VOSEGUS INFRAGILIS ✝ ✈️ 🚀📚♂️-♥️🇫🇷-🥖🐖🍺🍾

Il faut savoir ce que l’on veut. quand on le sait, il faut avoir le courage de le dire ; quand on le dit, il faut avoir le courage de le faire. CLEMENCEAU

[Fdesouche.com est une revue de presse @F_Desouche]

Julien Pasquet sur le dauphin tué et exhibé comme un trophée par des migrants à Ceuta : « On est allé voir du côté d’Aymeric Caron, du côté de Madame Tondelier [...] il n’y a pas un mot d’indignation. Cela aurait été Kévin et Mattéo [...] »

[Je Suis l'Unique🇲🇫 @romuald_correia]

Ce genre de dépravés n'a pas à être en contact avec des enfants

[Renard Jean-Michel @Renardpaty]

La Chine menace la France

[Fdesouche.com est une revue de presse @F_Desouche]

Renforcement de la laïcité au Québec: « les personnes issues de l'immigration avaient poussé le bouchon beaucoup trop loin », le Youtubeur Théo Malini explique les nouvelles mesures drastiques
https://t.co/R86Zql5Mtr

[lea @idsfotze]

Morgen wird sich unser Land wieder zurückgeholt! 💙💙💙

#afd

[Christine P. @ChristinePP27]

CQFD
Très simple à comprendre !...

[KD ORGANISATION @KamelDanil]

« Elle était si jolie » d'Alain Barrière est sortie en 1963.
Écriture et composition : Alain Barrière (paroles et musique avec A. Cavallaro).
Eurovision : Alain Barrière représente la France au Concours Eurovision de la chanson le 23 mars 1963 à Londres (où il termine 5ᵉ).

[Massimo @Rainmaker1973]

Many stave churches in Norway were built between the XII and XIII century.

They are a group of medieval churches almost only present in Scandinavia, built with wood only and without using a single nail.

[🇫🇷 fred le gaulois 🇫🇷 Uniondesdroites 🐱🐱 @FredGaulois]

"Il y a un pays communiste qui a réussi, c'est la France".
Mikaïl Gorbatchev.

[Fauna Natural @MiguelM73104161]

Chuck Berry - Roll Over Beethoven

[World of Science @Science_TechTV]

The theremin is a musical instrument invented in the 1920s by Soviet scientist Léon Theremin. Remarkably, it is played without any physical contact.

At times, the theremin feels like an instrument from Earth’s future or perhaps another world. Its sound seems conjured from nothing, with notes and tones shaped by the hypnotic movements of the player’s hands and fingers through the air. It remains the only musical instrument controlled entirely without t

[Ni Oubli Ni Pardon @NiONiPardon]

🔴 RAPPEL

[Manoco @Moonlighhy]

Young Bee Gees covering The Beatles (1963)

[Wiebke Muhsal @WMuhsal]

Heute gilt‘s: Geht wählen, wählt die AfD & verhelft uns zur absoluten Mehrheit in Sachsen-Anhalt! 💙

#afd #sachsenanhalt #ltw #landtagswahl #wahl

[🎸 Rock History 🎸 @historyrock_]

Happy heavenly birthday to Dolores O'Riordan of The Cranberries, who would have turned 55.

Her voice was totally one-of-a-kind. Always remembered 🕊️

[o @conno2856]

Caravaggio, Italian. Painting- The Crucifixion of Saint Peter. 1601.

[The British Patriot @TheBritLad]

🚨NEW: Data shows that 60,000 people have been arrested for social media posts in the period of 2020-2025.

An arrest is made EVERY 41 MINUTES across Britain for words WRITTEN on social media.

Free speech is DEAD in Britain.

[JusticiaGC&PN @justiciaGCPN]

🚨 #ULTIMAHORA

La Guardia Civil detalla y acredita con pelos y señales en un informe como una patrullera de la Marina Real de la dictadura marroquí colabora con los narcos para meter droga en España.

[𝐌𝐮𝐬𝐢𝐜 - 𝐌𝐨𝐯𝐢𝐞 - 𝐀𝐧𝐝 𝐌𝐨𝐫𝐞⭐️❤️ @NgocThach74]

The performance of "I'll Go Home with Bonnie Jean" in the classic musical *Brigadoon* (1954) is a choreographic masterpiece that vividly showcases the genius of the legendary Gene Kelly. This sequence employs physical storytelling to illustrate a fascinating contrast between the two characters. While Gene Kelly (as Tommy) moves with the graceful, soaring lightness of a man deeply in love, Van Johnson (as Jeff) provides a perfect counterpoint. Initially pragmatic and skeptical, Jeff is gradually swept up in the festival's driving rhythm, executing playful, sharp dance moves that feel wonderfully grounded and authentic.

Despite embodying contrasting personalities, the two stars achieve flawless rapport and remarkable rhythmic synchronization. Their footwork blends seamlessly, skillfully fusing stylish Broadway moves with traditional Scottish elements like the sword dance and high kicks. Every turn, position swap, and symmetrical formation is executed so perfectly that the two dancers appear to move as a single, unified entity—a testament to hundreds of hours of rigorous rehearsal behind the scenes.

It is this intangible connection that fuels the explosive energy and captivating appeal of Van Johnson. While audiences were already familiar with Gene Kelly as one of Hollywood’s greatest talents, this performance—featuring his impressive height and radiant smile—revealed Van Johnson to be an equally outstanding musical theater dancer. The seamless interplay between the two artists—from their eye contact and high-fives to their hearty smiles—radiated a sense of pure, genuine happiness, making this festive scene a standout highlight of the film's first half.