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Friday 12 November 2021 14:09:46 GMT

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sohaib_0320 :

do a car

2021-11-12 14:11:30

156

Fardin sharify :

It’s 3:00 am here and I’m wondering why I have watched all your videos 😏

2021-11-12 19:54:36

63

yss :

Slime 🥰

2021-11-12 14:51:56

35

, :

Please don't play with food because there are poor people who need it more than filming a Tiktok video🥺

2021-11-12 20:12:06

0

Moganie :

MOREEEEEEEEEEE

2021-11-12 14:12:24

10

LEGMI.XD :

hellooo

2021-11-12 14:14:26

1

g :

love you

2021-11-12 14:29:57

4

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We spoke to @msrebeccablack about surviving 'Friday', her new project 'Salvation' and her thoughts on being labelled 'underrated'. Now, after another month-long delay owing this time to the recent LA wildfires, Black is dropping Salvation, a seven-track “project” which careers between sugary Y2K hyperpop (“Sugar Water Cyanide”), broody, industrial-strength EDM (“Do You Even Think About Me?”) and spooky horror-pop (“Twist The Knife”). On the title track, the project’s strongest out-and-out pop number, Black belts: “I don’t need you to save me, I already saved myself”. Yet her journey to salvation has been hard won, after years spent, in her words, “learning who she is kind of backwards”. The bite-sized Rebecca Black origin story is this: in 2010, aged just 13, she was introduced to the now-defunct production company ARK Music Factory, after expressing an interest in making music. For $4000, the company wrote and produced the song “Friday”, which was released in February 2011 to very little fanfare (it received approximately 1000 views in its first month). Shortly after, it blew up to astronomical levels. In weeks, the music video received 30 million views, becoming at the time YouTube’s most disliked video, and Black herself garnered an inexorable level of press and online attention. In that nascent age of social media virality, the response to “Friday” – dubbed by one publication as “the worst song ever” – was unprecedented. As she’s grown through her teens and into her twenties, the now 27-year-old has had to untangle herself from the caricature the world painted her to be. Her relationship with the song has ebbed and flowed; in 2020, on its ninth anniversary, she reflected on being “terribly ashamed of herself and afraid of the world” following the fusillade of abuse she received. Just a year later, on the 10th anniversary, she shattered the song’s legacy by dropping a brain-melting, pitched to high-heaven hyperpop remix featuring Big Freedia, 3OH!3, and her friend and “guiding light”, Dorian Electra. This month, she marked the song’s anniversary with the air of someone who has finally broken free of its shackles, pointing out that the song itself is older now than she was when she released it. “Old hag!” she wrote on X. “I do really feel like the version of myself I am today is the closest to the version of myself I was when I was that age,” Black reflects now of her ascent since the “Friday” era. “In the sense that, maybe we’ve gotten a few more miles in our tool belt together and I’ve had a little bit more runs around the playground and know how this s**t works. But I think in the ways that I approach what I make, how I make it, what inspires me – I am playing so much more than I ever was post “Friday”.” It’s true: in the wake of her derided debut, she dropped a string of soggy ballads, a few Miley Cyrus and Katy Perry covers, and her first attempt at reclaiming her narrative, 2013’s “Saturday”. Yet her 2021 EP Rebecca Black Was Here and ensuing debut album – 2023’s half sparky, half sultry Let Her Burn – indicated that Black was an artist with a seriously well-tuned pop inclination, and the nerve to experiment. “I have so much further to go and I have so much to learn, and there’s definitely a lot of still untapped fear I have, but I think I’ve come as close to as I ever have been to that girl who was just so willing to put herself out there and try and learn and create,” Black says, her doe-eyes lined by her now-signature black bangs, “and that feels really good.” Rebecca Black in the music video for ‘TRUST’. (Finn Sanders) Not that you’d know it watching the “TRUST” music video – which features that bedazzled chainsaw and a choreographed court room scene that Britney wouldn’t sniff at – but Salvation was born of Black’s lack of self-confidence. “I have struggled greatly over the years to have the confidence to be exactly the version of myself I know exists in my head,” she confides.

We spoke to @msrebeccablack about surviving 'Friday', her new project 'Salvation' and her thoughts on being labelled 'underrated'. Now, after another month-long delay owing this time to the recent LA wildfires, Black is dropping Salvation, a seven-track “project” which careers between sugary Y2K hyperpop (“Sugar Water Cyanide”), broody, industrial-strength EDM (“Do You Even Think About Me?”) and spooky horror-pop (“Twist The Knife”). On the title track, the project’s strongest out-and-out pop number, Black belts: “I don’t need you to save me, I already saved myself”. Yet her journey to salvation has been hard won, after years spent, in her words, “learning who she is kind of backwards”. The bite-sized Rebecca Black origin story is this: in 2010, aged just 13, she was introduced to the now-defunct production company ARK Music Factory, after expressing an interest in making music. For $4000, the company wrote and produced the song “Friday”, which was released in February 2011 to very little fanfare (it received approximately 1000 views in its first month). Shortly after, it blew up to astronomical levels. In weeks, the music video received 30 million views, becoming at the time YouTube’s most disliked video, and Black herself garnered an inexorable level of press and online attention. In that nascent age of social media virality, the response to “Friday” – dubbed by one publication as “the worst song ever” – was unprecedented. As she’s grown through her teens and into her twenties, the now 27-year-old has had to untangle herself from the caricature the world painted her to be. Her relationship with the song has ebbed and flowed; in 2020, on its ninth anniversary, she reflected on being “terribly ashamed of herself and afraid of the world” following the fusillade of abuse she received. Just a year later, on the 10th anniversary, she shattered the song’s legacy by dropping a brain-melting, pitched to high-heaven hyperpop remix featuring Big Freedia, 3OH!3, and her friend and “guiding light”, Dorian Electra. This month, she marked the song’s anniversary with the air of someone who has finally broken free of its shackles, pointing out that the song itself is older now than she was when she released it. “Old hag!” she wrote on X. “I do really feel like the version of myself I am today is the closest to the version of myself I was when I was that age,” Black reflects now of her ascent since the “Friday” era. “In the sense that, maybe we’ve gotten a few more miles in our tool belt together and I’ve had a little bit more runs around the playground and know how this s**t works. But I think in the ways that I approach what I make, how I make it, what inspires me – I am playing so much more than I ever was post “Friday”.” It’s true: in the wake of her derided debut, she dropped a string of soggy ballads, a few Miley Cyrus and Katy Perry covers, and her first attempt at reclaiming her narrative, 2013’s “Saturday”. Yet her 2021 EP Rebecca Black Was Here and ensuing debut album – 2023’s half sparky, half sultry Let Her Burn – indicated that Black was an artist with a seriously well-tuned pop inclination, and the nerve to experiment. “I have so much further to go and I have so much to learn, and there’s definitely a lot of still untapped fear I have, but I think I’ve come as close to as I ever have been to that girl who was just so willing to put herself out there and try and learn and create,” Black says, her doe-eyes lined by her now-signature black bangs, “and that feels really good.” Rebecca Black in the music video for ‘TRUST’. (Finn Sanders) Not that you’d know it watching the “TRUST” music video – which features that bedazzled chainsaw and a choreographed court room scene that Britney wouldn’t sniff at – but Salvation was born of Black’s lack of self-confidence. “I have struggled greatly over the years to have the confidence to be exactly the version of myself I know exists in my head,” she confides.

If you’re doing bicep curls and you feel it in your forearms it most likely has to do with your wrist angle being curled (in flexion). Thus, the fix would be straightening your wrists or having them be in extension #fyp #Fitness #gym #bodybuilding

If you’re doing bicep curls and you feel it in your forearms it most likely has to do with your wrist angle being curled (in flexion). Thus, the fix would be straightening your wrists or having them be in extension #fyp #Fitness #gym #bodybuilding

... ... ... ... ... #crdtext #zinmyo_3930 #ဒီတစ်ပုဒ်တော့fypပေါ်ရောက်ချင်တယ်

... ... ... ... ... #crdtext #zinmyo_3930 #ဒီတစ်ပုဒ်တော့fypပေါ်ရောက်ချင်တယ်

#twerkcoach #twerk #twerklesson #twerktutorial

#twerkcoach #twerk #twerklesson #twerktutorial

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