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The Normal T.V.O.D. / Warm Leatherette mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: T.V.O.D. / Warm Leatherette Country: UK Released: 1978 Style: Leftfield, Electro, Synth-pop MP3 version RAR size: 1960 mb FLAC version RAR size: 1802 mb WMA version RAR size: 1199 mb Rating: 4.7 Votes: 974 Other Formats: MMF MIDI ADX XM MOD AU AA Tracklist A T.V.O.D. B Warm Leatherette Companies, etc. Distributed By – Rough Trade Records Printed By – Delga Press Limited Copyright (c) – Mute Records Credits Photography – Motor Industry Research Association Written-By – Miller* Notes Came in matt paper sleeve and with "creamy" coloured labels with a rough centre section. The side denoting letters in the runouts have been crossed out and swapped. "....feel the steering wheel...." "....stick the aerial into...." dp delga press limited 16 Decoy Avenue London N.W 11 England Sole distributors ROUGH TRADE RECORDS © 1978 Mute Records Barcode and Other Identifiers Barcode: none Matrix / Runout (Side A): NORM+001+B̸ A Matrix / Runout (Side B): NORM+001+A̸ B Other versions Category Artist Title (Format) Label Category Country Year T.V.O.D. / Warm MUTE 001 The Normal Mute MUTE 001 UK 1978 Leatherette (7", Single) Warm Leatherette / 9045-2 The Normal Mute 9045-2 US 1997 T.V.O.D. (CD, Single, RE) T.V.O.D. (7", Single, SRE 1044 The Normal Sire SRE 1044 US 1978 Mono, Promo) T.V.O.D. / Warm SRE 1044 The Normal Sire SRE 1044 US 1978 Leatherette (7", Single) INT 826.919, Warm Leatherette (CD, Intercord, INT 826.919, The Normal Germany 1989 CD Mute 001 Mini, Single, RE) Mute CD Mute 001 Related Music albums to T.V.O.D. / Warm Leatherette by The Normal Cabaret Voltaire - Live At The Y.M.C.A. 27.10.79 The Fair Sex - Soulspirit Erasure - The Circus (Remix) David Gamson - Sugar Sugar Grace Jones - Warm Leatherette Robert Rental - Double Heart Alex Sytek - Warm Leatherette (Kristmas Mix) The Smiths - Heaven Knows I'm Miserable Now.

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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.
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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.
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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).
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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.
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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).
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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.
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1 Grace Jones
GRACE JONES: BLOODLIGHT AND BAMI Directed and edited by Sophie Fiennes With Grace Jones, Jean-Paul Goude, Sly Dunbar, Robbie Shakespeare, Ivor Guest – World Premiere, Toronto International Film Festival 2017 – 115 min. – UK/Ireland PRESS CONTACT: Krista Williams – [email protected] Sacks & Co 119 West 57th Street, PHN New York, NY 10019 Office: +1.212.741.1000 DISTRIBUTOR CONTACT: Rodrigo Brandão – [email protected] Kino Lorber Inc 333 W. 39th Street / Suite 503 New York, NY 10018 Office: +1.212.629.6880 1 LOG LINE This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones juxtaposes musical sequences with intimate personal footage, all the while brimming with Jones’ bold aesthetic. SHORT SYNOPSIS This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones juxtaposes musical sequences with intimate personal footage, all the while brimming with Jones’s bold aesthetic. A larger-than-life entertainer, an androgynous glam-pop diva, an unpredictable media presence––Grace Jones is all these things and more. Sophie Fiennes’s documentary goes beyond the traditional music biography, offering a portrait as stylish and unconventional as its subject. Taking us home to Jamaica, the studio with long-time collaborators Sly & Robbie, and behind-the-scenes at shows all around the world, the film reveals Jones as lover, daughter, mother, and businesswoman. But the stage is the fixed point to which the film returns, with eye- popping performances of "Slave to the Rhythm," “Pull Up to the Bumper,” "Love is the Drug," and more. Jones herself has said watching the film “will be like seeing me almost naked” and, indeed, Fiennes’s treatment is every bit as genre-bending as its subject, untamed by neither age nor life itself.
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Bio Grace Jones up Date
RAPHAEL SANTIN Celebrity Services Relations publiques – Conseils en Communications Grace Jones Grace Jones is a Jamaican-American singer, model and actress. Jones started out as a model and became a muse to Andy Warhol, who photographed her extensively. During that era she regularly went to the New York City nightclub Studio 54. Jones secured a record deal with Island Records in 1977, which resulted in a string of dance-club hits. In the late 1970s, she adapted the emerging electronic music style and adopted a severe, androgynous look with square-cut hair and angular, padded clothes. Many of her singles were hits on Billboard's Hot Dance Club Play and Hot Dance Airplay charts, including 1981’s "Pull Up to the Bumper," which spent seven weeks at #2 on the U.S. dance chart. Jones was able to find mainstream success in Europe, scoring a number of Top 40 entries on the UK Singles Chart. Her most notable albums are Warm Leatherette, Nightclubbing and Slave to the Rhythm, while her biggest hits (other than "Pull Up to the Bumper") are "I've Seen That Face Before (Libertango)," "Private Life," "Slave to the Rhythm," and "I'm Not Perfect (But I'm Perfect for You)." Jones is also an actress. After she appeared in some low-budget films in the 1970s and early 1980s, her work as an actress in mainstream film began in the 1984 fantasy/action film Conan the Destroyer alongside Arnold Schwarzenegger, and the 1985 James Bond movie A View to a Kill. In 1986 she played a vampire in Vamp, and both acted in and contributed a song to the 1992 film Boomerang with Eddie Murphy.
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Music Icon Grace Jones Returns for Modulations at Vivid Sydney
MEDIA RELEASE: Tuesday 28 April, Sydney, Australia � MUSIC ICON GRACE JONES RETURNS FOR MODULATIONS � TWO NIGHTS ONLY AT CARRIAGEWORKS IN SYDNEY � EXCLUSIVE TO VIVID SYDNEY � Internationally lauded artist, fashion icon and music superstar Grace Jones, will perform exclusively for Australian audiences during Modulations at Carriageworks, as part of Vivid Sydney, the world’s largest festival of light, music and ideas. Performing for two nights only on Sunday 31 May and Monday 1 June, this will be Jones’ only Australian appearances and her first visit to Sydney since her sell-out shows in 2011. Tickets will be in high demand to see the music superstar in this intimate setting for her Sydney-exclusive performances. NSW Minister for Trade, Tourism and Major Events Stuart Ayres said, “This year’s Vivid Sydney program continues to expand and attract international stars and Grace Jones’ two Australian- exclusive performances are set to be another standout of the festival’s music program. After the huge success of the inaugural Modulations program in 2014 where audiences were treated to intimate performances from iconic pop duo the Pet Shop Boys, Modulations has raised the bar once again and I have no doubt tickets to Grace Jones will be in a high demand. ” Carriageworks Director, Lisa Havilah said, “Grounded in music but crossing into art, design and food, Modulations is designed to celebrate contemporary arts and creativity across multiple art forms.” “Grace Jones is the perfect artist to headline our second Modulations program. Jones is the quintessential cross-disciplinary artist, having worked in film, music, art and design; she has collaborated with countless world-renowned artists.
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America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).
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Grace Jones: Bloodlight and Bami
presenta GRACE JONES: BLOODLIGHT AND BAMI regia di SOPHIE FIENNES con Grace Jones, Jean-Paul Goude, Sly Dunbar, Robbie Shakespeare, Ivor Guest UK/Irlanda - 2017 - 115 min. EVENTO SPECIALE AL CINEMA SOLO IL 30 E 31 GENNAIO distribuito da Officine UBU – www.officineubu.com materiali disponibili al sito: www.officineubu.com/areapress user: ospite – pw: stampa Ufficio Stampa: Echo srl Stefania Collalto - [email protected] - +39 339.4279472 Lisa Menga - [email protected] - +39 347.5251051 Stefania Gargiulo - [email protected] - +39 334.7562824 Giulia Bertoni - [email protected] - +39 338.5286378 SINOSSI BREVE Grace Jones: Bloodlight and Bami è un viaggio elettrizzante attraverso la carriera pubblica e la vita privata dell’icona della musica e della cultura pop Grace Jones. L’audace estetica di Jones emerge nell’intera pellicola grazie al sapiente lavoro delle regista Sophie Fiennes, capace di creare un’esperienza cinematografica di grande potenza, accostando a contrasto sequenze musicali, riprese più intime e materiale personale per ritrarre la persona che si nasconde dietro la maschera indossata dall’artista sul palco. SINOSSI LUNGA Fuori dal comune, selvaggia, strepitosa e androgina – Grace Jones è tutto questo e molto altro. Il documentario tratteggia un profilo inedito della Jones: amante, figlia, madre, sorella e nonna, senza filtri, alla ricerca di chi si cela davvero dietro la maschera da diva. Il palcoscenico è il luogo dove si possono realizzare le fantasie più estreme e dove si può sprigionare in libertà la fantasia: è proprio sul palcoscenico che si mette in scena il musical della vita di Grace Jones. Il film include, tra gli altri, frammenti di performance inedite tratte dalle sue canzoni più famose come Slave To The Rhythm e Pull Up To The Bumper, ma anche brani autobiografici e più recenti come Williams' Blood, This Is e Hurricane.
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The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
(Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliÃ² still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Ã‰dith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chÃ©rie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're
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