Tap dance is a type of dance characterised by using the sounds of tap shoes striking the floor as a form of percussion. The sound is made by shoes that have a metal "tap" on the toe. There are several major variations on tap dance including: rhythm tap tap, classical tap, Broadway tap, post-modern tap. Broadway tap focuses on formations and less complex rhythms. Rhythm tap focuses on musicality, practitioners consider themselves to be a part of the jazz tradition and as such, Improvisation is essential to their work. Many of the most influential rhythm tap dancers were members of the Hoofers Club or Original Copacetics. Classical tap has a long tradition which marries European "classical" music with American foot drumming with a wide variation in full-body expression. Post-modern or contemporary tap has emerged over the last three decades to incorporate abstract expression, thematic narrative and technology. There are different brands of shoes. Soft-shoe is a rhythm form of tap dancing that does not require special shoes, though rhythm is generated by tapping of the feet, it uses sliding of the feet more than modern rhythm tap.
It produced what is considered to be modern tap, but has since declined in popularity. Tap dance has its roots in the fusion of several ethnic percussive dances, including from various African countries, including a particular dance called Gioube Juba Dance, English clog dancing and Irish jigs. Tap dance is believed by some to have begun in the mid-1800s during the rise of minstrel shows. Famous as Master Juba, William Henry Lane became one of the few black performers to join an otherwise white minstrel troupe, is considered to be one of the most famous forebears of tap dance; as the minstrel shows began to decline in popularity, tap dance became popular Vaudeville stage. Due to the two-colored rule, which forbade black people from performing solo, the majority of Vaudeville tap acts were duets; this gave rise to the famous pair "Buck and Bubbles", which consisted of John William "Bubbles" Sublett tap dancing and Ford "Buck" Washington on piano. The duo perfected the "class act", a routine in which the performers wore impeccable tuxedos, which has since become a common theme in tap dance.
The move is seen by some as a rebuttal to the older minstrel show idea of the tap dancer as a "grinning-and-dancing clown." John "Bubbles" Sublett is known amongst hoofers as the "Father of Rhythm Tap" which incorporates more percussive heel drops and lower-body movements. Another notable figure to emerge during this period is Bill "Bojangles" Robinson, a protégé of Alice Whitman of the Whitman Sisters around 1904. Well-versed in both Buck and Wing dancing and Irish step dancing, Bill Robinson joined the vaudeville circuit in 1902, in a duo with George W. Cooper; the act became famous, headlining events across the country, touring England as well. In 1908, the two had an altercation and the partnership was ended. Gambling on his popularity, Robinson decided to form a solo act, rare for a black man at that time. Despite this, he soon became a world-famous celebrity, he went on to have a leading role in many films, notably in movies starring Shirley Temple. Shortly thereafter, the Nicholas Brothers came on the scene.
Consisting of real-life brothers Fayard and Harold, this team wowed audiences with their acrobatic feats incorporated into their classy style of dancing. They never looked less than suave and were always in total control of their dancing in childhood numbers such as Stormy Weather. A notable scene in the movie Stormy Weather features the pair dancing up a staircase and descending the staircase in a series of leapfrogs over each other into a full split from which they rise without using their hands. During the 1930s tap dance mixed with Lindy hop. "Flying swing-outs" and "flying circles" are Lindy hop moves with tap footwork. In the mid- to late 1950s, the style of entertainment changed. Jazz music and tap dance declined, while the new jazz dance emerged. What is now called jazz dance evolved from tap dance, so both styles have many moves in common. Jazz has since evolved separately from tap dance to become a new form in its own right. Well-known dancers during the 1960s and 1970s included Tommy Tune.
No Maps on My Taps, the Emmy award-winning PBS documentary of 1979, helped begin the recent revival of tap dance. The outstanding success of the animated film, Happy Feet, has further reinforced the popular appeal. National Tap Dance Day in the United States, now celebrated May 25, was signed into law by President George Bush on November 7, 1989. Prominent modern tap dancers have included Sarah Reich, Brenda Bufalino, Melinda Sullivan, The Clark Brothers, Savion Glover and Maurice Hines, LaVaughn Robinson, Jason Samuels Smith, Roxanne Butterfly, Chloe Arnold, Michelle Dorrance, Dulé Hill and Dianne "Lady Di" Walker. Indie-pop band Tilly and the Wall features a tap dancer, Jamie Pressnall, tapping as percussion. Tap dancers make frequent use of syncopation. Choreography starts on the eighth or first beatcount. Another aspect of tap dancing is improvisation. Tap dancing can either be done with music following the beats provided, or without musical accompaniment. Hoo
Toshiyuki Teruya, better known as Gori or Gorie or Gorie Matsuura, is a Japanese comedian, variety show host, voice actor, film director, musician. He is a member of the owarai group Garage Sale, he has appeared in drag as a schoolgirl character named Gorie and collaborated with Jasmine Ann Allen and Joann Yamazaki to release three singles. Mickey reached number one on the Oricon charts in 2004. Churasan series - as Keishō Kohagura Oniyome nikki series - as Kazuma Yamasaki Ohitorisama - as Delivery Man Keiji Narusawa Ryō - as Edo Jidan Kōshōnin Gotakeshi - as Shingo Fujii Nobunaga no Chef as Toyotomi Hideyoshi Nin x Nin: Ninja Hattori-kun, the Movie - as Kemumaki Kenzō Check It Out, Yo! - as Hajime Genga Memories of Matsuko - as Shūji Ōkura Sakuran - as one of Ore-tachi Utatama - as Hiroshi Gondō Goemon - as Sarutobi Sasuke Waratte Iitomo Adrena! Gallage Gori muchū Oha Suta One Night R&R Summer Days with Coo - as Kijimunā Kimba the White Lion - as Gorilla The Pacifier - as Shane Wolfe G-Force - as Darwin Jack the Giant Slayer - as General Fallon Detective Bogie Bogie the Hero Furimun of the South Island Senkotsu Nintendo - Wii Fit Asahi Breweries - Chūhai Goricchu Mickey Pecori♥Night Koi no Pecori♥Lesson Garage Sale Gori Official Blog Gori on IMDb
Bondage pornography is the depiction of sexual bondage or other BDSM activities using photographs, movies or drawings. Though described as pornography, the genre involves the presentation of bondage fetishism or BDSM scenarios and does not involve the understood pornographic styles. In fact, the genre is interested with the presentation of a bondage scene and less with depictions of sexuality, such as nudity or sex scenes, which may be viewed as a distraction from the aesthetics and eroticism of the sex scenario itself. Most subjects of bondage imagery have been women, the genre has been criticized for promoting misogynistic attitudes and violence against women. In the early 20th century, bondage imagery was available through "detective magazines", comic books featured characters being tied up or tying others up in "damsel in distress" plots. There were a number of dedicated fetish magazines which featured images of fetishism and bondage; the first of such magazines in the United States was Bizarre, first published in 1946 by fetish photographer John Willie, who developed the concept in the 1920s.
Willie was able to avoid controversy in censorship through careful attention to guidelines and the use of humor. Publication of Bizarre was suspended from 1947 to 1951 because of post-War paper shortages. By 1956 Willie was ready to give up the magazine, in that year he sold it to someone described only as R. E. B. who published six more issues before Bizarre folded in 1959. Willie is better remembered for his Sweet Gwendoline comic strips, in which Gwendoline is drawn as a rather naïve blonde "damsel in distress", with ample curves, unfortunate enough to find herself tied up in scene after scene by the raven-haired dominatrix and the mustachioed villain "Sir Dystic D'Arcy", she is rescued and repeatedly tied up by secret agent U-69. The comic strips were published in the 1950s and 60s; the story was published as a piecemeal serial, appearing two pages at a time in several different magazines over the years. Though Bizarre was a small format magazine, it had a huge impact on kink publications, such as ENEG's fetish magazine, published 1956-1959.
Exotique was devoted to fetish fashions and female-dominant bondage fantasies. The 36 issues featured photos and illustrations of dominatrix-inspired vamps wearing exotic leather and rubber ensembles, stockings/garters and high heels. Gene Bilbrew contributed illustrations to the magazine; the articles, many written by Leonard Burtman, using an alias, covered various aspects of sadomasochism and transvestism, with men depicted as slaves to imperious, all-powerful women. Exotique had no nudity, pornographic content, or sexually suggestive situations. Much like fellow publisher Irving Klaw, in 1957, Burtman would be targeted as a pornographer, he was relentlessly pursued by the U. S. Postal Inspection Service and local law enforcement, he was arrested, his magazines and materials confiscated, brought to trial. This led to the demise of the magazine in 1959. However, starting in 1960, Burtman would go on to publish many more fetish magazines that were nearly identical to Exotique such as New Exotique, Connoisseur, Bizarre Life, High Heels, Unique World and others well into the 1970s.
New York photographer Irving Klaw published illustrated adventure/bondage serials by fetish artists Eric Stanton, Gene Bilbrew, Adolfo Ruiz and others. Klaw is best known for operating an international mail-order business selling photographs and film of attractive women from the 1940s to the 1960s, his most famous bondage model was Bettie Page, who became the first celebrity of bondage film and photography. These publications disappeared for a time with a crackdown on pornography in the late 1950s. Dedicated bondage magazines again became popular in America in the 1970s. Publishers of bondage magazines included Harmony Concepts, the House of Milan and Lyndon Distributors. House of Milan have since been purchased by Lyndon Distributors; these magazines were not available through mainstream distributors, were sold either in sex shops or by mail order. They contained little advertising content, were dependent on sales; each magazine consisted of several multi-page pictorials of tied-up women with a fictional narrative attached, one fictional story of three or four pages in length.
Sometimes pictorials were replaced by artwork by a fetish artist or included an interview with one of the performers in the industry. In the case of House of Milan and Lyndon Distributors, the magazines were illustrated text versions of videos published by the same title; such practice cut allowed a streamlined output of material. Another type of magazine was the "compendium magazine" consisting of a large number of individual photographs drawn from previous magazines, without any linking story; because of their small circulation, compared with mainstream pornography, most bondage magazines were printed in black and white, except for the cover and centerfold. In the 1980s and 1990s, experiments were made with adding more color content, but most magazine content remained black and white; the attitude of some of the early magazines could be regarded as misogynistic, in spite of editorial d