Alice Baton is a model making a name for herself by getting topless for obscure magazines….I’ve never heard of her or the magazine she’s in, but I have seen her tits and I only care about the tits, especially when they are being shown off by the girls so eager to make it in the pretentious bullshit fashion world cuz if they do make it, it is easy living…and all they had to do was take off their shirt…like a stripper, with the comfort of knowing she’s not a stripper, cuz she only gets topless in photoshoosts, and not for 10 dollars a song, but I think it is the same fucking thing…and that’s why I like Alice Baton enough to visualize her being sodomized by a baton….like it was a college team sport hazing…. Either way, here’s the hot fitness shoot.
The thing I like about these UK Glamour Models is that they aren’t all that hot, you know their faces are whatever, but their tits are spectacular and they have no problem showing them off, cuz they are finally getting the male attention they always wanted and felt they deserved…. The other thing I like about these UK Glamour Models, other than being topless, is that their fans are fucking weird, and do things like compile catalogs of their topless work that I can rip off and share with you, because you are probably one of those people who is into this kind of nerd pervert virgin shit…and I am the kind of person who likes stealing other people’s hard work cuz I’d never complile archives of this kind of bullshit….. 3 Years of Titty Pics that could have all been shot in one day…seems like a waste of money that they spread this out…but here are the titty pics anyway…
Actress is photographed on the set of the Elizabeth Taylor biopic with her co-star Grant Bowler. By Jocelyn Vena Lindsay Lohan as Liz Taylor in ‘Liz & Dick’ Photo: Richard McClaren/Lifetime Lindsay Lohan certainly looks happy getting her Elizabeth Taylor on in a new still from her biopic, “Liz & Dick.” She’s all done up like the Hollywood legend in the first official photo from the film, complete with a black bob, smoky eye makeup and lipstick. The black-and-white still also features her Richard Burton, “True Blood” actor Grant Bowler, kissing the smiling actress’ neck. E! News reports that the photo was shot on May 29 at Lifetime Studios. The source added that they released the photo in black and white because they wanted to give it a “classic” look. In addition to the official first look, there have been several paparazzi shots of Lohan on set that have hit the Internet. On Monday, a photo of Lohan wearing a leopard-print bathing suit and sunglasses while hanging out a boat was released on People.com . That same day, another photo of the star channeling Taylor hit TMZ . In it, she’s wearing an emerald green and ivory colored gown, smoking a cigarette. The site reports that Lohan isn’t wearing a wig in the film, but instead had her hair cut and colored to mimic the screen legend’s own signature look. On Tuesday, Lohan and Bowler were photographed on a boat in what appeared to be a heated scene, where he was physically tossing her about (resulting in a bit of a wardrobe malfunction for Lohan). The Daily Mail reports that the scene will re-create the couple’s splashy vacation in Naples in 1965. The story will focus on the steamy — and contentious — love affair between Taylor and Burton. The pair defined and redefined the rules for modern celebrity life as their torrid love affair often made the kind of the kind of headlines that would rival Brad Pitt and Angelina Jolie. “I have always admired and had enormous respect for Elizabeth Taylor,” Lohan said in the statement. “She was not only an incredible actress but an amazing woman as well. I am very honored to have been asked to play this role.” Do you think Lindsay Lohan will make a good Elizabeth Taylor? Leave your comment below! Related Artists Lindsay Lohan
With the band (apparently) calling it quits after 25 years, Bigger Than the Sound offers a eulogy. By James Montgomery Dean Ween Photo: Chris McKay/ WireImage In my review of Ween ‘s 2007 album La Cucaracha (which also happens to be the last time they were mentioned on this website), I referred to them as “musical cockroaches,” the kind of scurrying, scrounging band that — much like the titular (and totally gross) arthropod on the record’s cover — was capable of surviving nuclear holocausts and subsisting on a bar of soap for weeks at a time. “In essence, Ween are indestructible,” I wrote. “They will be here long after you and I are gone.” It turns out, I was wrong about that last point. Because on Tuesday, Aaron Freeman, better known to bong-rippers and Scotchgard-huffers everywhere as Gene Ween, told Rolling Stone that he was retiring the mantle and ending Ween, saying, simply, “It’s been a long time; 25 years. It was a good run.” Of course, this apparently came as a surprise to Freeman’s partner for the past quarter-century, Mickey “Dean Ween” Melchiondo, who reportedly wrote on his private Facebook page that the band’s breakup “is news to me, all I can say for now I guess.” There’s been no official announcement on Ween’s site , and as late as 2010, the duo were talking about entering the studio to begin work on the follow-up to Cucaracha, though, from the sound of things, those sessions probably didn’t go all that well … if they ever happened at all. But if this really is the end of the band, well, most fans probably saw it coming. After an infamous onstage meltdown at a Ween show last year, Freeman entered rehab (and just released a solo album, Marvelous Clouds ), and in recent years, Melchiondo has devoted most of his time to his side-job as a fishing guide (he describes himself as both a “pretty good conversationalist” and “fully insured”). Still, none of that makes the news any less of a bummer, especially for folks like me, who grew up with Ween, got sh–faced at their live shows — a genuine rite of passage for any fan — spent endless smoky nights dissecting their wildly divergent back catalog and, as a result, would go on to process popular music through their own uniquely cracked spectrum. Freeman is right: It was a good run. And that’s why it’s taken me almost a day to write this column. After all, how does one encapsulate their 25-year career, which began in eighth-grade typing class and has encompassed tape-machine schlock, bizarre, brain-addled semi-hits — 1993’s “Push Th’ Little Daisys” — critical acclaim and Pizza Hut commercials (and master classes in old-school country & western, nautical prog, Beatles-y psych, Buffett-y calypso and, uh, Philly Soul, to name just a few of the dozens of genres they’ve skewered)? Because of all that, they most certainly rank up there as one of weirdest acts of all time, earning their rightful place alongside the likes of Zappa, Spike Jones, Screamin’ Jay Hawkins and Captain Beefheart … though, to me, Ween were always something more: They were an entry point to all that oddity, the first of their kind. The moment I heard “Dr. Rock” or “The Stallion, Pt. 1” (from 1991’s The Pod ), I could practically feel my musical consciousness being expanded, and from that moment on, everything was different. In a lot of ways, Ween made me. I followed them through every twist and turn, often as puzzled as I was delighted ( 12 Golden Country Greats and The Mollusk remain two of my favorite albums ever). But through it all, Ween remained an important band for me, an old favorite, a reminder of the good times when I didn’t know better and when it was socially acceptable to wear basketball shorts and sit cross-legged in smoky dorm rooms all day long. And while nothing I write can effectively eulogize them, I do think that, in closing, it’s important to defend them in one regard: No matter what anyone tells you, Ween were never a “joke” band. They were a terrific band, one adept at doing anything — mostly because they wanted to — and brilliant enough to carry it out to the nth degree. The attention to detail on albums like White Pepper or Mollusk was the kind of thing only true musicians (and music aficionados) could muster — if Ween were gonna do a prog record, you’d better believe it was gonna sound like a prog record — and that held true to the very end. On what might very well end up being their final album track (the smooth-jazz-slaying “Your Party,” from La Cucaracha ), not only did they nail the buttocks-clenching uprightness of the genre, but they went out and got none other than David Sanborn to play satin-sheet sax on the thing. That goes beyond mere humor; it’s pure genius. And that’s what Ween were, to me, and to a whole lot of other people too: musical geniuses. They just managed to hide it for 25 years — though those of us who worship at the altar of the Boognish knew otherwise. Ween may not have lasted forever, but the memories they’ve soundtracked certainly will. It’s a Brown day, indeed. Related Artists Ween
With the death of MCA last week, Bigger Than the Sound looks back at the amazing connection the Beastie Boys shared. By James Montgomery The Beastie Boys Photo: Paul Natkin/ Getty Images After the death of Adam Yauch last week, I am almost 100 percent sure that the Beastie Boys are no more. And while that’s a shame, it’s also fitting: After all, it is impossible to imagine them existing without him. Of course, how the Beasties choose to honor Yauch’s legacy — or carry on with their careers — is ultimately up to them, which is why I can’t say with total certainty that we’ve heard the last of them. And, to be honest, it’s probably too early to even think about it. So instead, I’ll just say that if they truly are done, there will never be another group like them. And I’m not just saying that because of their legacy, creativity or consistency, all of which have been lauded at length in the days since MCA died (and rightfully so). No, what made the Beastie Boys so unique — and so undeniable — was the magic that the trio possessed, an indefinable quality that can only be honed over decades, and never duplicated. Part of it was pure skill; the way they bobbed and weaved through verses, often completing each other’s sentences, literally passing the mic. In a lot of ways a great Beasties song was a lot like a Globetrotters’ routine — they’d sling passes into the ether, always knowing that someone would be there to catch it, never letting the beat skip or the ball drop. And you’d just sit there and marvel at it all. But there was always something deeper about the connection: The Beasties were brothers in arms. From beer-guzzling partymeisters to stony thrift enthusiasts to pop-cult obsessives to downright deep doyens, they grew up together — grew old together — but never lost the joy of youth. And because of that, there was a genuine sense of camaraderie that accompanied them every step of their career. No matter what they were doing, you got the sense that there was no one else they’d rather be doing it with. The Beastie Boys truly loved each other, in that unerring, unwavering way that only old friends can. You know it from the heart-wrenching statements the two surviving members have released since Yauch’s death, but more importantly, you feel it in their music. It’s there in the goofy boasts of Paul’s Boutique tracks like “Shake Your Rump” and “Egg Man” (not to mention album-closing mega-mix “B-Boy Bouillabaisse”) and the all-in surge of “So What’cha Want,” from the follow-up, Check Your Head, where they took the leap together, expanding their sonic palette with instrumentals … and their collective consciousness on tracks like “Namaste.” You feel them becoming closer — not to mention a tighter band — on Ill Communication and The In Sound from Way Out! , having a blast on stuff like “Intergalactic” or “Three MCs and One DJ” off Hello Nasty, getting contemplative on To The 5 Boroughs. And on last year’s Hot Sauce Committee Part Two, they paused to look back on how far they’ve come … not to mention let it all hang out. It’s the kind of growth that’s inevitable, given their closeness; yet it’s also the kind that cannot be forced in any way, shape, or form. And while there certainly have been other great hip-hop groups in the decades since the Beastie Boys first blasted onto the scene (Run-DMC, Public Enemy, the Wu-Tang Clan, etc.), none were able to sustain the kind of career — or the connection — that MCA, Mike D and Ad-Rock had. Their contemporaries were pulled apart, imploded, faded away or simply lost focus … the Beasties did none of those things. To the end, they were one team, one dream; they were never greater than the sum of their parts. Which is why I say it’s impossible to imagine the Beasties existing without MCA, and why I’m certain we’ll never see the likes of them again. Many will try to replicate it, of course, assembled by shadowy Svengalis to feign friendship, but they’ll never beat the B-Boys, because they were actually friends. No group will share the kind of bond they did, no group will be as selfless or as tightly knit. And if this really is the end, then all of that is worth noting, not to mention celebrating. The Beastie Boys were one of the all-time greats, regardless of genre; they went deeper than all that. Theirs was the kind of connection we all strive for and, if we’re lucky, maybe find once in our lives. Do you think there will ever be another group like the Beastie Boys? Share your thoughts in the comments. Related Videos Adam Yauch: Remembering A Beastie Boy Beastie Boys’ Adam Yauch: 1964-2012 Related Photos The Beastie Boys’ Adam ‘MCA’ Yauch: A Life In Photos Related Artists Beastie Boys
‘I was trying to spend as much of the label’s money as possible,’ he tells MTV News of new live-action clip for ‘F—ing Best Song Everrr.’ By James Montgomery Wallpaper. You’re probably wondering why Bay Area party-meister Wallpaper. decided it was time to make a live-action video for his breakout track “F—ing Best Song Everrr,” especially since the animated version has already racked up millions of views. Well, it’s pretty simple, actually: Because he wanted to. “Why make a live-action video after the cartoon video was so dope?” he asked rhetorically. “The bottom line is, I was trying to spend as much of the label’s money as possible.” So, budgets be damned, on Thursday (April 26), we finally got the world premiere of said live-action clip, an avant-garde exploration of man’s deepest desires, a willfully difficult dissertation on the battle between the moralism of the super ego and the hedonism of the id. Not really. Actually, it’s mostly about people getting sh–faced and vomiting confetti. Margaritas are also served. And that’s basically what the self-proclaimed “virtual-media hustler and disco-ball-busting crowd destroyer” was looking for. After all, even though his song may come with a rather braggadocious title, it’s really about those moments of reckless abandon when the song you’re listening to takes on epic proportions and you lose yourself in the moment. Maybe margaritas have been served, and perhaps you actually will throw up some glitter. “The song isn’t necessarily the best song ever,” he explained. “It’s about having the kind of night or the kind of moment where any record feels like the best song ever.” And love him or hate him, you’ve got to give Wallpaper. some credit: It takes genuine smarts to create a track (and video) like “F—ing Best Song Everrr,” which delights in getting supremely, sublimely stoopid. What do you think of the Wallpaper. video? Share your reviews in the comments! Related Videos Wallpaper. Have The Best Night Everrr Related Artists Wallpaper.
‘I was trying to spend as much of the label’s money as possible,’ he tells MTV News of new live-action clip for ‘F—ing Best Song Everrr.’ By James Montgomery Wallpaper. You’re probably wondering why Bay Area party-meister Wallpaper. decided it was time to make a live-action video for his breakout track “F—ing Best Song Everrr,” especially since the animated version has already racked up millions of views. Well, it’s pretty simple, actually: Because he wanted to. “Why make a live-action video after the cartoon video was so dope?” he asked rhetorically. “The bottom line is, I was trying to spend as much of the label’s money as possible.” So, budgets be damned, on Thursday (April 26), we finally got the world premiere of said live-action clip, an avant-garde exploration of man’s deepest desires, a willfully difficult dissertation on the battle between the moralism of the super ego and the hedonism of the id. Not really. Actually, it’s mostly about people getting sh–faced and vomiting confetti. Margaritas are also served. And that’s basically what the self-proclaimed “virtual-media hustler and disco-ball-busting crowd destroyer” was looking for. After all, even though his song may come with a rather braggadocious title, it’s really about those moments of reckless abandon when the song you’re listening to takes on epic proportions and you lose yourself in the moment. Maybe margaritas have been served, and perhaps you actually will throw up some glitter. “The song isn’t necessarily the best song ever,” he explained. “It’s about having the kind of night or the kind of moment where any record feels like the best song ever.” And love him or hate him, you’ve got to give Wallpaper. some credit: It takes genuine smarts to create a track (and video) like “F—ing Best Song Everrr,” which delights in getting supremely, sublimely stoopid. What do you think of the Wallpaper. video? Share your reviews in the comments! Related Videos Wallpaper. Have The Best Night Everrr Related Artists Wallpaper.
Garbage have revealed the video for their single “Blood For Poppies”, off their first album in way too many years, Not Your Kind Of People. The alt-rock band’s clip is filmed in Los Angeles in grainy black-and-white, and is inspired by old silent films — particularly Luis Buñuel’s surrealist classic Un Chien Andelou, which featured a … More » Broadcasting platform : YouTube Source : Idolator Discovery Date : 03/04/2012 22:45 Number of articles : 2
Here is some campaign that Kelly Brook is doing for socks, a campaign that is clearly written by a retard who I am sure thought was so clever, using some play on words bullshit and stuffing her bra jokes… Her face looks horrible, one would even call it a wreck that should be retired..but those tits…those tits are big….and sometimes…like in Kelly Brook’s case…that’s all that matters.
Here’s an obscure, even boring, definitely stupid video that was emailed to me, and that I am posting for one simple reason….if you wait long enough….you’ll see a bitch grinding meat out of her pussy…and that’s the kind of shit…along with pussy puppet shows…that dreams are made of.
