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In the s, technology made creating, distributing, and listening to music easier than at any previous point in history.

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Have you ever gone down on a girl? First, if your laying on a bed with your face in a pussy, half your body is falling off the end of the bed and your neck is craned. Then there is the matter of what to do with your arms while eating pussy. I usually use my fingers in the process, so keeping my arms akimbo while craning my neck deep into a vaj gets very uncomfortable very fast but totally worth it of course! Flicking your tongue across a clit while twisting your hand, palm up, under your chin when sticking a finger or two inside to rub the top of her vaginal wall—there's a lot to consider.

Then there is the matter of how LONG one usually spends in this position. In my experience, and the experience of friends who I have talked to about this, it tends to be a bit lengthy. Not everyone likes the taste, but I happen to love the taste of my girlfriend's pussy, but if you don't like the taste it will add to the discomfort, since you will be tasting it the entire time you are down there. Unlike giving a blow job, where you might taste a little drop of precum before you decide to spit or swallow at the very end.

How bobbing your head up and down on a cock is physically trickier and more taxing I don't understand. Okay, the gay guy who writes "Savage Love" thinks sucking cock is harder. This straight guy who reads "Savage Love" thinks eating pussy is harder. I'm thinking we need to hear from bisexual guys.

Which is it, bi guys? Which is harder: eating pussy or sucking dick? Bi girls are welcome to weigh in too, of course. Please Wait View Results. Dear Stranger readers, is finally behind us, but our recovery is just beginning. We're so grateful for your support.

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She lets her imagination run wild as she outlines the course of a hypothetical relationship, jumping from the quiet intimacy of a shared toothbrush to impromptu marriage. Featuring a jangly guitar solo and propulsive backing vocals, the song is deliriously catchy—but with repeated listens, its upbeat surface begins to crack. Is Zauner singing about a new relationship, or is she desperately trying to breathe life into one that has grown stale?

Is the repeated title phrase a genuine celebration of attraction, or a mockery of romantic idolization? More rap careers end at age 30 than begin at age In , Danny Brown was acutely aware of this fact, as he said goodbye to his 20s and made his final push towards rap stardom after spending years trapped in the industry spin cycle.

What begins as absurdist punchline rap quickly devolves into a catalog of personal chaos. Even listening to the song now, in the wake of eight years of triumphs for the Detroit MC, it still devastates. August 25, During her performance at the VMAs, Miley Cyrus mimes anilingus on another woman, pleasures herself with a foam finger, and twerks all over Robin Thicke.

The song is one of their many continuing tributes to late bandmate Nathan Maddox, who was struck by lightning on a Chinatown rooftop in , and a door to the next phase of their career. First comes a slow shift from spoken-word drift to full-on groove; then, synths that rain down with a classical sense of drama. In , Nicki Minaj was at the center of a burning debate about rap, pop, and credibility.

Here was Nicki flipping bars over an alien beat as thrilling as the rapper herself, filled with synths and drums that buzz and bang and bubble. It felt quietly ironic, then, that her best song of the era would plug into an emotional well older than time: heartbreak. Long after the summer breezes by, its anthems live on.

Together, the trio turned out a track as catchy as it is charming, one that should go down as a memorable addition into the backyard barbecue canon. Brent Faiyaz and Shy Glizzy]. And then people heard it, and all those factors floated away, irrelevant. If there is a sports analogy to be made, it is less Stockton and Malone , and more Stockton and Stockton : Gunna and Baby find each other in perfect position, then pass out of it, to an even more perfect position. Their dynamic has the same feel as Watch the Throne -era Kanye and Jay, not trying to make a mark by outdoing each other, just ruminating on the ever-evolving idea of hedonism, and emerging with no answers.

Lil Baby]. These lines about unbelonging also double as a metaphor for the constrictions she faces as a major-label artist who is expected to churn out chart hits but prefers to tweak and deconstruct them instead. Christine and the Queens].

Earned wisdom is a part of getting older; rarely does it sound this accomplished. You know those old monster movies, the ones where an almighty beast lumbers through a terrified city, toppling buildings and swatting planes out of the sky as bullets bounce off his torso? At some point, Rick Ross must have leaned forward in his leather chair and thought to himself, What would it sound like if that monster were rapping right now? For four minutes, the rapper takes the form of an all-powerful, coke-fueled leviathan laughing with maniacal disdain as he demolishes any obstacle standing between him and his bottom line.

All you can do is build a statue in his honor and marvel at the merciless efficiency of his wrath. Styles P]. It should feel normal, but it was thrilling to witness a woman governed only by her own rules, acting like a man. And why bother? Put to music with radio heavy-hitters DJ Mustard, Frank Dukes, and Starrah, the song is sexy and savage, a way for Rihanna to flex her unique ability to inhabit the tastes and feelings of both Gen Z and Gen X.

It resonated massively but quietly, becoming her longest-charting hit without ever hitting the Top 5. Gil Scott-Heron had a love-hate relationship with the city he called home for most of his life. The music is busy yet austere, prodding and cajoling Scott-Heron with jump-rope rhythms, disruptive clatter, and a bassline that pulsates like the jarring rumble of a subway car.

The past tense hurt when the song was released in , and it only stung more when he died a year later. The two baby-faced brothers had a club anthem on their hands, though many were skeptical about their ability as rappers and wrote them off. As the Danish band kicked up a rockabilly storm, they showed that they have more to offer than clenched-fist angst.

Her breakthrough single is clear in that affection; she roves over narcotic synths and trap drums with icy vocal tones, her gently libertine words delivered in an unhurried rap cadence. Sending nudes of such high quality that the recipient uses up all their data. Comparing a dick to the Statue of Liberty. The track also shows that she can spit better than anyone in the room, and is able to lace her verses with the wit, puns, and vivid imagery of an elite songwriter.

CupcakKe delivers it all over an instrumental ready for an overstuffed, sweaty club—the perfect place to experience her brilliance. The song flows slowly, picking up rattling hi-hats and strobing synthesizer as it oozes along the dancefloor. Each syllable is drawn out like taffy, and her voice hovers just above a whisper, as if she wants you to lean in a little closer. Kamasi Washington is an artist who needs room to meditate, sculpt, engineer.

You know, king shit. The strategy should be nearly impossible to pull off, and yet the Atlanta star is one of the most gifted stylists in contemporary rap. But still he rises to the occasion by plumbing the depths of drug abuse. Martin Luther King, Jr. Working with his band the Violators, producer John Agnello, and an expanded cast, Vile replaced the bleary atmosphere of his earliest releases with crystalline finger-picking, and the mumbled aphorisms with odes to his loved one.

It sounds full while barely rising above a whisper. Under the anxiety and damage are the same elemental urges, where every momentary escape holds the promise of nothing, now and forever. In the video, he mugged with diamond teeth and coiled-up charisma—shirtless, venomous.

At the start of the decade, pop music taught teenagers what their desires were, not the other way around. According to the radio, teen dreams were filled with earth-shattering parties and unconscionable excess tracked to wall-of-sound synth production best suited for football stadiums.

In the years since, the genre has grown bleaker, replacing maximalist odes to excess with bummed-out songs stressing isolation and anxiety. In , Young Thug descended from an unknown planet equipped with a language that everyone was dying to learn and a melody that reshaped what we thought we knew about rappers who sing. More important was what he did with those vocals: chopping, re-pitching, and layering them with his own processed voice, creating a strange, hybrid call-and-response that floated, web-like, over synths as spongy as marshland.

It was the sound of a new world coming into focus, and it would guide his music for years to come. She also straddles a mechanical bull while wearing a drenched undershirt. A trance-y bridge with digital strings seals the deal on this masterclass in contemporary pop. The lead single of her debut album, Immunity , reintroduced her with new vigor and undeniable shine. Hailing from the most anarchic corners of the social internet but also Atlanta , Carti is someone whose promise will always outpace his official output, and that is by design.

And no one has ever wielded that energy as fluidly as DJ Rashad. Spinn and Taso]. By grafting a fashionably clipped pop melody over a retro, Shabba Ranks-inspired Caribbean fusion beat, producers Skrillex and BloodPop created one of the best tropical house hits of the decade.

Here is an anthem for anyone who has felt adrift, abandoned, unsure of their purpose in the world. By any conventional wisdom, a five-minute, three-part suite of a song should have never become a phenomenon in a climate where dwindling attention spans are leading to shorter and shorter hits. Once the funky second beat hits, you forget about Drake as Travis takes center stage with some of the best rapping of his career.

But by , he was reduced to guesting on anonymous Max Martin and will. But instead of conveying intense feelings with a chilly shrug, Usher is clearly pained as he eulogizes a failing relationship in a lonely falsetto. Agonizingly, Burial never gave us a proper follow-up to his classic album Untrue this decade, instead resorting to intermittent singles and EPs. When the full song finally arrived, the instrumentation was pretty much just those four bars over and over, and it was still engrossing.

Daft Punk take the right parts of this song either incredibly seriously or not seriously at all. Really, the record was a deeply accomplished inquiry into the possibility of a feminine sound that gravitated towards the grotesque. Williams has never sounded more monumental or self-possessed. They may have made their name on rollercoaster hooks fit for Warped Tour—influencing the likes of Snail Mail, Princess Nokia, and Lil Uzi Vert in the process—but here they grew into themselves, anticipating the influence of blown-up Hot Topic emo in the unlikeliest of places.

Brooklyn synth-pop aesthetes Chairlift were a sneakily influential act right up until their split in What comes through is the giddy sensation of falling so deeply in love that nothing quite makes sense except a warm embrace.

Giving so much of yourself to someone else is always a risky proposition, but for three and a half minutes, Chairlift make the act of devotion sound worth it. Its delicate notes are pierced by a prickly guitar before Tividad and Tucker launch in, singing in tandem.

Together, they reminisce about how easy life felt when they were childhood friends, when reality confined itself to the surrounding neighborhood and the complexities of life had not yet made themselves known. Together, they stand on the precipice of adulthood and eulogize a time when the future was just another question waiting to be answered. But like Roger Troutman of Zapp and other funk pioneers of the past, Fetty used effects not to sanitize or correct his voice, but to inject even more emotion into it.

And when the synths in the verses lurch like warm blood rushes of adrenaline, or arousal, Chris conveys a real-time sense of being overcome by acceptance for the first time. In this way, Kendrick Lamar is an anomaly: As dense as his lyrics can be, he zooms out onto big ideas that are resonant and impactful to the masses. In the face of a growing, grinning wave of genocidal hate-speech delivered with the presidential seal of approval, Lamar shouts forth the steely confidence of a people ready to bark and bite back, standing on roots that run centuries deep.

Those big West Coast waves that Dora surfed half a century ago are rendered endless in the mesmerizing rhythm of the song. She coos sweet salutations into the receiver, he untangles verses about the terrors of opening up—be it the digital fear of unlocking your phone for a snoopy lover or the analog fear of sitting by, waiting, and having to bear your soul when the phone is finally answered. It feels like two people figuring things out. No pyrotechnic breasts , psychedelic candy landscapes , or glow-in-the-dark alien abductions : just Katy, her ripped beau, and some similarly photogenic pals on a sepia-toned drive along the beach.

At the time Perry recorded it, she was attempting to become more than a pop novelty. Meanwhile, she was midway through her 20s, about to get married, and entering a decade where her propensity for unsubtle gestures of positivity would fall in and out of fashion. The popularity of the track led its makers to recoil from the spotlight and quietly switch off the TNGHT signal, which is fair enough.

Who knew the shy producer from whispery indie rock trio the xx could also throw a great party? Young Thug and Popcaan]. A heartfelt tribute to a notoriously terrible brand of cigarettes became a career-making moment for Mac DeMarco. With his inaugural solo mini-album Rock and Roll Night Club , the Canadian singer established himself as a weirdo skeez with a shit-eating grin—a guy whose songs showed tons of promise if you pierced through the thick coats of deep-voiced, slow-motion gimmickry.

The unlikely love song ends with the sound of him lighting up, inhaling, and collapsing into a fit of echoing coughs. It sounds off at first, but as the strings quiver and the unquantized drums tick along, every instance of the word becomes a knowing wink, a flash of intimacy. The song includes a spoken word intro in Spanish, along with violin, viola, contrabass, sitar, multiple guitars, horns, synths—even a Curtis Mayfield sample.

With these words, Jordan builds a scarecrow outline of her relationship just to torch it all to the ground. For a virtuoso whose music explores the outer reaches of funk, yacht rock, and astral jazz, Thundercat has always shown a sensitive undercurrent. In his first two solo albums, he slowed down a George Duke love anthem, sang adoringly about his cat, and composed a heart-wrenching tribute to a late friend. Then, in an interlude, his trusty bass falls away and he sings some ethereal oooohs , pinpointing a sweet spot between boldness and fragility.

This was the music video that launched a thousand pearl-clutching critiques, along with about as many think pieces about its radical significance. In it, Rihanna nonchalantly threatens her accountant with a phrase often wielded by men. In the process, she kidnaps and tortures his wife, before taking a chainsaw to his neck. There are umteen ways to read into the politics of this video: What kind of violence are we sensitized to, and what makes us squirm? What does it look like for a woman to be powerful and angry while also being feminine?

How are white women complicit in and benefitting from the bad behavior of white men? But ultimately, determining whether this video is Good and Feminist or Bad and Cancelled is futile; what freedom looks like for any woman cannot be simplified into one set of rules.

Since the storm hit, Segarra continuously tried to find her way back to her ravaged ancestral homeland in a way that would allow her to give without taking. She finally made it in December But Yorke never abandoned the studio version, eventually forgoing the experimental synthesizers and Rhodes piano he kept trying to make work in favor of soft piano chords.

May the gods protect the DJ who cut away from the weepy grand pianos before the beat change—that switch-up is the point, the gas pedal. Then, for extra horror-core effect, he adds a blood-curdling scream every few bars. The three-part, minute hyperspace cruise through time, styles, and cool-eyed character observations offered monumental proof that he was capable of miracles. Egyptian pharaohs, Las Vegas sex workers, uncredited John Mayer guitar solos—somehow, he made all of it sound like it belonged.

When Japandroids frontman Brian King graduated college, he watched his friends from small town British Columbia, Canada quickly settle into normalcy—weddings, mortgages, babies—and thought, Well, fuck that.

So he started a band with drummer Dave Prowse and dreamed up a song about teenage abandon, blooming lust, and jumping out of bed to grab a beer with your best friend. But the alliance that had seemed to foreshadow many more seasons of Cash Money primacy instead dissolved rather quickly, and all three artists have feuded with each other on and off ever since.

Charli XCX is sonic science fiction. At her best, which she is here, Charli XCX cracks a key pop music code: doing as much with as little language as possible. Kelela was an easy sell as an underground icon: Her vocals flexed with all the acrobatic skill her generation had learned from Janet, Brandy, and Mariah, while her style whet the palates of the ultramodern Opening Ceremony devotees who run the fashion world.

The beats did the rest: The handclaps that drive the track forward are a call-to-action for hips and tongues across genres, from Miami bass to baile-funk to house, drenched in a synth-bed that sounds like a sunrise let-out from a Bed-Stuy afterhours club. On the other end are pencil-sharp female rappers dragging the genre to new edges from behind cat-eye makeup. They aren't concerned with celebrating femininity, or anything else for that matter—they simply grab for your throat, no matter how you identify.

Carefree nights have been poisoned by the constant threat of nuclear warfare; her beloved Malibu is ravaged by monstrous wildfires; nothing feels like it used to, and holding onto hope no longer seems plausible. The end of the world has never felt so assured. For four heavenly minutes, the song suspends gravity, accompanying Jeremih with production as weightless as his voice: plinking pianos, gentle swooshes, and helium-infused trap drums that float toward blue sky like a bouquet of heart-shaped balloons.

But the Life of Pablo opener is a group effort: an imperiled Kelly Price, an ecstatic Chance the Rapper, a reverential Kirk Franklin, a gale-force choir. West seems to say. I know when to shut up. And yet Kanye is there, his friends are there, he fucks up and asks forgiveness, the seasons turn. What a difference a perfect pop song can make. For a moment, he was the most hated man-child on Earth.

Then came this song, and everything changed. It started off as an affectingly whiny Bieber demo before the vocals were sent to Diplo and Skrillex, who tweaked and distorted and pitch-shifted them to match their future-pop dreams. The result was discombobulating to the point of deliriousness—a reimagining of what Justin Bieber could be, and what a Top 10 hit could sound like.

Justin Bieber]. A full year before the Supreme Court legalized gay marriage across the U. It begins abruptly with its sickly, skittish beat that sticks like a broken delete key. Just as swiftly, the rapper starts dropping names of then-mysterious figures— Anwar , Jasper , Syd —as he inverts rap cliches into menacing quips. You just want to follow this guy wherever he goes, even when he eats a cockroach in the video.

Singing with hoarse gravity, Adele holds every note like a steely challenge to move forward even as she looks back, rarely flickering into melisma as the piano arpeggios churn below. There are all these elongated sounds—slowly arching snares, spilt treacle synths, vocals that stretch into the horizon—that act as lines of tension, gently bracing themselves for the inevitable. But midway, after the introduction of a drumbeat and bassline, it takes on shades of trip-hop, as though filtering Patsy Cline through a Portishead prism.

Rather than leaving country behind, the songwriter has chosen to explore the limits of its territory, and to expand them. He was just 15 years old when he posted the clip, but his weathered warble suggested someone several decades older—as do the lyrics, which had Marshall pulling from his adolescence while also transcending the simple angst typical of such an age.

But the original version, rough and raw and bracing, stands up best. In , we were introduced to Tough Drake. When you have everything, do you stay on your worst behavior forever? New York needed something fresh. But for a moment, his energy and personality brought New York hip-hop back into the spotlight.

Hopelessness is not a common thing to find in a pop song. Of course. Lately, Rihanna has used her platform to speak out for a number of prominent causes: for reproductive rights , for Colin Kaepernick , against the president. Calvin Harris]. Especially at the time, this rang very true. The Atlanta rapper had an enormous year in , with the release of his Drake collaboration What a Time to Be Alive along with one of his best albums, Dirty Sprite 2.

Having reinvented himself so many times, his last musical effort was to bid farewell with that same grace and eternal curiosity. Then all that remains is the man, staring straight into the unfathomable and having the wisdom to offer no answers. He cartwheeled through the track, singing in swooning howls, and in the process coining an inimitable sound that bottled the sensation of ecstatic liberation: whawp!

Swift tells a big story by freezing time and honing in on small details, the kind that could seem like background noise to others: the scarf that her ex reportedly, Jake Gyllenhaal kept as a memento, the refrigerator light that illuminated midnight dance parties. As Staples slides from parties to shootouts, danger is courted and eluded. Death is defied and embraced. Gangster rap is disparaged; gangsters endure.

Though every detail is in 4K, the screen flickers. The bass quakes and smolders; the synths blare and pulse; the claps tingle. Because he sees his city so clearly, he has no illusions: No one can run forever. Only Natasha Khan remains by her side, and in her sweetest and deadliest ballad, she dedicates every ounce of her formidable self herself to propping up her lost friend.

As the song slowly made its way toward ubiquity, eventually peaking at No. As a refreshing alternative, Guy and Howard Lawrence created a track bound to an indestructible house beat and filled with the types of chord extensions more commonly found in jazz or Steely Dan albums than standard chart fare, allowing for Sam Smith to unleash their jaw-dropping vocals. Today, the song remains a testament to a brave new world of democratized production, one where two brothers, a laptop, and an unknown superstar can move the world.

Sam Smith]. The song was released between two pivotal projects: four years after her album Sol-Angel and the Hadley Street Dreams , an almost quaint love letter to Motown, and four years before her culture-shifting political purge, A Seat at the Table. Disoriented by the end of something irreconcilable, she sees her relationship devolve from all-night makeout sessions to total static.

Since the dawn of time, women have been fed up with the patronizing antics of men in music. In , newfound fame was weighing on Kendrick Lamar. He delivered the message that Compton—and everyone else—could put their faith in him. It is almost unfair how irresistibly danceable this song is, how it articulates a desire for closeness while laid over the kind of sparse but infectious beat that practically demands bodies shifting together. Navigating romance publicly comes with being a public figure—which can be good when it is good, and agonizing when it is agonizing.

Ariana Grande has had to do this through several iterations of her career, in ways that have sometimes felt unfair. All this came to a head in the fall of , when she was mourning both the death of her ex-boyfriend Mac Miller and a broken-off engagement to Pete Davidson. The song itself works against the somewhat dismissive sentiment of the title: The twinkling chorus is steeped in a kind of corny but joyful gratitude, for the past but also for the present self. Although Kathy says that she is a stage actress, who has seen only one of Don's films, she is actually a chorus girl at the Cocoanut Grove nightclub.

After dropping Don off to change his clothes, Kathy drives to the party at R. Don arrives at the party in time to see a short talking picture. Most of the guests are unimpressed by the new phenomenon, even when R. When the entertainment starts, Don is surprised, but happy to see a scantily clad Kathy jump out of a cake, and tries to talk with her, but she thinks that he only wants to ridicule her.

Just as a jealous Lina takes Don's arm, Kathy throws a cake at him, but misses, and hits Lina instead. Kathy quickly runs away, and Don cannot find her. Some weeks later, Warner Bros. As Don and Lina start their next film, The Dueling Cavalier, Cosmo makes a crack about all of their films being alike, and Don is stung, thinking that Kathy was right about words being necessary for real acting.

Lina continues to complain about Kathy, whom she had fired, which makes Don dislike Lina even more, as he has not seen Kathy since the party. During a break in filming, R. Cosmo happily anticipates unemployment, but R. Some time later, when a musical number is being filmed for another picture, Cosmo sees Kathy in the chorus. When Don shows up just as R. Later, when Kathy and Don are talking, he tells her that his "romance" with Lina is completely fabricated by fan magazines and Kathy confesses that she has seen all of his pictures.

Don has difficulty revealing his feelings to Kathy until he takes her to a romantic setting on a sound stage. Although Don is fine, Lina's voice shows little improvement. When filming resumes, director Roscoe Dexter becomes increasingly frustrated by Lina's voice and inability to speak into the microphone, but the picture is completed. When it is previewed on a rainy night in Hollywood, the audience laughs at Lina's voice, howls at synchronization problems, and leaves the theater saying it was the worst film ever made.

Later that night, Cosmo and Kathy try to console Don, who thinks his career is over until Cosmo comes up with the idea to turn the film into a musical comedy and have Kathy dub Lina's voice. Don worries that this plan is not good for Kathy, but she convinces him by saying it will be for just one picture. The next day, R. To enhance the picture, they add a modern section in which Don can sing and dance the story of a Broadway hoofer.

After the picture is finished, Don tells Kathy that he wants to tell the world how much he loves her, but as they kiss, Lina interrupts them and flies into a rage. She then starts her own publicity campaign proclaiming herself Monumental's new singing star. Lina then threatens to ruin the studio unless Kathy continues to dub her singing and speaking voice, but do nothing else. At the picture's premiere, the audience loves "Lina's" voice.

Feeling triumphant, Lina boasts that Kathy will keep singing for her, and Don is furious. When the audience clamors for a song from Lina, Don hatches the idea of having Kathy stand behind a curtain and sing into a microphone as Lina pantomines the words.

Lina does not know what is happening until Cosmo takes the microphone from Kathy and starts singing himself. Lina runs off screaming, and an embarrassed Kathy starts to leave the theater, until Don tells the audience that she is the real star of the film and has her join him in a song. Finally, a billboard proclaims that Don and Kathy are co-stars of the new Monumental film Singin' in the Rain.

Holly Golightly lives in a brownstone on Manhattan's swank East Side. Totally madcap, she has a partially furnished apartment, owns a cat with no name, gets rid of the "mean reds" by visiting Tiffany's, and is forever misplacing her door key, much to the dismay of her upstairs neighbor Mr. Yunioshi, a Japanese photographer. One day Paul Varjak, a young writer who is supported by an older woman nicknamed "2-E," comes into Holly's life.

Following one of Holly's wild cocktail parties, Paul unexpectedly meets Doc Golightly, a gentle Texan whom Holly married when she was only fifteen years old. Holly explains to Paul that the marriage was annulled long ago, and he helps her send the heartbroken Doc away. However, when it is publicly revealed that Holly has been innocently carrying narcotics ring information from Sally Tomato to his New York lawyer, Mr. Furious at everything and everyone, Holly throws Cat into the rain and decides to leave town, but Paul lectures her and then goes out to find Cat.

Holly realizes how much she is giving up and races through the wet streets to a happy reunion with Paul and Cat. Composer: Robert Emmett Dolan. After a year of struggling with farm work in Connecticut, and several weeks of recuperation in a sanitarium, Jim decides on a less exhausting occupation and opens Holiday Inn, a country-style inn which features live entertainment and is only open on holidays.

As a way of stopping Linda Mason, an ambitious performer who works selling flowers, from pestering him, Ted's agent, Danny Reed, sends Linda to Connecticut to audition for Jim. The two are attracted to each other and Jim offers her a job. He arrives drunk, but immediately engages in a dance with Linda.

The patrons all think that she is Ted's new dance partner and applaud as Ted collapses in a drunken stupor. In the morning, Ted cannot remember much about Linda but becomes determined to find her and make her his new dance partner. Jim does everything he can to thwart Ted's plans because he has fallen in love with Linda.

Although Linda performs on Lincoln's birthday at the inn, Ted does not recognize her because Jim makes her wear blackface make-up for her number. Ted does find her on Valentine's Day, however, and insists that they perform together for Washington's birthday. Ted mercilessly pursues Linda to draw her away from Jim, and stays on at the inn through the next few holidays.

When Jim overhears that Ted has brought two Hollywood film producers to see the Fourth of July show, he secretly asks his driver, Gus, who is picking Linda up at the train station, to make sure that she does not arrive in time for the show, and then invites Lila, who did not marry after all, to perform.

Gus drives the car into a pond, and when Linda hitches a ride on the road, she is picked up by Lila. Unaware of Linda's identity, Lila tells Linda her story, and on the pretense of taking a shortcut, Linda makes sure Lila drives into the pond as well.

Both women show up too late for the performance, but the producers offer to buy the idea of Holiday Inn to use as the basis of a musical. Having earned the enmity of all his friends because of his deception, Jim reluctantly agrees to the idea, but insists on remaining in Connecticut to write the music while Ted and Linda go to Hollywood.

On Thanksgiving Day, when a lonely and dispirited Jim reads that Ted and Linda are engaged, his concerned housekeeper, Mamie, convinces him not to give up and to pursue Linda honestly. Despite Ted and Danny's efforts, he manages to sneak onto a soundstage which has been set up like his Holiday Inn, and as Linda performs "White Christmas," the first song they ever sang together, Jim sings along and the two are happily reunited.

Benjamin Braddock, filled with doubts about his future, returns to his Los Angeles home after graduating from an Eastern college. His parents soon have a party so they can boast of their son's academic achievements and his bright prospects in business. Robinson, one of the guests, persuades Ben to drive her home and there tries to seduce him, but her overtures are interrupted by the sound of her husband's car in the driveway. Blatant in her seductive maneuvers, she soon has the nervous and inexperienced Ben meeting her regularly at the Taft Hotel.

As the summer passes, Benjamin becomes increasingly bored and listless; he frequently stays out overnight and returns home to loll around the pool. When his worried parents try to interest him in Elaine, Mrs. Robinson's daughter, Ben agrees to date her to avoid having the entire Robinson family invited to dinner.

At first Benjamin is rude to Elaine and takes her to a striptease club, but realizing how cruel he has been, he apologizes and the two begin dating. Outraged, Mrs. Robinson demands that Ben stop seeing her daughter; instead he blurts out the truth to a shocked Elaine, who returns to college in Berkeley. Although Ben follows her and tries to persuade her to marry him, Elaine's parents intervene and encourage her to marry Carl Smith, a student whom she has been dating.

Ben returns to Los Angeles, but when Mrs. Robinson refuses to divulge any information about the wedding, he races back to Berkeley and learns that the ceremony will take place in Santa Barbara. Arriving at the church as the final vows are being spoken, he screams Elaine's name over the heads of the startled guests. Elaine sees her parents' anger toward Ben, and realizing what their influence has done, she fights off her mother and Carl and races to Ben.

After locking the congregation in the church by jamming a crucifix through the door handles, the couple leaps aboard a passing bus and rides away. Geppetto, a kindly old woodcarver, creates a little puppet boy of pine and names him Pinocchio. Because the old man, who has been generous and good all of his life, loves children and has none of his own, the Blue Fairy brings the marionette to life to be a son to him.

She tells Pinocchio, however, that he must earn his right to become a real boy by exhibiting the virtues of truth, courage and selflessness. To aid him in his task, she makes Jiminy, a vagabond cricket who has snuck into Geppetto's workshop to spend the night, Pinocchio's conscience, dubbing him the "Lord High Keeper of the Knowledge of Right and Wrong.

Worthington Foulfellow, a wily fox also known as "Honest John. Jiminy's protests that Pinocchio must go to school fall on deaf ears, and the little puppet is soon a big hit with Stromboli's audience. Seeing that Pinocchio is doing well, Jiminy decides that a successful actor does not need a conscience and leaves. All is not well, however, for the cruel Stromboli locks Pinocchio in a bird cage when he tries to leave after the show.

After deciding to say goodbye to "Pinoc," Jiminy returns to Stromboli's wagon, where he is horrified to discover the puppet's predicament. Jiminy's efforts to pick the lock do not succeed, and as the companions despair, they are astonished to see the Blue Fairy, who questions Pinocchio about why he did not go to school. The flustered Pinocchio tells lie after lie, and his nose grows with each falsehood.

The Blue Fairy rebukes Pinocchio, explaining that "a lie grows and grows until it's as plain as the nose on your face. Pinocchio is stopped again by Foulfellow, who tempts him to go to Pleasure Island, a magical place where boys can do anything they want. Pinocchio joins the other boys on the coach driven by a mysterious coachman, and soon is indulging in the cigars, beer and billiards offered at Pleasure Island.

As Pinocchio plays with his new friend Lampwick, Jiminy discovers that the boys on the island transform into donkeys, which are then sold by the coachman. He then returns to the terrified Pinocchio, who has just seen Lampwick turn into a donkey. Pinocchio sprouts ears and a tail, but escapes with Jiminy before his transformation is complete.

Upon their return home, they discover that Geppetto, Figaro, the kitten, and Cleo, the goldfish, have been swallowed by Monstro, a gigantic whale. With no thought for his own safety, Pinocchio voyages to the bottom of the sea, where he finds Geppetto, Cleo and Figaro alive in the whale's belly. After a joyful reunion with his father, Pinocchio hits upon the idea of making Monstro sneeze. After setting Geppetto's boat on fire, the little group escape on a raft when the smoke causes Monstro to sneeze.

The irritated whale chases his former captives, and Pinocchio bravely rescues Geppetto at the cost of his own life. Geppetto, Figaro, Cleo and Jiminy sorrowfully return home, and as they are mourning, the Blue Fairy appears and turns Pinocchio into a real boy as a reward for his actions. She also gives Jiminy a gold badge for his services as Pinocchio's conscience, and as Geppetto and his son celebrate, Jiminy sings that "when you wish upon a star, your dreams come true. Burnett Cinematographer: Harry Stradling, Jr.

One night during World War II, Jewish radio show director Katie Morosky recognizes the handsome naval officer asleep at a Manhattan bar as Hubbell Gardiner, with whom she attended college in the mids. Weeks later, Katie is surprised when her literature professor chooses to read the short story of star athlete Hubbell instead of her own. Although Katie had dismissed Hubbell as a spoiled, white Anglo-Saxon protestant, she is so discouraged by his writing talent that she throws her own story away, while secretly pining for him.

Unable to make small talk, Katie asks Hubbell who he really is under the nonchalant reserve. Later in the year, Katie is working at the school dance with fellow activist Frankie McVeigh when Hubbell leaves his girl friend Carol Ann to dance a slow song with Katie, their first and only romantic encounter before graduating in Back in the present, Hubbell is startled to see Katie and, in his drunkenness, follows her home, where he collapses.

Hoping for a romantic turn of events, Katie undresses and climbs into bed with Hubbell, who has sex with her without really being conscious of the act, then leaves abruptly the next morning. Charmed by her frankness, Hubbell kisses Katie and a romantic love affair ensues.

Months later, Hubbell shows the first eight chapters of his novel to Katie, who is overjoyed by his work. When President Franklin D. Roosevelt suddenly dies in , Katie, an ardent fan of his liberal policies, is overwrought with grief and seeks solace with Hubbell.

Taking her to J. She apologizes to Hubbell later for her tantrum and jokes that she will become more tolerant after taking classes in protestant cooking, but Hubbell decides they cannot reconcile their differences and leaves her. Days later, when a sleepless Katie begs Hubbell speak with her as a friend, he goes to her apartment and gives her sleeping pills and alcohol. While Katie works as a script reader and maintains their home, Hubbell and J.

Tensions are rising in the film community as more people testify before the House Committee on Un-American Activities, which are heard on regular radio broadcasts. Hubbell selfishly resists taking a stand on the issue for fear that any political alliance will hurt his career, while Katie grows more upset by the discrimination.

Unable to convince his wife to remain in Hollywood, Hubbell accompanies her to Washington D. Outside the hearings, Katie loudly defends the Hollywood Ten, ten Hollywood writers and directors who, after refusing to name friends as Communist sympathizers, were blacklisted from work.

Days later, desperate to keep some control of his novel, Hubbell agrees to make any cuts Bissinger requires to the screenplay. Hubbell can only reply that their problems are deeper than the affair. Although J. Returning home one evening, Hubbell claims that he had no ambition to finish his first novel or write another, and tells Katie that those were her dreams, not his.

Finally realizing their differences are irreconcilable, Katie asks that Hubbell to remain with her only until the baby is born. Years later in Manhattan, the now remarried Katie is protesting the nuclear bomb, when she sees Hubbell with his new, ashe blonde wife. After cordial introductions are made, Katie learns that Hubbell is now an uninspired television writer.

Katie invites Hubbell to her home to meet her new husband and see their daughter Rachel, but, knowing that a reunion is impossible, they sadly embrace and depart. Nineteen-year-old Tony Manero swaggers through the Bay Ridge neighborhood of Brooklyn, New York, on his way to work at a hardware store. At home, Tony primps to go out, then rushes through dinner with his Italian-American parents, Frank, Sr. Crowded and pulsing with music, the Odyssey is where Tony and his friends spend their weekends and their paychecks.

Annette, one of the regulars, asks Tony to dance, but he squashes her romantic notions. Later, Tony notices a new girl, Stephanie Mangano. Tony makes it clear they will need to practice often, and the partnership is strictly about dancing, not dating. Joey interrupts because he wants Tony to get Double J. The next morning, the five young men express their cynical views of the future, but Tony learns Fusco has given him a raise.

Later, Tony meets Annette at a dance studio and she offers to make love with him, but Tony again insists the relationship remain platonic. When Tony notices Stephanie practicing in another room, he chases off Annette, but Stephanie is cool toward him.

Returning home, Tony finds his family somber as Frank, Jr. The next day, Tony is energized and invites Stephanie for coffee. She tells him she is not interested in him romantically, pointing out their six-month age difference and the cultural superiority she feels because she works in New York City at a public relations firm. Tony tells her that he wants to find other ways to experience the high he feels from dancing because the thrill will not last forever. Bobby C. He later informs Annette that he has found another dance partner for the competition.

When Tony presses to know why they never discuss the romantic feelings that emerge from their dancing, Stephanie says he should have seduced without asking permission first. Later, Tony and his friends bring Frank, Jr. While Bobby C. Frank, Jr. Afterward, Tony is annoyed to learn from the doorman that Stephanie has not arrived. Annette corners Tony and suggests they can be lovers now that they are not dance partners, but Tony dismisses the idea until she threatens to have sex with one of his friends, instead.

Later, the boys and Annette drive to the Verrazano Narrows Bridge. Tony, Joey, and Double J. In the morning, a car arrives to take Frank, Jr. He counsels Tony to pursue dancing and not let the family limit his dreams. Later, at the studio, Tony chides Stephanie for not going to the discotheque the previous night.

Tony borrows Bobby C. He kisses Stephanie and tells her to keep the furniture since she picked it out. Alone with Stephanie, Tony asks what is going on and she confesses to having an affair with Jay to boost her career. Upset, Stephanie asks Tony to take her back to Bay Ridge, but Tony instead takes her to Shore Park, where he comforts her and demonstrates his extensive knowledge of the Verrazano Narrows Bridge.

Afterward, Tony returns to the hardware store and Fusco gives him back his job, promising the boy a prosperous future. However, Tony observes the men who have worked there for years and is unnerved. Later, Tony finds Stephanie dancing with Pete, the owner of the studio, and leaves, enraged. Outside the Odyssey, Annette shows Tony a handful of condoms, but he walks away and Annette is crushed. Tony, Bobby C. Double J. A fight ensues with the Barracudas and although Bobby C.

Tony is badly beaten, but Double J. Tony and the others visit Gus in the hospital only to learn that he is not sure if the Barracudas beat him after all. Cleaned up from the fight, the friends return to the discotheque for the dance competition. An African American couple takes the floor and is treated rudely by the audience. Meanwhile, Annette asks Joey for amphetamines. Tony and Stephanie perform the hustle, during which they share a kiss, and the crowd roars its approval. Next, a Puerto Rican couple dances extremely well, impressing Tony and most of the crowd, but there are scattered jeers.

The judges award first place to Tony and Stephanie, followed by the Puerto Ricans. However, Tony is convinced the other couple deserved to win and he accuses his friends of hypocrisy. Tony gives the trophy and prize money to the other couple and takes Stephanie outside to Bobby C. She rebuffs his sexual advances and they argue. Tony tries to force himself on her and she flees.

As they drive around Bay Ridge, Joey has sex with Annette in the backseat. Double J switches places with Joey and when Annette realizes that Tony is not going to stop his friends, she begins to cry. At the bridge, Joey and Double J. In the car, Tony asks Annette if she really wanted to be treated this way. Intoxicated, Bobby C. When Bobby C.

Tony leaves on foot and rides the subway until morning. Through the door, he apologizes and she reluctantly invites him in. Tony announces that he is not going back to Bay Ridge and that he intends to get a job in the city. They agree to be friends. The antics of tomboyish Maria, a novice at the abbey in Salzburg, concern the Mother Abbess, who is unsure of Maria's intensions.

Encouraging the girl to test her feelings, the Mother Abbess sends Maria to be the governess for the seven children of the widower Baron Georg von Trapp, a retired naval officer. The children are at first hostile to Maria, but she soon wins them over. The baron, who is a strict disciplinarian, leaves to visit his love interest, Baroness Elsa Schraeder.

While he is gone, Maria allows the children greater freedom, and teaches them to sing. The youths become so excited when the baron returns that they fall out of a rowboat in the lake. The accident precipitates an argument between Maria and the baron, and he orders her to leave; but when he goes into the house and finds the children entertaining his friend Max Detweiler and the baroness with a song, he asks Maria to stay.

Max later suggests that they enter the Salzburg Festival as a singing group, but the baron refuses. Maria becomes aware that she is falling in love with the baron and returns to the abbey. The children follow and try to persuade her to return; when the Mother Abbess learns of their visit, she sends Maria back to the Trapp home. Maria again decides to leave when she hears that the baron plans to marry the baroness.

However, the baroness soon realizes her suitor is in love with Maria, and releases him. Maria weds the baron, and while they are away on their honeymoon, the Nazis take over Austria. Taking advantage of the baron's absence, Max enters the children in the Salzburg Festival.

When the baron returns with his new bride, Maria, he forbids the children to appear at the festival, and learns that the Nazis, to whom he is violently opposed, have ordered him to take command of a ship.

The Trapps plan an escape, but are stopped by Stormtroopers. Max convinces the Nazis that the family is on its way to the Salzburg Festival, and that he plans to leave for his ship immediately after the performance. The Trapps win first place at the show and, using their exit song to escape, take refuge in the town abbey.

The Nazis learn their whereabouts and surround the building, but the family escapes through a secret tunnel to the nearby mountains. To save his studio from embarrassment, Oliver Niles, the studio head, tells his publicity director, Matt Libby, to keep Norman away from the stage. Using the pretense of publicity photographs and interviews, Libby lures Norman into the pressroom.

Later, after sobering up, Norman goes to the Grove and learns from the headwaiter that the band, after finishing their performance, went to the Downbeat Club on Sunset Blvd. Norman proceeds there and hears Esther sing. Impressed with her talent, he drives her home and urges her not to settle for little dreams. Telling her she is good enough to be in motion pictures, he offers to introduce her to Oliver. Early the next morning, influenced by Norman, Esther quits the band, which goes to San Francisco without her.

Norman intends to follow up on his promise but, at six a. Unable to reach Esther himself, he tries to get in touch with her through crew members, but no one takes his request seriously, and he cannot remember her address. When she does not hear from Norman, Esther assumes he was just flirting with her. To make ends meet, she sings for a commercial, but then must support herself by working at a drive-in restaurant. Eventually, after recognizing her voice on the commercial, he tracks her down and arranges for her screen test at the studio.

The studio personnel make her over with a blonde wig and nose prosthetic, but Norman comes to the rescue and has her change back to her normal appearance. After completing a bit role, she receives her first paycheck and learns that the studio has given her a screen name, Vicki Lester. Norman proposes to Esther during a recording session, unaware that a nearby microphone is picking up and recording everything they say.

At first Esther refuses, claiming that Norman is too irresponsible and drinks too much, but after listening to the playback, she accepts, prompting everyone in the studio to cheer. When news of the engagement reaches the studio, Libby warns Oliver of trouble, but Oliver feels that marriage is just what Norman needs to overcome his problems. Libby plans a highly-publicized nuptial event, but Esther and Norman sneak off for a quiet marriage ceremony by a small-town justice of the peace, with Danny and two prisoners in attendance.

Libby, resenting the years he has covered up for Norman, is infuriated. After returning from their honeymoon, Norman and Esther throw a party at their new Malibu beach house, during which Oliver tells Norman that the New York studio heads have ordered his contract to be dropped. Pleased with this turn of events, Libby sends out press releases stating that Norman asked to be released from his contract.

As she gives her acceptance speech, Norman drunkenly climbs onstage and makes his own speech, begging for a job. Gesturing wildly, he accidentally hits Esther in the face. While Norman spends time in a sanitarium to dry out, Oliver tells the depressed Esther that he will give Norman another chance. He offers Norman a part in a film, but Norman declines it, realizing that it is not a lead role.

After his release from the sanitarium, Norman plans to remain sober. At the Santa Anita racetrack, where he drinks ginger ale instead of his usual liquor, he encounters Libby, who tries to humiliate him. Norman then hits Libby, who strikes back, knocking Norman to the floor.

After not hearing from Norman for four days, Esther becomes worried. When she gets a call informing her that Norman has been arrested for drunkenness, she and Oliver proceed to the court, where the judge sentences Norman to ninety days in jail. Pleading for the judge to suspend the sentence, Esther promises to be responsible for Norman, and the judge relents. At home the next day, while Norman is sleeping, the crying Esther tells Oliver that she has decided to quit filmmaking. She wants to take Norman away for a new start, so that he can get back his health, and later, his career.

Having awakened, Norman overhears them through an open window. Later, pretending to be in a good mood, Norman tells Esther that he is going out for a swim and asks her to sing to him. As she sings, he swims toward the sunset, allowing himself to drown.

After the funeral, a gawking crowd encircles Esther as she leaves the church, causing her to break down. Secluding herself at the beach home, she refuses to answer phone calls. When she refuses to go, Danny tells her she is wasting what Norman gave her and what he died to keep from destroying.

His accusation succeeds in getting her to leave the house. Backstage at the auditorium, she sees the heart Norman drew on the wall. This is Mrs. Norman Maine. Composer: Lionel Newman. After curvaceous show girls Lorelei Lee and Dorothy Shaw finish their nightclub act, blonde gold digger Lorelei receives an engagement ring from her beau, wealthy Gus Esmond, Jr. Gus's father, who is opposed to the marriage, has prevented Gus from marrying Lorelei in the past, and he again intervenes.

Gus had planned to marry Lorelei in Paris, and so sends her and Dorothy ahead on the ocean liner Isle de Paris , cautioning Lorelei to avoid any scandal. As the buxom beauties board the ship, the American men's Olympic team comments that neither would drown if the ship sank. Dorothy, who does not share her chum's preference for rich men, is thrilled by the handsome athletes, while Lorelei searches the passenger list for suitable men to escort Dorothy. Unknown to the women, Gus's father has hired handsome private detective Ernie Malone to spy on Lorelei.

Malone develops a crush on Dorothy, and is one of several men who bribe the headwaiter for a seat at Lorelei and Dorothy's dining room table. That afternoon, after Malone engineers a meeting with Dorothy to question her about Lorelei, Lorelei is introduced to Sir Francis "Piggy" Beekman, who owns a diamond mine in South Africa.

Lorelei is dazzled when Piggy's wife, Lady Beekman, shows off her tiara, for she loves to find new places to wear diamonds. After dinner, Malone tells Lorelei that he "clips coupons," and, mistakenly believing that he is well-off, Lorelei endorses his romance with Dorothy. As the days pass, Dorothy falls for Malone, although she reprimands him for criticizing Lorelei's passion for riches. One afternoon, Dorothy sees Malone taking pictures through the porthole of her and Lorelei's cabin, and after rushing inside, discovers that Lorelei was pretending to be a goat while Piggy, pretending to be a python, was demonstrating how pythons encircle their prey.

Deducing that Malone is a detective, Dorothy schemes to retrieve his film. While Dorothy occupies Malone in the bar, Lorelei searches his cabin but cannot find the film. Forced to escape through the porthole, Lorelei gets stuck, but Spofford helps her to wiggle out of her predicament.

With the aid of some strong drinks and knockout drops, Dorothy and Lorelei then succeed in getting Malone's clothes and the film. After developing the pictures, Lorelei shows them to Piggy, who is so grateful for her "honesty" that she convinces him to give her Lady Beekman's tiara.

After they leave the cabin, Malone is retrieving the tape recorder he had planted when Dorothy catches him. Malone assures Dorothy that his feelings for her are real, but she refuses to forgive him. Upon their arrival in Paris, Dorothy and Lorelei go on a buying spree, and when they try to check into their hotel, they discover that Gus, who has received Malone's damning report, has cancelled their reservations and letter of credit.

Left on their own, the women obtain jobs at a local nightclub, and soon after, Gus visits in an attempt to reconcile with Lorelei. Although Lorelei loves Gus, she brushes him off, and outrages him with her tuneful declaration that "diamonds are a girl's best friend. Dorothy, wearing a blonde wig, then impersonates Lorelei in court while her friend tries to wheedle the price of a tiara out of Gus. Meanwhile, Malone, who has come to Paris to meet Esmond, Sr.

Back at the nightclub, Lorelei convinces Esmond, Sr. Dorothy and Malone, who have also resolved their romantic difficulties, join Gus and Lorelei for a double wedding ceremony, and Dorothy advises Lorelei, "Remember, honey, on your wedding day, it's alright to say yes. When she loses her chorus line job at Keeney's Oriental Palace, Fanny lies to enter a roller skating number and, slipping and sliding, is a comedy hit.

After the performance, suave gambler Nick Arnstein visits Fanny backstage and helps get her a raise. On opening night, she turns the show's lavish wedding finale into a comedy by appearing as a pregnant bride. Ziegfeld's anger is placated by Fanny's success, however, and he keeps the routine and yields to her demand that she choose her own material. Also at the theater that night is Nick Arnstein, who accompanies her to a party at her mother, Rose's, beer hall and then leaves for Kentucky.

One year later, while Fanny is in Baltimore on tour, she again encounters Nick. During their whirlwind affair, Nick loses a fortune on a racehorse he owns and decides to recoup his losses by gambling on an ocean liner crossing the Atlantic. As Fanny prepares to board a train for Chicago, she receives roses and a note from Nick.

After phoning her resignation from the Follies to Ziegfeld, she catches a train to New York and boards a tugboat to take her to Nick's Europe-bound ship. After her marriage to Nick, the two move into a lavish manor, and Fanny gives birth to a daughter. Sometime later, while Fanny is in rehearsal for a new show, Nick loses his money again and is forced to sell the house.

Feeling overpowered by his wife's success, he moves back to New York City and spends more and more time gambling. As his debts mount, Fanny tries to help, but Nick bitterly rejects her offer and becomes involved in a phony bond deal. When he is exposed, he gives himself up and is sent to jail. Over a year later, he comes to Fanny's dressing room before her performance and tells her goodbye. Composer: James Horner. In , a diving team led by Brock Lovett explores the sunken R.

The woman, now Rose Dawson Calvert, is brought to the research vessel to talk with Lovett. Nevertheless, she contemplates suicide by throwing herself off the ship. Meanwhile, Jack Dawson, a poor young artist, has boarded the Titanic via a third-class ticket won in a poker game.

Dawson happens upon Rose and dissuades her from killing herself. Hockley reacts jealously when he discovers the two together, but Rose insists that Jack saved her from an accidental fall over the side of the ship. Hockley invites the young man to join them at dinner in the first-class dining saloon. Although she initially rejects his romantic advances, after spending more time with him, she agrees to pose for a nude sketch. In her room, she sits for him wearing only her Heart of the Ocean necklace—a gift from Cal.

Lovejoy, by sneaking into the cargo hold, where they have sex inside a motorcar. When they return to an upper deck, Rose and Jack witness the Titanic crash into an iceberg. A mounting hysteria ensues as officers of the ship confront the likelihood that the vessel will sink. In the meantime, Hockley finds the nude sketch of Rose. As the ship begins to sink, passengers frantically board lifeboats.

Soon after, Jack and Hockley urge Rose to take an available seat on a lifeboat, but she cannot bear to leave Jack. An angry Hockley seizes Mr. He shoots at them but misses. To save himself, he picks up a lost child and uses him to gain access to a lifeboat. Jack and Rose remain on the ship after all the lifeboats have been filled. When the vessel breaks into two, Jack and Rose are plunged into the ocean.

He helps her climb onto a floating piece of wood but refuses to join her lest it sink. As he succumbs to hypothermia, Jack soothes Rose with a vision of her promising future. Only Rose survives the ordeal. She is brought aboard the rescue ship, R. Carpathia, where she narrowly avoids Hockley. Back in the present, elderly Rose recalls that Hockley ultimately killed himself after the stock market crash of Impacted by her story, Lovett changes his mind and abandons his search for the Heart of the Ocean.

Secretly, Rose still has the diamond in her possession, after Hockley unwittingly returned it to her while the Titanic was sinking. She goes alone to drop the diamond into the ocean, just above the wreck.

Later, in a dream, she and Jack are reunited on the Titanic as it was before it sank, surrounded by other passengers who applaud when they kiss. While staying in a London hotel with his English theatrical backer, Horace Hardwick, American musical revue star Jerry Travers wakes up Dale Tremont, Horace's downstairs neighbor, with his compulsive tap dancing. Upon seeing the furious Dale, Jerry falls instantly in love and, in spite of her snubbing, daily sends flowers to her room.

Then, while posing as a hansom cab driver, Jerry delivers Dale to her riding lesson in the park and romances her in a pavilion during a rain storm. Dale's loving bliss is shattered, however, when she incorrectly deduces that Jerry, whose name she has never heard, is actually the husband of her matchmaking friend, Madge Hardwick. In spite of her desire to return to America, Dale is convinced by Alberto Beddini, her adoring, ambitious Italian dressmaker, to accept Madge's invitation to join her in Italy.

Before leaving, Dale encounters Jerry in the hotel and slaps him without explanation. Worried that the slap will cause a scandal, the hotel management admonishes a confused Horace, who in turn blames the incident on Bates, his quarrelsome valet. Overjoyed, Jerry rushes through his London revue and flies to Venice with Horace, unaware that Dale has confessed to Madge in their hotel room that her husband has made illicit advances toward her.

In Italy, Jerry continues to be baffled by Dale's emotional vacilations, while Horace is equally baffled by Alberto's threats of bodily violence. At the hotel nightclub, Dale dances with Jerry at the urging of Madge, who is unaware that Dale has mistaken Jerry, the man that she is trying to get Dale to marry, for Horace. When Jerry then proposes to Dale, she slaps him again, while Madge, who had taken Dale's initial revelations about Horace with good humor, punches her husband in the eye.

Depressed and heartsick, Dale succumbs to the affections of Alberto and accepts his marriage proposal. The next day, Jerry learns that Dale has married and, by tap dancing as he did in London, connives to see her alone. Although Dale finally learns Jerry's true identity while cruising with him in a gondola, the revenge-hungry Alberto pursues the couple across the canals.

Eventually Bates reveals that, while following Dale and Alberto, he had impersonated a clergyman and performed their marriage ceremony. Legally single, Dale now accepts Jerry's proposal and, back in the nightclub, dances happily with him across the floor. Phonetics professor Henry Higgins gets involved in an altercation with Cockney flowergirl Eliza Doolittle as he is taking notes on her accent outside of London's Covent Garden in Colonel Pickering, another language enthusiast, quiets the argument, and Higgins boasts to him that after training Eliza for 3 months he could pass her off as a duchess.

The next day Eliza arrives at Higgins' house, prepared to pay for diction lessons so that she may realize her dream of obtaining a position in a shop. With Pickering's help, Higgins begins a complete transformation of Eliza. Her first public appearance at the Ascot horseraces is a dubious success. A few months later, Eliza is a greater success at the season's biggest social event.

After the affair, Higgins and Pickering congratulate each other on Eliza's transformation, completely ignoring her and her part in the process. She leaves Higgins' house in anger. Finding her father preparing to marry, Eliza seeks refuge with Higgins' mother. She is paid court by Freddie Eynsford-Hill, a young admirer. Higgins finds Eliza at his mother's, but they quarrel and he returns home.

Sitting alone in his study, Higgins realizes that he cannot be happy without Eliza. As he sits listening to recordings of her voice made during her diction lessons, Eliza quietly enters the room through the door behind him. Brian goes to the shabby boardinghouse run by Fraulein Schneider and there is greeted by Sally Bowles, an exuberant American singer. Sally, obsessed with becoming a movie star, is oblivious to the economic and political turmoil in Berlin, especially between the Nazis and Communists, and instead revels in the decadent atmosphere of alcohol, sex and excess.

Sally caustically muses that perhaps he does not sleep with girls, but when Brian does not reply, she promises that she would never pursue him if he prefers male companionship. Although Brian is reluctant to discuss the subject, he reveals that his three previous attempts to have sex with women were disastrous and that currently he has no sex life.

Sally cheerfully offers to remain platonic friends and the pair establish a routine. One afternoon, Fritz is having his English lesson when Brian reveals that a new pupil, Natalia Landauer, the daughter of a very rich Jewish family, is to arrive soon. Declaring that he is not prejudiced against Jews, Fritz determines to romance Natalia, no matter what she looks like.

Brian, hoping to make a good impression on Natalia, is aghast when Sally returns home unexpectedly. Brian charms Sally into not drinking, but when the lovely, reserved Natalia arrives, Fritz and Sally insist on remaining. Natalia attempts to converse in her stilted English until the bored Sally makes a comment about syphilis. When he returns home, Brian finds Sally sitting in the dark, depressed because her father has stood her up.

Sally sobs that while her father tries to love her, he simply does not care and thinks she is "nothing. Their passion for each other grows, with Sally hoping that this time, she has found the right man. One afternoon, Natalia summons Sally and as Natalia tearfully confides her love for Fritz, Sally realizes that he must have pounced.

Natalia states that she cannot marry Fritz because he might be a fortune hunter and is a Christian, and Sally commiserates with her. Soon after, Sally meets Maximilian von Heune, a suave aristocrat whose wealth and good looks dazzle her.

After a raucous shopping trip, Max and Sally show off their purchases to Brian, including a fur coat for Sally, but Brian stiffly refuses the gold cigarette case offered to him by Max. As Brian and Max drive by the scene of a street brawl one day, Max observes that at least the Nazis will get rid of the Communists, and then they in turn can be controlled.

Max soon suggests spending a weekend at his country estate, and there, Brian and Sally are awed by their surroundings. Max reveals to Brian that he is married, although he and his wife lead separate lives, then persuades Brian to accept a sweater and leaves the cigarette case for him as well.

When they stop at a beer garden, Brian and Max watch an adolescent boy, a member of the Hitler Youth, inspire the crowd to sing a rousing song about the future, and Brian pointedly asks Max if he still thinks the Nazis can be controlled. Soon after, a distressed Max drops Brian off at the boardinghouse, where Sally is packing for their trip to Africa.

Sally, who does not know that Max is married, babbles about a possible proposal from Max, to which Brian replies that her self-delusions are absurd. After receiving a fierce beating, Brian wakes up to discover Sally tending to him. She then reveals that Max has departed the country and left them three hundred marks. Deprecating their abilities as gold diggers, Sally apologizes to Brian, who shares her remorse, and the couple reconciles.

Soon after, Sally tells Brian that she is pregnant and is going to have an abortion, although the illegal operation will be so costly that she will have to sell her fur coat. Brian surprises both himself and Sally by proposing marriage, and the couple drunkenly celebrates their impending domesticity. During the day, Fritz confesses to Brian that he himself is Jewish but hid the fact when he moved to Berlin to raise his social position.

Remembering the excitement of performing in the club and the romance with Max, Sally becomes depressed. Soon after, Brian has fallen asleep while waiting for Sally to return home from work. He awakens when she enters and as she gingerly climbs into bed, asks her where her fur coat is.

Realizing that she has had the abortion, Brian asks why and grows increasingly angry, denigrating her dreams of stardom and castigating her for sleeping with anyone who can further her career. Not protesting, Sally asks to be left alone. As he calms down, Brian pleads with her to tell the truth. Sally replies that they would soon start hating each other if they gave up their mutual aspirations, and implies that eventually he would be unhappy with her because of his preference for men.

Brian sadly concludes that although Sally did want the baby and does love him, she did what was right for both of them. Soon after, Sally accompanies Brian to the train station as he prepares to return to England, and they bid each other a strained farewell, with Sally struggling not to cry, and Brian smiling fondly as she walks away, waving her green fingernails in the air. Composer: Frank Churchill. As part of her daily beauty routine, the Wicked Queen asks her Magic Mirror, "Who is the fairest one of all?

Once there, however, the woodsman finds he cannot do the deed and admonishes the princess to hide, while he returns to the queen with a pig's heart, which he claims belonged to Snow White. Frightened by the dark, stormy forest, Snow White runs wildly through the trees until she collapses with exhaustion on the forest floor. After her nap, she wakes to find the woods full of friendly, furry animals, who guide her to an empty cottage.

Shocked by the decrepit condition of the cottage, Snow White enlists the help of the animals to clean it up, and then falls asleep in an upstairs bedroom, which has been furnished with seven tiny beds. While Snow White sleeps, the owners of the beds, the Seven Dwarfs--Sleepy, Dopey, Doc, Sneezy, Grumpy, Bashful and Happy--return from working at the local diamond mine and discover the snoozing princess.

After much confusion, Snow White strikes a deal with the Dwarfs, offering her domestic services in exchange for room and board. To Grumpy's dissatisfaction, Snow White turns the household upside down and instigates positive changes in the Dwarfs' life. The Dwarfs' newly found happiness ends abruptly when the evil queen, who has learned from the Magic Mirror that Snow White is alive, transforms herself into an old hag and, equipped with a poison apple, heads for the Dwarfs' cottage.

Lured by the queen, the innocent Snow White bites into the apple and falls into a death-like sleep, which can be broken only when she is kissed by her first true love. Satisfied that Snow White is doomed, the queen rushes back toward her castle but is chased by the Dwarfs and falls to her death off a cliff. While lying in the woods in a glass-domed coffin built by the Dwarfs, Snow White is found by the Prince.

Entranced by her tranquil beauty, the prince kisses her back to life and carries her off to eternal happiness. Composer: Leonard Bernstein. The tension between them is marked by their bullying and tormenting of one another, and when a series of incidents erupts into a fistfight on a playground, two policemen, the bigoted Lt.

Schrank and Officer Krupke, arrive in time to break it up. Although Riff warns that the Sharks may choose to fight with zip guns or knives rather than fists, the Jets are enthusiastic about his idea. For support, Riff meets with Tony, a former member of the Jets who is like a brother and who now works in a candy store owned by good-hearted Doc.

Tony, who has lost interest in promoting violence, reluctantly agrees to accompany him out of friendship. When Tony confides that he has been having premonitions that something special is about to happen to him, Riff suggests that it may be waiting for him at the dance.

That evening, at the gym where the dance is held, Bernardo is introducing Maria to other Puerto Ricans, when several members of the Jets arrive. Both gangs are poised to fight, when Glad Hand, the social worker, and Krupke intervene.

The dancing continues and soon becomes a competition between the rival gangs and their women, who refuse to intermingle. From opposite sides of the dance floor, Tony and Maria spot each other and, entranced, move toward each other and begin to dance.

Seeing them together, Bernardo protectively pulls Maria away, telling her that Tony is only interested in sexual favors, and orders Chino to take her home. Anita and Bernardo meet with their friends on the rooftop, where they engage in a lively discussion about the pros and cons of living in America. Although the women tease the men that life in America is better than in their home country, the men complain that it is only better if you are white. Meanwhile, Tony walks the streets in a daze, bewitched by the thought of Maria.

She is in her room, preparing for bed, when she hears Tony calling out her name from the alley below and climbs through the window to the fire escape to be with him. Believing that Maria is the fulfillment of his premonition, Tony is eager to acknowledge publicly his love for her, but Maria is aware that their families will not approve. After admitting their love for each other and marveling at how their lives have changed in one evening, they part, agreeing to meet the next day at the bridal shop after closing time.

Although Krupke is suspicious that the gang is up to mischief, he is called away and the boys then make fun of him, as well as social workers, judges, psychiatrists and all those who have failed to alleviate the poverty and violence in which they have been reared. Schrank enters, prompting the two gangs to pretend to get along, and demands to know what they are planning. When no one will talk to him, he harasses the Puerto Ricans, ordering them out, and then tells the Jets that he wants his beat clear of the immigrants as much as they do.

When the Jets still refuse to confide in him, he tauntingly refers to their family members as drug addicts and prostitutes. Although Tony has no plans to attend the fight, Maria urges him to go and stop it from happening. Then, they playfully pretend to have a wedding, with store mannequins in attendance. Later, in the evening, the Jets and the Sharks prepare for the rumble, while Anita prepares for a romantic interlude with Bernardo when he returns.

While helping Doc, Tony can think of nothing but Maria, who is at home, waiting impatiently for the end of the evening, when she and Tony can be together. At the appointed place, the Sharks and the Jets meet, and the best fighter from each gang, Bernardo and Ice, respectively, prepare to fight as the others look on. When Tony arrives, his efforts to stop the fight inadvertently escalate the battle into a knife fight between Riff and Bernardo.

Waiting on the rooftop for Tony, Maria is surprised when Chino arrives to tell her that Tony killed Bernardo. Praying that he is lying, Maria runs to her room and finds Tony, who confesses. Although she wants to hate him, she finds she cannot and says that the problem is not with either of them, but everything around them.

Together, they envision a place where they can go that is free of prejudices. Outside, the police cruise the streets, but the gang members evade them. The Jets meet, stunned, because they never expected anyone would be killed.

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