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🚨 Whitney coded 😍 Monica ‘Street Symphony’ (1999) 🚸🎻🎺

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Poll The Crowds

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32,536 просмотров • 3 месяцев назад •via X (Twitter)

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🚨 Coincidence or calculated⁉️🤔 🎥 Watch full clip and draw your own conclusion‼️ ⮕ February 9, 2012 — Whitney crashed interview to give Brandy a note. 📅 February 10, 2012 — Brandy and Monica release “It All Belongs to Me.” One day apart 🤔 ⇅ 🕊️ February 11, 2012 — Whitney Houston found face down in the tub. 📝 Brandy later said the note Whitney gave her was Whitney “passing the torch.” #Brandy #Monica #WhitneyHouston
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そんなスカートで激しく動いちゃいけません😱🫣😍 まあ、もちろん大丈夫なのはわかってますが😄 堀ちえみちゃんの、昭和60年1月23日発売「リ・ボ・ン」🎀✨❤️ 今さらですが・・・ ヤンヤン歌うスタジオの生演奏って、バラエティ番組でも本格的な歌番組だとあらためて実感しました😱 バイオリンも入っている贅沢な演奏だったと🎻🎺🥁🎸 動画・YouTube／000 circle ＃堀ちえみ ＃リ・ボ・ン ＃昭和 ＃昭和60年 ＃1985年
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そんなスカートで激しく動いちゃいけません😱🫣😍 まあ、もちろん大丈夫なのはわかってますが😄 堀ちえみちゃんの、昭和60年1月23日発売「リ・ボ・ン」🎀✨❤️ 今さらですが・・・ ヤンヤン歌うスタジオの生演奏って、バラエティ番組でも本格的な歌番組だとあらためて実感しました😱 バイオリンも入っている贅沢な演奏だったと🎻🎺🥁🎸 動画・YouTube／000 circle ＃堀ちえみ ＃リ・ボ・ン ＃昭和 ＃昭和60年 ＃1985年

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🎥 🚨 In this movie, the characters already know he’s gone. The only thing still alive is the press release sitting in somebody’s drafts waiting for a “special” date. 🤭 🎬The headliner would be feeling himself right now because the plot is finally falling into place exactly as he drew it up. For now… 🤭 The rival gets jammed up, the ancient sugar daddy executive switches sides, and the lead character already knows how the final act ends → 🏥 → ⚰️ ↳ Then comes the big festival. Celebrities perform. Cameras flash. And somehow… ➜ the headliner’s wig becomes the biggest story of the weekend. 😭 Instead of feeling like a regular music festival, it feels more like a mysterious victory lap… the kind of scene that leaves viewers with more questions than answers. The energy feels reminiscent of one of the most controversial Grammy weekends in music history where they paid “tribute.” Then the camera 🎥 pans to Moesha. 🧐 The same Moesha connected to the Whitney era. The same Mo that Whitney gave a note to. The same Mo that told Clive about the note. 🫠 And according to her brother, the same Mo that Jig and Bey overlooked multiple times during the Moesha & Monica tour. They showed up for the special guest, but Moesha never seemed to get any acknowledgment. In fact, Bey was seen dodging her at her own tour. 🥴 Yet somehow, in this movie, she gets an invite to “The Roots Picnic.” 😱 #CliveDavisDead 🔥 #JusticeForWhitneyHouston 🕊️ All opinions expressed are my own. Allegedly. For entertainment, commentary, and discussion purposes only 😉

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18歳の時の松田聖子さん🌟🥰💕 この時の聖子さんも、初々し過ぎて可愛過ぎて✨😘 この映像も有名！！ノックアウトされます👊 夜のヒットスタジオ初登場の” 郵便受け百恵ちゃん”🤣 笑った時の仕草、声が最高〜🤗💕 ほんと歌うまいし〜🎤😍 聴いているとウキウキしちゃいます〜😉 生演奏の迫力もスゴイ🎻🎺🥁 ※ 音量注意 昭和55年4月1日発売、デビュー曲「裸足の季節」‼️ この日、同じく初登場の松田優作さんも映ってます🕶️ 「W松田」だったんですね😊 ＃松田聖子 ＃裸足の季節 ＃夜のヒットスタジオ ＃松田優作
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18歳の時の松田聖子さん🌟🥰💕 この時の聖子さんも、初々し過ぎて可愛過ぎて✨😘 この映像も有名！！ノックアウトされます👊 夜のヒットスタジオ初登場の” 郵便受け百恵ちゃん”🤣 笑った時の仕草、声が最高〜🤗💕 ほんと歌うまいし〜🎤😍 聴いているとウキウキしちゃいます〜😉 生演奏の迫力もスゴイ🎻🎺🥁 ※ 音量注意 昭和55年4月1日発売、デビュー曲「裸足の季節」‼️ この日、同じく初登場の松田優作さんも映ってます🕶️ 「W松田」だったんですね😊 ＃松田聖子 ＃裸足の季節 ＃夜のヒットスタジオ ＃松田優作

80's アイドル親衛隊

171,500 просмотров • 1 год назад

In Remembrance of Barbara Stanwyck. Born | July 16, 1907 in Brooklyn, New York City, New York, USA. Died | January 20, 1990 aged 82 in Santa Monica, California, USA. American actress and dancer Barbara Stanwyck (born Ruby Catherine Stevens) was a star of the stage, film, and television and during her 60-year professional career, she was known for her strong, realistic screen presence and versatility. Stanwyck was a favourite of directors, including Cecil B. DeMille, Fritz Lang, and Frank Capra, and made 86 films in 38 years before turning to television. She received numerous accolades, including three Primetime Emmy Awards and a Golden Globe Award, and was nominated for four Academy Awards. Orphaned at the age of four and partially raised in foster homes, she always worked. One of her directors, Jacques Tourneur, said of her, “She only lives for two things, and both of them are work”. She made her debut on stage in the chorus as a Ziegfeld girl in 1923 at age 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. In 1929, she transitioned from the stage to the film industry, and began acting in talking pictures, the first of which was George Archainbaud's The Locked Door, where her naturalistic acting style and unaffected vocal delivery were instantly evident. Frank Capra chose her for his romantic drama Ladies of Leisure (1930), and Stanwyck later became a favourite of Capra’s, leading to another three collaborations. This led to additional leading roles which raised her profile, such as Night Nurse (1931), Baby Face (1933), the controversial The Bitter Tea of General Yen (1933), and Gambling Lady (1934). By the late 1930s, Stanwyck had moved to more mature roles in critically and commercially successful comedies and dramas. For her performance as the titular character in Stella Dallas (1937), she earned her first Academy Award nomination for Best Actress. In 1941, she starred in two screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in the decades since its release, The Lady Eve has come to be regarded as a comedic classic, with Stanwyck's performance widely hailed as one of the best in American comedy. Other successful films during this period are Remember the Night (1940), Meet John Doe (1940) and You Belong to Me (1941), reteaming her with Cooper and Fonda, respectively, The Gay Sisters (1942), and Lady of Burlesque (1943). By 1944, Stanwyck had become the highest-paid actress in the United States. That year, she received a third Academy Award nomination for Best Actress in the film noir Double Indemnity, playing a wife who persuades an insurance salesman to kill her husband. In 1945, she played a homemaker columnist in the holiday classic Christmas in Connecticut, and the following year, starred as the titular femme fatale in The Strange Love of Martha Ivers. For the remainder of the decade, Stanwyck starred in additional successes ranging from romantic dramas and comedies, to suspenseful, crime-noirs. Her films during this period include My Reputation (1946), The Two Mrs. Carrolls (1947), Sorry, Wrong Number (1948), for which she received her fourth and final Academy Award nomination, and East Side, West Side (1949). By the early 1950s, Stanwyck’s career began to decline, despite a fair number of leading and major supporting roles, the most successful being Clash by Night (1952), Jeopardy (1953), and Executive Suite (1954). In the 1960s, Stanwyck had made a successful transition to television, where she won three Emmy Awards, for The Barbara Stanwyck Show (1961), the Western series The Big Valley (1966), and the miniseries The Thorn Birds (1983). She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986, and several other honorary lifetime awards. In 1999 she was ranked as the 11th-greatest female star of classic American cinema by the American Film Institute. Video | Barbara Stanwyck Tribute. Video footage courtesy of Saxon Brack Music | The Shawshank Redemption (1994) ― “So Was Red” and “End Title”. Music composed and conducted by Thomas Newman. Performed by The Hollywood Studio Symphony.
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In Remembrance of Barbara Stanwyck. Born | July 16, 1907 in Brooklyn, New York City, New York, USA. Died | January 20, 1990 aged 82 in Santa Monica, California, USA. American actress and dancer Barbara Stanwyck (born Ruby Catherine Stevens) was a star of the stage, film, and television and during her 60-year professional career, she was known for her strong, realistic screen presence and versatility. Stanwyck was a favourite of directors, including Cecil B. DeMille, Fritz Lang, and Frank Capra, and made 86 films in 38 years before turning to television. She received numerous accolades, including three Primetime Emmy Awards and a Golden Globe Award, and was nominated for four Academy Awards. Orphaned at the age of four and partially raised in foster homes, she always worked. One of her directors, Jacques Tourneur, said of her, “She only lives for two things, and both of them are work”. She made her debut on stage in the chorus as a Ziegfeld girl in 1923 at age 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. In 1929, she transitioned from the stage to the film industry, and began acting in talking pictures, the first of which was George Archainbaud's The Locked Door, where her naturalistic acting style and unaffected vocal delivery were instantly evident. Frank Capra chose her for his romantic drama Ladies of Leisure (1930), and Stanwyck later became a favourite of Capra’s, leading to another three collaborations. This led to additional leading roles which raised her profile, such as Night Nurse (1931), Baby Face (1933), the controversial The Bitter Tea of General Yen (1933), and Gambling Lady (1934). By the late 1930s, Stanwyck had moved to more mature roles in critically and commercially successful comedies and dramas. For her performance as the titular character in Stella Dallas (1937), she earned her first Academy Award nomination for Best Actress. In 1941, she starred in two screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in the decades since its release, The Lady Eve has come to be regarded as a comedic classic, with Stanwyck's performance widely hailed as one of the best in American comedy. Other successful films during this period are Remember the Night (1940), Meet John Doe (1940) and You Belong to Me (1941), reteaming her with Cooper and Fonda, respectively, The Gay Sisters (1942), and Lady of Burlesque (1943). By 1944, Stanwyck had become the highest-paid actress in the United States. That year, she received a third Academy Award nomination for Best Actress in the film noir Double Indemnity, playing a wife who persuades an insurance salesman to kill her husband. In 1945, she played a homemaker columnist in the holiday classic Christmas in Connecticut, and the following year, starred as the titular femme fatale in The Strange Love of Martha Ivers. For the remainder of the decade, Stanwyck starred in additional successes ranging from romantic dramas and comedies, to suspenseful, crime-noirs. Her films during this period include My Reputation (1946), The Two Mrs. Carrolls (1947), Sorry, Wrong Number (1948), for which she received her fourth and final Academy Award nomination, and East Side, West Side (1949). By the early 1950s, Stanwyck’s career began to decline, despite a fair number of leading and major supporting roles, the most successful being Clash by Night (1952), Jeopardy (1953), and Executive Suite (1954). In the 1960s, Stanwyck had made a successful transition to television, where she won three Emmy Awards, for The Barbara Stanwyck Show (1961), the Western series The Big Valley (1966), and the miniseries The Thorn Birds (1983). She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986, and several other honorary lifetime awards. In 1999 she was ranked as the 11th-greatest female star of classic American cinema by the American Film Institute. Video | Barbara Stanwyck Tribute. Video footage courtesy of Saxon Brack Music | The Shawshank Redemption (1994) ― “So Was Red” and “End Title”. Music composed and conducted by Thomas Newman. Performed by The Hollywood Studio Symphony.

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