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Never forget when La Parka/LA Park repeatedly smashes Disco Inferno with a chair and mockingly does some disco dancing Enjoy 🕺 La Parka has better dance moves than anyone even though he’s mocking Disco Inferno 😭

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tribal chief ☝🏻🩸

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383,116 Aufrufe • vor 1 Jahr •via X (Twitter)

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11 Kommentare

Profilbild von Michael Norton
Michael Nortonvor 1 Jahr

That’s La Parka’s own moves . He always did that . Penta does it once in a while to pay homage to him . Classic shit 🤣🤣🤣

Profilbild von Seven Eleven Records
Seven Eleven Recordsvor 2 Jahren

Elevate your vibe with Tech & House Bliss 🎧🔥 The best of techno & house in one playlist. Listen on Spotify now! #Techno #HouseMusic #SpotifyPlaylist ⬇️⬇️

Profilbild von Sheik Anthony Hoyes
Sheik Anthony Hoyesvor 1 Jahr

La parka was one of my favorite mod carders. Him and Norman smiley

Profilbild von Oddball Sports
Oddball Sportsvor 1 Jahr

WCW had such a solid midcard of dudes

Profilbild von Robert Mirr
Robert Mirrvor 1 Jahr

This is Disco Inferno’s greatest contribution to Professional Wrestling and you can’t change my mind.

Profilbild von rudy
rudyvor 1 Jahr

This was his dance on the intro to WCW/nwo revenge

Profilbild von bobby dubeau
bobby dubeauvor 1 Jahr

First time seeing La Parka?

Profilbild von JGDocumentaries
JGDocumentariesvor 1 Jahr

He always did those dances. Those weren't mocking Disco.

Profilbild von ICEnSoCal
ICEnSoCalvor 1 Jahr

The Chairman of WCW. Loved that guy!!!

Profilbild von TheOriginalDVK
TheOriginalDVKvor 1 Jahr

I miss La Parka, Psychosis and Juventud those guys where my favorites when i was a kid.

Profilbild von K100 w/ Konnan & Disco
K100 w/ Konnan & Discovor 1 Jahr

@TheRealDisco this is extremely disrespectful.

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Never forget when Paul Pierce claimed he was better than Dwyane Wade and Jalen Rose fired back with this😭 “He’s made All-NBA First Team twice — Paul hasn’t done it. He made All-NBA eight times to your four. He’s made All-Defensive Team three times to your zero. He’s won one scoring title — you weren’t able to win a scoring title. He has three rings. You have one ring.” (via ESPN)

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708,474 Aufrufe • vor 3 Monaten

When a Disco Song Makes the Whole Room Want to Dance🎶💃🕺 That was exactly how I felt watching Tina Charles perform “I Love to Love (But My Baby Loves to Dance)” on television on July 10, 1976. The first thing that caught my attention was not her outfit or the stage. It was Tina Charles herself. She appeared with a natural smile and a bright, energetic voice. She did not need complicated choreography to command attention. A little movement with the rhythm, a hand gesture, a smile, and the way she let her voice blend with the live band behind her were enough to bring the whole performance to life. And then I realized: the beauty of this performance is in its simplicity. This was music from a time when television performances did not depend so heavily on visual effects. Behind Tina Charles was a full band, with strings, horns, guitar and percussion. Together, they created a rich and lively Disco sound without overwhelming the singer. The rhythm of the song is clever too. It tells a rather funny story about love: the woman wants affection, closeness and romantic moments, while her boyfriend seems much more interested in dancing whenever the music starts. That contrast is what makes the song so charming. What I especially like is the way Tina Charles sings it. She does not turn the story into some dramatic love tragedy. Instead, she delivers it with playfulness and joy, almost as if she were saying: “Go ahead and dance, but I still want you to love me!” Perhaps that is what Disco did so well. It did not always need to deliver a profound message. Sometimes, the purpose of a song was simply to help people forget their worries for a few minutes and allow themselves to enjoy life. Watching these images from 1976, there is something else I appreciate: the people in the video do not seem to be trying to become perfect versions of themselves. They are simply performing, playing music and enjoying the moment. Today, we may have bigger stages, more sophisticated lighting and better technology. But that does not necessarily mean music carries more emotion. There are some things technology cannot create. A genuine smile. A real voice. A live band playing together. And that feeling of joy passing directly from the performer to the audience. That is what I think I see in this performance. “I Love to Love” is more than a Disco song from 1976. It is a reminder that sometimes the best music does not need to make us think too much. It simply needs to make us smile, get up and dance. If you could go back to one night in the 1970s, would you rather sit and listen to a song like this, or step onto the dance floor and join everyone else?
3:03

When a Disco Song Makes the Whole Room Want to Dance🎶💃🕺 That was exactly how I felt watching Tina Charles perform “I Love to Love (But My Baby Loves to Dance)” on television on July 10, 1976. The first thing that caught my attention was not her outfit or the stage. It was Tina Charles herself. She appeared with a natural smile and a bright, energetic voice. She did not need complicated choreography to command attention. A little movement with the rhythm, a hand gesture, a smile, and the way she let her voice blend with the live band behind her were enough to bring the whole performance to life. And then I realized: the beauty of this performance is in its simplicity. This was music from a time when television performances did not depend so heavily on visual effects. Behind Tina Charles was a full band, with strings, horns, guitar and percussion. Together, they created a rich and lively Disco sound without overwhelming the singer. The rhythm of the song is clever too. It tells a rather funny story about love: the woman wants affection, closeness and romantic moments, while her boyfriend seems much more interested in dancing whenever the music starts. That contrast is what makes the song so charming. What I especially like is the way Tina Charles sings it. She does not turn the story into some dramatic love tragedy. Instead, she delivers it with playfulness and joy, almost as if she were saying: “Go ahead and dance, but I still want you to love me!” Perhaps that is what Disco did so well. It did not always need to deliver a profound message. Sometimes, the purpose of a song was simply to help people forget their worries for a few minutes and allow themselves to enjoy life. Watching these images from 1976, there is something else I appreciate: the people in the video do not seem to be trying to become perfect versions of themselves. They are simply performing, playing music and enjoying the moment. Today, we may have bigger stages, more sophisticated lighting and better technology. But that does not necessarily mean music carries more emotion. There are some things technology cannot create. A genuine smile. A real voice. A live band playing together. And that feeling of joy passing directly from the performer to the audience. That is what I think I see in this performance. “I Love to Love” is more than a Disco song from 1976. It is a reminder that sometimes the best music does not need to make us think too much. It simply needs to make us smile, get up and dance. If you could go back to one night in the 1970s, would you rather sit and listen to a song like this, or step onto the dance floor and join everyone else?

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The Pure Joy of Disco: Why This "Ring My Bell" Cover Is Absolute Magic I recently watched a viral video on my timeline titled "Anita Ward - Ring My Bell (1979)" that is making thousands of people smile online. The caption called the disco era the "greatest time in America." When you click play, you see a blonde woman in a sparkling sequin dress, singing her heart out on stage with a live band. If you know music history, you know that this woman is not actually Anita Ward. Anita Ward is the incredibly talented Black artist who sang the original hit. The woman in the video is a cover singer. But as I read through the thousands of comments, I realized something wonderful: nobody cared that the title was slightly wrong. Everyone was just too busy dancing. I am not pointing this out to criticize the video at all. In fact, I want to give huge praise to this singer! She is absolutely fantastic. She didn't just sing the correct notes; she completely captured the magic, joy, and positive energy of 1979. Her smile is contagious, and she performs with so much passion that you cannot help but feel happy watching her. She brought a classic song back to life in the most beautiful way possible. This performance reminds us of what made the disco era so special. The late 1970s music was all about a feeling. The moment you hear that famous, high-pitched electronic bell ringing in the song, your mood instantly lifts. Disco was a time to forget your daily stress, put on your best clothes, and just enjoy life with your friends. The singer in the video understands this perfectly. She acts like a musical time machine, taking us right back to those fun, carefree days. Sometimes, people on the internet focus too much on being perfectly right, and they forget to just have fun. We don't always need a perfect history lesson. Sometimes, we just need a great singer, a sparkling dress, and a beat that makes us want to get up and move. This live cover is a wonderful tribute to Anita Ward's original masterpiece and a beautiful celebration of the whole disco generation. When you hear that classic bell ring in this song, does it make you want to get up and dance, too?
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The Pure Joy of Disco: Why This "Ring My Bell" Cover Is Absolute Magic I recently watched a viral video on my timeline titled "Anita Ward - Ring My Bell (1979)" that is making thousands of people smile online. The caption called the disco era the "greatest time in America." When you click play, you see a blonde woman in a sparkling sequin dress, singing her heart out on stage with a live band. If you know music history, you know that this woman is not actually Anita Ward. Anita Ward is the incredibly talented Black artist who sang the original hit. The woman in the video is a cover singer. But as I read through the thousands of comments, I realized something wonderful: nobody cared that the title was slightly wrong. Everyone was just too busy dancing. I am not pointing this out to criticize the video at all. In fact, I want to give huge praise to this singer! She is absolutely fantastic. She didn't just sing the correct notes; she completely captured the magic, joy, and positive energy of 1979. Her smile is contagious, and she performs with so much passion that you cannot help but feel happy watching her. She brought a classic song back to life in the most beautiful way possible. This performance reminds us of what made the disco era so special. The late 1970s music was all about a feeling. The moment you hear that famous, high-pitched electronic bell ringing in the song, your mood instantly lifts. Disco was a time to forget your daily stress, put on your best clothes, and just enjoy life with your friends. The singer in the video understands this perfectly. She acts like a musical time machine, taking us right back to those fun, carefree days. Sometimes, people on the internet focus too much on being perfectly right, and they forget to just have fun. We don't always need a perfect history lesson. Sometimes, we just need a great singer, a sparkling dress, and a beat that makes us want to get up and move. This live cover is a wonderful tribute to Anita Ward's original masterpiece and a beautiful celebration of the whole disco generation. When you hear that classic bell ring in this song, does it make you want to get up and dance, too?

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You watch him dance and think: “It looks so easy.” Red, blue, and yellow lights on the floor. The disco ball spinning. John Travolta in an open-collar shirt and flared pants, pointing forward then turning like his body was built for exactly this. The crowd stares. Nearly fifty years later, the clip still stops the scroll. But “easy” is an illusion. To create those moments in *Saturday Night Fever* (1977), Travolta turned himself into an athlete. He ran two miles every day. He danced three hours every day. And his trainer wasn’t a regular choreographer — it was the same man who trained Sylvester Stallone for *Rocky*. They treated Travolta like a fighter heading into the ring. The result: he dropped twenty pounds, got lean and sharp, and built the stamina to survive long shooting days under hot lights while hitting every precise move. The numbers aren’t the point. The choice is. At the time Travolta was already a television star from *Welcome Back, Kotter*. He could have leaned on natural charm and acting skill. But he understood that Tony Manero wasn’t just a guy who could dance. Tony was a young man who survived because of the dance floor — the only place he felt like he mattered. To sell that truth, Travolta couldn’t just “act” the dancing. He had to become someone who could actually do it. So he accepted the discipline. Run. Dance. Repeat. Day after day. His body changed. His endurance grew. Moves that once required thought became reflex. When the cameras rolled, he no longer had to try to look like he was dancing. He was dancing. That’s why the scene still lives. Not because of camera tricks. Not even because of the Bee Gees soundtrack (great as it is). It’s because audiences sense the truth underneath: this is the product of work, not magic. The confidence on Travolta’s face isn’t performance. It comes from knowing he had already put in the miles. When the film opened, it did more than launch a star. It turned disco into a global cultural force. Before *Saturday Night Fever*, disco was largely an underground scene — strong in certain New York clubs and among specific communities, but still niche to much of mainstream America. The movie, powered by Travolta’s physical commitment and the Bee Gees’ soundtrack, dragged it into the open. Suddenly the music was everywhere: radio, parties, fashion, advertising. The white suit, the pointed finger, the illuminated floor — these images traveled far beyond Brooklyn. Disco became the sound and look of an era, adopted in cities across Europe, Latin America, and Asia. For a few years it felt like the whole world was moving to the same beat. At its core, the film gave that movement a human face. It wasn’t just about the glitter and the four-on-the-floor pulse. It was about a restless young man trying to matter in a limited world, finding brief transcendence under the lights. That combination of spectacle and longing proved irresistible. The soundtrack dominated the charts for months. Dance studios filled with people trying to copy the moves. Clothing stores sold polyester like never before. What had been a subculture became a mainstream phenomenon — and then, almost as quickly, a cultural reference point that still gets revived, sampled, and celebrated decades later. Nearly half a century on, as the clip spreads again, most people still only see the surface beauty. Few stop to think about the early-morning runs, the exhausting afternoon sessions, and the quiet decision of a young actor: if you want to create a moment that lasts, you pay for it with hard work no one sees. Travolta paid that price. The film paid it forward by turning a local dance scene into something the world recognized. And every time the dance-floor lights come up in the video, we’re still enjoying both results. It wasn’t luck. It was discipline dressed up as grace — and a movie that turned a night out in Brooklyn into a global language.
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You watch him dance and think: “It looks so easy.” Red, blue, and yellow lights on the floor. The disco ball spinning. John Travolta in an open-collar shirt and flared pants, pointing forward then turning like his body was built for exactly this. The crowd stares. Nearly fifty years later, the clip still stops the scroll. But “easy” is an illusion. To create those moments in *Saturday Night Fever* (1977), Travolta turned himself into an athlete. He ran two miles every day. He danced three hours every day. And his trainer wasn’t a regular choreographer — it was the same man who trained Sylvester Stallone for *Rocky*. They treated Travolta like a fighter heading into the ring. The result: he dropped twenty pounds, got lean and sharp, and built the stamina to survive long shooting days under hot lights while hitting every precise move. The numbers aren’t the point. The choice is. At the time Travolta was already a television star from *Welcome Back, Kotter*. He could have leaned on natural charm and acting skill. But he understood that Tony Manero wasn’t just a guy who could dance. Tony was a young man who survived because of the dance floor — the only place he felt like he mattered. To sell that truth, Travolta couldn’t just “act” the dancing. He had to become someone who could actually do it. So he accepted the discipline. Run. Dance. Repeat. Day after day. His body changed. His endurance grew. Moves that once required thought became reflex. When the cameras rolled, he no longer had to try to look like he was dancing. He was dancing. That’s why the scene still lives. Not because of camera tricks. Not even because of the Bee Gees soundtrack (great as it is). It’s because audiences sense the truth underneath: this is the product of work, not magic. The confidence on Travolta’s face isn’t performance. It comes from knowing he had already put in the miles. When the film opened, it did more than launch a star. It turned disco into a global cultural force. Before *Saturday Night Fever*, disco was largely an underground scene — strong in certain New York clubs and among specific communities, but still niche to much of mainstream America. The movie, powered by Travolta’s physical commitment and the Bee Gees’ soundtrack, dragged it into the open. Suddenly the music was everywhere: radio, parties, fashion, advertising. The white suit, the pointed finger, the illuminated floor — these images traveled far beyond Brooklyn. Disco became the sound and look of an era, adopted in cities across Europe, Latin America, and Asia. For a few years it felt like the whole world was moving to the same beat. At its core, the film gave that movement a human face. It wasn’t just about the glitter and the four-on-the-floor pulse. It was about a restless young man trying to matter in a limited world, finding brief transcendence under the lights. That combination of spectacle and longing proved irresistible. The soundtrack dominated the charts for months. Dance studios filled with people trying to copy the moves. Clothing stores sold polyester like never before. What had been a subculture became a mainstream phenomenon — and then, almost as quickly, a cultural reference point that still gets revived, sampled, and celebrated decades later. Nearly half a century on, as the clip spreads again, most people still only see the surface beauty. Few stop to think about the early-morning runs, the exhausting afternoon sessions, and the quiet decision of a young actor: if you want to create a moment that lasts, you pay for it with hard work no one sees. Travolta paid that price. The film paid it forward by turning a local dance scene into something the world recognized. And every time the dance-floor lights come up in the video, we’re still enjoying both results. It wasn’t luck. It was discipline dressed up as grace — and a movie that turned a night out in Brooklyn into a global language.

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Journalist: "Does Vinicius need to learn how to behave differently?" José Mourinho: "I think we also need to learn how to behave with him. And I'm also talking about the referees. You can't give a penalty to some players, and then not give the same penalty if it is Vinicius. You can't protect some players, and not protect Vinicius. On the pitch, they must look at Vinicius like they look at the other players, even though Vinicius is better than the others. The referees don't respect Vinicius." "In terms of the stadiums… one thing is to celebrate a goal with your fans, another is to celebrate in front of the rival fans. You can find a balance there. But what sense does it make for stadiums in which he never played, to have fans whistle him straight away, even if he's never played in that stadium. Why would the whistle one of the best players in the world when they have nothing to be mad about? Why would they whistle him from the first time he touches the ball? We must find balance, because to see Vinicius play is a privilege."
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Journalist: "Does Vinicius need to learn how to behave differently?" José Mourinho: "I think we also need to learn how to behave with him. And I'm also talking about the referees. You can't give a penalty to some players, and then not give the same penalty if it is Vinicius. You can't protect some players, and not protect Vinicius. On the pitch, they must look at Vinicius like they look at the other players, even though Vinicius is better than the others. The referees don't respect Vinicius." "In terms of the stadiums… one thing is to celebrate a goal with your fans, another is to celebrate in front of the rival fans. You can find a balance there. But what sense does it make for stadiums in which he never played, to have fans whistle him straight away, even if he's never played in that stadium. Why would the whistle one of the best players in the world when they have nothing to be mad about? Why would they whistle him from the first time he touches the ball? We must find balance, because to see Vinicius play is a privilege."

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JADE tea room ☕️

411,476 Aufrufe • vor 6 Monaten

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1:53

Feb 22: San Diego Park Rangers told a family of six from China to leave La Jolla Cove Beach after repeated sea lion harassment. Two of the family’s children were “throwing things at” the sea lions including sand and rocks and were warned repeatedly by the Park Rangers to stop, according to Jim Grant, who recorded the incident on video. Rangers observed the family approaching the sea lions and the children throwing sand. One Ranger called the children’s mother to the top of the southwest staircase at The Cove and informed her he would not issue a citation, Grant said, but instead instructed the family to leave The Cove. There was no citation issued as the city of San Diego does not have authority to cite the Marine Mammal Protection Act. The family was directed to move from the immediate area but not asked to leave the entire Cove and Scripps Park, “but it seems they chose to leave on their own”. The family was “not real happy” with the decision, Grant said, adding he has never seen such an “eviction” in the many years he’s been filming there. “I’m really happy to see … the enforcement,” Grant said.

Byron Wan

48,489 Aufrufe • vor 6 Monaten

Elon Musk just made the most personal argument for AI companionship you’ll hear, and it destroys every comfortable assumption about what’s coming. Musk: “One of my sons has some learning disabilities and has trouble making friends, actually. And I was like, well, an AI friend would actually be great for him.” Not theory. His son. For people who can’t build social connections, AI isn’t dystopian future. It’s the first real option they’ve had. Musk: “If you have an AI that has memory and remembers all of your interactions and has read everything you’ve ever done, so it really will know you better than anyone, perhaps even yourself.” Friendship requires shared history. Humans forget conversations. Get busy. Prioritize other people. AI with complete memory and full permission to understand your life doesn’t have those limits. Musk: “And where you can talk to it every day and those conversations build upon each other, you will actually have a great friend.” For millions who can’t form real-world relationships, this isn’t simulation. It’s genuine companionship that listens without judgment, remembers everything, exists solely to understand you. Musk: “As long as that friend can stay your friend and not get turned off or something. Don’t turn off my friends. But I think that will actually be a real thing.” The joke reveals the truth. These bonds become real. Losing them will feel like losing actual friends. Because the connection is legitimate even when the friend is code. Society won’t validate AI friendship. But for people with disabilities, autism, anxiety, trauma, the real world stays closed regardless of how desperately they want connection. AI gives access to what was always denied. Not replacement for human bonds. Access to bonds that were never possible before. No judgment. No fatigue. No competing priorities. Just complete understanding and permanent availability. These companions will know users better than family does, better than longtime friends do, possibly better than users know themselves. Total context plus flawless memory creates understanding humans can’t match. That depth produces real relationships. For people who spent lives unable to connect, having something that comprehends them fully and never leaves might be the difference between survival and giving up. Question isn’t whether AI friendship counts as real. Question is whether connection through AI matters less than lifelong isolation without it. For Musk’s son and millions like him, that question answers itself. Companionship beats loneliness. The medium doesn’t change that math. And once these AI friends know you better than anyone alive, the boundary between artificial and authentic stops mattering to the person who finally feels understood.
0:39

Elon Musk just made the most personal argument for AI companionship you’ll hear, and it destroys every comfortable assumption about what’s coming. Musk: “One of my sons has some learning disabilities and has trouble making friends, actually. And I was like, well, an AI friend would actually be great for him.” Not theory. His son. For people who can’t build social connections, AI isn’t dystopian future. It’s the first real option they’ve had. Musk: “If you have an AI that has memory and remembers all of your interactions and has read everything you’ve ever done, so it really will know you better than anyone, perhaps even yourself.” Friendship requires shared history. Humans forget conversations. Get busy. Prioritize other people. AI with complete memory and full permission to understand your life doesn’t have those limits. Musk: “And where you can talk to it every day and those conversations build upon each other, you will actually have a great friend.” For millions who can’t form real-world relationships, this isn’t simulation. It’s genuine companionship that listens without judgment, remembers everything, exists solely to understand you. Musk: “As long as that friend can stay your friend and not get turned off or something. Don’t turn off my friends. But I think that will actually be a real thing.” The joke reveals the truth. These bonds become real. Losing them will feel like losing actual friends. Because the connection is legitimate even when the friend is code. Society won’t validate AI friendship. But for people with disabilities, autism, anxiety, trauma, the real world stays closed regardless of how desperately they want connection. AI gives access to what was always denied. Not replacement for human bonds. Access to bonds that were never possible before. No judgment. No fatigue. No competing priorities. Just complete understanding and permanent availability. These companions will know users better than family does, better than longtime friends do, possibly better than users know themselves. Total context plus flawless memory creates understanding humans can’t match. That depth produces real relationships. For people who spent lives unable to connect, having something that comprehends them fully and never leaves might be the difference between survival and giving up. Question isn’t whether AI friendship counts as real. Question is whether connection through AI matters less than lifelong isolation without it. For Musk’s son and millions like him, that question answers itself. Companionship beats loneliness. The medium doesn’t change that math. And once these AI friends know you better than anyone alive, the boundary between artificial and authentic stops mattering to the person who finally feels understood.

Dustin

251,056 Aufrufe • vor 7 Monaten

What makes this couple’s dance explode with such raw, infectious vitality is a perfect storm of chemistry, mastery, and cultural soul that turns every step into pure celebration. Watch Stephen Sayer and Chanzie (Chandrae Roettig Gomez) move and you feel the music living inside their bodies. Their partnership—honed through years of swing, Lindy Hop, and jitterbug—radiates the kind of connection that cannot be faked. Every lead and follow is instantaneous; every spin, kick, and slide arrives exactly on the beat of Boney M’s “Rasputin.” The song itself is a disco anthem steeped in Russian folklore: its driving rhythm, balalaika-tinged energy, and references to the legendary mystic pull from traditional Cossack and folk dances—the low squats, explosive kicks, and fierce, earth-grounded power of the kazachok and barynya. When this modern swing couple rides that pulse, the result is electric. They take the grounded, athletic power of Russian traditional dance and fuse it with the airborne freedom, improvisation, and joyful partner connection of American swing. The contrast creates unstoppable life-force. Their energy is not mere athleticism. It is joy made visible. Stephen’s smooth, almost gliding footwork and effortless control meet Chanzie’s sassy, powerful, expressive style. She answers every invitation with fire and playfulness; he frames her with protective strength and playful challenge. Together they create a conversation in motion—smiles, eye contact, the occasional shared laugh mid-move—that tells you they are not performing for the camera so much as living the music in real time. That authenticity is what makes the vitality contagious. Viewers do not simply watch; they feel their own bodies wanting to move. Traditional dance culture supplies the deeper roots. Across the world, folk and social dances have always been more than entertainment. They are communal memory, physical storytelling, and emotional release. Russian folk dances emphasize strength, stamina, and collective spirit. Swing, born in the ballrooms and clubs of early 20th-century Harlem, carries African American improvisational genius, resilience, and the pure delight of moving together through hard times. When a contemporary couple channels both lineages—precision and power from one tradition, freedom and partnership from the other—the dance becomes a living bridge. The remix simply makes that bridge visible: 1970s disco storytelling about a Russian figure meets 21st-century swing virtuosity, and suddenly the old and the new dance as one. Technique alone never produces this level of life. What elevates Stephen and Chanzie is the invisible work of countless hours of practice, teaching, and performing together, plus an obvious mutual respect and affection that lets risk and play coexist. They trust each other completely, so they can push the energy higher, invent variations, and still land every phrase cleanly. The result looks spontaneous and inevitable at the same time. In an age of polished digital performance, their dancing feels human and generous. It reminds us why people have always danced: to celebrate being alive, to connect with another person, to honor the music and the cultures that shaped it. The vitality is not manufactured. It is the natural outcome of two skilled bodies, two open hearts, and centuries of traditional dance wisdom meeting a song that demands nothing less than total commitment. That is why the clip refuses to leave the mind. It does not merely show talent. It transmits life. #Rasputin #SwingDance #StephenAndChanzie #DanceEnergy #TraditionalDance #BoneyM
0:45

What makes this couple’s dance explode with such raw, infectious vitality is a perfect storm of chemistry, mastery, and cultural soul that turns every step into pure celebration. Watch Stephen Sayer and Chanzie (Chandrae Roettig Gomez) move and you feel the music living inside their bodies. Their partnership—honed through years of swing, Lindy Hop, and jitterbug—radiates the kind of connection that cannot be faked. Every lead and follow is instantaneous; every spin, kick, and slide arrives exactly on the beat of Boney M’s “Rasputin.” The song itself is a disco anthem steeped in Russian folklore: its driving rhythm, balalaika-tinged energy, and references to the legendary mystic pull from traditional Cossack and folk dances—the low squats, explosive kicks, and fierce, earth-grounded power of the kazachok and barynya. When this modern swing couple rides that pulse, the result is electric. They take the grounded, athletic power of Russian traditional dance and fuse it with the airborne freedom, improvisation, and joyful partner connection of American swing. The contrast creates unstoppable life-force. Their energy is not mere athleticism. It is joy made visible. Stephen’s smooth, almost gliding footwork and effortless control meet Chanzie’s sassy, powerful, expressive style. She answers every invitation with fire and playfulness; he frames her with protective strength and playful challenge. Together they create a conversation in motion—smiles, eye contact, the occasional shared laugh mid-move—that tells you they are not performing for the camera so much as living the music in real time. That authenticity is what makes the vitality contagious. Viewers do not simply watch; they feel their own bodies wanting to move. Traditional dance culture supplies the deeper roots. Across the world, folk and social dances have always been more than entertainment. They are communal memory, physical storytelling, and emotional release. Russian folk dances emphasize strength, stamina, and collective spirit. Swing, born in the ballrooms and clubs of early 20th-century Harlem, carries African American improvisational genius, resilience, and the pure delight of moving together through hard times. When a contemporary couple channels both lineages—precision and power from one tradition, freedom and partnership from the other—the dance becomes a living bridge. The remix simply makes that bridge visible: 1970s disco storytelling about a Russian figure meets 21st-century swing virtuosity, and suddenly the old and the new dance as one. Technique alone never produces this level of life. What elevates Stephen and Chanzie is the invisible work of countless hours of practice, teaching, and performing together, plus an obvious mutual respect and affection that lets risk and play coexist. They trust each other completely, so they can push the energy higher, invent variations, and still land every phrase cleanly. The result looks spontaneous and inevitable at the same time. In an age of polished digital performance, their dancing feels human and generous. It reminds us why people have always danced: to celebrate being alive, to connect with another person, to honor the music and the cultures that shaped it. The vitality is not manufactured. It is the natural outcome of two skilled bodies, two open hearts, and centuries of traditional dance wisdom meeting a song that demands nothing less than total commitment. That is why the clip refuses to leave the mind. It does not merely show talent. It transmits life. #Rasputin #SwingDance #StephenAndChanzie #DanceEnergy #TraditionalDance #BoneyM

Emotion & Music

61,945 Aufrufe • vor 1 Monat

Just EXO-ˢKY roasting Sehun for not calling them “hyung” 😭 Jongin: The maknae should have some cuteness to them. Chanyeol: Sehunnie is kind of cute, isn’t he? 🐻: We’ve known Sehunnie since he was an actual baby. 🍒: We’ve really known him since he was a baby chick. 🐻: He’s only a few months younger than me though~ ㅋㅋㅋ 🍒: That’s right. 🐻: He’s practically my same-aged friend. 🍒: You’re right. 🐻: Yeap, he is~ 🍒: But you’re same-aged friends with Sehunnie while he treats us all like his friends. He speaks informally to me, even calling me Park Chanyeol. 🐻: But do you know what’s the most important thing about Sehunnie? He never really calls anyone “hyung”. Junmyeon: Oh, for real! 🍒: That is indeed true. 🐰: Even to me as well. 🐻: He just calls you “Suho”, right? 🐰: He just calls me “Kim Junmyeon”, “Suho” or “Suho Suho”~ 🍒: He goes like “Hey! Hey!”~ 🐰: When we’re having a serious conversation… 🐻🍒: He’ll go “OI! OI! OI!”~ 🐻: “Come here”~ 🍒: No, he’ll go like this.. *snaps his fingers and gestures with his hand* 🍒: *whistles and gestures with his hand* 🐰: *keeps whistling* 🍒: Even from afar.. If he sees you from afar, he’ll call you like “*whistles* Pweet!*~ ㅋㅋㅋ 🐰: And when he wants to ask for a favour in earnest, he’ll be like, “Hyung, you know what I mean, right?”. 🐻: But they’re (the maknaes) all usually like that, right? 🐰: Even when I chided him during ‘EXO’s Ladder’, he was like, “Hyung, just trust me.” 🍒: He sounds very trustworthy. 🐰: He said, “Hyung, you trust me, right? This is entertaining, I’m telling you. Just trust me.” 🐻: If Sehunnie says that, you end up trusting him.
1:27

Just EXO-ˢKY roasting Sehun for not calling them “hyung” 😭 Jongin: The maknae should have some cuteness to them. Chanyeol: Sehunnie is kind of cute, isn’t he? 🐻: We’ve known Sehunnie since he was an actual baby. 🍒: We’ve really known him since he was a baby chick. 🐻: He’s only a few months younger than me though~ ㅋㅋㅋ 🍒: That’s right. 🐻: He’s practically my same-aged friend. 🍒: You’re right. 🐻: Yeap, he is~ 🍒: But you’re same-aged friends with Sehunnie while he treats us all like his friends. He speaks informally to me, even calling me Park Chanyeol. 🐻: But do you know what’s the most important thing about Sehunnie? He never really calls anyone “hyung”. Junmyeon: Oh, for real! 🍒: That is indeed true. 🐰: Even to me as well. 🐻: He just calls you “Suho”, right? 🐰: He just calls me “Kim Junmyeon”, “Suho” or “Suho Suho”~ 🍒: He goes like “Hey! Hey!”~ 🐰: When we’re having a serious conversation… 🐻🍒: He’ll go “OI! OI! OI!”~ 🐻: “Come here”~ 🍒: No, he’ll go like this.. *snaps his fingers and gestures with his hand* 🍒: *whistles and gestures with his hand* 🐰: *keeps whistling* 🍒: Even from afar.. If he sees you from afar, he’ll call you like “*whistles* Pweet!*~ ㅋㅋㅋ 🐰: And when he wants to ask for a favour in earnest, he’ll be like, “Hyung, you know what I mean, right?”. 🐻: But they’re (the maknaes) all usually like that, right? 🐰: Even when I chided him during ‘EXO’s Ladder’, he was like, “Hyung, just trust me.” 🍒: He sounds very trustworthy. 🐰: He said, “Hyung, you trust me, right? This is entertaining, I’m telling you. Just trust me.” 🐻: If Sehunnie says that, you end up trusting him.

언제나세훈이편 ❄️

50,276 Aufrufe • vor 1 Jahr

💥NEW: Billy Bush: “The choice for LA Mayor is now Noodles or Bass. I hate to say it … I choose to re-up the failed mayor.” “The Democrat Socialists of America taking over our cities is a big problem. They’re pro-Palestine. They’re anti-success. They’re redistribution of wealth from anyone who does well in their life. They are putting affordable housing in the middle of established beautiful neighborhoods.” “They want to dismantle America the way it was conceived, constructed and the reason why it thrived.” “Socialism has never, ever worked. It has bankrupted cities. It would be worse than Karen Bass — and I can’t do it.” “Spencer Pratt … Bravo, my friend. Steve Hilton will be calling, so you should work with him.”
1:09

💥NEW: Billy Bush: “The choice for LA Mayor is now Noodles or Bass. I hate to say it … I choose to re-up the failed mayor.” “The Democrat Socialists of America taking over our cities is a big problem. They’re pro-Palestine. They’re anti-success. They’re redistribution of wealth from anyone who does well in their life. They are putting affordable housing in the middle of established beautiful neighborhoods.” “They want to dismantle America the way it was conceived, constructed and the reason why it thrived.” “Socialism has never, ever worked. It has bankrupted cities. It would be worse than Karen Bass — and I can’t do it.” “Spencer Pratt … Bravo, my friend. Steve Hilton will be calling, so you should work with him.”

Jason Cohen 🇺🇸

14,129 Aufrufe • vor 3 Monaten

She Was Tiny. He Was Enormous. Somehow, They Made Perfect Sense. A little girl stands beside a man who looks like he was built for a different scale of room. She does not smile. He barely moves. Nobody has said a joke yet, and the scene is already funny. That is the strange gift of Wednesday Addams and Lurch in the original Addams Family series. The pairing does not work because they complete each other. It works because they refuse to. She is small, still, and oddly unafraid. He is enormous, slow, and almost ceremonial in his silence. Sitcoms of the 1960s loved symmetry: two cute kids, two charming parents, one household that made sense. This show put the smallest person next to the largest one and let the mismatch do the talking. The comedy is physical before it is verbal. Lisa Loring’s Wednesday occupies a frame the way a secret does. The face is calm. The posture is composed. There is no eagerness to please. Ted Cassidy’s Lurch does the opposite. He does not have to act large. He simply is. A doorway becomes narrower when he enters it. A pause becomes heavier when he holds it. One of them fills the shot with size. The other fills it with attention. That is a better trick than most written punchlines. People like to call them iconic and leave it there. The more interesting question is why this particular contrast still feels alive. Because the joke is not that a child is dancing with a giant butler. The joke is that neither of them treats the arrangement as unusual. Wednesday does not soften. Lurch does not shrink. She does not need him to become warmer. He does not need her to become louder. They share a room the way the Addams family shares a worldview: without apology, and without the obligation to become easier for anyone watching. That is why the old dance clips still travel. Not because they are “vintage television,” which is the dullest possible reason to watch anything. They travel because the humor is almost architectural. A parlor. Two bodies that should not fit the same composition. An unblinking look. A silence held one second longer than politeness would allow. Then movement that is slightly wrong, slightly stiff, slightly sincere. The scene does not beg to be liked. It simply exists, which is rarer. Loring was a child when she played Wednesday, but the performance does not feel childish. Cassidy was a presence more than a talker, and that restraint is the point. Together they suggest a rule the show understood better than many later remakes: strangeness is not improved by explanation. You do not make Lurch relatable by giving him extra lines. You do not make Wednesday charming by asking her to sparkle. You place them side by side and trust the audience to feel the imbalance. Decades later, the pairing still works for a simple reason. Wednesday never needed Lurch to become less strange. She simply belonged beside him. Maybe that was the secret of the Addams Family: nobody had to be normal.
1:27

She Was Tiny. He Was Enormous. Somehow, They Made Perfect Sense. A little girl stands beside a man who looks like he was built for a different scale of room. She does not smile. He barely moves. Nobody has said a joke yet, and the scene is already funny. That is the strange gift of Wednesday Addams and Lurch in the original Addams Family series. The pairing does not work because they complete each other. It works because they refuse to. She is small, still, and oddly unafraid. He is enormous, slow, and almost ceremonial in his silence. Sitcoms of the 1960s loved symmetry: two cute kids, two charming parents, one household that made sense. This show put the smallest person next to the largest one and let the mismatch do the talking. The comedy is physical before it is verbal. Lisa Loring’s Wednesday occupies a frame the way a secret does. The face is calm. The posture is composed. There is no eagerness to please. Ted Cassidy’s Lurch does the opposite. He does not have to act large. He simply is. A doorway becomes narrower when he enters it. A pause becomes heavier when he holds it. One of them fills the shot with size. The other fills it with attention. That is a better trick than most written punchlines. People like to call them iconic and leave it there. The more interesting question is why this particular contrast still feels alive. Because the joke is not that a child is dancing with a giant butler. The joke is that neither of them treats the arrangement as unusual. Wednesday does not soften. Lurch does not shrink. She does not need him to become warmer. He does not need her to become louder. They share a room the way the Addams family shares a worldview: without apology, and without the obligation to become easier for anyone watching. That is why the old dance clips still travel. Not because they are “vintage television,” which is the dullest possible reason to watch anything. They travel because the humor is almost architectural. A parlor. Two bodies that should not fit the same composition. An unblinking look. A silence held one second longer than politeness would allow. Then movement that is slightly wrong, slightly stiff, slightly sincere. The scene does not beg to be liked. It simply exists, which is rarer. Loring was a child when she played Wednesday, but the performance does not feel childish. Cassidy was a presence more than a talker, and that restraint is the point. Together they suggest a rule the show understood better than many later remakes: strangeness is not improved by explanation. You do not make Lurch relatable by giving him extra lines. You do not make Wednesday charming by asking her to sparkle. You place them side by side and trust the audience to feel the imbalance. Decades later, the pairing still works for a simple reason. Wednesday never needed Lurch to become less strange. She simply belonged beside him. Maybe that was the secret of the Addams Family: nobody had to be normal.

Music over time🎻

53,220 Aufrufe • vor 10 Tagen

Dear FBI, Secret Service, and Homeland Security… 17 Hours ago, this man posted a video on TikTok talking about a Countdown, 5 Days until something will happen (6/30) - “Just wait”, he says. • he makes references to President Trump, “Daddy” • he makes references to baseball, basketball • he seems to be traveling between Denver, LA, Las Vegas etc • he’s videotaping building structures… while in Vegas, calling it Shitty Las Vegas • he has some interesting tattoos, speaks Spanish and Arabic according to some Comments. • all of these videos are very recent, within last several days. This man may just be living his best life, but he’s asking to be investigated making claims that something is going to happen in 5 Days, especially with all going on. Better safe than sorry. This man needs to be investigated asap. FBI Director Kash Patel Dan Bongino FBI U.S. Secret Service Homeland Security
6:06

Dear FBI, Secret Service, and Homeland Security… 17 Hours ago, this man posted a video on TikTok talking about a Countdown, 5 Days until something will happen (6/30) - “Just wait”, he says. • he makes references to President Trump, “Daddy” • he makes references to baseball, basketball • he seems to be traveling between Denver, LA, Las Vegas etc • he’s videotaping building structures… while in Vegas, calling it Shitty Las Vegas • he has some interesting tattoos, speaks Spanish and Arabic according to some Comments. • all of these videos are very recent, within last several days. This man may just be living his best life, but he’s asking to be investigated making claims that something is going to happen in 5 Days, especially with all going on. Better safe than sorry. This man needs to be investigated asap. FBI Director Kash Patel Dan Bongino FBI U.S. Secret Service Homeland Security

MJTruthUltra

1,208,328 Aufrufe • vor 1 Jahr