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2008-04-01 18:53:37 Description: Kala & Jane heart Tarzan. xxx ... Just a quick Tarzan fanvid I made to the Broadway version of "You'll Be In My Heart". Quite bad quality - very pixel-y - and please ignore the (More) Kala & Jane heart Tarzan. xxx ... Just a quick Tarzan fanvid I made to the Broadway version of "You'll Be In My Heart". Quite bad quality - very pixel-y - and please ignore the rapid aging of Tarz (Less)
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1890, 00:29, 2007-01-05 20:48:51 Description: Rahul and Anjali are long lost lovers. No oceans or seas or mountains can keep them apart. Except for Anjali's wandering taste. What will happen to these two? Why do all Bollywood synopses end (More) Rahul and Anjali are long lost lovers. No oceans or seas or mountains can keep them apart. Except for Anjali's wandering taste. What will happen to these two? Why do all Bollywood synopses end with a question? [Music composed and performed by RobGironda.com & CarrieWeiland.com]. (Less)
Channel: youtubeTags: abcd anup bollywood broadway contest desi doritos india jeevaji musical roopa spoof sugunan superbowl
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1602, 03:49, 2008-04-18 11:26:15 Description: école écran éléphant (live) 11th 25-Dec-2005) 80's 123 789 1912 1987 1988 1993 1994 1996 1999 2000 2001 2005 aaron academy adams aguilera aime aimer aimes Album: (More) école écran éléphant (live) 11th 25-Dec-2005) 80's 123 789 1912 1987 1988 1993 1994 1996 1999 2000 2001 2005 aaron academy adams aguilera aime aimer aimes Album: Alessandro Alexxxx alive all Amatrice amel Amero amour amusant amv amy AmyxSonic amzigh anaissiette anastacia anastasia Andre andrea ange angel angel) animation aniston années ans arena aretha artiste atlanta Attia autres avril awards bad Balestri Bambi barbara Barbra barca bateau beast beauty bee Believe Bent berger betisier beyoncé beyonce bien blanc blood boccelli bonus boulay Boutiques boy Boyz Brithney britney broadway bryan céline can caprio carey caricature CAROLE carter casting Celina celine change chanson chant chante chanteur chanteuse chanteusse charlebois chaussures cher cheryl chicago christina 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Channel: dailymotionTags: naruto sasuke kyubi hokage bleach clip musique rock gto one piece saint seiya chevalier du zodiaque hades manga anime amv kingdom hearts final fantasy
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1327, 02:26, 2008-04-17 15:09:51 Description: Jo Raquel Tejada (born September 5, 1940), best known by her stage name Raquel Welch, is an American actress who reached fame during the 1960s. Early life Welch was born in Chicago, Illinois, (More) Jo Raquel Tejada (born September 5, 1940), best known by her stage name Raquel Welch, is an American actress who reached fame during the 1960s. Early life Welch was born in Chicago, Illinois, the oldest of three children born to Armando Carlos Tejada Urquizo and Josephine Sarah Hall. Her father, who immigrated from La Paz, Bolivia, was an aerospace engineer of Spanish-Castilian descent; her mother was an Irish-American.[1] In 1942, Armando Tejada was transferred to San Diego, California. The family moved to the suburb of La Jolla, where Welch grew up. She took dancing lessons as a child, and was winning beauty pageants by the time she was a teenager. Among her titles were "Miss Photogenic," "Miss La Jolla," "Miss Contour," and "Miss San Diego." In 1957, she was named "Miss Fairest of the Fair" at the San Diego County Fair. After attending La Jolla High School, she entered San Diego State College on a theater arts scholarship. The following year she married a high school sweetheart, James Welch. [edit] Career In 1959, Welch played the title role in the famous Ramona Pageant, a yearly outdoor play at Hemet, California, which is based on the novel Ramona by Helen Hunt Jackson. Raquel Welch as Loana in One Million Years B.C. (1966) She became a weather forecaster at KFMB, a local San Diego television station. Because of her heavy schedule, she decided to leave college. Her marriage broke up and she moved with her two children to Dallas, Texas, where she modeled for Neiman Marcus and worked as a cocktail hostess, intending to move on to New York City from there. Instead, Welch moved back to California. She found a place in Los Angeles and started making the rounds of the movie studios. She was cast in bit parts in two films and in the television shows Bewitched, McHale's Navy, The Hollywood Palace, and The Virginian. She auditioned for the part of "Mary Ann" on Gilligan's Island but lost out to Dawn Wells.[citation needed] Welch's first featured role was in A Swingin' Summer, which led to a contract with 20th Century Fox. She was then cast in the Sci-fi hit Fantastic Voyage (1966), which finally made her a star. On loan out to Hammer Studios in Britain, Welch starred in the remake of One Million Years B.C.. After her appearance as Lust incarnate in the hit Bedazzled, she returned to the United States and appeared in a Western with James Stewart and Dean Martin titled Bandolero!, which was followed by Lady in Cement with Frank Sinatra. Myra Breckinridge (1970) Welch's first real starring role was in Myra Breckinridge with Mae West. She took the role as the film's transsexual heroine in an attempt to be taken seriously as an actress, but the movie turned out to be a dismal failure. Welch became one of the leading sex symbols of the 1960s and 1970s. Her most memorable publicity still, where she was clad in a furry animal-skin bikini for One Million Years B.C., became a bestselling poster. Playboy called her the "Most Desired Woman" of the 1970s. Ironically, despite her iconic sex symbol status, having acted in numerous films and been subject of countless magazine layouts, including Playboy, Welch has never appeared or posed nude. Welch was due to star in the 1982 adaptation of Cannery Row, but was fired by the producers only a few days into production (allegedly, she was taking too long to get ready each day). She was replaced with Debra Winger. Welch successfully sued, collecting a multi-million dollar award, but this effectively ended her film acting career until the mid-1990s. Her television appearances include the series The Hollywood Palace, the made for TV movies The Legend of Walks Far Woman and Right to Die, in which she turned in a stirring performance as a woman with Lou Gehrig's disease, and in the PBS series American Family, about a Mexican American family in East Los Angeles. She has also appeared in the night time soap opera Central Park West and made infomercials and exercise videos. While she never appeared on the show, her name was frequently used as an all-purpose answer on the game show Match Game. In 1987, she flirted with a pop singing career, releasing the dance single This Girl's Back In Town. She has also performed in a nightclub act in Las Vegas and has starred on Broadway in Woman of the Year and in Victor/Victoria, replacing Julie Andrews. In a 1997 episode of the comedy series Seinfeld entitled "The Summer of George" Welch played a highly temperamental version of herself, assaulting series stars Kramer and Elaine, the former because he fired her from an acting job and the latter because Welch mistakenly thought that Elaine was mocking her. On July 18, 2007 Liz Smith reported that Welch has been invited to play Eva Longoria's sexy aunt on Desperate Housewives.[2] [edit] Beauty business career "The Raquel Welch Total Beauty and Fitness Program" was published in 1984. The book, written by Welch herself includes a Hatha Yoga fitness program, her views on healthy living/nutrition, as well as beauty and personal style. As a businesswoman Welch has experienced great success with her signature line of wigs. She also began a jewelry and skincare line although neither of those ventures compared to the success of her wig collection. In January 2007 she was revealed as the newest face of MAC Cosmetics Beauty Icon series. Her line features several limited edition makeup shades in glossy black and tiger print packaging. [edit] Latin American status Her professional name, Raquel Welch, served as protection against discrimination in Hollywood.[citation needed] Many other stars did the same in times prior to the 1990s. The names included people like Rita Hayworth. With the recent attention and acceptance by the American public of people of Latin descent, she has been coming out and reminding people of her Hispanic heritage.[citation needed] On July 18, 2007 Liz Smith reported that Welch is proud of her Bolivian roots.[2] [edit] Personal life She has been married to James Welch (1959-1962), publicist and agent; Patrick Curtis (1967-1972), director/producer Andre Weinfeld (1980-1990); and Richard Palmer (1999). She is the mother of Damon Welch (b.November 6,1959) and actress Tahnee Welch (b.December 26,1961). She is a fan of Chelsea FC, or was "in the '70s".[3] During the 70s, she attempted to date shock rocker Alice Cooper. He attempted to avoid her since he was dating a dancer that would become his wife [edit] Achievements and awards In 1974, Raquel Welch won a Golden Globe for Best Motion Picture Actress in a Musical or Comedy for The Three Musketeers. She was also nominated for a Golden Globe for her performance in the TV drama Right to Die (1987). She was also the recipient of the Golden Turkey Award for worst actress. She has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard in Hollywood. [edit] Trivia Trivia sections are discouraged under Wikipedia guidelines. The article could be improved by integrating relevant items and removing inappropriate ones. Raquel Welch is a relative of the only female president of Bolivia, Lydia Gueiler Tejada. Raquel Welch's son, Damon Welch, married Rebecca Trueman, the daughter of cricketing legend Fred Trueman, a union of the acting and sporting worlds but the marriage was short-lived. Raquel Welch arrived at the wedding after the bride, completely upstaging her. She claimed at the time that her lateness was because she had been giving an interview and lost track of the time, but later she admitted that she had done it on purpose, knowing that the press would write about her, so she planned to give them something to write about. When the couple announced they were splitting up in Hello!, they emphatically denied that the split was anything to do with Welch. Raquel Welch's daughter, Tahnee Welch followed her mother's December 1979 example and appeared on the cover of Playboy, the November 1995 issue. Raquel's publicity poster for the movie One Million Years B.C. played an integral role in the film The Shawshank Redemption, by serving to hide the tunnel Andy Dufresne was digging to escape from Shawshank (Less)
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1036, 02:36, 2008-04-17 15:09:52 Description: The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time.[34] (Less)
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718, 04:29, 2008-05-01 22:18:07 Description: GTA San Andreas: Smakkie Mod v2 (140 Mods in 1)
Download Link:
http://rapidshare.com/files/94967989/SA.Smakkie.Mod.part1.rar
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(More) GTA San Andreas: Smakkie Mod v2 (140 Mods in 1)
Download Link:
http://rapidshare.com/files/94967989/SA.Smakkie.Mod.part1.rar
http://rapidshare.com/files/94963652/SA.Smakkie.Mod.part2.rar
http://rapidshare.com/files/94959032/SA.Smakkie.Mod.part3.rar
http://rapidshare.com/files/94953917/SA.Smakkie.Mod.part4.rar
What Does This Mod Do? It Replaces all These cars
Cars:
ZR-350 - Mazda RX-7 VeilSide (With Neon)
Intruder - BMW 760Li
Buffalo - Dodge Challanger (Tunable)
Banshee - BMW M6 Cabrio
Stretch - Hummer H2 Limo
Police Ranger - Hummer H2 Police
Police VG - Lamborghini Gallardo Police
Police SF - Pontiac GTO Police
Huntley - Chevrolet Suburgan DUB
Roadtrain - Scania 164L 580 V8
Super GT - Lamborghini Murcielago
Hustler - Ford 5 Window (Hot Rod)
Jester - Audi R8
Caddy - Vespa Ape
Cheetah - Koenigsegg CCX
Quad - Yamaha YFZ 450
Mower - Tuned Mower
Sabre - Holden Efijy (Paintjobs)
Voodoo - Tuned Aston Martin DB9
Uranus - Nissan Silvia Tuned
Feltzer - Mercedes 500K
Elegant - Mercedes CLS500
Monster - Humster (Hummer Monstertruck)
Dozer - Caterpillar T530
Bullet - Bugatti Veyron
Vincent - Bentley Arnage
Rhino - Tiger Tank (WW II)
Merit - Jaguar XJ8
HotringRacer A - Shelby Mustang GT500
Dumper - Truck where you can load cars on
Bravura - Volkswagen Golf V (Tuned)
Alpha - Vauxhall (Opel) Monaro (Tuned)
Bobcat - Bobcat Dragster
Bandito - Other Bandito
Phoenix - Porsche Carrera GT (NFSC Edition)
Greenwood - Mercedes E500
Sunrise - BMW M3
Infernus - Mercedes SLR McLaren
Patriot - Hummer H1
Elegy - Nissan Skyline R34
Manana - Mini Cooper S
Taxi - Chevrolet Caprice Taxi
Camper - Volkswagen T2
Oceanic - Dodge Charger
Flash - VW Golf R32
Bloodring Banger - X43 Landspeeder (Don't Add Hydrolics)
Stallion - Alfa Romeo 8C
Euros - Ferrari Enzo
Primo - Fiat Panda
Club - Honda Integra (Tuned)
Previon - Mercedes CL65
Hotknife - Mini Cooper (Old Version Tuned)
Majestic - Porsche GT3 (Gang Car)
Blista Compact - Toyota Supra VeilSide
Comet - Ford Mustang GT
Rumpo - Mercedes Sprinter (By ELalexandro)
Slamvan - UAZIK
Utility Van - Gipsy Car
Utility Trailer - Big Caravan (Able to get in)
Broadway - Cadillac Deville (Paintjobs)
Perennial - Chrysler T&C
Coach - Old Bus
Remero - Cadillac Fleetwood
Linerunner - Linerunner Van
Landstalker - Volvo XC90
Turismo - Maserati MC12 Grace
Hermes - Volkswagen Beetle (Paintjobs)
Packer - Peterbilt Packer
Pony - Volkswagen Transporter
Remington - Chevrolet Caprice Classic Lowrider
Ambulance - Hummer H2 Ambumlance
Sultan - BMW M5
Buccaneer - Cadillac
Towtruck - Porsche Cayenne Towtruck
Mesa - Rock Crawler Mesa
Firetruck - IFA L60 Fire Truck
FBI Rancher - Chevrolet Suburban FBI
Admiral - Admiral Cabrio
Premier - Mercedes S600
Burrito - Toyota Town Ace
Trash - Mack R 600 Trashmaster
Cabbie - Chevrolet Bel Air
Sandking - Suburban Offroad
Esperanto - Maserati Spyder
Walton - Isuzu
Picador - Chevrolet El Camino (Tuned)
DFT-30 - Design-X2-DD 360N (Bus)
Rancher - Ford Bronco Concept
Journey - Chevrolet Camper
Yosmite - Ford F-150
Kart - Other Kart
Tractor - Tunable Tractor
Stafford - Rolls Royce Phantom
Tug - Tunable Tug
Fortune - Toyota Supra
Combine - New Holland TX 34
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514, 06:51, 2007-08-04 12:13:11 Description: The Smokers Band ~ Tampa FL
Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals,
Genre: Blues-rock, Blues, Jamm Instrumentalm Rock
(More) The Smokers Band ~ Tampa FL
Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals,
Genre: Blues-rock, Blues, Jamm Instrumentalm Rock
Years active 1991 - present
The Smokers was formed in Tampa, Florida on March 26, 1991 and remain a popular cover band today. Tampa~St. Pete were home before expanding statewide Florida in 2005. Their unique arrangements and fresh rock and roll licks drew a loyal following spanning the state.
Formerly: The Affordables
Booking agent: Joe: 813.681.1330
Sampling Six includes
(1) Rock Me Baby - Written by B B King
(2) Born on the Bayou - Written By Creedence Clearwater Revival
(3) Hard To Handle - By Otis Redding
(-) Introductions to the band - The Smokers
(4) Darlin You Know I Love You - By B.B. King
(5) Long Train Running Lyrics - By The Doobie Brothers
(6) Will It Go Round In Circles - By Billy Preston
(bonus cut) Funky Broadway - By Wilson Pickett -
~~~
Lyrics
Rock Me Baby
B.B. King
Rock me baby, rock me all night long
Rock me baby, honey, rock me all night long
I want you to rock me baby,
like my back ain't got no bone
Roll me baby, like you roll a wagon wheel
I want you to roll me baby,
like you roll a wagon wheel
Want you to roll me baby,
you don't know how it makes me feel
Rock me baby, honey, rock me slow
Yeah, rock me pretty baby, baby rock me slow
Want you to rock me baby, till I want no more
~~~
Born on the Bayou
Creedence Clearwater Revival
Now, when I was just a little boy,
Standin' to my Daddy's knee,
My poppa said, "Son, don't let the man get you
Do what he done to me."
'Cause he'll get you,
'Cause he'll get you now, now.
And I can remember the fourth of July,
Runnin' through the backwood, bare.
And I can still hear my old hound dog barkin',
Chasin' down a hoodoo there.
Chasin' down a hoodoo there.
CHORUS:
Born On The Bayou;
Born On The Bayou;
Born On The Bayou.
Wish I was back on the Bayou.
Rollin' with some Cajun Queen.
Wishin' I were a fast freight train,
Just a chooglin' on down to New Orleans.
CHORUS
Do it, do it, do it, do it. Oh, Lord.
Oh get back boy.
I can remember the fourth of July,
Runnin' through the backwood bare.
And I can still hear my old hound dog barkin',
Chasin' down a hoodoo there.
Chasin' down a hoodoo there.
CHORUS
All right! Do, do, do, do.
Mmmmmmm, oh.
~~~
Hard To Handle - By Otis Redding
Hey
Here I am
I'm the man on the scene
I can give you what you want
But you got to come home with me
I forgot some good old lovin'
And I got some more in store
When I get to throw it on you
You got to come back for more
Toys and things that come by the dozen
That ain't nothin' but drug store lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Action speaks louder than words
And I'm a man of great experience
I know you got another man
But I can love you better than him
Take my hand, don't be afraid
I'm gonna prove every word I say
I'm advertisin' love for free
So, you can place your ad with me
Once it come along a dime by the dozen
That ain't nothin' but ten cent lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Yeah, hard to handle, now
Oh, baby
Baby, here I am
The man on your scene
I can give you what you want
But you got to come home with me I forgot some good old lovin'
And I got some in store When I get to throw it on you
You got to come runnin' back for more
Once it come along a dime by the dozen
That ain't nothin' but drug store lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now,
Get around Hard, hard to handle, now
Oh yeah, yeah, yeah Yeah
Once it come along a dime by the dozen
That ain't nothin' but ten cent lovin'
Hey little baby, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Yeah, so hard to handle, now
Oh yeah Baby, good lovin'
Baby, baby, owww, good lovin'
I need good lovin'
I got to have, oh yeah, yeah, yeah
Yeah So hard to handle, now, yeah Um-um-um
~~~
Darlin You Know I Love You
By B.B. King
Darlin', darlin' you know I love you,
I love you, for myself
But you're gone, gone and left me for someone else
I think of you, think of you every morning
I dream of you, every night, and with love,
love to be with you always
When night began to fall,
I cry, cry alone
And I wish, maybe I can hold you in my arms tonight
Oh, darlin', darlin' you know I love you,
I love you, for myself
But you're gone, gone and left me for someone else
~~~
Long Train Running Lyrics
By The Doobie Brothers
Down around the corner half a mile from here
see them both feet run and you watch them dissapear
without love where would you be now
without love
though i saw miss lucy down along the track
she lost her home and her family and she won t be coming back
without love where would you be now
without love
with the feeling always central and the southern central freight
you got to keep on pushing mamma you know there running late
without love where would you be now
without love
when the pistons keep on turning and go round and round
and the steel reels are cold and hard and the moutain ain t no down
without love where would you be now
without love
~~~
Will It Go Round In Circles - By Billy Preston
Will it go round in circles
Will it fly high like a bird up in the sky
Will it go round in circles
Will it fly high like a bird up in the sky ...
~~~
Funky Broadway - By Wilson Pickett -
Every town I go in
There's a street, uh, huh
Name of the street, uh, huh
Funky funky Broadway
Down on Broadway, huh
There's a nightclub, now, now
Name of the nightclub, now baby
Funky Funky Broadway
Down on Broadway
There's a crowd, now, huh
Name of the crowd, baby
Broadway crowd
Down on Broadway, yeah
There's a dancestep, huh
Name of the dance,
Funky Funky Broadway, hey! huh
Wiggle your legs now, baby
Shake your head, ooh, huh
Do the shing-a-ling now baby, now
Shake, shake, shake now
You don't know, huh, baby, now
You don't know, now woman, owww!
Doin' the funky Broadway, hey!
Lord have mercy
Oh, you got me feelin' alright
Dirty filthy Broadway
Don't I like the Broadway, huh
That Broadway, lookit here
Down on Broadway
There's a woman
Name of the woman, huh
Broadway woman, hey!
Down on Broadway, yeah
There's a man, huh
Name of the man (fade)
~~~
Origins of rock and roll
Rock and roll began to emerge as a musical style in United States of America during the late 1940s as a combination of the rhythms of the blues, R&B, African American culture, and from America's country and western music, as well as gospel. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined the above elements with jazz, influences from traditional Appalachian folk music, and Gospel music. Going back even further, rock and roll can trace one lineage to the old Five Points, Manhattan district of mid-19th century New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances with melody-driven European genres, particularly the Irish jig.
Rocking was a term first used by black gospel singers in the American South to mean something akin to spiritual rapture. By the 1940s, however, the term was used as a double entendre, ostensibly referring to dancing, but with the subtextual meaning of sex, as in Roy Brown's "Good Rocking Tonight." This type of song was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences.
During the 1920s and 1930s, many white Americans enjoyed African-American jazz and blues performed by white musicians. They often objected to the music as performed by the original black artists, but found it acceptable when performed by whites. A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success. While rock and roll musicians increasingly wrote their own material, many of the earliest white rock and roll hits were covers of earlier rhythm and blues or blues songs. Blues would continue to inspire rock performers for decades. Delta blues artists such as Robert Johnson and Skip James also proved to be important inspirations for British blues-rockers such as The Yardbirds, Cream, and Led Zeppelin.
In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this type of music for a multi-racial audience. Freed is credited with coining the phrase "rock and roll" to describe the rollicking R&B music. While working as a disc jockey at radio station WJW in Cleveland, he also organized the first rock and roll concert, called "The Moondog Coronation Ball" on March 21, 1952. The event, attended mainly by African Americans, proved a huge drawing card — the first event had to be ended early due to overcrowding. Thereafter, Freed organized many rock and roll shows attended by both whites and blacks, further helping to introduce African-American musical styles to a wider audience.
There is much debate as to what should be considered the first rock & roll record. Sister Rosetta Tharpe was recording shouting, stomping music in the 1930s and 1940s that in some ways contained major elements of mid-1950s rock and roll. She scored hits on the pop charts as far back as 1938 with her gospel songs, such as "This Train" and "Rock Me", and in the 1940s with "Strange Things Happenin Every Day", "Up Above My Head", and "Down By The Riverside." Another artist who was singing hard-rocking blues/gospel to a boogie piano was Big Joe Turner, whose 1939 recording, "Roll 'em Pete," is almost indistinguishable from '50s rock and roll. Other significant records of the 1940s and early 1950s included Roy Brown ("Good Rocking Tonight", 1947), more Big Joe Turner ("Honey, Hush", 1953, and "Shake, Rattle and Roll", 1954), Paul Bascomb ("Rock and Roll", 1947), Fats Domino ("The Fat Man," 1949) and Les Paul and Mary Ford ("How High the Moon", 1951).
Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record[2]. Bo Diddley's 1955 hit "Bo Diddley" backed with "I'm A Man" introduced a new, pounding beat, and unique guitar playing that inspired many artists.
Bill Haley's "Rock Around the Clock" (1954) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and the door was opened for this new wave of popular culture. Other artists with early rock 'n' roll hits were Chuck Berry and Little Richard, as well as many vocal doo-wop groups. Within the decade crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.
Both rock and roll and boogie woogie have four beats (usually broken down into eight eighth-notes/quavers) to a bar, and are twelve-bar blues. Rock and roll however has a greater emphasis on the backbeat than boogie woogie. Little Richard combined boogie-woogie piano with a heavy backbeat and over-the-top, shouted, gospel-influenced vocals that the Rock and Roll Hall of Fame says "blew the lid off the '50s." However, others before Little Richard were combining these elements, including Esquerita, Cecil Gant, Amos Milburn, Piano Red, and Harry Gibson. Little Richard's wild style, with shouts and "wooo wooos," had itself been used by female gospel singers, including the 1940s' Marion Williams. Roy Brown did a Little Richard style "yaaaaaaww" long before Richard in "Ain't No Rockin no More."
Early North American Rock and Roll (1953-1963)
Rock and roll appeared at a time when racial tensions in the United States were coming to the surface. African Americans were protesting segregation of schools and public facilities. The "separate but equal" doctrine was nominally overturned by the Supreme Court in 1954, and the difficult task of enforcing this new doctrine lay ahead. This new musical form combining elements of white and black music inevitably provoked strong reactions. From the early 60s, Ike & Tina Turner were big Rock & Roll stars.
On March 21, 1952 in Cleveland, Alan Freed (also known as Moondog) organized an early rock and roll concert, titled "The Moondog Coronation Ball". The audience and the performers were mixed in race. The evening ended after one song in a near-riot as thousands of fans tried to get into the sold-out venue. The record industry soon understood that there was a white market for black music that was beyond the stylistic boundaries of rhythm and blues. Even the considerable prejudice and racial barriers could do nothing against market forces. Rock and roll was an overnight success in the U.S., making ripples across the Atlantic, and perhaps culminating in 1964 with the British Invasion.
From this early-1950s inception through the early 1960s, rock and roll music also spawned a new dance craze. Teenagers found the irregular rhythm of the backbeat especially suited to reviving the jitterbug dancing of the big-band era. "Sock-hops," gym dances, and home basement dance parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest dance and fashion styles. From the mid-1960s on, as "rock and roll" yielded gradually to "rock," later dance genres followed, starting with the Twist, and leading up to Funk, disco, house and techno.
Rockabilly
In 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun studios in Memphis. Elvis played a rock and country & western fusion called rockabilly, which was characterized by hiccupping vocals, slapping bass and a spastic guitar style. He became the first superstar rock musician.
Elvis Presley in 1957's Jailhouse RockThe following year's "Rock Around the Clock" by Bill Haley & His Comets really set the rock and roll boom in motion. The song was one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. The song's inclusion in the film Blackboard Jungle marked the beginning of a mutually beneficial marriage of the genre to film. It had been recorded in 1954 with limited sales, but exploded in 1955 after the release of the movie, which used it in the opening sequence.
If everything that came before laid the groundwork, "Clock" certainly set the mold for everything else that came after. With its combined rockabilly and R & B influences, "Clock" topped the U.S. charts for several weeks, and became wildly popular with teenagers in places like Britain, Australia and Germany. The single, released by independent label Festival Records in Australia, was the biggest-selling recording in the country at the time. In 1957, Jerry Lee Lewis and Buddy Holly became the first rock musicians to tour Australia, marking the expansion of the genre into a worldwide phenomenon. That same year, Haley toured Europe, bringing rock 'n' roll to that continent for the first time.
Covers
Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit. Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets. However, savvy artists and producers quickly recognized the potential of rock, and raced to cash in with white versions of this black music. White musicians also fell in love with the music and played it everywhere they could. Many of Presley's early hits were covers, like "That's All Right", "Baby, Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog".
Covering was customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law (still in effect [4]). One of the first successful rock and roll covers was Wynonie Harris's transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a showy rocker. The most notable trend, however, was white pop covers of black R&B numbers. Exceptions to this rule included Wynonie Harris covering the Louis Prima rocker "Oh Babe" in 1950, and Amos Milburn covering what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce," in 1949.
Black performers saw their songs recorded by white performers, an important step in the dissemination of the music, but often at the cost of feeling and authenticity (not to mention revenue). Most famously, Pat Boone recorded sanitized versions of Little Richard songs, though Boone found "Long Tall Sally" so intense that he couldn't cover it. Later, as those songs became popular, the original artists' recordings received radio play as well. Little Richard once called Pat Boone from the audience and introduced him as "the man who made me a millionaire."
The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number, while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie."
Teen Idols
In 1959, Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson) were killed when a plane Buddy Holly had chartered from Mason City, Iowa, to Fargo, North Dakota crashed in a corn field, after a performance at the Winter Dance Party.
Buddy Holly, fed up with the conditions on the buses, decided to charter a small plane for himself and the Crickets to get to the next show on time, get some rest, and get their laundry done. After the February 2, 1959 performance at the Surf Ballroom in Clear Lake, Iowa, Holly, Richardson (who pleaded with Waylon Jennings for his seat because he was stricken with flu), and Valens (who had won Tommy Allsup's seat after a coin toss), were taken to Clear Lake airport by the manager of the Surf Ballroom.
The plane, a four-passenger Beechcraft Bonanza, departed into a blinding snowstorm and crashed into farmer Albert Juhl's cornfield shortly after takeoff. The crash ended the lives of all three passengers, as well as the 21 year-old pilot, Roger Peterson. This event inspired singer Don McLean's popular 1971 ballad "American Pie", and immortalized February 3 as "The Day the Music Died". The event also inspired the Tommy Dee song "Three Stars", which specifically mentions Buddy Holly, the Big Bopper, and Valens.
Besides Elvis Presley, Holly, Valens, and Richardson were known as three of the first rock and roll teen idols. They were followed by other artists with massive appeal to a teenaged audience, such as Paul Anka, Ricky Nelson, Frankie Avalon, the Beatles, and later, the Monkees.
Teen idols were not only known for their catchy pop music, but good looks also played a large part in their successes. It was because of this that certain fan magazines, exclusively geared to the fans of teen idols (16 Magazine, Tiger Beat, etc.), were created. These monthly magazines typically featured a popular teen idol on the cover, as well as pin-up photographs, a Q&A, and a list of each idol's "faves" (i.e. favorite color, favorite vegetable, favorite hair color, etc.).
Teen idols also influenced toys, Saturday morning cartoons and other products. At the height of each teen idol's popularity, it was not uncommon to see Beatle wigs, Davy Jones' "love beads", or perhaps even Herman's Hermits lunchboxes for sale.
British Rock and Roll
The trad jazz movement brought blues artists to Britain, and in 1955 Lonnie Donegan's version of "Rock Island Line" began skiffle music which inspired many young people to have a go, including John Lennon and Paul McCartney, whose "The Quarrymen", formed in March 1957, would gradually change and develop into The Beatles. These developments primed the United Kingdom to respond creatively to American rock and roll, which had an impact across the globe. In Britain, skiffle groups, record collecting and trend-watching were in full bloom among the youth culture prior to the rock era, and colour barriers were less of an issue with the idea of separate "race records" seeming almost unimaginable. Countless British youths listened to R&B and rock pioneers and began forming their own bands. Britain quickly became a new center of rock and roll.
In 1958 three British teenagers became Cliff Richard and the Drifters (later renamed Cliff Richard and the Shadows). The group recorded a hit, "Move It", marking not only what is held to be the very first true British rock 'n' roll single, but also the beginning of a different sound — British rock. Richard and his band introduced many important changes, such as using a "lead guitarist" (virtuoso Hank Marvin) and an electric bass.
The British scene developed, with others including Tommy Steele, Adam Faith and Billy Fury vying to emulate the stars from the U.S. Some touring acts attracted particular popularity in Britain, an example being Gene Vincent. This inspired many British teens to begin buying records and follow the music scene, thus laying the groundwork for Beatlemania.
At the start of the 1960s, instrumental dance music was very popular. Hits such as "Apache" by The Shadows and "Telstar" by The Tornados form a British branch of instrumental music.
Social Impact
The massive popularity and worldwide scope of rock and roll resulted in an unprecedented level of social impact. Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language. In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the style of music. It also birthed many other rock influenced styles. Progressive, alternative, punk, and heavy metal/rock are just a few of the genres that sprang forth in the wake of Rock and Roll.
Contributed by
Bill Stoll
StollCo Video - 2007
Tampa FL (Less)
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471, 01:10, 2009-01-18 05:32:45 Description: Here's the link
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427, 01:16, 2008-06-28 11:13:13 Description: if you have a game but your friend doesn't then give him your game and
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447, 03:36, 2009-09-06 23:31:51 Description: After many requests, I've finally been able to upload this video. I wasn't sure what to put for the title - I know "rape" is a strong word but "drugstore scene" seemed (More) After many requests, I've finally been able to upload this video. I wasn't sure what to put for the title - I know "rape" is a strong word but "drugstore scene" seemed too vague. Enjoy Karen's stunning acting! Full show available for sell/trade. (Less)
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366, 03:52, 2008-05-11 06:22:10 Description: MY OWN VERSION HOPE U ENJOYED IT ..POST COMMENTS
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342, 03:11, 2008-04-17 15:10:22 Description: The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time (Less)
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334, 04:59, 2008-04-17 15:09:54 Description: Sean John Combs (born November 4, 1969)[1] is an American record producer, mogul, CEO, clothing designer, and rapper. He was brought into the hip hop industry by life long friend Sami Al-Hakkak. As (More) Sean John Combs (born November 4, 1969)[1] is an American record producer, mogul, CEO, clothing designer, and rapper. He was brought into the hip hop industry by life long friend Sami Al-Hakkak. As of October 2006, his nickname and recording name is Diddy (adopted in August 2005). Previously, he had been known as Puff Daddy and later as P. Diddy (Puff and Puffy being often used as a nickname, but never as recording names). He is still called P. Diddy in New Zealand and the United Kingdom, the latter after a legal battle with another artist, Richard "Diddy" Dearlove.[ His business interests include Bad Boy Records, the clothing lines Sean John and Sean by Sean Combs, a movie production company, and two restaurants. He has taken the roles of recording executive, back up singer, performer, producer of MTV's Making the Band, writer, arranger, clothing designer, and Broadway actor. Diddy is the second richest hip-hop entertainer, having a net worth estimate of US$358 Million. Biography [edit] Early years Born in New York City to Melvin and Janice Combs, Sean grew up in Mount Vernon, just to the north of the New York City borough of the Bronx. When Combs was two, his father Melvin was shot dead in his car on January 26, 1972 at age thirty-three in a Manhattan park following a party he attended.[4] After completing his private secondary education at the Roman Catholic Mount Saint Michael Academy in the Bronx in 1987, Combs attended Howard University in Washington, DC but dropped out, and eventually became an intern at Uptown Records.[4] While enrolled at Howard University, Combs gained a reputation as a party promoter, showing an early penchant for marketing and promotions. Combs, in a display of his tenacity, would also travel back and forth between Washington, DC and New York juggling his classes and his internship with Uptown records. [edit] Establishing Bad Boy After starting the label, both Craig Mack and The Notorious B.I.G. quickly released hit singles, followed by similarly successful LPs, particularly B.I.G.'s Ready to Die. Puff Daddy, as he was then known, began signing more acts to Bad Boy, including, Dream, Carl Thomas, Faith Evans, Father MC, 112 and Total, as well as producing for Jodeci, Mary J. Blige, Usher, Lil' Kim, TLC, Mariah Carey, Boyz II Men, SWV, Aretha Franklin and others, and forming The Hitmen, an in-house production team. Ma$e and D-Block (known as "The Lox" at the time) soon joined Bad Boy, just as a widely publicized rivalry with the West Coast's Death Row Records was beginning. Combs and Biggie were criticized and parodied by Tupac Shakur and Suge Kight, in songs and interviews during the mid-1990s. Shakur was murdered in September, 1996.[5] Six months later, on March 9, 1997, the Notorious B.I.G. was murdered weeks before the release of his most successful album, Life After Death. Diddy also worked on various "Bad Boy" remixes, including massive smash hits such as MN8's "I've Got A Little Something For You" which featured on the Bad Boys film soundtrack in 1995. [edit] Personal life Combs with his sons Christian and Justin On Thursday December 21, 2006, Combs' then-girlfriend, Kim Porter (who also has a son with Al B Sure), delivered twin girls. Their names are D'Lila Star and Jessie James Combs.[6][7] The couple have a son, Christian, 9. Sean also has another son, Justin, 13, from his previous relationship with stylist Misa Hylton-Brim. In July 2007, Combs' rep confirms that the couple has split.[8] He also has another child with Sarah Chapman, a one year old daughter named Chance Chapman Combs. She and Kim Porter were pregnant at the same time. After initially denying paternity of Chance, DNA tests revealed that Combs is in fact her father. Bringing his total number of children to six, with five belonging to him biologically. [2] Combs is a major soccer fan. He arranged time to meet the Manchester United F.C. team in Copenhagen prior to MTV European Music Awards.[9] Combs favorite club is Arsenal F.C.: "I'm a loyal guy. There's a couple of other football teams tried to recruit me but I'm staying true to Arsenal. Arsenal fans have inducted me as an honorary official Arsenal member."[10] He was given the key to Chicago on October 13, 2006.[11] [edit] Recent events Combs tried to reinvent his image, but was once again in court facing assault charges from a Michigan television host, Dr. Roger Mills, and then was arrested for driving on a suspended license in Florida. In spite of continuing legal problems, Combs decided that he was going to release a gospel album, Thank You, but it was never released. After yet more legal problems stemming from an accusation of reckless driving by the Miami police, Combs began working with a series of unusual (for him) artists. A collaboration with David Bowie appeared on the soundtrack to Training Day, while Combs began working with Britney Spears and 'N Sync. He signed California-based pop girl group Dream to his record label. He was also an opening act for 'N Sync on their Spring 2002 Celebrity Tour. Sean Combs nickname "P. Diddy" was adopted in 2000. Later in 2002, he made his own reality show on MTV called Making the Band 2, the sequel to the first Making the Band. In it, contestants compete to be in a new group on Bad Boy Records. The six finalists have to come up with their name, CD and video (see Da Band). The group was maligned by comics and critics, including a well known skit that appeared on Chappelle's Show, and was dissolved by Diddy at the end of the series. Diddy went on to later work on creating an all-girl group called Danity Kane in the third version of Making The Band.[citation needed] In 2003, Combs ran in the New York City Marathon and raised $2,000,000 for the educational system for the children of New York. On March 10, 2004, he appeared in an episode of The Oprah Winfrey Show to discuss the marathon. He finished the marathon in four hours and eighteen minutes. In 2004, Combs headed the campaign "Vote or Die" for the 2004 Presidential Election. The "Vote or Die" slogan was mocked by both The Daily Show and South Park as being too simplistic and encouraging young people to vote without knowing the issues. In a South Park episode entitled "Douche and Turd", P. Diddy and his associates chased one of the main characters around with weapons, literally threatening to kill him if he wouldn't vote in his school election.[12] At the time there were also rumors that Combs didn't even vote in the election, and that like Paris Hilton, another supporter of the campaign, wasn't even registered. In a 2005 interview with AndPOP, Combs explained that he was developing a new line of men's suits. On August 16, 2005, Combs appeared on the Today Show and announced that he was altering his stage name yet again, dropping the "P." and referring to himself simply as "Diddy," saying that "the P was getting between me and my fans." However this name change to Diddy upset Richard "Diddy" Dearlove, a London based musical artist & DJ.[13] Richard Dearlove lodged paperwork on Wednesday 16 November 2005 at 10:30 am in the Royal Court of Justice, London to start injunctive proceedings, a case which he won when an out of court settlement of 110,000 was agreed. As a result, Combs will no longer be able to use the name Diddy in the UK.[2][14] As of 2005, Combs sold his record company to the Warner Music Group. Tensions still existed between Diddy and former Warners CEOs Lyor Cohen and Kevin Liles (both formerly of Def Jam), but they arranged for his imprint to be a part of the company. He still remains CEO of Bad Boy Records.[15] He later hosted the 2005 MTV Video Music Awards, and was named one of the 100 Most Influential People of 2005 by Time magazine.[16] He even earned a mention in the world of country music. The subject of Play Something Country by Brooks & Dunn and Sean Okundaye says he "didn't come to hear P Diddy" which he rhymes with "something bumpin' from the city." Diddy released the album Press Play on October 17, 2006, his first album in 4 years. The album included a variety of popular and contemporary guest appearances including Christina Aguilera, Keyshia Cole, Mario Winans (signed to his label 'Bad Boy Records'), Nas, Will.i.am (Black Eyed Peas), Mary J. Blige, Nicole Scherzinger (of the Pussycat Dolls), Jamie Foxx, Big Boi (Outkast), Ciara, and Brandy. The album reached number one on its first week in the charts. In the February 2007 issue of Blender magazine, Diddy dishes about his wardrobe. He describes his style in three words. "Swagger. Timeless. Diverse."[17] Combs was also recently featured in a Burger King commercial with Cassie. On Sunday, July 1, 2007, Combs performed I'll Be Missing You at the Concert for Diana at Wembley Stadium. On Tuesday, September 18, 2007, Diddy teamed up with 50 Cent and Jay-Z for the "Forbes I Get Money Billion Dollar Remix."[18] [edit] Performing career Diddy has recently finished recording his latest LP, entitled Press Play, featuring collaborations with, among others, Christina Aguilera, Nas, Big Boi, Twista, Just Blaze, Pharrell, Brandy, Mary J. Blige and Keyshia Cole which was released on October 17th, 2006. It was reported that Diddy would be singing on all the tracks of this album, but that was proven false as, on the album's first single, "Come To Me" (featuring Nicole Scherzinger of the Pussycat Dolls), he did not sing at all, but rather did his traditional rapping. He does sing on the third single, "Last Night" (featuring Keyshia Cole). "Tell Me" (featuring Christina Aguilera) was released as the second single. An interesting fact about this song is that it was a demo song for his Making the Band 3 girl group, Danity Kane, as seen in the second season of the MTV show. He was asking fans on his MySpace page to help him choose the fourth single. "Through the Pain (She Told Me)" (featuring Mario Winans) was chosen as the fourth single. [edit] Ventures Combs has opened his own clothing range named 'Sean John'. Combs is one of the wealthiest people in the American entertainment industry. In 2002, he was featured on Fortune magazine's "40 Richest People Under 40" list and was placed number one in the list of the top ten richest people in hip-hop. He has donated undisclosed amounts to the Patricia Kirby Foundation, an organization that battles teenage bulimia and other eating disorders. In addition to his work as a performer and producer, Combs entered the fashion industry. His clothing line, Sean John, has been nominated for the Council of Fashion Designers of America (CFDA) Award for Menswear Designer of the Year every year since 2000. Sean John received criticism, however, for using fur in his designs. Controversy also followed when it was discovered that factories producing the clothing in Honduras were violating Honduran labor law.[19] Charles Kernaghan of the National Labor Committee, who first exposed the factory, is quoted in the New York Times as saying, "Sean Combs obviously has a lot of clout, he can literally do a lot overnight to help these workers."[19] He did and conditions at the factory improved dramatically. The case is often cited as an example of how concerned celebrities can contribute to ending sweatshop abuses. In 2006, mayor Richard M. Daley awarded Combs with a pair of cufflinks to commemorate the inauguration of an annual October 13 "Diddy Day" in the city of Chicago.[20] Combs received the honor as reward for certain "charitable work" at the Chicago City Hall. This has been seen by some to be an election-month stunt by the mayor. Combs also owns two upscale restaurants called "Justin's" (named after his son) with locations in New York and in Atlanta. He is the designer of the green Dallas Mavericks alternate jersey. He appeared as a drug dealer in the film Made, and he played the role of Walter Lee Younger in the critically acclaimed 2004 Broadway revival of A Raisin in the Sun. Combs says he loved appearing in the show and being given the opportunity to perform at the theater. He attracted huge crowds for his performance in the New York production, received mixed reviews, and admits he is desperate to pursue an acting career. He also starred with Halle Berry and Billy Bob Thornton in the film Monster's Ball. He also starred in Carlito's Way: Rise to Power. Diddy has mentioned that he would be interested in playing the black-version of James Bond. [edit] Controversy He has been criticized for watering down and overly commercializing hip-hop for a mainstream market and as overusing guest appearances by other artists as well as samples and interpolations of past hits for the majority of his own hit songs.[21] [22] The Onion parodied this phenomenon in an article titled "New rap song samples Billie Jean in its entirety, adds nothing."[23] Nevertheless, he has been enormously successful, with a current estimated worth of US $346 million and growing, making him one of the richest person in the hip hop entertainment business.[24] In 1991, Combs promoted a concert headlined by Heavy D. The concert was held at a City College of New York gymnasium following an AIDS charity basketball game. The event was massively overcrowded; it was oversold to almost twice the capacity of the gymnasium. In addition, thousands without tickets were outside. In order to keep them from sneaking in, Combs' people shut the only door to a stairwell and put a table behind it, despite the crowd jammed inside pounding on the door and pleading for help. At some point people in the crowd outside broke several glass doors in an attempt to get in; this caused a stampede inside the gymnasium in which nine people died.[5] In a 1999 ruling, a Court of Claims judge found Combs and Heavy D. 50 percent responsible for the incident, City College bore the rest of the responsibility in part for abandoning security responsibility to Combs, even though they knew the event was oversold. In 1992, Combs entered into an agreement with Hartford, Connecticut, disc jockey JC Big Balla Sledge to start a label in Hartford for the citys untapped talent, named Hip Hart Beat Records. The pair had creative differences over the usage of talent and eventually split. In a statement to Rolling Stone Magazine, JC said, Sean and I remain friends, just not as close as we once were. Our split where it relates to business was because we saw two totally different avenues. I wanted to drive left and go the way of Def Jam and its mainstay of artists and Puffy [Combs] wanted to drive right, business as usual. We all knew what that meant. I dont have to spell it outjust look at Bad Boys roster and its history. The split was amicable; litigation was an option, but why. Hip Hart Beat Records will one day become a reality. We are close now. In December 1999, Combs was accused of assaulting Steve Stoute of Interscope Records. Stoute was the manager for Nas, whose video for "Hate Me Now" featured Nas being crucified. Though Combs had willingly filmed the video scene earlier that year, he demanded that the images be removed. Stoute's refusal led to an argument and Combs' arrest for aggravated assault. This was followed by a yet more negative publicity as The Lox left Bad Boy Records, and a recording session with Lil' Kim and Lil' Cease, both of Biggie's Junior M.A.F.I.A. posse, was interrupted by gunfire. In December 1999, Combs and his then-girlfriend, Jennifer Lopez, were at Club New York, a midtown Manhattan nightclub, when gunfire broke out. After a police investigation, Combs and fellow rapper Shyne were arrested for weapons violations and other charges. Combs was indicted after his driver claimed that Combs had tried to bribe him into taking the weapon after the shooting. With bribery charges added to the bill, Combs was being attacked in the tabloids on a near-daily basis. Before the trial was over, Combs found himself in court on numerous civil charges. With a gag order in place, the highly-publicized trial began. His attorney was Johnnie L. Cochran Jr.. After the trial was over, Combs was acquitted, but his artist Shyne was convicted on the same charges and sentenced to ten years in prison. A talent agency then sued Combs for unfair competition, as did a woman who rented an apartment owned by Combs; she claimed he refused to rid the house of vermin. Combs then launched his own lawsuit against a writer who did not follow through on an alleged agreement to help write Combs' biography. Combs was soon acquitted of all charges relating to the shooting incident, followed almost immediately by a break-up with Lopez. With the media circus over, Combs changed his stage name from "Puff Daddy" to "P. Diddy".[25] In February 2004, Combs settled a $3 million lawsuit filed by his former driver, Fenderson, who said he suffered emotional damage after the club shooting four years earlier. Lawyers for both sides, having agreed to keep the settlement terms secret, refused to say what it took to resolve the case. They would say only that the matter was resolved to the satisfaction of all parties. In June 2005, it was revealed by Ganglandnews.com[26] that Combs is allegedly a close friend of reputed Gambino Mafia family enforcer, Andrew Campos. In October 2007, he was sued by hip-hop promoter James Waldon for allegedly unleashing three violent bodyguards on him in a New York nightclub.[27] (Less)
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318, 02:11, 2009-01-11 07:36:42 Description: Here's the link
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So this whole thing works really smooth. You basically take surveys that give you points, which you can then trade in for awesome prizes. They (More) Here's the link
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312, 01:08, 2008-04-17 12:00:08 Description: Biografia: Anastacia Lyn Newkirk (Chicago, Illinois, 17 settembre 1973) è una cantante pop statunitense. É famosa per la sua voce potente, "nera", soul, e per la sua (More) Biografia: Anastacia Lyn Newkirk (Chicago, Illinois, 17 settembre 1973) è una cantante pop statunitense. É famosa per la sua voce potente, "nera", soul, e per la sua incredibile estensione vocale. Anastacia è diventata un'icona in Europa, Oceania, gran parte dell'Asia e in Sud Africa ma non ha mai avuto un grande impatto in America. Ha venduto 25 milioni di dischi sin dal suo debutto nel 2000, con l'album Not That Kind. Anastacia nasce a Chicago e cresce a New York in una famiglia di artisti: la madre è un'attrice di Broadway, il padre è un cantante che si esibisce nei locali della East Coast. Ha una sorella maggiore, Shawn. Le professioni dei genitori l'aiutano a scoprire presto il suo talento per lo spettacolo, in particolare la musica e la danza. La sua adolescenza ha un inizio difficile: a 13 anni scopre di essere ammalata del morbo di Crohn, una malattia che colpisce l'intestino e che la costringe ad operarsi. A 14 anni i genitori si separano e lei si trasferisce con la madre nell'West Side di Manhattan. Qui si diploma alla Professional Children School e comincia ad esercitarsi sulla voce grazie ai CD di Elton John e Barbra Streisand di sua madre. I suoi vocalizzi eccezionali e la sua voce soul le valgono il soprannome di "Freak of Nature" (letteralmente "scherzo di natura", che diventerà il titolo del suo secondo album). I primi passi di Anastacia come cantante sono nel dance club newyorkese "1018", che frequenta con la sorella e le fa conoscere la house music e la danza freestyle. Da lì accede all'MTV Club, che la porta a ballare in alcuni videoclip (Everybody get up e Twist and shout delle Salt-N-Pepa), un produttore la nota e le chiede se oltre a danzare sa anche cantare. Ma le case discografiche esitano all'inizio, sia perché non sanno come trattare una ragazza bianca con la voce "nera" sia perché Anastacia non si piega al volere dei produttori che la vogliono cantare musica pop o hip hop per motivi commerciali. Lei sa bene quale deve essere il suo stile, un mix di soul, pop e rock (che sarà detto sprock, Soul nella voce, Pop nei testi e ROCK "nelle chitarre" (cioè nella base musicale)). Nel 1993 si reca a Los Angeles per incidere il brano One more chance (futuro brano del suo album Not That Kind) per il produttore O.G.Pierce, ma alla registrazione non segue alcun contratto discografico e Anastacia torna a New York piuttosto pessimista riguardo le sue possibilità nel mondo della musica. L'anno fortunato sarà il 1998, quando la sua manager Lisa Braudé la spinge a presentarsi a "The Cut", un programma di MTV per la ricerca di nuovi talenti. Canta Not that kind e supera ben 150 concorrenti, entrando nella top ten. La sua esibizione scatena un entusiasmo immediato di pubblico e dei futuri colleghi (Elton John la elogia, mentre Michael Jackson le telefona la sera stessa per complimentarsi personalmente). Il successo improvviso la rincuora e la spinge ad andare avanti nella sua carriera proprio quando era quasi sul punto di mollare. Discografia Studio 2000 - Not That Kind, 5 milioni di copie vendute nel mondo 2001 - Freak Of Nature, 7 milioni di copie vendute nel mondo 2004 - Anastacia, 9 milioni di copie vendute nel mondo 2005 - Pieces of a Dream, 4 milioni di copie vendute nel mondo 2008 - Coming Soon... Singoli Not that kind 2000 I'm outta love 2001 Not that kind 2001 Cowboys & kisses 2001 Made for lovin' you Freak of nature 2001 Paid my dues 2002 One day in your life 2002 Why'd you lie to me 2002 You'll never be alone Anastacia 2004 Left outside alone 2004 Sick and tired 2004 Welcome to my truth 2005 Heavy on my heart Pieces of a dream 2005 Everything burns - (con Ben Moody) 2005 Pieces of a dream 2006 I belong to you/Il ritmo della passione - (con Eros Ramazzotti) Altri brani 2000 Baptize my soul - (B-side del singolo "I'm outta love") 2000 Nothing at all - (B-side del singolo "Cowboys & Kisses") 2002 Bad girls - (con Jamiroquai, Brit Awards 2002 Live) 2002 You shook me all night long - (con Celine Dion, VH1's Divas Live) 2002 Boom - (Fifa World Cup soundtrack) 2003 Love is a crime - (Chicago soundtrack) 2004 Get ready - (B-side del singolo "Left outside alone") 2004 Twisted girl - (B-side del singolo "Sick and tired") 2005 Underground army - (B-side del singolo "Heavy on my heart") 2005 Trop lourd dans mon coeur - (versione francese di "Heavy on my heart", B-side del singolo "Heavy on my heart") 2006 I belong to you/El ritmo de la pasion - (versione spagnola con Eros Ramazzotti) ANASTACIA FILM VIDEO VIDEOCLIP CULO TETTE TOPLESS GOSSIP NUDA SPOGLIATA FIGA FOTO SEXY BACKSTAGE PICS NUDE UNDRESSED HOT SHOW CLIPS TV INTERVISTA SEX CELEB MUSIC (Less)
Channel: metacafeTags: ANASTACIA FILM VIDEO VIDEOCLIP CULO TETTE TOPLESS GOSSIP NUDA SPOGLIATA FIGA FOTO SEXY BACKSTAGE PIC
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