Meet Me in St. Louis
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Meet Me in St. Louis

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Country: USA; &ref(,0,629,1000_AL_.jpg); Vincente Minnelli; Musical; Star: Margaret O'Brien; duration: 113 m. Very Gentleman Prefer Blondes, both came out in 1953. I wonder which spoofed the other.
FitzPatrick's Traveltalks shorts were released by MGM from 1930 through 1955. Meet me in st. louis halloween. Meet me in st louis movie. Meet me in st. louis.

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Lovely and funny movie! I loved it. LOVE THE BEAUTIFUL KITTEN? MERRY CHRISTMAS TO EVERYONE???????????????????????????. Meet me in st. louis theme party. I love this movie. My nana is 89, Alzheimers and dementia. She doesnt do much and the only thing that brings her to life are her movies. Meet me in St. Louis and ShowBoat are the two we play over and over for her. Watching this clip I realize now this will forever bring me to me my beautiful and sweet little nana sitting on the couch, suddenly lit up and almost back to life- singing at the top of lungs with her impressive tone and notes right along with Miss Judy. She is always so happy singing to this one especially. I guess its a magical scene for us all. It brings to life something we all have surely felt at some point in some way. That nostalgic feel of heaven on earth when the one that makes us dream at night finally noticed us or finally saw us- the flutter of the heart, the happiness- the feel of soaring- Ahhh It is definitely magical. I like to think when singing this song my nana pictures my grandpa when they were young and first really met ????.

Introduction Warning: this will be very long. Sorry, but some topics just require length. So it's that time of year again: people are taking the LSAT, drafting those personal statements, and preparing to apply to law schools. It's a time of high hopes, deep fears, and lots of stress. Applying for law school is a challenging and often opaque process, that requires both the knowledge and the ability to honestly and correctly evaulate your own qualifications, the character of the schools to which you are considering applying, and the degree of compatibility between the two. It's not easy, and even professionals frequently get it wrong. Particularly when there are multiple competing rankings that often conflict, many schools go out of their way to carpet-bomb students with advertisements, and the ABA provides little guidance or oversight. All too often, this subreddit tends to skew towards - and cater to - the higher end of the applicant pool. Those for whom a 161 is a dissapointment, not a score beyond their wildest dreams. Those for whom a 145 is so low as to be inconceivable - you could get that in your sleep. As such, it doesn't always offer a lot of help for people who are every bit as passionate about law school, but are maybe not as blessed with the time and resources to study, or are having to overcome a low undergraduate GPA caused by life circumstances beyond their control. If you're working two jobs, you probably don't have $2k and 3 nights a week to drop on an LSAT course. If you messed up and got pregnant freshman year and opted to keep the baby, you maybe graduated with a 2. 9 instead of the 3. 9 you and everyone around you knows you're capable of - and you're damn proud of it, because you know how much harder you had to work to get it. The point is, scores don't always measure aptitude, but they do exert an ironclad influence over where you're going to get in. And that can skew where even otherwise highly intelligent people might be tempted to apply. Schools know this, and prey upon that - and the ABA does little to stop them. This post is aimed at addressing a little of that. Part One: the Top of the Rankings As I'm sure you've figured out by now, if you get into Harvard, Yale, or Stanford, you go regardless of cost; you'll make enough to cover it, and then some. If you get into Columbia, NYU, or Chicago, you almost certainly go regardless of cost, barring some unique circumstances. If you get into the Top 14, you generally go, unless you have very compelling reasons (read: an offer of a full ride and then some, or extraordinary family circumstances) to go to a lower ranked school. However, there were 204 ABA-accredited law schools in 2016 (counting the U. S. Army Judge Advocate General's School; it would be 203 now, discounting the now-defunct Charlotte School of Law), enrolling 110, 951 full- and part-time students of whom 37, 677 matriculated, or began their first year of studies. Only about 4, 300 of those attend T-14 schools. For the other 35, 000 or so, the decision wasn't, 'do I go to one of the very best schools in the land' but 'which school do I go to, and why? ' Part Two: the Middle of the Rankings From 15-20 through 100-120, picking a law school is genuinely challenging; hence all of the 'School X $$ vs School Y $$$$' posts. Money is a very important factor, but so are things like family needs, knowing where you want to live/work, etc. There is no one simple solution, and anyone who tells you they have it is probably trying to sell you something. In particular, there exists what we might call the 'cascade of tradeoffs': numbers that are good enough to get you into higher ranked School A are enough to get you some money from less highly ranked School B, and are enough to get you a full ride or close at much lower ranked School C. Taking School C does much to cut down on costs of education, but it will also cut into future potential earnings, as well as the ability to change markets should Life Happen. In this sense, while 'take the highest ranked school' may seem like the easy solution - and it is certainly the solution most commonly found in advice threads here - it's not always necessarily the right solution. At the end of the day, you have to do what is best for you. Happily, though, in the middle of the rankings, this isn't actually as hard as it might sound. Whether you go to George Washington at a 10% discount, GMU at 50% off, or American at a full ride, at the end of the day you're getting a solid education and so long as you don't screw up you'll have the job prospects to match. Even a little further down the rankings, say Fordham/Cardozo/Brooklyn, you're looking at the same general trend. It may not be an easy decision, but you're not looking at any truly disastrous outcomes. Part Three: The Bottom of the Rankings However, at the low end of the rankings, things get tougher. For starters, there are a lot more ties. If 7 schools are tied for 138, what's to differentiate them? Also, there are a lot of unranked schools. Telling the difference from an unranked school and #138 isn't always easy - especially if you search rankings from past years and find that some that are unranked were once ranked and others that are ranked once were not. At this level, there are still many schools that offer an excellent education and value, but there also are also schools that are accredited and that do not offer similar returns on education, value, or employment. Also, there are what one can only call predatory degree mills or failure factories hiding in amongst them. These schools are accredited, and they do everything in their power to convince potential students that they are legitimate (seriously: take the time to read this), but any detailed examination will show that they are not. Teasing this tangle apart can be challenging. There's a lot of misinformation out there - not least from the schools themselves - and it's a situation that pits the hopeful but ignorant (applicants) against the cynical and informed (the schools). It's a lopsided battle. Fortunately, there are a number of powerful tools out there for applicants who want to use them. The ABA Standard 509 Report tells you almost anything you might want to know about a given school's application numbers (unfortunately, this does not - but should - include whether it is for-profit or not). The Department of Education provides useful information on graduate debt to earnings ratios. US News & World Report provides a wealth of information, including things like average graduate debt load. Using these and other tools (Google and common sense being perhaps the most powerful), it's entirely possible to screen schools effectively. Part Four: Parsing Schools If you know anything about law school applications, you know by now that everyone is ranked in quartiles. And if you're not out of the bottom quartile of a school's applicants, your odds are pretty low. Call me cynical, but I think it's fitting that we apply the same logic to the law schools themselves. There are 204 schools, so let's chop them into neat quartiles of 50, and round down: the top 154 schools will make the cut as being solid enough to not require careful consideration. We're only looking at the bottom 50 schools. But how do we determine the bottom 50, if a bunch of schools are unranked? Using the information downloadable from the ABA here, I ranked schools from worst to best by: lowest admitted GPA lowest admitted LSAT percentage of applicants admitted percentage of graduates employed at graduation employment at 10 Months bar passage rate And then pulled the bottom 50 out of each category (yes, this gave me more than 50 schools total, but we'll get to that). The logic here is that, the more predatory a school is, the more likely it is to relax admissions standards, let lots of people in, return fewer jobs upon graduation, and fail to prepare graduates for the bar. Once I got that list, I ran the results through some pivot tables in Excel, to group them by the number of times each school appears in these categories - 6 means a school appeared in all of those categories, 5 in 5 of them, etc. School Count Western New England 6 Western Michigan (Cooley) 6 Valparaiso University 6 Thomas Jefferson 6 Southern University 6 Loyola U. New Orleans 6 Golden Gate University 6 Florida Coastal 6 Charlotte School of Law 6 Charleston School of Law 6 California Western 6 Arizona Summit Law School 6 Widener (Delaware) 5 Whittier Law School 5 Western State University 5 U. of the District of Columbia 5 U. of Detroit Mercy 5 Texas Southern University 5 St. Thomas University 5 Roger Williams University 5 New England Sch. of Law 5 Mississippi College 5 Florida A&M University 5 Faulkner University (Jones) 5 Elon University 5 Capital University 5 Barry University 5 Ave Maria School of Law 5 Appalachian School of Law 5 Widener (Commonwealth) 4 Vermont Law School 4 U. of North Dakota 4 U. of Memphis 4 Touro College (Fuchsberg) 4 St. Mary's University 4 Oklahoma City University 4 Northern Kentucky U. 4 Northern Illinois University 4 Atlanta's John Marshall Law 4 Willamette University 3 U. of Toledo 3 U. of the Pacific (McGeorge) 3 U. of San Francisco 3 U. of Idaho 3 U. of Dayton 3 U. of Arkansas-Little Rock 3 U. of Akron 3 Southern Illinois-Carbondale 3 Pace University 3 Ohio Northern University 3 Nova Southeastern U. 3 North Carolina Central U. 3 John Marshall 3 Houston College of Law 3 U. of Wyoming 2 U. of South Dakota 2 U. of Montana 2 U. of California (Hastings) 2 U. of Arkansas-Fayetteville 2 Suffolk University 2 Southwestern Univ. 2 Seattle University 2 Santa Clara University 2 Northeastern University 2 New York Law School 2 Marquette University 2 Liberty University 2 Gonzaga University 2 CUNY-Queens College 2 Creighton University 2 Wayne State U. 1 Washburn University 1 U. of St. Thomas 1 U. of San Diego 1 U. of Oregon 1 U. of Nevada-Las Vegas 1 U. of Maine 1 U. of Louisville (Brandeis) @kickthemothproject Rolo Tomassi. In the year before the 1904 St Louis World's Fair, the four Smith daughters learn lessons of life and love, even as they prepare for a reluctant move to New York. This film took me a while to warm up to. Judy Garland, the star of the film, is dressed horribly with awful hair, and frankly I find her singing voice quite atrocious. How can this be? In others films ( Wizard of Oz" and "A Star in Born" she sings so nicely. Of course, the songs in general are pretty awful in this one. not fun like other musicals (e.g. "State Fair. br> I would have rated the film lower, but the Halloween scene redeemed it. Kids starting fires, dumping in old furniture, and smashing people in the face with flour? Priceless.
My biggest beef with today's movies, is that, they move the cameras around too much when someone is singing or dancing, with cuts, close ups, pans, and you just know that it took 20 takes to get ONE sequence. These guys, and of course Astaire and Rogers, and all the rest of these great early talents, all did it in one or a few takes with the cameras way back showing all their moves. No gimmicks, just raw talent. Cagney, Hope, Hayworth, all of them, just sang and danced with the cameras showing their whole bodies. Even Flashdance is all cut up and you know that a body double was doing the dancing. I miss these really talented actors of old, they did it all.
Meet me in st louis halloween. Im an 80s/90s child and had absolutely NO IDEA that Debbie Reynolds was so beautiful and glamorous in her younger years! Or that she did these types of films. I guess I knew of her but didnt know what she was famous for. Not to downplay her appearance as an older woman, but this is like seeing pics of a gorgeous young Martha Stewart, just like WOW! WHO KNEW.
Meet me in st. louis song judy garland. Meet me in st louis oak ridge playhouse. Meet me in st louis halloween scene. Meet me in st louis trolley song. You just cant beat these old dance routines in the big stage sets. love it love it. I never get tired of watching the amazing film. Such beauty of Spirit, love and service. And the finest of actors in Ingrid, Bing and others. Thank you you tube for this timeless movie. Meet me in st. louis pics.
So how did you get started using a suitcase drum? how long did it take you to get used to playing it along with your guitar? Originally I was doing the one man band with a kick drum and a high hat which was a pain in the ass to carry around and would wear out my legs in no time. In 2011 A friend of mine got a job working as the official blogger for the Mumford & Sons/Edward Sharpe/Old Crow Railroad revival tour, apparently at every show they would ask a local musician to busk outside of the front gate to set the scene and get the hobo juices flowing and she asked if Id like to fill the position. I had already been working on the one man band deal and really wanted to be able to do it in a portable way, so I asked my craftiest friend Sir William Wolfe if he could fashion me a device to my specifications. He whipped that thing up in like two hours and it has been in my act ever since. Here is a picture of me outside of the railroad revival tour in 2011: Link to It is designed with a seat and originally I sat down when I played but after a margarita disaster I ended up standing during a show and my energy doubled. Ever since then standing in front of it has been the way to been rather evolutionary. Its amazingly fun and enabling to play, Ive been working on the design ever since, reinforcing it with fiberglass and changing my kick pedals. But im looking forward to Shakey kick drum 2. 0. Did you do this busking at the Marfa show? No someone else did. How long have you been playing guitar for and how long did it take you to "find" your style? I've been playing on and off for a few years and still haven't found my own style. You have a very warm, natural, and genuine sound/feel to your music - something I hope to develop one day. It feels like I have been playing guitar for a few days, but it has been about 13 years. And as far as finding my "sound" it really came down to letting in the ghost. I believe that there is music in the air, when I hear a good song I usually feel some type of emotion on par with someone domesticating a rare animal and giving it a proper name. I forcibly wrote music for years, imposing my ideals and words on the notes and what would come out was just plain old songs, and some dude singing them. The moment I found my sound was when I could hear something that I recorded and not believe that it is actually me. The live show that I play right now is astonishing to me, I never intended to play dirty bluesy guitar like this. I mean I was a huge deathcab fan in highschool, I went through a huge hardcore/scream phase and listened to lots of Saetia and unheard 90s bands, all of this sort of came together in odd ways but really the sound simply developed. My hands do the talking now, and playing can feel like consciously blacking out, craning my head back, and the "it" sings. What do you love most about your job? The fact that it has become a job. When did you realize it had the potential to become a fulltime job (or do you still hold another job next to being a badass musician? ) 2012 was the first year I have been able to make a living off of music. Through live shows, it took about three years of really hard work in my home town. I've been to a few of your shows, and I really love your stuff. I'm also a guitarist, and I'm mesmerized by your fingerpicking. I'm looking to try to play a bit like that, so I'm wondering what you'd recommend me to do. Would the style be labeled as Travis picking? Your sound is very unique, but I can tell its deeply rooted in old blues and country. What are some of your greatest influences? Dust In The Wind In The Wind. Learn that song and the world of finger picking is yours. There is really no wrong way to do it, but it developed over a long time. Hey, So I'm a super poor college student, and I admit I downloaded your bandcamp album for free. What have the returns been like on Roll The Bones, considering you have a "choose your price" model? Outstanding. Bandcamp has been one of the most crucial elements to me getting my music out, and especially since it has allowed me to do the "choose your price" model. The way I see it, I really believed in my music, and I trusted that if people had it they would share it. The majority of my "career" as a musician has not involved money in any fashion so I figured that I would rather flood the market than try and fill my bank. People have been really generous, still I probably sell one cd for every 13 downloaded. As a follow up what is the most/least person has paid? 50 cents-400 dollars. Hey brother, I just found out about you yesterday through r/listentothis and I can't stop listening. In fact I'm listening right now, haha. You are amazingly talented. Thanks for what you do. Please come up to Canada sometime and I'll be first in line for the show! Question: What is your greatest musical influence? I meekly consider myself a disciple of Townes Van Zandt. Love your stuff man. Any chance of your stuff getting on Spotify? I'm not sure how that process works, but I know it's the easiest way for me to share music with friends. Im not sure how the process works I love spotify. If someone can help im all about probably embarrassingly simple. Eye in the Sky. you know we do it all;) Troll;) Hey Shakey, two questions. Firstly, how did you get so damn good at playing the guitar? Secondly, when's the earliest you'll be coming to Europe? Mushrooms and I have no idea. Will Good Music Club ever put up the whole show for purchase/download? Also, obligatory "you need to come to Wisconsin" post. We are in the process of pressing it to a 7 inch vinyl! Do you have any plans to tour the northeast? My friends and I all love your music. Soon enough, June maybe? Im touring the southeast in feb-march with Paper Bird and Hes My Brother Shes My Sister Who? Are you one of those damn kids on my lawn? Can you get off it? No (bong noise) Saw you play with a full band at Antone's last month, is that going to become a normal thing? I thought it was good but I really like your one-man show. I highly doubt that Shakey Graves will become a static band, instead its more of a blanket name that encompasses any recording project I do. I will continue to experiment with different line ups and different takes on my songs but they will always be handled under a larger title such as Shakey Graves and The Basketball Diaries, or Shakey Graves and The Great Apes, or Shakey Graves and The Get Dead, blah blah blah. I have always wanted a band, there is nothing like it and Ive spent years longing for a solid group to play with. Oddly enough in that time the one man band thing developed. Originally the one man band was a device to get you to pay attention to the recordings I had made (which were supposed to mimic a full band). Hey shakey youre my favorite artist and todays my 21st birthday, will you drink a beer or 7 with me? You say when and I will crack a beer in your honor. What is your favorite memory from working on Friday Night Lights? Finding out that all the characters on the show are basically just like exaggerated versions of the actors. Lyla and Riggins really had boned at some point and would have heated arguments off set, saracen was super protective of julie because she had never kissed anyone else on the show, Landry instantly feels like your best friend and is the only person on set that I have still maintained contact Connie Britton must marry me. Shakey! Huge fan. Please come *back to Portland, OR? Am I dumb or is there nowhere to buy/download Late July? ^*edit. I just played portland about two months ago and will be back as soon as possible. And no Late July has not been officially released yet. Are there any little-known artists that you listen to that you'd like to share with the rest of us? Any chance you'll venture up to Tulsa this summer? Check out Crooked Cowboy And The Freshwater Indians... In the "Seal Hunter" where did you get the dialogue? Loved your show and meeting you at Sam's Folk Hive session! Can't wait to see you again in St. Louis and Columbia in March! The tape that I recorded over to make that on my tascam 4 track was some bizzare sexual spirtuality tape my mother it was too good not to use. Hey, I was introduced to your music by a SXSW video, and I've been wondering something since I heard your album for the first time; why do you sing so differently on your produced material and live material? (just want to note that I'm a fan of both! I've just been curious) Time and location. I recorded my album in my home over the course of three years, at that point my voice was still developing and I always sing differently in front of a crowd as opposed to alone stoned in my room or something. I know you have answered this a couple time already, but I would appreciate some more explanation than just Van Zandt. I am very curious about your influences, specifically old blues guys, if any. Your sound really reminds me of guys like Mississippi Fred McDowell, Mississippi John Hurt (specifically his fingerpicking technique). Also just want to compliment you deeply. I have told my friends about you with the introduction that if I could actually bring myself to write songs instead of just jam all the time and if I could sing I would basically create exactly the music you make. Oh also what kind of electric hollow-body guitar is that you play in videos like The Water? Thanks! Im pretty sure that a lot of people assume that I really focused on blues men, but in all honesty I have no specific taste for the 12 bar blues. I consider a good blues song as relevant as a good DEVO song. Out of that world I have take a bit from John Lee Hooker, in the sense that he just fucking played and if he had a band with him they just had to keep tone is boss as well. I have always been floored by Son House. Im a huge Abner Jay fan. Jesse lone cat fuller. The first George Thorogood and The Destroyers album will fucking melt your eyeballs. In my development I have always mig
A N N I E G E T Y O U R G U N WHEEZE I THOUGHT THIS WAS FROM A HAPPY MUSICAL. Meet me in st louis trolley song lyrics. Meet me in st louis cast. Thank you for your lovely comment. Gracie did indeed stay close to her roots, next year will be 35 years since she passed away. They sound like munchkins. Meet me in st. louis in theaters. Meet me in st. louis musical song list. INCREDIBLY STEREOPHONIC SOUNDY EVER! BRAVO FOR THIS INCREDIBLE HISTORICAL RELEASE IN stereophonic Soundtrack EVER! MERCI BEAUCOUP FOR HER! Emmanuel from Paris. Emmanuel. The thing is long ago peoples voice was beautiful and soft and gentle and amazing but now on peoples voices, kind of weird and sharp and spiky and however you describe it so I think the old peoples voice is much much better than these peoples voices.
Meet me in st louis full movie. I almost do, then I realize i'm black and how bad that would actually suck.
Meet me in st louis play cast. Meet me in st louis youtube. Kanye Omari West (/?k??nje?/;[1] born June 8, 1977) is an American rapper, songwriter, record producer, fashion designer, and entrepreneur. Born in Atlanta and raised in Chicago, West briefly attended art school before becoming known as a producer for Roc-A-Fella Records in the early 2000s, producing hit singles for artists such as Jay Z and Alicia Keys. Intent on pursuing a solo career as a rapper, West released his debut album The College Dropout in 2004 to widespread critical and commercial success, and founded the record label GOOD Music. He went on to pursue a variety of different styles on subsequent albums Late Registration (2005), Graduation (2007), and 808s & Heartbreak (2008). In 2010, he released his fifth album My Beautiful Dark Twisted Fantasy to rave reviews from critics, and the following year he collaborated with Jay Z on the joint LP Watch the Throne (2011). West released his abrasive sixth album, Yeezus, to further critical praise in 2013. His seventh album, The Life of Pablo, was released in 2016. West is among the most acclaimed musicians of the 21st century, and is one of the best-selling artists of all time, having sold more than 32 million albums and 100 million digital downloads worldwide. [5][6] He has won a total of 21 Grammy Awards, making him one of the most awarded artists of all time and the most Grammy-awarded artist to have debuted in the 21st century. [7] Three of his albums have been included and ranked on Rolling Stone's 2012 update of the "500 Greatest Albums of All Time" list. He has also been included in a number of Forbes annual lists. [8] Time named him one of the 100 most influential people in the world in 2005 and 2015. West was born on June 8, 1977 in Atlanta, Georgia. [9][10] His parents divorced when he was three years old. After the divorce, he and his mother moved to Chicago, Illinois. [11][12] His father, Ray West, is a former Black Panther and was one of the first black photojournalists at The Atlanta Journal-Constitution. Ray West was later a Christian counselor, [12] and in 2006, opened the Good Water Store and Café in Lexington Park, Maryland with startup capital from his son. [13][14] West's mother, Dr. Donda C. (Williams) West, [15] was a professor of English at Clark Atlanta University, and the Chair of the English Department at Chicago State University before retiring to serve as his manager. West was raised in a middle-class background, attending Polaris High School[16] in suburban Oak Lawn, Illinois after living in Chicago. [17] West demonstrated an affinity for the arts at an early age; he began writing poetry when he was five years old. [20] His mother recalled that she first took notice of West's passion for drawing and music when he was in the third grade. [21] Growing up in Chicago, West became deeply involved in its hip hop scene. He started rapping in the third grade and began making musical compositions in the seventh grade, eventually selling them to other artists. [22] At age thirteen, West wrote a rap song called "Green Eggs and Ham" and began to persuade his mother to pay $25 an hour for time in a recording studio. It was a small, crude basement studio where a microphone hung from the ceiling by a wire clothes hanger. Although this wasn't what West's mother wanted, she nonetheless supported him. [20] West crossed paths with producer/DJ No I. D., with whom he quickly formed a close friendship. No I. D. soon became West's mentor, and it was from him that West learned how to sample and program beats after he received his first sampler at age 15. [23]:557 After graduating from high school, West received a scholarship to attend Chicago's American Academy of Art in 1997 and began taking painting classes, but shortly after transferred to Chicago State University to study English. He soon realized that his busy class schedule was detrimental to his musical work, and at 20 he dropped out of college to pursue his musical dreams. [24] This action greatly displeased his mother, who was also a professor at the university. She later commented, "It was drummed into my head that college is the ticket to a good life... but some career goals don't require college. For Kanye to make an album called College Dropout it was more about having the guts to embrace who you are, rather than following the path society has carved out for you. "[23]:558 1996?2002: Early work and Roc-A-Fella Records Kanye West began his early production career in the mid-1990s, making beats primarily for burgeoning local artists, eventually developing a style that involved speeding up vocal samples from classic soul records. His first official production credits came at the age of nineteen when he produced eight tracks on Down to Earth, the 1996 debut album of a Chicago rapper named Grav. [25] For a time, West acted as a ghost producer for Deric "D-Dot" Angelettie. Because of his association with D-Dot, West wasn't able to release a solo album, so he formed and became a member and producer of the Go-Getters, a late-1990s Chicago rap group composed of him, GLC, Timmy G, Really Doe, and Arrowstar. [26][27] His group was managed by John "Monopoly" Johnson, Don Crowley, and Happy Lewis under the management firm Hustle Period. After attending a series of promotional photo shoots and making some radio appearances, The Go-Getters released their first and only studio album World Record Holders in 1999. The album featured other Chicago-based rappers such as Rhymefest, Mikkey Halsted, Miss Criss, and Shayla G. Meanwhile, the production was handled by West, Arrowstar, Boogz, and Brian "All Day" Miller. [26] West spent much of the late 1990s producing records for a number of well-known artists and music groups. [28] The third song on Foxy Brown's second studio album Chyna Doll was produced by West. Her second effort subsequently became the very first hip-hop album by a female rapper to debut at the top of the U. S. Billboard 200 chart in its first week of release. [28] West produced three of the tracks on Harlem World's first and only album The Movement alongside Jermaine Dupri and the production duo Trackmasters. His songs featured rappers Nas, Drag-On, and R&B singer Carl Thomas. [28] The ninth track from World Party, the last Goodie Mob album to feature the rap group's four founding members prior to their break-up, was co-produced by West with his manager Deric "D-Dot" Angelettie. [28] At the close of the millennium, West ended up producing six songs for Tell 'Em Why U Madd, an album that was released by D-Dot under the alias of The Madd Rapper; a fictional character he created for a skit on The Notorious B. I. G. 's second and final studio album Life After Death. West's songs featured guest appearances from rappers such as Ma$e, Raekwon, and Eminem. [28] West received early acclaim for his production work on Jay-Z's The Blueprint; the two are pictured here in 2011. West got his big break in the year 2000, when he began to produce for artists on Roc-A-Fella Records. West came to achieve recognition and is often credited with revitalizing Jay-Z's career with his contributions to the rap mogul's influential 2001 album The Blueprint. [29] The Blueprint is consistently ranked among the greatest hip-hop albums, and the critical and financial success of the album generated substantial interest in West as a producer. [30] Serving as an in-house producer for Roc-A-Fella Records, West produced records for other artists from the label, including Beanie Sigel, Freeway, and Cam'ron. He also crafted hit songs for Ludacris, Alicia Keys, and Janet Jackson. [29][31][32][33] Despite his success as a producer, West's true aspiration was to be a rapper. Though he had developed his rapping long before he began producing, it was often a challenge for West to be accepted as a rapper, and he struggled to attain a record deal. [32] Multiple record companies ignored him because he did not portray the 'gangsta image' prominent in mainstream hip hop at the time. [23]:556 After a series of meetings with Capitol Records, West was ultimately denied an artist deal. [22] According to Capitol Record's A&R, Joe Weinberger, he was approached by West and almost signed a deal with him, but another person in the company convinced Capitol's president not to. [22] Desperate to keep West from defecting to another label, then-label head Damon Dash reluctantly signed West to Roc-A-Fella Records. Jay-Z later admitted that Roc-A-Fella was initially reluctant to support West as a rapper, claiming that many saw him as a producer first and foremost, and that his background contrasted with that of his labelmates. West's breakthrough came a year later on October 23, 2002, when, while driving home from a California recording studio after working late, he fell asleep at the wheel and was involved in a near-fatal car crash. [35] The crash left him with a shattered jaw, which had to be wired shut in reconstructive surgery. The accident inspired West; two weeks after being admitted to the hospital, he recorded a song at the Record Plant Studios with his jaw still wired shut. [35] The composition, "Through The Wire", expressed West's experience after the accident, and helped lay the foundation for his debut album, as according to West "all the better artists have expressed what they were going through". [36][37] West added that "the album was my medicine", as working on the record distracted him from the pain. [38] "Through The Wire" was first available on West's Get Well Soon... mixtape, released December 2002. [39] At the same time, West announced that he was working on an album called The College Dropout, whose overall theme was to "make your own decisions. Don't let society tell you, 'This is what you have to do. '"[40] Carrying a Louis Vuitton backpack filled with old disks and demos to the studio and back, West crafted much of his production for his debut album in less
My favorite show when I was a little in peace dear Mitch. Meet me in st. louis louis.

Meet me in st. louis song. Meet me in st. louis 2019. Meet me in st. louis youtube. Meet me in st. louis trolley. Meet me in st. louis (1944. Meet me in st. louis judy garland. Meet me in st. louis piano solo. At one level this is what any Andy Hardy film would have looked like had they thrown a budget at it and shot it in colour - an impossibly perfect Americana that existed only in the rich imaginations of serial nostalgics. Like most, if not all, of the great Hollywood movies I missed them first time around and caught up with them years later via TV or Revival houses. All I really knew about this was that it was the movie with 'The Trolley Song' so when it played for three days only at a Revival house I went along on the first night not expecting too much. I wound up returning for the next two performances, completely blown away by EVERYTHING about it. Okay, put it under a strong light and it may look just a tad twee, we might even apply the Two H label - Homey, Heartwarming and squirm awkwardly as we do so but in the darkness of the cinema and a willingness to surrender to its irresistible mixture of Charm, Sentiment and Craftsmanship/Professionalism it's unbeatable. In retrospect it's easy to see that Judy Garland had two 'Esthers' in her uneven career that bookend it perfectly, Esther Blodgett in the definitive version of 'A Star Is Born' and Esther Smith in the screen adaptation of Sally Benson's memoirs of her life in St. Louis at the turn of the century. Minnelli's painterly eye has seldom been better than in his Currier & Ives set pieces of the four seasons and Ralph Blane and Hugh Martin contributed what has to be a very strong contender for the PERFECT musical score to ANY film, brief though it was, from the wistful The Boy Next Door and Have Yourself A Merry Little Christmas to the exuberant Trolley Song. It's doubtful if a better cast has ever been assembled from the Head (Judy Garland) down to the toes (Chill Wills as Mr Neely, the Iceman. In between we have the wonderful Mary Astor, limning a stereotypical 'mom' a scant two years after her femme fatale Brigid O'Shaughnessy in 'The Maltese Falcon' complemented perfectly by Leon Ames, the 'temporary' villain of the piece by virtue of not only thwarting a romantic phone call but also planning to uproot the family from St. Louis to New York. St. Louis itself is equally important and THIS St. Louis is light-years away from the one that Tennessee Williams would immortalize only one year later (1945) in 'The Glass Menagerie' when, in complete contrast to the Smith family the Wingfields could't get out of town quickly enough. This HAS to be not just one of the best Musicals but also one of the best Movies ever and a 10 out of 10 if ever I saw one.
Just watched the documentary Sid and Judy. She was the consummate entertainer despite what she went through personally. MGM used and abused her so badly. Meet me in st. louise. Greatness is timeless. Meet me in st louis song. Meet me in st louis have yourself a merry little christmas. Probably the single greatest arrangement of any MGM musical number.? Conrad Salinger was a genius, and his use of ?horn, violins and such was expertly arranged.? Garland's vocal is totally superb.? Nice to have the stereo soundtrack from?the CD up, as sometimes we just want to listen and save the visuals for when we sit down and watch this great film.









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