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The Kidnap

457,

05:09,

2007-04-28 20:42:37

Description: ---The Kidnap--- deodorant shoot out ghost kill bad ass badass action death funny amazing blink 182 tom delonge mark hoppus travis barker plus 44 angels and airwaves +44 AVA transplants aquabats (More) ---The Kidnap--- deodorant shoot out ghost kill bad ass badass action death funny amazing blink 182 tom delonge mark hoppus travis barker plus 44 angels and airwaves +44 AVA transplants aquabats boxcar racer box car taking back sunday adam lazzera fred maschino eddie reyes matt rubino mark o'connel john nolan shawn cooper amazing beautiful hott porn lesbians sex guitar bass drums cover song the a of snow summer singing greatness smart dumb silly nuts hit balls shot cup check nipple tidy twister crash car motorcycle amazon Google youtube smelly face dane cook shave bleeding blood bled underoath the almost starlight run twat amazon anal poundage nick gay silly hair cat dog hamster toenails slave nailpolish stinky drugs faucet chips mail man pool poop fence grass smoking death bear hippies loser get in out propane black bra underwear rejected sorry hate love Nfl, ncaa, baseball, soccer, futbol, football, Nba, basketball, mlb, hockey, nhl, fifa, poker, golf, world cup, nascrar, formula one, snooker, pool, tennis, rugby, boxing, cart, racing, wrestling, wwe wwf Lonelygirl15, smosh, miarose, cbs, williamsledd, brookers, baratsandbereta, geriatric1927, thewinkone, gaygod, thehill88, happyslip, boh3m3, lisanova, nbc, brookers, Evolution of Dance, Pokemon Theme Music Video, SNL - Digital Short - A Special Christmas Box *Uncensored Version, My Chemical Romance - Famous Last Words, guitar, Quick Change Artists on America's Got Talent, shoes, OK Go - Here It Goes Again, Hey clip, Real Life Simpsons Intro, Free Hugs Campaign. (music by Sick Puppies album out April3), Urban Ninja, Hahaha, Ronaldinho: Touch of Gold, lion sleep tonight, muffins, webcam girl sex nude strip teasing web cam sexy hot latina fuck White & Nerdy, Mortal Kombat Theme, beyonce -- irreplaceable, Napoleon Dynamite Dance Scene Green Day, Pussycat Dolls, Fall Out Boy,Guns N Roses, Rolling Stones, Nickelback, Evanescence, Black-Eyed Peas, All American Rejects, The Fray lips two girls kissing lesbian hot wild chicks erotic sexy dikes lesbo adult ass butt lesbian lips sex tongues make out adult cute blindfolded chick sexy striptease hot lesbian girls kissing naked girl hottie naughty boobs thong nude bikini webcam blonde love lick porn kiss cute boob tit exposed two girls kissing kiss hot wild chicks cute lingerie lips dikes cute panties kissing lesbian wild chiks erotic sex vivthomas dikes tongues make out lezbo striptease nude babe naked sexy girl ass tits lingerie girls hot strip stripping jenna sexyjenna79 ass butt thong booty boobs tits sexy young girl strip tease web cam thongs school dancein underwear funny bra Porn Adult Nude oral anal tits ass breasts naked blowjob blow job cocksucker erotica cum xxx shaved playboy webcam girl sex nude strip teasing web cam sexy hot latina fuck beautiful girls dance webcam hot web cam chicas cute lovely women females britney spears chest tits boobs vagina pussy cunt slut whore drunk club SEXY GIRL BOOBS SEX BIKINI PORN NUDE MIWA ASIAN JAPANESE POP IDOL PARIS BRITNEY BOOTY BLOW JOB DANCE WEBCAM WEB CAM HOT SEXY GIRL STRIPPING NICE B00BS GETTING NAKED XXX 藤崎マーケット①爆笑レッドカーペットより藤崎マーケットのネタその①細かすぎて伝わらないモノマネ選手権細かすぎて伝わらないモノマネ選手権セクハラP これなんてエロゲアイマス星井美希パイタッチ IdolM@ster アイドルマスター xbox360 斬戯, GYM CLASS HEROES: Cupid's Chokehold, Lock Bumping and Bump Keys, Scary Movie 4 Trailer, Avril Lavigne -- Girlfriend, Justin Timberlake - My Love, Best card trick in the world mychemicalromance,mundoreggaeton, tnawrestling, gizmodo, digitalfilmmaker, Clay Aiken,Zac Efron, Nelly, Chris Brown, Howard Stern, Daddy Yankee, Jesse McCartney, Elliot Yamin, Steve Irwin Eminem, Andy Milonakis, 50 Cent, Howard Stern, Tupac Shakur, Michael Jackson, Usher,Bow Wow, Clay Aiken, Brad Pitt, kobe Bryant, Sidney Crosby, david beckham guitar90, okgo, chrisinscotland, nikesoccer Runescape, Bebo, myspace, metacafe, radioblog, wikipedia, video, rebelde, mininova, wiki, Disney, youtube, apple, playstation, xbox, wii, Microsoft Paris Hilton, Tara Reid, Pamela Anderson, Angelina Jolie, Britney Spears, Lindsay Lohan, Jennifer Lopez, Carmen Electra, Brooke Burke, Hilary Duff, Anna Kournikova, Anna Nicole smith, Jessica alba, Cameron diaz, jenna jameson American Idol, Lost, South Park, Smallville, Family Guy, CSI, The Simpsons, Scrubs, Survivor, Dancing with the Stars, naruto, pokemon, dragonball, dragon ball, Prison Break, Heroes, Lost, Smallville, House, Grey's Anatomy, 24, One Tree Hill, Gilmore Girls, Desperate Housewives, South Park, Dancing With the Stars, Family Guy, Battlestar Galactica, Avatar, Scrubs, American Idol, NCIS, Supernatural, CSI: Miami, Nip/Tuck, America's Next Top Model,The Simpsons, moviesTMNT, 300, Shooter, Wild Hogs, The Last Mimzy, The Hills Have Eyes 2 (Less)

Channel: youtube

Tags: bike cry Darth extreme guns Kidnap light nut saber scooter shot Vader

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Bareback Gang Bang

399,

00:00,

2009-08-06 20:26:11

Description: Sexy Calvin Hudson has the body of Adonis and the sex appetite that can only be partially satisfied by 10 lusty tops. He wants cock in both ends and gets just that as the 10 tops work his mouth and (More)

Channel: naughtymovies

Tags: Interracial action bareback black gangbang interracial muscles pornotube sx video uncut

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Hot Black Thug Anubis

69,

00:00,

2009-09-03 20:41:44

Description: Yo, what’s good family! This ya boy Danger Zone livin’ it up at the Helios Paradise Resort in Palm Springs, California. Breion Diamond’s birthday Pool Party Fuck Fest was off the (More)

Channel: naughtymovies

Tags: Miscellaneous gay rockettube

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Son Sees Interracial Mom Nut

17,

00:00,

2009-12-12 17:02:46

Description: A worried white mother sucks on the balls of a black gang member she lets him shoot his load all over her face forcing her son to watch she is trying to teach him a lesson (More)

Channel: slutload

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Showbiz & A. G. - Time for

12,

02:49,

2008-03-18 09:38:49

Description: Time For Lyrics (Showbiz & a. G.) Intérprete: Showbiz & A. G. Título del álbum: Good fellas Año: 1995 Nº pista: 6 Duración: 02:47 (More) Time For Lyrics (Showbiz & a. G.) Intérprete: Showbiz & A. G. Título del álbum: Good fellas Año: 1995 Nº pista: 6 Duración: 02:47 There's a time to play and there's a time for sex There's a time to lounge and there's a time to catch wreck Watch your spot, cause if you sleep you'll get got Our sound is hot cause we're true to hip-hop It's the little big man, y'all little niggas just relax I'm coming like a nut, butt niggas catching heart attacks Adversaries better maintain Don't even riff, stram, cause I'm a one-man gangbang Boom, I hit it, now money I really did it Brung out the beast in me, and the freaks be getting with it Yes the fame is what they sweat But you came for me to entertain then I'll make you wet Meanwhile, got to keep a low profile Our style is true, so yes I do smile Original, just like the dirty rotten And while our foes is plotting, show is riding shotgun There's a time to play and there's a time for sex There's a time to lounge and there's a time to catch wreck Watch your spot, cause if you sleep you'll get got Our sound is hot cause we're true to hip-hop Since I hit the boom, they say my brain is doomed I object, it's sustained, now name this tune Bringing more than other brothers on computers Long as my vision ain't blurry, don't worry, pass the buddhas Forget karate, cause I'd rather kick a lyric You ain't trying to hear it? then I'll be talking to your spirit Show hit me off with the hype shit Who needs pencils and papers? brain cells is what I write with The format, told you last lp I'm all that Step to a.g., then you're best to be sure, black Roll with my crew, I got the o.e. 20 dollar sack, and my hat to the back just like tlc Now when you play, it'd better not be with show and dre Or sex in between the sheets at my rest Now it's time to lounge and I'm free from all clowns Now who's catching wreck? I hit the cess, yes There's a time to play and there's a time for sex There's a time to lounge and there's a time to catch wreck Watch your spot, cause if you sleep you'll get got Our sound is hot cause we're true to hip-hop I get rough and I hurt 'em like a puff of the ganja Tough like tonka, you'll get seen by the jolly green Monster, the g sell out? hell no A good fellow who sports the shell toes Step to me, I'll shoot you and your deputy Everybody's in jeopardy except for me They pop shit, like their skills I can't top it I'm the one to rock with, lounge and pop some chocolate I'm coming through, so what you gonna do? When I hit you in the head with the lead from the number 2 A black boo, leaving suckers froze like a statue Styles are coming at you, real like my tattoo (Less)

Channel: youtube

Tags: hip-hop rap

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Lil Wayne - Get em off me

17,

02:34,

2008-04-15 05:02:12

Description: [Verse 1] You try to run up on Lil Wayne I let u hold the slug The can opener will make you jump Open up I�m prolly in the crib bakin up, rollin up Cuz im a nut wit the coke Call me coconut (More) [Verse 1] You try to run up on Lil Wayne I let u hold the slug The can opener will make you jump Open up I�m prolly in the crib bakin up, rollin up Cuz im a nut wit the coke Call me coconut Bet I smack �em wit the tooly Tell �em straighten up I�m from the murda capital You niggaz baby mutts You baby mutts get the fuck I aint a dog I�m a boss hogg Shout out to Slim Thugger Pussy�s splat that�s a shot to ya brim youngin I�m so Cash Money Right out the rim brotha Not out to get nothing but bread I said I am Not out to get nothing but bread I said I, slide out the whip lookin like a million bucks Don�t touch bet this fuckin full clip bleed up Hollygrove in this bitch blooka blook Make the chef pull the stove off the hip Cook �em up [Chorus] That mack-10 get �em off me Bitch out here still talking Mack-10 get �em off me Bitch out here still talking [Verse 2] If I was to let the barrel spin None of you niggaz be standin I pull this burner out my drawers You gon piss in ya panties On the block as a youngin I waz workin that jelly Knew fat niggaz kept bundles under they belly I�m a motherfuckin Young Money A motherfuckin Cash Money Millionaire Cash Money Machiavelli They say dress to kill but I look better at it Ready for anything its covered like spaghetti I�m a nice young Dboy bay I digest ya man like a T-Bone baby Keep on I got the heat on 80 At 90 I�m shootin At 100 I�m blazin Concrete jungle the wild life baby That�s my life my life my life baby Don�t get up in the twilight crazy You be just another highlight baby [Verse 3] Before I head my aim I still had a pistol Missin ya whole chest Hittin ya whole temple Like �95 �96 get it in the rental Too short I had to sit on a pillow Let the whole quaker sit on the griddle Cook �em up and shoot �em out like missiles Boot �em up and call �em out like bitches They aint nothing but bitches They aint fuckin wit this shit They swingin and missin My angle is different, they aint seein me Look into my eyes, that�s the window to my song See the G in me Long hair all black like Easy-E Lil nigga got smack like the DVD Click-clack sound sweet to me Pap-pap you look sleep to me (What you sayin) Click-clack sound sweet to me Pap-pap you look sleep to me Good Night (Less)

Channel: youtube

Tags: carter dj em get khaled lil me off suffix wayne

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RULO Y GONZALEZ

205,

00:19,

2007-05-26 17:43:09

Description: RULO Y GONZALEZ FOR MORE: http://www.soyelcreador.com.ar http://www.historietayanimacion.com Traditional animation, also referred to as classical animation, cel animation, or hand-drawn (More) RULO Y GONZALEZ FOR MORE: http://www.soyelcreador.com.ar http://www.historietayanimacion.com Traditional animation, also referred to as classical animation, cel animation, or hand-drawn animation, is the oldest and historically the most popular form of animation. In a traditionally-animated cartoon, each frame is drawn by hand. The traditional animation process Storyboards Traditionally-animated productions, just like other forms of animation, usually begin life as a storyboard, which is a script of sorts written with images as well as words, similar to a giant comic strip. The images allow the animation team to plan the flow of the plot and the composition of the imagery. The storyboard artists will have regular meetings with the director, and may have to redraw or "re-board" a sequence many times before it meets final approval. Voice recording Before true animation begins, a preliminary soundtrack or "scratch track" is recorded, so that the animation may be more precisely synchronized to the soundtrack. Given the slow, methodical manner in which traditional animation is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. However, the scratch track used during animation typically contains just the voices, any vocal songs that the characters must sing along to, and temporary musical score tracks; the final score and sound effects are added in post-production. In the case of most pre-1930 sound animated cartoons, the sound was post-synched; that is, the sound track was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios, continued to post-synch their cartoons later, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons. Although virtually all American animation is now pre-synched (and has been since the 1930s), nearly all Japanese animation (anime) is post-synched. Animatics Often, an animatic or story reel is made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film; as traditional animation is a very expensive and time-consuming process, creating scenes that will eventually be edited out of the completed cartoon is strictly avoided. In the mid 1970's these were known as Videomatics and used primarily for test commercial projects. Advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces (ie: an arm that reaches for a product, or a head that turns). Video storyboards are the same thing as animatics, but do not have moving pieces. Photomatics are another option when creating test spots, but instead of using drawn artwork, there is a shoot in which hundreds of digital photographs are taken. The large amount of images to choose from may make the process of creating a test commercial a bit easier, as opposed to creating an animatic, because changes to drawn art take time and money. Photomatics generally cost more than animatics, as they require a shoot, and on-camera talent. Design and timing Once the animatic has been approved, it and the storyboards are sent to the design departments. Character designers prepare model sheets for all important characters and props in the film. These model sheets will show how a character or object looks from a variety of angles with a variety of poses and expressions, so that all artists working on the project can deliver consistent work. Sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. At the same time, the background stylists will do similar work for the settings and locations in the project, and the art directors and color stylists will determine the art style and color schemes to be used. While design is going on, the timing director (who in many cases will be the main director) takes the animatic and analyzes exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet for short) is created; this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score. Layout Layout begins after the designs are completed and approved by the director. The layout process is the same as the blocking out of shots by a cinematographer on a live-action film. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will determine the major poses for the characters in the scene, and will make a drawing to indicate each pose. For short films, character layouts are often the responsibility of the director. The layout drawings are spliced into the animatic, using the X-sheet as a guide. Once the animatic is made up of all layout drawings, it is called a Leica reel. The term originates from the Disney Studio in the 1930s, from the frame format used by Leica cameras. Animation Key drawings and corrected, inbetweened animation in NoeinOnce the Leica reel is finally approved by the director, animation begins. In the traditional animation process, animators will begin by drawing sequences of animation on sheets of paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or "frame" at a time. A key animator or lead animator will draw the key drawings in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major points of the action; in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air, and the frame for the character landing on the other side of the gap. Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between sound and visual will be distracting to the audience. For example, in high-budget productions, extensive effort is given in making sure a speaking character's mouth matches in shape the sound that character's actor is producing as he or she speaks. (Try making "ah," "ooh" and "ee" sounds out loud, and note how your mouth will subconsciously form a different shape for each sound; good animators must pay attention to such seemingly trivial things). As they are working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a preliminary version of the final animated scene; the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to his assistant animators, who will go add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have his scene sweatboxed, or reviewed by the director, producer, and other key creative team members. Similar to the storyboarding stage, an animator may be required to re-do a scene many times before the director will approve it. In high-budget animated productions, often each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. For scenes where two characters interact, the key animators for both characters will decide which character is "leading" the scene, and that character will be drawn first. The second character will be animated to react to and support the actions of the "leading" character. Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, taking care in including all of the details present on the original model sheets, so that it appears that one person animated the entire film. The inbetweeners will draw in whatever frames are still missing in between the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval. At each stage during pencil animation, approved artwork is spliced into the Leica reel. This process is the same for both character animation and special effects animation, which on most high-budget productions are done in separate departments. Effects animators animate anything that moves and is not a character, including props, vehicles, machinery and phenomena such as fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney films since the late-1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation. Backgrounds While the animation is being done, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor, oil paint, or even crayon. Background artists follow very closely the work of the background layout artists and color stylists (which is usually compiled into a workbook for their use), so that the resulting backgrounds are harmonious in tone with the character designs. Traditional ink-and-paint and camera Once the clean-ups and in between drawings for a sequence are completed, they are prepared for photography, a process known as ink-and-paint. Each drawing is then transferred from paper to a thin, clear sheet of plastic called a cel, so called because they were once made out of cellulose nitrate (cellulose acetate is now used). The outline of the drawing is inked or photocopied onto the cel, and gouache or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. In many cases, characters will have more than one color scheme assigned to them; the usage of each one depends upon the mood and lighting of each scene. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels. A camera used for shooting traditional animation. See also Aerial image.When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed by a special animation camera, also called rostrum camera. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cells are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving the camera, cels, or backgrounds one step at a time over a succession of frames. As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack. Again, editing is generally not done in animation, but if it is required it is done at this time, before the final print of the film is ready for duplication or broadcast. Digital ink and paint It should be noted that the actual "traditional" ink-and-paint process is no longer in use by any major animated productions at present. The current process, termed "digital ink and paint," is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels, the animators' drawings are scanned into a computer, where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder, or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget animated productions, the bulk of the animation is actually done by animators working in other countries, including Korea, Japan, Singapore, and India). The last major feature film to use traditional ink and paint was Studio Ghibli's Princess Mononoke (1997); the last animated series to do so was Ed, Edd n Eddy. Minor productions such as Hair High (2004) by Bill Plympton have used traditional cels long after the introduction of digital techniques. Digital ink and paint has been in use at Walt Disney Feature Animation since 1989, where it was used for the final rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted, using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by one-time partner Pixar (the last Disney feature using CAPS was Home on the Range). Most other studios use one of a number of other high-end software packages such as Toonz or Toon Boom Studio, Animo, US Animation and even consumer-level applications such as Macromedia Flash. Computers and video cameras Computers and video cameras in traditional cel animation can also be used as tools without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a computer is much more effective than doing it the old original way. And video cameras gives the opportunity to see a "sneak preview" of the scenes and how they will look when finished, enabling the animators to correct and improve them without having to complete them first. This can be considered a digital form of pencil testing. Techniques The cel & limited animation This image shows how two transparent cels, each with a different character drawn on them, and an opaque background are photographed together to form the composite image.The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels will be used to animate the speaking character. For a more complex example, consider, a sequence in which a girl sets a plate upon a table. The table will stay still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate will no longer move, although the girl will continue to move as she draws her arm away from the plate. In this example, after the girl puts the plate down, the plate can then be drawn on a separate cel from the girl. Further frames will feature new cels of the girl, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera, in this example the still plate would be painted slightly brighter to compensate for being moved one layer down. In very early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one proceeding it. The pre-cel animation was later improved by using techniques like the slash method invented by Raoul Barre; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed. The cel animation process was invented by Earl Hurd and John Bray in 1915. In lower-budget productions, this "shortcut" is used in a greater capacity. For example, in a scene in which a man is sitting in a chair and talking, the chair and the body of the man may be the same in every frame; only his head is redrawn, or perhaps even his head stays the same while only his mouth moves. This is known as limited animation. The process was popularized in theatrical cartoons by UPA and used in most television animation, especially that of Hanna-Barbera. The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets. Animation loops A horse animated by rotoscoping from Edweard Muybridge's 19th century photos. The animation consists of 8 drawings, which are "looped", i.e. repeated over and over.Creating animation loops or animation cycles is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with their right foot, then a step with their left foot. The loop is created so that, when the sequence repeats, the motion is seamless. However, since an animation loop essentially uses the same bit of animation over and over again, they are easily detected and can in fact become distracting to an audience. In general, they are used only sparingly by productions with moderate or high budgets. Ryan Larkin's 1969 Academy Award nominated National Film Board of Canada short Walking makes creative use of loops. In addition, a promotional music video featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney, supposedly walking in a house, wonder why they keep passing the same table and vase over and over again. [edit] Multiplane camera Main article: Multiplane camera The multiplane camera is a tool used to add depth to scenes in 2D animated movies, called the multiplane effect. This visual phenomena is also called the parallax process. The art are placed on different layers of glass plates; in this way, realistic backgrounds and foregrounds can be made. The panorama views in Pinocchio are a well known example on how impressive it can appear. Different versions of the camera have been made through time, but the most famous is the one used by the Walt Disney Studio. Another one, called a tabletop, was made by Fleischer Studios. Miniature sets made of paper cutouts were placed in front of the camera, and the cels between them, creating visually realistic scenes. Others who made their own multiplane camera include Ub Iwerks and Don Bluth. Hand inking Originally the cels were inked by hand by first laying them over the artists drawings, and then the inkers traced the outlines of the artwork onto the cels, using different colors. With the invention of xerography (below), hand inking was no longer needed, and this was reflected by the animation's visual style. Xerography Applied to animation by Ub Iwerks, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, leaving only the coloring to the inkers. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At first it resulted in a more sketchy look, but the method was improved later. Instead of using black lines only, cels with lines in different colors were also possible, using colored toner powder. The xerographic method was first used by Disney in the short film Goliath II, while the first feature using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers the characters outlines are gray. White and blue toners were used for special effects, such as snow and water. The APT process Main article: APT process Invented by David W. Spencer (aka Dave Spencer) for the movie The Black Cauldron, the APT (Animation Photo Transfer) process was a new breakthrough in how to transfer the animators' art onto cels. Compared to Xerography, it looked visually better. Basically, the process was a modification of a repro-photographic process; the artists' work were photographed on high-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light sensitive dye by making a "sandwich" of the negative and the cel and expose the negative to light. The layer of dye was sandwiched between the other two elements and exposed to the light through the transparent areas of the negative. Because it was actually divided into thinner layers of dye, each in a different color and sensitive to a specific wavelength of light, it was exposed to the relevant wavelengths one at the time. The light caused it to harden and fuse to the surface of the cel, and chemicals were then used to remove the unexposed portion, leaving the drawings in a variety of colors (photo emulsion). Small and delicate details were still inked by hand if needed. Spencer received a Technical award from the Motion Picture Academy for developing this process. Cel overlay A cel with inanimate objects made to make the impression of a foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay, made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next a cel with detailed black lines was laid directly over it, each line drawn to add more information to the underlaying shape or figure, giving the background the complexity it needed. In this way the visual style of the background will match the visual style of the xeroxed parts of the animation. As the xerographic process evolved, line overlay was left behind. Computers and traditional animation Though the process described above is the traditional animation process, painted cels are rare as the computer moves into the animation studio, and the outline drawings are as mentioned in most cases scanned into the computer and filled with digital paint instead of transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format. It has even become possible for animators to draw directly into a computer using a graphics tablet or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The development of such paperless 2D animation, or "tablet animation", is likely to replace the traditional pencil and paper not too far into the future, as mentioned in this article, just as cels and traditional paint was replaced when digital ink and paint was fully introduced in the 90's. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need of photographing line tests and scanning. Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story and ReBoot. However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's Titan A.E. and Disney's Tarzan and Treasure Planet. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe films produced by his studio which incorporated elements of traditional and computer animation equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas. Interestingly, many modern video games such as Viewtiful Joe, The Legend of Zelda: The Wind Waker and others use "cel-shading" animation filters to make their full 3D animation appear as though it were drawn in a traditional cel style. This technique has recently also been used in the animated movie Appleseed, and was integrated with cel animation in the FOX animated series Futurama. Rotoscoping Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live action will be printed out frame by frame and registered. Another piece of paper is then placed over the live action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand drawn but the motion will be remarkably lifelike. Waking Life is a full-length, rotoscoped animated movie, as is American Pop by Ralph Bakshi. The popular music video for A-ha's song "Take On Me" also featured rotoscoped animation, along with live action. In most cases, rotoscoping is mainly used as a guide to aid the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs, Sleeping Beauty, Pocahontas, and Anastasia. A method that is related to conventional rotoscoping was later invented. If the movie was supposed to contain inanimate objects like a car or a boat, a small live action model of the object(s) was built and painted white, while the edges of the model were painted with thin black lines. In the next stage the object was filmed like it was supposed to move in the animated scene, either by moving the model or filming it while the camera was sweeping over or around it, or using a combination of both. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the live action version of the model, it was xeroxed onto cels. (A notable example is Cruella's car in One Hundred and One Dalmatians.) The process of transferring 3D objects to cels was greatly improved when computer graphics advanced enough to allow the creation of three dimensional computer generated objects (wire frame models) that could be manipulated in any way the animators wanted, and then print the outlines on paper before being copied onto cels using Xerography or the APT process. Even if the use of cels has been left by the majority of animators, computer animated objects in traditional animation has come to stay. Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater's film A Scanner Darkly; and motion-capturing actor's movements to use the data in 3D-animation, like in Robert Zemeckis's "Polar Express". Live-action hybrids Similar to the computer animation and traditional animation hybrids described above, occasionally a production will marry both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923). Live-action and animation were later combined to successful effect in features such as The Three Caballeros (1945), Anchors Aweigh (1945), Song of the South (1946), Mary Poppins (1964), Heavy Traffic (1973), Pete's Dragon (1977), Who Framed Roger Rabbit (1988), The Pagemaster (1994) and Space Jam (1996). Other significant live-action hybrids include the music video for Paula Abdul's hit song "Opposites Attract" and numerous television commercials, including those for cereals such as Honey Nut Cheerios, Trix, and Rice Krispies. Special effects animation See also: Special effect#Special effects animation Besides traditional animated characters, objects and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the animation in general a distinct visual appearance. Notable examples can be found in movies such as Fantasia, The Little Mermaid and The Secret of NIMH. Today the special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation or, during shooting, the cameraman used multiple exposures with diffusing screens, filters or gels. For instance, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel look. fuente: wikipedia: http://en.wikipedia.org/wiki/Traditional_animation (Less)

Channel: youtube

Tags: 3D ANIMACION ANIMATION CARCAJADAS CARTOON DIVERSION GONZALEZ HUMOR JA RISAS RULO VIDEO

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NaS - Rewind

10,

02:19,

2008-05-15 23:14:26

Description: Lyrics: Listen up gangstas and honeys with ya hair done Pull up a chair hon' and put it in the air son Dog, whatever they call you, god, just listen I spit a story backwards, it starts at the (More) Lyrics: Listen up gangstas and honeys with ya hair done Pull up a chair hon' and put it in the air son Dog, whatever they call you, god, just listen I spit a story backwards, it starts at the ending The bullet goes back in the gun The bullet hole's closin this chest of a nigga Now he back to square one Screamin, "Shoot don't please" I put my fifth back on my hip It's like a VCR rewindin a hit He put his hands back on his bitch My caravan doors open up I jumped back in the van and closed it shut Goin reverse, slowly prepared My nigga Jungle utters out somethin crazy like, "Go he there" Sittin in back of this chair, we hittin the roach The smoke goes back in the blunt, the blunt gets bigger in growth Jungle unrolls it, put his weed back in the jar The blunt turns back into a cigar We listen to Stevie, it sounded like heavy metal fans Spinnin records backwards of AC/DC I give my niggas dap, jump out the van back first Back upstairs, took off the black shirt I'm in the crib with the phone to my ear Listen up so y'all can figure out the poem real clear The voice on the phone was like, "Outside right we" So with my mouth wide, holdin my heat Bullets I had plenty to squeeze, plenty for ya 'Cause Jungle said, "Block your on enemies the" Hung up the phone, then the phone rang I'm laid in the bed thinkin 'bout this pretty young thing Who left, she came back, her clothes just fell to the rug She fell to my bed and gave me a hug I told her, "No hell" She talkin 'bout, "Me kiss" Bobbed her head then spit the nut back in my dick Started suckin with no hands, a whole lotta spit Then got up and put her bra back on her tits Got fully dressed and told me, "Stressed really I'm" Picked up her Gucci bag and left her nigga behind Walkin through the door, she rang the bell twice I vomited Vodka back in my glass with juice and ice The clock went back from three, to two, to one And that's about the time the story begun That's when I first heard the voicemail on the cell It said, "Son we found that nigga we gotta kill" [Message Beep] Ay yo son, ay yo son, you hear me, you hear me? Listen man, this dude right on the block, right now, man I found him, right now, I see him right now! Let's kill him) [Message Beep] "Yo, this Nas, leave it. Peace" (Less)

Channel: youtube

Tags: hip-hop nas rap rewind

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Ransom - Lil Wayne & Drake

46,

08:02,

2008-10-04 08:00:11

Description: Lil Wayne & Drake - Ransom Lyrics yea its drizzy baby you already know what it is its the first time Im high its the first time I smoked in like 3 months Im sorry mom I had to do it to (More) Lil Wayne & Drake - Ransom Lyrics yea its drizzy baby you already know what it is its the first time Im high its the first time I smoked in like 3 months Im sorry mom I had to do it to em forty I see you Oh I see you homie I stay late tonight right you know what happen when I stay late, heh yea boy wonder I swear its like this every single time Toronto I got you I got us yea (Drake) Im a hard gotta get along wit get on a song wit where shit be going right well I just flip it to the wrong shit the team that I belong to tha artists I put on wit dont ever ask for nothin cause them niggaz got they own shit Me 'n Weezy like a mouthful of hot peppers black Ferrari with the red seats I call it playin checkers Im never doing verses Im forever giving lectures if youre tryna meet with money Id be happy to connect ya life is, better than its ever been scheduling million dollar meetings with the president someone cut the lights, oh where is Thomas Edison got a new condo watch me as I settle in I deserve a MTV show for me and my people and if you tryna zone I got a whole swisha sweet full rappers are liars and they women are deceitful adding till they subtract me I never be a equal last place Drizzy is the nigga in the lead now Weezy told me just write every single thing you need down then he got it for me and Im happy as can be now bout to start ballin like Im coming off a rebound yea and I should have the most bragging rights because a nigga spit crack, bag it tight hate when rappers say they tryna get they swagger right cause I done came Im mo fire than a dragon fight fuck you pussy ass hater you should do you you aint heard of me then you should go and get a Blues Clue oops I mean a red clue Waynes here, su WOO bet he felt that like the end of a pool cue but I aint banging I aint waving no flag Im ATF but they aint seein no badge its heartbreak Drake I hate to see em so sad I could son you, see a little me in yo dad Im the same little boy that used to play up on the grass he can pocket twenty thousand to be anywhere they ask, me Cash like Johnny, Banks like Ashley burning like a Camel Light stupid hoe ash me but dont ask me shit about me and no the game really aint shit without me she might have to pay me but I dick her down free wanna know if its the truth then pull the zipper down and see no homo though (Weezy) yea uhh Im goin then Drizzy I got us This is my promise Ima bring that barrel to them bitches Eye liners and what I make up will fuck up your skin I pick the buck up and buck buck and buck buck again I will butt fuck your friend then suck up her twin I put the buck up to him then buck buck and buck buck and buck buck again suck nut you duck fuck your unlovin kin now dont rub it in like Lubriderm on a new tattoo I had to kick my princess up out my castle dad who never had that dude always had a black tool even when I was at school cuz bullies arent bulletproof red scarf hoodie too probably aint as hood as you stupid motherfucker the only thing in the hood is you I do everything good as you know I do everything better I get paid for every letter ABC etcetera fetch a bone, like a dog motherfucker I am goin for you neck in a sec in a sep bring it back like work in the trunk and my exit comin up yup ya I am headed for the buck like buck buck again might fly to LA and just fuck Corinne nah fuck Corinne lets get bucks again and fuckin spend them bucks and then just fuck Corinne if I told u ima do it I did it got my city on my fitted bout to pop a lets get it lets get it motherfucker what you waitin on it is about a minute past piston and im bout to get shitted Im wit it if money is the it you want me with and ill probably just spit on the chick you wont be with and I hate a bony bitch only like em only thick and I own hiphop if you dont spit Im gon evict and I just sold a lot of property to a buyer and I think his name was kinda like drake drizzy rogers or drizzy drake rogers im too busy to play father and when it comes to the game Im to willing to play harder so harder I go there he go they chant mvp when I shoot a free-throw, CEO jazz what it do the haters on that face and then their ass is a shoe faster than you badder than you radder than you, etcetera I told u I get paid by the letter like ABCDEFGHIJKLMNOPQRSTUVWXYZ See top, yes he rock and me and drizzy both wrote on detox that was just a foot note how long can he could go wonderin when he stop? bitch when the beat stop so ima keep rockin till the sheetrock bend and that heat I send burn skin the end young mula baby, un huh (Less)

Channel: youtube

Tags: Drake hip-hop Lil lyrics r&b Ransom rap Wayne

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Greenhouse Effect Music Videos // Coke Snortin' 2008...

18,

06:00,

2009-08-25 17:15:50

Description: itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?i=298711300&id=298711277&s=143441 Greenhouse Affect's Clark Hagins blogs about Tubemogul Web Service. "I use TubeMogul quite a (More) itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?i=298711300&id=298711277&s=143441 Greenhouse Affect's Clark Hagins blogs about Tubemogul Web Service. "I use TubeMogul quite a bit sometimes" says Higgins..."You can feed in a blog and a music video and send it instantly to like a whole buncha websites at once - it's great!!" it goes to like Blip Tv, Mefeedia, Truveo, - You're gonna get seen - ALOT TOO ! Many aspiring writer/Bloggers use Tubemogul but well known ones like Higgins can operate a Moguler,..sending thousands of videos and writing ideas around THE WEB at the click of a mouse to thousands of websites... "I'm an extremely creative genius" says Higgins "I mean people know I'm a total nut-case wackjob who will think up and say just about anything to go with my well known love for music....I have a lot of songs ,..nearly 93! So i have to constantly blog and come up with new shit, ...me and Jimmyforce,..that heavy metal guy from Newport Calif. and Jeff Snowe my former band manager at Rock City Productions back in Massachusetts..,..we shoot the shit and we come up with clever writing ideas for blogs where i can also sell shit with affiliate links,....my former Lawyer Dr. Steven Hoovernton chimes in with important ideas,..we have to be psychological,..we have to get into people's brains with penetration because we keep the listener interested and we 'hook' them on our music and the background story of G.e. and shit..... "Our music is important to millions of people now,..it has to be good"...Higgins turns somewhat downcast when the talk of any G.e. 'comeback' is ever mentioned,.."Well,..we are from a long time ago - thats the 'reality',...theres been some chatter,..mainly between me and former drummer Greg Tarpley via our Myspaces,..it sounds interesting and intrigueing,...he wants me to cruise on up to Long Beach or Gardena or where-ever.. and we throw around old hit ideas like 'Ben is dead" and all that crap from 'Going Legit"....it sounds fun,..maybe play a show...then theres also been serious talks on the phone between me and drummer Martin Silva,...but ofcourse the 'early phase' of G.e. that is so important involving Phil Keegan on guitar and me on drums,..me and Flipper have had our chats about revving that up ,..only problem is - is he is way up in San Jose Calif.... When he's asked if he has ever met Tila Tequila, Higgins laughs; "Yes,...she was in Carlsbad at Bed Bath and Beyond and I was cleaning the fountain for pennies,..it was totally funny,..this was a while back before she really hit the big time on Mtv,..but she was HUGE on the internet ofcourse then.. ..and I was like "Hey Tila,...i'm Clark the Shark from Greenhouse effect !" and she was like "I fuckin' know you - yer that asshole that is always advertising in my comments!!" ,..luckily for me she had a big smile on her face and she was laughing saying "well more power to ya!!"..."I have to say though that it really is true that G.e. got a big start and a huge boost from the Tila Tequila Myspace,...over the summer of like 2006 and before,..i was always there puttin up shit in her comments,..but it really worked,..those are the 'early days' that just launched G.e. partially atleast to a lot of success at being seen and where we are now,...2008 was an awesome year for us,..and i credit a lot of it to Tila Tequila's Myspace site! She gave me like a huge hugg ,..but damn - no kiss !! I did get her autograph though,...(Laughs)..recently I tried to sell it when i was losing my house (Laughs)... As one of those "Internet Celebrities' Higgins is recognized often as he cleans his swimming pools in San Diego's North County; "Yeah,...theres hard working net whores out there,..some have hit it big like Tila and Perez Hilton and some have fought to get places like Smosh, Jeffery Star, and Lisa Nova and Happy Slip,....i really like that one chick that does the make up on Meta Cafe ; she is rad !!" gushed Higgins...I mean People know I am probobly seen way more in reality than everyone else,...they all got phoney bots and shit...i thought about using a bot for my youtube because traffic just sucks there and it makes me look bad.... "People are pretty disappointed when they see me in person ,..i am an old fat 44 year old dude who really does look like a slouching poolguy...i mean i am even sprouting gray hairs now *(Laughs)..." I am not that sexy young guy anymore (Laughs) "I mean,..you look at the old videos of me and you can tell,..i was just born to be a star...i mean i'm like 5 foot 4..with a pot belly and i hunch over like a little troll,..then theres Rick Carmody (Ted),..we have to be the dorkiest ugliest rock n roll band in history,,..i mean i can't play guitar or drums very well,..or sing,..but like i got tons of talent - its in there somewhere if you look !!(Laughs)...i mean,..its weird - people can just see it,..we were an enigma,..hopefully not an enema !! (Laughs),...i think the main weapon we got is i can piece together pretty good songs from very meager recourses,..we just 'knew' in 92' that "White Black Thing" was a hit,..we knew it !!...it just needed it's avenue,..well the internet has turned out to be THAT avenue,..in a big BAD WAY !!...having a nice guy around who was like this gifted amazing talented genius like our studio engineer Bill Krodel,..that really helped us,..to attain our musical songwriting goals,... Did Higgins really record "White Black Thang" entirely by himself in like five minutes as South Bay Legend has it; "It was four" jokes Higgins with a grande laugh,.."No really man,..i joke around a lot and i playfully put myself down in self deprecation,..but i was very good in the music studio - i was a hack who really wasn't a Git Institute Guitarist or PIT Drummer,..but i had the gift of melody.." Everyone knows,..i can write songs,...Nobody in the South Bay can write songs like Hagins,...EVERYBODY knows that...." Theres like these 'troll' M-U-S-I-C-E-X-P-E-R-T-S that watch me on youtube and they meanly critique my failures but what i have realised now today is the criticism i actually like more than the praise,..and i can 'use' it !! I am sick of all the praise,...that just takes me nowhere (Laughs) !! I mean 90 million people or what-ever watch me per day,..what the fuck do i care what they say about me back in Torrance anymore,..or what they say about me in Montreal or Calgary or Toronto ...the're just a buncha mullet heads anyway ,..whadda they know (Laughs),...all i know is we are like huge in the Orient,probobly because of my affiliation with Naruto Shippuden,.....Japanese and Chinese women want me,..THEY LOVE ME,..cause i'm short and weird looking,..i am like a jerry lewis or woody allen,..non-threatening,..like the Marx brothers,..its funny though how Ted is like the most popular member of G.e. cause of his howdy doody red hair,..millions of Vietnamese chicks dig him,..they want and demand a G.e. reunion (Laughs)...Ted gets more world fan-mail than me and I DON'T LIKE THAT ; I'M THE CUTE ONE !!dammit !... he's just like,..i donno - the Ringo !!...girls seem to like Pelle too,..that 'blue' version of White Black,..man ,..that sucker is a monster world hit now !! Its become a classic video and i love it when it says "Google award of 50 Million views' down in the corner,..that brings a tear to my eye...(sniff sniff) "In all seriousness" says Higgins "If ever there were to be a G.e. band re-union,..i just think it would physically 'have' to include Ted (Rick Carmody) ,..he is to G.e. or he has become anyway like the what 'Frankie Poulain is to the Darkness" ,..the guy must be there,..or it isn't G.e. "The funny part of all this is,..that none of us can locate Ted,..we all talk about him,..but nobodys seen him (Laughs),..i heard he got married maybe recently,..or somethin' like that,...I haven't talked to him since atleast like 1998,..but none of us ever knew then or even recently,..what G.e. would become ,..on the internet... Down here in North County, right now,..ofcourse,..theres a 'latest incarnation' of G.e. a brewin' with me on guitar and my Professional Surfer Nephew Hagan Kelley on drums (As me and Hagster have previously jammed before back in 1997 and 98 back up in the South Bay - but that's a whole 'other story),..Hagan has alotta' connections so i guess i'm like,..oh well screw it all - I'm going with the surf dude (Laughs).... "Whatever happens,..i gotta' continue my writing,..my words are very important because people can see i mean everything i say especially when it isn't pretty - and they seem to like it,...i got like these gigantic balls and i ain't afraid to say anything but when people meet me ,..they aren't mad at all at me,..they're mainly just on their knees saying 'We aren't worthy"...they make me feel like Alice Cooper...like they're Wayne and Garth,... "Just don't do it when i'm standing in line at Vons or Albertsons...." (Laughs)..... recently, in the myspace bulletins, I argued with Tila Tequila recently over Prop 8 and she just gave up....on the lightside,..she did call me a motherfucker though...(Laughs) ============================= See 'the Greenhouse Effect Music" at Aol.Video Today !! (Less)

Channel: vimeo

Tags: justin street tila tequila myspace redondo beach mefeedia toronto emo truveo torrance calif wacken fest dragonforce vimeo kroq justin hawkins bon scott porno vons market kxlu asterpix mashable jim mellon music

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Interracial Cockold Cum Dump

77,

00:00,

2009-10-05 21:00:25

Description: Laughing at her white husband a white whore tells the black man fucking her to shoot his lod all over her ass then she makes the hubby suck the nut mayo off her bubble ass (More)

Channel: slutload

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Blonde Gets Black Nut Bust

00:00,

2009-11-04 17:34:11

Description: On her knees a sexy blonde has her head held back and is ordered to hold her mouth open so that the other black man can jerk off his cock and shoot his jizz down her throat (More)

Channel: slutload

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