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168 Videos  
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     suivant
  showgirl makeup for halloween- ask me makeup
makeup used in this video: · mac studiofix liquid foundation in nc25 · mac concealer · napoleon translucent face powder · rimmel london off white matte eyeshadow · mac bare canvas paint · napoleon warm brown eyeshadow · inglot gold shimmer no.78 · inglot duraline (mixing medium stuff) · mac gold glitter · i nuovi eyelashes no. 3 · shiseido liquid liner · napoleon taupe eyeshadow · lancome hypnose mascara · napoleon black khol pencil · mac black tied eyeshadow · napoleon white shimmer · napoleon dusty pink eyeshadow used as blush · napoleon cameo lip pencil · makeup store lipstick in makeup used in this video: · mac studiofix liquid foundation in nc25 · mac concealer · napoleon translucent face powder · rimmel london off white matte eyeshadow · mac bare canvas paint · napoleon warm brown eyeshadow · inglot gold shimmer no.78 · inglot duraline (mixing medium stuff) · mac gold glitter · i nuovi eyelashes no. 3 · shiseido liquid liner · napoleon taupe eyeshadow · lancome hypnose mascara · napoleon black khol pencil · mac black tied eyeshadow · napoleon white shimmer · napoleon dusty pink eyeshadow used as blush · napoleon cameo lip pencil · makeup store lipstick in makeup used in this video: · mac studiofix liquid foundation in nc25 · mac concealer · napoleon translucent face powder · rimmel london off white matte eyeshadow · mac bare canvas paint · napoleon warm brown eyeshadow · inglot gold shimmer no.78 · inglot duraline (mixing medium stuff) · mac gold glitter · i nuovi eyelashes no. 3 · shiseido liquid liner · napoleon taupe eyeshadow · lancome hypnose mascara · napoleon black khol pencil · mac black tied eyeshadow · napoleon white shimmer · napoleon dusty pink eyeshadow used as blush · napoleon cameo lip pencil · makeup store lipstick in
  gloria wood: hey! bellboy!
here is a funny song by the excentric singer gloria wood. the 26th of may, 1958, time magazine wrote: «the most pervasive voice in radio or television belongs neither to bing crosby nor perry como, but to a pretty, twinkly, auburn-haired girl named gloria wood. blessed with a four-octave range and a gift for mimicry, gloria can sing high or low, squeaky or sweet, on demand and to order. and the demand for such special talents is tremendous. in just the past three years, gloria has recorded for more than 2000 singing commercials. (...) she is the voice of the impish tinker bell orbiting around a jar of peter pan peanut butter, of walt disney's minnie mouse, and (on records) of rudolph the red-nosed reindeer. one firm planned a commercial featuring an eight-year-old boy, a nine-year-old girl, their mother and grandmother. gloria did all four characters. (...) with her four-octave range, which she claims matches the eerie range of peruvian vocal acrobat yma sumac, she can take off from low c below middle c and soar to c above high c. but this endowment also drives gloria to despair: nobody wants to hear her sing straight. her mother, a pop singer on boston radio back in the mid-'20s thrust gloria into big-band singing straight out of high school in 1941. gloria did solid hitches with horace heidt and kay kyser, in 1953 made a capitol record called here is a funny song by the excentric singer gloria wood. the 26th of may, 1958, time magazine wrote: «the most pervasive voice in radio or television belongs neither to bing crosby nor perry como, but to a pretty, twinkly, auburn-haired girl named gloria wood. blessed with a four-octave range and a gift for mimicry, gloria can sing high or low, squeaky or sweet, on demand and to order. and the demand for such special talents is tremendous. in just the past three years, gloria has recorded for more than 2000 singing commercials. (...) she is the voice of the impish tinker bell orbiting around a jar of peter pan peanut butter, of walt disney's minnie mouse, and (on records) of rudolph the red-nosed reindeer. one firm planned a commercial featuring an eight-year-old boy, a nine-year-old girl, their mother and grandmother. gloria did all four characters. (...) with her four-octave range, which she claims matches the eerie range of peruvian vocal acrobat yma sumac, she can take off from low c below middle c and soar to c above high c. but this endowment also drives gloria to despair: nobody wants to hear her sing straight. her mother, a pop singer on boston radio back in the mid-'20s thrust gloria into big-band singing straight out of high school in 1941. gloria did solid hitches with horace heidt and kay kyser, in 1953 made a capitol record called here is a funny song by the excentric singer gloria wood. the 26th of may, 1958, time magazine wrote: «the most pervasive voice in radio or television belongs neither to bing crosby nor perry como, but to a pretty, twinkly, auburn-haired girl named gloria wood. blessed with a four-octave range and a gift for mimicry, gloria can sing high or low, squeaky or sweet, on demand and to order. and the demand for such special talents is tremendous. in just the past three years, gloria has recorded for more than 2000 singing commercials. (...) she is the voice of the impish tinker bell orbiting around a jar of peter pan peanut butter, of walt disney's minnie mouse, and (on records) of rudolph the red-nosed reindeer. one firm planned a commercial featuring an eight-year-old boy, a nine-year-old girl, their mother and grandmother. gloria did all four characters. (...) with her four-octave range, which she claims matches the eerie range of peruvian vocal acrobat yma sumac, she can take off from low c below middle c and soar to c above high c. but this endowment also drives gloria to despair: nobody wants to hear her sing straight. her mother, a pop singer on boston radio back in the mid-'20s thrust gloria into big-band singing straight out of high school in 1941. gloria did solid hitches with horace heidt and kay kyser, in 1953 made a capitol record called
  the woody woodpecker song
kay kaiser and his orchestra with vocals by gloria wood. kay kaiser and his orchestra with vocals by gloria wood. kay kaiser and his orchestra with vocals by gloria wood.
  strip polka/largo strip - spike jones & ...
strip polka / largo strip composed by johnny mercer, carl brandt a tongue in cheek song that was recorded as an instrumental by lawrence welk with accordianist myron florenby and also vocally by the andrew sisters...but it is spike jones' version that is best known - with 'the voice of them all' gloria wood vocalising 'queenie's' role... gloria had been the resident female singer with the kay kyser orchestra - but also made a very good living using her extraordinary 4 1/2 octave voice in film & tv jingles and she also dubbed marilyn monroe's singing voice in 'river of no return'... sadly, the only song that she is famous for is the spoof song 'hey! bell boy'. which was primarily a vehicle for her extraordinary vocal range. gloria is quoted as saying.... strip polka / largo strip composed by johnny mercer, carl brandt a tongue in cheek song that was recorded as an instrumental by lawrence welk with accordianist myron florenby and also vocally by the andrew sisters...but it is spike jones' version that is best known - with 'the voice of them all' gloria wood vocalising 'queenie's' role... gloria had been the resident female singer with the kay kyser orchestra - but also made a very good living using her extraordinary 4 1/2 octave voice in film & tv jingles and she also dubbed marilyn monroe's singing voice in 'river of no return'... sadly, the only song that she is famous for is the spoof song 'hey! bell boy'. which was primarily a vehicle for her extraordinary vocal range. gloria is quoted as saying.... strip polka / largo strip composed by johnny mercer, carl brandt a tongue in cheek song that was recorded as an instrumental by lawrence welk with accordianist myron florenby and also vocally by the andrew sisters...but it is spike jones' version that is best known - with 'the voice of them all' gloria wood vocalising 'queenie's' role... gloria had been the resident female singer with the kay kyser orchestra - but also made a very good living using her extraordinary 4 1/2 octave voice in film & tv jingles and she also dubbed marilyn monroe's singing voice in 'river of no return'... sadly, the only song that she is famous for is the spoof song 'hey! bell boy'. which was primarily a vehicle for her extraordinary vocal range. gloria is quoted as saying....
  the foreigner
ron severdia, edwin richards, gloria wood copyright 2004 ron severdia, edwin richards, gloria wood copyright 2004 ron severdia, edwin richards, gloria wood copyright 2004
  kay kyser - on a slow boat to china
foxtrot (loesser) kay kyser and his orchestra vocalists: harry babbit and gloria wood. foxtrot (loesser) kay kyser and his orchestra vocalists: harry babbit and gloria wood. foxtrot (loesser) kay kyser and his orchestra vocalists: harry babbit and gloria wood.
  pumpkin cupcakes with cream cheese frosting
amazingly good. not pumpkin bread and not cake. amazingly good. not pumpkin bread and not cake. amazingly good. not pumpkin bread and not cake.
  the wood family 1962/3 (sic transit glor...
my brothers, oldest sister and a baby and i. first moving pictures recorded in 1962 and 1963, barking. note the cars in a now busy london suberb. my brothers, oldest sister and a baby and i. first moving pictures recorded in 1962 and 1963, barking. note the cars in a now busy london suberb. my brothers, oldest sister and a baby and i. first moving pictures recorded in 1962 and 1963, barking. note the cars in a now busy london suberb.
  *nsync senior day will c. wood
michael, adrienne, sommer, danielle, and gloria. senior day @ will c. wood. thanks for taking the video, sammy!! :] michael, adrienne, sommer, danielle, and gloria. senior day @ will c. wood. thanks for taking the video, sammy!! :] michael, adrienne, sommer, danielle, and gloria. senior day @ will c. wood. thanks for taking the video, sammy!! :]
  pin up picture show
pin ups by peter driben pin ups by peter driben pin ups by peter driben
  gloria vanderbilt belted stretch sateen ...
prices subject to change. please visit www.hsn.com or call 1-800-284-3100 for the current selling price. belted stretch sateen capri by gloria vanderbilt sepia (tan). capri-wide waist. double stitched detail. zip and double button front. two continental-pocket front. modified bean-shaped coin pocket. metallic grommets. stud accents. back flap-pockets. banded hem. side slits. belt-sheer paisley print. wood bead accents. approx. 23 prices subject to change. please visit www.hsn.com or call 1-800-284-3100 for the current selling price. belted stretch sateen capri by gloria vanderbilt sepia (tan). capri-wide waist. double stitched detail. zip and double button front. two continental-pocket front. modified bean-shaped coin pocket. metallic grommets. stud accents. back flap-pockets. banded hem. side slits. belt-sheer paisley print. wood bead accents. approx. 23 prices subject to change. please visit www.hsn.com or call 1-800-284-3100 for the current selling price. belted stretch sateen capri by gloria vanderbilt sepia (tan). capri-wide waist. double stitched detail. zip and double button front. two continental-pocket front. modified bean-shaped coin pocket. metallic grommets. stud accents. back flap-pockets. banded hem. side slits. belt-sheer paisley print. wood bead accents. approx. 23
  "the eyes of all wait upon you o lord", ...
  sara and gloria playing on rocks
wooo this was so fun these rocks are in the woods near my house and we were hiding from sara's dad wooo this was so fun these rocks are in the woods near my house and we were hiding from sara's dad wooo this was so fun these rocks are in the woods near my house and we were hiding from sara's dad
  ballet gloria deliver us
a performance by ballet gloria at oak hills church in san antonio texas a performance by ballet gloria at oak hills church in san antonio texas a performance by ballet gloria at oak hills church in san antonio texas
  les canards - maasland gig
ook al lijkt het misschien alsof we alleen maar bezig zijn met domme grappen en flauwe animaties, proberen we ook onze muzikale kant af en toe te laten schitteren. de laatste poging was op 13 oktober, in het afgelegen, doch pittoreske maasland. er was een enorm feest en wij stonden in de line-up! ondanks wat valse nootjes en de kou, was het een geslaagd optreden. mede door de steun van billy de bongo-kit (billy, the bongo kid) en het enthousiaste publiek. dit filmpje geeft een kleine sfeer impressie. respectievelijk: stuck in the middle (een oude vertrouwde) fietsweer (een ode aan de stalen ros) norwegian wood (voor de oudjes in de zaal) kriebelende tepeltjes (over de dagelijkse irritaties des leven) ik wil een neger (een van onze diepste verlangens) gloria (speciaal voor de feestvarkens) www.lescanards.nl ook al lijkt het misschien alsof we alleen maar bezig zijn met domme grappen en flauwe animaties, proberen we ook onze muzikale kant af en toe te laten schitteren. de laatste poging was op 13 oktober, in het afgelegen, doch pittoreske maasland. er was een enorm feest en wij stonden in de line-up! ondanks wat valse nootjes en de kou, was het een geslaagd optreden. mede door de steun van billy de bongo-kit (billy, the bongo kid) en het enthousiaste publiek. dit filmpje geeft een kleine sfeer impressie. respectievelijk: stuck in the middle (een oude vertrouwde) fietsweer (een ode aan de stalen ros) norwegian wood (voor de oudjes in de zaal) kriebelende tepeltjes (over de dagelijkse irritaties des leven) ik wil een neger (een van onze diepste verlangens) gloria (speciaal voor de feestvarkens) www.lescanards.nl ook al lijkt het misschien alsof we alleen maar bezig zijn met domme grappen en flauwe animaties, proberen we ook onze muzikale kant af en toe te laten schitteren. de laatste poging was op 13 oktober, in het afgelegen, doch pittoreske maasland. er was een enorm feest en wij stonden in de line-up! ondanks wat valse nootjes en de kou, was het een geslaagd optreden. mede door de steun van billy de bongo-kit (billy, the bongo kid) en het enthousiaste publiek. dit filmpje geeft een kleine sfeer impressie. respectievelijk: stuck in the middle (een oude vertrouwde) fietsweer (een ode aan de stalen ros) norwegian wood (voor de oudjes in de zaal) kriebelende tepeltjes (over de dagelijkse irritaties des leven) ik wil een neger (een van onze diepste verlangens) gloria (speciaal voor de feestvarkens) www.lescanards.nl
  elevador da gloria (lisboa) -- full trail --
em plena praça dos restauradores, lisboa, está o elevador da glória, inaugurado em 24 de outubro de 1885. faz o trajecto baixa - bairro alto. foi construído pelo engenheiro português raoul mesnier du ponsard. começou por funcionar com depósitos de água, que, graviticamente, faziam descer um dos ascensores e subir o outro. depois foi movido a vapor e a partir de 1914, passou a mover-se a energia eléctrica. até finais do século xix, a iluminação dentro da cabine era feita com velas, durante as viagens nocturnas. desde fevereiro de 2002, o elevador está classificado como monumento nacional. (wikipedia) the glória funicular was opened in 1885 and in february 2002 it was classified as a national monument. it was the second of its kind in lisbon, thanks to the initiative of the new lisbon mechanical lift company (nova companhia dos ascensores mecânicos de lisboa - n.c.a.m.l.). this company specialised in the building and running of urban transport on sloping terrain. the first of its lifts was the lavra, opened the year before. the story of this lift can be traced back to 1875, when the lisbon city council gave the rights to two individuals to set up a form of transport on sloping terrain in the calçada da glória. the construction projects, however, were never approved and time slipped by. in 1882, the subject was in the air again and the construction rights were awarded at this juncture to an engineer from porto, raoul mesnier de ponsard. he immediately transferred the rights to the n.c.a.m.l. the carriages were different from anything that lisbon had ever seen. they had two floors, the lower one with benches along the sides, the backs towards the street and the upper one also with two benches laid out lengthwise but back to back so that the passengers looked out at the walls of the nearby buildings. access to the top floor was by spiral staircase on the platform which was at the upper end of the carriage. traction was with rack and cable, with water as the counterweight, and the carriages were connected by a cable so that they counterbalanced each other. they had water tanks on board, which emptied when they reached the restauradores square and filled when they were at the top, in the rua da misericórdia. the difference in weight made the system work. close to the internal rails along the length of the route there was a rack where the cogs of the wheels fitted. these cogs were connected to the axis, allowing the brake operator to change the speed of the carriage. each carriage had a clamp which was connected to the cable and a powerful brake which gripped the two internal wheels by means of a pad, a system which is still in use today. apart from this, there was another brake which worked by pressure on the rails. each carriage weighed about 10 tons and ran on two 25 horsepower electric engines working jointly. the carriages could only start if both brake operators worked together but it only needed one operator to stop them. the electric current was transmitted by a pantograph on the roof. the bodywork was also different from previously. the carriages were made of wood, painted the colour of mahogany and the windows had iron bars to stop the passengers from leaning out. there were two benches placed lengthwise and between 20 and 22 passengers could be carried at any one time. in september 1915, the calçada da glória was electrified and came back into service some years later, in 1926 to be precise, the n.c.a.m.l. was wound up and carris acquired the operating concession, along with all the rolling stock and fixtures. the first thing that the new owner did was to build a shelter for passengers, in restauradores square. many people voiced their disapproval of this, especially in the media, and it did not in fact last for very long. the shelter was opened on 4 november 1927 and it saw its last days in 1934. it was also in the thirties that the carriages were painted yellow, this being the standard colour which was used by carris and still is. http://www.carris.pt/en/index.php?area=servicos&subarea=servicos_ascensores_gloria valpard films http://valpardfilms.awardspace.com/ em plena praça dos restauradores, lisboa, está o elevador da glória, inaugurado em 24 de outubro de 1885. faz o trajecto baixa - bairro alto. foi construído pelo engenheiro português raoul mesnier du ponsard. começou por funcionar com depósitos de água, que, graviticamente, faziam descer um dos ascensores e subir o outro. depois foi movido a vapor e a partir de 1914, passou a mover-se a energia eléctrica. até finais do século xix, a iluminação dentro da cabine era feita com velas, durante as viagens nocturnas. desde fevereiro de 2002, o elevador está classificado como monumento nacional. (wikipedia) the glória funicular was opened in 1885 and in february 2002 it was classified as a national monument. it was the second of its kind in lisbon, thanks to the initiative of the new lisbon mechanical lift company (nova companhia dos ascensores mecânicos de lisboa - n.c.a.m.l.). this company specialised in the building and running of urban transport on sloping terrain. the first of its lifts was the lavra, opened the year before. the story of this lift can be traced back to 1875, when the lisbon city council gave the rights to two individuals to set up a form of transport on sloping terrain in the calçada da glória. the construction projects, however, were never approved and time slipped by. in 1882, the subject was in the air again and the construction rights were awarded at this juncture to an engineer from porto, raoul mesnier de ponsard. he immediately transferred the rights to the n.c.a.m.l. the carriages were different from anything that lisbon had ever seen. they had two floors, the lower one with benches along the sides, the backs towards the street and the upper one also with two benches laid out lengthwise but back to back so that the passengers looked out at the walls of the nearby buildings. access to the top floor was by spiral staircase on the platform which was at the upper end of the carriage. traction was with rack and cable, with water as the counterweight, and the carriages were connected by a cable so that they counterbalanced each other. they had water tanks on board, which emptied when they reached the restauradores square and filled when they were at the top, in the rua da misericórdia. the difference in weight made the system work. close to the internal rails along the length of the route there was a rack where the cogs of the wheels fitted. these cogs were connected to the axis, allowing the brake operator to change the speed of the carriage. each carriage had a clamp which was connected to the cable and a powerful brake which gripped the two internal wheels by means of a pad, a system which is still in use today. apart from this, there was another brake which worked by pressure on the rails. each carriage weighed about 10 tons and ran on two 25 horsepower electric engines working jointly. the carriages could only start if both brake operators worked together but it only needed one operator to stop them. the electric current was transmitted by a pantograph on the roof. the bodywork was also different from previously. the carriages were made of wood, painted the colour of mahogany and the windows had iron bars to stop the passengers from leaning out. there were two benches placed lengthwise and between 20 and 22 passengers could be carried at any one time. in september 1915, the calçada da glória was electrified and came back into service some years later, in 1926 to be precise, the n.c.a.m.l. was wound up and carris acquired the operating concession, along with all the rolling stock and fixtures. the first thing that the new owner did was to build a shelter for passengers, in restauradores square. many people voiced their disapproval of this, especially in the media, and it did not in fact last for very long. the shelter was opened on 4 november 1927 and it saw its last days in 1934. it was also in the thirties that the carriages were painted yellow, this being the standard colour which was used by carris and still is. http://www.carris.pt/en/index.php?area=servicos&subarea=servicos_ascensores_gloria valpard films http://valpardfilms.awardspace.com/ em plena praça dos restauradores, lisboa, está o elevador da glória, inaugurado em 24 de outubro de 1885. faz o trajecto baixa - bairro alto. foi construído pelo engenheiro português raoul mesnier du ponsard. começou por funcionar com depósitos de água, que, graviticamente, faziam descer um dos ascensores e subir o outro. depois foi movido a vapor e a partir de 1914, passou a mover-se a energia eléctrica. até finais do século xix, a iluminação dentro da cabine era feita com velas, durante as viagens nocturnas. desde fevereiro de 2002, o elevador está classificado como monumento nacional. (wikipedia) the glória funicular was opened in 1885 and in february 2002 it was classified as a national monument. it was the second of its kind in lisbon, thanks to the initiative of the new lisbon mechanical lift company (nova companhia dos ascensores mecânicos de lisboa - n.c.a.m.l.). this company specialised in the building and running of urban transport on sloping terrain. the first of its lifts was the lavra, opened the year before. the story of this lift can be traced back to 1875, when the lisbon city council gave the rights to two individuals to set up a form of transport on sloping terrain in the calçada da glória. the construction projects, however, were never approved and time slipped by. in 1882, the subject was in the air again and the construction rights were awarded at this juncture to an engineer from porto, raoul mesnier de ponsard. he immediately transferred the rights to the n.c.a.m.l. the carriages were different from anything that lisbon had ever seen. they had two floors, the lower one with benches along the sides, the backs towards the street and the upper one also with two benches laid out lengthwise but back to back so that the passengers looked out at the walls of the nearby buildings. access to the top floor was by spiral staircase on the platform which was at the upper end of the carriage. traction was with rack and cable, with water as the counterweight, and the carriages were connected by a cable so that they counterbalanced each other. they had water tanks on board, which emptied when they reached the restauradores square and filled when they were at the top, in the rua da misericórdia. the difference in weight made the system work. close to the internal rails along the length of the route there was a rack where the cogs of the wheels fitted. these cogs were connected to the axis, allowing the brake operator to change the speed of the carriage. each carriage had a clamp which was connected to the cable and a powerful brake which gripped the two internal wheels by means of a pad, a system which is still in use today. apart from this, there was another brake which worked by pressure on the rails. each carriage weighed about 10 tons and ran on two 25 horsepower electric engines working jointly. the carriages could only start if both brake operators worked together but it only needed one operator to stop them. the electric current was transmitted by a pantograph on the roof. the bodywork was also different from previously. the carriages were made of wood, painted the colour of mahogany and the windows had iron bars to stop the passengers from leaning out. there were two benches placed lengthwise and between 20 and 22 passengers could be carried at any one time. in september 1915, the calçada da glória was electrified and came back into service some years later, in 1926 to be precise, the n.c.a.m.l. was wound up and carris acquired the operating concession, along with all the rolling stock and fixtures. the first thing that the new owner did was to build a shelter for passengers, in restauradores square. many people voiced their disapproval of this, especially in the media, and it did not in fact last for very long. the shelter was opened on 4 november 1927 and it saw its last days in 1934. it was also in the thirties that the carriages were painted yellow, this being the standard colour which was used by carris and still is. http://www.carris.pt/en/index.php?area=servicos&subarea=servicos_ascensores_gloria valpard films http://valpardfilms.awardspace.com/
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