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You can read our Cookie Policy here. Infants do not like to take orders Box Tops , share credit Big Star , or follow orders solo recordings ; they are arrogant and willful, performing 'Volare', or deliberately mistuning guitars.

They hold grudges. For centuries. Children live for the moment; they cannot sustain relationships or plans; dialogue is out of the question, as is reflection; spontaneous and active, child-like adults who live in the ahistorical moment do not appreciate advice, sage or otherwise; they do not tolerate rules, nor suffer fools; their sandbox is permanently demarcated territorially.

But in this case the children's garden has been the fertile source for Chilton's unyielding faith in his voice and his message. For a musician who has taken heat for years for following others, or for influencing so many, Chilton is rather so iconoclastic, both in songwriting and guitar playing, that he more properly should be defined as captain of his own ships, waving — goodbye or hello — during their sinking, as admirals invariably do, or must.

In the early years of the 's the pop music world was unsteady. Not quite yet discofied, or incorporated fully by AOR MOR, or almost single-handedly destroyed by either Frey or Frampton, the scene could, moreover, take no solace from the front pages.

Protest was inert; experiments were flushed down toilets. In a short span, Kent State, Watergate, the failure of King's vision, and my wife's entering into kindergarten all spelled some sort of tragedy for truth and expression and personal liberty.

Even sadder, the Partridge Family replaced the Manson Family in our fragmented minds. On the radio it was much worse: what was certifiable was that the heyday of the now dilapidated, almost anachronistic, dinosaurs of classic rock from the halcyon days of experimentation and vigor and pants stuffed with erections was over, shards of skeletal remains flung upon the seedy shores of commercialism, littered with artists guilty of lack of foresight, minute-by-minute greed, and drug-taking excesses.

The prodigious power of these life-altering behemoths was fading, from death, desertion into timidity or monasteries, break-ups or breakdowns, and apathy.

Chilton belongs here, of course, near or at the top, and they all wrote and performed intense arty pop songs of adamantine beauty, retro sheen, with exploratory vignettes of intrepid selves diving into wrecks.

The songs were slashing, oblique, buoyant, and indefatigable. Big Star was all this, but also a working band, and the only other band of the new order to match them in originality, chops, songwriting, and rule breaking was the German experimentalists, Can, or maybe Pere Ubu — bands, if you can imagine, who sold even fewer records than Big Star here in America.

Big Star was the best band, however, to emerge from the Stone Age. They are my Bo Diddly, my Ezra Pound, my soul's salvation. As Schoenberg wrote to Mahler after hearing the latter's Third: "I saw your very soul naked, stark naked I suffered the pangs of disillusionment; I saw a man in torment struggling towards inward harmony Forgive me, I cannot feel in halves.

Big Star: Feeling in Wholes The time has passed for our sensations in painting to be whispered. We wish them in future to sing and re-echo upon our canvas in deafening and triumphant flourishes.

Your eyes, accustomed to semidarkness, will soon open to more radiant visions of light. The shadows which we shall paint shall be more luminous than the highlights of our predecessors Before joining a trio called once Rock City, then Ice Water, he had been experimenting up North with folk song structures, but more significantly, possibly, was his closeness to soul mate and fellow prankster, and future esteemed engineer, Terry Manning, whose involvement with the demos helped to persuade the Beach Boys to possibly release them, because of Chilton's respect for Brian Wilson.

Luckily for our novella here they passed. Particular interest are both the ballad, 'That's the Way', which without the mandolin would have fit nicely into Big Star's aims, and the power psychedelic of some of the cuts, echoing T.

Rex, another huge influence upon Chilton. His joining of Ice Water — renamed Big Star after a neighborhood supermarket — teamed him with three extraordinary musicians, all of who were old friends, all of who in their early twenties could bang their axes with ecstatic and communicable faith, all of who loved British rock, Memphis soul, and good times.

Put together, fellow songwriter and sad-eyed Chris Bell on guitar and vocals, Andy Hummel on bass, Jody Stephens on drums, with Chilton on guitar and vocals, smashed together in the early fall of a recklessly aggressive, exuberantly brilliant album — 1 Record — that is the greatest power pop album since Revolver, the fourth greatest rock debut Jimi, Velvets, Television , and the album that has haunted my waking moments for thirty years.

They show that if Chilton is the guts and desires of Big Star, Bell was the architect, the heart and the teacher.

Chilton's school bully playing with the teacher's pet, in a saber-rattling contest of border crossings between the past and the creative present.

Bell's guitar on Rock City slices through the heavy, swirling density; no weepy George Harrison solos here: it's Badfinger on steroids. Imagine a ballsier and blusier Big Star, but lacking both Chilton's tightness of composition and Hummel's rounded, expert bass notes.

Some of the songs get washed over by hazy hippy yearnings, with "experimental" time shifts, sweeping keyboards. But when clicking, this is one if the best bands in America during the late 's.

These are Bell's first recorded vocals and, as with John Fry's genius engineering here at his own Ardent Studios, there is nothing tentative, nothing shallow.

As it is, Eubanks moved to the periphery, Manning went to the booth, Chilton pushed his way in, and with those two songs and Bell's 'Feel', Big Star decided to change history.

It is safe to say that without the first Big Star record, the following bands and soloists would have had drastically different, if not also inferior, careers: Teenage Fanclub; The Posies; Marshall Crenshaw; dB's; Tommy Keene; Richard Heyman; Weezer; Replacements; Spongetones; Dramarama; Sloan; and Shazam, just to list a few of the hundreds.

It is a masterpiece. Except, maybe, for Chris Bell's active imagination. Bell's sweetness and tenderness he co-wrote 10 of the 12 songs with Chilton when coupled with the enigmatic, deep-bottomed restlessness of his partner enacted a process similar to ionization.

In other words, they needed each other, fed off the contrasts, and revelled in their simultaneous pursuit of perfection, as if complimentary, not supplementary, was the prevailing ethos.

Big Star's contribution — because they came later and revered at least the pop side of those binomial equations — was the intensity of the interweaving; their creations of accessible allegros of spirit chant like a drunken choir of ascending angels.

Neither Bell nor Chilton can be credited with the power pop revival; as with punk rock and its murky antecedents, the revival — Raspberries, Badfinger, McCartney's solos, stirrings in and around L.

The boys did not build the first skyscraper, but the facades of their overreaching songs are better articulated than the others.

The recesses blend better with the excesses, and the origins of the tunes are now organically terminated, without a second to spare.

Big Star gave us both the expressive syntax of a new era, but also the outline of a precise geometry. And they become free in their mathematical grid, like Isaac Newton discovering calculus.

I see these Big Star songs as structures, and not flimsy artifacts that will easily blow away or leave our minds: I see pitched roofs and recessed colonnades, providing sturdy exterior protection.

These layered external constructs contrarily mirror the insides: simple staircases of elegance; two stories of functionality, with bright, clean fenestration.

In these masterworks it is obvious that both men heavily influence each other, Bell the planner, Chilton the builder. The songs are plastic and sturdy, Southern vernacular and universal, contemporary and nostalgic.

They resemble civilization. In a favorite game for critics, Chiltonions, or solitary-for-good-reason geekers walking around with shit stains in their drawers, individual Big Star songs are backwardly traced to potential sources, as if, by the way, most pop songs don't share similar lyrical themes, chords, length, bridges, and harmonies.

Heyman told me he initially noticed the shared battering ram glee in the two bands, and that and the near falsettos, the quickening to the exposition, and the unity of the individual songs makes me think this is true.

Lately I hear The Who Sell Out more often, if not in style, then at least in brashness and production. If I may betray my idiot roots for a moment, instead of direct links to bands, it is better to think of these shimmering, iridescent expressions as not caught in a web of paralyzing Oedipal struggles with Prince John or King Paul or Lord Ray, nor Harold Bloomian struggles forming serious paralysis or trembling because of anxieties of influence, but rather playgrounds of healthy influences, expanded and contracted, hinted at or directly stolen.

Thank God. Wait just a minute! What the fuck is power pop? How about: hooks big enough for Aretha Franklin to hang her bras upon. Try: driving riffs, both Byrdsy jingle jangle and 'Taxman' spikiness.

The major tone is required, emphasizing odes to joy and college girls from University of Nebraska. Speed is not that important; more of a stately quickening is preferred, with swirling dynamics, head-pounding chords on bridges, guitar solos walking above the gaping circus crowd, background voices complexly filling in between the twin maestros on lead guitar.

Deathtrap desires should be bemoaned immediately — no time for reflection, regret, or perspicuity. Cleanness of production, single-minded pursuit of melody, and love-sick tenors wailing about last night's loves are germane here.

In fact, smiling wouldn't kill any of you out there, from time to time, unless you are a glum Albanian or nasty German. Moreover, the librettos are mid-period Beach Boys, without the sun glare.

The songs are sweet, simple, and short, played as if those are the most important chords and notes ever played or dreamt of, and that that final cymbal crash will be the last heard on this god damned good green earth.

Add a Townsendian punch in the stomach, some glee from 'Ticket to Ride', and a singer, in spite of absence, who does not celebrate loss, sickness, or depravity, but cries, "Ready for another?

As Proust, noted partier and poof, wrote, "The question is not for Hamlet, to be or not to be, but to belong or not to belong. And although the songs detail the dailiness and deadliness of life, and rarely afford penetrating observations, the music itself, through the steady aggregation of galvanizing influences, becomes rapturous excitations; the self discipline needed to balance these emotions is found in the susceptibilities and vulnerabilities of Chilton's tenuous grasp of his world.

He is never this cocky again. The second album, as Chilton begins to stalk himself for the first time, seeks treaties with the Brits and then opposes their influences.

The lingering connections to the past are there, of course, but the hues and shapes are darker, and faith in the power of the invasion has waned.

That record celebrates poker players and rapscallions, not slaves nor sycophants. In a few years, the clamoring heavenly harmonies of the first become shadowy, echoic laments, songs that canonize solitude and disrepair on the third, with a title replete with vague suggestions of both incestual darkness, and sloppy late sexual thirds.

Freud's tripartite topography of the mind begins as does the first album: an Id that seeks instant gratification, primitive forces ruled by the pleasure principle, with no parental intervention, no sibling rivalry, no sense of loss.

This promise of youth needs no guidance: girls are always around; cars are always faster than your friends' cars; gins and tonics are eternally served in India.

And if the urge is not immediately discharged, you can move to the next 3-minute vignette of your life, with a god silently sitting in the engineer's chair, cleaning out his toe jam.

In this world, desires do get sated, often. The id is voracious, without self-reference or self-cognition.

Who cares about libraries? Driving home in a convertible with your tape deck on, you know a lactating tit is always lurking under mommy's sheets.

Some Memphis Horns help sustain the suspense, getting the groove on; the ringing guitar at the end is a prettified rave-up; and the singing is celebratory and worrying, minatory and tense.

In fact, even if the conventional structure of the songs is based on audience expectations of Top 40 Radio, the stability of the rhythm is often askew, the singing more often than not careens from identifiable dance rhythms, as in an ostinato, to the wild guitar major-minor pitch variations.

But this is music you can dance to, and unlike the mutinous, aphoristic melodies of the third album, this music, even in the gorgeous ballads, are mobile and dynamic building blocks of the future of American rock and roll.

Although bent by the British Invasion, and although fertile because of the two songwriters' disparate preoccupations, the music on the first is not bound to history, nor buried in the present.

It is music of the now — rock, steady, go. Chilton's singing is tender, fragile, and heartbreakingly economic and swinging. There is a loose-jointed, comfortable sway here: if the songs lack occasional elegance and polish, they make up for it with verve, both soothing and harrowing.

The guitar of Chilton snakes through this bright world, grimacing like a potential arsonist around the corner. It rings high, it muddies from beneath.

The melodic flow is interrupted by his outlandish string work: the solos are often sectionalized, segmented. He wants to get to the point, and he is happily trapped in the sub-three minute mile of pop song length; and sometimes the flash and dash becomes startlingly bold, eviscerating the form itself.

He always swings madly, like a lovesick Quasimodo. The ambience becomes jagged, immodest mumblings of ordinary stories, told by twitchy novitiates.

The heat is on high, but the effect is calmly affirmative — what were rational song structures become tiny vistas for boys in blue jeans, drinking, stealing cars, living lives of "lonely days of uncertainty.

Chilton's singing and guitar disown revival-style public utterances: each high note captured in voice, each quirky pop detour from a Harrison-like solo, are journeys that disembark soon enough in the middle of the night, seeking the present, and there, id-like, Chilton thumps his chest.

These are dramatic monologues that are of bottom-feeding natures trying to get laid, and Chilton's guitar, curvy and oblong, tries to get to the next mattress.

We cannot ascend to Chilton's vision: by accepting the singular loveliness of the songs, we are rejecting the possibility of our joined trip.

The music is plain about this: this is our gig, and watch us work. If the guitar lines are chiseled and angular, like Monk, and if the singing is full-throated and carefree, and if the five or so rockers that pierce our spines changed the way intensity could alter convention in bands like Cheap Trick and the Pixies, the ballads on the first album provide meditational counterpoints to the accelerated pulsations of the fury and fire.

We are quieter now, gazing upon the dreamy world of heartache, unrequited love, and long distance runarounds. But the visceral impact remains.

The delicate arrogance of the scorchers 'Feel', 'Don't Lie to Me', 'When My Baby's Besides Me', 'My Life is Right' is asymmetrically argued against the ballads and the mid-tempo blends of the two camps; the casual noise is replaced with soaring sadness, alienated landscapes, and bittersweet, narrowing melodies.

In the faster songs, Bell and Chilton generate expectations based on pop music's historical-culture climate: they confirm the Kinks and the Beatles; they modify the Kinks and the Beatles; they delay, then deny the Kinks and the Beatles.

But in this slavish environ of the power pop, expression and emotions are fettered. The releasing unleashing comes from the ballads — the tenderness of Bell, his cracking beauty of his nervy voice; the gruffness of the world-weary, lower-registered Chilton, already once a rock "star" — where the band moves beyond the past without repudiating it in the name of the rejection of silence and monologues.

They are radicals, and they are the oppressed; they reach back to yesterday, recognize today, and sneak upon tomorrow.

These boys, on this album, reach for their mothers' and girlfriends' hands, and say no to their sweaty, broken-backed fathers.

What is mostly true of rock's lingua franca is an ahistoricism, or inability to emerge from present time, but the challenge of history is confronted, engaged, and resolved, here by Bell and Chilton, mostly, I think, by our hero, as a chance to forge a new epoch.

He argues with the past, then walks away wiser. The slower songs — the lush ballads, 'The Ballad of El Goodo' and 'Thirteen' — and the triptych of driving folk-rock mindblowers near the end 'Give Me Another Chance', 'Try Again' and 'Watch the Sunrise' are characterized by a youthful series of aspirations, values, and concerns in search of fulfillment.

In turn they then give bastard birth to the Love's 'Andmoreagain'. Bell's and Chilton's work here is true collaboration, involving engagement on the same tasks, correcting to one another, swapping ideas, exerting combined force.

Their collaboration, therefore, involves both unity and critiquing conflict. And if the second half of that ratio caused Bell to leave for presumed poppier fields and more control, here on 1 Record it gave us joy, fluidity, with the moving of planets, and life and birth.

The greatest song, because it is Chilton's greatest singing, because of the interplay of acoustic and electric, and because of the affirmation of love and life — pass the Kleenex, dear cousin Matilda — is the eighth of twelve tracks, 'Give Me Another Chance'.

It is probably the least imaginative song in terms of studio technology or virtuoso musicianship, but those are plusses, as is Bell's obvious delight in the role of second banana: his background singing, his steady strumming on the acoustic, are what gives the song its fragile beauty, and secondly, its steady heartbeat.

There have been thoughts and sounds like these countless times before, but not becoming full-blown meaning like here: what were teenage kicks and action for action's sake are now contemplation and repose, a Narcissus staring at the pool, a Sufi walking around with a damaged flower.

The Id has become a creator, the Ego, a constantly composing and re-composing and de-composing agent in the world, generating truth though rhythm, compositional rigor, and style.

The album, recorded at Ardent with Chris Bell handling primarily the producing, was released on Ardent in who in turn hired the immortal, but dying, Stax label to distribute; they didn't, and Bell left around Christmas, soon for Europe, misery, the I Am the Cosmos recordings, and tragedy.

Bell and Chilton came in as a quartet, knocked a few songs together, and Bell left, leaving traces of his songwriting on at least three songs. The others stayed together, sort of, played a few dates, sort of, and then re-convened during the following fall to record in short order one of rock and roll's masterpieces, Radio City, an amalgamation of bristly and brittly defiance, monster, mature guitar riffs canceling each other out with even greater imagination and intensity, and some of rock's finest vocals.

Without Bell's placating tendencies or a bat in hell's chance of rock stardom, Chilton changed rock and roll. To be continued When you consider that Alex Chilton's career brings new meaning to the word "checkered," his cultdom becomes even more suspect.

My long-standing complaint against Chilton - and, alas, much of what passes for alternative music - is that instead of turning his attentions to the hard work and elbow grease required of songcraft, he has sought to substitute attitude, pose, and that nebulous "capturing the moment" as a suitable replacement.

As writer Tom Wolfe pointed out in his infamous expose of the New York art community, The Painted Word, what then becomes most important is not talent, or even the art itself, but in how well one can do the "boho dance" - how well an artist can parlay bohemian chicness into a career.

What I find doubly intriguing is that Alex Chilton's current crop of fans are almost always ignorant of the Box Tops, where Chilton incontestably did his finest work on great slabs of iconic blue-eyed soul like 'The Letter', 'Soul Deep' and 'Cry Like A Baby'.

After the Box Tops, Chilton formed Big Star named after a Memphis grocery chain , which released three critically-hailed but publicly ignored albums.

Their collaboration resulted in album schizophrenia with tight, fat-shorn pop nuggets like 'You Can't Have Me' nestled to chaotic, meandering bilge like 'Kangaroo'.

After Chilton went solo he released one crappy record after another such as the dreadful Like Flies on Sherbet - p. Feudalist Tarts, unlike previous solo efforts, returned Chilton to his Memphis soul roots; his playing and singing were better than they had been in years.

For the album, Chilton rounded up some of Memphis's tightest groove musicians, brought them to the studio after-hours, and recaptured some of his past glory.

Feudalist Tarts was one of those rare occurrences - which happens only with the most seasoned and motivated players - where the music finds a solid groove yet feels totally laid back and loose.

Chilton followed this with the gritty, bitterly funny No Sex EP. For one moment pregnant with possibility Chilton looked like he was finally breaking out of his slump - he was working hard, playing killer guitar 'Lost My Job' , and singing expressively, even though he still couldn't touch his Box Tops vocals.

Then came High Priest and he was right back to square one; the playing was slouchy, the singing abominable, and the choice of material baffling why 'Volare'?

If it's an accurate documentary of a puzzling career you're after, Rhino's new Alex Chilton compilation is not only serviceable, but insightful.

Not bad for a record that shifted a grand total of 4, units when it was released in For a band with such a brief CV, minuscule record sales and chequered history, Big Star's continued relevance is nothing short of staggering — "the most influential group in pop music outside The Beatles," as the Chicago Tribune recently declared them.

If, as they say, everyone who bought the first Velvets LP with its similarly low sales went on to form a band, then every Big Star nut must have become a rock critic or formed a band with a rock critic's sense of context and delight in meaning.

A list of all the musicians who have either namechecked the band, appeared on tribute albums, penned eulogies or simply owe them a debt would fill this page and the next.

Cool and perceived authentically Southern ramshackle bar-room quality; the grungers adopted Chilton's proto-slacker yawn again charm "I loved you — well, never mind" was his, uh, emotional parting shot to a lover on the celebrated 'September Gurls' as the young Kurt Cobain pricked up his ears and adapted his menacing air of casual licentiousness to suit their nihilistic purposelessness; generations of art rockers have succumbed to the doomed mythos of it all; and British "record collection rockers" like Primal Scream divine a radical intelligence at work behind the conceptually perfect, allusion-heavy Big Star, seeing their strange neologisms "ahn", "Mod Lang", "kizza", "gurls" as the result of theorists playing with pop language, reinventing it.

Talk about all things to all people. The best of Big Star would, of course, comprise their three albums, with all 43 of their bequests to posterity in the exact order in which they were originally sequenced — then you'd get the full measure of their decline.

These pictures tell a story — the story of Big Star, one with a terrible conclusion. A low watermark in the annals of decibels-and-degeneracy.

During the essay on lust and nod to 'Satisfaction' that is 'Mod Lang', Alex howls like a tomcat in a parody of blueswailing — a parody because he can't feel for real any more.

The title even sounds like a chemical. Always prone to self-doubt, Bell proceeded to dive off the deep end. His brother, David, found him one night with his teeth on a rubber tourniquet and his fingers gripping a syringe.

Suicide attempts led to hospitalisation. When he died in , he left behind some chillingly desolate music I Am The Cosmos, Rykodisc that exerts a similar voyeuristic fascination to the lush insanity of Big Star 3rd.

Chilton, no slouch himself when it came to indulging destructive urges, spent the Sister Lovers sessions wreaking havoc on the studio and his muse, leaving a smashed plate-glass door and a bloody mess in his wake.

But don't be fooled by this winsome ballad, nor by Chilton's 11th-hour display of sincerity. The horrorshow was about to start To recap for the uninitiated: Chilton sang gruff white soul lead with a Memphis-based hit combo called The Box Tops who had a string of hit singles, the most notable of which was 'The Letter'.

When the B. They made two released albums in the early 70s, plus one unfinished now legendary masterwork. After a quiet period of a couple of years, Chilton re-emerged earlier in with an interesting EP on New York's Ork label, which he backed up with live gigs in the clubs of the Big Apple.

Ork recently flew him to London, where he spent some time recording his own material and mixing stuff by fabled New Yawk new wavers the Cramps. I went down to Olympic studios where I found Chilton wandering around with no shoes on musing over the idea of overdubbing a snare drum on to a newly recorded backing track.

Selections from the tape: The Box Tops Like I was 16 and they were about They had like a really big local band and if I joined their group I could make bucks every weekend, so I joined the DeVilles and the first thing we did was 'The Letter'.

Cheap Trick sell a lot of records now. See, I'd cut a track and I didn't have a song for it, so I just laughs steal a line from every old blues song I know.

I dig the Ramones I never had a drug habit laughs, extending arms for inspection. I'm trying to stay clear of business arrangements.

Do you admire him? I said, 'GOD! He's very underrated, a good songwriter. There's a whole lot of black music that I'm into, and country music, jazz I feel like I cover a lot of different styles, but the people in that band were very strictly into one style, like English rock in the 60s.

The drummer just wouldn't listen to anything else, so I had to work within those limitations. Every band I've been in I always felt like I've been working on about one third of my own talents.

It's what I do. When I say 'That's good', it scares 'em cause they don't understand. I'm really hot on the idea of gettin' on TV with just an electric guitar and no band I have a lot by a guy called Steven T who used to do your song 'September Gurls' live I'm into the sound you make when you go into the studio spontaneously and have a kick ass wild evening.

We've got a lot of tapes in the can in Memphis of total craziness. It sound great, really alive. Some say he's crazy, some say he's a genuine pop maestro count me in with the latter.

Jem also recently re-issued the Sister Lovers album by Big Star, the early '70s group that gave Chilton a rabid cult following and was a forerunner of the new southern rock sound spearheaded by R.

We didn't invent it. I was learning to write and play then but I know a lot more now about what I want to write and how to write it.

When I'm inspired, I can conceptualize a fairly nice piece of music in a primitive sort of way. But the inexperienced band members were victimized by an unfavorable production deal and received little money from those major successes.

After trying to establish a solo career in New York, Chilton returned to Memphis in and joined forces with Big Star.

The spirited 3-minute pop songs on the group's pair of albums for the small Ardent label cut against the grain during the period when boogie bands inspired by the Allman Brothers and Lynyrd Skynyrd were dominating southern music.

Both albums were rapturously received by critics drawn by the group's rough pop instincts as well as the youthful angst and alienation in Chilton's increasingly confessional lyrics.

But the commercial response was minimal and those frustrations contributed to the bleak tone of Sisters Lovers, recorded while Big Star was disintegrating in He formed a band but, bedeviled by drug and drinking problems, turned in an erratic series of live performances which ran the gamut from sublime to embarrassing.

I was drinking a lot and became frustrated and impatient very easily so it was real hard to play well with a band.

He also played a role in assembling the Panther Burns, the rockabilly thrash band led by singer Tav Falco that briefly became underground favorites in the early '80s.

A serious illness late in finally prompted him to stop drinking. He moved to New Orleans and steered clear of the music world for a year, outside of occasionally sitting in on solo gigs by Falco.

Chilton returned to action last summer, forming a group to play several nights a week in a Bourbon Street bar and recently undertook club tours of the Midwest and Northeast.

The three Chilton originals mark his first new studio songs since the Like Flies on Sherbet solo album seven years ago.

But the flurry of new activity doesn't mean Chilton is hungering after a major label deal again. The Box Tops experience of being burned financially has left him leery of too ardently embracing the music business.

At the moment, I'm making records for myself, which could make me a lot more money in the long run. If I still owned the rights to some of the things I had done in the past, I could probably be making a pretty fair amount of money from them.

I think something really ought to be done about the way artists are ripped off for their works by corporate entities. At the moment, the story is mostly taking place in the To recap for the Entrance: On the Slopes of Big Star: No.

The occasions are few and far between that one Responsible for the exceptional This is the fourth time in three years that I've Our apartment overlooked Lake Michigan and the front room was glassed-in on three sides.

He said I should go out and buy a copy of their Like sex, only without the complications It's a scene It was John Cale was brought up in a strict South Wales household — his maternal grandmother insisted that Welsh was the only language to be spoken in the house — even though his father spoke only English.

His childhood was solitary — he was an only child and his mother encouraged him to spend hours each day practising his piano playing and he later took up the viola.

He was talent spotted by Aaron Copland and awarded a musical scholarship to study in America, where he was part of the contemporary avant-garde music scene there — working with John Cage and LaMonte Young, until he met Lou Reed and the two formed Velvet Underground.

Their first album, The Velvet Underground and Nico, remains their best known — Andy Warhol is credited as producer, it features Nico on vocals and the cover is the famous Warhol banana.

He went on to produce some of the most influential artists of the time and has made New York his home — although Wales continues to exert some draw over him.

He continues to write music and tour. Rec No: 3. Usher Publisher Irving Music, Inc. He hoped to become an author and began work on The Field magazine as a messenger boy but then ran way to Paris at 17 to write a novel.

This venture failed and he ended up begging on the streets before returning to Britain and the Guildford School of Drama and Dance.

It shows a glamorous couple dancing on the beach while a maid and butler hold umbrellas over their heads to shield them from the rain.

The original is due to go under the hammer, once again, in April and this time is expected to fetch hundreds of thousands of pounds. Vettriano has enjoyed painting since he was in his twenties after a girlfriend gave him a set of watercolours.

But he did not devote himself full time to art until the late s when he was nearly forty. Since then, his rise has been meteoric and the public have clamoured both for his romantic, nostalgic views of a world gone by and for his far darker works that depict the sexual tensions between men and women.

Track 7 Label Atlantic Rec No: 6. She is the daughter of a Romanian train driver and says she knew she wanted to be a singer almost as soon as she could walk.

Theatre, music and the arts were a form of escaping the drudgery of everyday life and, as a career, offered a rare means of escape from the most austere of the communist regimes.

She was trained through the communist regime's rigorous schooling system, graduating with a first class honours degree from the Bucharest Music Academy in The fall of the Ceaucescu regime meant that as an artist she could travel and develop an international career.

It was her first performance with the celebrated tenor Roberto Alagna. Ce veste Minunata! Suites Nos.

But she found her vocation late in life. Against the advice of her family and to the surprise of many friends, she quit teaching to become a temporary clerical worker.

She took a job as a clerk in a hospital for neuro-psychiatric patients and, within days, knew that she had to write about what she saw — to bear witness to what the patients were experiencing.

Since then she has written many more volumes. Her poems use a great deal of humour and a lot of dialogue. In addition to her work about patients and hospitals, much of her writing is concerned with war and its effects on children on the nature of Englishness and the British character.

Is my team ploughing? Her most recent screen work was as the prim and disapproving WI leader in the hugely successful film Calendar Girls.

She was made an OBE in Adagio from Concerto opus 9 No. Adu, S. Matthewman, A. Hale, P. The duo first teamed up in the late sixties first producing Joseph and his Amazing Technicolour Dreamcoat which is a staple of school end of term shows as well as enjoying numerous runs in the West End.

As a child growing up in Hertfordshire he was enchanted by astronomy and cricket and excelled academically. On leaving school he shunned university and tried his hand with the law.

But he had dreams of becoming a pop star or at the very least a songwriter and so he took a job as a management trainee with EMI records.

He begged one of his teachers — the anti apartheid crusader Father Trevor Huddleston to buy him a horn and in return he promised to stay out of trouble.

Hugh soon made a name for himself in South Africa but as the racial tensions intensified during the fifties he decided he had to leave his homeland to get a better music education in America.

He returned to Africa in spending the next 17 years working on a range of musical collaborations in Botswana, Liberia, Nigeria, Congo and Guinea.

Then after thirty years in self imposed exile he returned to his homeland in Her work is highly autobiographical and confessional - she is a talented drawer and painter, but has attracted the most attention for her art installations - including her tent, Everyone I have ever slept with and the Turner Prize-nominated My Bed.

Her art is adored and condemned in equal measure - but wherever she exhibits she attracts queues and has a room at Tate Britain dedicated to her work.

She was brought up in Margate and she has recently finished a film, Top Spot, which reflects her own experiences. He is known as the King of Romance and has been at the top of the showbusiness ladder for nearly forty years - selling more than million records including 64 gold and 23 platinum albums.

At the age of 10 his family returned to the UK and Leicester. At 17 he began performing in clubs and pubs. In his manager changed his name to Engelbert Humperdinck but it was still two years before his chance arrived.

His single Release Me flew off the shelves staying in the charts for 56 weeks. He went off to conquer America and there he shared the bill with Dean Martin and Frank Sinatra while he counted Elvis Presley as a close friend.

Somewhere along the line a slip of a pen transformed it into Zeffirelli, and Franco has gone by it for 80 years. He was only six when his mother died of tuberculosis.

Mary belonged to a society of English ex-pats in Florence and young Franco grew up under their extraordinary influence.

In the war he fought as a partisan and twice faced a firing squad before he met up with the 1st Scots Guards and became their interpreter.

As well as using his linguistic talents, the Scots Guards gave him an early opportunity for theatrical creativity, and he made an open-air auditorium from 30 army trucks and some camouflage netting.

After the war he studied art and architecture and was drawn into the worlds of theatre and film, working as assistant to the Marxist director Luchino Visconti initially but soon designing and directing his own films, plays and operas.

His filmography runs to some twenty movies from the ground-breaking, and at the time shocking Romeo and Juliet of to the brooding Jane Eyre of via his stunning seven-hour Jesus of Nazareth for television in , not to mention his Hamlet with Mel Gibson in the leading role.

On stage he is famed for his opulent productions at the opera and he has worked with the titans of the art including Maria Callas, Placido Domingo, Joan Sutherland and Herbert Von Karajan.

Final movement of Tchaikovsky's Piano Concerto No. She studied English and Drama at Manchester University. Meera gave up her academic plans and moved to London to act in the theatre.

Born in Upper Armley, Leeds, by the age of sixteen Barbara Taylor had graduated from the typing pool and was a cub reporter in the newsroom of the Yorkshire Evening Post.

In , after a number of failed attempts, she sold her first novel to a publisher on the basis of a ten-page outline.

That book A Woman of Substance, has gone on to sell in the region of 20 million copies. Rachmaninov's Piano Concerto No. He began singing in his first competitions at the age of three.

Born into a farming family in the tiny village of Pentglas in North Wales which has only a handful of houses, one shop and one church. He was brought up singing at Chapel and regularly competed and won the National Eistedfodd cultural event.

His first language was Welsh and as a young child he had to communicate with English children camping on his parents land in the summer holidays with sign language.

It was from those children he eventually learnt the language and by watching television. As a teenager he considered being a fireman or a policeman but he won a scholarship to the Guildhall in London and the rest his history.

The decision to visit Arsenal had lasting repercussions with Hornby becoming a fanatical supporter. For a while he lived in Paris, playing piano in a bar.

The show has been running in London for the past nineteen years and has played all over the world. Now aged 78, he continues to work.

Initially, she wanted to be an actress, but, influenced by Joan Baez and Bob Dylan, she turned to singing folk instead and began performing in the bars of Greenwich Village.

But, by the age of 24, it seemed as if her singing career was over -- she was a single mother and had returned home to live with her mother, only singing in local bars.

They worked together on two albums and invented what has become country rock — a fusion of folk, country and rock music.

To date she has won 11 grammies and in was inducted into the Grand Old Opry. She now writes her own music. She is three-times divorced and now travels everywhere with her mother.

Originally from Tranmere in Birkenhead, Paul worked as a social worker for Camden Council as well as working part time in pubs around London in the s.

He was born in Leicester in and, despite studying law at Cambridge, was not tempted to train to be a lawyer, and instead sought employment at the ground-breaking Royal Court Theatre in London.

Singer Sacha Distel. His mother was a talented musician and she instilled a love of music in her son at a young age — especially the piano.

The family was traumatised during the second World War, when his mother, who was Jewish, was interred in a Nazi camp for 19 months. After the war they were reunited but Sacha has said the experience left him with a long lasting sense of insecurity.

He continued playing the piano but was increasingly drawn to the guitar — encouraged by the Uncle who was the successful jazz band leader Ray Ventura.

He soon demonstrated enormous talent for the instrument and after graduating from college he was playing with the likes of Lionel Hampton, Stan Getz, Dizzy Gillespie and Miles Davies.

However it was his affair and engagement to Brigitte Bardot which catapaulted him to international fame.

The liaison failed but he was to go on to become a household name, both in here and in France, with his distinct vocal style and image as a sex symbol.

Now about to turn 71, Sacha is still touring and has just released a new CD. Her first ambition, whilst at convent school, was to be a saint.

But her behaviour didn't match her early aspiration: as a teenager she was nearly expelled from school for dramatising the Profumo affair for the headmistress's feast day.

Her first professional part was at the age of eleven when her father, the actor Cyril Cusack, cast her in an adaptation of Kafka's The Trial at the Olympia Theatre in Dublin.

She played a deaf mute - she says perhaps he did it to keep her quiet, because he wasn't keen for her to pursue acting and said she would never be a classical actress.

Sinead's first roles were at the Abbey Theatre in Dublin, whilst she was still at university. She joined the Royal Shakespeare Company which, she says, taught her all she knows.

Her book, in addition to the Bible and the complete works of Shakespeare, would be The Plays of Chekhov.

His luxury would be a big hat with a lot of muslin. His first Shakespeare performance was playing Malvolio from the same play at the amateur Hopefield Miniature theatre when he was 13 years old.

From the age of 5 George spent time pottering round his father's sets, joining in where possible, shouting out the temperature during the weather report.

After an initial plan to follow his father into broadcasting, then studying for a short while at Northern Kentucky University, George failed to join the Cincinnati Reds baseball team.

But then he got a part in a small film through his uncle, the actor Jose Ferrer. The film was never released, but it had persuaded George of his vocation.

Now decided on a career in acting, George moved to L. His first film, in which he starred with Charlie Sheen, stayed unreleased, but got him the producers' attention for later contracts.

He got parts in sit-coms such as The Facts Of Life, and Roseanne, and earned decent money, although fame so far eluded him.

Jim was born in Leeds but soon moved to Darlington with his family. He attended the local school and left with one O level in Art.

He fulfilled the expectations of his school by getting a job in a factory, completing his apprenticeship and working there for four years.

However, he was bored so he moved to London with three friends. After trying a few different jobs he began running club nights - with music, acts and entertainment.

He would hire a venue and the bands and he would be the compere. Jim decided to take on the persona of Vic Reeves as it gave him an excuse to act up.

A comedy night came up and instead of booking three comedians, he decided to do the whole night himself. After teaming up with Bob Mortimer, a solicitor who had been in the audience of one of his shows, the show went from strength to strength.

Claude-Michel always knew he would be a composer. As a small boy growing up in Brittany he would play the piano and compose pieces for his mother.

He dreamt of getting away from his little village on the French coast and going to live in Paris and compose Operas. To please his mother Claude-Michel went to University to study Mathematics, but whilst he was there he formed a band and began writing songs.

During this time he had met lyricist Alain Boublil who had been impressed with his pop songs and both were keen to take on a bigger project.

The duo perfected their skills when they went on to create the hugely successful musicals Les Miserables, Miss Saigon and Martin Guerre.

Her father, a Naval pilot was killed in a crash when she was five. Her mother married another pilot six years later, but he was also killed under similar circumstances.

Stung, she moved to Paris where she was encouraged by the family she was working for to enroll at a Parisian drama school, which she did.

She has worked almost constantly since, in France, England and America, on stage, television and film. Her first starring film role was opposite Prince in his film Under the Cherry Moon and others soon followed.

She has lived in Paris ever since moving there at the age of 19 and is married to a French obstetrician, Francois Olivennes.

The couple have three children aged 14, 10 and 2. This is her first British stage appearance. He was educated at a private school, in the hope that he would shine academically, but he really wanted to be playing music with his friends at the local state school, the County.

At 16 he left and went to the Cambridge Tech where he became friends with Syd Barratt, the legendary founder of The Pink Floyd Sound, as they were originally known.

Dark Side of the Moon has remained in the best-selling albums chart ever since its release thirty years ago and has racked up some 35 million copies sold worldwide.

The records were as groundbreaking in their presentation as their music, and the covers, designed by Storm Thorgeson, became iconic in their own rights: the man on fire on Wish You Were Here , the flying pig over Battersea power station on Animals , the black gatefold with a prism streaming light on Dark Side of the Moon.

Pink Floyd concerts became a byword for spectacle through the 70s and 80s with lights and lasers and special effects. He lives on acres of land in Sussex with his second wife, writer Polly Samson and four of his eight children.

As time went on, however, he found directors were always asking him to play an instrument, so he switched to music as his main focus.

He got his first job as composer and musical director for a production of Twelfth Night at the RSC in Stratford in It was only his fourth attempt at film music.

In addition he cornered the market in jingles for daily news bulletins across the BBC. George Fenton is a visiting professor at the Royal College of Music in London, and regularly appears on television arts shows and documentaries as an authority on music.

His luxury would be a Steinway Model D Piano, specially conditioned to deal with all weathers. Although his cockney accent is part of his singing style, he was actually born in Hastings and moved to London as a child.

His singer mother was perhaps a subconscious inspiration, but Suggs didn't have any particular ambitions in his teens. He dropped out of school and did what a lot of teenage boys do - formed a band with his friends.

Madness, a seven-piece gang of friends, became a huge success. In seven years they had 20 singles in the top 20 UK chart and travelled the world playing to large audiences.

Is That All There Is? His luxury would be a nucleus of bees. Her versatility is clear, with credits including such varied programmes as acclaimed drama Goodbye Cruel World; the 50s feel-good nostalgia series Sex, Chips and Rock 'n' Roll; cult comedy The Royle Family and, most recently, psychological thriller Waking the Dead pictured above.

Her early career was with the Pilkington Glass Factory, where she got a job in the pensions department specifically so she could join their amateur dramatics group.

After rebelling against her parents wishes and attending drama school in London, Sue acted in repertory theatre until her mids.

Having a son brought new responsibilities and realising, the bonus of a regular income and regular hours, she auditioned for Brookside.

She became a household name and recognised as "Sheila Grant" wherever she went. She left after eight years and never looked back: her first role was as a motor neurone sufferer in Goodbye Cruel World, for which she was Bafta nominated and she has been in demand ever since.

He is also a member of the Royal Academy, an illustrator and teacher. When war broke out Leonard was drafted into the Auxiliary Fire Service in London but he didn't stop painting, and he used his experiences to create some of his finest work.

He agreed and was appointed an official war artist to the Admiralty and was posted to the British Pacific Fleet.

After the war Leonard went back to teaching, first in London then to Edinburgh College of Art in , and later on to the Royal College of Art where he met his most memorable student - David Hockney: "I didn't find him at all difficult, but it was a little bit scary because if anybody ever had something written on his forehead, he had.

Every single member of that staff pretty well guaranteed that when David left, he would be a success of some kind. He was a very rare bird - he had a quality of understatement - rare and important in its way.

His luxury would be a sloping lawn. He kept his school friends entertained. He says "There's four rows in the class, the "clever", the "not-quite-so-clever", the "stupid-but-saveable" and the "stupid".

I was in the "stupid-but-saveable-row" because I could write and stuff - and I was alright, because boys in that row were quite fun! Not jolly drunks.

My drunks were serious - they're proper drunks. He forgot the words of his song and resorted to finishing the story by simply telling it.

When the audience started roaring with laughter at the spoken version he realised he was really enjoying himself. From there he graduated to his one-man shows and the major breakthrough came when he was a guest on Parkinson in Much of his material throughout his career is drawn from a difficult childhood.

His mother left when he was four: "It was the middle of the war and I've never held it against her, never.

I think I might have done the same. She was a teenager, Germans were bombing the town. My father was in India and we lived in a slum in Glasgow".

Billy and his older sister Florence were brought up by two aunts and their father and while "being battered to death" was the fate of many of Billy's friends, "violence was normal" his Aunt Mona also liked to humiliate him publicly by telling him how stupid he was.

It takes so long to get over it". It was only when his father had died that Billy told Florence and his wife Pamela Stephenson about the sexual abuse he suffered from his father.

Confronting his past has not been easy, but now he feels that "I am out of jail. It's a lovely feeling. It's difficult to describe - it's like there was a film over me and it's gone.

His luxury would be his banjo. He soon progressed to the guitar, which he started learning when he was eight.

He perfected his technique by buying records and copying the trickiest guitar parts. Although Brian's dream was to be a guitarist, it didn't seem like a reality so, encouraged by his parents, he went to London University's Imperial College to study Physics.

Whilst there he continued playing in bands with his drummer friend Roger Taylor. Brian was researching infra red astronomy and part-time tutoring.

But Queen soon hit the big time with their album Sheer Heart Attack, a success on both sides of the Atlantic. The band recorded 20 albums over a 22 year period and had frequent hits around the world with Killer Queen, Radio Ga Ga and Bohemian Rhapsody.

They were known for their flamboyant live shows, where Brian provided technical brilliance and extended guitar solos inspired by Eric Clapton and Jimi Hendrix.

When lead singer Freddie Mercury died of an AIDS-related illness in , Brian and his fellow band members organised a huge tribute concert for AIDS research which was shown on television screens around the world.

Thirty-one years after Queen began, the band is still popular: Bohemian Rhapsody was voted most popular British song in a BBC Radio 2 poll this year, 24 years after its first release.

Brian has also written and toured with his own band and in June this year he kicked off the Queen's Jubilee concert with an amazing guitar solo of The National Anthem from the roof of Buckingham Palace.

This month he came fifth in a poll to find the World's Greatest Guitarists. His luxury would be his own guitar: the Red Special. Sir Arthur Bliss composed for her and she studied under Louis Kentner.

Marguerite was born into a musical family in London in the s. Her mother began teaching her the piano and would sit and practice with her daily.

Soon she was getting up at six in the morning to practice, and continuing on her return from school. Her first public performance was in the Wigmore Hall, when she was ten years-old, after she won a competition run by the piano firm Murdoch.

At 15, she performed with Sir John Barbirolli. Later in her teens Marguerite went to study with Louis Kentner, who she continued to work with until he died in It gave her a taste for travel and, after the war, a concert she gave in Paris was her first experience of foreign travel.

She has since toured around the world and is well-known for her beautiful couture gowns, the first of which was by Norman Hartnell.

Her book, in addition to the Bible and the complete works of Shakespeare, would be Alan Walker's biography of Liszt. Her luxury would a piano.

He was celebrated in 's Being John Malkovich, in which he played himself. Malkovich was born in rural America, where his family ran the local newspaper.

He attended Illinois State University but soon changed his major from environmental studies to drama. He and two friends formed the Steppenwolf Theatre Company, an experimental theatre company, in Based in Chicago, it became one of the most exciting regional groups in America.

Malkovich acted in, directed and helped on dozens of plays, while earning money painting houses and driving school buses.

Their performances were captured for posterity in a film version a year later. His luxury would be a cappuccino maker. He lived in a farming community and looked after the animals, helping with the sugar harvest and fetching firewood.

He lived with his grandmother after his parents separated, loving being the man of the house. She would entertain the young Linton, who she called "me husband", with folk songs, stories and ghost stories.

In , when he was 11 years old, Linton came to live in England. It was a huge contrast: "I had this childhood idea that literally the streets of London would be paved with gold and everybody living affluent lifestyles.

So it was a bit of an eye-opener for me when I came and saw all these grey buildings with chimneys and smoke coming out of them and to see a white person sweeping the street!

He joined the British Black Panthers in his teens, discovered Black literature and began to write poetry of his own. He gained a sociology degree in the mids and had poems, inspired by politics and the Black movement, published in the journal Race Today.

He soon became known for his poetry written in dialect and would often use reggae music to accompany it. He still tours with his band and can command stadium-size stages.

Linton Kwesi Johnson became one of only two living poets to be published in a Penguin Modern Classic in He says "I've made a small contribution to bring poetry back to the people.

New Craas Massahkah to the memory of the fourteen dead , published by Bloodaxe. If Linton could only take one of the eight records it would be No 4, Embraceable You.

His book, in addition to the Bible and the complete works of Shakespeare, would be Years of Solitude by Gabriel Garcia Marquez His luxury would be a bass guitar.

Taylor was soft spoken and still in possession of those boyish good looks. He demonstrated no reticence in speaking about his life and times with The Rolling Stones.

Crusade, the first album with the legendary bandleader, was recorded before he even turned The band, in , was about to embark on yet another American tour.

Brian Jones had been convicted earlier on a drug usage charge and this prevented him from obtaining the necessary work visa to play music in the US.

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Daya - Insomnia Record Mix Tyga - Ayy Macarena Record Mix Dj Goja - Freak! Jaded - Move It Record Mix Scotty - Children Record Mix Vize, Laniia - Stars Record Mix Audiosoulz - Dancefloor Record Mix Ofenbach - Rock It Record Mix Vinne, Kohen - Feelings!

Ava Max - Salt Record Mix Pascal Letoublon - Friendships Record Mix Rasster - Sad Record Mix Ofenbach - Insane Record Mix Bodybangers - Again Record Mix Rockefeller - Same Man Record Mix Dallask - I Know Record Mix Filv, Edmofo - Clandestina Record Mix Love Harder - Oblivion Record Mix Gaullin - Without Me Record Mix Record Party.

Record Club 5. Record Club 4. Record Club 3. Record Club 2. Ilmuro - Lost Original Club Mix Dlmt feat. Kopa - Younger Dlmt Vip Mix Versus, Dissolut feat.

Nicola Green - Afraid Jay Robinson - Lsd Slatin - 5Pm King Arthur Edit Missy Elliott - Lose Control feat. Dirty Ducks - Juice Benny Benassi - Satisfaction Twisterz Remix Emie - Not So Bad Deekey - Is It Love Extended Alex Gaudino feat.

Hugel - They Know Extended Mix Robert Falcon vs. Gemeni Deepend - Be Yours Extended Trevor Daniel - Falling Doublefast Remix Martin Garrix - Summer Days feat.

Martin Garrix - Used To Love feat. Martin Garrix - Home feat. Martin Garrix - No Sleep feat. Julian Jordan - Oh Lord feat.

Ryos feat. Mariana BO - Feeling Good Dannic - Wobble Silverberg - Wolves Reece Low - Wait A Minute Reebs - Jacked Up Klaas - Fighter Extended Mix Art Beatz - Camel Shake Jrm Dyro Remix Greg Dela - Weirdos feat.

Zookeepers - Magic feat. Toomanylefthands Remix Morganj - Last Night feat. Fwn Dyro - Bombai Dlmt - Younger feat.

Kopa Vinne Remix Morgan J - Last Night feat. Harry Cracknell Jack Wins feat. Mistajam feat. Laura White - Ultimatum D. Mistajam Extended Remix Jlv - Feel Again Vip Mix Colin Hook - You Can Go Billy Sizemore - Marton Gellero - Diwan Dankann - Inverno Bunny Tunes.

Martin Garrix. Don Diablo. Kshmr feat. Sigma — Anywhere Ofenbach - Rock It Syn Cole - Mind Blown Aris, Dj Antonio — Sos Trinix — Rodeo Mike Williams vs.

Dastic — Kylie Martin Garrix feat. Bonn - No Sleep Savin Remix Vize, Laniia — Stars Klaas — Money Haris — Perfect Nippandab - Lai Lai Cat Dealers, Lothief, Santti — Sunshine Jubel - On The Beach Going Deeper — Broken Don Diablo feat.

Brando — Congratulations Boostereo — Mumbai Parah Dice — Hot Danny Shark - Makes Me Wonder Fisher - Losing It Jaded - Move It Kshmr, Nevve - Do Bad Well Ava Max — Torn Mike Candys - Lights Go Down Scotty — Children Edegaard Era Wadi feat.

Cancun - Don't Fuck With Me Ilkay Sencan - Do It Audiosoulz — Dancefloor Ub Focus vs. Wilkinson — Illuminate Monoir feat. Brianna — Tsunami Rasster — Sad Saint Jhn - Roses Imanbek Remix Rockefeller - Same Man Sofi Tukker — Batshit Little Big - I'M Ok Avicii feat.

Mosimann, Maruv - Mon Amour Sigala, Paloma Faith - Lullaby Lika Morgan - Be My Lover Ally Brooke - No Good French Montana feat.

City Girls - Wiggle It Pawl — Nirvana Hugel, Amber Van Day — Wtf Dynoro feat. Ina Wroldsen — Obsessed Pascal Letoublon — Friendships Jax Jones, Ina Wroldsen — Breathe Rompasso — Paradise Bazzi, Camila Cabello, Edx — Beautiful.

Record Megamix. Scotty - Children Radio Record. Sunstars - Dance All Night Curtiba - Missing Harddope - Bugatti Tom Reason - Escape Galoski - Make That Body Move Chris Lorenzo, Chynna - Bad Bitch Tujamo, Lukas Vane - Drop It Soulvation, Niels Geusebroek - Stay the Same Fullmode - Give Me That The Him - Walk Alone Janet Jackson - All for You James Arthur, R3Hab - Treehouse Wahlstedt - Stay with Me Wongo, The Sponges - Caught Up Pretty Pink feat.

Fallon - Yup Extended Mix Spada vs. Prezioso - Tiger Extended Mix Inner City feat. Steffanie Christi'An - Believe Extended Low Steppa feat.

Clan Eq - Shake Repeat Max Styler, Bok Nero - Time Saladin - Move It. Superchart Adrian Stere - 5D The Cousins - Heartbeat Jennifer Cooke feat.

White N3Rd - Feel Good Dzill - Drift Gspr - Nightcall Janee feat. Lunis - Fall Alex Pizzuti - After The Stars Mohtiv - Need Somebody Noebeat - Lights Bloom Line feat.

Blü Eyes - Motions Homeland - Love Nathan Brumley Million Prodz - Back To You Almost Weekend - Tell Me Janelle - Keep On Dancing Redlo - Get Out My Head Arqo - Journey Jessie J - Brave Rayet Remix Freqpass - Big Bounce Kize - High Love Melyjones - Get Back Boothed - Won't Be Alone Jasted - Rave Up Castion - Flame On Hex Cytrax - No One Sloe - Reactor Jubel - On the Beach!

Record Club 1. Lost Frequencies - Sun Is Shining Mick Mazoo - Work It Oscar House - Orca Ay Ay feat. Maff Boothroyd - How It Feels Bright Sparks - Young Blood Makito - Rosario Original Mix Bobina - The Mission Original Mix Armin van Buuren feat.

Atlantis - Fiji ReOrder Remix Daijo - Keeping Smack, Carta - Like This Joyryde - Selecta 19 Emmalyn - Switch Magnificence Remix Thomas Gold vs.

Chad Kowal - Without You Nevve - Guilty Kelli-Leigh - Chase The Sun Fatman Scoop - Left Right Elle Vee - Identity Philip Strand - Summer Rain Nino Lucarelli - People Are Strange

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Good Morning San Antonio : Mar 09, 2020

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Maut says:

es kommt vor... Solches zufällige Zusammenfallen

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