The film's audio track featured an "Enhanced Home Theater Mix" consisting of replaced sound effects (to make the soundtrack more "modern") and improved fidelity and mixing and some enhanced music (this version was also shown on 20062012 ABC Family airings of the movie), though the DVD also included the original soundtrack as an audio option. The Student Newspaper for Montrose School. He did it by putting a glass panel in front of the camera and painting black marks over specific sections to block the light. However, due to contract stipulations citing that he had final cut privilege on the finished print, Disney overruled her. . Cosmetics such as eyeshadow, eyeliner, and lipstick wouldnt even become widely available for another 10 years, so it makes little sense that she is wearing them in this look. Disney assured her that the crew would be fine with waiting to begin filming until after she had given birth so that she could play the part. Suffragettes began to adopt some male attire as they fought for the right to vote (Mrs. Banks is wearing something like this in the film, as she is actually portrayed as a Suffragette), and most middle class women even began making their own clothing with the new availability of sewing machine technology. GAF View-Master - Walt Disney Mary Poppins - 3 carretes buen color His innovationeventually became the basis of the modern green screen. Many women in this era wore a rendition of the pompadour or another very similar style. For more formal events, a decorative sash could be worn on the hips for a pop of color. Many graphics, photographs, and text portions Yellow! eBay item number: 314425379255. Disney originally put in a bid for film rights to Travers' novel "Mary Poppins" in the early 1940s, but it took 20 years for the company to convince the author to accept, according to Smithsonian magazine. As Barbara Burman said. I love fashion history because clothing really reflects what was going on in history. This simplified the process of creating a more accurate matte, the silhouette image that's vital to the process. A children's classic, Mary Poppins is considered to be among the finest of Walt Disney's productions. Several decades after the release of the film, the American actor told The Guardian he was sorry for his "atrocious cockney accent" in "Mary Poppins.". For this reason, Vlahos is often regarded as the man who made the modern blockbuster possible. [5] Were going to review the look most popularly associated with this character and break down the elements that the costume designer got right and wrong when designing these historically accurate costumes. Dick Van Dyke, David Tomlinson, and Glynis Johns are featured in supporting roles. Enjoy! Mary Poppins (1964) Technical Specifications. Vlahos knew that sodium gas produces light at a very exact wavelength, 589 nanometers. . Even by today's standards, it's difficult to find a fault. I would like to start by making it clear that this article is in no way meant to discredit the costume designer of the film. But utmost sophistication (the chimney pot sequence crisply cut by Oscared "Cotton" Warburton) and high-level invention (a tea party on the ceiling, a staircase of black smoke to the city's top) characterized its handling. They first starred alongside each other in "The Three Lives of Thomasina" (1963) and went on to appear together in "The Gnome-Mobile" (1967). Entdecke Walt Disneys Geschichte von MARY POPPINS 8-Track-Band mit Liedern aus dem Film Julie Andrews in groer Auswahl Vergleichen Angebote und Preise Online kaufen bei eBay Kostenlose Lieferung fr viele Artikel! Although PL Travers, the author of the books, lived in London - you can find a blue plaque outside her former home at 50 Smith Street in Chelsea - the 1964 Mary Poppins was filmed entirely in the Walt Disney Studios in Burbank, California. Speaking of awards "Mary Poppins" cleaned up during the 1965 Academy Awards. They were a practical shoe that was worn during the day for casual strolling, or working, so her shoes are definitely accurate for this occasion. View Link, Quote as Flueckiger, Barbara (2012 ff. [43][60] Walt Disney used his huge profits from the film to purchase land in central Florida and finance the construction of Walt Disney World. "Bob and I spent two and a half years writing 34 songs, many for sequences that were never used, since we didn't have a final script to work to," Richard told The Guardian. For more formal events, a decorative sash could be worn on the hips for a pop of color. On July 4, 2000, it was released on VHS and DVD as part of the Gold Classic Collection. Realistically, Mary would be wearing a bit of rouge on her cheeks and lips, and nothing else. Mary Poppins (1964) | Timeline of Historical Film Colors The next day, the wind changes, meaning Mary Poppins must leave. The film's composers, Richard and Robert Sherman, are often credited with the creation of the word, and they have said they made it up. (= https://filmcolors.org/).Download BibTex, Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds. [74], The newly constructed Walt Disney World Monorail System benefited from the film because of the profits the movie generated. Disney's monorail system pays homage to this film by naming the MAPO (MAry POppins) safety system included on all Disney monorails. [18][19][20] Their relationship during the development of the film was also dramatized in the 2013 Disney film Saving Mr. Banks. Timeline of Historical Film Colors byBarbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Together, they sing ("Jolly Holiday"), and Bert flirts with Mary Poppins. Credit: Library of Congress. "Mary Poppins" earned five Oscars in 1965. At the time, Andrews was playing Guenevere in the musical. Film News | Movie News | NME The directors were obviously going for 1960s makeup trends, because she is wearing way too much for this time period. Sherman's voice is heard saying the only line: "Feed the birds, tuppence a bag. Access your favorite topics in a personalized feed while you're on the go. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring as well as printing and halftone processes. an . Travers was an adviser to the production, even being billed as the film's Consultant. Although Disney followed her request not to make the movie entirely animated, Travers later also said she wanted the animation sequence in the film to be removed, but that she was told it was too late to do so. A chief executive of BAFTA responded, "We look forward to his acceptance speech in whatever accent he chooses on the night. In June 2015, the European Research Council awarded the prestigious Advanced Grant to Barbara Flueckiger for her new research project FilmColors. This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Get Free Mary Poppins Script Pdf For Free - demo.viroverse.washington comment. Next, lets take a look at her makeup. Sometimes historical accuracy in costumes could have been the designers intention, but the artistic vision of the director and sometimes even the actors themselves can often override these decisions. Since February 2016 the database has been redevelopedin the framework of the research project Film Colors. L . Mary Poppins, the first novel in a series of children's books written by P.L. Subscribe to the blog to receive all the news: https://blog.filmcolors.org/ (check out sidebar on individual entries for the follow button). Mr. and Mrs. Banks return to home to find Bert's friends dancing in their home and sends them away. By clicking Sign up, you agree to receive marketing emails from Insider As an avid Disney and fashion history fan, its no surprise that I love the studios period films. Its important to note that decades of womens fashion are defined by the silhouettes of the dresses they wore during that period. [26], Andrews also provided the voice in two other sections of the film: during "A Spoonful of Sugar," she provided the whistling harmony for the robin, and she was also one of the Pearly singers during "Supercalifragilisticexpialidocious." Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources and photographs. Mary Poppins (1964) - Technical Specifications - IMDb Because of this, some important elements can get lost in portraying fashions with historical accuracy in movies. I would say, for the most part, yes they are. The next day, a number of elderly, sour-faced nannies wait outside the Banks' home for Ellen to show them all in, but a strong gust of wind blows them away. [57], The film was very profitable for Disney. The color of the stockings for daytime affairs would most likely be white rather than black, and as we can see the . MARY POPPINS & MARY POPPINS COMES BACK ~ P.L Travers ~ Mary Shapard ~ Color 1937. In the film, the word is meant to be used when you have nothing to say. Rather than using the more common bluescreen process to insert the actors into the animated footage, the actors were filmed against a white screen lit with sodium vapor lights, which have a yellow hue. The next day, the three meet Bert's odd Uncle Albert, who has floated up in the air because of his uncontrollable laughter and they join him for a tea party on the ceiling with lots of jokes ("I Love to Laugh"). The film stars Emily Blunt and Lin-Manuel Miranda. Mary Poppins Practically Perfect in Every Way Shirt Disney Her Universe In 'Mary Poppins Returns,' Lin-Manuel Miranda arrives as a movie "[45] Bosley Crowther, reviewing for The New York Times, described the film as a "most wonderful, cheering movie". Where to find Mary Poppins film locations in London This created a crisp, clean image and even allowed the partially transparent veil of Mary Poppins's costume to let through light from the background. After showing its capabilities in "Mary Poppins," other studios and filmmakers fought to use it. [7] In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Director Robert Stevenson Writers Bill Walsh (screenplay) With all of the social change came change in fashions as well. Before we dive into Mary Poppins clothing, we need to establish a time period and setting to investigate whether her look is accurate or not. According to the New Yorker, Travers cried while watching the premiere of the movie. Mary Poppins | film by Stevenson [1964] | Britannica Karen Dotrice, played Jane Banks. The composer said he got emotional over Andrews' rendition of the song. The children overhear the phone call and realize that their father is in trouble. Dawes., Senior. The creators definitely took some modern creative liberties with this dress. [25] Disney considered the actor Stanley Holloway for the role of Admiral Boom, during the pre-production stage, but the role went to Reginald Owen instead due to Holloway's commitment to My Fair Lady. [61], Mary Poppins is widely considered Walt Disney's "crowning achievement". We also have to keep in mind that this dress is pure fantasy, and is one of the only inaccurate pieces in the film. The 1910s were a decade known for its sophistication and elegance under the rule of King Edward VII, so the silhouette included a cinched S shaped waist, a full bust, and a long narrow skirt. Michael gives his father the tuppence in the hope to make amends. It was also that year's winner for Best Visual Effects. It was at the after-party that Richard Sherman recalled her walking up to Disney and loudly announcing that the animated sequence had to go. This is a scene from "Mary Poppins," a 1964 classic directed by Robert Stevenson. Shipping and handling. The most popular hairstyle for women of the Edwardian era was the pompadour style, as seen on the fictional, (a widely popular illustration of the feminine beauty ideal at the time). In 1998, this film became Disney's first feature film released on DVD. He did this by creating a unique prism that was designed to isolate the 589 nanometer hue from the rest of the colors. That was really hard. Suffragettes began to adopt some male attire as they fought for the right to vote (Mrs. Banks is wearing something like this in the film, as she is actually portrayed as a Suffragette), and most middle class women even began making their own clothing with the new availability of sewing machine technology. In addition to his leading role as Bert, the jovial chimney sweep, Dick Van Dyke appeared in the film as Mr. Dawes Sr. under the acting credit "Navckid Keyd.". In Mary Poppins Returns , the whereabouts of Van Dyke's chimney sweep Bert are explained away quite early on as "traveling the world, off to parts unknown." However, the same cannot be said for . Rob Marshall, the director of "Mary Poppins Returns," told Entertainment Weekly in 2017 that Andrews declined a role in the sequel because she wanted people to focus on Emily Blunt's performance in the leading role. On October 28, 1994, August 26, 1997, and March 31, 1998, it was re-released three times as part of the Walt Disney Masterpiece Collection. The biography is the basis for two documentaries on Travers: The Real Mary Poppins and Lisa Matthews' The Shadow of Mary Poppins. While Hatzer and his team recreated iconic London elements with a nod to the original Mary Poppins, all of the new locations and story elements introduced were created with their own original looks. Travers. Feathers, flowers, and even taxidermy birds were popular hat toppings for women during this time, says fashion historian Bernadette Banner. From the whimsical and fun story to the colorful animation sequences, the almost 60 year old film is a classic. Runner-up film "My Fair Lady" grossed just over $72 million in the US and Canada. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. (Color) - Art Direction: John Bryan, Maurice Carter; Set Decoration: Patrick McLoughlin, Robert Cartwright . The pompadour was an updo with. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism, and travel. Because of this, some important elements can get lost in portraying fashions with historical accuracy in movies. In: The New York Times, Sep., p. 34. The children ask their father to help them build a better kite, but he dismisses them. Up until then, isolating a material as fine as a veil was deemed impossible until Vlahos' new invention. This method was first used in 1940 for the film "Thief of Baghdad" but it also came with many issues. Echa un vistazo a estas pginas para colorear inspiradas en la pelcula de Disney El regreso de Mary Poppins! "[46], For The Hollywood Reporter, James Powers applauded the performances, visual effects, musical score, production design, and the choreography. Well, he got rid of the blue screen. Please use the Stripe interface to pay conveniently online. Type "inventor: [inventor name]" to search for inventors. Van Dyke eventually won Disney over after a screen test. Mary Poppins (film) A magical English nanny, Mary Poppins, arrives at the home of Mr. and Mrs. George Banks, facing the park at No. Without Disney's gamble and Vlahos' ingenuity and innovation, we might have never seen "Mary Poppins" on the silver screen, not to mention films like "Star Wars" or "Jurassic Park." GENDER AND RACE The first section employs film theory, semiotics and film music analysis to explore the animated works and their links to the musical theatre genre. There are many problems with the accuracy of this look. This musical fantasy introduced Andrews to film history as the magical nanny who arrives at the home of Jane and Michael Banks via umbrella and teaches them valuable lessons about life. Walt Disney Studios Home Entertainment released the film on Blu-ray as the 50th Anniversary Edition on December 10, 2013. Mary Poppins (film) - D23 Among other wins, Andrews won for best actress and the Sherman brothers won for their hit songs. [1][2] Travers was not extended an invitation to the event, but managed to obtain one from a Disney executive. Mary Poppins (1964) - IMDb [38], The film's music features music and lyrics by Richard M. Sherman and Robert B. Sherman. I don't want it to be, Oh, here comes that Mary Poppins. Looking to the tuppence for words, he blurts out "Supercalifragilisticexpialidocious", tells Uncle Albert's "Wooden leg named Smith" joke the children told, and happily heads home. The most popular hairstyle for women of the Edwardian era was the pompadour style, as seen on the fictional Gibson Girl (a widely popular illustration of the feminine beauty ideal at the time). Mary Poppins Returns (2018) - IMDb "Mary Poppins" ran on Broadway from 2004 to 2013, and it was nominated for seven Tony Awards. *Note: Several donors prefer to remain anonymous. George Pelling as Bloodhound, Reporter #1, David Tomlinson as Penguin Waiter, Jockey, Race Track Stewards, Mary Poppins' Parrot Umbrella, The penguin waiters and a silhouette of Mary Poppins appeared in, This page was last edited on 4 March 2023, at 11:43. On January 27, 2009, the film was released on DVD again as a 45th anniversary edition, with more language tracks and special features (though the film's "Enhanced Home Theater Mix" was not included). Marshall recalled Andrews' response, saying, "She made it clear right up front. Read more about the financial background of the project on filmcolors.org. So when Walt Disney acquired the live-action film rights to "Mary Poppins," they wanted to take the opportunity to push the technology even further. Unfortunately, they weren't tears of joy. With the arrival of color films, Butler realized he could put a subject in front of a specific color, then remove that exact color to isolate a subject from its background. I don't want that. . Next, lets move onto her hat. Alma Lawton as Mrs. Corry, an old shopkeeper of a gingerbread shop and mother of two daughters. It was adapted from the P.L. The three and Mary Poppins venture onto the rooftops, where they have a song-and-dance number with other chimney sweeps, which spills out into the Banks' home ("Step in Time") after their neighbor Admiral Boom shoots cartoon fireworks at them, mistaking them for robbers and calling them "cheeky devils". Mary wears two toned leather boots, which were actually quite a popular choice at the time. [37] Walt Disney attended the rehearsals for the rooftop scenes every day. Mary Poppins hair is almost accurate because it is up, but it would have realistically had much more volume added and would be less refined. And all of a sudden, we get out and were on a cobblestone street and theres supposed to be four of us tumbling right next to each other, and you put the broom down. Uncle Walt, as I called him, was determined that although I was an eight-year-old working on a film, I should still have a magical time. Travers book of the same name. style and short length, not to mention the fact that it gathers at her waist and not her hips. The isolated subjects would then be placed on top of a pre-shot background known as a plate to create a single seamless image. Mary Poppins was filmed at Walt Disney Studios in California, using painted backdrops, but many scenes were set in London locations, such as St. Paul's Cathedral and the Bank of England. Each stage necessitated a different financing scheme. It ended up taking home the award for best scenic design of a musical. Jay Maidment/Disney Enterprises, Inc. That goes for the setting, too, of course. Mary Poppins (1964) - Turner Classic Movies The site's consensus reads, "A lavish modern fairy tale celebrated for its amazing special effects, catchy songs, and Julie Andrews's legendary performance in the title role. She noted that "Some of the sequences have real charm, and perhaps the kids will eat them up. Mary Poppins, the hit 1964 film turned Broadway musical starring Julie Andrews, is notably one of my favorites. Before her death in 1996, Travers allowed the creation of the "Mary Poppins" stage production produced by Sir Cameron Mackintosh. Mary Poppins Returns versus 1964 original - How they compare [42], The film received universal acclaim from film critics. The bigger and more extravagant the hat, the better and more fashionable. Timeline of Historical Film Colors was started with Barbara Flueckigers research at Harvard University in the framework of her project Film History Re-mastered, funded by Swiss National Science Foundation, 2011-2013. His answer? With "Mary Poppins," Vlahos not only gifted generations of people with one of the most beloved classics of our time, but a legacy that can make all of our wildest imaginations come true. A happier Mr. Banks is found at home, having fixed his children's kite, and takes the family out to fly it. During the "Jolly Holiday" sequence, the three singing Cockney geese were all voiced by Marni Nixon, a regular aural substitute for actresses with substandard singing voices. A special camera was fitted with a prism that filtered this light to a separate reel of film, creating a highly accurate matte that could be used to isolate the actors from the background. This is the Recorded Tape of Mary Poppins as someone's recorded this film in the 90s somewhere! P. L. Travers MARY POPPINS AND MARY POPPINS COMES BACK | eBay Disney pushed back the production of the film to ensure Julie Andrews could play Mary Poppins. So, are the costumes in Mary Poppins historically accurate? The Material of Color in Photography and Film, Department of Film Studies, University of Zurich, crowdfunding campaign Database of Historical Film Colors, contact the author immediately and directly, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License, http://zauberklang.ch/acknowledgements.html, Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual and Environmental Studies, Prof. Dr. Margrit Trhler, Department of Film Studies, University of Zurich, Prof. Dr. Jrg Schweinitz, Department of Film Studies, University of Zurich, Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University of Zurich, PD Dr. Franziska Heller, Department of Film Studies, University of Zurich, Dr. Claudy Op den Kamp, Department of Film Studies, University of Zurich, Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich University of the Arts, Dr. Haden Guest, Director, Harvard Film Archive, Liz Coffey, Film Conservator, Harvard Film Archive, Mark Johnson, Loan Officer, Harvard Film Archive, Brittany Gravely, Publicist, Harvard Film Archive, Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio, Harvard University, Stephen Jennings, Photographer, Harvard University, Fine Arts Library, Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion Picture Department, Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion Picture Department, Nancy Kauffman, Archivist Stills, Posters and Paper Collections, George Eastman Museum, Motion Picture Department, Deborah Stoiber, Collection Manager, George Eastman Museum, Motion Picture Department, Barbara Puorro Galasso, Photographer, George Eastman House, International Museum of Photography and Film, Daniela Curr, Preservation Officer, George Eastman House, Motion Picture Department, James Layton, Manager, Celeste Bartos Film Preservation Center, Department of Film, The Museum of Modern Art, Mike Pogorzelski, Archive Director, Academy Film Archive, Josef Lindner, Preservation Officer, Academy Film Archive, Cassie Blake, Public Access Coordinator, Academy Film Archive, Melissa Levesque, Nitrate Curator, Academy Film Archive, Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam, and Professor at the University of Amsterdam, Annike Kross, Film Restorer, EYE Film Institute, Amsterdam, Elif Rongen-Kaynaki, Curator Silent Film, EYE Film Institute, Amsterdam, Catherine Cormon, EYE Film Institute, Amsterdam, Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden, Germany, Marianna De Sanctis, LImmagine Ritrovata, Bologna, Paola Ferrari, LImmagine Ritrovata, Bologna, Gert and Ingrid Koshofer, Gert Koshofer Collection, Bergisch Gladbach, Germany, Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz, David Landolf, Director, Lichtspiel / Kinemathek Bern, Brigitte Paulowitz, Head Archivist and Restorer, Lichtspiel / Kinemathek Bern, Margaret Bodde, Executive Director, The Film Foundation, Michael Champlin, DeBergerac Productions, Inc. Rochester, NY, Joakim Reuteler, Digital Humanities Lab, University of Basel, Prof. Dr. Rudolf Gschwind, Director, Imaging and Media Lab, University of Basel, Erwin Zbinden, Researcher, University of Basel, George Willeman, Nitrate Film Vault Manager, Library of Congress, Lynanne Schweighofer, Safety Film Vault Manager,Library of Congress, David Pierce, Library of Congress, Assistant Chief, Library of Congress, Kieron Webb, Technical Projects Officer, British Film Institute, Bryony Dixon, Silent Film Curator, British Film Institute, Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive, Todd Wiener, Motion Picture Archivist, UCLA Film & Television Archive, Dr. Cline Ruivo, Director Film Collections, Cinmathque Franaise, Dr. Iris Deniozou, Archivist, Cinmathque Franaise, Nicola Mazzanti, Associate Director, Royal Film Archive of Belgium, Laurent Mannoni, Directeur scientifique du patrimoine et du Conservatoire des techniques, Cinmathque franaise, Franois Ede, Researcher and Film Restorer, Andrea Meneghelli, Cineteca di Bologna, Archivio Film, Alessandra Bani, Cineteca di Bologna, Archivio Fotografico, Hege Stensrud Hsien, Director, National Library of Norway, Dr. Eirik Frisvold Hanssen, Head of Film and Broadcasting Section, National Library of Norway, Tina Anckarmann, Film Archivist, National Library of Norway, Prof. Martin Koerber, Leiter der Abteilung Film, Deutsche Kinemathek, Brian Pritchard, Motion Picture and Film Archive Consultant, Bertrand Lavdrine, Centre de Recherche sur la Conservation des Collections Paris, Mikko Kuutti, Deputy Director, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland, Juha Kindberg, Film Collection, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland, Dr Kelley Wilder, Senior Research Fellow, De Montfort University, Michael Harvey, Curator of Cinematography, National Media Museum, Bradford, Ruth Kitchin, Collections Assistant, National Media Museum, Bradford, Kathryn Gronsbell, Moving Image Archiving & Preservation, NYU, Gisela Harich-Hamburger, Photo Conservator, Dr Luke McKernan, Lead Curator, Moving Image, The British Library, Dr Michael Pritchard FRPS, FBIPP, Director-General, The Royal Photographic Society, John Falconer, Lead Curator Visual Arts, Curator of Photographs, The British Library, Dr. Anna Batistov, Nrodn filmov archiv / National Film Archive, Prague, Lenka astn, Nrodn filmov archiv / National Film Archive, Prague, Toni Booth, Curator, National Science and Media Museum, Bradford, Sylvie Pnichon, Conservator of Photographs, Amon Carter Museum of American Art, Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA, Phil Rutter, Hon Treasurer & Secretary, British Kinematograph, Sound & Television Society, Manuel Joller, coordinator data management, Barbara Fritzsche, support data management, Andreas Bhlmann, support data management, Michelle Beutler, support data management, Sabrina Zger, coordinator data management, Valentina Romero, support data management, Meredith Stadler, support data management, Hannes and Esther Bernhardt, grand supporters, Marianne Flckiger Bsch and Bernhard Bsch, major supporters, Dariush Daftarian and Viola Lutz, supporters, Joanne Bernardi, Associate Professor, University of Rochester.

Alabama Hip Hop And R&b Radio Stations, For Rent By Owner Temple, Tx, Fort Stewart Harvest Report, Articles W