection of video clips of various artists dance hits in the 80s. Slave to love, Joe Smooth-Promised Land, Kongas - Why We Can't Live Together , Propaganda P-Machinery. House, Pop, Funky, best 80 mix, dance 80 Playlist Hits80 slave to love brian ferry technotronic pump up the jam alphaville sounds like a melody paul young love of the common people africa toto topo roby under the ice what is love howard jones people hold on lisa stansfield masimbabele the unknown cases more than i can bear matt bianco mister mister broken wings den harrow mad desire Careless Whisper Wham moments in love art of noise people from ibiza sandy marton Last Night a D.J. Saved My Life nick kamen loving you hoomba hoomba pili pili alan parson project pipeline machinery propaganda Monsoon -- Wings Of The Dawn pump up the volume - MAARS The Beatmasters ft. M.C. Merlin - Who's in the house richie rich salsa house such a shame talk talk Johnny Hates Jazz - Shattered Dream It's Sinful.....Pete Wylie Promise Land Joe Smooth Sueno Latino sueno latino i do what i do john taylor kill the radio stars Christopher Cross - Ride Like The Wind EIGHTH WONDER STAY WITH ME billy idol eyes without a face billy idol eyes flash for fantasy flash in the night secret service wild boys duran duran Kongas - Why We Can't Live Together RIP MICHAEL JACKSON
8 Apr 2011
8172
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4:09
Lisa Stansfield - Change
14 Oct 2010
7757
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5:10
Video killed the radio star, live 2004 Slaves To The Rhythm In this brand new, two-hour UK DVD release, the Princes Trust's Produced By Trevor Horn concert is captured in all its glory (and packaged under its original, intended title). In Slaves To The Rhythm, 13 of Trevor's best selling acts, guest musicians and a full backing orchestra, come together for one night only. Artists performing live include Seal, Pet Shop Boys, Frankie Goes to Hollywood, Grace Jones, Lisa Stansfield, ABC, Art of Noise, Dollar, Propaganda, tATu and Anne Dudley. The DVD will be released 02 June 2008 and will be available direct from the ZTT Shop, so please register interest now via infoztt**** and we'll email you back the second we can start shipping orders... [18.04.2008]
30 Jun 2009
7763
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6:11
Grace Jones - Slaves To The Rhythm In this brand new, two-hour UK DVD release, the Princes Trust's Produced By Trevor Horn concert is captured in all its glory (and packaged under its original, intended title). In Slaves To The Rhythm, 13 of Trevor's best selling acts, guest musicians and a full backing orchestra, come together for one night only. Artists performing live include Seal, Pet Shop Boys, Frankie Goes to Hollywood, Grace Jones, Lisa Stansfield, ABC, Art of Noise, Dollar, Propaganda, tATu and Anne Dudley. The DVD will be released 02 June 2008 and will be available direct from the ZTT Shop, so please register interest now via infoztt**** and we'll email you back the second we can start shipping orders... [18.04.2008]
18 May 2011
7760
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