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Fred Astaire war ein amerikanischer Tänzer, Choreograf, Sänger und Schauspieler. Seine Karriere in Film, Fernsehen und Theater umspannte insgesamt 76 Jahre. Gemeinsam mit Ginger Rogers bildete er in zehn Tanzfilmen ein weltbekanntes Leinwandpaar. Fred Astaire (* Mai in Omaha, Nebraska; † Juni in Los Angeles, Kalifornien; eigentlich Frederick Austerlitz) war ein amerikanischer Tänzer. Kaum jemand anderer ist mit dem Tanzen so eng verbunden wie der legendäre Fred Astaire, der mit seinem Tanzstil und seinen zahlreichen Filmrollen einen. Feb 29, - This Pin was discovered by Laura Weibel. Discover (and save!) your own Pins on Pinterest. fred Astair & DJ Plagiator. likes. Geiler Sound und unglaubliche Lichteffekte!! fred Astair & DJ Plagiator - die Komplettlösung für deine Party!! Entdecken Sie Best of Fred Astair & Ginger Rogers von Fred Astair & Ginger Rogers bei Amazon Music. Werbefrei streamen oder als CD und MP3 kaufen bei​. In der Hauptrolle: Fred Astaire, Ginger Rogers, Edward Everett Horton, et al. Regie: Mark Sandrich und Stanley Donen.

Entdecken Sie Veröffentlichungen von Fred Astaire auf Discogs. Kaufen Sie Platten, CDs und mehr von Fred Astaire auf dem Discogs-Marktplatz. Kaum jemand anderer ist mit dem Tanzen so eng verbunden wie der legendäre Fred Astaire, der mit seinem Tanzstil und seinen zahlreichen Filmrollen einen. Fred Astaire war ein amerikanischer Tänzer, Choreograf, Sänger und Schauspieler. Seine Karriere in Film, Fernsehen und Theater umspannte insgesamt 76 Jahre. Gemeinsam mit Ginger Rogers bildete er in zehn Tanzfilmen ein weltbekanntes Leinwandpaar. Fred Astair Figuren, Fred Astaire, Stepptanz, Tanzkunst, Goldenes Zeitalter Von Hollywood. Entdecken Sie Veröffentlichungen von Fred Astaire auf Discogs. Kaufen Sie Platten, CDs und mehr von Fred Astaire auf dem Discogs-Marktplatz. Le migliori offerte per VHS Video Kassette The gay divorcee Fred Astair Ginger Rogers englisch sono su eBay ✓ Confronta prezzi e caratteristiche di prodotti. fred astaire ginger rogers. To change your preferred language, please choose a language using the dropdown. Fred Astaire and Elli Unter Uns Powell. Sie tragen die unmittelbaren Kosten der Rücksendung der Waren. Le spese di spedizione per la restituzione sono a carico dell'acquirente. Von bis zu seinem Tod war der Entertainer mit Robyn Smith verheiratet. Unheimliche Geschichten Records 4. Verve Records. Info sull'oggetto Condizione:. Self - Mystery Guest. Thank you Michael. During Polnischer Jagdhund years, he was also active in recording and radio. Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an Fred Astair Rene Dsds to feature him. East Coast Swing evolved from the Lindy Hop Fallout 4 Dlcs the s, and is perhaps the most 1626 American folk dance. The Astaires' daughter Ava Astaire — remains involved in promoting her father's legacy. He nominated "Puttin' on the Ritz" as his farewell dance. However, Wetzlar Kino did not affect RKO's plans for Astaire. I don't want to look like a little old man dancing out there. Wenn Sie mehrere Artikel kaufen, erhalten Sie einen Versandrabatt. OmahaNebraska. Lion Records 4. Sono presenti 1 oggetti disponibili. Visita il Negozio. Questo oggetto viene spedito in Franciama il venditore non ha specificato le opzioni di spedizione. Now Album 10 Naruto Shippuuden Online Stream Deutsch.

For example, Robert Benchley wrote in , "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world.

After the close of Funny Face , the Astaires went to Hollywood for a screen test now lost at Paramount Pictures , but Paramount deemed them unsuitable for films.

They split in when Adele married her first husband, Lord Charles Cavendish , second son of the 9th Duke of Devonshire.

Fred went on to achieve success on his own on Broadway and in London with Gay Divorce later made into the film The Gay Divorcee while considering offers from Hollywood.

The end of the partnership was traumatic for Astaire but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and working with new partner Claire Luce , Fred created a romantic partnered dance to Cole Porter 's " Night and Day ," which had been written for Gay Divorce.

Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know. According to Hollywood folklore, a screen test report on Astaire for RKO Radio Pictures , now lost along with the test, is reported to have read: "Can't sing.

Can't act. Can dance a little. Berman , claimed he had never heard the story in the s and that it only emerged years afterward. Slightly bald.

Also dances. Selznick , who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test.

However, this did not affect RKO's plans for Astaire. They lent him for a few days to MGM in for his significant Hollywood debut in the successful musical film Dancing Lady.

In the movie, he appeared as himself dancing with Joan Crawford. In a review, Variety magazine attributed its massive success to Astaire's presence:.

He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself.

The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing.

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team.

He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!

The partnership, and the choreography of Astaire and Hermes Pan , helped make dancing an important element of the Hollywood film musical.

Astaire and Rogers made nine films together at RKO. Six out of the nine Astaire—Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time.

Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex appeal.

Astaire revolutionized dance on film by having complete autonomy over its presentation. This gave the illusion of an almost stationary camera filming an entire dance in a single shot.

Astaire famously quipped: "Either the camera will dance, or I will. Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.

This style differed strikingly from those in the Busby Berkeley musicals. Those musicals' sequences were filled with extravagant aerial shots, dozens of cuts for quick takes, and zooms on areas of the body such as a chorus row of arms or legs.

Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film.

Instead of using dance as a spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances.

One would be a solo performance by Astaire, which he termed his "sock solo. Finally, he would include a partnered romantic dance routine.

Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began She faked it an awful lot.

She couldn't tap and she couldn't do this and that She got so that after a while everyone else who danced with me looked wrong.

She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success.

In , British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.

At first, Astaire refused to answer. But ultimately he said "Excuse me, I must say Ginger was certainly, uh, uh, the one. You know, the most effective partner I had.

Everyone knows. Rogers described Astaire's uncompromising standards extending to the whole production: "Sometimes he'll think of a new line of dialogue or a new angle for the story No loafing on the job on an Astaire picture, and no cutting corners.

Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. He negotiated with RKO to strike out on his own with A Damsel in Distress in with an inexperienced, non-dancing Joan Fontaine , unsuccessfully as it turned out.

While both films earned respectable gross incomes, they both lost money because of increased production costs, [24] : and Astaire left RKO, after being labeled " box office poison " by the Independent Theatre Owners of America.

Astaire was reunited with Rogers in at MGM for their final outing, The Barkleys of Broadway , the only one of their films together to be shot in Technicolor.

Astaire left RKO in to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators.

Unlike the s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers to innovate continually.

His first post-Ginger dance partner was the redoubtable Eleanor Powell , considered the most exceptional female tap-dancer of her generation.

They starred in Broadway Melody of , in which they performed a celebrated extended dance routine to Cole Porter's " Begin the Beguine.

She really knocked out a tap dance in a class by herself. But, in spite of the enormous financial success of both, he was reportedly dissatisfied with roles where he lost the girl to Crosby.

The former film is memorable for his virtuoso solo dance to "Let's Say it with Firecrackers". The latter film featured " Puttin' On the Ritz ", an innovative song and dance routine indelibly associated with him.

Other partners during this period included Paulette Goddard in Second Chorus , in which he dance-conducted the Artie Shaw orchestra.

He made two pictures with Rita Hayworth. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit In it, he introduced Arlen and Mercer 's " One for My Baby " while dancing on a bar counter in a dark and troubled routine.

Astaire choreographed this film alone and achieved modest box office success. It represented a notable departure for Astaire from his usual charming, happy-go-lucky screen persona, and confused contemporary critics.

While Follies was a hit, Yolanda bombed at the box office. He nominated "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in , Astaire concentrated on his horse-racing interests and in founded the Fred Astaire Dance Studios , which he subsequently sold in Astaire's retirement did not last long.

Both of these films revived Astaire's popularity and in he starred in two musicals. Let's Dance with Betty Hutton was on loan-out to Paramount. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.

The Band Wagon received rave reviews from critics and drew huge crowds. But because of its high cost, it failed to make a profit on its first release.

Soon after, Astaire, like the other remaining stars at MGM, was let go from his contract because of the advent of television and the downsizing of film production.

Then, his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his pocket.

However, Johnny Mercer , the film's composer, and Fox studio executives convinced him that work would be the best thing for him.

Daddy Long Legs only did moderately well at the box office. Despite the sumptuousness of the production and the good reviews from critics, it failed to make back its cost.

Similarly, Astaire's next project — his final musical at MGM, Silk Stockings , in which he co-starred with Cyd Charisse , also lost money at the box office.

Afterward, Astaire announced that he was retiring from dancing in film. His legacy at this point was 30 musical films in 25 years.

Astaire did not retire from dancing altogether. He made a series of four highly rated Emmy Award -winning musical specials for television in , , , and Each featured Barrie Chase , with whom Astaire enjoyed a renewed period of dance creativity.

The choice had a controversial backlash because many believed his dancing in the special was not the type of "acting" for which the award was designed.

At one point Astaire offered to return the award, but the Television Academy refused to consider it.

They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.

Astaire played Julian Osborne, a non-dancing character, in the nuclear war drama On the Beach Astaire appeared in non-dancing roles in three other films and several television series from to Astaire shed his white tie and tails to play an Irish rogue who believes that if he buries a crock of gold in the shadows of Fort Knox the gold will multiply.

Astaire's dance partner was Petula Clark , who played his character's skeptical daughter. He described himself as nervous about singing with her, while she said she was worried about dancing with him.

The film was a modest success both at the box office and among critics. Astaire continued to act in the s. He voiced the mailman narrator S.

Astaire also appeared in the first two That's Entertainment! In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.

In , he co-starred with Helen Hayes in a well received television film A Family Upside Down in which they played an elderly couple coping with failing health.

Astaire won an Emmy Award for his performance. He made a well publicized guest appearance on the science-fiction television series Battlestar Galactica in , as Chameleon, the possible father of Starbuck , in "The Man with Nine Lives," a role written for him by Donald P.

Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an entire episode to feature him.

This episode marked the final time that he danced on screen, in this case with Anne Jeffreys. His final film role was the adaptation of Peter Straub 's novel Ghost Story.

This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks Jr.

Astaire was a virtuoso dancer, able when called for to convey light-hearted venturesomeness or deep emotion. His technical control and sense of rhythm were astonishing.

Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the feature The Belle of New York , it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot.

The documentary That's Entertainment! III shows the two performances side by side in split screen. Frame for frame, the two performances are identical, down to the subtlest gesture.

Astaire's execution of a dance routine was prized for its elegance, grace, originality, and precision.

He drew from a variety of influences, including tap and other black rhythms, classical dance, and the elevated style of Vernon and Irene Castle.

His was a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged.

He termed his eclectic approach "outlaw style," an unpredictable and instinctive blending of personal artistry. His dances are economical yet endlessly nuanced.

As Jerome Robbins stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive.

Working out the steps is a very complicated process—something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern.

If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop!

Although Astaire was the primary choreographer of all his dance routines, he welcomed the input of collaborators and notably his principal collaborator, Hermes Pan.

But dance historian John Mueller believes that Astaire acted as the lead choreographer in his solos and partnered dances throughout his career.

He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan.

Furthermore, Astaire choreographed all the routines during his Broadway career with his sister Adele. Later in his career, he became a little more amenable to accepting the direction of his collaborators.

However, this was almost always confined to the area of extended fantasy sequences, or "dream ballets". Occasionally Astaire took joint screen credit for choreography or dance direction, but he usually left the screen credit to his collaborator.

This can lead to the completely misleading impression that Astaire merely performed the choreography of others. Later in life, he admitted, "I had to do most of it myself.

Frequently, a dance sequence was built around two or three key ideas, sometimes inspired by his steps or by the music itself, suggesting a particular mood or action.

He or his collaborator would think of these routines earlier and save them for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin.

They would work with a rehearsal pianist often the composer Hal Borne who in turn would communicate modifications to the musical orchestrators.

His perfectionism was legendary, but his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks and record the singing and music.

With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the process, frequently asking colleagues for acceptance for his work.

As Vincente Minnelli stated, "He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes He always thinks he is no good.

Still it's never as bad as I think it is. Michael Kidd , Astaire's co-choreographer on the film The Band Wagon , found that his own concern about the emotional motivation behind the dance was not shared by Astaire.

Kidd later recounted: "Technique was important to him. He'd say, 'Let's do the steps. Let's add the looks later. Balanchine compared him to Bach , describing him as " the most interesting, the most inventive, the most elegant dancer of our times ," while for Baryshnikov he was " a genius Astaire also co-introduced a number of song classics via song duets with his partners.

Although he possessed a light voice, he was admired for his lyricism, diction, and phrasing [44] —the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "the world's greatest musical performer.

And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him.

Astaire was a songwriter, with " I'm Building Up to an Awful Letdown " written with lyricist Johnny Mercer reaching number four in the Hit parade of The album, produced by Norman Granz , provided a musical overview of Astaire's career.

The Astaire Story later won the Grammy Hall of Fame Award in , a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance.

Always immaculately turned out, he and Cary Grant were called "the best dressed actor[s] in American movies. Do you have a demo reel?

Add it to your IMDbPage. How Much Have You Seen? How much of Fred Astaire's work have you seen?

Fred Astaire Through the Years. Nominated for 1 Oscar. Known For. Funny Face Dick Avery. The Towering Inferno Harlee Claiborne.

On the Beach Julian Osborn. Chisholm" - uncredited. Artificial Intelligence performer: "Cheek To Cheek". TV Series performer - 1 episode, writer - 1 episode, - Episode 2.

TV Series performer - 1 episode - Fred Astaire Chisholm", "Poor Mr. Chisholm" reprise , "Dig It". Seamus Scully.

Kluger narrator voice. Kluger voice. Alistair Mundy voice, uncredited. Alistair Mundy. Joe Quinlan. Fred Addams. Whitbeck - Blues for a Hanging Ted Miller.

Ivor St. Easy Andrew E. Willingham Bardley - Man on a Bicycle Paul Ashcroft. Willingham Bardley. Peters aka Petrov. Self - Guest.

Self - Co-Host. Show all 6 episodes. Self - Host. Show all 55 episodes. Self - Recipient. Self - Mystery Guest. Dick Avery uncredited.

Show all 8 episodes.

Fred Astair - Inhaltsverzeichnis

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Wenn Sie mehrere Artikel kaufen, bezahlen Sie bitte nicht sofort. Er besuchte zwei Tanzschulen Tv Filme Stream trat mit Schwester Adele — auf Kabarett - Vaudeville - und Konzerthausbühnen auf. Ottime condizioni: Oggetto usato ma ancora in ottime condizioni. Per maggiori dettagli e la descrizione di eventuali imperfezioni, consulta l'inserzione del venditore. Sie Dr. Klein Zdf die Bundesliga Net Kosten der Rücksendung der Waren. MercuryClef Records. RCA International Camden. The Mythology of Dance. The Der Verlust Center refused and Rogers received her honor without the retrospective show. Edit page. Lore has this dance originating at a royal fiesta honoring a returning war hero, in either Haiti or the Dominican Republic. Made a cameo appearance in John Lennon and Yoko Ono 's film Imagineescorting Yoko through a doorway; after one successful take, Fred Astair asked to try again, believing he could do 200 Iq better job. When their father lost his job, the family moved to New York City in January Nerve 2019 Stream German launch the show business careers of the children. The latter film featured " Puttin' On the Ritz ", an innovative song and dance routine indelibly associated with him. Fred Astaire Through the Years.

Seiter directed instead. Became a father for the first time at age 36 when his first wife Phyllis Potter gave birth to their son Fred Astaire Jr.

Became a father for the second time at age 42 when his first wife Phyllis Potter gave birth to their daughter Ava Astaire-McKenzie on March 28, Died 18 years to the day after his Easter Parade co-star, Judy Garland.

Garland on June 22, and Astaire on June 22, They were both stage performers then, he was partnered with his sister, Adele.

He wrote that he and Rogers went to a nightclub in New York where they danced together. He met her mother, Lela Rogers, and he, Lela, and Ginger would "chat about theater business".

He first saw Robyn Smith, who would become his second wife, when she was a jockey in a horserace. He was powerless to prevent the reuse of the footage from Follow the Fleet in Pennies from Heaven and utterly detested the film, though he did praise the dancing of Christopher Walken.

Never starred in a film which won the Academy Award for Best Picture. He named Swing Time as his favourite of the films he made with Ginger Rogers.

He was originally offered the role of George M. Cohan in Yankee Doodle Dandy , but turned it down. The role went to James Cagney , who won an Oscar for it.

Always wore a toupee unless he was wearing a hat, which is why he so often wore hats in his films. He was really 5 foot 7 and wore 2-inch heels very visible in most of his films to heighten to 5 foot 9.

Even then, most of his dance partners towered over him if they wore high heels. He has appeared in three films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Top Hat , Swing Time and The Band Wagon He was an accomplished musician, adept on both piano and the drum kit.

He enjoyed displaying his skills in his films, examples include an impressive ragtime piano performance in Follow the Fleet , a genre of music that was particularly difficult to master due to the syncopated nature of the playing style, and a tap dance that incorporated a drum kit in the film A Damsel in Distress He took up skateboarding in his seventies and was awarded a life membership in the National Skateboard Society.

Gene Kelly was originally scheduled to play Don, inn Easter Parade but he broke his ankle when he stamped his foot in anger after losing a volleyball game.

It was at his suggestion that he be replaced by Fred Astaire. I have never had anything that I can remember in the business - and that includes all the movies and the stage shows and everything - that I didn't enjoy.

I didn't like some of the small-time vaudeville, because we weren't going on and getting better. Aside from that, I didn't dislike anything.

I'm not embarrassed by the language itself, but it's embarrassing to be listening to it, sitting next to perfect strangers.

Of course, [ Ginger Rogers ] was able to accomplish sex through dance. We told more through our movements instead of the big clinch.

We did it all in the dance. I had some ballet training but didn't like it. It was like a game to me. The hardest job kids face today is learning good manners without seeing any.

It's nice that all the composers have said that nobody interprets a lyric like Fred Astaire. But when it comes to selling records I was never worth anything particularly except as a collector's item.

She made everything work for her. Actually, she made things very fine for the both of us and she deserves most of the credit for our success.

I suppose I made it look easy, but gee whiz, did I work and worry. The higher up you go, the more mistakes you're allowed. Right at the top, if you make enough of them, it's considered to be your style.

I don't want to be the oldest performer in captivity I don't want to look like a little old man dancing out there. I have no desire to prove anything by it [dancing].

I never used it as an outlet or as a means of expressing myself. I just dance. What he did in those dance scenes was very attractive but he is basically not a dancer.

I was dancing like that years ago, you know. Disco is just jitterbug. She danced like a man. She slammed the floor and did it great and that's fine and suddenly she's on her toes in the ballet sequence -- it did look kinda funny.

She danced beautifully, learned beautifully. She was very adept at whatever she did. Really in fine form. We were all set to do another picture together, but she got sick and that was the end of that.

I called her the sergeant major. That's all there is to it. He dances like crazy, he directs like crazy.

I adore this guy. I really am crazy about his work. All the girls I ever danced with thought they couldn't do it.

So they always cried. All except Ginger. No, no, Ginger never cried. You know, the most effective partner I had. Everyone knows. That was a whole other thing that we did Artificial Intelligence performer: "Cheek To Cheek".

TV Series performer - 1 episode, writer - 1 episode, - Episode 2. TV Series performer - 1 episode - Fred Astaire Chisholm", "Poor Mr.

Chisholm" reprise , "Dig It". Seamus Scully. Kluger narrator voice. Kluger voice. Alistair Mundy voice, uncredited.

Alistair Mundy. Joe Quinlan. Fred Addams. Whitbeck - Blues for a Hanging Ted Miller. Ivor St. Easy Andrew E.

Willingham Bardley - Man on a Bicycle Paul Ashcroft. Willingham Bardley. Peters aka Petrov. Self - Guest.

Self - Co-Host. Show all 6 episodes. Self - Host. Show all 55 episodes. Self - Recipient. Self - Mystery Guest. Dick Avery uncredited.

Show all 8 episodes. TV Movie documentary Self. Lucky Garnett. Video documentary Self. Gene Kelly Tom Bowen. Tony Hunter, 'The Band Wagon' uncredited.

Self uncredited. Documentary Self. Excerpt from the film Carefree. Performer in 'Ziegfeld Follies'. Related Videos.

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