Hillsville, VA 4th of July Parade Part 2
Sim Ou Não - Anitta Feat Maluma
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Clipe oficial do single Sim Ou Não com participação do cantor Maluma.
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Ficha técnica single:
Composição: Anitta / Maluma / Jefferson Junior / Umberto Tavares
Voz: Anitta / Maluma
Bateria: Mãozinha
Guitarra: Umberto Tavares
Teclados: Toninho Aguiar
Percussão: Jefferson Junior, Marcos Saboia, Mãozinha, Toninho Aguiar,Umberto Tavares
Ficha técnica clipe:
Direção: Jessy Terrero
Styling: Flavia Pommianosky
Make up/Hair: Henrique Martins
Participação especial: Maluma
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Sim Ou Não
Se quiser jogar, vem
Mas tem que arriscar, vem…
Vai ser sim ou não, oh no, oh no
Não, oh no
Y tú lo sabes que me gustas
Dale
Mueve el cuerpo suave
Pa mí así yeah yeah yeah yeah
Bailame que quiero verte
Posa pa mí bien sexy
No sé si volveré a verte
Pero voy a disfrutarte
Solo tú, tú, tú me enloqueces
Y solo tú tú tú te mereces
Que te diga al oído
Las cosas que me excitan
Lo que el niño necesita, baby
Não encosta, não me beija
Só me olha, me deseja
Quero ver se você vai aguentar
A noite inteira sem poder me tocar
Eu rebolo, te enlouqueço
Bate palma que eu mereço
Quero ver se você vai aguentar
A noite inteira sem poder me tocar
Tudo pode acontecer, vai ter que pagar pra ver
Se vai rolar, se é pra valer, oh no
Pode ser só diversão mas a minha intenção
Não vou dizer só vai saber
Se quiser jogar, vem
Mas tem que arriscar, vem…
Vai ser sim ou não, oh no, oh no
Não, oh no
Si quieres jugar, ven
Que quiero tocarte
Y aquí mismo dártelo
No digas que no
Bailame que quiero verte
Posa pa mí bien sexy
Então segura a pressão, muita pressão
Minha intenção, é sedução
Solo tú, tú, tú me enloqueces
Y solo tú tú tú te mereces
Cê tá querendo um sim, mas pode ser um não, no, no, no…
Tudo pode acontecer, vai ter que pagar pra ver
Se vai rolar, se é pra valer, oh no
Pode ser só diversão mas a minha intenção
Não vou dizer só vai saber
Se quiser jogar, vem
Mas tem que arriscar, vem…
Vai ser sim ou não, oh no, oh no
Não, oh no
Si quieres jugar, ven
Que quiero tocarte
Y aquí mismo dártelo
No digas que no
The Groucho Marx Show: American Television Quiz Show - Hand / Head / House Episodes
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. More Groucho:
Groucho's three marriages all ended in divorce. His first wife was chorus girl Ruth Johnson. He was 29 and she 19 at the time of their wedding. The couple had two children, Arthur Marx and Miriam Marx. His second wife was Kay Marvis (m. 1945--51), née Catherine Dittig, former wife of Leo Gorcey. Groucho was 54 and Kay 21 at the time of their marriage. They had a daughter, Melinda Marx. His third wife was actress Eden Hartford. She was 24 when she married the 63-year-old Groucho.
During the early 1950s, Groucho described his perfect woman: Someone who looks like Marilyn Monroe and talks like George S. Kaufman.
Often when the Marxes arrived at restaurants, there would be a long wait for a table. Just tell the maître d' who we are, his wife would say. (In his pre-mustache days, he was rarely recognized in public.) Groucho would say, OK, OK. Good evening, sir. My name is Jones. This is Mrs. Jones, and here are all the little Joneses. Now his wife would be furious and insist that he tell the maître d' the truth. Oh, all right, said Groucho. My name is Smith. This is Mrs. Smith, and here are all the little Smiths.
Similar anecdotes are corroborated by Groucho's friends, not one of whom went without being publicly embarrassed by Groucho on at least one occasion. Once, at a restaurant (the most common location of Groucho's antics), a fan came up to him and said, Excuse me, but aren't you Groucho Marx? Yes, Groucho answered annoyedly. Oh, I'm your biggest fan! Could I ask you a favor? the man asked. Sure, what is it? asked the even-more annoyed Groucho. See my wife sitting over there? She's an even bigger fan of yours than I am! Would you be willing to insult her? Groucho replied, Sir, if my wife looked like that, I wouldn't need any help thinking of insults!
Groucho's son Arthur published a brief account of an incident that occurred when Arthur was a child. The family was going through customs and, while filling out a form, Groucho listed his name as Julius Henry Marx and his occupation as smuggler. Thereafter, chaos ensued.
Later in life, Groucho would sometimes note to talk-show hosts, not entirely jokingly, that he was unable to actually insult anyone, because the target of his comment assumed it was a Groucho-esque joke and would laugh.
Despite his lack of formal education, he wrote many books, including his autobiography, Groucho and Me (1959) and Memoirs of a Mangy Lover (1963). He was personal friends with such literary figures as T. S. Eliot and Carl Sandburg. Much of his personal correspondence with those and other figures is featured in the book The Groucho Letters (1967) with an introduction and commentary on the letters written by Groucho, who donated his letters to the Library of Congress.
Irving Berlin quipped, The world would not be in such a snarl, had Marx been Groucho instead of Karl. In his book The Groucho Phile, Marx says I've been a liberal Democrat all my life, and I frankly find Democrats a better, more sympathetic crowd.... I'll continue to believe that Democrats have a greater regard for the common man than Republicans do. Marx & Lennon: The Parallel Sayings was published in 2005; the book records similar sayings between Groucho Marx and John Lennon.
Calling All Cars: The Wicked Flea / The Squealing Rat / 26th Wife / The Teardrop Charm
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.