| Smokers Are Terrorists |
 |
BJ & Dirty Draco: Episode #1
Music by: PET DESIGNS
By Bill Jablonski~Puppetgov
In an effort to explore this country's
ever-increasing "Nanny State" and the overall
growing need for government control over the
passive populace, Puppetgov's latest video
attempts to address the problem.
No smoking. No Foie Gras. Remove your shoes.
Cameras watching all of us while our borders
are wide open. Buy cough syrup, show ID.
Random Checkpoints. "If you are not doing
anything wrong you should have nothing to
hide." All of it, a continued erosion of our
most basic civil liberties or what our
government likes to call "The Bill of
Wrongs."
It starts with smoking.
To be clear, our message is not pro-smoking
or pro force-feeding geese to fatten their
livers for that matter. These attacks are on
our personal choices not on real solutions
for real problems.
Our government does not regulate the
unhealthy animal holocaust of factory
farming, but they will decide what they think
is acceptable for YOU to eat while visiting
Chicago.
Does the government change the addictive,
insidious drug the FDA continues to allow to
be placed in each cigarette making it, for
some, a harder habit to kick then heroin? No.
They increase the nicotine and they take away
your right to smoke in public places under
the guise of keeping us healthy and safe all
while multinational corporations pump
millions of tons of deadly toxins into our
air, water, soil and subsequently us.
Isn't this doing far more damage to each of
us than "Bob" just unwinding and enjoying a
"coffin nail" with his beer at the local
tavern?
The obvious hypocricy is that alcohol is fine
even though that kills a bunch of people too?
But, it's OK, drinking is sexy. You see, our
government really does care.
Where will it stop?
Mississippi legislators were actually trying
to pass a law where the state's health
department would dictate how obese someone
could be before a restaurant would be forced
to ban them from eating at their
establishment. So, besides Kirstie Alley
having to order "take out" all the time, why
should we care?
Shouldn't we as a society be more concerned
about real issues like the GMO of foods,
Fluoride in our drinking water or the fact
that psychotropic drug prescriptions to
children went up 400% in just ten years?
This is simply about control.
The slow incremental slide into a total
control police state.
All to see how far they can go before you say
you have had enough.
Watch when another tragic school shooting
takes place. Our government comes running
after gun rights instead of looking at the
real underlining link with the shooters, they
too were on prescribed psychotropic drugs.
PROBLEM: A SCHOOL SHOOTER
REACTION: FEAR,TERROR & LOCKDOWN
SOLUTION: BAN GUNS
We can relax because delusional killers off
their serotonin reuptake inhibitors would
never grab a baseball bat or a toaster and
beat you to death with that. Or maybe run you
over with a car. Or stab you to death with
the sharp end of a Cherry Blossom's tree
branch. Or choke you to death by stuffing
your throat with some cottonballs.
I guess once we ban the guns, we can wait to
see what "weapon du jour" the killers pick so
we can ban those too. (Secretly many of us
pray that whoever goes on the next rampage
will use "Larry the Cable Guy" as a blunt
object so we can outlaw him next.
Once again, not pro gun, just pro critical
thinking.
Wake up and smell the fascism.
Related Stories:
Sorry, you're too fat to eat here
Miss. bill would ban restaurants from serving
obese customers
http://www.msnbc.msn.com/id/22997073/
Foie Gras Banned In Chicago
http://www.cbsnews.com/stories/2006/0...
No swearing allowed:
Bill Would Ban Swearing in Bars
http://blog.puppetgov.com//?p=1221
State to Use Speed Cameras on Skiers
http://blog.puppetgov.com//?p=1184
Who Will Control Your Thermostat?
http://blog.puppetgov.com//?p=1201
'Big Brother' Restaurant Spies on Diners:
Customers Are Weighed at Checkout
http://blog.puppetgov.com//?p=969
High School Institutes Mandatory Breathalyzer
Tests
http://blog.puppetgov.com//?p=1196
They Thought They Were Free/The Germans,
1933-45
http://www.press.uchicago.edu/Misc/Chicago/51
1928.html
Corporations can smoke... You Can't
(note:) * We love you Bill Jackson & all the
love, decency and fun you taught us as
children. Also, what up Blob !
Tags : puppetgov billy vegas smokers cigarette smoking rights nanny state control police oppression martial law peace hicks |
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Affichage : 6101
Durée : 198 s |
| The Smokers Band |
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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
Tags : rock and roll blues band |
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Affichage : 290203
Durée : 411 s |
| Foamy - Smokin' smokers |
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Foamy is a Jonathan Ian Mathers creation.
Official site: http://www.illwillpress.com
Tags : foamy |
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Affichage : 187978
Durée : 140 s |
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