Illinois Jacquet's Big Rockin' Rhythm Band. Cities visited by the tour included Columbia, South Carolina; Annapolis, Maryland; Pittsburgh, Pennsylvania; Syracuse, Rochester and Buffalo, New York; and other cities. In Columbia, the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt". In Annapolis, 50,000 to 70,000 people tried to attend a sold-out performance with 8,000 seats. Roads were clogged for seven hours. Filmmakers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, the Treniers, the Platters, and the Flamingos all made it onto the big screen. Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at number one, and "All Shook Up" at number five, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks. Nat King Cole, also a jazz pianist who had two hits on the pop charts in the early 1950s ("Mona Lisa" at number two in 1950 and "Too Young" at number one in 1951), had a record in the top five in the R&B charts in 1958, "Looking Back"/"Do I Like It". In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar and Berry Gordy's Motown Records. Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number one and two number two hits. Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Nat King Cole, Frank Sinatra and Tony Bennett. Lloyd Price, who in 1952 had a number one hit with "Lawdy Miss Clawdy", regained predominance with a version of "Stagger Lee" at number one and "Personality" at number five in 1959. The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career and was Elvis's bassist in the 1950s, was popular with black listeners. Ninety percent of his record sales were from black people, and his "Smokie, Part 2" (1959) rose to the number one position on black music charts. He was once told that "a lot of those stations still think you're a black