Steppenwolf - The Best Of Steppenwolf Hal Leonard 2000 ISBN: PDF/Mp3 116 pages 150 MB Description: About The Best Of Steppenwolf By Steppenwolf. For guitar and voice. Hal Leonard Guitar Recorded Versions. Psychedelic Rock and Hard Rock. Difficulty: medium. Guitar tablature songbook. Guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text and black & white photos.

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Published by Hal Leonard (HL.694921). With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text and black & white photos. Psychedelic Rock and Hard Rock. 20 classic rock hits. Contents: Screaming Night Hog The Ostrich Desperation Don't Step On The Grass, Sam Hey Lawdy Mama Move Over Monster It's Never Too Late Who Needs Ya Rock Me Rock 'N' Roll Rebels Give Me News I Can Use The Pusher Snowblind Friend Sookie Sookie The Wall For Ladies Only Born To Be Wild Magic Carpet Ride Ride With Me.

Cream - Disraeli Gears Hal Leonard 1992 ISBN: PDF/Mp3 48 pages 52 MB Description: About Disraeli Gears By Cream. For guitar and voice.

Hal Leonard Guitar Recorded Versions. Hard Rock and Classic Rock. Difficulty: medium. Guitar tablature songbook. Standard guitar notation, guitar tablature, vocal melody, lyrics and chord names.

Published by Hal Leonard (HL.694840). With standard guitar notation, guitar tablature, vocal melody, lyrics and chord names. Hard Rock and Classic Rock. Card Reader And Writer Software. Matching folio to the classic album.

Contents: Blue Condition Dance the Night Away Outside Woman Blues Strange Brew Sunshine of Your Love Swlabr Tales Of Brave Ulysses Take It Back We're Going Wrong World Of Pain. In Session with Jeff Beck IMP English 1999 ISBN-10: 76 pages PDF/MP3 76 MB Play along with six classic tracks, transcribed and arranged exclusively by guitarists for guitarists!

These note-for-note transcriptions in standard notation and guitar tab feature full top lines with lyrics and chord symbols, as well as a breakdown and analysis of each solo, containing essential hints and tips. Includes special practice tracks on the CD, with slowed-down versions of the solos, in demonstration and play-along formats. Titles: * Savoy * Starcycle * Big Block * Led Boots * Jeff's Boogie * El Becko.

This section does not any. Unsourced material may be challenged and. (July 2015) () is an American term for a theater that mainly showed exploitation films. It is thought to stem from the defunct theaters on 42nd Street, New York, where 'bump n' grind' dancing and striptease used to be on the bill. In the 1960s these theaters were put to new use as venues for exploitation films, a trend that continued strongly throughout the 1970s in New York City and other urban centers, mainly in North America, but began a long decline during the 1980s with the advent of home video. As the began to decline in the 1960s and 1970s, theater owners began to look for ways to bring in patrons.

One solution was to book exploitation films. Some producers from the 1950s to the 1980s made films directly for the drive-in market, and the commodity product needed for a weekly change led to another theory about the origin of the word: that the producers would 'grind' films out. Many of them were violent action films that some called 'drive-in' films. Subgenres [ ] Exploitation films may adopt the subject matter and styling of regular film genres, particularly and documentary films, and their themes are sometimes influenced by other so-called exploitative media, such as. They often blur the distinctions between genres by containing elements of two or more genres at a time. Their subgenres are identifiable by the characteristics they use. For example, Doris Wishman's contains elements of both shock documentary and sexploitation.

1930s and 1940s cautionary films [ ] Although they featured lurid subject matter, exploitation films of the 1930s and 1940s evaded the strict censorship and scrutiny of the era by claiming to be educational. They were generally about the alleged dangers of premarital sexual intercourse and the use of recreational drugs. Examples include (1936), (1938), (1938), (1943), (1945), and (1949). An exploitation film about homosexuality, (1937), is now believed lost. Biker films [ ]. See also: In 1953, starring Marlon Brando, was the first film about a motorcycle gang.

A string of low-budget juvenile delinquent films featuring hot-rods and motorcycles followed in the 1950s. The success of American International Pictures' in 1966 ignited a more robust trend that continued into the early 1970s. Other biker films include (1965), (1967), (1967), (1968), (1969), (1969), (1969), (1969), (1970), and (1970). (1974) and (1979) combine elements of this subgenre with Ozploitation.

Blaxploitation [ ]. Main article: Black exploitation films, or 'blaxploitation' films, are made with black actors, ostensibly for black audiences, often in a stereotypically African American urban milieu.

A prominent theme was African Americans overcoming hostile authority (') through cunning and violence. The first example of this subgenre was Melvin Van Peebles', and others are, Black Devil Doll,,,,,,,,,,,,,,,,,, and. The 1973 Bond film uses blaxploitation themes, and Quentin Tarantino's and Scott Sanders' are modern homages to this genre. Cannibal films [ ]. Main article: Cannibal films are graphic, gory movies from the early 1970s to the late 1980s, primarily made by Italian and Spanish moviemakers. They focus on by tribes deep in the South American or Asian rainforests. This cannibalism is usually perpetrated against Westerners that the tribes held prisoner. Install Modem Smart Di Ubuntu there.

As with, the main draw of cannibal films was the promise of exotic locales and graphic gore involving living creatures. The best-known film of this genre is the controversial 1980, in which six animals are killed. [ ] Others include,,,,, and the first film of the genre,.

Famous directors in this genre include,,, and. Canuxploitation [ ] 'Canuxploitation' is a neologism that was coined in 1999 by the magazine, in the article 'Canuxploitation! Goin' Down the Road with the Cannibal Girls that Ate Black Christmas. Your Complete Guide to the Canadian B-Movie', to refer to Canadian-made. Most mainstream critical analysis of this period in Canadian film history, however, refers to it as the 'tax-shelter era'. The phenomenon emerged in 1974, when the government of Canada introduced new regulations to jumpstart the then-underdeveloped Canadian film industry, increasing the Capital Cost Allowance from 60 per cent to 100 per cent. While some important and noteworthy films were made under the program, including and, and some film directors who cut their teeth in the 'tax shelter' era emerged as among Canada's most important and influential filmmakers of the era, including,, and, the new regulations also had an entirely unforeseen side effect: a sudden rush of low-budget horror and genre films, intended as pure since they were designed not to turn a conventional profit.

Many of the films, in fact, were made by filmmakers whose projects had been rejected by the Hollywood studio system as not commercially viable, giving rise to the phenomenon. Notable examples of the genre include,,,,,,,,,,,,,,,,,,,,,,,,,,,,, and. The period ended in 1982, when the Capital Cost Allowance was reduced to 50 per cent. However, at least one Canadian film blog extends the 'Canuxploitation' term to refer to any Canadian horror, thriller or science fiction film made up to the present day. Carsploitation [ ] Carsploitation films feature scenes of cars racing and crashing, featuring the sports cars,, and car wrecks that were popular in the 1970s and 1980s. They were produced mainly in the United States and Australia.

The quintessential film of this genre is (1971). Others include (1971), (1974), (1974), (1974), (1975), (1975), (1976), (1977), (1979), (1980), (1986) and (1986).

Quentin Tarantino's (2007) is a modern tribute to this genre (containing some references to Vanishing Point), as well as to slasher films and the films of. [ ] Chambara films [ ]. Main article: In the 1970s, a revisionist, non-traditional style of samurai film achieved some popularity in Japan. It became known as chambara, an onomatopoeia describing the clash of swords. Its origins can be traced as far back as, whose films feature moral grayness [ ] and exaggerated violence, but the genre is mostly associated with 1970s samurai by, on whose work many later films would be based. Chambara features few of the stoic, formal sensibilities of earlier films – the new chambara featured revenge-driven antihero protagonists, nudity, sex scenes, swordplay, and blood.

Well-known chambara films include,,, and. Modern Japanese films such as and anime such as continue the chambara tradition, and Quentin Tarantino's series is a prominent American tribute to the genre, as is.

Other films, such as and, combine elements of chambara with. Games like combines Chambara with. Giallo films [ ]. In Italy, when you bring a script to a producer, the first question he asks is not 'what is your film like?' But 'what film is your film like?'

That's the way it is, we can only make Zombie 2, never Zombie 1. Mockbusters, sometimes called 'remakesploitation films', are copycat movies that try to cash in on the advertising of heavily promoted films from major studios. Production company, which prefers to call them 'tie-ins', is a prominent producer of these films. Such films have often come from Italy, which has been quick to latch on to trends like Westerns, movies, and zombie films.

They have long been a staple of directors such as ( The Bare Wench Project, and the imitation Sub Zero), who make movies for the direct-to-video market. Such films are beginning to attract attention from major Hollywood studios, who served the Asylum with a order to try to prevent them the release to video stores in advance of the release of to theaters. The term mockbuster was used as early as the 1950s (when was a clear derivative of ). The term didn't become popular until the 1970s, with and the and. The latter two used scenes from and unauthorized excerpts from ' score. Mondo films [ ]. Main article: Mondo films, often called shockumentaries, are quasi-documentary films about sensationalized topics like exotic customs from around the world or gruesome death footage.

The goal of mondo films, as of shock exploitation, is to shock the audience by dealing with taboo subject matter. The first mondo film is ( A Dog's World). Others include,, and. Monster movies [ ] These 'nature-run-amok' films focus on an animal or group of animals, far larger and more aggressive than usual for their species, terrorizing humans while another group of humans tries to fight back.

This genre began in the 1950s, when concern over nuclear weapons testing made movies about giant monsters popular. These were typically either giant prehistoric creatures awakened by atomic explosions or ordinary animals mutated by radiation. Among them were,, and. The trend was revived in the 1970s as awareness of pollution increased and corporate greed and military irresponsibility were blamed for destruction of the environment.,, and are examples.

After 's 1975 film, a number of very similar films (sometimes regarded as outright rip-offs) were produced in the hope of cashing in on its success. Examples are,,,,,,,,,,,,,, and. Roger Corman was a major producer of these films in both decades. The genre has experienced a revival in recent years, as films like and Larry Fessenden's reflected concerns about global warming and overpopulation. The Sci-Fi Channel (now known as ) has produced several films about and/or hybrid mutations whose titles are sensationalized of the two species, examples include and.

Nazisploitation [ ]. Main article: Nudist films originated in the 1930s as films that skirted the Hays Code restrictions on nudity by purportedly depicting the naturist lifestyle. They existed through the late 1950s, when the New York State Court of Appeals ruled in the case of Excelsior Pictures vs.

New York Board of Regents that onscreen nudity is not obscene. This opened the door to more open depictions of nudity, starting with Russ Meyer's 1959, which has been credited as the first film to place its exploitation elements unapologetically at the forefront instead of pretending to carry a moral or educational message. This development paved the way for the more explicit exploitation films of the 1960s and 1970s and made the nudist genre obsolete—ironically, since the nudist film was the subject of the court case. After this, the nudist genre split into subgenres such as the 'nudie-cutie', which featured nudity but no touching, and the 'roughie', which included nudity and violent, antisocial behavior. Nudist films were marked by self-contradictory qualities. They presented themselves as educational films, but exploited their subject matter by focusing mainly on the nudist camps' most beautiful female residents, while denying the existence of such exploitation.

They depicted a lifestyle unbound by the restrictions of clothing, yet this depiction was restricted by the requirement that genitals should not be shown. Still, there was a subversive element to them, as the nudist camps inherently rejected modern society and its values regarding the human body. These films frequently involve a criticism of the class system, equating body shame with the upper class, and nudism with social equality. One scene in The Unashamed makes a point about the artificiality of clothing and its related values through a mocking portrayal of a group of nude artists who paint fully clothed subjects. Ozploitation [ ]. Main article: The term 'Ozploitation' refers broadly to Australian horror, erotic or crime films of the 1970s and 1980s. Reforms to Australia's film classification systems in 1971 led to the production of a number of such low-budget, privately funded films, assisted by tax exemptions and targeting export markets.

Often an internationally recognised actor (but of waning notability) would be hired to play a lead role. Laconic characters and desert scenes feature in many Ozploitation films, but the term has been used for a variety of Australian films of the era that relied on shocking or titilating their audiences. Among the better-known Ozploitation films are,, and. A documentary about the genre was.

Such films address themes concerning Australian society, particularly in respect of masculinity (especially the male), male attitudes towards women, attitudes towards and treatment of Indigenous Australians, violence, alcohol, and environmental exploitation and destruction. They typically have rural or settings, presenting the Australian landscape and environment as an almost spiritually malign force that alienates white Australians and frustrates both their personal ambitions and activities and their attempts to subdue it.

Rape and revenge films [ ]. Main article: This genre contains films in which a person is raped, left for dead, recovers and then exacts a graphic, gory revenge against the rapists. The most famous example is (also called Day of the Woman). It is not unusual for the main character in these films to be a successful, independent city woman, who is attacked by a man from the country. The genre has drawn praise from feminists such as, whose 1992 book examines the implications of its reversals of cinema's traditional gender roles. This type of film can be seen as an offshoot of the vigilante film, with the victim's transformation into avenger as the key scene.

Author Jacinda Read and others believe that rape–revenge should be categorized as a narrative structure rather than a true subgenre, because its plot can be found in films of many different genres, such as thrillers ( ), dramas ( ), westerns ( ), and art films ( ). One instance of the genre, the original version of, was an uncredited remake of 's, recast as a horror film featuring extreme violence., in which the rape is perpetrated on a man, has been credited as the originator of the genre. Clover, who restricts her definition of the genre to movies in which a woman is raped and gains her own revenge, praises rape–revenge exploitation films for the way in which their protagonists fight their abuse directly, rather than preserve the status quo by depending on an unresponsive legal system as in rape–revenge movies from major studios, such as.

Redsploitation [ ] The Redsploitation genre concerns Native American characters almost always played by white actors, usually exacting their revenge on their white tormentors. Examples are, The Ransom, The Thunder Warrior Trilogy,,, and. Sexploitation [ ]. Main article: Sexploitation films resemble. Films in this genre are an excuse for showing scenes involving nude or semi-nude women. Many movies contain vivid sex scenes, but sexploitations are more graphic than mainstream films.

Extending the sequences or showing full frontal nudity are typical genre techniques. Russ Meyer's films, such as and, are well-known examples.

Other well-known sexploitation films include the series,, and. Caligula is unusual among exploitation films for its high budget and eminent actors (,, and ). Slasher films [ ].

Main article: Slasher films focus on a psychopath stalking and violently killing a sequence of victims. Victims are often teenagers or young adults.

Alfred Hitchcock's is often credited with creating the basic premise of the genre, but John Carpenter's (1978) is usually considered to have started the genre. That film's masked villain, group of weak teenagers with one strong, female hero, isolated or stranded in precarious locations or situations, and either the protagonists or antagonists experiencing warped family lives or values became slasher film tropes.

The genre continued into and peaked in the 1980s with well-known films like (1980) and (1984). Many 1980s slasher films used the basic format of Halloween, for example (1981), (1980), (1981), (1984) and (1983), many of which also used elements from the 1974 film,.

The genre experienced a mainstream revival in the 1990s with the success of, which both mocked and paid homage to traditional slasher conventions. Slasher films often prove popular and spawn sequels, prequels and remakes that continue to the present day. [ ] Adam Green's and Ryan Nicholson's bill themselves as throwbacks to the slasher films of the 1980s. Spacesploitation [ ] A subtype featuring, and. Spaghetti westerns [ ].

Main article: A splatter film, or gore film, is a horror film that focuses on graphic portrayals of gore and violence. It began as a distinct genre in the 1960s with the films of and, whose most famous films include (1963), (1964), (1965), (1967) and (1970). The first splatter film to popularize the subgenre was George A.

Romero's (1968), the director's attempt to replicate the atmosphere and gore of EC's horror comics on film. Initially derided by the American press as 'appalling', it quickly became a national sensation, playing not just in drive-ins but at midnight showings in indoor theaters across the country. Foreign critics were kinder to the film; British film magazine Sight & Sound included it on its 'Ten Best Films of 1968' list. Romero coined the term 'splatter cinema' to describe his film. Later splatter films, such as Sam Raimi's, Peter Jackson's and (released as Dead Alive in ) featured such excessive and unrealistic gore that they crossed the line from horror to comedy. Women in prison films [ ].