Reblogged from biblioklept:

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Wayne Cochran was one of America’s most energetic, exciting entertainers…But the fast life ruined him…Then he swiped a Bible… 

Download now or watch on posterous wayne_cochran.mp4 (3051 KB)

 CC RIDERS?

YESSS!

YESSS!

DO YOU LOVE THE LORD?

http://www.facebook.com/video/video.php?v=142239689143170

DO YOU KNOW WHO THAT GUY is WHO ADVERTISES DIABETES MEDICINE AND WHAT HIS NAME IS?

BECAUSE IF THIS WASN’T ALREADY THE BEST MOST FREAKIN’ HOLY ROLLIN’ VIDEO I’VE FOUND BY SHEER INTERVENTION ON THE BACK PAGE OF A SHUT DOWN SOUTH FLORIDA ‘ALL-DENOMINATIONAL‘ ($1s,$5s,$10s) EVANGELICAL HIDEAWAY FOR THE WILDEST MAN IN SHOWBIZ. THE MAN WHOSE HAIR MADE ELVIS FEEL INSECURE…MR. WAYNE COCHRAN! PARDON…

REV. WAYNE COCHRAN!!!!!!!!!! 

AND LOOK!  GOD IS GREAT.  HERE ARE SOME POSTS FROM AND HERE’S HIS HIGHNESS ON JACKIE GLEASON!
 

http://whatgetsmehot.blogspot.com/2009/12/wayne-cochran-and-cc-riders-on-jack…

I JUST YELLED AT THE TOP OF MY LUNGS!

• I’M BUSTIN’ OUT IN GLOSSALALIA AND SPEAKIN’ IN TONGUES AT THE SAME TIME. HOBAMAMAMAMAMAM
• AMAMMABOMALABOMBA.

NEXT STOP YOUTUBE, THEN OFF FOR THE TALK SHOW CIRCUIT WITH MY SWF FILE IN MY BRIEFCASE FULL OF INFERIOR MP4s. YES LORD!

There were times back in the mid-Seventies when Wayne Cochran would wake up in the middle of the night, cold and clammy, soaked with sweat, terrified. He’d run to the bathroom and just lose it, his moist hands gripping the back of the toilet bowl, puking his insides out, thinking seriously about suicide as he cleaned up the mess. Not long before those nocturnal episodes, Cochran had been one of the most popular and well-paid entertainers in America, a pompadoured icon of blue-eyed soul and a veteran of a nightclub circuit that stretched from the hotel lounges of Miami to the casino showrooms of Las Vegas. He and his well-honed, razor-sharp band, the C.C. Riders, attracted the elite of the film and music industry, from Jackie Gleason to Louis Armstrong, from Frank Sinatra to Barbra Streisand. But Wayne Cochran had become a scared man, addicted to pills and addled by alcohol. The rigor of his nonstop touring schedule was taking its toll. Divorced once already, he lost his second wife — she left him and took the kids with her — and one of his business associates was sucking his bank account dry. And while the bills piled up, Cochran noticed that the crowds were getting smaller as disco turned his Sixties-based R&B into a dusty, archaic relic of the past. Amid the fog of too much coke and too many drinks, he could see the end looming. He decided he wasn’t afraid of dying; he was afraid of living. “I remember dreading the thought of living another 30 or 40 years,” Cochran recalls nearly twenty years later, his thick Georgia drawl adding drama to the memory. “I had this absolute fear of tomorrow. I had had everything. I had gone from nothing to everything and was heading back to nothing. I got to the point of attempted suicide, because when your past is more exciting to you than the future, then you’re basically dead. And there was the humiliation of knowing your mama was going to find out the truth about you, that you weren’t that good little boy. You just want to get out. You start wondering if there’s an answer out there for you.”

And Cochran found one. God gave it to him.

 The Voice for Jesus ministries is a 22,000-square-foot operation that rests on a wooded stretch of NW 159th Street in North Miami. It’s the third location for this growing Pentecostal church, which Wayne Cochran — Pastor Wayne Cochran — founded in 1981 with his second wife Monica. Every Sunday morning anywhere from 350 to 500 parishioners of all races gather to sing praises to the heavens and take part in a multimedia explosion of faith that mixes a down-home gospel celebration with the spectacle of the most impassioned and showbiz-savvy televangelists. There’s a twenty-member choir and a four-piece band, video projectors flashing images on the wall behind the stage, and dramatic track lighting. Even the foyer is a studied exercise in design; it resembles an idyllic Southern town, from the white-picket fences to small trees strung with Christmas lights. Certainly the ministry’s original incarnation was hardly so lavish.

“September 9, 1981, was the day the State of Florida gave me my first corporate nonprofit number, and that night we had a meeting in the living room of my house with fourteen people,” Cochran remembers from his spacious office, the walls of which are covered with various proclamations and accreditations, as well as family photographs and some framed mementos of his years in the secular world of rock and roll. He is positioned behind a long, wide desk, dressed in gray slacks, a white polo shirt, and a loose-cut black sport coat. His right hand reaches habitually to stroke his thin white mustache. In conversation Cochran looks you square in the eye; his words come casually but are measured, each thought contemplated before presentation. “We borrowed six folding chairs and I took the back seat out of a conversion van. We had pretzels and chips and dip and drinks. I played the guitar, sang a few songs, and taught from the Bible. That’s where all this came from.”

Cochran isn’t the first entertainer to find refuge in the comfortable confines of Christianity. Still, his reawakening provides an unexpected turnaround to a tumultuous life spent on the merciless road of one-nighters — a happy if unpredictable ending for an unlikely conversion candidate. Cochran was born in 1939 in Thomaston, a small town in central Georgia. The only son of T.A. and Minnie Lee Cochran, Wayne was raised in a home that for the most part was devoid of the Christian influence. His parents were believers, he says, but his family seldom went to church. “We had a Bible in the house, but nobody ever read it,” he explains.

Instead of religion, young Wayne — shy and reserved, with an interest in football and basketball — turned to music. The family radio boomed with the honky-tonk rhythms of Ernest Tubb and Hank Snow, and after taking a few piano and guitar lessons, Cochran formed his first band. “I got a couple of guys from the neighborhood interested in playing, so we put a little band together and learned some songs,” Cochran says. “We were the Blue Cats, and our first bass was a number-two washtub with a broomstick and a piece of trout-line wire. We’d play around on the weekends on front porches and in people’s living rooms. Then I got another band together, a four-piece called the Rocking Capris. We got a job playing at the Veterans Club on Friday night, where all the city folk would go. We made $50, $12.50 apiece. Now remember, my dad was only making $25 to $30 dollars a week working in a textile mill, so I thought, ‘Man, this is it.’”

Cochran dropped out of school in the ninth grade to devote himself full-time to music, and it didn’t taken long for him to outgrow the minuscule music scene in Thomaston. By the late Fifties, he had headed a hundred or so miles southeast to Macon. Once there he cut a few sides for some local labels, including “Last Kiss,” a Cochran-written song that failed to launch its creator but became a hit in 1964 for J. Frank Wilson and the Cavaliers and in 1973 for the Canadian pop group Wednesday. Cochran also struck up a friendship with a young Macon-based soul singer named Otis Redding, who, at that point in his nascent career, was singing in the Pinetoppers, led by local guitarslinger Johnny Jenkins. A 1960 single by the group — a raucous piece of Southern-fried R&B called “Shout Bamalama,” issued on the Confederate label — featured Cochran sitting in with the band on bass. (The song was also published by his Cochran Music Company.)

After Redding left Macon to become a soul legend in Memphis, Cochran formed a band of his own to take on the road. He relocated the quartet to Bossier City, Louisiana, for an extended stint at an R&B club called Sax’s Boom Boom Room, where he augmented the lineup with a horn section and rechristened the unit the C.C. Riders. The name was short for the Cochran Circuit Riders, but it didn’t hurt that R&B singer Chuck Willis had a huge stroll hit in 1957 with a song by the same name.

The Riders started touring immediately, crisscrossing the country by bus and hitting seemingly every nightclub, showroom, and roadhouse joint in the country. They played a frenetic kind of R&B that was based on the airtight dynamics and blues-baked wallop of James Brown and his Famous Flames. Cochran’s frantically paced shows were patterned after Brown’s energetic concerts, just as he borrowed some of Brown’s dexterous and intricately choreographed moves. Cochran, though, made everything faster, louder; everything was bigger, from the size of his carefully coiffed ‘do to the size of his band. And for white audiences reluctant to venture across the tracks to hear Brown and his black R&B contemporaries, Cochran offered a powerful and impassioned shot of blue-eyed soul, not unlike what the Righteous Brothers and Mitch Ryder’s Detroit Wheels would soon be taking to the top of the pop charts.

In 1964 Cochran moved the band once again, this time to Miami, where they debuted at the grand opening of the Barn, one of the city’s favored R&B haunts in North Bay Village. Cochran and the band began to hone their intense live performances.

“Back then,” Cochran remembers, “the big thing was to be a dance band. If the people weren’t dancing, you didn’t work. But when they’re dancing, they don’t see you, they don’t watch you. So what we’d do, during the big dance songs — things like ‘Shout’ — I would go out on the dance floor and the horn players would follow me. I’d drop down on my knees and they’d form a circle around me. Then everybody would stop dancing and start watching, and we just kept doing that until we became a show band, where people sat down or stood at the dance floor and just watched us.

much more of this fantastic article on WC after the praydieu
 

“And in those days,” he continues, “the stage was like this magical, mystical area where everything looks great. The performers would get off-stage, though, and you’d see that their shoes aren’t quite so new and that their suits are sort of frayed and not quite so perfect. But we’d be out there in the audience, standing on tables. We’d make the whole room part of the show. We’d play at full volume; it was like this wall of sound, and there was never a stop between songs. We’d write horn interludes to take you from one song to the next. Once it would start, the show literally never stopped. You couldn’t breathe until the show was over. And after the show, you’d just be beat.”

Bob Perry caught the C.C. Riders a few times back in the late Sixties, at the Barn and at the Newport Seven Seas Lounge. Perry, who owns Blue Note Records in North Miami Beach, recalls that Cochran more than lived up to his reputation as a madman performer. “It was all that and more,” Perry says. “He was just an amazing performer, and the C.C. Riders had a great horn section, really funky. And as the night progressed he’d just get even more intense as a result of God knows what. It got to where he would be out in the audience, standing on people’s tables and knocking bottles over, walking on top of the bar. The crowd would go nuts. You had all these tourists in there from Europe and they’d never seen anything like it. They were just going bonkers.”

Foster Wilson viewed that kind of mayhem up close for two years. He played trombone for the C.C. Riders from 1973 to 1975 and can remember one stretch when the band played 43 consecutive one-nighters without a break. They caught showers only every two or three days, usually in Union 76 truck-stop bathrooms. “It was a lot of fun but it was very exhausting,” says the 51-year-old Wilson, currently the vice president of entertainment at the Las Vegas Hilton. “Wayne was a lot like one of the guys, it was like he was our equal on- and off-stage. You know, he was never a great singer, but he was very soulful and energetic. He was just a great entertainer. He could whip an audience into an absolute frenzy. And musically we were one of the best bands on the road.”

Through constant touring, Cochran’s combo built a loyal and sizable following. Ironically, the popularity of their club gigs kept them on the road so much that it was nearly impossible for the band to take time out to do any recording or songwriting, so the Riders’ set lists and handful of records leaned heavily on soul and R&B covers, both in the studio and on the concert stage. Only a few of their records broke nationally.

The Riders’ debut single was issued in 1966 on Mercury Records, a cover of the Bob and Earl soul hit “Harlem Shuffle,” followed shortly by “Get Down with It.” Some singles were later issued on famed labels such as Chess and King, as were the occasional longplayers. (Old King Gold still pops up in used bins; the critically praised 1972 set titled simply Cochran, released on Epic, is a rarer find.) The Riders also cut some instrumentals on Bethlehem (an offshoot of King). Cochran’s greatest song from the period — arguably his greatest song, period — was a self-penned stomper titled “Goin’ Back to Miami,” an overlooked classic of the white-soul era that boiled the entire history of James Brown into a three-minute, call-and-response raveup. The song netted some national airplay but failed to crack the Billboard Top 100. In 1980 John Belushi and Dan Aykroyd covered the tune on Made in America, the second Blues Brothers album, which was dedicated to Cochran and the C.C. Riders.

“Records just weren’t that big a thing for us,” Cochran admits, although they did squeeze in a 1970 film appearance in C.C. and Company, a box-office bomb starring Joe Namath and Ann-Margret. “We were all about performing. We had lines waiting outside clubs for basically 25 years.” If he never had much of an impact on the charts, his blaring big-band soul sound and furious live show helped shape the style of numerous horn-laden pop groups of the late Sixties, including Blood, Sweat and Tears and Chicago. Cochran’s sandpaper vocals and flamboyant appearance — flashy suits and a towering, gravity-defying blond pompadour — have been cited by Rod Stewart as a major influence. Cochran also says that the arrangement of Creedence Clearwater Revival’s “Proud Mary” that Ike and Tina Turner hauled up the charts in 1971 was based on a version performed by the Riders when the two acts shared a bill at the Casino Theatre in Las Vegas.

Cochran says the band played as many as 279 dates without a day off. To maintain that kind of schedule he turned to various chemicals and liquid stimuli. He reels off the contents of his traveling medicine cabinet: “Coke, booze, grass. If you couldn’t get coke you’d get uppers, miniwhites, Dexedrine, crystal meth. I just got to a point where I was at the end of my road. I had nothing in my life, but I had to go out on the stage every night and act like the all-American boy — all rhinestones and smiles — and it just got to be a prison. I lost my wife and kids, I owed the government tens of thousands of dollars because [an associate] at the time spent $72,000 of my money while I was on the road and I was held responsible. I literally had a gun in my hand. I felt like I had completely lost control. My life just wasn’t in my hands any more. I had to turn it around. I had to find some help. So I started reading, looking for some answers.

“I didn’t even think about Christianity at the time, because I had seen too many hypocrites in my younger years. I had never seen it serve any purpose. You know, supposedly you got to Heaven, but I wasn’t interested in Heaven. That could be a long ways off, and I needed help right then, that day.”

Cochran turned to what he calls “the mystics,” ranging from the writings of Edgar Casey and the Dalai Lama to Norman Vincent Peale’s The Power of Positive Thinking. And he found something in them. “There was some exciting knowledge there that the average man doesn’t have, but mostly it just got me thinking positively. But the feelings never changed; I was still devastated and empty inside, scared to death of the future, drinking more and more.”

Cochran began to notice that these works continually referred to the Bible, so he pilfered a Gideon from a hotel room in Austin, Texas. (“I thought I stole it because I didn’t know about the Gideons,” Cochran says. “It was stealing to me because there was theft in my heart. I snuck out with it.”) What he read there surprised him.

“It was like something I had never heard on Christian radio or in church back in the old days. It was Deuteronomy 8:18,” he says, quoting the verse and emphasizing its first line: “‘But thou shalt remember the Lord thy God: for it is he that giveth thee power to get wealth….’”

“I was shocked,” he recalls. “I thought I had stolen a bogus Bible. I didn’t think the Bible said you were supposed to be wealthy. But I know it was the Lord leading me through the Bible because I would find scriptures that directly related to the problems I was having and it would give me direct instructions on how to solve them. And I didn’t have anything to lose. If I had had anything to lose, I wouldn’t have read it. I would’ve kept on having fun. But I tried to do things as explicitly as I could according to the Bible — and man, within a day or a week or a month, the strangest things would happen. It just never failed me. I mean, it worked every time. I was still drinking and I still had a problem with drugs, but I felt like I had found Aladdin’s lamp. I’d never experienced anything like that in my life.”

Cochran broke up the C.C. Riders and came off the road for good in 1978. He kicked his numerous dependencies (cold turkey, he says, through the determination and strength he found in the Bible), and Monica came back to their Miami Springs home with the kids. He started attending a Kendall church a few months later, formed a gospel group with his daughter Diane, and, as he puts it, “was called to the ministry by the Lord in April of 1981.”

Despite his all-consuming faith and devotion, despite the fire in his voice and eyes when he brings the subject around to what religion has done for him, Wayne Cochran doesn’t see himself as a preacher. He likes to think of himself as a teacher, offering instruction and guidance to anyone willing to pull up a chair and lend an ear and an open mind. “I’ve never talked about sin or finding the Lord or anything like that,” he says emphatically. “That’s not how I found the Lord. I found the Lord through reading and doing and putting those words into action and seeing the evidence. I just wanted to tell people what I learned, to say, ‘Look, you can do this too. I’ve found the solution to my problems right here in the Bible and it works. It works every time.’”

That simple edict may provide the foundation of the Voice for Jesus message, but Sunday services are slightly more sumptuous, with deep blue and rich red lights bathing the stage in a concert-worthy glow. Banners hanging around the hall offer inspirational instructions such as “Celebrate the Kingdom” and “He Has Shepherded Us, Now It’s Time.” Unlike most church services, the Voice for Jesus affairs are events, full-blown productions with an emphasis, naturally, on music. Although the choir handles most of the songs — rollicking spirituals in the Deep South gospel tradition — Cochran will every now and then turn in a gravelly line or two. Parishioners sway in unison, eyes closed, hands raised.

The quick spins and knee-drops are a thing of Cochran’s past, gymnastic moves that are beyond the abilities of his 57-year-old frame; he leaves the choreography to the shimmying choir. Instead he presides over the affair like a dignified elder statesman; the blond pompadour of old has turned white but is still a marvel of maintenance and grooming. More times than not, Cochran shares the stage with his wife and co-pastor Monica and the occasional parishioner. On a recent Sunday, an elderly woman testified before a full house that a long-time spinal injury had miraculously disappeared; a middle-aged member had a similar story about a mysteriously vanishing cancerous tumor the size of a small lime. It was faith and prayer, they say, that wiped out their illnesses. “Praise the Lord!” Cochran chimed in. “Jesus is Lord, is he not? Let’s worship God!”

It may look easier than his role as a dynamo soul wonder, but Cochran says running Voice for Jesus is a full-time job. “When you’re dealing with people, and dealing with them usually at their weakest and most frail point in life, you’ve got to be there for them seven days a week,” he says. He clearly enjoys talking about the old days, but there isn’t a trace of bitterness when he talks about the missed opportunities or acknowledges the fact that there isn’t a single Wayne Cochran record in print.

“I’ve already lived about ten lifetimes, and really I’m supposed to be a dead man by now. But I’m so far removed from the past. This is what I want,” he says, pointing to the door beyond his office that leads out to the ministry main room, the sound of choir rehearsal echoing in the distance. “It’s been a long road, but I can’t complain about the way it ended. I love what I’m doing and I love where I’m at.

A weekend in the studio of a university residence. This “student” who is long since it was well she kept the taste of inter-course, and recreation. For all he‘ll have to undergo some homework on the table. At the next school year may the age for a long time kept the taste of the international courts, and breaking hours. One day it will be Necessary to her to submit some written tests to Itself. After maybe next holidays …

A weekend in the studio of a university residence. This “student” who is long since it was well she kept the taste of inter- course, and recreation . For all he ‘ll have to undergo some homework on the table. At the next school year may the age for a long time kept the taste of the international cou …http://whatgetsmehot.posterous.com/one-day-it-will-be-necessary-to-her-to-submit» more

Dogmeat

   

Traci Lords Story: X-Rated Ambition

2:37

Added: 7 months ago
From: dougmaet
Views: 61,752

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• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet 1 minute ago

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• If any of you saw it during that time don’t feel guilty you did not know she was underage she said and had papers she was 18

  sc682941 1 week ago

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• My brother and traci was the same age he saw her young movies he felt guilty but he was young him self

  sc682941 1 week ago

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• What’s the movie at 1:08? Thanks.

  I wish you could upload the whole thing. Good stuff. ;-)

  ACEntLV 2 months ago

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• ive seen them most of her young film… but didnt know back then that she was young … and i was young too so didnt matter much

  2submit 3 months ago

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• what’s the guy’s name at 1:48-1:53

  maramara66ify 3 months ago

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• Comment removed

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• hi do you have a copy of “those young girls”?if you have,can you upload it?thanks.

  inches628 5 months ago

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• I would think twice about watching that movie since she was only 16 at the time the charge of being a pedophile could be brought in some states . She might be fine looking but it just is not worth the risk

  unabobby in reply to inches628 (Show the comment) 3 months ago

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• Upload child pornography? On Youtube? For real???

  circlesky73 in reply to inches628 (Show the comment) 1 week ago

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• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet in reply to circlesky73 (Show the comment) 2 minutes ago

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• Traci Lords Story (X-Rated Ambition)

  dougmaet 7 months ago

Once a dropout, honors student aims for medical school

High school dropout, Theresa Fennell today is an honors biology student

By her own admission, Theresa Fennell was an unlikely candidate for college.

Fennell dropped out of her Dayton-area high school in her senior year. “My high school experience was not good,” she said. “I skipped just about every day. I didn’t do any drugs. I wasn’t a partier. I wasn’t a troublemaker. I just hated being there.”

After quitting school in 2006, “I was just kind of lost,” Fennell said. “I was 18. I didn’t have a diploma. I wasn’t quite sure what to do, so I started working. Once you start doing that, you get sucked into it. It’s hard to break away.”

But break away she did. Now a Wright State University junior in the honors biology program, Fennell is on the dean’s list in the College of Science and Mathematics. She is doing laboratory research, preparing for a four-month, expenses-paid visit to Brazil under a funded research program and has her sights set on medical school.

A Wright State University junior in the honors biology program, Fennell is on the dean’s list in the College of Science and Mathematics.

Fennell got a General Educational Development (GED) diploma soon after quitting high school. Even so, job opportunities were scarce. She spent two years in a variety of service jobs. Finally, she said, “I realized I don’t want to be a waitress for the rest of my life. I just knew that I could do better than that, and I wanted to do better than that.”

In 2008, Fennell started taking classes part time at Sinclair Community College.

Not sure what she wanted to do that could pay her a living wage, Fennell said she sampled a variety of courses. But she had always been fascinated by medical science. After doing well in biology courses at Sinclair, she decided to try for a bachelor’s degree.

It was a giant step for Fennell. Neither of her parents had attended college, she said, and she found the prospect of enrolling in a university “overwhelming.”

Fennell considered Ohio’s big state universities, but housing would have added to her costs, and the sheer size of the big schools daunted her. She decided to enroll in Wright State, a smaller campus just a short drive from her Dayton apartment.

Fennell considered Ohio’s big state universities, but housing would have added to her costs, and the sheer size of the big schools daunted her. She decided to enroll in Wright State, a smaller campus just a short drive from her Dayton apartment.

“Wright State has been a perfect fit for me,” she said. “It’s big enough that you have things like—well, they’ve got a great research department. They’ve got a school of medicine. They’ve got these fabulous programs, these opportunities.” She said faculty members have been “extremely accommodating” and have helped her set goals and understand requirements.

Now 25, Fennell worried about sticking out in classes filled with younger students. “I was embarrassed about my age,” she admitted.

But Fennell soon saw she wasn’t alone. Wright State has more than the usual percentage of older and first-generation students. Among undergraduates, some 43 percent are first-generation students and 23 percent are over age 24, compared with statewide averages of 39 percent and 18 percent, according to an Ohio Board of Regents report.

Loaded up on student loans and looking for a job on campus, Fennell applied to be a research assistant in the Department of Pharmacology and Toxicology. It was a lucky move: she’s since learned that lab research helps demystify her classroom lessons, and it’s invaluable in her preparations for medical school.

More luck: as a first-generation college student, Fennell qualified for a study-abroad program called Biomedical Training for Underrepresented Minorities—also known as BIOST.

Funded by the U.S. and Brazilian governments to grow diversity in life sciences, BIOST pays for small groups of U.S. and Brazilian students to spend semesters doing lab research in each other’s countries. She leaves in August.

Fennell admitted feeling nervous about spending several months in a different country and culture. But she welcomes it as one more door that has opened for her since coming to Wright State.

“I feel grounded,” Fennell said. “I feel like there’s a light at the end of the tunnel. I feel like I know what I want now, and I feel like I have the ability to attain it.”

  My Channel Video Manager Subscriptions Inbox Settings Switch account Sign out Loading…     Traci Lords Story: X-Rated Ambition 2:37 Added: 7 months ago From: dougmaet Views: 61,752 Sort by time | Sort by thread (beta) Link to this comment: Share to: All Comments (13)   Respond to this video…   …http://whatgetsmehot.posterous.com/159770139» more

Dogmeat

   

Traci Lords Story: X-Rated Ambition

2:37

Added: 7 months ago
From: dougmaet
Views: 61,752

• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet 1 minute ago

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• If any of you saw it during that time don’t feel guilty you did not know she was underage she said and had papers she was 18

  sc682941 1 week ago

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• My brother and traci was the same age he saw her young movies he felt guilty but he was young him self

  sc682941 1 week ago

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• What’s the movie at 1:08? Thanks.

  I wish you could upload the whole thing. Good stuff. ;-)

  ACEntLV 2 months ago

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• ive seen them most of her young film… but didnt know back then that she was young … and i was young too so didnt matter much

  2submit 3 months ago

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• what’s the guy’s name at 1:48-1:53

  maramara66ify 3 months ago

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• Comment removed

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• hi do you have a copy of “those young girls”?if you have,can you upload it?thanks.

  inches628 5 months ago

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• I would think twice about watching that movie since she was only 16 at the time the charge of being a pedophile could be brought in some states . She might be fine looking but it just is not worth the risk

  unabobby in reply to inches628 (Show the comment) 3 months ago

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• Upload child pornography? On Youtube? For real???

  circlesky73 in reply to inches628 (Show the comment) 1 week ago

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• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet in reply to circlesky73 (Show the comment) 2 minutes ago

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• Traci Lords Story (X-Rated Ambition)

  dougmaet 7 months ago

      Traci Lords Story: X-Rated Ambition 2:37 Added: 7 months ago From: dougmaet Views: 61,752 YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme! doug …http://whatgetsmehot.posterous.com/gotta-move» more

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YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

   

Traci Lords Story: X-Rated Ambition

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Added: 7 months ago
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• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet 1 minute ago

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• If any of you saw it during that time don’t feel guilty you did not know she was underage she said and had papers she was 18

  sc682941 1 week ago

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• My brother and traci was the same age he saw her young movies he felt guilty but he was young him self

  sc682941 1 week ago

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• What’s the movie at 1:08? Thanks.

  I wish you could upload the whole thing. Good stuff. ;-)

  ACEntLV 2 months ago

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• ive seen them most of her young film… but didnt know back then that she was young … and i was young too so didnt matter much

  2submit 3 months ago

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• what’s the guy’s name at 1:48-1:53

  maramara66ify 3 months ago

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• Comment removed

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• hi do you have a copy of “those young girls”?if you have,can you upload it?thanks.

  inches628 5 months ago

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• I would think twice about watching that movie since she was only 16 at the time the charge of being a pedophile could be brought in some states . She might be fine looking but it just is not worth the risk

  unabobby in reply to inches628 (Show the comment) 3 months ago

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• Upload child pornography? On Youtube? For real???

  circlesky73 in reply to inches628 (Show the comment) 1 week ago

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• YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography, you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!

  dougmaet in reply to circlesky73 (Show the comment) 2 minutes ago

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• Traci Lords Story (X-Rated Ambition)

  dougmaet 7 months ago

YEAH, if you’re stupid enough to consider a documentary about child pornography, child pornography , you should join the Romney party and assist YouTube in taking down any videos with a sexual theme!     Traci Lords Story: X-Rated Ambition 2:37 Added: 7 months ago From: dougmaet Views: 61,752 Sort b …http://whatgetsmehot.posterous.com/documentary-about-child-pornography-child-por» more

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Fun Facts

• The city of Las Vegas celebrated its 100th birthday on May 15, 2005. The event celebrated the May 15, 1905 land auction when 110 acres of land in downtown Las Vegas were auctioned off.

• A 1910 law made it illegal to gamble in Las Vegas. The Nevada Legislature later approved a legalized gambling bill in 1931.

• The first hotel and casino to open in Las Vegas was the Golden Gate Hotel and Casino in 1906.

• The Hoover Dam was completed in 1935. It took a total of 21,000 men five years to complete the structure.

• The Moulin Rouge, the city’s first racially integrated hotel, opened in 1955.

• In 1957, topless showgirls debuted on the Las Vegas Strip in “Minsky’s Follies” at the Dunes.
• The famous “Welcome to Las Vegas” sign was created in 1959 by Betty Willis.
• In 2009, more than 36 million people visited Las Vegas. Compare this to 1970 when a mere 6.7 million people visited the city.
• More than 19,000 conventions were held in Las Vegas in 2009.
• In 2009, visitors stayed an average of 3.6 nights.
• Las Vegas is home to Clark County School District, the fifth largest school district, which currently handles more than 311,000 students.
• The famous Las Vegas strip is for the most part, not within the city limits of Las Vegas. The majority of the strip is located within Clark County.
• The Stratosphere Hotel and Tower, at more than 1,100 feet, is the tallest building west of the Mississippi and the fifth tallest building in the United States.
• A marriage license costs $60 in Nevada (Note: there is an additional $5 transaction fee for payment by credit card). Many couples choose to marry in Nevada because there is no blood test or waiting period.
• Fremont Street was closed to traffic in 1994. The Fremont Street Experience opened in December 1995.

Sources: Las Vegas Convention & Visitors Authority, Clark County School District, Clark County Clerk

Fun Facts • The city of Las Vegas celebrated its 100th birthday on May 15, 2005. The event celebrated the May 15, 1905 land auction when 110 acres of land in downtown Las Vegas were auctioned off. • A 1910 law made it illegal to gamble in Las Vegas. The Nevada Legislature later approved a legalized …http://whatgetsmehot.posterous.com/topless-showgirls-debut-las-vegas-strip» more

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Cumstains on My Pillow (Last in Translation) (AuctionMercial) Best Japanese Jokes

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Translated Japanese Jokes: Last in Translation (AuctionMercial) Send to 200,000,000 Vote for the Best Japanese Jokes

Last in Translation
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Soundtrack Features The Country X Classic Cumstains on My Pillow

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Japanese Jokes

 

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Last in Translationランキング：3.15 / 479

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このカテゴリにはここをクリックしてください… さ れた生きて支払われた彼女は妻の中に彼の注意を決して男やもめは今必死になって見つかった彼女は不足している自分が。彼は妻が遅く、連絡、彼のこと、彼が いる場合行って見てて精神的。精神的にはトランス行ったに。奇妙な風は、暗い部屋から漂って突然、男は妻を彼の心から故人の声を聞いた紛れもない。 “ハニー！”彼は叫んだ。 “あなたですか？” “はい、私の夫。” “幸せですかあなたは？http://whatgetsmehot.posterous.com/ebay-video-translated-japanese-jok­es-last-in

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X-Rated Country Classic “Cum Stains On My Pillow” cumstains “cumstains on my pillow” “cum stains on my pillow” cumstain “cum stain” “cum stains” pillow country x-rated “x rated” “rated x” rated “country & western” “country western” c&w funny Japanese Translation mrjyn cynophagie yt:quality=high yt:cynophagie

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• there’s more than that. let’s go get rx’s and come home and eviscerate Dangerous Minds

  dougmaet 1 second ago

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• u suck diss is stupid  , well stupid is what stupid is .. dum azz

  ShinemanXXX 1 week ago

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• Hey fucktard, pick a different song for back ground, cumstains on my pillow is a Chinga Chavin classic and you fuckin voice over it, you have no brains

  ptcpaul 1 year ago

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• there’s more than that. let’s go get rx’s and come home and eviscerate Dangerous Mindsthere’s more than that. let’s go get rx’s and come home and eviscerate Dangerous Minds

  dougmaet in reply to ptcpaul (Show the comment) 1 second ago

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Cumstains on My Pillow (Last in Translation) (AuctionMercial) Best Japanese Jokes Close http://post.ly/13JN8 http://youtube.com/watch?v=PtxLcDxc1uU Translated Japanese Jokes: Last in Translation (AuctionMercial) Send to 200,000,000 Vote for the Best Japanese Jokes Last in Translation http://post.ly/ …http://whatgetsmehot.posterous.com/cumstains-on-my-pillow-last-in-translation-ja» more

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VALIDATED, COMBINED, COMPRESSED 29 T-Units (sentences incl. subordinate clauses), 18.48 words average (SD=11.77) Doug Meet Find Friends Home Sharing Profile How Sharing Works Now Your controls have moved so now they’re right next to each thing you share. Can’t wait for dinner tonight! – with Skip Jo …http://whatgetsmehot.posterous.com/facebook-validated-c-ombined-compressed» more

Dogmeat

 

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Dogmeat

Paul Hushing Child Mastering the Art of French …

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Julia Child’s Kitchen at the Smithsonian americanhistory.si.edu/juliachild/ Multimedia presentation of display at the Smithsonian.

Laura Jacobs on Julia Child | Culture | Vanity Fair www.vanityfair.com/culture/features/2009/…/julia-child20090... The making of the cultural phenomenon that was Julia Child had three key ingredients: a man, a meal, and a TV camera. Five years after Child’s death, as Meryl … Amazon.com: Julia Child: Books, Biography, Blog, Audiobooks, Kindle

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Julia Child (née McWilliams; August 15, 1912 – August 13, 2004) was an American chef, author, and television personality. She is recognized for introducing … Paul Hushing Child Mastering the Art of French … Simone Beck Julia Child Biography – 100th Birthday, Facts, Life Story, Video … ►► http://www.b …http://whatgetsmehot.posterous.com/julia-child-100th-birthday» more

Dogmeat

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Dogmeat

I Beg Your Pardon!

I’m gonna go take some medicine and see if I can come back and do Lynn Anderson’s Facial Expressions Justice!

lynn anderson boots are made for walkin.mp4 Watch on Posterous

I Beg Your Pardon! Lynn ‘Rose Garden’ Anderson Tramples Nancy Sinatra Boots Are Made For Walkin’ with kindness and Cowboy ‘Boots’  

I KNEW THIS WAS GOOD/BAD!!! I KNEW IT WASN’T ON YOUTUBE. BUT I DIDN’T KNOW YOUTUBERS WOULD HAVE A MINI CONNIPTION ON A SUNDAY!

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Neil LeVang & Buddy Merrill with Lynn Anderson

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Dogmeat

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debut_Jane_Birkin_en_franglais.mp4 (3.25 MB)

• 1969 : Jane Birkin – Serge Gainsbourg (SG)
• 1973 : Di Doo Dah (SG)
• 1975 : Lolita Go Home

actrice

• 1965 : The Knack… and How to Get It de Richard Lester (non créditée) – la fille sur la moto.
• 1966 : Kaleidoscope de Jack Smight avec Warren Beatty et Susannah York – la fille exquise
• 1966 : Blow-Up de Michelangelo Antonioni avec Gillian Hills – la fille blonde
• 1968 : Wonderwall de Joe Massot- Penny Lane
• 1968 : Slogan de Pierre Grimblat avec Serge Gainsbourg et Juliet Berto- Evelyne
• 1969 : La Piscine de Jacques Deray avec Romy Schneider, Alain Delon et Maurice Ronet – Penelope
• 1969 : Les Chemins de Katmandou de André Cayatte avec Serge Gainsbourg et Elsa Martinelli – Jane

Serge Gainsbourg, Charlotte Gainsbourg, Lou Doillon, Kate Barry, Etienne Daho

Serge Gainsbourg a été son pygmalion en ce domaine, la propulsant au sommet des hit-parades en 1969 avec le sulfureux duo Je t’aime… moi non plus, initialement écrit pour Brigitte Bardot. La chanson est jugée obscène par le journal du Vatican, l’Osservatore Romano.

Un album aux deux signatures Serge Gainsbourg-Jane Birkin suit en 1969. La voix enfantine de la chanteuse, parfois proche d’un simple souffle, son accent anglais prononcé, la rendent immédiatement reconnaissable. C’est le départ d’une longue collaboration qui aboutira à une œuvre à peu près unique dans la chanson française. Plusieurs albums de Jane Birkin ont été Disques d’or dont Baby Alone in Babylone (1983) et Arabesque.

Durant les années 1970 et 1980, Jane Birkin enchaîne les albums studio et les prestations télévisées, notamment dans les shows de Maritie et Gilbert Carpentier.

Nom Jane Mallory Birkin Naissance 14 décembre 1946 (1946-12-14) (64 ans), Londres, Royaume-Uni
Pays d’origine Royaume-Uni Professions chanteuse

• 1969 : Jane Birkin – Serge Gainsbourg (SG)
• 1973 : Di Doo Dah (SG)
• 1975 : Lolita Go Home

actrice

• 1965 : The Knack… and How to Get It de Richard Lester (non créditée) – la fille sur la moto.
• 1966 : Kaleidoscope de Jack Smight avec Warren Beatty et Susannah York – la fille exquise
• 1966 : Blow-Up de Michelangelo Antonioni avec Gillian Hills – la fille blonde
• 1968 : Wonderwall de Joe Massot- Penny Lane
• 1968 : Slogan de Pierre Grimblat avec Serge Gainsbourg et Juliet Berto- Evelyne
• 1969 : La Piscine de Jacques Deray avec Romy Schneider, Alain Delon et Maurice Ronet – Penelope
• 1969 : Les Chemins de Katmandou de André Cayatte avec Serge Gainsbourg et Elsa Martinelli – Jane

Genres pop Années actives 1968 – aujourd’hui Labels Universal,Emi Site Web janebirkin.net

Haute couture

La haute couture est le secteur professionnel dans lequel exercent les créateurs de vêtements de luxe. Aujourd’hui, elle s’organise autour de « maisons de haute couture », des enseignes pour certaines assez anciennes, auxquelles de nombreux grands couturiers ont collaboré au fil des années. Elle joue un rôle d’avant-garde et ses œuvres préfigurent la mode. En France, d’où elle est originaire, la « haute couture » est une appellation juridiquement protégée^[1]. Les maisons de haute couture doivent répondre à un certain nombre de critères (travail réalisé à la main dans les ateliers de la maison, nombre d’employés, nombre de modèles, participation à un quota de grands défilés, utilisation d’une certaine surface de tissu).

Lors de la Première Guerre mondiale, l’armée américaine doit habiller ses soldats le plus rapidement possible, les tailles sont donc standardisées afin de gagner du temps de fabrication et donc d’en baisser les coûts. Cette technique s’appelle alors la confection, le terme s’élargira et désigne désormais l’ensemble des industries de l’habillement.^[1]

Jusqu’à la Seconde Guerre mondiale, la confection ne représente qu’un quart de la production de vêtements, le reste est fait à la maison ou commandé chez la couturière.^[1]

C’est en 1947 que le terme prêt-à-porter apparaît et il sera repris en 1950 pour une publicité par la société WEILL. En effet, de retour d’Amérique Jean Claude Weill introduit en France le concept révolutionnaire du “ready to wear” et ainsi en inventant le prêt à porter à la française, il fait entrer le chic et l’élégance dans la modernité . Albert Lempereur, président de la fédération de l’industrie des vêtements féminins, emmène la presse et des confectionneurs aux États-Unis ; il importe en France les méthodes américaines^[2]. Dans son atelier, il énumère les avantages du prêt à porter : le choix des tissus, la diversité Le terme prêt-à-porter désigne alors tout vêtement produit en série et comportant une griffe sous la forme d’une étiquette sur chaque vêtement. L’usage de l’étiquette va se généraliser et le terme prêt-à-porter désigne désormais simplement les vêtements qui ne sont pas fait sur mesure.^[1]

En 1958, Jacques Heim alors président de la chambre syndicale de haute couture lance le « prêt à porter création » afin de vendre des modèles spéciaux destinés à la vente en série. Quelques années plus tard, les couturiers eux-mêmes lanceront « prêt à porter des couturiers » afin de se démarquer du « prêt à porter industriels » qui utilise des matériaux moins onéreux, des formes plus simples et surtout possède moins de prestige.^[1]

Les collections de prêt-à-porter des couturiers et des jeunes créateurs sont présentées par des défilés à Paris, Milan et New York (Semaine de la mode).

Les collections de prêt-à-porter industriel sont présentées lors de salons professionnels (Prêt-à-Porter Paris et Who’s Next à Paris, Bread&Butter à Berlin, Pitti Uomo à Florence etc.).

↑

Histoire ↑

Robe Christian Dior

La prééminence française dans la mode date sans doute du XVII^e siècle, époque à laquelle les arts, l’architecture, la musique et la mode de la Cour de Louis XIV à Versailles sont admirés et imités par l’Europe entière. Lorsque le chemin de fer et les bateaux à vapeur le permettent, il devient courant pour les dames de la haute société européenne de faire le voyage à Paris pour y acheter vêtements et accessoires. Les tailleurs et les modistes français ont alors la réputation d’être les plus talentueux, et leurs créations sont les plus recherchées.

Charles Frederick Worth (13 octobre 1826 – 10 mars 1895) est considéré comme le père de la « Haute Couture ». Bien qu’il soit de nationalité britannique (il est né à Bourne, dans le Lincolnshire, en Angleterre), Worth a laissé sa marque sur cette industrie, devenue par la suite typiquement française. Il a créé la Chambre Syndicale de la Couture Parisienne. C’est lui qui, au-delà des modèles uniques, sur mesure, fabriqués à la commande pour ses riches clientes, développa une collection de modèles qu’il présentait, sur des mannequins vivants, dans les salons luxueux de sa maison de couture. Auparavant, les clientes commandaient leurs robes, et le tailleur exécutait. Désormais, elles choisissent un modèle dans la collection. Après Worth, d’autres poursuivirent dans la même direction, comme les sœurs Callot, Jean Patou, Paul Poiret, Vionnet, Lanvin, Chanel, Schiaparelli, Cacharel, Balenciaga et Dior. Certaines de ces maisons existent encore aujourd’hui.

Au milieu des années 1960, un groupe de jeunes stylistes apparus dans le sillage de Dior et Balenciaga créèrent leurs propres maisons. Les plus célèbres sont Yves Saint Laurent, Pierre Cardin, André Courrèges et Emanuel Ungaro. Plus tard au XX^e siècle apparurent notamment Christian Lacroix, Jean-Paul Gaultier et Thierry Mugler.

Aujourd’hui, la haute couture n’est plus l’activité essentielle, en termes économiques, pour la dizaine de grandes maisons parisiennes qui la pratiquent encore. D’abord parce qu’elle n’est pas rentable : les exigences de ce métier (travail long, réalisé à la main dans des ateliers français, etc) ont pour conséquence des prix inabordables au commun des mortels. Certaines robes se négocient plus de 100 000 euros. On considère que seules quelques centaines de femmes dans le monde sont susceptibles d’acheter des pièces de haute couture

Cette activité permet de faire subsister nombre de fournisseurs, dont l’entreprise est généralement artisanale et ancienne, à l’instar du brodeur Lesage ou du plumassier Lemarié.

Mais si elle n’est pas rentable, la haute couture sert de vitrine pour diffuser l’image de marque des maisons, ce qui leur permet de commercialiser du prêt à porter vers une clientèle plus large ainsi que, de plus en plus, des accessoires et des parfums, deux activités extrêmement rentables. Certaines maisons sont connues pour avoir poussé à l’extrême cette logique de la licence et du merchandising, comme Pierre Cardin, dont le prestige dégringola rapidement, le surnombre et la mauvaise qualité des produits portant sa griffe dévalorisant peu à peu le prestige de sa marque.

Enfin, depuis les années 1960, la scène de la mode s’est internationalisée, et les clientes ont pris l’habitude de prêter attention également aux créateurs de New York ou de Milan, Paris conservant cependant son rôle de capitale de la mode.

Collections « Haute Couture » ↑

Chaque année, deux collections haute couture sont présentées au travers des défilés de mode inscrits dans le calendrier officiel de la Fédération Française de Haute Couture. La présentation des collection printemps/été se déroule durant le mois de janvier de l’année correspondante, et celle des collections automne/hiver au début du mois de juillet pour la saison de l’année suivante.

Boutique de joaillerie Chanel, place Vendôme à Paris.

 

Liste des anciens membres ↑

De nombreuses maisons ont fait de la haute couture et ont abandonné cette activité pour diverses raisons :

• Loris Azzaro
• Balenciaga, la haute couture a cessé lors du retrait de Cristobal Balenciaga.
• Pierre Balmain
• Pierre Cardin
• Nino Cerruti
• Christian Lacroix
• Lanvin
• Guy Laroche
• Lecoanet Hemant
• Hanae Mori (ハナエモリ, 森英恵)
• Jean Patou
• Paco Rabanne
• Nina Ricci
• Marcel Rochas
• Yves Saint Laurent, cette activité a cessé lors du retrait du couturier.
• Elsa Schiaparelli, la maison Schiaparelli a entièrement cessé ses activités après le retrait de la créatrice, en 1954.
• Torrente, dont le dernier directeur artistique pour la haute couture a été Julien Fournié jusqu’en 2004.
• Atelier Versace, la maison italienne a cessé de faire défiler ses collections couture pour des raisons économiques. Quelques pièces sont toujours produites mais seulement exposées en show-room.

 ↑

1. ↑ « L’appellation Haute Couture est une appellation juridiquement protégée dont ne peuvent se prévaloir que les entreprises figurant sur une liste établie chaque année par une commission siégeant au Ministère de l’Industrie et qui fait l’objet d’une décision ministérielle. » — Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode
2. ↑ Haute couture automne hiver 2008 2009

 

• Portail de la mode
• Portail de la France

Retrieved from “http://fr.wikipedia.org/wiki/Haute_couture“

Uploaded by cynophagie on Dec 21, 2010 Dim Dam Dom (bis) http://whatgetsmehot.posterous.com/debut-jane-birkin-debut-pret-a-porter-present La haute couture est le secteur professionnel dans lequel exercent les créateurs de vêtements de luxe. Aujourd’hui, elle s’organise autour de « maisons de haute c …http://whatgetsmehot.posterous.com/debut-jane-birkin-debut-pret-a-porter-present» more

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