Music Icon Grace Jones Returns for Modulations at Vivid Sydney
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First, Secure the Milk Then Quick I Must Show You My Body's Inventing Itself
First, secure the milk then quick I must show you my body’s inventing itself that my body should make herself ground for the great shock of suck that, I quaking metal in fixed ground, I site of infection, I, arrowroot cookie Taste is the true prophetic word Secure the milk and I’ll tell you grammatical properties of the pronoun motherfucker Secure the milk and we’ll talk about “Marxism Leninism Mao-Tse Tung Thought” which is milk thought which is what I believe 9 || FOR FLOSSIE You won’t remember the first time it was 1989 you were flanked by an Ankh and person I would learn to call your woman very soon and this would be things there would be a woman and I was something else other than early memory which is now perhaps memory of not having been noticed therapist would say of an invented hardship in long time of never mattering enough and seeking out long time of not mattering by finding in first moment definitive sensation of a given desire’s co-existence within erasure. Possibly of a certain age body of a nineteen year-old wincing quality of woman who will never be presence of your body exactly in cinematic “past” the body which in 1989 began to be yours and became body of your woman became also body of the changing year I remember 2:17 am. Expectation is a curious thing to develop around the problem of not having been noticed or been absent or been without yet this was your hour to begin to expect you one or two minutes prior is expectation was. -
Grace Jones. (1985)
Brazelton: Annotated Bibliography - Grace Jones, Slave to the Rhythm Grace Jones. (1985). Slave to the Rhythm. Island Records. Among the canon of Black Divas, perhaps none are quite as feared, reviled, and worshipped as Grace Jones. The supermodel, actress, and musician notoriously slapped Russell Harty on his talk show, burnt Dolph Lundgren’s clothes, and regularly exposed herself to everyone from paparazzi to prime ministers. And through the apparent erraticism of her performance, a yearning futurism pervades her work. Slave to the Rhythm, Jones’ seventh album, took the already surreal and transgressive aesthetics mapped out in Warm Leatherette and Nightclubbing and elaborated a hypnagogic futurism––a yearning for another here and now. Slave to the Rhythm was released in 1985, the year after Jones featured as Zula in the epic fantasy Conan the Destroyer. The album’s eight songs were written by and credited to Bruce Woolley, Simon Darlow, Stephen Lipson, and Trevor Horn. Much of the art direction and design was done by Jean-Paul Goude, Jones’ then-husband, who directed the music video for “Slave to the Rhythm” and devised the album cover. Slave to the Rhythm was released on Island Records, becoming Jones’ most popular album. Slave to the Rhythm is built as an concept album; each of the eight songs is a chaotic interpretation of the eponymous title track. The style of the individual songs range from R&B, funk, and go-go, to dub, ambient, and circuit-breaking electronics. All of the songs are interspersed with interviews with Jones herself, as well as recordings of others discussing or introducing the artist; for this reason, the album’s liner notes carry the subtitle, a biography. -
Disco Top 15 Histories
10. Billboard’s Disco Top 15, Oct 1974- Jul 1981 Recording, Act, Chart Debut Date Disco Top 15 Chart History Peak R&B, Pop Action Satisfaction, Melody Stewart, 11/15/80 14-14-9-9-9-9-10-10 x, x African Symphony, Van McCoy, 12/14/74 15-15-12-13-14 x, x After Dark, Pattie Brooks, 4/29/78 15-6-4-2-2-1-1-1-1-1-1-2-3-3-5-5-5-10-13 x, x Ai No Corrida, Quincy Jones, 3/14/81 15-9-8-7-7-7-5-3-3-3-3-8-10 10,28 Ain’t No Stoppin’ Us, McFadden & Whitehead, 5/5/79 14-12-11-10-10-10-10 1,13 Ain’t That Enough For You, JDavisMonsterOrch, 9/2/78 13-11-7-5-4-4-7-9-13 x,89 All American Girls, Sister Sledge, 2/21/81 14-9-8-6-6-10-11 3,79 All Night Thing, Invisible Man’s Band, 3/1/80 15-14-13-12-10-10 9,45 Always There, Side Effect, 6/10/76 15-14-12-13 56,x And The Beat Goes On, Whispers, 1/12/80 13-2-2-2-1-1-2-3-3-4-11-15 1,19 And You Call That Love, Vernon Burch, 2/22/75 15-14-13-13-12-8-7-9-12 x,x Another One Bites The Dust, Queen, 8/16/80 6-6-3-3-2-2-2-3-7-12 2,1 Another Star, Stevie Wonder, 10/23/76 13-13-12-6-5-3-2-3-3-3-5-8 18,32 Are You Ready For This, The Brothers, 4/26/75 15-14-13-15 x,x Ask Me, Ecstasy,Passion,Pain, 10/26/74 2-4-2-6-9-8-9-7-9-13post peak 19,52 At Midnight, T-Connection, 1/6/79 10-8-7-3-3-8-6-8-14 32,56 Baby Face, Wing & A Prayer, 11/6/75 13-5-2-2-1-3-2-4-6-9-14 32,14 Back Together Again, R Flack & D Hathaway, 4/12/80 15-11-9-6-6-6-7-8-15 18,56 Bad Girls, Donna Summer, 5/5/79 2-1-1-1-1-1-1-1-2-2-3-10-13 1,1 Bad Luck, H Melvin, 2/15/75 12-4-2-1-1-1-1-1-1-1-1-1-2-2-3-4-5-5-7-10-15 4,15 Bang A Gong, Witch Queen, 3/10/79 12-11-9-8-15 -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
Set List Select Several Songs to Be Played at Your Event / Party
FORM: SET LIST SELECT SEVERAL SONGS TO BE PLAYED AT YOUR EVENT / PARTY SONGS YOU CAN EAT AND DRINK TO MEDLEYS SONGS YOU CAN DANCE TO ELO - Mr. Blue Sky Lykke Li - I follow Rivers St. Vincent - Digital Witness Elton John - Tiny Dancer Major Lazer – Lean On Stealers Wheel - Stuck in the Middle With You Beach Boys - God Only Knows Daft Punk Medley Adele - Rolling in the Deep Empire of the Sun - Walking On a Dream Mariah Carey - Fantasy Steely Dan - Hey Nineteen Belle and Sebastian - Your Covers Blown 90's R&B Medley Amy Winehouse - Valerie Feist - 1,2,3,4 Mark Morrison - Return of the Mack Steely Dan - Peg Black Keys - Gold On the Ceiling TLC Ariel Pink - Round + Round Feist - Sea Lion Woman Mark Ronson - Uptown Funk Stevie Nicks - Stand Back Bon Iver – Holocene Usher Beach Boys - God Only Knows Fleetwood Mac - Dreams Marvin Gaye - Ain't No Mountain High Enough Stevie Wonder - Higher Ground Bon Iver - Re: Stacks Montell Jordan Beck - Debra Fleetwood Mac - Never Going Back MGMT - Electric Feel Stevie Wonder - Sir Duke Bon Iver - Skinny Love Mark Morrison Beck - Where It’s At Fleetwood Mac - Say You Love Me Michael Jackson - Human Nature Stevie Wonder- Superstition Christopher Cross - Sailing Next Belle and Sebastian - Your Covers Blown Fleetwood Mac - You Make Lovin Fun Michael Jackson - Don’t Stop Til You Get Enough Supremes - You Can't Hurry Love David Bowie - Ziggy Stardust 80's Pop + New Wave Medley Billy Preston - Nothing From Nothing Frank Ocean – Lost Michael Jackson - Human Nature Talking Heads - Burning Down the House Eagles - Hotel California New Order Black Keys - Gold On the Ceiling Frankie Vailli - December 1963 (Oh What A Night) Michael Jackson - O The Wall Talking Heads - Girlfriend is Better ELO - Mr. -
Take Me Back to Your House
TAKE ME BACK TO YOUR HOUSE MUSIC: Basement Jaxx Album: Crazy Itch Radio CHOREO: David McGrath NSW Australia LEVEL: Intermediate Plus SEQUENCE: A B C D A* B C E D F G D H END INTRO: Wait 2 counts after slow intro Left foot lead COUNTS CUE COUNTS CUE PART A PART C 2 Double Switch Up 8 Samantha Extra Turkey 4 Cross Tap Split 8 Bend Over Cole 4 Stomp Double 8 Burtons Turn Around full R 4 Hop Vine Double R 8 Half Cindy 4 Black Mountain 4 Fancy Flanges PART E 4 Flea Flicker Scoot 16 4 Knee Snaps 1/4 L ea 4 2 Switch the Tracks PART D PART B 8 Bounce Split Stamp 8 Creeper Kick 8 Slow Mo Catawba 8 Snaps & Slide 4 Joey 4 Hillbilly 4 Pivot & Kick full R 8 Swayback 4 2 Slapbacks 4 Donkey 4 4 Stomps 1½ L 32 Repeat to front PART C 8 Samantha Extra Turkey PART F 8 Bend Over Cole 4 Mountain Goat 1/2 L 8 Burtons Turn Around full R 4 Clap It 8 Half Cindy 8 Repeat to front PART D PART G 8 Bounce Split Stamp 32 4 Lonely So Lonely 1/4 L ea 8 Slow Mo Catawba 12 3 Bobby X 1/4 L each 4 Joey 4 Hop Cross Pivot Clap 3/4 R 4 Pivot & Kick full R 4 2 Slapbacks PART D 4 4 Stomps 1½ L 8 Bounce Split Stamp 32 Repeat to front 8 Slow Mo Catawba 4 Joey PART A* 4 Pivot & Kick full R 4 Basic Switch Up 4 2 Slapbacks 4 Cross Tap Split 4 4 Stomps 1½ L 4 Stomp Double 32 Repeat to front 4 Hop Vine Double R 4 Black Mountain PART H 4 Fancy Flanges 8 Rock Slur 4 Flea Flicker Scoot 4 Walk It Over 4 2 Switch The Tracks 8 High Horse 1/2 L 4 Charleston Kick PART B 4 2 Lori Step 8 Creeper Kick 4 Stomp Basic Kick 8 Snaps & Slide 32 Repeat to front 4 Hillbilly 8 Swayback END 4 Donkey 32 -
Southbank Centre Announces Grace Jones As Curator of Meltdown 2020
Press Release For immediate release Contact: A lexandra Shaw a [email protected] / 020 7921 0676 or Naomi Burgoyne [email protected] Southbank Centre announces Grace Jones as curator of Meltdown 2020 Grace Jones © Kristian Sibast Southbank Centre today announces that the next curator and headliner of its award-winning M eltdown festival, the longest-running artist-curated festival in the world, will be the international icon of music, fashion, art and film, a nd inimitable singer, songwriter, producer and performer, G race Jones . From 1 2-21 June 2020 , Jones will take over the UK’s largest arts centre with her defiantly unique creative vision and a ten day playbook of her creation. At her invitation, global names and new talent, artists who inspire and have been inspired by her, and special one-off collaborations will take to the world-class stages of Royal Festival Hall, Queen Elizabeth Hall and Purcell Room, and the remainder of Southbank Centre’s 17-acre cultural quarter on the banks of the River Thames. Grace Jones is one of the most recognised figures of contemporary culture with an influence spanning genres and generations. After taking the world by storm as one of the first black supermodels, Jones signed to Island Records in 1977 and with her first few singles - and mould-breaking fashion - became a star of New York City's Studio 54-centered disco scene. The 1980s saw her move to a new-wave hybrid of reggae, funk, pop and rock, as she worked with superstar producers such as Trevor Horn and Nile Rodgers and released a string of internationally acclaimed and enduring albums including Warm Leatherette (1980), Nightclubbing ( 1981), and S lave to the Rhythm (1985). -
Breakinreakin CONTRACTS Carolina Productions Won’T Book Acts Requiring Excessive Amenities
University of South Carolina Scholar Commons September 2006 9-19-2006 The aiD ly Gamecock, Tuesday, September 19, 2006 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2006_sep Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, Tuesday, September 19, 2006" (2006). September. 12. https://scholarcommons.sc.edu/gamecock_2006_sep/12 This Newspaper is brought to you by the 2006 at Scholar Commons. It has been accepted for inclusion in September by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. dailygamecock.com The University of South Carolina Tuesday, September 19, 2006 Vol. 100, No. 27 ● Since 1908 USC LIMITS PERFORMER bbreakinreakin CONTRACTS Carolina Productions won’t book acts requiring excessive amenities it down Mai Nguyen THE DAILY GAMECOCK Twent y cases of K abba la h water and bowls fi lled with brown M&Ms. Local break dancers What do performers really bring “real hip-hop” ask for when they are booked at university campuses? to USC campus According to Carolina Productions, which sponsors many of the performances Catherine Martin around campus, USC has never THE DAILY GAMECOCK experienced an extravagant case, but at times a performer has asked for too much in their contract. Students might soon see break If CP feels the performer is asking dancers on campus who are for something unreasonable, they seeking to spread what they call simply do not book them. the “real hip-hop.” According to contracts, some Lavell Marshall, also known as stars coming this semester, such “Shaolin,” and Tim Nunnally, also as Bob Saget and Pete Rose, have known as “Timz Nice,” are part of requested basic security and private Mixed Motionz, a break dancing dressing rooms. -
Post-Cinematic Affect: on Grace Jones, Boarding Gate and Southland Tales
Film-Philosophy 14.1 2010 Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales Steven Shaviro Wayne State University Introduction In this text, I look at three recent media productions – two films and a music video – that reflect, in particularly radical and cogent ways, upon the world we live in today. Olivier Assayas’ Boarding Gate (starring Asia Argento) and Richard Kelly’s Southland Tales (with Justin Timberlake, Dwayne Johnson, Seann William Scott, and Sarah Michelle Gellar) were both released in 2007. Nick Hooker’s music video for Grace Jones’s song ‘Corporate Cannibal’ was released (as was the song itself) in 2008. These works are quite different from one another, in form as well as content. ‘Corporate Cannibal’ is a digital production that has little in common with traditional film. Boarding Gate, on the other hand, is not a digital work; it is thoroughly cinematic, in terms both of technology, and of narrative development and character presentation. Southland Tales lies somewhat in between the other two. It is grounded in the formal techniques of television, video, and digital media, rather than those of film; but its grand ambitions are very much those of a big-screen movie. Nonetheless, despite their evident differences, all three of these works express, and exemplify, the ‘structure of feeling’ that I would like to call (for want of a better phrase) post-cinematic affect. Film-Philosophy | ISSN: 1466-4615 1 Film-Philosophy 14.1 2010 Why ‘post-cinematic’? Film gave way to television as a ‘cultural dominant’ a long time ago, in the mid-twentieth century; and television in turn has given way in recent years to computer- and network-based, and digitally generated, ‘new media.’ Film itself has not disappeared, of course; but filmmaking has been transformed, over the past two decades, from an analogue process to a heavily digitised one. -
The Post-Cinematic Affect, De Steve Shaviro Erly Milton Vieira Jú Nior Revista Eco-Pó S, 2010, V
Revista Eco-Pós, v. 13, n. 2 (2010), dossiê, p. 176-184 REVISTA ECO-PÓS http://www.pos.eco.ufrj.br/ojs-2.2.2/index.php/revista/index The Post-Cinematic Affect, de Steve Shaviro Erly Milton Vieira Jú nior Revista Eco-Pó s, 2010, v. 13, n. 2, pp 176-184 A versã o online deste artigo est á dispon í vel em: http://www.pos.eco.ufrj.br/ojs-2.2.2/index.php/revista/issue/view/24 Revista do Programa de Pó s-Gradua çã o em Comunica çã o Universidade Federal do Rio de Janeiro Informaçõ es adicionais da revista Eco-P ó s sobre: http://www.pos.eco.ufrj.br/ojs-2.2.2/index.php/revista/about e-mail: [email protected] Polí tica de Acesso Livre Esta revista oferece acesso livre imediato ao seu conteú do, seguindo o princ í pio de que disponibilizar gratuitamente o conhecimento cientí fico ao p ú blico proporciona maior democratizaçã o do conhecimento. Revista Eco-Pós, v. 13, n. 2 (2010), dossiê, p. 176-184 Revista Eco-Pós RESENHA The Post-Cinematic Affect, de Steve Shaviro Erly Milton Vieira Júnior1 Universidade Federal do Espírito Santo/ Universidade Federal do Rio de Janeiro PALAVRAS-CHAVE Cinema e Tecnologias Digitais ● Capitalismo Transnacional ● “Afeto Pós-Cinemático” A tentativa de mapear os fluxos de afetos que percorrem o mundo contemporâneo, a partir da análise de obras audiovisuais que dialoguem com a experiência estética proporcionada pela conjunção entre tecnologias digitais e capitalismo imaterial é o ponto de partida do mais recente livro de Steven Shaviro, The post-cinematic affect (2010). -
Classic House Music and Vocals
Classic House Music and Vocals More Than Life Jana Stand Still Aubrey Above the Clouds Amber I Will Love Again Lara Fabian I Learned From the Best Whitney Houston My Love is Your Love Whitney Houston Same Script Different Cast Whitney Houston and Deborah Cox Nobody Supposed to Be Here Deborah Cox Deep Kemical Madam Vs. Benny Maze Satisfaction Benny Benasi Better Off Alone Alice Deejay Nite Visions (I wear My sunglasses at night) Sirs and Ma'ams I Turn To You Melanie C. Your Love Is Taking Me Over Knight Breed I Like It Narcotic Thrust Annihilate Major North Make the World Go Round Sandy B. My My My Armand Van Helden You Don't Even Know Me Armand Van Helden Free Ultra Nate Release Me Veronica Let the Sunshine (Jonathan Peter's Mix) Without You Digital Allies Give Me Tonight Shannon All This Time Jonathan Peters No One's Gonna Change You Reina Find Another Woman Reina How Would You Feel David Morales with Lea Lorien Fly Life Basement Jaxx Insomnia Faithless Wish I Didn't Miss You Angie Stone Trippin' Oris Jay GG D'AG Cuba Libre (If you really wanna rock the funky beats...Rock the rock the funky beats) Afrika Plasmic Honey This Joy Junior Vasquez presents Vernessa Mitchell Lola's Theme Shapeshifters Sun is Shining Bob Marley vs. Funkstar De Luxe Remix Boots On the Run Insider Follow Me Space Frog That's the Way Love is Byron Stingley Take Me to the Top Plasmic Honey Ride the Trip Plasmic Honey We Are In the Dark Plasmic Honey Freight Train Robbie Tronco In Your Eyes Luz Divina Unspeakable Joy Kim English Shhh....Be Quiet Jonah Everything Will Flow London Suede Baby Wants to Ride Hani Do It Again Razor N' Guido Moments (In Love) Johnny Vicious and Mindy K Silence Delerium Feat. -
Curator Nicole J. Caruth Discusses “The Grace Jones Project” a Visual Tribute to One of the Greatest Figures of Our Time, Ladies and Gentlemen: Miss Grace Jones
Pull Up! Curator Nicole J. Caruth Discusses “The Grace Jones Project” A visual tribute to one of the greatest figures of our time, ladies and gentlemen: Miss Grace Jones. by Miss Rosen May 10th, 2016 Photo: Gerard Gaskin, Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY, 2000. Archival inkjet print. Courtesy of the artist. “I can't run out of different ideas. I am different. When can I run out of me?” observed the one and only Grace Jones. The Jamaican legend has made her name as a singer, songwriter, supermodel, actress, record producer bar none. Making herself known on the covers of Vogue, Elle, and Stern magazines, photographed by no less than Helmut Newton and Guy Bourdin, and working with the likes of Yves St. Laurent and Claude Montana, Miss Grace Jones defined and defied an era like no one before or since as her records regularly made the Top 40. “I don't think 'pop' should mean that you had no talent,” she revealed. Jones also maintained, “I don't collaborate. You're born alone, you die alone, you get on stage alone.” And if you’ve ever seen her on stage you realize, she’s right. There’s no room for anyone else: all eyes are on her. It is in her sheer luminosity and avant garde edge that she inspires generations of visual artists all around the world. The Grace Jones Project, on view at the Museum of the African Diaspora, San Francisco, now through September 18, presents more than 20 works in photography, video, installation, and video by artists including Rashayla Marie Brown, Gerard Gaskin, Heather Hart, Lyle Ashton Harris, Simone Leigh, Wangechi Mutu, Narcissister, Harold Offeh, Jacolby Satterwhite, Xaviera Simmons, Cauleen Smith, and Mickalene Thomas.