ProfeSole

English Tutor ESL.
Hotel Management.
Lived in Canada.
Amo la música
Me gusta cocinar, películas,manualidades.
Odio la mediocridad y la insensatez👶☮🕎

[ProfeSole @ProfeSole1]

@Defensa_Israel Qué falta de respeto de los asistentes al abandonar la sala. Una vergüenza! En todo caso, el P.M., hizo gala de su congruencia y convicción de estar defendiendo a su país. No sé quién tiene una venda en los ojos. Creo en la comunicación cómo medio de concenso.

[ProfeSole @ProfeSole1]

@bathelshoshana1 Ella lo dice, es "su elección" , se siente digna... Me da lástima, su autoestima es destruida y aplastada por sólo ser mujer del mundo islámico.

[ProfeSole @ProfeSole1]

@KingDavid9y Éste discurso debió pronunciarse en la Asamblea General de la ONU. 👏🏻👏🏻👏🏻 Una vez más, una mujer valiente dando la cara y diciendo verdades al mundo 🌍🌎. Veamos ahora qué tipo de sanciones le harán, porque así es el circo de la política. Bravo, siga diciendo la verdad!!!

[ProfeSole @ProfeSole1]

@plexaleOK Éste señor vé lo que le interesa solamente. No le creo nada. Ojalá lo saquen pronto y elijan a una persona verdaderamente honesta y ecuánime. Qué sea imparcial con todas las naciones por igual.
En éstos momentos la ONU está gozando de un desprestigio impensado.

[ProfeSole @ProfeSole1]

@Defensa_Israel Buenísimo el resumen, muy didáctico y aclaratorio. Gracias Gabriel por seguir educándonos respecto de tú bello país y pueblo.

[ProfeSole @ProfeSole1]

@NEWSneil It's so sad to see Canadá allowing this "hate expression". I lived in Canada for a couple of years and never saw this kind of manifest Jewish hate before.
Police should dispers people from entrance of the temple at least.
Shame on Canada leaders!
So sorry for Jewish immigrants.

[ProfeSole @ProfeSole1]

@plexaleOK Amén. Shaná Tová .

[ProfeSole @ProfeSole1]

@MOSSADil 😳 no me extraña algo así. Siempre Israel ha ido a la vanguardia en tecnología y armamento. Desde tiempos remotos han destacado en las lides que han enfrentado. Inteligencia superior bien utilizada 👍🏻👏🏻

[ProfeSole @ProfeSole1]

@Defensa_Israel Shaná Tová para ti Gabriel y para todos🎉🥳🍎🍯🐝

[ProfeSole @ProfeSole1]

@GantielSigol Shaná Tová para ti y todos. Soy Cristiana, pero respeto sus tradiciones y fé. Creemos en el único Dios.

[ProfeSole @ProfeSole1]

@MelGibson_04 First of all, Islam seems to be the only credo we all must respect, that's completely the biggest mistake ever. They never show any respect for the rest of the world. They think are the best and only"humans" on Earth. If they don't like our culture, stay in their own hell land.

[ProfeSole @ProfeSole1]

@Defensa_Israel Shaná Tová Gabriel 🎉🥳, deseando sea un lejos mejor nuevo año para todos; en especial para todos en Israel.

[ProfeSole @ProfeSole1]

@Defensa_Israel Gabriel, súper interesante y gracias por estar siempre mostrando la realidad respecto a Israel y su pueblo. Tremendamente educativo. Espero que se comparta y divulgue para no creer las mentiras que pretenden veamos cómo "la verdad". Gracias 🫂

[ProfeSole @ProfeSole1]

@GantielSigol Gracias por transmitir y educarnos con hechos históricos, reales, sin tergiversar. El video es sencillamente magistral. Aclaratorio, preciso. Me sentí dentro de ese maravilloso templo y lugar con tanto significado 🙏🏻. GRACIAS 🫂. Y como dice el señor quien filma, somos HERMANOS

[Pedro @RogerFed133776]

Te cuento algo?
La vida es un flash
Pongamos belleza
Wind of Change
Scorpions

[Best English Songs @1BestSongs]

Truly
Song by Lionel Richie ‧ 1982

[🦋 🌷Love Music 🎶 & Dance 💃🏻🕺🏻 @Tiana_Celine_23]

The Piano That Conquered 72,000 People

Imagine walking onto a stage in front of 72,000 people at Wembley Stadium, with nearly two billion watching around the world. You don’t grab a microphone and charge the crowd. You sit down at a piano. Then you begin one of the most ambitious songs ever written as if the pressure does not exist.

That is exactly what Freddie Mercury did on 13 July 1985.

Queen had only 20 minutes at Live Aid. They had rehearsed hard and chosen their strongest moments. They opened with the piano ballad section of Bohemian Rhapsody before exploding into Radio Ga Ga. The clip circulating now captures the first part of that set: Freddie in the white tank top and white trousers, seated at the grand piano, playing and singing while the entire stadium holds its breath.

Watch his face. He is not performing at the song. He is inside it. Sweat runs down his temples. His eyes close or drop to the keys. When he leans into the microphone the intensity is almost uncomfortable. This is not polished showmanship. It is complete surrender to the music in front of the largest audience of his life.

Then he stands.

The energy shifts instantly. The man who had just delivered a delicate, demanding piano vocal now seizes the microphone stand like a weapon and takes ownership of the entire stadium. The seated virtuoso becomes the swaggering frontman without missing a beat. That transition is the point. Most singers pick one mode. Freddie occupied both at once.

Live Aid was not a normal gig. The schedule was brutal. Soundchecks were limited. The world’s biggest stars were watching from the wings. Any hesitation would have been visible to millions. Freddie showed none. He sat at that piano with the calm of someone practising at home, then rose as if the stage had always belonged to him.

Technique alone does not explain it. Plenty of singers can hit the notes. Far fewer can play piano and sing Bohemian Rhapsody live without the performance collapsing under its own complexity. Even fewer can do it while radiating the sense that 72,000 people are in the palm of their hand. Charisma is usually associated with movement and volume. Freddie proved it can also come from stillness. Even seated, no one looked anywhere else.

The historical context makes it sharper. Queen were not the flavour of the month in 1985. Bigger contemporary names were on the bill. Yet this 21-minute set is routinely ranked among the greatest live rock performances ever given. The reason is simple. For those minutes Freddie Mercury was not merely a singer with a band. He was the complete artist: musician, vocalist, conductor, and force of nature.

The clip does not just show a great vocal. It shows a man who could sit down in front of the world, play a difficult song with total command, and then stand up and remind everyone why rock stars exist. He did not just appear on that stage.

He took it.

[Juliana 🎶🎵❤️🎸 @JulianaGirl80]

Happy Birthday to the great singer-songwriter music legend, Barry Gibb 🎂🎂🎂❤️🥰💖!
How Deep Is Your Love 🎵🎸🎤🎼🎶❤️!
Bee Gees
#BarryGibb

[Jermaine Watkins @JermaineWatkins]

Lionel Richie. Commodores.

Easy

[🦋 🌷Love Music 🎶 & Dance 💃🏻🕺🏻 @Tiana_Celine_23]

Why No One Else Can Sing White Flag.

Some songs survive because the singer is spectacular. White Flag survives because Dido refuses to be.

She does not overpower the track. She does not climb toward a climax. She does not decorate the pain. She sings as if she has already lived the argument, lost it, and decided to tell the truth anyway. That is why her voice cannot be replaced.

It is a thin voice. Slightly worn at the edges. Breath sits in front of the note. Consonants often dissolve before they finish. On paper, these are limitations. On this record, they are the point. A cleaner, stronger, more “trained” voice would make the song prettier and less honest. White Flag is not asking to be admired. It is asking to be believed.

Dido’s tone lives in an uncomfortable middle ground. Not sweet. Not icy. Not tragic in the cinematic sense. It is the sound of someone who knows she made a mess, understands why the other person walked away, and still will not raise the white flag. Weakness and pride occupy the same sentence. Most singers pick one. She holds both.

Her phrasing does the same quiet work. Lines arrive a fraction late, like a thought that had to be weighed before it could be spoken. She does not punch the chorus. “I will go down with this ship” stays almost level with the verses. The refusal is not theatrical. It is stubborn, private, already decided.

That is the part covers usually miss. Another singer hears heartbreak and adds more feeling. More swell. More crack. More performance. The moment they try to prove the emotion, the song collapses. Dido’s gift is the opposite: she withholds display. She lets the listener come to her.

Twenty years later, the recording still feels current because it describes a state people rarely admit out loud. The relationship is over. The love is not. There is no demand to return, no speech about moving on, no self-mythology. Just a person remaining loyal to a feeling that no longer has a place to live.

Anyone can sing the melody. Very few can inhabit that contradiction without turning it into drama. Dido does not sound like a vocalist interpreting a lyric. She sounds like the lyric found a voice and decided to stay. That is why the original remains untouched. Not because it is the most impressive version.

Because it is the only one that does not pretend.