#Freddie cobb

[queenlakiefer]

Kiefer Sutherland has such an amazing selection of characters to simp over 🤤🥰❤️

You have (in no particular order):

David (The Lost Boys): If you want a dominant vampire bad boy 😉

Dr Daniel Schreber (Dark City): If you want a cute skittish submissive scientist ☺️

Ace Merrill (Stand By Me): If you want a dominant bully type

Wendell Goddard (Woman Wanted): If you want a poet with emotional difficulties but is just sweet and lonely, just needs someone there for him because his father wasn’t when he really needed him 😢

Josiah ‘Doc’ Scurlock (Young Guns): A kind, romantic cow boy poet…need I say more 🥰❤️

‼️ Warning ‼️ I know people are fans of all sorts of bad characters and I mean bad but this is fictional, I personally don’t like these characters but if you do, no judgement here as long as it isn’t hurting anyone.

Continue ⬇️

Won’t go into detail about these next ones for obvious reasons (If you have seen the films you will know but if you haven’t, proceed with caution…these characters are horrible people) but hey if you happen to like his other not so savoury character such as Freddie Cobb (Time to Kill), Robert Doob (Eye for an Eye) or Bob Wolverton (Freeway)…no judgment here 🙌🏻.

[cvasquez]

My favorite horror movies of 2023: 1. Thanksgiving 2. Saw X 3. Evil Dead Rise 4. Insidious: The Red Door 5. Scream VI 6. V/H/S 85 7. M3gan 8. When Evil Lurks 9. The Jester 10. Hell House: Origins 11. Skinamarink 12. Never Hike Alone 2 13. It's a Wonderful Knife 14. Resident Evil: Death Island 15. Tape Head: The Return of Jacob Cobb 16. Five Nights At Freddy's 17. No One Will Save You 18. Chloe

[macabrebatz]

I can’t believe I didn’t realize that my asks were off. Thank you everyone that let me know 🙏 So if you have a request now you can send it in lol.

[spookytuesdaypod]

spooky tuesday is a (now not so new!) podcast where we’re breaking down all of our favorite slashers, thrillers, monster movies and black comedies on the new scariest day of the week.

you can't get rid of us that easily, spookies. we're not only back for more i know what you did last 🤘 SUMMER 🤘, we're all together and stronger than ever on our latest episode of spooky tuesday. this week, we're keeping our summer theme going with i still know what you did last summer (1998), and we're celebrating in style by actually all being in the same room as we sing, swap places, profess our love to brandy, and discuss jack black's dreads. we're also getting into the very real CLEAR references this movie makes to the original novel this series was based on and saying lots of other smart stuff (like the capital of brazil — impressed, much?), so make sure you tune in to see just how in tune with each other the three of us are.

give spooky tuesday a listen on apple podcasts, spotify, iheart radio, or stitcher

[desertskiespodcast]

How many of the voices/characters you do are unedited? I am floored every episode that you are the only VA/director/creator/editor for this entire podcast (aside from your son doing a handful of guitar!), and I am so genuinely curious how the hell you do so much as one person. Some characters like CASH have a bit of an obvious autotune (lack of a better word, I am incredibly uneducated in this) to their voice, but I am so curious to learn how much of it you are able to do with your unedited voice. Like, what characters? I feel like Tendy and Mac are unedited, but it genuinely astounds me!

Thank you for making this podcast!

Hey, that's a big question because there's so many characters and I'm prone to forget some. But this gives me an opportunity to give a proper response because I get asked it A LOT. So thank you! When we're talking about editing, there's those obvious things that I don't think are worth mentioning such as the reverb used for any minor-deity (Sphere Movers) and projected beings, the siblings, Betty and Greg. The only process that I use to actually change the voice is something called pitching, and it's done in the editing software. Here's a list of who I can remember and what changes I make in terms of pitching. Potential spoilers but only names: C.A.S.H. , Xochitlicue, Francise, Betty, Masonia, Nonny - Only very minor pitching up, and flanger for C.A.S.H. to provide that robotty sound. I could do most of these characters without pitching and you'd likely not notice. Shirley Edwards - Medium pitching up Nico Valerie, Greg - Minor pitching down. Same as the minor ups, I could do these without pitching and it probably wouldn't be noticed. Freddie Pruitt - Medium pitching down Prime Mover - Major pitching down (believe it or not, I record this one with an intentionally high voice and then make that super low) Tendy, Mac, Lawrence Cobb, Michael Partridge, Corson, Doug, Dusek, Olenus, Dale Edwards, Drystan - No pitching changes I'm probably forgetting someone so please forgive me. Hopefully that answers your question!

[didierleclair]

This is an iconic picture. These 3 doing a gig as a jazz trio at the Apollo Theater in NY in 1959 were recording the most popular jazz album in jazz history: Kind of blue (1959). I must add the contribution of Bill Evans, John Coltrane, Wynton Kelly and Cannonball Adderley.

Adderley introduced Jimmy Cobb to Miles. He said, "I know a drummer, he can read (he meant music), and he can replace Philly Joe Jones if he doesn't show". Paul Chambers (with the hat) improvised from the get go the bassline on "So what". The other musicians followed. Miles gave this band just sketches of scales and the melody lines. And they came up with a masterpiece. I love Wynton Kelly. His fingering deeply rooted in the blues shines on "Freddy freeloader". Miles knew musicians who could enhance his already magnificent sound. #milesdavisquintet #jazzmusic #kindofblue #didierleclairwriter

Pic: X.com

[drechastory]

Facts about our cast!

Part 1: Pete.

Pete had broken his jaw around his teen years after he tried to teach himself how to drive. Since this was around the time money was short, the boss decided to just wire his mouth shut, simulating braces. This was all the way until he and Dottie were transported to Freddy Fazbear’s in his adult years. (Finn was taken 2 years prior to clarify.)

When Finn and Dottie were both under ten years old. Pete would sneak them into the boss’s office since his office had a television. They had a few hours before he would arrive so Pete would use that time to show Finn and Dottie new cartoons and kids shows. Meanwhile his teen self couldn’t understand half of the shows context.

Before the money problems, he had a pet hamster he called Cosmo, but around the age of 12, he mysteriously vanished and never came back. Pete was sad for days since he tried so hard to find him. Then Dottie tried to cheer him up by introducing Mr. Cobbs, their pet spider.

Most of his strength had come from years of working out. Once Finn and Dottie were older, he took his free time to work out here and there.

EXTRA Facts!!

• Pete is very flexible compared to most animatronics, others being Mangle and Goldie.

• Even with his braces, he was considered one of the cutest boys combined with Freddy’s mascots, placing a high rank at number 4, he was equally ranked alongside Bonnie.

• Pete had built himself a Bike in hopes of running away with his younger siblings.

• Pete is considered very thin, having a 27 inch waist.

• Pete was originally supposed to be a Girl because there was supposed to be another Older animatronic, but due to technical difficulties, they decided to make Pete a boy to keep a male leading mascot for the establishment.

• Pete is actually pretty ticklish due to the sensitivities given to him as an original female mascot, so because of this, he refrains from coming into physical contact with most people, especially kids since they’re very touchy.

• Pete is an introvert, but he still had many fans and friends for being known as “a shy guy.”

[eyesonsutherland]

This movie traumatised me. I NOT RECOMMEND YOU TO WATCH.

A Time To Kill (1996)

Kiefer Sutherland as Freddie Lee Cobb

[projazznet]

Teri Thornton ‎– Devil May Care

Devil May Care (also rereleased as Lullaby of the Leaves) is the debut album by American jazz vocalist Teri Thornton featuring tracks recorded in late 1960 and early 1961 for the Riverside label.

Teri Thornton – vocals

Clark Terry – flugelhorn, trumpet

Britt Woodman – trombone

Earle Warren – alto saxophone

Seldon Powell – tenor saxophone

Wynton Kelly – piano

Freddie Green , Sam Herman  – guitar

Sam Jones – bass

Jimmy Cobb – drums

Norman Simmons – arranger

[whileiamdying]

A SERENE JAZZ MASTERPIECE TURNS 65

The best-selling and arguably the best-loved jazz album ever, Miles Davis’s Kind of Blue still has the power to awe.

MARCH 06, 2024

At a moment when jazz still loomed large in American culture, 1959 was an unusually monumental year. Those 12 months saw the release of four great and genre-altering albums: Charles Mingus’s Mingus Ah Um, Dave Brubeck’s Time Out (with its megahit “Take Five”), Ornette Coleman’s The Shape of Jazz to Come, and Miles Davis’s Kind of Blue. Sixty-five years on, the genre, though still filled with brilliant talent, has receded to niche status from the culture at large. What remains of that earthshaking year in jazz? “Take Five” has stayed a standard, a tune you might hear on TV or on the radio, a signifier of smooth and nostalgic cool. Mingus, the genius troublemaker, and Coleman, the free-jazz pioneer, remain revered by Those Who Know; their names are still familiar, but most of the music they made has been forgotten by the broader public. Yet Kind of Blue, arguably the best-selling and best-loved jazz album ever, endures—a record that still has the power to awe, that seems to exist outside of time. In a world of ceaseless tumult, its matchless serenity is more powerful than ever.

On the afternoon of Monday, March 2, 1959, seven musicians walked into Columbia Records’ 30th Street Studio, a cavernous former church just off Third Avenue, to begin recording an album. The LP, not yet named, was initially known as Columbia Project B 43079. The session’s leader—its artistic director, the man whose name would appear on the album cover—was Miles Davis. The other players were the members of Davis’s sextet: the saxophonists John Coltrane and Julian “Cannonball” Adderley, the bassist Paul Chambers, the drummer Jimmy Cobb, and the pianist Wynton Kelly. To the confusion and dismay of Kelly, who had taken a cab all the way from Brooklyn because he hated the subway, another piano player was also there: the band’s recently departed keyboardist, Bill Evans.

Every man in the studio had recorded many times before; nobody was expecting this time to be anything special. “Professionals,” Evans once said, “have to go in at 10 o’clock on a Wednesday and make a record and hope to catch a really good day.” On the face of it, there was nothing remarkable about Project B 43079. For the first track laid down that afternoon, a straight-ahead blues-based number that would later be named “Freddie Freeloader,” Kelly was at the keyboard. He was a joyous, selfless, highly adaptable player, and Davis, a canny leader, figured a blues piece would be a good way for the band to limber up for the more demanding material ahead—material that Evans, despite having quit the previous November due to burnout and a sick father, had a large part in shaping.

A highly trained classical pianist, the New Jersey–born Evans fell in love with jazz as a teenager and, after majoring in music at Southeastern Louisiana University, moved to New York in 1955 with the aim of making it or going home. Like many an apprentice, he booked a lot of dances and weddings, but one night, at the Village Vanguard, where he’d been hired to play between the sets of the world-famous Modern Jazz Quartet, he looked down at the end of the grand piano and saw Davis’s penetrating gaze fixed on him. A few months later, having forgotten all about the encounter, Evans was astonished to receive a phone call from the trumpeter: Could he make a gig in Philadelphia?

He made the gig and, just like that, became the only white musician in what was then the top small jazz band in America. It was a controversial hire. Evans, who was really white—bespectacled, professorial—incurred instant and widespread resentment among Black musicians and Black audiences. But Davis, though he could never quite stop hazing the pianist (“We don’t want no white opinions!” was one of his favorite zingers), made it clear that when it came to musicians, he was color-blind. And what he wanted from Evans was something very particular.

One piece that Davis became almost obsessed with was Arturo Benedetti Michelangeli’s 1957 recording of Maurice Ravel’s Piano Concerto in G. The work, inspired by Ravel’s triumphant 1928 tour of the U.S., was clearly influenced by the fast pace and openness of America: It shimmers with sprightly piccolo and bold trumpet sounds, and dances with unexpected notes and chord changes.

Davis wanted to put wide-open space into his music the way Ravel did. He wanted to move away from the familiar chord structures of jazz and use different scales the way Aram Khachaturian, with his love for Asian music, did. And Evans, unlike any other pianist working in jazz, could put these things onto the keyboard. His harmonic intelligence was profound; his touch on the keys was exquisitely sensitive. “I planned that album around the piano playing of Bill Evans,” Davis said.

But Davis wanted even more. Ever restless, he had wearied of playing songs—American Songbook standards and jazz originals alike—that were full of chords, and sought to simplify. He’d recently been bowled over by a Les Ballets Africains performance—by the look and rhythms of the dances, and by the music that accompanied them, especially the kalimba (or “finger piano”). He wanted to get those sounds into his new album, and he also wanted to incorporate a memory from his boyhood: the ghostly voices of Black gospel singers he’d heard in the distance on a nighttime walk back from church to his grandparents’ Arkansas farm.

In the end, Davis felt that he’d failed to get all he’d wanted into Kind of Blue. Over the next three decades, his perpetual artistic antsiness propelled him through evolving styles, into the blend of jazz and rock called fusion, and beyond. What’s more, Coltrane, Adderley, and Evans were bursting to move on and out and lead their own bands. Just 12 days after Kind of Blue’s final session, Coltrane would record his groundbreaking album Giant Steps, a hurdle toward the cosmic distances he would probe in the eight short years remaining to him. Cannonball, as soulful as Trane was boundary-bursting, would bring a new warmth to jazz with hits such as “Mercy, Mercy, Mercy.” And for the rest of his career, one sadly truncated by his drug use, Evans would pursue the trio format with subtle lyrical passion.

Yet for all the bottled-up dynamism in the studio during Kind of Blue’s two recording sessions, a profound, Zenlike quiet prevailed throughout. The essence of it can be heard in Evans and Chambers’s hushed, enigmatic opening notes on the album’s opening track, “So What,” a tune built on just two chords and containing, in Davis’s towering solo, one of the greatest melodies in all of music.

The majestic tranquility of Kind of Blue marks a kind of fermata in jazz. America’s great indigenous art had evolved from the exuberant transgressions of the 1920s to the danceable rhythms of the swing era to the prickly cubism of bebop. The cool (and warmth) that followed would then accelerate into the ’60s ever freer of melody and harmony before being smacked head-on by rock and roll—a collision it wouldn’t quite survive.

That charmed moment in the spring of 1959 was brief: Of the seven musicians present on that long-ago afternoon, only Miles Davis and Jimmy Cobb would live past their early 50s. Yet 65 years on, the music they all made, as eager as Davis was to put it behind him, stays with us. The album’s powerful and abiding mystique has made it widely beloved among musicians and music lovers of every category: jazz, rock, classical, rap. For those who don’t know it, it awaits you patiently; for those who do, it welcomes you back, again and again.

James Kaplan, a 2012 Guggenheim fellow, is a novelist, journalist, and biographer. His next book will be an examination of the world-changing creative partnership and tangled friendship of John Lennon and Paul McCartney.

[brokehorrorfan]

I Still Know What You Did Last Summer will be released on 4K Ultra HD (with Blu-ray and Digital) on September 26 via Sony. The 1998 slasher sequel is celebrating its 25th anniversary.

Danny Cannon (Judge Dredd) directs from a script by Trey Callaway (CSI: NY). Jennifer Love Hewitt, Freddie Prinze Jr., Brandy, Mekhi Phifer, Muse Watson, Bill Cobbs, Matthew Settle, Jennifer Esposito, Jeffrey Combs, and Jack Black star.

I Still Know What You Did Last Summer has been newly scanned in 4K from the original camera negative with Dolby Vision, approved by Cannon, with new Dolby Atmos audio plus 5.1 sound. Extras are listed below.

Disc 1 - 4K Ultra HD:

Audio commentary by director Danny Cannon (new)

Interview with actor Muse Watson

Disc 2 - Blu-ray:

Making-of Featurette

“How Do I Deal” music video by Jennifer Love Hewitt

Theatrical trailer

Haunted by the brutal murders of her friends, Julie James is struggling to lead a normal life as a college freshman in Boston. Despite her best efforts, she still can't shake the feeling that homicidal fisherman Ben Willis is stalking her. Teetering on the brink of a nervous breakdown, Julie gratefully accepts her roommate Karla's invitation to join her and friends on an all-expense paid trip to the Bahamas. Their tropical getaway turns deadly, however, when Willis apparently returns from the grave to once again torment Julie and her friends.

Pre-order I Still Know What You Did Last Summer.

[mister-eames]

Day 3 of @inception30daychallenge: Who was Eames’ favourite forgery?

Oh this was a tough one. Call it a cop out, but I am going with the thinking that somebody as amorphous as Eames has favourites for every period of his life to date. 

My first thought was: Cobb. So, Eames, the master of petty microagressions, mastered Cobb after (redacted events) so that could put his face on and make him say dumb things like: ‘Ooh I’m Cobb, I’m a life ruiner and I smell like cheese, look at me’. Maybe Cobb was his favourite for a brief, angry time.

Maybe for another, earlier time it was the younger brother he lost when he was a teen. Eternally young. Maybe Eames would spend some time in front of a mirror and have ‘talks’ with him.

Maybe it’s The Blonde, his best friend since childhood from back home. Maybe when he puts her on he remembers being young and stupid and complaining about boys and her being one of the first people that didn’t judge him for his sexuality, and he not judging hers.

Or maybe, for a period of time, he got to forge Freddie Mercury and put on a concert for a mark and sixty thousand fervent, screaming projections. Maybe that was pretty cool. 

But maybe, it’s a really simple one. After retirement, happily living a horrifying domestic life with Arthur, and having his estranged mother has just passed, he reflects on a very ordinary, low paying job many years ago where he played the role of a marks mother, offering him or her words of advice and comfort. At the time he’d thought it mundane, absurdly easy even. But maybe he thinks of the letters this mother wrote to her kids, the six minutes of VHS home video that exist of her that he watched over and over to get her mannerisms down, and maybe he still uses a recipe of hers that he found - I think he likes to remember that the sum of his life to date has been more than he felt in the day-to-day, back then. That, much like in real life, the quiet moments in his line of work were the loudest. 

[goalhofer]

1976 in memoriam.

Mal Evans (British musical manager), 40

Howlin' Wolf (American singer & guitarist), 65

Agatha Christie (British writer), 85

Yagi Hidetsuga (Japanese electrical engineer), 89

Paul Robeson (American singer & actor), 77

The Blessed Friar Gabriele Allegra (Italian Catholic friar), 68

Lee J. Cobb (American actor)(pictured), 64

Sal Mineo; Jr. (American actor)(pictured), 37

E.H. Shepard (British artist & illustrator), 96

Richard Arlen (American actor), 76

Freddie Lennon (British sailor & singer), 63

Howard Hughes (American engineer & businessman)(pictured), 70

Miriam Cooper (American actress), 84

William Relf (British singer & guitarist), 33

Ruth McDevitt (American actress), 80

J. Paul Getty (American-British businessman), 83

Jimmy Dykes (American baseball player & coach), 79

Rear Adm. C. Wade McClusky; Jr. (American naval admiral), 74

Sir William Baker (British actor & producer), 48

Frederick Marberry (American baseball player), 77

Anna Michel (German victim of negligent homicide), 23

Norman Foster (American movie director & screenwriter), 72

Wong Jim (Chinese-American cinematographer), 76

Paul Gallico (American writer), 78

The Blessed Bishop Basil Hopko (Slovak Catholic bishop), 72

Friedrich Lang (Austrian-American movie director & screenwriter), 85

Mary Jones (American actress)(pictured), 18

CWO Robert Mellard (American army soldier), 57

Vice Marshal Raymond Collishaw (Canadian air force pilot), 82

Barbara Nickerauer aka Barbara Nichols (American actress), 47

Lt. Gen. Troy H. Middleton (American army general & college comptroller), 86

Cardinal Giacomo Lercaro (Italian Catholic cardinal), 84

Man Ray (American artist), 86

Godfrey Cambridge (American comedian & actor)(pictured), 43

Danny Murtaugh (American baseball player & manager), 59

Tommy Bolin (American guitarist & songwriter), 25

Alastair Sim (British actor)(pictured), 75

Jack Cassidy (American actor & singer)(pictured), 49

[ulkaralakbarova]

A gangster, Nino, is in the Cash Money Brothers, making a million dollars every week selling crack. A cop, Scotty, discovers that the only way to infiltrate the gang is to become a dealer himself. Credits: TheMovieDb. Film Cast: Nino Brown: Wesley Snipes Scotty Appleton: Ice-T Garald “Gee Money” Welles: Allen Payne Pookie: Chris Rock Stone: Mario Van Peebles Selina: Michael Michele Duh Duh Duh Man: Bill Nunn Park: Russell Wong Old Man: Bill Cobbs Kareem Akbar: Christopher Williams Nick Peretti: Judd Nelson Keisha: Vanessa Williams Uniqua: Tracy Camilla Johns Frankie Needles: Anthony DeSando Reverend Oates: Nick Ashford Prosecuting Attorney Hawkins: Phyllis Yvonne Stickney Police Commissioner: Thalmus Rasulala Don Armeteo: John Aprea Master of Ceremonies: Fab 5 Freddy D.J.: Flavor Flav Frazier: Clebert Ford Prom Queen: Laverne Hart Fat Smitty: Eek-A-Mouse Biff: Gregg Smrz Teacher: Erica McFarquhar Singer at Wedding: Keith Sweat Gigantor: Max Rabinowitz Woman in Hallway: Marcella Lowery Judge: Manuel E. Santiago Prosecuting Attorney: Ben Gotlieb Reporter: Thelma Louise Carter Reporter: Linda Froehlich Bailiff: Christopher Michael Recovering Addict: Kelly Jo Minter Recovering Addict: Tina Lifford Recovering Addict: Erik Kilpatrick Assistant DA: Ron Millkie Kid on Stoop: Harold Baines Kid on Stoop: Sekou Campbell Kid on Stoop: Garvin Holder New Year’s Eve Band – (Guy): Teddy Riley New Year’s Eve Band – (Guy): Aaron Hall New Year’s Eve Band – (Guy): Damion Hall Singers – Spring – (Troop): Rodney Benford Singers – Spring – (Troop): John Harrell Singers – Winter – (Levert): Gerald Levert Singers – Winter – (Levert): Sean Levert Butchie The Doorman: Jimmy Cummings Courtroom Spectator (uncredited): Akosua Busia Prostitute in The Pool (uncredited): Lia Chang Gangster Standing at Bar (uncredited): Jake LaMotta Barber (uncredited): Larry M. Cherry Brides Maid (uncredited): Cynthia Elane Girl in the Window (uncredited): Toni Ann Johnson Connie The Waitress (uncredited): Candece Tarpley C.M.B. Member (uncredited): Chris Thornton Film Crew: Director: Mario Van Peebles Story: Thomas Lee Wright Music Supervisor: Doug McHenry Screenplay: Barry Michael Cooper Casting: Pat Golden Production Design: Charles C. Bennett Director of Photography: Francis Kenny Casting: John McCabe Editor: Steven Kemper Unit Production Manager: Preston L. Holmes Costume Design: Bernard Johnson Original Music Composer: Michel Colombier Music Supervisor: George Jackson Associate Producer: Fab 5 Freddy Associate Producer: Suzanne Broderick Associate Producer: James Bigwood First Assistant Director: Dwight Williams Stunt Coordinator: Jery Hewitt Stunts: Danny Aiello III Stunts: G. A. Aguilar Second Assistant Director: Joseph Ray Production Supervisor: Brent Owens First Assistant Editor: Kevin Stitt Camera Operator: John Newby First Assistant Camera: Gregory Irwin Second Assistant Camera: Myra-Lee Cohen Additional Camera: Ed Hershberger Steadicam Operator: Ted Churchill Production Sound Mixer: Frank Stettner Boom Operator: Keith Gardner Cableman: Rosa Howell-Thornhill Art Direction: Barbra Matis Art Direction: Laura Brock Art Department Coordinator: Roberta J. Holinko Set Decoration: Elaine O’Donnell Script Supervisor: Cornelia ‘Nini’ Rogan Makeup Artist: Diane Hammond Assistant Makeup Artist: Ellie Winslow Hairstylist: Larry M. Cherry Hairstylist: Aaron F. Quarles Wardrobe Supervisor: Barbara Hause Wardrobe Supervisor: Jane E. Myers Wardrobe Assistant: Jill E. Anderson Gaffer: Charles Houston Rigging Gaffer: Martin Andrews Best Boy Electric: Val DeSalvo Key Grip: Robert M. Andres Best Boy Grip: Paul Wachter Dolly Grip: Tom Kudlek Property Master: Octavio Molina Assistant Property Master: Laura Jean West Assistant Property Master: Kevin Ladson Charge Scenic Artist: Jeffrey L. Glave Construction Coordinator: Raymond M. Samitz Special Effects Supervisor: Steven Kirshoff Special Effects Coordinator: Wilfred Caban Second Unit Director: Jeff Lengyel Second Unit Director of Photography: Jacek Laskus Second Unit First Assistant D...

[newcountryradio]

New Country 27e jaargang  #T1212 (S771) (C16)van 15 januari 2024  (wk 03) uitzending op Smelne fm & Crossroads Country Radio

Suzy Bogguss - Somewhere Between *maandartiest

Martina McBride – Wrong Again #1 25 jaar

Jelly Roll – Son of a Sinner   # 1 2023 

Charley Crockett/ Willie Nelson - Thats What Makes the World Go Around

Zach Top - Sounds Like the Radio  

The Castellows - I Know It’ll Never End  

Megan Moroney - What Are You Listening To .

Ryan Larkins  -  King Of Country Music    nw  59

Nate Smith - World on Fire    #1.

Gabe Lee – The Wild   Album vd week

Gabe Lee – Even Jesus Got The Blues    album

Lady Antebellum – I Run to You     single of the year        2009

Don Williams – You’re My Best Friend  1975

Trace Adkins – You’re Gonna Miss This 13/1  1962

Merle Haggard – Branded Man      

Callum Kerr & Chris Andreucci – Tamed by Tennessee   favoriet 

Jimmie Allen – Pray     *sofi  

Buck Owens - I' Ve Got A Tiger By The Tail album from the past

Buck Owens -  Cryin' Time

Rodney Crowell - Loving You Is The Only Way To Fly

The Pink Stones - No Rain, No Flowers

Florida Georgia Line  - Stay (3 in 1)

Florida Georgia Line - Cruise

Florida Georgia Line – H.O.L.Y.

Gabe Lee - Drink The River  Album van de week

Morgan Wallen –  Born With A Beer In My Hand    #1 album.

Brent Cobb – “When Country Music Came Back to Town.

Lori McKenna – Happy Children

Lainey Wilson – Watermelon Moonshine

Zach Bryan – I Remember Everything (feat. Kacey Musgraves)

3e uur :

Dailey & Vincent - - Hillbilly Highway Trucksong

Suzy Bogguss – Cross My Broken Heart   maandartiest

Darrell Scott  -The World Is Too Much With Me      juweeltje 

Chris Stapleton - Always On My Mind     Album vorige week

Gabe Lee – Eveline   Album vd week .

Hilde Vos / Bennie Jolink - The Last Thing on My Mind   Dutch corner

Major Dundee - The Longer The Distance .Dutch corner.

Savannah - Lay Down Beside Me   Dutch corner

Willie_Nelson --First_Rose_Of_Spring

Freddy Fender Wasted Days And Wasted Nights   #5  A Year in music . 1975

John Dever – I’m Sorry . #4

Freddy Fender – Before The Next Teardrop Falls . #3 

Glen Campbell – Rhinestone Cowboy #2

C.W. McCall - Convoy  #1

John Michael Montgomery – Sold 

[tranquildr3ams]

I Still Know What You Did Last Summer (1998)

I Still Know What You Did Last Summer (1998) #Horror #Slasher #IStillKnowWhatYouDidLastSummer #90sHorror #Movie #Film #Review

I Still Know What You Did Last Summer (1998) Director: Danny Cannon Cast: Jennifer Love Hewitt, Freddie Prinze Jr., Brandy Norwood, Mekhi Phifer, Matthew Settle, Bill Cobbs, Muse Watson, Jeffrey Combs, Jennifer Esposito, John Hawkes The murderous fisherman with a hook is back to once again stalk the two surviving teens, Julie and Ray, who had left him for dead, as well as cause even more…