Search results for jeans sitting
45, 
02:57, 
2008-04-02 14:47:10 Description: Margo en Silke zingen Sitting on the jeans op sessie x!
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306, 02:43, 2008-04-18 10:28:44 Description: Aie ca doit faire mal...
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180, 00:37, 2008-04-18 10:28:46 Description: Decidement il aime avoir mal :p
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51, 00:22, 2009-08-23 08:42:20 Description: Theres still something special about Levis. Nothing looks better sitting on a girls ass.
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sweet young girl face sitti... (Video no longer available)
Description: sweet young girl face sitting in tight jeans
63, 00:55, 2009-12-16 16:46:45
5, 02:51, 2008-04-01 06:03:21 Description: I Was Baby Sitting My Gorgeous Nephew Riley :]& He Was Teaching Me To Dance, Hes Not Even Two So...For His Age He's Good :]
Channel: youtubeTags: Alvin Amazing Apple Baby Bottom Chip Cute Dancing Flo Ft Jeans Laing Low Monks Remix Rida Riley Talented The Tpain
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10, 04:16, 2008-05-21 05:49:55 Description: General views of King Farouk's dining table. Various shots of the rooms in the hotel or villa 'Le Palme', presumably where the King will be staying in Santa Marinella. C/U of Professor (More) General views of King Farouk's dining table. Various shots of the rooms in the hotel or villa 'Le Palme', presumably where the King will be staying in Santa Marinella. C/U of Professor Livio Boni. Views of the sea front taken from the Villa 'Le Palme'. C/U of various personalities. General views of villa. C/U of locals. Nice shots of Italian men in shirts and jeans, sitting on sea front railing by hotel - could be used to illustrate the attractions of the Italian male!
C/U of Farouk, Narriman, and baby King Ahmed Fuad II alighting from coach, and walking through dense crowd. M/S of Farouk and Narriman chatting good-humouredly with their host. L/S of cameramen waiting for the Royal visitors in cafe or dining room.
L/S of Nanny with King Ahmed Fuad in arms attempting to avoid photographers. General views of food being prepared in the kitchenette. L/S of photographers being evicted from the villa grounds. M/S of Queen Narriman accompanied by Farouk's two daughters pushing the baby King in perambulator in the Hotel grounds. (Less)
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1, 02:51, 2008-04-21 21:41:23 Description: I Was Baby Sitting My Gorgeous Nephew Riley :]& He Was Teaching Me To Dance, Hes Not Even Two So...For His Age He's Good :]
Channel: youtubeTags: Alvin Amazing Apple Baby Bottom Chip Cute Dancing Flo Ft Jeans Laing Low Monks Remix Rida Riley Talented The Tpain
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Spectacular Country French ... (Video no longer available)
Description: www.tourfactory.com For more information, contact: Carol Jeans (408) 335-1403 The Sereno Group SPECTACULAR COUNTRY FRENCH ESTATE WITHIN MINUTES OF DOWNTOWN SARATOGA YET WORLDS AWAY FEATURING...
1, 03:50, 2009-10-15 04:27:10
15612, 00:49, 2008-04-17 12:28:51 Description: well here it is, hope this helps you! easy to make and easy to use! i hope you like it! it took some time to think of this, as simple as it may seem its not easy really. Abused, (More) well here it is, hope this helps you! easy to make and easy to use! i hope you like it! it took some time to think of this, as simple as it may seem its not easy really. 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290, 01:27, 2008-04-17 15:08:54 Description: Jim Morrison December 8, 1943 - July 3, 1971 Jim Morrison 8 December..1943 - 3 Juli..1971 "Zeg enkel ik de grenzen van werkelijkheid testte. Ik was nieuwsgierig om te zien wat zou (More) Jim Morrison December 8, 1943 - July 3, 1971 Jim Morrison 8 December..1943 - 3 Juli..1971 "Zeg enkel ik de grenzen van werkelijkheid testte. Ik was nieuwsgierig om te zien wat zou gebeuren. Dat was allen het: nieuwsgierigheid enkel." -- Jim Morrison, Los Angeles, 1969 Elf maanden na het huwelijk van Steve en Clara Morrison, was Jim geboren. Zijn vader was conservatief geen onzin Zeeambtenaar, terwijl zijn moeder meer van een vrije geest, de dochter van een non-conformistadvocaat van Wisconsin was. Jim als de meesten van die era, was het product van een geboortengolf in oorlogstijd die in de recente jaren '40 voorkwam. Na Oorlog van de Wereld II, bewoog de familie zich aan Melbourne, Florida waar Steve werd geplaatst. Jammer genoeg voor Jim en zijn moeder, werd zijn vader gedwongen weggaan, aan de Stille Oceaan teruggaan om Hellcats van een vliegdekschip te vliegen. Voor de volgende drie jaar zouden Jim en zijn moeder met de familie van haar echtgenoot in Clearway, Florida moeten leven. Als zijn vader, had Jim een zeer strikte opvoeding die door Victorian cliches wordt geregeerd. In de grootoudershuis van Jim, werd hij gezien maar werd zelden gehoord. Zijnd oudere mensen waren zij zeer impatient met de jongen. De dingen waren niet groot ook niet voor Clara. Ouders van Steve waren zeer godsdienstige mensen die niet, roken dronken noch tolereerden om het even welk outlandish gedrag. Zij was een jonge vrouw die voor de Onafhankelijkheid longed die een huis van haar kon verstrekken. Hebbend weinig vrijheid in hun huis dat zij voor de terugkeer van haar echtgenoot longed. Maar omwille van haar huwelijk en de haar zoon Jim, handhaafde zij het impassible en soms stuffy huishouden dat haar schoonouders verstrekten. In 1946, was zij verlicht om het eind van de Afdeling te zien en met haar echtgenoot weer eens worden weer verenigd. Ondanks het eind van de oorlog, zouden de militaire verplichtingen Steve vanaf zijn familie voor lange tijdspannes blijven houden. Uiteindelijk verliet de familie Florida en bewoog zich aan Albuquerque, New Mexico waar Steve een instructeur in van de de atoomwapensprogramma's van Milty werd. Zodra terwijl zeven yaer-oude Jim met zijn ouders op een weg enkel buiten Albacore reisten, zij op een weggeknipte vrachtwagen kwamen die Pueblo Indi had gedragen. Zij waren uitgeworpen van het voertuig en gelegd helemaal over de verwonde weg en stierven. Dit incident be loedde het geheugen van Jim ' s vele jaren. Vaak zou hij verwijzen naar het incident beweert, dat dat van de zielen van de Indi zijn lichaam op het tijdstip van hun dood was ingegaan. Toen Jim een tiener zijn opnieuw bewogen familie werd, dit keer aan Alameda, Californi Alameda wordt gevestigd dichtbij San Francisco en nota genomen van voor het is zeeluchtpost. De levensstijl was omhoog verschillend dan hij aan in New Mexico werd gebruikt. Jim moest de overgang van de landelijke manieren van Albacore aan de nieuwe sociale nuancen van Noordelijk Californi aken. Het was niet meer koel om een fiets aan school, zo hoofed Jim te berijden het een mijl en de helft elke dag. Schone Levis was uit, zodat moest Jim zijn moeder informeren om zijn jeans niet te wassen elke week. Aandacht van medeklasgenoten doen bereiken zou hij om het even wat enkel stom om worden opgemerkt. Voor gelegenheid, bond hij een koord rond zijn oor en zette het andere eind in zijn mond. Wanneer gevraagd wat hij die was, zijn antwoord was doet dat er een uiterst kleine emmer in zijn keel was en hij verzamelde speeksel voor medische tests. n van favoriete pastimes van Jim las. Hij hield MAD van tijdschrift, maar viel in liefde met Jack Kerouac's "op de Weg." Daar leerde hij van een nieuwe termijn die een nieuwe levensstijl zou begeleiden: Beatnik. Gelukkig voor Jim, was het hoofdkwartier voor alle Banken enkel zuivere veertig minuten weg in het Strand van het Noorden. Jim en zijn vrienden zouden vaak het Strand van het Noorden bezoeken, controlerend alle winkels en oneven boekhandels. Hij hield vooral van de boekhandels die gecensureerde boeken droegen. Daar ontmoette hij eens een lokale "beroemde" dichter bij van deze boekhandels. De bovengenoemde dichter hallo en Jim liepen. Hoewel Jim langzaam een rebel en misschien een "beatnik" werd hij bereikte altijd uitstekende rangen. Zonder veel inspanning kon hij een 88,32 gemiddelde handhaven en maakte tweemaal het eerbroodje. Zijn IQ was 149 en noteerde op GEZETEN met goed 528 in math en 630 in mondeling. Zijn eerste echte inleiding aan muziek was wanneer als tiener hij de dunne staven op Route 1, dichtbij het Geloof van het Fort, om aan zwarte blauwsingers zou bezoeken te luisteren. Zijn seconde was tijdens universiteit toen hij zijn toekomstige keyboardist, Miniseries van de Straal ontmoette. Jim werd aangetrokken naar de muziek van de Straal en had vaak zijn bandspel gehoord. Rick en Ravens, de band van de Straal, speelden soms het Gezamenlijke Westen van Turkije in Santa Monica een staaf die in de nabijgelegen strandgemeenschap wordt gevestigd. Tijdens zijn universiteitsjaren, streefde Jim ook een andere kunstvorm na: hij maakte kleine vreemde schetsen van macabre cijfers die behandelden geweld, pedofilie, seksueel enz. Al dit leidde aan een nog vreemdere filmcarri . Spoedig zou hij alles zetten wat achter hem om een band met sommige universiteitsvrienden te beginnen. Zeer "het openbaren" bekijkt in Jim Morrison de muziekzaken innocently met begonnen wanneer terwijl bij de Universiteit van de Staat van Florida samen met zijn vriend, SAM Klan, Jim voorstelde zij een band beginnen. SAM was drummer maar was niet van mening dat zijn vaardigheden genoeg goed waren een deel van een band te worden. SAM was niet zelfs dat zeker van het zingen van Jim capaciteiten, maar Morrison werd bepaald om deze onderneming van de grond te krijgen. Het was ook Jim die zonder een gehele partij van gedachte met de naam van de band op de proppen kwam: DE "DEUREN." Hij zei dat er twee entiteiten, het geweten en onbekend zijn. Allebei worden gescheiden door een deur en dat wat hij wilde zijn, de Deur. Toen Jim zijn ouders meedeelde dat hij zijn universiteitsgraad ging weg werpen om zijn dromen als singer in een rotsband na te streven, zijn weggeknipte vader! Hij herinnerde snel Jim over de verlaten pianolessen en de tijd eraan die hij heeft geweigerd om de hymnes van Kerstmis met de familie te zingen. Vader van Jim was boos omdat hij allen had betaald dat het geld voor een universiteitsonderwijs en nu Jim bereid was om het allen op een gril weg te werpen. Na alles wat, Jim nooit zijn ouders opnieuw schreven. Spoedig na graduatie van UCLA in 1965, sloot aan Jim zich bij de hippiesc in het Strand van Veneti Het was tegelijkertijd, een klein artistiek gebied dat hippies, vluchtelingen en kunstenaars aantrok. De jonge mensen brachten hun tijd aan het strand rokende pot of het dalen zuur door. Tijdens die era, was LSD nog wettelijk en kon bij de lokale "hoofdwinkel worden gekocht." Veneti as aan Los Angeles wat Ha -As aan San Francisco Jim nam woonplaats onder een promenade op waar hij zijn tijd doorbracht die drugs neemt en gedichten schrijft, tot hij vriend Ray Manzarek tegenkwam, een vroegere medeklasgenoot. Ray was een keyboardist in een kleine lokale rotsband die tegen alle andere banden in het gebied worstelde. Om het groot te maken, wenste hij speciale iets of iemand om zijn band zo speciaal te maken dat het van de rest duidelijk uit zou komen. Weinig wist hij dat dat speciale "ding" zijn vriend Jim was. n van de "gedichten" die hadden het begint op het strand was "Hello, houd ik van u," (1965) die door een jong, lang dun zwart meisje werd ge pireerd dat naar hem liep aangezien hij op een strand van Veneti at. "Sidewalk crouches bij haar voeten zoals een hond die voor zoet bedelt iets u hoopt aan eke haar, u dwaas ziet? Hoopt u om dit duistere juweel te plukken? Ray werd uiterst indruk gemaakt op na het lezen van wat van het gedicht van Jim en voorstelde dat zij een band samenbrachten. Hij overtuigde Jim dat zij muziek aan zijn po e konden zetten en dat hij zijn gedichten op stadium "kon zingen". Jim had reeds een wens gehad om een band samen te brengen maar niet de visie of de leden gehad om het samen te brengen. Zij wierven twee nieuwe leden, Robbie Kroger, gitarist en John Tonsure, drummer aan en begonnen speel de clubs op de Strook van de Zonsondergang. Spoedig werden zij de erkenning die zij en zich op de "betere" clubs hebben verdiend bewogen. Door begin 1966, had de band ongeveer vijfentwintig originele liederen in hun repertoire. n waarvan het "Eind was," een lied niet over dood zoals de meesten maar over langzaam verdwenen liefde geloven. Met tegenzin ondertekende de Kiesvoorzitter van Verslagen, Horseman van de Punt de groep aan een opnamecontract. Zij sneden hun eerste album in 1967, de "Deuren" dat werd vrijgegeven en snel universele toejuiching ontving. Het "licht Mijn Brand" werd de eerste werkelijk grote enige klap van de groep en ontwierp hen toen aan aantal op de muziekgrafieken. Samen met hun klap, ontwikkelde Jim snel een reputatie voor onregelmatig openbaar gedrag op stadium. 9 December..1967 merkte eerste van vele incidenten terwijl in overleg. Tijdens een show in Nieuw Toevluchtsoord, Connecticut werd hij gearresteerd voor het proberen om een rel op te roepen door de menigte te vertellen dat de politie hem en journalist Patricia Genially met foeliecoulisse vlak v het overleg had bespoten. Dan in 1 Maart..1969, was Jim opnieuw bij het. Tijdens een ander overleg, dit keer in conservatief Miami, Florida, werd Morrison gearresteerd voor het blootstellen van op stadium en het gebruiken van profanity. De wettelijke problemen bewogen de groep ertoe om hun het boeken voor de verscheidene maanden daarna los te maken. Thankfully hadden zij nog hun klapverslagen die toeclip de grafieken voortzetten om hen in drugs, drank en vrouwen te houden. Geschonken door iemand wie anoniem wenst te blijven. Dit is het daadwerkelijke arrestatieverslag van Jim Morrison in Miami, Florida. Morrison werd gebracht aan proef en hurkte van de lasten van lewd en lascivious gedrag. Hij was nochtans, schuldig van onfatsoenlijke blootstelling en profanity en werd veroordeeld aan acht maanden in gevangenis. Het oordeel was een beroep gedaan en Jim bleef vrij op borgtocht. Vermoeid van de gehele sc en de perspectieven op het gaan gevangen zetten, Jim en meisje, bewoog Pamela zich aan Parijs, Frankrijk. De gehele tijd dat Morrison in Parijs was, zwaar dronk hij. Hij hield van wijnbistros en de koffie. Nu had hij bovenmatig gewicht bereikt en door zijn periode "Elvis" gegaan. Voor gelegenheid, zat Jim in een koffie drinkend toen hij sommige jonge geitjes opmerkte toting guitar gevallen. Na een tijdje dat hij over aan hun lijst heeft gelopen en gevraagd hen als zij waren Amerikanen. Zij zeiden dat zij waren en toen Morrison waar hij was van vroegen, erkennend niet de GROTE rotsster. Aangezien het zij al bijgewoonde UCLA bleek. Na twintig vragen, samen brachten de jonge geitjes definitief wie Morrison was. Na zich overvloedig het verontschuldigen, behandelde Jim hen aan dranken van whisky met bierjagers. Een paar dranken die tot een onvoorbereide jamzitting worden geleid met Jim, een ervaring ben ik zeker zij nooit vergaten. Rond 1 Juli..1971, om welk reden ook Morrison in een periode van despondency was uitgegleden. Hij dronk veel slechter dan ooit, maar probeerde op te houden met. In het midden van al deze chaos probeerde hij te schrijven. Jammer genoeg werd hij geblokkeerd, zouden de woorden niet stromen. Pamela werd ongerust gemaakt voor hem en zijn geestelijke staat. Zij probeerde om hem af te leiden en hem gelukkige onder geen beding te maken. Hij werd zelfs verzocht door vrienden om zich bij hen voor diner aan te sluiten de volgende dag, maar weigerde te gaan omdat hij niet hen met zijn gedeprimeerde staat wilde zadelen. Tot slot overreedden zij hem en hij bleef stil voor de volledige maaltijd. Na diner nam hij het huis van Pamela en ging alledgedly naar movie, "Achtervolgd" starring Robert Mitchum. Er is alot van tegenspraak betreffende zijn verblijfplaats die avond. Sommigen zeggen hij naar het gedeprimeerde Circus van het Broodje van de Rots ' n ' ging, zo dat hij of andere hero en O.D'd in het clubtoilet kocht. Vermoedelijk werd hij toen uitgevoerd de achterdeur en werd gedumpt bij zijn vlakte, in de badkuip. Een ander gerucht is dat hij Pamela verliet en voor de luchthaven leidde. De getuigen hebben ge t om hem zien te hebben inschepend een vliegtuig. Beroemdst van geruchten was dat na het lopen rond de hele nacht hij naar huis terugkeerde klaagde dat hij voelde en goed geen bad nam. Tijdens zijn bad, braakte hij een kleine hoeveelheid bloed uit. Dit was gemeenschappelijk voor hem en Pam dacht niet om het even wat verkeerd was. Spoedig ging zij en verliet hem in het bad naar bed. Later zij awoke omdat hij zich niet bij haar had aangesloten, die toen zij hem vond. Zijn wapens waren gedrapeerd over de kanten van de ton en zijn hoofd leunde terug, zijn lang gematteerd en nat haar. Hij had een grijns op zijn schoon geschoren gezicht. In eerste gedachte Pam speelde hij toen op een andere van zijn zieke grappen, maar merkte hij ademde en niet de de reanimatieeenheid van de brandafdeling riep. Na hen kwamen een arts en de politie op de sc aan. Het was te laat, was het het "Eind" voor Jim. Wat er ook op die fateful Vrijdag nacht gebeurde, weten wij dat op 5 Juli, de geruchten doorgaven dat hij dood was. De Engelse kranten riepen Verslagen Elektra om te verifi n al dan niet hij dood was. Niemand kende om het even wat. Het enige ding dat kon blijken hij was een verzegelde doodskist, een een ondertekend overlijdensakte en woord van Pamela dood was. De begrafenis regelingen werden snel gemaakt en werden in het geheim bevestigd. Pamela diende de overlijdensakte met de Amerikaanse Ambassade in, identificeert hem als James Douglas Morrison. Ook zei zij er geen andere levende verwanten waren. De offici doodsoorzaak werd vermeld als hartaanval. Op 7 Juli, werd zijn doodskist verminderd in een graf ' Chaise van La een Pere. Dit was de begraafplaats dat gravehunter, Jim Morrison uren zoekend de graven van beroemd zou doorbrengen: Edith Piaf, Oscar Wilde, Balzac, Bizet en Chopin. Doodskist van Morrison moest op 6 Juli, van 2001 worden geopend en hij ging aan Californi orden opnieuw gevestigd toen zijn "huur" verliep. Beide gebeurtenissen hebben nog voor te komen. Deze foto werd gegeven aan me door sommige zeer aardige mensen die ik bij het Boek Internationale Fest van Miami ontmoette. Ik verloor het document dat zij gaven me met hun naam, adres enz. Zo als iemand de foto wil eisen door te identificeren, me met de elektronische post versturen en ik zal u krediet voor de foto geven en zal het terug naar u verzenden. Drie later jaar, stierf het meisje Pamela Courson aan een herionoverdosis in Parijs. Zij ook was zevenentwintig op het tijdstip van haar dood. L.A. Vrouw die in de hand van Jim wordt geschreven Morrison's. Onlangs zag ik speciaal op televisie over deze twee kerels, misschien broers die de werkelijk reusachtige ventilators van Jim Morrison waren. Ik geloof zij ergens in Detroit leefden, kan me ik herinneren niet en het is niet van belang. In elk geval, beslisten zij een mislukking van Jim te maken en het te trekken aan Parijs om het op zijn graf op te richten. Eigenlijk keek de mislukking werkelijk goed en zou een ontzagwekkende toevoeging aan zijn graf geweest zijn. Ik weet niet waarom zij niet de familie contacteerden en vraag toestemming. Ik ben zeker de familie o.k. voor deze inspanning zou gegeven hebben. Zo zetten deze kerels de mislukking van de het levensgrootte van Jim in hun koffer (of reus hatbox, hoe een mislukking op een vliegtuig? draagt) en van gaan zij naar Frankrijk. Dit moet pre geweest zijn - 911 omdat zij geen problemen vervoerend de mislukking ontmoetten. Kon u, een bom die in de vorm van het hoofd van Jim wordt gevormd Morrison's veronderstellen? Tot slot worden zij aan de begraafplaats equpped met machtshulpmiddelen en wachten tot de begraafplaats of of sluitend wordt gesloten en er zeer rond weinig als geen mensen waren. Zodra zij denken is de kust duidelijk, beginnen zij en hamer bij het graf van Morrison boren om de mislukking te installeren. Natuurlijk lokale begraafplaats worden cops bijeengeroepen en spoedig verschijnen zij. In plaats van werkelijk gek het zijn bij deze twee kerels werden zij genomen met de schoonheid van het standbeeld. Het is zeer Frans om kunst te waarderen zelfs als er een misdaad in uitvoering vooruitgang is. Hoewel zij dachten was het gehele ding koel, zij nog een te doen baan hadden en arresteerden twee. Drie van hen, de twee kerels en de mislukking, gebracht=werden= aan de lokale Franse gevangenis, werden gevraagd en toen werden gedeporteerd terug naar de V.S. Dat min of meer was het eind van hun opdracht. Vertel me, wat zij dacht? HET "EIND" "Let's just say I was testing the bounds of reality. I was curious to see what would happen. That's all it was: just curiosity." -- Jim Morrison, Los Angeles, 1969 Eleven months after the marriage of Steve and Clara Morrison, Jim was born. His father was a conservative no nonsense Naval officer, while his mother was more of a free spirit, the daughter of a maverick lawyer from Wisconsin. Jim like most from that era, was the product of a wartime baby boom that occurred in the late forties. After World War II, the family moved to Melbourne, Florida where Steve was stationed. Unfortunately for Jim and his mother, his father was forced to leave, in order to go back to the Pacific to fly Hellcats from an aircraft carrier. For the next three years Jim and his mother would have to live with her husband's family in Clearway, Florida. Like his father, Jim had a very strict upbringing governed by Victorian cliches. In Jim's grandparents house, he was seen but rarely heard. Being older people they were very impatient with the boy. Things were not great for Clara either. Steve's parents were very religious people who did not drink, smoke nor tolerated any outlandish behavior. She was a young woman who longed for the Independence's that a home of her own could provide. Having little freedom in their house she longed for her husband's return. But for the sake of her marriage and her son Jim, she maintained the impassible and sometimes stuffy household that her in-laws provided. In 1946, she was relieved to see the Ward's end and to be rejoined with her husband once more. Despite the end of the war, military obligations would continue to keep Steve away from his family for long periods of time. Eventually the family left Florida and moved to Albuquerque, New Mexico where Steve became an instructor in one of the Milty's atomic weapons programs. Once while the seven year old Jim was traveling with his parents on a highway just outside of Albacore, they came upon a flipped truck that had been carrying Pueblo Indians. They had been ejected from the vehicle and were laying all over the road injured and dying. This incident affected Jim 's memory for many years. Frequently he would refer to the incident, claiming that one of the Indian's souls had entered his body at the time of their death. When Jim became a teenager his family moved again, this time to Alameda, California. Alameda is located near San Francisco and noted for it's naval air station. The lifestyle was aloft different than the one he was used to in New Mexico. Jim had to make the transition from the rural ways of Albacore to the new social nuances of Northern California. It was no longer cool to ride a bike to school, so Jim hoofed it a mile and a half each day. Clean Levis were out, so Jim had to inform his mother not to wash his jeans every week. To gain attention from fellow classmates he would do anything stupid just to be noticed. On one occasion, he tied a string around his ear and put the other end in his mouth. When asked what was he doing, his reply was that there was a tiny bucket in his throat and he was collecting saliva for medical tests. One of Jim's favorite pastimes was reading. He loved MAD magazine, but fell in love with Jack Kerouac's "On the Road." There he learned of a new term that would accompany a new lifestyle: Beatnik. Fortunately for Jim, the headquarters for all Banks was just a mere forty minutes away in North Beach. Jim and his friends would frequently visit North Beach, checking out all the shops and odd bookstores. He especially loved the bookstores that carried censored books. There he once met a local "famous" poet at one of these bookstores. The poet said hi and Jim ran. Although Jim was slowly becoming a rebel and perhaps a "beatnik" he always achieved excellent grades. Without much effort he was able to maintain a 88.32 average and twice made the honor roll. His IQ was 149 and scored well on the SAT with a 528 in math and 630 in the verbal. His first real introduction to music was when as a teenager he would visit the sleazy bars on Route 1, near Fort Belief, to listen to the black blues singers. His second was during college when he met his future keyboardist, Ray's Miniseries. Jim was attracted to Ray's music and had frequently heard his band play. Rick and the Ravens, Ray's band, sometimes played the Turkey Joint West in Santa Monica a bar located in the nearby beach community. During his college years, Jim also pursued another art form: he made little strange sketches of macabre figures that dealt with violence, pedophilia, sexually, etc. All this led up to an even stranger film career. Soon he would put all that behind him to start a band with some college friends. A very "revealing" look at Jim Morrison The music business began innocently when while at Florida State University along with his friend, Sam Klan, Jim suggested they start a band. Sam was a drummer but didn't feel that his skills were good enough to become part of a band. Sam wasn't even that sure of Jim's singing abilities, but Morrison was determined to get this venture off the ground. It was also Jim that without a whole lot of thought came up with the band's name: "THE DOORS." He said that there are two entities, the known and the unknown. Both are separated by a door and that's what he wanted to be, The Door. When Jim informed his parents that he was going to throw away his college degree to pursue his dreams as a singer in a rock band, his father flipped! He quickly reminded Jim about the abandoned piano lessons and the time he refused to sing Christmas carols with the family. Jim's father was angry because he had paid all that money for a college education and now Jim was prepared to throw it all away on a whim. After all that, Jim never wrote his parents again. Soon after graduation from UCLA in 1965, Jim joined the hippie scene in Venice Beach. It was at the time, a small artistic area that attracted hippies, runaways and artists. Young people spent their time on the beach smoking pot or dropping acid. During that era, LSD was still legal and could be purchased at the local "head shop." Venice was to Los Angeles what Haiti-Ashes to San Francisco Jim took up residence under a boardwalk where he spent his time taking drugs and writing poems, until he ran into friend Ray Manzarek, a former fellow classmate. Ray was a keyboardist in a small local rock band that was struggling against all the other bands in the area. In order to make it big, he needed something or someone special to make his band so special that it would stand out from the rest. Little did he know that that special "thing" was his friend Jim. One of the "poems" that had it's beginning on the beach was "Hello, I Love You," (1965) which was inspired by a young, long thin black girl who was walking towards him as he sat on a Venice beach. "Sidewalk crouches at her feet Like a dog that begs for something sweet Do you hope to eke her see, you fool? Do you hope to pluck this dusky jewel? Ray was extremely impressed after reading some of Jim's poem and suggested that they put together a band. He convinced Jim that they could put music to his poetry and that he could "sing" his poems on stage. Jim had already had a desire to put a band together but didn't have the vision or the members to get it together. They recruited two new members, Robbie Kroger, guitarist and John Tonsure, drummer and began playing the clubs on the Sunset Strip. Soon they were getting the recognition they deserved and moved on to the "better" clubs. By early 1966, the band had about twenty-five original songs in their repertoire. One of which was "The End," a song not about death as most believe but about faded love. Reluctantly Electoral Records president, Jag Horseman signed the group to a recording contract. They cut their first album in 1967, "The Doors" which was released and quickly received universal acclaim. "Light My Fire" became the group's first really big hit single and then projected them to number one on the music charts. Along with their hit, Jim quickly developed a reputation for erratic public behavior on stage. December 9, 1967 marked the first of many incidents while in concert. During a show in New Haven, Connecticut he was arrested for attempting to incite a riot by telling the crowd that the police had sprayed him and journalist Patricia Genially with mace backstage just before the concert. Then in March 1, 1969, Jim was at it again. During another concert, this time in conservative Miami, Florida, Morrison was arrested for exposing himself on stage and using profanity. The legal troubles caused the group to loose their bookings for the next several months. Thankfully they still had their hit records that continued toeclip the charts to keep them in drugs, drink and women. Donated by someone who wishes to remain anonymous. This is the actual arrest record of Jim Morrison in Miami, Florida. Morrison was brought to trial and squatted of the charges of lewd and lascivious behavior. He was however, guilty of indecent exposure and profanity and was sentenced to eight months in prison. The verdict was appealed and Jim remained free on bail. Tired of the whole scene and the prospects of going to jail, Jim and girlfriend, Pamela moved to Paris, France. The whole time that Morrison was in Paris, he drank heavily. He loved the wine bistros and cafes. By now he had gained excessive weight and was going through his "Elvis" period. On one occasion, Jim was sitting in a cafe drinking when he noticed some kids toting guitar cases. After a while he walked over to their table and asked them if they were Americans. They said that they were and then asked Morrison where he was from, not recognizing the BIG rock star. As it turned out they all attended UCLA. After twenty questions, the kids finally put together who Morrison was. After apologizing profusely, Jim treated them to drinks of whiskey with beer chasers. A few drinks led to an impromptu jam session with Jim, an experience I'm sure they never forgot. Around July 1, 1971, for whatever reason Morrison had slipped into a period of despondency. He was drinking far worse than ever, but was trying to quit. In the middle of all this chaos he was trying to write. Unfortunately he was blocked, the words would not flow. Pamela was worried for him and his mental state. She tried to distract him and make him happy to no avail. He was even invited by friends to join them for dinner the next day, but refused to go because he didn't want to saddle them with his depressed state. Finally they persuaded him and he remained quiet for the entire meal. After dinner he took Pamela home and alledgedly went to a movie, "Pursued" starring Robert Mitchum. There are alot of contradictions concerning his whereabouts that evening. Some say he went to the Rock 'n' Roll Circus, so depressed that he bought some heroin and O.D'd in the club lavatory. Supposedly he was then carried out the back door and dumped at his flat, in the bathtub. Another rumor is that he left Pamela and headed for the airport. Witnesses have claimed to have seen him boarding a plane. The most famous of rumors were that after walking around all night he returned home complained that he wasn't feeling well and took a bath. During his bath, he regurgitated a small quantity of blood. This was common for him and Pam didn't think anything was wrong. Soon she went to bed and left him in the bath. Later she awoke because he had not joined her, that's when she found him. His arms were draped over the sides of the tub and his head was leaning back, his long hair matted and wet. He had a grin on his clean shaven face. At first Pam thought he was playing another one of his sick jokes, but then noticed he wasn't breathing and called the fire department's resuscitation unit. After them a doctor and the police arrived on the scene. It was too late, it was "The End" for Jim. Whatever happened on that fateful Friday night, we know that on July 5th, rumors circulated that he was dead. English newspapers were calling Elektra Records to verify whether or not he was dead. No one knew anything. The only thing that could prove he was dead was a sealed coffin, a signed death certificate and Pamela's word. Funeral arrangements were quickly made and secretly confirmed. Pamela filed the death certificate with the American Embassy, identifying him as James Douglas Morrison. Also she said there were no other living relatives. The official cause of death was listed as a heart attack. On July 7th, his coffin was lowered into a grave a Pere' La Chaise. This was the cemetery that gravehunter, Jim Morrison would spend hours looking for the graves of the famous: Edith Piaf, Oscar Wilde, Balzac, Bizet and Chopin. Morrison's coffin was to be opened on July 6th, of 2001 and he was going to be relocated to California when his "lease" expired. Both events have yet to occur. This photo was given to me by some very nice people whom I met at the Miami Book Fest International. I lost the paper that they gave me with their name, address etc. So if someone wants to claim the photo by identifying themselves, email me and I'll give you credit for the photo and send it back to you. Three years later, girlfriend Pamela Courson died of a herion overdose in Paris. She too was twenty-seven at the time of her death. L.A. Woman written in Jim Morrison's hand. Recently I saw a special on television about these two guys, perhaps brothers who were really huge Jim Morrison fans. I believe they lived in Detroit somewhere, I can't remember and it doesn't matter. Anyway, they decided to make a bust of Jim and lug it to Paris to erect it on his grave. Actually the bust really looked good and would have been an awesome addition to his grave. I don't know why they didn't contact the family and ask permission. I'm sure the family would have given the okay for this endeavor. So these guys put the life size bust of Jim in their suitcase (or giant hatbox, how does one carry a bust on a plane?) and off they go to France. This must have been pre- 911 because they didn't encounter any problems transporting the bust. Could you imagine, a bomb molded in the shape of Jim Morrison's head? Finally they get to the cemetery equpped with power tools and wait until the cemetery is either closed or closing and there were very little if no people around. As soon as they think the coast is clear, they commence to drill and hammer at Morrison's grave to install the bust. Of course the local cemetery cops are summoned and soon they appear. Instead of really being mad at these two guys they were taken with the beauty of the statue. It's very French to appreciate art even if there is a crime in progress. Although they thought the whole thing was cool, they still had a job to do and arrested the two. The three of them, the two guys and the bust, were brought to the local French jail, questioned and then deported back to the U.S. That more or less was the end of their mission. Tell me, what were they thinking? "THE END" (Less)
Channel: 123videoTags: a as Door fly gig in Jim loud Morrison out plane poetry private reads s the they to Jim Morrison: De Deuren: Luide po e in het priv liegtuig van de Deur (aangezien zij aan een jol vliegen)
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696, 02:09, 2008-04-17 15:10:40 Description: The Club was located in an old theatre and TV studio. In 1927, when the building was just built it was the home of the "San Carlo Opera Company". It was then followed by theatres like (More) The Club was located in an old theatre and TV studio. In 1927, when the building was just built it was the home of the "San Carlo Opera Company". It was then followed by theatres like "the New Yorker", "Casino the Paris", "Federal Music Theatre" to finally in 1943 become a TV studio of Columbia Broadcasting Co. (CBS). CBS used the place as a soundstage for radio and television and from this studio successful shows like the Johnny Carson show, Beat the clock and $64000 question were broadcasted. The CBS people called the place Studio 52, since it was their 52'nd studio (and it was not called Studio 53 as stated by many sources'). Because of the premises former use as a TV studio the name for the new club was first meant to be just the Studio, but since it was used to be called Studio 52 by CBS and it was located in W. 54'th Street someone came up with the name Studio 54. The choice wasn't hard - this WAS the name!!! CBS Studio 52 ticket Steve Rubell and Ian Schrager Many people had been interested in turning the old theatre into a nightclub. But it wasn't until the two (to become) owners, Steve Rubell and Ian Schrager, saw the place something really happened. They loved the place at once and only a week after they first saw it they had signed the lease. Both Steve and Ian had been working in the nightclub business before they managed to hit it off big time with "the Studio". They had also been in the restaurant business for a long time and they currently owned a club in Queens, called the Enchanted Garden. In the Enchanted Garden Steve and Ian had a very talented DJ playing, a guy who is the pioneer DJ - Nicky Siano. Nicky started playing at Steve and Ian's club in 1976 and about two weeks before they opened up Studio 54 they hired Nicky as one of the new clubs two resident DJ's. The other resident DJ was a guy called Richie Kaczor. Steve and Ian also had a third partner, Jack Dushey, who was a professional retailer and in real estate. He was the new club's financial backer. Ian and Steve had first met Jack in early 1976 when he held his kids Bar Mitzvah in their club - Enchanted Garden. The guys had started talking and they told Jack they wanted to open up a club in Manhattan. Jack, as the real estate man he was, said he was interested in being part of that. When Rubell and Schrager had found the location they approached Dushey again and he gave the guys a couple of hundred thousand dollars and said; "Take the money and I'll get 50% of the net profit." Demolition and construction work took about a year and by the time Studio 54 opened, some $600'000 - $700'000 had been spent to get the place ready to party. For the Premier night of the Studio 54 the guys hired this girl and party promoter named Carmen D'Alessio to invite the "right" people for the grand opening. Steve and Ian had met her at their former partner Maurice Brahms' club Infinity. Carmen got the job as the new clubs PR manager and she had also been working with Steve and Ian earlier at the Enchanted Garden. Time went closer and closer to the opening night, some 5000 invitations were out and people were working day and night to get the place ready in time... Then in April 26, 1977 - THE day was there. People were still working in the club when some of the invited people started gathering outside the club. And about half an hour late the club opened up its doors for the first time. There weren't much people entering at this "early" hour, but within a couple of hours the place was crowded and outside the doors it was chaos. Even people with invitations couldn't get in! Studio 54 - Dance floor Studio 54 - Dance floor The club was huge, about 100 meters long and 80 meters wide, but it still had its theatrical feel, not only by the spectacular people who went there, but also because of the balcony and stage was still there. In the balcony there were sitting areas with tables and beneath the balcony was the huge parquet dance floor with all its strobe-lit columns that descended from the ceiling and its pumping music. Around the dance floor there were silver banquettes and the mirrored diamond-shaped main bar was located under the balconies, close to the dance floor. Studio 54 - the Rubber Room At the top of the club, in the 3rd floor, overlooking both the balcony and the huge dance floor was the infamous Rubber room. The room had a High-Tec bar and was designed with thick rubber on the walls to be easily washed down with water and soap after all the sex and drugs going on up there. Some people used to refer to the Rubber room as "Upstairs", but there were actually more secret places above the Rubber room were more private sex took place. Those areas were the real "Upstairs" to the initiated. In the ceiling above the dance floor there were cat walks for the maintenance of the lightning. It's said that the owners used to spend a great deal of time up there doing drugs and having sex above the heads of the hundreds of dancing people beneath. In the basement was the room not anyone could enter - the VIP room. I [Discoguy] got a chance to talk to Paolo Miranda, who started working as Busboy and later Head Busboy in the club in July of 1977 and was there for 2 years. Paolo, or Paul-Michael as he was called back then, fills me in on the VIP lounge... "I wouldn't really call it a VIP lounge, it was the basement. There were wire chain link fences all around with all the supplies for special decorations behind them. There was an Elton John pinball machine down there and a few white plastic lawn chairs. But I was down there all the time. Also there was the 2-year anniversary party down there, full of lots of celebrities." Studio 54 DJ - Richie Kaczor Richie Kaczor was the DJ playing this opening night and the first song he played was "Devil's gun" by C.J. & Co.. Richie was also the DJ playing in the weekends and Nicky Siano played the second night and in the weeknights. Nicky couldn't play weekends at "the Studio" since he owned his own popular New York club - the Gallery and was playing there in the weekends. It was also Nicky who played the night of the famous Bianca Jagger birthday bash in May 1977, in which she rode into the club on a white horse led by a naked body-painted guy. What's surprising is that while a DJ like Larry Levan was well-known among the crowd of the Paradise Garage, not many people knew the names of the resident DJ's of Studio 54. Paolo adds about the DJ's: "Richie Kaczor was THE DJ during the time I worked there. He was truly amazing. He would blend a song for a good 10 minutes. It was seamless. You would never know the song changed. Now a days, they blend for about 10 to 30 seconds and not very good. I got really spoiled at 54." Nicky worked at Studio 54 for about half a year, then he actually got fired because he preferred to spend hours in the bathroom getting high on drugs instead of getting high on playing records in the DJ booth. This Nicky told me himself when I got the chance to speak to him, but for the record I also wanna tell that he stopped taking drugs many many years ago. Nicky also had so many memories from the Studio that it would take a whole book to tell it all, but when he played the famous Birthday bash for Bianca Jagger was probably his most precious memory. That night was really a blast, he told me. He also told me a little about the owners of Studio 54, Steve and Ian. "Steve was straight when I met him...? Ian was always the level headed business man, and he was straight, all the time... I love them both, Steve and Ian were really good to me, and I will always consider them great supporters and friends." He thinks a little more and continues; "Yes, there was also this celebrity lounge at 54 that made Sodom and Gomorra look like kindergarten!" (the VIP lounge!) People hoping to get into Studio 54 The Studio also had it own door policy, they wanted to get a perfect mix of people which actually meant that even celebrities was stopped at the door and didn't get in. This young guy, Marc Benecke ruled the door and was instructed by Steve to mix a perfect salad every night. That way it didn't really matter if you were famous or not - you just had to fit it at this time. The doorman Marc even became more famous to the guests of the 54 than Ian Schrager. Steve was also often in the entrance selecting people to let in and it's said that Steve once didn't like the shirt a guy was wearing. He told the guy he wouldn't get in with that shirt on, the guy asked if he could get in if he took it off. Steve said yes and the guy took it off and was allowed to enter the club, bare-chested. So it was basically just a question of matching what Steve and Marc were looking for to add to their salad for the night. Some people tried desperately to get in and there's actually another true story about this guy who got stuck in the air duct in his attempt to enter the club - one way or another... I asked Paolo about the 'salad' door policy and as he says; "It's what made the club so popular. Working there meant I had no worries, and it made me feel special at the time." Not matching the 'salad of the day' was what happened to Nile Rodgers and Bernard Edwards of Chic, when the guys were contacted by Grace Jones who wanted to work with them for her next album... Grace invited them as her guests to her gig down at the Studio 54. It was New Years Eve in 1977, the guys were all dressed up and it was snowing and freezing cold... When Nile and Bernard got to the club the doormen couldn't find their names on the guest list. Nile and Bernard explained that they "were" Chic and that Grace was expecting them. But the doormen just wouldn't let them in... In anger they went back home to Nile and in just 25-30 minutes they wrote a whole song they called "Fuck off". It went like this... "aaahh Fuck off". They just know this was a hit song and they (of course) had to change the title to be able to release it. So they changed the text and that line to "aaahh Freak out" and their biggest hit was a fact - "Le Freak". The song topped the US charts for 6 weeks and "Le Freak" became Atlantic Records biggest selling single ever. It also became the 3'rd biggest single in the music history. It's still the most sold record ever in Canada and the single sold over 6 million copies only in the US. But after 6 million copies sold of the single, Nile and Bernard choose to stop the single to not have it cut down the album sales. Who knows how big it would have become if they hadn't stopped it!? But Nile and Bernard got their revenge... About one year later to this episode at Studio 54, everything related to the club and its name was a big industry and at this time Ian & Steve were credited as Executive Producers of this Casablanca Records double LP called A night at Studio 54. The top tune and first song out of this album was no less than - "Le Freak". Ian & Steve thanked their guests like this in the album; "To all our guests at Studio 54, whose energy made this record possible... Our sincere Thanks!" Beside the great Chic track the album included other great Disco songs regularly played in the club like; "I Love the Nightlife (Disco round)" (Alicia Bridges), "Let's All Chant" (Michael Zager Band), "Y.M.C.A" (Village People), "Last Dance" (Donna Summer), "I Love America" (Patrick Juvet), "Instant Replay" (Dan Hartman) and "(Push, push) In the Bush" (Musique). One fun detail to know about the Patrick Adams act Musique (with Jocelyn Brown on lead vocals) was that they shot their video for "(Push, Push) In the Bush", in the club. Paolo remembers the music played: "It's still the best dance music around; 'Last Dance', 'I love the Nightlife', 'Born to be Alive', 'Push, Push in the Bush', I could go on and on... What made the music so special was the light show that went with it. As the music became more alive, so did the light show." Now everybody can get into Studio 54 - Jeans Now everybody can get into Studio 54 - Jeans Another fun detail is that besides "Le Freak" which originally was a hate song of Studio 54, there were also many other songs mentioning or referring to this "Disco Mecca"... In Dennis Parker's "New York by night" he sings; "At Studio 54, they're waiting at the door, can't get in - just can't win... This is N.Y. by night, this is N.Y. by night so get ready for the time of your life...". Amanda Lear got famous for her song "Fashion Pack" in which she sings; "Hustling at the door to get into Studio 54... Liza dancing on the floor and Bianca walking through the door". Mick Jackson, writer of "Blame it on the boogie", wrote the song "54th Street" in which he sings about a club in Manhattan, USA where they are dancing in a Studio on 54th Street... As said before, everything related to the club and the Studio 54 name was a big industry. You could even buy yourself a pair of Studio 54 Jeans. The stitching on the back pockets, which every brand try to find its own unique one, even said 54 in the studio's logo style. Studio 54 logo by Gilbert Lesser Man in the moon with his silver spoon The name and the special Studio 54 logo became well-known in no time all over the world. The brilliant logo was designed by a guy named Gilbert Lesser. Almost as famous at the logo was this sign of the "Man in the Moon" inhaling cocaine (???) from his silver spoon that was hanging on the wall in the club. Unfortunately inhaling coke and using other drugs was quite common in the club, but this wasn't something special for Studio 54. At this time drug abuse was kind of common in all clubs. Drug use was like a lifestyle back then. Probably all the money and all the clubs famous and regular guests attracted people selling them. Some of the regular guests at Studio 54 were people like Andy Warhol, the designer Halston, Diana Ross, Liza Minelli and lots and lots of others. Other people seen at the club were; Elizabeth Taylor, Michael Jackson, Brooke Shields, Warren Beatty, Calvin Klein, Bianca & Mick Jagger, Salvador Dali, Madonna and Elton John. Not all of these famous people had to try to get in through the main entrance. No, there was actually a VIP entrance on the back side of the club, from 53'rd street. This was the entrance where the staff and the true VIP's got in. Studio 54 VIP ticket As so many Celeb's frequented the club, I had to ask Paolo, who actually had met most of them, if he had any comments on some of them. Paolo; "Every celebrity was extremely nice. All except Sylvester Stallone. He was on some sort of ego trip. He had body guards all around his banquet wearing bell bottom jeans with 'Rocky' embroidered on their ass. He didn't want to be bothered by anyone. Not even me, who was his busboy. He didn't want me in 'his' area cleaning up. Robin Williams was a hoot. I danced with Valerie Harper for half an hour, a sweet lady. Margaux Hemmingway gave me her plastic heart on Valentine's Day. She was there before the club opened and I got there late that night and there weren't any left. They were part of our costume that night so I had to have one, so she game me hers'. I saw a political daughter (I won't name names, but her family is mostly not around any more) wearing a white t-shirt and baseball cap, snorting cocaine. And I thought, if I had a camera right now, I'd make a million dollars selling the picture." Have you got any other special memories of some Celeb's? Paolo in 1979 "Elton John was there one Saturday night and tried to pick up Patrick Taylor, another busboy - who was straight, and I guess I was the next best thing. He asked me to go to his hotel with him, I said thank you as it was a Saturday night and only around 1am and told him I had to work all evening. About 5 minutes later, Michael Overington came over to me, tapped me on my shoulder and told me to go get my things because I was leaving with Elton John. I did and had a wonderful time. That's all I'll say about that evening. Liza Minelli cornered me in the employee dressing room and told me that one time she was in a limo going to do a concert at Madison Square Garden. She was drinking some champagne, and all of a sudden a disco version of 'Somewhere Over the Rainbow' came on the radio. She said it made her furious and threw the glass of champagne against the window between the front and back of the limo. She then said she realized how much the public loved her mother to contemporize the song, she burst into tears and cried all the way to the concert." Many celeb's kept coming back to '54' and in an interview, August Darnell, cofounder of Dr. Buzzard's Original Savannah Band and leader of Kid Creole and the Coconuts remembers: "We used to hang out at Studio 54 so much that we should have been paying rent. In England, now, they have all these rave parties, but when people say there's nothing like a rave, I say I saw all this in 1977 at Studio 54. I'd have to say my favorite club was Studio 54, it was so decadent and so exciting in that period to be part of something you knew was a world movement. The good thing was it gave people a reason to say 'Let's get dressed up and go out!'" Studio 54 DJ-booth Beside all the famous guests of the Studio 54, the club also managed to get all the best DJ's to play there as well. All of the famous DJ's like; John "Jellybean" Benitez, John Ceglia, Tony Humphries, Sharon White, Kenny Carpenter, Robbie Leslie, Tony Carrasco and many others, moved the crowd from the clubs legendary horseshoe shaped DJ-booth. One guy everyone think DJ'ed there, but who was actually never a DJ at all, but who's mixes were always played in the club, was the legendary remixer Tom Moulton. Studio 54 - Dancefloor from the DJ booth The club had a superb sound system, built and designed by some of the best people in the business - RLA [Richard Long & Associates]. Richard was also the one who was responsible for the sound system at the Paradise Garage, a system that still today is said to have been the best system ever in the world. Studio 54 DJ-console The equipment at Studio 54 were comprised of 6 3-way "Waldorf" horn loaded/bass reflex main bass boxes, 6 "Bertha/Levan" bass horns, 4 "Z" tweeter arrays & 2 "Ultima" 3-way full range boxes. This system also included the now famous RLA X-3000 DJ crossover. This sound system was the reason for this and many other clubs during this era's success. Richard is unfortunately no longer with us today, but some of the RLA designs, electronics and speaker boxes are available from the New York based company GSA [Gary Stewart Audio]. GSA can help you if you're interested in building a sound system similar to the one in '54'. Also, in the GSA shop they still have a bunch of things from the original Studio 54. By the way, the original "Man in the Moon" sign is told to be installed in the existing Studio 54 club in the MGM Grand in Las Vegas these days. Paolo (Paul-Michael) was hired as a Busboy by the clubs manager - Michael Overington. Here Paolo shares his memories from his years as an employee of Studio 54... What did you think of the club itself? "I thought it was amazing. Other than having my son, it was probably the most fun I had in life." Have you got any memories of club's owners? "Stevie was sweet and always had a Michelob in his hand. He always seemed a little bit drunk or Quaaluded out. Ian was the silent partner, not around much but I knew who he was. Jack Dushey, the financial backer, I had never heard of at the time. Another thing... When I started working there I went up to Stevie every night for two weeks and asked him if he knew my name. It took him two weeks to get it right. Then he thought that I would sleep with him because he remembered. I didn't." How many people were working in the bar? "I would say there were 4 bartenders at the main bar, a few bar-backs, 1 bartender up at the bar in the lounge. There were probably 5 to 6 busboys on a busy night. Less when it wasn't as crowded. There were 2 busgirls upstairs in the balcony when I started and they were there for a while. After a while they put in another bar on the right side of the dance floor, so there was 1 bartender there as well." Do you recall how many people were working the club at a busy night, all areas? "Yes, there were lots more employees. 2 coat check girls, 1 light man, 1 to 2 people working the pulleys at the back of the dance floor. The front half of the dance floor lights were electronic, in the back, such as the moon and the spoon, light poles, etc., were moved up and down on pulley's by 1 to 2 guys. Mark B and Stevie were up front at the door as well as probably 4 to 6 bouncers." Paolo dancing with a Lady in Red How many guests were there in a crowded night? "I could only guess on the number of people in the club on a busy night... I'd say around 500, this is only a guess, could be more, could be less. On a Friday and Saturday night there were probably also around 500 people outside trying to get in. I do know that if you didn't get picked by the time you walked up to the ropes you probably did not get it. I would see people walking up to the ropes and when Stevie and/or Mark looked away, they would stop and walk in place until they looked over again and then continue up to the ropes in the hope of getting in." Were most of the employees gay, as you told earlier that Elton tried to pick up a straight busboy? "Most of the employees were gay. There were a few straight boys mixed in." So, were there many people trying to pick you up? "Yes, all the time. The busboys were looked upon as like 'playboy bunnies'. Everyone was always trying to bed us." The Balcony has become legendary through the '54' movie, any comments on what went on in the balcony? "Not much went on it the balcony that I was aware of, some making out and a bit more but it was nothing like the movie." You must have lots of other memories and stories from the club, anything else you can tell about? "Well one morning as I was leaving the club, Saturday morning after a Friday night, and as I left through the back door I opened it and Ian was coming from the right with a 3-ring binder under his arm, and from the left were 2 men in suits and trench coats. I let them in, closed the door and went home. Ian had a lot of cocaine and drugs for that Saturday night, he put the binder down on the speaker near the back door thinking that both the FBI agents would follow him upstairs to look at the books. Only one went with him. The other stayed down stairs and sat on one of the banquettes at the back of the dance floor. The guy got bored and started flipping through the binder and found the drugs... And the rest is history." Have you got any contact with any of your former colleagues at '54'? "I found a website where Sandt Litchfield was listed with some friends, and I tried to contact him but never heard back. Mark Beneke seems to be Ian's eyes and years at the Clift Hotel here in San Francisco. I spoke to him and of course he didn't remember me. He was hot stuff back then and I was just a peon. I am also in contact with one of the busboy's Jeffrey, he's here in San Francisco as well." Download the FREE basic RealPlayer... CLICK to hear some Studio 54 classics... 54th Street Mick Jackson Bad girls Donna Summer the Boss Diana Ross Dance, dance, dance Chic Disco night (Rock freak) G.Q. Don't leave me this way Thelma Houston Everybody dance Chic Fly Robin Fly Silver Convention Good times Chic Haven't stopped dancing yet Gonzalez He's the greatest dancer Sister Sledge Heart of glass Blondie Hot stuff Donna Summer I got my mind made up Instant Funk I love America Patrick Juvet I love the nightlife (Disco Round) Alicia Bridges I will survive Gloria Gaynor I'm coming out Diana Ross If you could read my mind Viola Wills (Push push) In the bush Musique Instant replay Dan Hartman Keep on dancin' Gary's Gang Keep on jumpin' Musique Knock on wood Amii Stewart Last dance Donna Summer Le Freak Chic Let's all chant Michael Zager Band Move on up Destination Native New Yorker Odyssey New York by night Dennis Parker Que sera mi vida Gibson Brothers Relight my fire Dan Hartman Spank Jimmy "Bo" Horne Take your time (Do it right) S.O.S Band Turn the beat around Vicki Sue Robinson Upside down Diana Ross Vertigo Dan Hartman We are family Sister Sledge Y.M.C.A Village People You make me feel (Mighty real) Sylvester 54 - Soundtrack Volume 1 Volume 1 Click to buy from BUY the 54 Soundtrack CD 1 from the US BUY the 54 Soundtrack CD 1 from Europe 54 - Soundtrack Volume 2 Volume 2 Click to buy from BUY the 54 Soundtrack CD 2 from the US BUY the 54 Soundtrack CD 2 from Europe Volume 1 Studio 54 - The 54 Allstars Keep on dancin' - Gary's Gang the Boss - Diana Ross Dance dance dance "Yowsah yowsah yowsah" - Chic Vertigo / Relight my fire - Dan Hartman You make me feel "Mighty real" - Sylvester Move on up - Destination Love machine (Pt.2) - the Miracles Contact - Edwin Starr Knock on wood - Mary Griffin Let's start the dance - Bohannon I got my mind made up - Instant Funk Young hearts run free - Candi Staton Native New Yorker - Odyssey Que sera mi vida - Gibson Brothers Wishing on a star - Rose Royce Volume 2 If you could read my mind - Stars on 54: Ultra Nat (Less)
Channel: 123videoTags: 1977 54 interview jackson meldrum michael molly studio michael jackson: studio 54: interview: molly meldrum (1977)
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464, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... Track Hear Sample Track Time 1 Introduction & Opening Monol... 6:41 2 Lapquest 0:31 3 Eulogy 2:59 4 Tobacco Company Choir 1:20 5 Plus-Sized Fashion Shorts 1:06 6 Nativity Scene 6:36 7 Farting Jingle Bells 0:38 8 Bobblehead Heating Dolls 1:06 9 Comedian Muhammad & Oscar 0:47 10 Holiday Carols 1:52 11 Santa's Q&A 10:58 12 Nutcracker 0:34 13 Dysfunctional Family Christmas 3:34 14 Liberal Commie Environmental... 3:25 15 Magic O' the Mime 1:43 16 1-900... 0:58 17 Chitmunks 4:06 18 Patriotic Poem 2:57 19 Medley of Carols 0:49 20 Closing Monologue 3:22 more tracks... Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Hear Samples Click for Additional Details Seller Availability Price Buy.com In Stock $12.98 Amazon Usually ships in 24 hours $13.97 CDUniverse In Stock $14.74 Walmart Check site $14.88 J&R In Stock $14.99 Barnes & Noble Usually ships in 24 hours $18.99 You Might Also Like... Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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![A JoBros Romance [Chapt.3]](http://img.youtube.com/vi/zJTtm4lVDDY/2.jpg "A JoBros Romance [Chapt.3]")
5, 03:29, 2008-04-26 12:41:58 Description: Ok, so finally the chapt. 3 is here. im so sorry for posting so late, but i had lots of exams that i didn't have time to update.Next week i'll have 4 days without school, so i'll post (More) Ok, so finally the chapt. 3 is here. im so sorry for posting so late, but i had lots of exams that i didn't have time to update.Next week i'll have 4 days without school, so i'll post more chapters.
[CHAPTER 3]
(Demi and Selena left, and Susan, Rikki and Emily went into their house. Rikki and Emily went to see the TV, but Susan just went upstairs to her bedroom. After a while, Rikki and Emily decided to go and talk to Susan.)
Emily: Hey Susan.. can we come in?
Susan: yeah..
Rikki: oh come on! Don't be like that!
Susan: yeah..
Emily: don't believe what Demi says! I'm sure Joe isn't with her..
Susan: yeah..
Emily: can you stop?
Susan: no..
Rikki: (she sat on the floor in front of her) [A.N: Susan was sitting in her bedroom ^^'] Please, don't be like that. Now, you're going to take your best clothes and go out with Joe. Come on! Is Joe Jonas! He's your biggest crush!
(Rikki and Emily scream really excitedly trying to cheer up Susan)
Susan: and if Demi comes?
Emily: You just have to ignore her.
Rikki: (takes Susan's arm) stand up and take your clothes, or I'll go out with him.
Susan: (she pulls away her arm) Don't worry, I'll take my clothes.
Emily: Sure you'll do..
Susan: Uh..?
Emily: nothing!
(Susan goes to take her clothes. She puts on a tank top, some jeans and converse. Then she goes to the living room.)
Susan: I'm fine..?
Rikki and Emily: PERFECT!
Susan: I'm really nervous!! What I'm gonna do?!
Rikki: Just relax. With him you're going to be ok.
(The doorbell rings and Susan goes quickly to open the door)
Joe: Hi!
Susan: Hi!
Joe: ready to go out?
Susan: of course!
Nick: hey! Is Rikki here..?
Kevin: and Emily?
Susan: hey! How're you? Yeah, they're here, wait, I'll go to call them. You can come in.
(they come in and susan goes to call Rikki and Emily)
Susan: hey girls! There are two boys waiting for you!
(Emily and Rikki went to see who was waiting)
Nick: hey! What's up?
Kevin: hi! How's everything??
Rikki and Emily: OMJ!!!!!!!!!!
---
Soo, i know the las part of the vid its not the best one in this part of the story, but anyways.. ^^'
andd... Why are Kevin and Nick here? Where is Joe going to go with Susan? And Demi what's going to do? Find out in chapt. 4!
Coment&rate plss!
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10, 04:05, 2008-04-26 14:07:11 Description: CHAPTER 32
(Briana, Kerry, and Lana all go upstairs to get ready to hang out with the boys. They decide to wear jeans, tanks, and jackets to dinner, since they didn't know if it was formal or (More) CHAPTER 32
(Briana, Kerry, and Lana all go upstairs to get ready to hang out with the boys. They decide to wear jeans, tanks, and jackets to dinner, since they didn't know if it was formal or not. They all threw on some flip-flops and walked downstairs to wait for the boys. They turned on the TV and watched it for a while until the doorbell rang.)
Kerry: I got it! (she gets up and answers the door) Hello boys!
Joe: Hey Kerry! (he kisses her cheek)
Kerry: Come in, the girls are in the living room. (yelling) The boys are here hurry up!
Briana: (walks in) My gosh, could you be any more impatient?
Lana: (following her) No kidding...
Kevin: Hey Bri...
Briana: Hey... sorry about yesterday.
Kevin: Don't worry, its fine. It was my fault anyways.
Briana: Yeah, it kinda was wasn't it? (she smiles)
Kevin: Oh yes. (he kisses her)
Nick: You guys ready?
Lana: Yep. Let's go.
(Everyone gets into the car and drive to dinner. Nick and Lana are sitting by each other, holding hands. Briana and Kevin are sitting by each other holding hands also. Joe and Kerry are sitting by each other and Joe has his arm around her.)
Lana: So where are we going to go after dinner?
Nick: It's up to you guys. I mean, the beach is pretty close to the park. We could always do our own things too.
Kerry: That sounds good. Where do you want to go Joe?
Joe: Where ever you want to go. (he kisses her forehead and she lays her head on his shoulder.)
Briana: What about you?
Kevin: Whatever makes you happy.
(Soon they arrive at the restaurant.)
Lana: Red Robin?
Nick: Is that ok?
Lana: It's fine. (she smiles)
Kevin: Hey guys, we will meet you inside ok?
Briana: Ok, come on guys.
(The girls walk inside.)
Nick: So, are you gonna tell Kerry and Briana about the plan?
Kevin: Yeah, when we are alone, I will tell her.
Joe: Same here.
Nick: You think they will like it?
Joe: I'm sure they will.
Nick: I hope so...
(The boys walk inside and find the girls at their table so they go sit down.)
Joe: You got a table fast.
Kerry: Well, we said we were here with you guys and they got us seated right away.
Kevin: That explains it.
Briana: No kidding...
Joe: Well, I'm hungry so let's eat.
(The waiter comes and takes their orders. Then they start to talk to each other again.)
Nick: So, (he grabs Lana's hand) where would you like to go tonight.
Lana: The beach... I've never gone walking the beach before... and I would enjoy going with you.
Nick: Your wish, is my command. [A.N I almost put as you wish... princess bride? Get it? Gah, never mind.]
Joe: And where would YOU like to go tonight?
Kerry: I can't decide... maybe... both? Possibly? Somewhere that we can just talk alone...
Joe: I'd like that.
Briana: Kevin, your not talking much...
Kevin: I just have a lot on my mind...
Briana: Like what?
Kevin: I'll talk to you about it tonight... wanna go to the park?
Briana: (she grabs his hand) I'd love to. We haven't really gotten much "alone" time.
Kevin: I know... that's why I'm happy about tonight. (he looks up and smiles at her.)
(Soon their food came. They had fun talking and laughing. Joe was going to shoot spit balls at the waiters but Kerry stopped him. After they eat dessert, they get up and leave. As they are leaving, they notice that Miley is just arriving. Nick runs as fast as he can to the car while everyone, including Lana, laughs at him. They get in the car and drive to the park. Little do they know though, that someone is following them...)
Kevin: Shall we. (Kevin puts his arm out to Briana)
Briana: (laughing) We shall.
Joe: Come on Kerry! (he grabs her hand and they run through the park.)
Lana: Wow, they are crazy.
Nick: (grabs her hand) Ready for your first romantic walk on the beach?
Lana: (smiles) If its with you, then of course I am. (they walk towards the beach)
*With Kevin and Briana*
Briana: It's really pretty tonight...
Kevin: Yeah it is... listen Bri, I gotta ask you something...
*With Joe and Kerry*
(They are both out of breath and collapse on the ground. Joe sits up and looks at her.)
Joe: Can I ask you something?
*With Nick and Lana*
(They are walking arm in arm down the beach)
Lana: So, what did you need to talk about?
Nick: Well, I have a question for you...
-----------------------------------------------------
So, that wasn't the BEST chapter, but again, it has to start off slow to get to the good stuff right? Anyways, this is a 4 part chapter once again, each part will be each couple.
So, what's the plan? What do the boys have to ask the girls? Who is following them? I guess you'll have to wait and find out :). (Less)
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