"Snapshot" | ||||
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File:Rupaulsnapshot.jpg Cd Single |
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Single by RuPaul | ||||
from the album Foxy Lady | ||||
Released | 1996 | |||
Recorded | 1996 | |||
Genre | Pop, dance | |||
Length | 3:01 | |||
Label | Rhino Entertainment | |||
Writer(s) | RuPaul Eric Kupper |
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Producer | Eric Kupper | |||
RuPaul singles chronology | ||||
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"Snapshot" is a song by RuPaul, released as the first single from his second album, Foxy Lady.
Chart (1996) | Peak position |
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US Billboard Hot 100[2] | 95 |
US Hot Dance Club Songs (Billboard)[3] | 4 |
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Snapshot (released in the US as The Day After Halloween and One More Minute) is a 1979 Australian thriller film. It was the first feature directed by Simon Wincer.
A young hairdresser, Angela, is lured into modelling by a bitchy model, Madeline, who talks her into stripping for a photo shoot. She starts to be stalked by a mysterious assailant. Her ex-boyfriend Daryl is possessive and creepy, Madeline's husband Elmer wants to photograph her naked and her mother robs her. In the end Elmer is burnt to death, Daryl is run down by his own Mr Whippy van, and Madeline turns out to be the driver. Angela leaves with her. All is well.
Ginnane had originally intended to make a film after Patrick called Centrefold, based on a script by Chris Fitchett, and raised money for it. He showed it to TV director Simon Wincer who only liked the fact the script was set in the modelling world and there was a Mr Whippy Van. Ginnane then commissioned Everett de Roche to write a new screenplay. Wincer says he and de Roche re-wrote it in three weeks, and the film took eleven weeks from the first day of shooting until sitting down with the release print.
Snapshot is the debut studio album by Irish rock band The Strypes, released on September 9, 2013. The album was produced by highly-acclaimed record producer Chris Thomas at Yellow Fish Studios, England. The title of the album derives from the band's intention while recording the album to create a "snapshot" of their live set that got them noticed in the first place.
The album contains singles "Blue Collar Jane", "Hometown Girls", "What a Shame", "Mystery Man" and "You Can't Judge a Book by the Cover".
The album has received positive to mixed reviews. The Independent raved the album as "a scintillating shot of roughneck rhythm and blues," by giving it a 4/5 star review. Simon Harper of Clash Magazine said that "with such infectious energy and lyrics capturing the timeless topics of youth, really: what's not to like? Harmonica sales will soar". Mojo also gave the album a rave review, stating that "It's nigh on impossible not to succumb to the band's hurtling energy and panache" and that "only a corpse wouldn't holler 'go, cats, go!'"
Boom may refer to:
Boom! is an American reality television series that aired on Spike TV in 2005 and was hosted by Kourtney Klein. It featured a group of demolition experts using explosives to destroy objects such as trailers, houses, boats and cars. Often, the suggestions on what should be blown up were sent in by home viewers via a "BOOM! Mailbag". Each episode covered obtaining the materials (such as the item to be destroyed), cleaning, gutting, and rigging the thing with explosives, and then making the final countdown and pushing the detonator, and watching the devastation.
Boom! is a 1968 British drama film starring Elizabeth Taylor, Richard Burton and Noël Coward, directed by Joseph Losey, and adapted from the play The Milk Train Doesn't Stop Here Anymore by Tennessee Williams.
Flora 'Sissy' Goforth (Taylor, in a part written for an older woman) is a terminally ill woman living with a coterie of servants in a large mansion on a secluded island. Into her life comes a mysterious man, Christopher Flanders, nicknamed "Angelo Del Morte" (played by then-husband Burton, in a part intended for a very young man). The mysterious man may or may not be "The Angel of Death".
The interaction between Goforth and Flanders forms the backbone of the plot, with both of the major characters voicing lines of dialogue that carry allegorical and Symbolist significance. Secondary characters chime in, such as "the Witch of Capri" (Coward). The movie mingles respect and contempt for human beings who, like Goforth, continue to deny their own death even as it draws closer and closer. It examines how these characters can enlist and redirect their fading erotic drive into the reinforcement of this denial.