is dead But giving into the nighttime Ain't no cure for the pain You gotta wade into the water You gotta learn to live again And reach out for her healing hands Reach out for her healing hands There's a light, where the darkness ends Touch me now and let me see again Rock me now in your gentle healing hands I never knew love like poison That burned like a fire All I ever wanted was a reason To drown in your eyes I never knew sleep so restless Empty arms so cold That's not the way it's supposed to be It ain't the spell that I was sold

editor. If the video or music owners don't want this up here, simply PM me and I'll remove it.

o. Interpreta- covers pop en inglés, italiano, portugués y español. Incluye los siguientes temas: A puro dolor (Song by Four) - All around the world (Lisa Stanfield) - Cuba libre (Gloria Stefan) - Pearl Harbour (Faith Hill) - Run to you (W. Houston) - Saving for your love (W. Houston) - Titanic (Celine Dion) - Al that man that I need (W. Houston) - Tormento de Amor (Marcela Morelo) - Una noche más (Jennifer Lopez) - I Can't take your eyes (Frankie Vallie) - I have nothing (W. Houston) - La vie en rose (Edith Piaf) - La solitudine (Laura Pausini) - Inolvidable (Laura Pausini) - Power of love (Celine Dion) - Never can say good bye (Gloria Gaynor) - Pero me acuerdo de ti (Christina Aguilera) - Mujer Latina (Thalia) - Can you feel the love tonight (Elton John) - Día de domingo (Gal Costa -- Tim Maia) - New York, New Cork - Can't help falling in love (Elvis Presley) - Puerto Montt (Los Iracundos) - Cosas de la vida (Eros Ramazotti) - Georgia on my mind (Ray Charles) - Y nos dieron las diez (Joaquín Sabina). Se presenta en eventos privados y corporativos. Participó en 14 emisiones del programa "Cantando por un sueño". Se acompaña con piano y pistas.

ards and numerous civic and Hofstra-Alumni citations. Brooklyn-born Ellie moved to Levittown at age 11 and was writing songs by 13. At that time she formed her first "girls group," The Jivettes, with two high school friends and the trio performed original songs at hospitals, schools and charity benefits throughout Long Island. When her mother arranged a meeting for Ellie with Cadence Records president Archie Bleyer (of Everly Brothers and Chordettes fame), the young talent was advised "to keep writing, but finish school," and Ellie did just that. She attended Hofstra University, was it's Spring Queen and was graduated with top honors, a BA degree in English, and a listing in "Who's Who in American Colleges and Universities." During her latter years in college, she met Jeff Barry. Eventually, the couple married and went on to become co-writers of some of the most memorable classic pop/rock hits. In 1962, shortly after her college graduation and a three and a half week High School English teaching stint, Ellie began working in the offices of hot songwriters Jerry Leiber and Mike Stoller. There, in New York's famed music business headquarters, The Brill Building, she wrote songs with Doc Pomus and Tony Powers and experienced her first chart successes with "This Is It," sung by Jay and the Americans, and "He's Got The Power," sung by the Exciters. With Barry, Ellie formed The Raindrops (doing all the vocals) and they skimmed the top 10 with "What A Guy" and "The Kind Of Boy You Can't Forget." Joining forces with legendary producer Phil Spector, a string of legendary hits were created, including: "Be My Baby," "Da Doo Ron Ron," "And Then He Kissed Me," "Chapel Of Love" and "River Deep, Mountain High." With Barry, this trend continued with number one smashes, such as "Hanky Panky," "Do Wah Diddy" and the epic "Leader Of The Pack," co-written with Shadow Morton. Also, during these years, Greenwich reigned as one of New York's top demo/session singers and vocal arrangers, working with artists ranging from Dusty Springfield and Lesley Gore to Ella Fitzgerald, Bobby Darin and Frank Sinatra. One of her most exciting sessions was re-arranging the background vocals on Aretha Franklin's "Chain Of Fools" and working with Cissy Houston and the 'Sweet Inspirations.' During one of her many demo sessions, Greenwich met and "discovered" Neil Diamond and went on to co-produce all his early hits such as "Cherry, Cherry" and "Kentucky Woman," doing background vocals as well. Ellie was also producing for Red Bird Records at a time when female record producers were a real rarity. In the late 60's, Greenwich found continued success in collaborations with Bob Crewe, having a top 40 record, as an artist, with "I Want You To Be My Baby" - in writing for The Hardy Boys TV series - and in singing on popular commercials for Cheerios, Clairol and Ford Mustang . She would become one of the city's busiest female jingle writers and singers through the 70's and into the 80's being nominated for several Clios, including the "Ooo-La-La-Sasson" Jeans spot and entering the Clio Hall of Fame with a Levi's Jeans commercial from England. In recent years Ellie has worked with Desmond Child, Nona Hendryx, Cyndi Lauper and Paul Shaffer, among others. In 1984, "Leader Of The Pack," a show about her life and music, opened at New York's The Bottom Line. The success of this show led to a 1985 Broadway run at the Ambassador Theater, where it swept up an extraordinary trio of honors: A Tony Award nomination for Best Musical, a Grammy nomination for Best Cast Album and The New York Music Award for Best Broadway Musical. Inducted into the Songwriters' Hall Of Fame in 1991 - Ellie has developed a sitcom, a treatment for an original Broadway Musical, a children's animated program with original characters, a Christmas movie and she is working on a book. In 1997, the #1 Dance and Pop record in England and Australia was Ellie's song, "The Sunshine After The Rain." Elton John, Cher, Tina Turner, Mariah Carey, Bette Midler, Celine Dion, U2 Twisted Sister and Hanson are some of the contemporaries who have recorded her songs and "Christmas, Baby Please Come Home," has started the Holiday season for over fifteen years on the Late Night With David Letterman Show. On TV, in movies, in books and magazines, etc. - there's always a Greenwich song. "I guess you've really made it when your name and songs are in crossword puzzles, in Trivial Pursuit and other games and on Jeopardy." For the songs that continue to weave a backdrop in today's media, for the decades of listening pleasure, and for her enduring contribution to the history of rock and pop music, we salute Ellie Greenwich.

ys at the same pitch, volume and speed it can become boring for the listener. Think of your speech as an action movie. There are fast and loud parts and there are slow and quiet parts. If you have ever seen an Elton John concert he usually does a fast pace rock song followed by a slow pace ballad. He does this to add variety. You can do the same thing when you speak. When you write the words for your speech also plan when you will speak slowly, quickly, softly and loudly. A great technique that some speakers use is to speak very loudly and quickly and then lower the volume and speed to give emphasis. A good technique to help you with this is once you have written a speech use a different colored highlighter to show when you want to change pitch, volume or speed (if you are writing your speech on a computer you can use different colors or different fonts).

who saw the concept were sufficiently impressed to formally commit company resources to producing a car for the 1988 British Motor Show. Tom Walkinshaw Racing was tapped to produce a 6.2 L version of Jaguar's legendary V12 engine with four valves per cylinder, quad camshafts and a target output of 500 hp (370 kW/510 PS). The all wheel drive system was produced by FF Developments who had experience with such systems going back to the 1960s and the Jensen FF. The styling of the car was done by Keith Helfet and included scissor-style doors similar to those in use by Lamborghini in several of their cars. The name XJ220 was assigned as a reference to the targeted top-speed of 220 mph (350 km/h). The prototype car was significantly heavier at 1,560 kg (3,439 lb) than other Jaguar racers like the XJR-9. But as it was intended to be, first and foremost, a roadcar, it would be more appropriate to compare it with something like the XJS; in spite of being 30-inch (762 mm) longer and 10-inch (254 mm) wider and even with the added weight of the all wheel drive system, the XJ220 was still 170 kg (375 lb) lighter than the XJS. The car was officially announced in 1989 with a price of £361,000 ($580,000 USD) and prospective buyers were expected to put up a deposit of £50,000 ($80,000 USD) to be put on the waiting list for delivery. Because Jaguar promised to limit initial production to 220 units and that total production would not exceed 350, many of those who put deposits on the cars were speculators who intended to sell the car at an immediate profit. [edit] Production version The production version of the car was first shown to the public in October 1991 after undergoing significant changes. The most obvious of which was a completely different drivetrain and the elimination of the scissor doors. TWR was charged with producing the car and had several goals/rules in producing the car: the car would be rear wheel drive instead of all wheel drive; turbocharged V6 instead of the big V12; and performance goals of over 200 mph (320 km/h), 0 to 60 mph (97 km/h) under 4 s, and the lightest weight possible. The XJ220's V6 engine is visible through the rear windowThe 6.2 L V12 had been judged too difficult to get past increasingly strict emission regulations and there were also reportedly some design problems caused by the size of the power plant. It was replaced with a Tom Walkinshaw-developed 3.5 L V6 based on the engine used in the Rover Metro 6R4 rally car and fitted with twin Garrett T3 turbochargers, generating 549 bhp (409 kW/557 PS) of maximum power at 7000 rpm and 473 lb·ft (641 N·m) of torque at 4500 rpm. This engine was not only the first V6 in Jaguar's history, but also the first to use forced induction. In spite of the smaller displacement and half the number of cylinders, the engine produced more power than the V12 would have. However, potential customers judged the exhaust note to be harsh and the lag from the turbos to be an annoyance. Also missing from the production version of the car was the Ferguson all wheel drive the production car had only rear driven wheels, through a conventional transaxle and the ABS. The car entered production in 1992 in a purpose built factory at Bloxham near Oxford, and the first cars were delivered to customers in July. Original customers included Elton John and the Sultan of Brunei. Many of the initial customers were dissatisfied not only with the

o abolish all forms of human poverty in all forms of human life... and poopie on our automobiles! And yet, the same revolutionary beliefs for which our fore bearers fought are still at issue around the globe. The belief that the rights of man come not from the generosity of the state, but from lack of poop release on the car! When Hitler started the Holocaust, what were in Germany? Homeless people! During the Great Depression, our countries hardest time, what were there the most of? Homeless people! After Hurricane Katrina struck, what did we find in New Orleans? Homeless people! Before we were civilized humans, what were we? Just a bunch of #@!&-son of a #@!&-slut, turd-licking, s#@!&-sucking, horse-humping, #@!&-juggling, spider monkey-nippled homeless piece of #@!& #@!& star trek watching homeless people!!! What are we if we don't get this, this thing out of our driveway? A bunch of lallygagging, homeless, left wing liberals. So ask not what the homeless person can do to you, but what you can do to the homeless person! Mr Gorbachev, TEAR DOWN THAT HOMELESS PERSON!!!"

is one started. PLEASE, FOR THE LOVE OF GOD, FORGIVE THE TERRIBLE YOUTUBE QUALITY! I am so sorry! I didn't realize that purposefully blurry scenes would appear so craptacular on YouTube. I BEG YOU to watch this video in HIGH QUALITY! Otherwise, please bear with me. :/ Anyone wishing to understand the reasoning behind my video should definitely read the description. Otherwise, the video will not make any sense. So, I urge you to please read the following: For starters, this video explores love and immortality from Edward and Bella's point of view. Obviously, The Haunted Airman interview scenes illustrate Edward's verbal testimony to love (this video is mainly from his point of view). However, to include Bella's input, I consistently alternated between blurry and clear scenes in order to exemplify the changes brought on by her love for Edward & her consequential yet completely desired abandonment of mortality. And, of course, the clear scenes are Rainbow tinted. *Sigh* I always do that, and it's meant to bring a more dramatic effect to the clearness of Bella's vampire life. Beginning to :12 highlights the differences in Bella's senses before and after her turning. However, as you can see, her love for Edward remains the same. :12-:28 is an interlude showing Edward and Bella's trip to Esme Island for their Honeymoon. As Bella says, "We belong together," the couple's love blossoms further into the lingering night...this scene is left to interpretation, of course. ;] :28-:55 shows Edward expressing his love for Bella, his belief in the power of their love, and his struggling belief in her choices (such as his initial reaction to her choice to carry Renesmee). :55-1:02 is a brief display of the pains that love nonetheless carries. 1:02-1:09 shows Bella extremely sick with Renesmee, which is one of the strongest pains felt by Edward throughout his love for Bella. 1:09-1:23 is the chorus, and it exemplifies the strength of love conquering mortality (Renesmee is born, yet Bella lives on through immortality). 1:23-1:41 whisks us away to Edward and Bella after the turning. The blurring changes to clearing as their love survives and strengthens from mortality to immortality. 1:45-1:51 illustrates Jacob's denial and loss of hope once he fails to revive Bella during the birth. As he says, he is "working over a corpse." As Edward continues to believe, Jacob slams down denial. (Not a knock to Jacob...I love him very dearly as a character.) 1:51-2:19 "follows the sun" as it happily relishes in the bonds of romantic and familial love. As one can see, alongside Bella and Edward's love lies the love flowing within the entire Cullen family. From Rosalie's dedication to Renesmee and Bella to Alice and Jasper's integral role in the family's ultimate salvation, the Cullen family is entirely based on the power of true love. This also shows Bella becoming a Cullen, and a short picture of a somewhat accepted vision of Renesmee. 2:19-2:47 is an entire slew of memories from the Twilight Saga. 2:19-2:28 are Twilight memories, 2:28-2:32 illustrates Bella and Jacob's relationship from New Moon, and 2:32-2:57 shows Bella's pain in pregnancy as well as Rosalie's dedication to help her, and also displays Edward as "the burning man" whilst he begs Jacob to convince Bella to abandon the pregnancy. Jacob of course is angry at the prospect of offering his seed to Bella. ;] 2:47-3:27 is just Edward expressing once again the importance of universal love, and the ultimate necessity of his love for Bella. 3:27-3:47 can be interpreted as one of the many "love" scenes in Breaking Dawn. However, I do not have the clips nor the patience to concoct a wild vampire love scene. We all know how truly insane Bella and Edward are. Sorry, folks. ;] And it sports a Watercolor effect. New on the market of Cassie videos! Hooray! 3:47-3:55 is an intimate close-up of Bella and Edward. They love each other very much. :] 3:55-End is just a collage of action and emotion. The ending picture is a DeviantArt vision of Renesmee. Whoa. Thank you very much for reading and watching this video. I sincerely hope that you enjoy it, as I took a lot of time making it. The song is an oldie from Elton John--I hope you still like this video! :] Commments/Ratings/Subscribing is always appreciated, my friends. :] Thank you beyond words! Remember always that love is immortal, much like Edward and Bella. :]