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Latin porn idols have biggest sex appetite

74,

00:00,

2009-08-07 21:58:47

Description: Porn Movie: Senoritas In The Hood 3 DVDThis is scene 4 of Senoritas In The Hood 3 from the adult film studio Visual Images (Legend) In this scene....Latin porn idols have the biggest sex appetite of (More)

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Tags: Latina anal ass blowjob brunette kissing latina masturbation on top panties pussy licking senoritas in the hood 3 vidz visual images (legend)

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Lauf der Dinge / Way Things Go

84,

01:04,

2008-12-01 14:50:00

Description: The 9th grade of Leukerbad! Die 3. OS Leukerbad macht für Projekt! Song Metallica : Breadfan Its SPAM TIME:porn star strip tease jordan sexy hot teen sex nude naked stripping cute (More) The 9th grade of Leukerbad! Die 3. OS Leukerbad macht für Projekt! Song Metallica : Breadfan Its SPAM TIME:porn star strip tease jordan sexy hot teen sex nude naked stripping cute myspace dancing ass tits breasts thong kissing making out booty coeds sexy webcam teens girls gone wild blonde girl hidden camera spring break porn breasts boobs tits kissing babes xxx sex sex sexe naked nude pussy sexy boobs babe funny girls hot dance strip model ass cool bikini dancing we porn xxx porno lesbians adult strip webcam girl nude sexy oral anal tits ass breasts naked blowjob erotica bikini girls butterfly welcome layouts tattoos emo humor angel flowers smile dance quotes love hi vintage glitter xxx sex porno lesbian kiss blonde girl hot sex sexy babe fuck tits porn xxx nude naked webcam breasts ass love strip tease cam girl italy ragazze in vendita mamiya sex teen beautiful girls butt tits kiss show pole dance star a nice looking lady babe sexy japanese sexy lady sexy pics sexy thongs school girls sexy free sexy asian sexy japanese sexy actress racheal ... all » smith miss usa rachael smith tennessee lace sexy topless sexy boys sexy swimwear sexy games sexy photos sexy school girls sexy busty sexy topless sexy dikes lesbo adult ass tits boobs thong nude babe sexy blonde sexy legs playmate sexy pics sexy indian actress sexy ecards sexy love lick porn kiss hot sexy lady sexy sheer sexy prom dresses sexy lingerie sexy teacher sexy school girls sexy woman sexy images sexy clothes sexy dikes cute blindfolded chick sexy russian girl sexy girl hottie naughty boobs sexy girl sexy thongs school girls dance sexy game sexy love lick porn sexy granny sexy dikes lesbo adult ass tits boobs thong nude babe sexy games hot shakeela kamasutra hot scene hot shakeela kamasutra hot scene scene scene scene scene hot shakeela kamasutra hot scene scene hot wild chicks erotic sexy prom dresses sexy latinas sexy boys sexy older women sexy shoes sexy fucking sexy actress all sexy boys sexy black women sexy chicks erotic sexy celebrities sexy woman sexy thongs school girls sexy thongs school girls sexy britney spears hot wild chicks erotic sexy body sexy older women sexy asian sexy japanese sexy dikes cute blindfolded chick sexy dikes lesbo adult ass butt thong nude babe naked girls sexy body sexy game sexy thongs school girls sexy girl sexy dikes cute blindfolded chick sexy dresses sexy dikes tongues erotica teen nude pornography CollegePrivate Nude Photoshoot XXX PORN anal sex oral ass tit fuck get fucked cunt dick pussy porno fucking naked lingerie horny milf hot mom babe fetish Rock erzapound strange beautiful song dance Tits evolution guitar boobs beppe Porn XXX softcore Sex Big Ass xxx Hot (Less)

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Tags: Anime ball Counter dog fast Gear gears Interview iron maiden Manga Metal Noob of solid Strike war warcraft World

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NORMAN MAILER: RYAN O'NEIL: Tough Guys Don't Dance (...

429,

00:37,

2008-04-17 15:10:48

Description: Tough Guys Don't Dance (1987) 6 out of 6 people found the following comment useful :- A very funny and perverse diversion, This is one of my favorite movies. A strange mixture of seemingly (More) Tough Guys Don't Dance (1987) 6 out of 6 people found the following comment useful :- A very funny and perverse diversion, This is one of my favorite movies. A strange mixture of seemingly unintentional humor , macabre plot twists, and the charm of off-season Provincetown. I wouldn't call it a drama. HILARIOUS. Patty L. is a real overdone nostril flaring trailer park siren. Ryan O'Neil seems to play the straight man to everyone else. I don't know how he maintained such a bland facade - I guess that's his style. He mostly stood around looking haggard, and so managed to provide something like a foil for all the circus freaks. At one point in the beginning of the film during a scene with his hard drinking crustacean of a father (L. T. is great), I thought I saw something like a suppressed smile cross the faces of both actors - a great moment that I'm sure was totally unintentional. Who wouldn't crack under the weight of all the corny dialoge? Contains the funniest dad and son out "fishing" in the rowboat at night scene ever filmed. I can still hear the foghorns. Despite all the corniness, its all somehow...so...mesmerizing.... Was the above comment useful to you? 4 out of 4 people found the following comment useful :- simultaneously funny and haunting neo-noir, 3 September 2003 9/10 Author: chrisdfilm from los angeles, ca. There are a lot of people who really hate this movie. Then strangely they go on and on detailing the things that bother them about it but that they also find fascinating and relentlessly hypnotic. It's unfortunate that people are so rigid in their definition of what makes a 'good' movie. Norman Mailer is by no means a terrible director. He actually does a very credible and commendable job of adapting his own novel to the screen. The dialogue is at times overblown and purplish, but it is never boring and frequently it's downright brilliant. Every performer acquits themselves well, even Debra Sandlund as Patty Laureine, Wings Hauser as the sociopathic macho police chief and John Bedford Lloyd as the eccentric, messed-up millionaire, all of whom can be accused of overacting. But ultimately their performances are completely in tune with their insane characters and draw us into a nasty labyrinth of twisted emotions and nightmarish memories. Ryan O'Neal actually gives one of his finest performances as an alcoholic loser who has messed up his life and who is so prone to blackouts, he's not even sure if he's killed someone. Lawrence Tierney is excellent as his tough guy dad who helps him make sense of the chaos in their small-shut-up-for-the-winter-and-consequently-spooky-as-hell Provincetown coastal neighborhood. Isabella Rossellini is also great in what appears to be an, at first impression, thankless role, but who in fact turns out to be the character who gets the last word and the best revenge. The great thing about this film is it manages to have its cake and eat it, too. It's not only an at times very creepy modern film noir, it's also a frequently hilarious black comedy. Also, contrary to some people's perceptions, the film has a complex narrative structure that pulls the viewer in, much like the best mysteries. If you go in not expecting a conventional mystery thriller but more of a cross between David Lynch, Roman Polanski, Jules Feiffer, Hal Ashby and maybe Arthur Penn(when he directed NIGHT MOVES), I guarantee you you will not be disappointed. Was the above comment useful to you? 4 out of 6 people found the following comment useful :- Essential Viewing - a milestone, 9 August 2001 10/10 Author: hugoconductshugo (hugoconductshugo@yahoo.com) from Chicago, IL I always quote this as one of my two favorite movies (the other being "The Ninth Configuration"). Like that film, it's unpolished, awkward and brilliant. Ryan O'Neal, a brilliant empty vessel, as in "Barry Lyndon", is the perfect receptical for Mailer's essentially passive protagonist. Grotesque, awkwardly paced and fascinating, this should be considered manditory viewing. Mailer's hand is so heavy and the film feels so writerly that the experience is play-like and unusual. This exploratory quality is to be hugely prized (see "Kids", "Ninth Configuration", "Safe", "Dancer in the Dark" to see vastly different but equally praiseworthy examples of what can happen when Hollywood outsiders are allowed access to decent budgets and distribution). Was the above comment useful to you? 1 out of 1 people found the following comment useful :- supremely awful, like its author, 31 March 2006 Author: vandino1 from United States Norman Mailer used to mean something, literary-wise. He was a Big Noise back in the fifties and sixties trying to be the heir apparent to his hero Hemingway, but since Mailer was really just a small-statured city boy with no interest in the outdoors he resorted to games of thumb-wrestling and head butting men (and assaulting women) instead of hunting and traveling. Like this movie, Mailer is a juvenile, woman-hating, gay-hating, faux-tough guy obviously obsessed with his fragile masculinity. Decades of hype and bad writing and activities (including the notorious Abbott disaster) have reduced his noisy reputation to virtual silence. He has become as pathetic as this movie, based on another one of his terrible novels. Granted this film is more coherent than his previous directorial attempts way-back-when (i.e. 'Wild 90,' 'Maidstone') there is still no reason to give it any more credibility considering its supreme awfulness. Of course, there IS the 'Showgirls'-like aroma of a risible good time to be had for those inclined to cheer on the execrable disasters of filmmakers who thought they were making something worthwhile and were so very wrong. For other viewers this is a stupefying experience mirrored by the consistently haggard look of Ryan O'Neal throughout. Like Spike Lee, Mailer MUST include his obsessions on screen. Ala Spike, consider this a 'Norman Mailer Joint.' That means you will hear men grousing to other men about "being men" and "not being fags" and how spiteful and cruel all women are, and it will be spoken in purplish film-noir-meets-gym-locker-room dialogue (my favorite: "Don't tickle my stick.") There will be countless scenes of women degrading themselves for no reason or men complaining/crying because those ruthless harpies have emasculated them. Since it's directed by a rank amateur, naturally the actors look either lost or unhinged. In short, this film, like its author, is an embarrassment. Was the above comment useful to you? 1 out of 1 people found the following comment useful :- Norman Mailer's wildly uneven but often provocative rhapsody on noir themes, 21 October 2002 7/10 Author: bmacv from Western New York When Lawrence Tierney utters the line that gives Tough Guys Don't Dance its title, he evokes the stoic, hard-boiled codes of post-war noir, felt in films he made like Born to Kill, The Bodyguard and The Devil Thumbs A Ride. And when Isabella Rossellini shows up, she suggests David Lynch's kooky and subversive Reagan-era suspense movies like Blue Velvet. These homages mark two of the many streams that flow into Norman Mailer's rhapsody on themes of sexual intrigue, multi-tiered duplicity and garish murders. (Mailer directed his movie from his 1984 novel.) It's a baroque contraption that comes close to self-parody - and may even cross the threshold - but neither is it just a fling at film making by a celebrity author intoxicated by his own publicity. The forlorn setting is Cape Cod under the sign of Sagittarius: the dunes and the bars empty, and the Atlantic is choppy and gunmetal grey. Ex-con Ryan O'Neal (his boyish superstardom well behind him) has been drinking heavily since his wealthy if white-trash wife (Debra Sandlund) left him; one morning he wakes to find a tattoo on his arm and his jeep's upholstery soaked in blood. Circumstances lead him to a burrow where he stashes his marijuana harvest; in it he finds the severed heads of his wife and a woman he had picked up (along with her boyfriend) a few nights before. The clues he starts piecing together lead him back down paths that wend through his own none-too-savory past. There's the out-of-town `couple' with whom he had spent a hard-drinking night (Frances Fisher and R. Patrick Sullivan); a woman he had once loved (Rossellini) now married to Provincetown's sadistic Chief of Police (Wings Hauser); another woman he had met when she was married to a wife-swapping Christian preacher (Penn Jillette) and who later wed a rich, spoiled Southern boy (John Bedford Lloyd) then, ultimately, O'Neal, whom she recently left. Helping him find his way is his gruff, cancer-ridden father (Tierney). What plot line there is hangs on cocaine (maybe) and several millions, but that's but a pretext for Mailer to worry the preoccupations, even obsessions, which crop up again and again in his work, most notably the yin/yang of eroticism and violence. The women come across as predatory sirens but end up being almost beside the point - they're prizes for sexual competition between males, conflict that shades into edgy attraction, right up to taunting flirtation. (The movie is loaded with homosexual references, generally pejorative - the bisexual boyfriend is even given the name `Pangborn' - and the continuum of couplings, both on screen and in the back story, results in a very kinky daisy chain in which everybody save Tierney might just as well have slept with everybody else. Mailer comes close to suggesting that two men who have slept with the same woman share an implicit homosexual relationship themselves.) Coming to Tough Guys Don't Dance expecting anything like a conventional suspense film (even something `post-' or `neo-') is to court disappointment. One comes for Mailer, who's like the little girl with the curl right in the middle of her forehead: When he's good, he's very, very good, but when he's bad, he's horrid. How the proportions weight out in this movie can be argued, but adventurous and provocative nuggets nestle among some very bad choices (the acting runs the gamut from rather good to execrable, often within the same performance). Caveat spectator: wildly uneven and sometimes grotesquely macho, Tough Guys Don't Dance is far from negligible. Was the above comment useful to you? 1 out of 1 people found the following comment useful :- Only for Mailer imagery fans, 7 November 2001 7/10 Author: akhilles84 from Turku,Finland *** This comment may contain spoilers *** This is a hard film to stomach.It has a lot of intense,extreme scenes of sex,violence and obscurity.Ryan O'Neal could have done better.Wings Hauser outshines all in his role of sadistic,sex crazy chauvinist police officer.Who at the end turns insane.And thats what he isnt alone in.There are even more obscure characters here,like southern reverend Big Stoop and his "friendly" ex-wife Patty.They create a spiral of sex and intrigues which ends in suicide of the first and death of the other. All in all,a movie every sado-masochist would love to own.For normal people-a torturingly mad 2 hour experience. Was the above comment useful to you? 1 out of 1 people found the following comment useful :- Painful in the Extreme, 11 January 1999 1/10 Author: SaintNo1 from Canberra Norman Mailer is one of America's great writers, however, he came spectacularly unstuck when scripting and directing this movie. The dialogue is appalling - it might have worked on the printed page but it's embarrassingly bad when spoken. The direction is flat as a pancake, much of the acting is over the top, and usually coupled with bad Southern accents, and the plot descends into ridiculous melodrama almost immediately. It would be totally forgettable except for the presence of the radiant Isabella Rossellini - just fast forward to her scenes or don't watch it in the first place. You'll be missing nothing. Was the above comment useful to you? 2 out of 3 people found the following comment useful :- Nor Can They Direct, 5 February 2003 Author: patrickboyle-1 (patrickboyle@patrickboyle.net) from Oakland I read the book last year. After so many years of disappointments I tried once again to find a piece by Norman Mailer that had the impact on me of "The Naked and the Dead". Alas "Tough Guys" is not that book. However it is a genuine hoot. A hard boiled mystery with a rapid succession of over the top scenes and characters. Not by any means an important book but a a great light (or lite) read. The movie however is just a mess with the exception of Wings Hauser. I was charmed that Mr. Hauser the King of the B Movies finally got a part that let him eat the scenery. John Bedford Lloyd is a problem as the protagonist's effete and ineffective rich college buddy. Lloyd is a big guy and a superior actor. He has been type cast as the the big guy in "The Abyss" and several other roles. He towers over poor little Ryan O'Neal. The nerdy Lloyd character was supposed to have always looked up to the physical O'Neal character. Mailer the director wouldn't change the lines written by Mailer the writer. Poor Lloyd spends all of his scenes hunched over trying to look smaller. It's even worse than the Shawshank Redemption where a 6'5" Tim Robbins tried to be the small weak guy the other cast members talk about. We keep hearing that most of directing is casting but why do we get Peter O'Toole a foot to tall for Lawrence and Mel Gibson a foot to short for Wallace? Was the above comment useful to you? Warning: For Intelligent and Advanced Film Buffs Only!, 10 March 2007 7/10 Author: AlanSquier from United States Okay, now that I have your attention, I don't guarantee that you will rate this the 7/10 I do, even if you qualify as an intelligent and advanced film buff. However, I do believe you will find something to chew on here. It's written and directed by noted author Norman Maileer. And it's tough in every meaning of the word. The rough plot sounds like a rather typical noir. An excessively drinking author given to memory blackouts doesn't know if he committed a murder or not. Believe me, it's not that simple and Mailer takes us down a long winding and convoluted path before we know the whole story. At times, it seems ludicrous, and although I disagree with the Razzie noms it got, I understand. This is the type of movie which some will find inexorably bad. However, it weaves a spell and the tough will stay with it because it's addictive. You will laugh at inappropriate times and groan sometimes, and yet the very serious film buff will continue watching it, and be glad he/she did. And I do believe that many will find this rewarding although certainly not unflawed. Maybe Mailer wanted it flawed. As others mentioned, Wings Hauser is the perfect actor in this. However, Ryan O'Neal gave this his all, and veteran B film noir actor Lawrence Tierney also adds to this. Some will love it; some will hate it. I did neither, but I did enjoy it. There was a point, the chain connecting the characters in their sex lives and in the chain of violence. Love it or hate it, I suspect you will remember this one and not consider it a waste of time. Was the above comment useful to you? Ridiculous, 18 December 2004 Author: (dj_bassett) from Philadelphia *** This comment may contain spoilers *** Outside of some nice location shooting in and around Provincetown, this is just awful, incompetently made from start to finish. Ryan O'Neal, in one long lugubrious flashback, tries to explain to his Dad why there's severed heads in his basement and a tattoo on his arm. The problem all started, you see, when he answered a SCREW ad..... Bad acting, ranging from stiff and wooden (O'Neal, Rosselini) to over the top (Tierney, who nevertheless gets a couple of good lines in, and Hauser, hamming it up as a semi-psychotic sheriff). Prose as purple as all get-out, probably inevitable when you consider Mailer's involvement. Incompetently put together, mostly told in flashback for reasons I can't understand, other than Mailer couldn't figure out a better way to get the information in. A story that doesn't make a lick of sense, although future scholars of Mailer will have to see this to see all of Mailer's issues dramatized: mostly women as either whores or maternal mothers who entrap you and faux Hemingway macho romanticism. Laugh out-loud funny at some points, although I'm not sure if it has enough brio to recommend it to fans of bad movies, as not a lot really happens, all in all. Better just to avoid it. (Less)

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Tags: DANCE DIES DON MAILER NEIL NORMAN O RYAN T TOUGH NORMAN MAILER: RYAN ONEIL: Tough Guys Dont Dance (1987)

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The Smokers Band

137,

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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The Smokers Band

504,

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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Horny sluts make out in the locker

136,

00:00,

2009-08-07 20:46:09

Description: Porn Movie: A Girl's Affair 55 DVDThis is scene 3 of A Girl's Affair 55 from the adult film studio Fat Dog Productions In this scene....Right in the midst of the locker room, here comes the (More)

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Description: Porn Movie: Teens Never Say No 2 DVDThis is scene 5 of Teens Never Say No 2 from the adult film studio Venom In this scene....Cocks with different sizes and peculiar shapes... this wild, dirty whore (More)

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