how to get stronger and cut part 1

How to get Stronger and cut Part 4 - KFK

10,

07:49,

2008-05-11 01:13:55

Description: On this video i talk about eatting for loseing weight, or eatting for energy, more ab work outs, and leg work outs Don't forget to eat right In part 5 there will be more tips from my list of (More)

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Tags: abs eatting energy Fu get how Khang Kung legs lost strong tips to weight workout

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The Smokers Band

141,

06:51,

2008-04-22 16:35:02

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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Tags: and band blues rock roll

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God as we understand him, the dilemma of no faith tk 1

19,

10:39,

2008-04-22 09:22:03

Description: Jim discusses the delima of no faith THE PROFESSOR AND THE PARADOX Says he, We A.A.s surrender to win; we give away to keep; we suffer to get well, and we die to live. I am in the public information (More) Jim discusses the delima of no faith THE PROFESSOR AND THE PARADOX Says he, We A.A.s surrender to win; we give away to keep; we suffer to get well, and we die to live. I am in the public information business. I use that phrase or designation because if I say I am a college professor everybody always has a tendency to run the other way. And when they learn that I am a specialist in English, they have looks of--horror for fear they are going to slip up and say ain't. I often wish I sold shoes or insurance or fixed automobiles or plumbed pipes. I would have more friends. My story is not a great deal different from others? except in a few specific details. All the roads of alcoholism lead to the same place and condition. I suppose I have always been shy, sensitive, fearful, envious, and resentful, which in turn leads one to be arrogantly independent, a defiant personality. I believe I got a Ph.D. degree principally because I wanted to either outdo or defy everybody else. I have published a great deal of scholarly research ?I think for the same reason. Such determination, such striving for perfection, is undoubtedly an admirable and practical quality to have, for a while; but when a person mixes such a quality with alcohol, that quality can eventually cut him almost to pieces. At least it did so to me. I began drinking as a social drinker, in my early twenties. Drinking constituted no problem for me until well after I finished graduate school at the age of thirty. But as the tensions and anxieties of my life began to mount, and the set-backs from perfection began to increase, I finally slipped over the line between moderate drinking and alcoholism. No longer would I drink a few beers or a cocktail or two and let it go at that. No longer did I let months or even weeks go by without liquor. And when drinking, I entered what I now know was the dream-world of alcoholic fantasy. Then for about five years of progressively worse alcoholic drinking, of filling my life and home with more and more wreckage, it looked as if I were going to ride this toboggan of destruction to the bitter end. Maybe I didn'?t get as bad as some of the others. I must confess that I never went to teach one of my classes drunk or drinking, but I've been awfully hungover. My pattern was to be drunk at night, boil myself out to creep to work in the morning, drunk the next night, boil myself out in the morning, drunk again the next night, boil myself out the next morning. I may not have drunk as much whiskey as some, but there isn'?t anybody whose drunk any more Sal Hepatica than I have! Now there are all kinds of drunks: melancholy drunks, weeping drunks, travelling drunks, slap-happy and stupid drunks, and a number of other varieties. I was a self-aggrandizing and occasionally violent drunk. You wouldn'? think a little fellow like me could do much damage, but when I'?m drunk I'?m pure dyamite. I'?m not going into any othe details--the University can fire me yet! I came to believe actually that life was not worth living unless I could drink. I was utterly miserable and sometimes desperate, living always with a feeling of impending calamity (I knew something was bound to ?break loose?). And to do away with such a fear, I would try a little more drinking, with the inevitable result ?for by this time one drink would set up in me that irresistible urge to take another and another until I was down or hungover and in trouble. In the hungover stage I would vow never to touch another drop, and then be drunk the next night. I knew at least that there had to be some changes made. I tried to change the time and place and amount of my drinking. I tried to change my environ- ment, my place of living?like most of us who at one time or another think that our trouble is geography rather than whiskey. I even entertained the idea of changing wives. I tried to change everything and everybody, except myself--?the only thing I could change. I did not know that it was physically impossible for me to drink moderately. I did not know that my body'?s drinking machinery had worn out, and that the parts could not be replaced. I did not know that just one drink made it impossible for me to control my behavior and conduct and my future drinking. I did not know, in short, that I was powerless over alcohol. My family and my friends sensed or knew these things about me long before I did. Finally, as with most of us in A.A., the crisis came. I realized I had a drinking problem which had to be solved. My wife and a close friend tried to persuade; me to contact the only member of Alcoholics Anonymous we knew of in town. This I refused to do. But I agreed that I would stop drinking altogether, maintaining stoutly and sincerely that I could and would solve this problem ?on my own.? I would feel much better doing it that way, I insisted. I stayed sober for two entire weeks! Then I pitched a lulu of a terrible drunken affair in which I became violently insane. I also landed in the City Jail. I don't know exactly what happened on this bender, but here are some things that did happen which I was told about subsequently. First, the officers who had come out to my house did not want to take me in--but I insisted! Also, I insisted that they wait in the living room while I went back to the bedroom and changed into my best and newest suit (with socks and tie to match), so that I would look nice in jail! I don't remember the ride downtown, but when I came to the jail corridor, I didn't like the looks of the little cage they were shoving me into, so I took issue about that with three officers and indulged in some fisticuffs with all three of them at once--each one of them twice my size and armed with a gun and a blackjack. Now what kind of thinking and acting is that? If that isn'?t insanity, or absurd grandiosity, or some sort of mental illness, what is it? Because I yelled so loud and made so much noise, I ended up downstairs under the concrete in a place they call solitary. (That's a fine place now isn't it? for a college professor to spend the night!) Two days later I was willing to try A.A., which I had only vaguely heard of a few months before. I called at the home of the man who started the A.A. group in my town, and I went humbly with him to an A.A. meeting the following night. As I look back, something must have happened to me during those two days. Some forces must have been at work which I do not understand. But on those two days ?between jail and A.A.?something happen to me that had never happened before. I repeat, I don'?t know what it was. Maybe I had made a d?ecision ??just a part of Step Three (I had made lots of promi but never a decision)--though it seems to me that I was at the time too confused and fogged up to make much of one. Maybe it was the guiding hand of God, or (as we Baptists say) the Holy Spirit. I like to think that it was just that, followed by my own attempt to take the Twelve Steps to recovery. Whatever it was, I have been in A.A. and I have been dry ever since. That was more than six years ago. A.A. does not function in a way which people normally expect it to. For example, instead of using our ?will power,? as everyone outside A.A. seems to think we do, we give up our wills to a Higher Power, place our lives in hands ?invisible hand s?stronger than ours. Another example: If twenty o thirty of us real drunks get away from home and meet in a clubroom down-town on Saturday night, the normal expectation is that all thirty of us will surely get roaring drunk, but it doesn'?t work out that way, does it? Or talking about whiskey and old drinking days (one would normally think) is sure to raise a thirst, but it doesn'?t work that way either, does it? Our program and procedures seem to be in many ways contrary to normal opinion. And so, in connection with this idea, let me pass on what I consider the four paradoxes of how A.A. works. (A paradox, you probably already know, is a statement which is seemingly self-contradictory; a statement which appears to be false, but which, upon careful examination, in certain instances proves to be true.) We SURRENDER TO WIN. On the face of it, surrendering certainly does not seem like winning. But it is in A.A. Only after we have come to the end of our rope, hit a stone wall in some aspect of our lives beyond which we can go no further; only when we hit ?bottom? in despair and surrender, can we accomplish sobriety which we could never accomplish before. We must, and we do, surrender in order to win. We GIVE AWAY TO KEEP. That seems absurd and untrue. How can you keep anything if you give it away? Rut in order to keep whatever it is we get in A.A., we must go about giving it away to others, for no fees or rewards of any kind. When we cannot afford to give away what we have received so freely in A.A., we had better get ready for our next ?drunk.? It will happen every time. We?ve got to continue to give it away in order to keep it. We SUFFER TO GET WELL. There is no way to escape the terrible suffering of remorse and regret and shame and embarrassment which starts us on the road to getting well from our affliction. There is no new way to shake out a hangover. It'?s painful. And for us, necessarily so. I told this to a friend of mine as he sat weaving to and fro on the side of the bed, in terrible shape, about to die for some paraldehyde. I said, ?Lost John?-that?s his nickname-?Lost John, you know you?re going to have to do a certain amount of shaking sooner or later.? ?Well,? he said, ?for God?s sake let?s make it later!? We suffer to get well. We DIE TO LIVE. That is a beautiful paradox straight out of the Biblical idea of being ?born again? or ?losing one's life to find it. When we work at our Twelve Steps, the old life of guzzling and fuzzy thinking, and all that goes with it, gradually dies, and we acquire a different and a better way of life. As our shortcomings are removed, one life of us dies, and another life of us lives. We in A.A. die to live. (Less)

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Tags: 12 Alcoholics Anonymous B Jim recovery steps

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Barrows Guide Using Veracs - Coley rfc01 -

52,

10:00,

2008-03-23 05:24:27

Description: WATCH THIS VIDEO IN HIGH DETAIL: http://youtube.com/watch?v=0ITB6hBAjSQ&fmt=18 My guide to Barrows using veracs, don't complain that it took me ages actually getting to barrows, this is (More) WATCH THIS VIDEO IN HIGH DETAIL: http://youtube.com/watch?v=0ITB6hBAjSQ&fmt=18 My guide to Barrows using veracs, don't complain that it took me ages actually getting to barrows, this is for new people 1k Views: 31st March '08 2k views: 8th April '08 5k Views: 5th May '08 Cheat Sheet For Text: 0:39 - 0:45: The reason I'm wearing NO ARMOR is because i wanted to keep my weight down whilst running 3:54 - 3:56: This way requires the completion of In Search Of The Myreque Quest to be completed 9:36 - 9:41: Ahrim: Robe top 0 Robe bottom 0 Hood 0 Staff 3 Karil: Top 2 Skirt 2 Coif 0 Bow 1 Torag: Plate 2 Legs 1 Helm 1 Hammers 0 Conversations with Barrow Brothers: Karil's Crypt: Karil: Your mum has balls she told me Karil: But, you know, hi! Dharok's cryot: Karil: Dharok, you suck lol My dharok: STFU bitch Dharok 2: r0o0ofl n0oo0b My dharok: I did your mom Dharok 3: I did your dad My dharok & dharok 2: WTF!? Dharok 4: Gay lol Torag's crypt: Karil: Torag you fat fuck, kill him Torag 2: I bet i could kill him My Torag: We are the same asshole Torag 2: Yeah, but i'm stronger Me: OMFG STFU!!! My Torag: Maketh me bitch? Me: I just did Guthan's crypt: My Guthan: Hi sexy! Guthan 2: Hi! My Guthan: Not you -.- Guthan 3: rofl y0o is getting pwned My Guthan: stfu or i will ram this spear up your hole Guthan 3 : ro0ofl y0oo0 n0oo0bz0id Guthan 3: Don't ya think Dharok is so gay? lol Dharok: I heard that! Guthan 3: Shit! My Guthan: n1c3 "1" b1tch r0flma0 Guy in Black mystic: 0mfg r3p0rt3d b3caus3 i'm a sad n3rd 'n' want to be a mod My Guthan: z0o0mfg i did yo0r m0m you hax0r narbbbbb Ahrim's Crypt: Ahrim: Salutations, I am Ahrim the Tight-Ass Ahrim: Whaddy'a say we climb into my coffin and get it on? Ahrim: WTF!? Verac (in tunnel) Verac: r0fl verac's armor os s0o0o0 gay Songs: Breaking Benjamin - Blow me away Avenged Sevenfold - Afterlife Sum 41 - Underclass Hero DO NOT ASK ME HOW TO DO NATURE SPIRIT, IN SEARCH OF THE MYREQUE ETC!! ASK RJ PORT HE IS THE QUEST GUIDE NOT ME! ~~~Notes~~~ -This took me 5 hours to make, so don't slag it -It was cut very short, and extremely hard to make it fit into 10 minutes, that's what i spent about 2 hours doing -I don't know why the quality is bullshit, and why you can see through the pixelation, it was fine when making it -I was a girl because i wanted an outfit that looked really smart and santa and d chain looks better on girl -It was also very hard puttin in the speech bubles and the writing for the barrow brothers since when i cut it shorter i had to move every single speech bubble and text Disclaimer: Runescape is a registered trademark of Jagex LTD, Which i do not own, and am not a part of. I soley make videos for the purpose of entertainment for runescape players. To play runescape go to http://www.runescape.com Edited with: Sony Vegas 7 (Less)

Channel: youtube

Tags: barrows runescape yirmaw zezima

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[SET1][P1] Megaman X [HTSF]

0,

09:35,

2008-02-06 18:57:16

Description: *Contains Strong Language* [Set 1, Part 1/12, of How To Successfully FAIL at Megaman X] When discussing difficult games of yesteryear, Megaman is sure to be brought up at some point.. challenging, (More) *Contains Strong Language* [Set 1, Part 1/12, of How To Successfully FAIL at Megaman X] When discussing difficult games of yesteryear, Megaman is sure to be brought up at some point.. challenging, fast, and unforgiving. Enter Megaman X, the first of a few Megaman titles to hit the SNES, sporting the same gameplay mechanics as it's NES counterparts, but with slicker graphics and abilities. This HTSF also varies from it's previous kind. Instead of around 30-40 minutes gameplay per "part", this is 2 solid, uninterrupted hours. Quite the titan, considering the second "part" to this first 12 parter, is another hour long! I've been toying with the idea of longer and longer HTSF videos, but I needed to see if it was actually doable, and if people could actually stomach the sheer length of them. So i'm asking for your feedback here on a few subjects; 1: The length.. is 3 hours too long? and would you be able to handle a HTSF on a game taking maybe 3x longer (such as RPGs)? 2: Captions.. is the text captions highlighting certain (retarded) sayings entertaining/funny? Believe me, it's a lot easier on me not to add them, though I think it adds an extra bit of noticeable love to the video.. my verdicts still out on that one, lemme know if its hot or not... 3: Cutting.. I avoid cutting/editing out ANY aspect out of HTSF videos, regardless of how boring I think that 5 minutes of bleeting away about nothing may be.. I take pride in the videos being entirely unrehersed and completely off the cuff with nothing added or taken away.. However, what do you think? Should I cut out less entertaining parts to shorten videos where possible and doesn't interrupt gameplay? Thanks for the input if you've got anything to say on those (or other) areas. I'm quite pleased with how Megaman X's HTSF has turned out, and think the series as a whole is getting stronger and stronger with each game. I've got a good vision of how to progress the series now, I think it's starting to show here, and will continue onwards. The last hour of this will most likely be uploaded before the majority of people get through the first 12 parts. I've done it this way (finishing the game completely before uploading) as both an apology and thank you. Apology due to R-Type 3 taking so long to be finished, which was a bit uncool leaving it hanging so long. And thank you for the people that've stuck around so long, some of which originally subscribed for videos entirely unrelated to those I do now. Thanks guys, and I hope you enjoy this one as much as I did making it. Between these HTSFs, the montages, and a super secret squirrel project i'm working on (coming within the next couple of weeks), there should be more videos than you can choke down from now on. Enjoy! -OTG (Less)

Channel: youtube

Tags: capcom htsf megaman megamanx playthrough snes

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The Smokers Band

515,

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)

Channel: youtube

Tags: and band blues rock roll

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How to get Stronger and cut Part 2 - KFK

1,

06:34,

2008-04-06 21:15:46

Description: Part 3 i'm going to be giving tips on how to work on your abs and legs Music on this video were: 1)(Gotta) Let It Go - Mike Trend (song requested by Peter) 2) War and Beauty Flute (More)

Channel: youtube