DOCSLIB.ORG

How Grace Jones Became a Disco Diva | Electronic Beats

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ELECTRONIC BEATS (HTTP://WWW.ELECTRONICBEATS.NET/) HOME (HTTP://WWW.ELECTRONICBEATS.NET/) TV (HTTP://WWW.ELECTRONICBEATS.NET/TV/) RADIO (HTTP://WWW.ELECTRONICBEATS.NET/RADIO/) EVENT (HTTP://WWW.ELECTRONICBEATS.NET/EVENT/) HOW GRACE JONES MAGAZINE (HTTP://WWW.ELECTRONICBEATS.NET/ISSUE/) BECAME A DISCO DIVA INDEX (HTTP://WWW.ELECTRONICBEATS.NET/INDEX/) SOCIAL T i m L a w r e n c e i s a n e x p e r t o n N e w Yo r k C i t y d a n c e m u s i c c u l t u r e a n d h a s p e n n e d t w o a u t h o r i t a t i v e m u s i c h i s t o r y t o m e s , ''L o v e S a v e s t h e D a y '' a n d t h e A r t h u r R u s s e l l b i o g r a p h y ''H o l d O n t o Yo u r D r e a m s . '' H e i s a l s o c o --f o u n d e r o f t h e L u c k y C l o u d S o u n d S y s t e m , a B r i t i s h o f f s h o o t o f D a v i d M a n c u s o ''s l e g e n d a r y l o n g --r u n n i n g L o f t p a r t y. H i s n e x t b o o k . ''L i f e a n d D e a t h o n t h e N e w Yo r k D a n c e F l o o r, 19 8 0 --8 3 , '' a b o u t t h e c i t y ''s p o s t --d i s c o c l u b c u l t u r e , i s d u e o u t i n 2 016 . BY TIM LAWRENCE Disco started to go mutant before the backlash of 1979 compelled its producers to quit their exploration of punk, new wave, funk and dub combinations. As disco outsold rock for the first time during 1978, for instance, figures such as Arthur Russell, Michael Zilkha and Walter Gibbons were carrying dance music into dissonant territory as they added their left field touch to releases like Dinosaur’s “Kiss Me Again,” Cristina’s “Disco Clone” and Love Committee’s “Just As Long As I Got You.” But the shake-up arguably started even earlier, when Grace Jones recorded “I Need a Man,” “Sorry” and “That’s the Trouble” for the French label Orpheus between 1975-1977. Admittedly, Jones didn’t set out with any radical intent, her main concern being to switch from modelling to music. Yet these releases stand out as early studies in disco juxtaposition thanks to the way her stiff, gravelly voice combines so uneasily with the standardized disco-backing track. DJs and dancers could start to freak out in a different way. Grace Jones - "I Need A Man" 19… Jones went on to release three disco albums with Island, Portfolio (1977), Fame (1978) and Muse (1979), all of them now reissued as part of an elaborate box set. Given that pioneering disco remixer Tom Moulton produced all three, and given that Jones is now widely regarded as one of disco’s definitive divas, it’s easy to assume they amount to a landmark trilogy, with Jones now deemed by Island to have been a “natural choice” for Moulton following his work with The Three Degrees, MFSB and The Trammps. But whereas the gospel-R&B tradition produced what seemed like a small army of African-American divas who were able to connect with New York’s predominantly gay dance crowds through a sense of shared emotional hardship as well as a relentless will to survive, Jones cultivated an inverted diva persona that combined affectlessness, dominance and drag. And while dance crowds loved her stage persona and style, relations with Moulton soon turned strained. “Grace became very grand when it was time to do the album,” Moulton told me. “I guess the success went to her head. I finally got so mad I said, ‘Grace, it’s amazing that with so little talent you can please so many!'” Chris Blackwell of Island picked up Portfolio once it had been completed and went on to release Fame and Muse, having heard about Jones through writer Nik Cohn, author of the article that inspired the making of Saturday Night Fever. “He was a friend of mine,” recounts Blackwell. “He said, ‘There’s this unbelievable looking Jamaican girl in New York, you should check her out, she wants to be a singer.” Ready to enter the disco market after making his name in ska, reggae and rock, Blackwell was all set to sign Jones based on her image. So he was pleasantly surprised when he listened to “La Vie En Rose,” a new track from the first album, and deemed it “unbelievable.” But the triple dose of musical covers that took up the whole of the first side were sonically insipid as well as ill-suited for Jones, whose voice seemed stiff when faced with the melodic-emotional demands of the form. “Do or Die” turned out to be the standout track on Fame yet fell short of Moulton’s finest work; the sequence of French language covers seemed to be made for lounge listening rather than dance floor play. Muse sank because of the backlash and also because it was the weakest of all three albums. Grace Jones - La Vie En Rose from vicnsi Oh dear! This video can’t be played with your current setup. 04:15 While Jones fans and disco collectors will rightly welcome this reissue, history suggests that the releases were somewhat out of time, delivering an instrumental backdrop that was already beginning to sound generic and presenting an artist whose sense of discord was a little ahead of its time. Jones would find her ultimate expression on her next three albums, the Compass Point trilogy, when Blackwell took control of the studio. Dub, rock, soul, funk and disco swerved and clashed to create a new form of cacophonous bliss. Whether other disco artists struggled to survive the backlash, Jones would relax into her mutant self. This article originally appeared in the Summer 2015 issue of Electronic Beats Magazine. Click here (http://www.electronicbeats.net/issue/) to read more from this issue. PUBLISHED ON SEPTEMBER 8, 2015 Like this? Let them know! Like 930 Tweet 2 November 5 AT THE LUCKY CLOUD LOFT PARTY, July 16 RECORDS ARE SELECTED TO MATCH HOW GLASTONBURY’S FIRST “HOMO THE ARC OF AN ACID TRIP DISCO” BECAME A PHENOMENON (hTtatmpa:/ S/uwmwo,w L.aekluetic, Htroonneyic Dbijoena atsn.dn Aentd/yh Bouwtle-gr olaf Hsteorcnubleus r&y Lso-fvier sAtf-fhaior dmesoc-rdibies wcoha-t bmecakaems tehe-a U-pK hfeestnivoalm's NeYnCo Dno/w) nlow a clubbing unicorn. (http://www.eTliemc Ltraownreinccbee, tahets d.nisceot /haistt-otrhiaen- launcd kcyo-fcoluonudedr- olof tfht-eparty-records- London adaptation of The Loft—perhaps the longest are-selected-to-match-the-arc-of-an-acid-trip/) December 19 running dance night in the world—discusses the par ... OBLIQUE STRATEGIES FOR UNDERSTANDING BRIAN ENO’S LATEST REISSUES (hAtatrpo:n/ G/wonwshwer. eelxepclotrreos nthiec bupesa atnsd.net/oblique- stdroawtensg oief Bsr-ifaonr E-unon'sd weorsrkt athnroduignhg th- e lens of four recent reissues that dropped bDrieacnem-ebneor 2s.-latest-reissues/) July 31 CLUBLAND: FRANÇOIS K ON HIS CLUBNIGHT DEEP SPACE (hFtrtapnç:/o/isw Kw isw a. Neelewc Ytororkn leicgebneda wtsho.nse pt/ecelrus ibnclalundde -Lfararrny Lceoviasn- kan-odn D-ahviisd- Mclaunbcunsioght- dHeerpe,- fsopr tahce eu/n)initiated, he takes you to Deep Space, his influential clubni ... SHOW ARTICLE INDEX (http://www.electronicbeats.net/index/) WATCH DAVE GAHAN & SOULSAVERS LIVE IN BERLIN SHARE THIS! VIEW ALL VIDEOS ON TV (http://www.electronicbeats.net/tv/) Electronic Beats TV is your platform for the best moving images in electronic music, from in-depth features to live performances. EELLEECCTTRROONNIICC BBEEAATTSS Facebook Youtube Twitter Instagram Google+ Spotify Soundcloud (http://www.facebook.com/(hEtltepc:t/r/ownwicwB.eyoatust)ube.com/u(hsettrp/sE:l/e/ctwtriottneirc.Bcoemat/s#V!id/EeBon)(hett)p://instagram.com/elect(rhotntpicsb:/e/aptlsu)s.google.com/(1h0tt9p8s6:/3/6o8p1e6n0.0sp2o3t5if4y5.c8o8m44/()hutsteprs/:e/l/escoturonndicclboeuadt.sc)om/electronic- beats-radio) About (http://www.electronicbeats.net/about/) Press (http://www.electronicbeats.net/press/) Contact (http://www.electronicbeats.net/contact/) Terms & Conditions (http://www.electronicbeats.net/terms- Privacy Policy (http://www.electronicbeats.net/privacy-policy/) conditions/) Imprint (http://www.electronicbeats.net/imprint/) © How Grace Jones Became a Disco Diva | Electronic Beats LIFE IS FOR SHARING..
Recommended publications
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)

    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)

    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
  • The Hilltop 1-21-1977

    The Hilltop 1-21-1977

    Howard University Digital Howard @ Howard University The iH lltop: 1970-80 The iH lltop Digital Archive 1-21-1977 The iH lltop 1-21-1977 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_197080 Recommended Citation Staff, Hilltop, "The iH lltop 1-21-1977" (1977). The Hilltop: 1970-80. 175. http://dh.howard.edu/hilltop_197080/175 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1970-80 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. ' i • •• • • ' • ' Hilltop Highlights : "Pb1 ver roncf'de, New; From Black Schools ... .. p2 nothing HUSA's N!w Office ......".. .... :, p2 ' \\'ithout a demand" Third World Ne"5 Foe ........ p3 law School Troubled .. ·........ p4 · Fredcrirk Douglas, Roots On TV ......................... p6 ' ''THE VOICE OF THF HOWARD COMMUNITY'' WHUR's Q;iet Storm ......... .. .. p7 Howard University, Washington D.C., 20059 ., I Vol'.. 59, No. 14 21 January 1977 ' ' SBA Questions Lack College of Medicine of Quality Education Acceptance of HU ' At HU Law School Grads ·oecreas~pg • • By Arlene Wailer i[ 8'1,'. Leila Brown dent body concerning the and Fred Hines ~ ' G rld Sc hool· Editor organization of the protest. there nevertheless seemed Hilltop Staffwriters $ to be a general consensus ' .. fhe law school is on a that ''something has to be The number of H oward undergraduate students who d ownward trend, and we • are admitted to the College of Medicine ha!\.fdecreased at · done," about the education 0 , ' need to arrest it," said God­ at the school.
  • Young Americans to Emotional Rescue: Selected Meetings

    Young Americans to Emotional Rescue: Selected Meetings

    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
  • 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

    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)

    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.
  • Marygold Manor DJ List

    Marygold Manor DJ List

    Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start)
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S

    1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S

    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
  • The Shakin' Street Gazette, Volume 6

    The Shakin' Street Gazette, Volume 6

    State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Shakin Street Gazette, Student Music Magazine Buffalo State Archives: History of the College 1-1-1974 The Shakin' Street Gazette, Volume 6 The Shakin' Street Gazette Follow this and additional works at: https://digitalcommons.buffalostate.edu/shakinstreet Part of the History Commons Recommended Citation The Shakin' Street Gazette, "The Shakin' Street Gazette, Volume 6" (1974). Shakin Street Gazette, Student Music Magazine. 6. https://digitalcommons.buffalostate.edu/shakinstreet/6 This Book is brought to you for free and open access by the Buffalo State Archives: History of the College at Digital Commons at Buffalo State. It has been accepted for inclusion in Shakin Street Gazette, Student Music Magazine by an authorized administrator of Digital Commons at Buffalo State. For more information, please contact [email protected]. Volume one, Number six S+ree+ ' 0 But for the work I've taken on · Sto · star maker machine e popular song ut features double electric guitars (Jose Feliciano and Larry Carlton) that Joni's new on top of a light acoustic rhythm., released on the same day as the . "People's Parties!' follows, a . .- Dylan LP (coming in the balancing diversionary pasttimes (pe _s .first tour in seven years) parties) against the underlying s rt of ov wed. Not this repressed dispair in this song an 0 longing request for release in the fin oni, who ~ C:Ot! rts for "Same Situation" which ends: I ti4 first time g time, (including I called out to be released I o{e at Klein _ on February 11, Caught in my 'struggle for f cqurtesy of Festival East) has changed her _.:,achievement , I st~'le a little.
  • Press Release

    Press Release

    PRESS RELEASE Foto Colectania merges photography and music through the most iconic vinyl covers of all time Robert Frank and the R olling Stones, Annie Leibovitz and Cindy Lauper, Helmut Newton and INXS, Herb Ritts and Madonna, Weegee and George Michael, among st others , star in a great exhibition at Foto Colectania. (1) Vinyl : Miles Davis, Tutu , Warner Bros. R ecords - 1 - 25490, United States, 1986. Design : Eiko Ishioka. Photography : Irving Penn. (2) Vinyl : Prince, Lovesexy , Paisley Park – 9 25720 - 1, United States , 1988. Design : Laura LiPuma. Photography : J ean - Baptiste Mondino. (3) Vinyl : The Beatles, Abbey Road , Apple Records – PCS 7088. England, 1969 . Design : John Kosh. Photography : Iain Macmillan . ( 4) Vinyl : Grace Jones, Island Life , Island Recor ds – 207 472, France , 1985. Design : Greg Porto. Barcelona, November 21 st . - The Foto Colectania Foundation presents the exhibition 'TOTAL RECORDS. Vinyl s and P hotography ' , in collaboration with Banc Sabadell Foundation , showing a selection of 250 vinyl covers that reflect the fruitful relationship between photography and music. The exhibit ion, which has been presented in Arles, Zurich and Berlin, arrives to Barcelona at the hand s of Foto Colectania. The show is produced by Les Rencontres d'Arles, curated by Antoine de Beaupré, Serge Vincendet and Sam Stourdzé, with the complicity of Jacques Denis. The installation of "Total Records" in Barcelona is completed with a section of Span ish vinyl records, created especially for this exhibition, as well as a sample of the Gladys Palmera ’s Collection, which is internationally recognized as the most outstanding musical catalogue of Cuban music from 1940 to 1960.
  • Tel: 07968 785246 | 07711 573715 Email: Dan@Popworkpartyband.Com Web: Facebook

    Tel: 07968 785246 | 07711 573715 Email: [email protected] Web: Facebook

    Popular Dance Floor Fillers Ultimate 80's Party 70’s Dance Floor Fillers 70’s Glam Rock Can’t Stop the Feeling - Justin Timberlake A Little Respect - Erasure Blame it on the Boogie - Jackson 5 20th Century Boy – T-Rex Dance the Night Away - The Mavericks All Night Long - Lionel Richie Build Me Up Buttercup - The Foundations Ballroom Blitz – The Sweet Dance with Me Tonight - Olly Murs Baggy Trousers – Madness Celebration - Kool and the Gang Blockbuster – The Sweet Daydream Believer - The Monkees Dancing on the Ceiling - Lionel Richie Crazy Little Thing Called Love - Queen Bye Bye Baby – Bay City Rollers Get Lucky - Daft Punk Footloose - Kenny Loggins December 63 (Oh What a Night) - Frankie Valli Cum on Feel the Noize – Slade Happy - Pharrell Williams Gold - Spandau Ballet Disco Inferno - The Trammps Devil Gate Drive – Suzie Quatro Higher and Higher - Jackie Wilson I'm Your Man - Wham Everybody Needs Somebody - Blues Brothers Fox on the Run – The Sweet Hi Ho Silver Lining - Jeff Beck Jump - Van Halen Gimme Some Lovin - Blues Brothers Get it On (Bang A Gong) – T-Rex Human - The Killers Just Can’t Get Enough - Depeche Mode Mr Blue Sky - E.L.O Hot Love – T-Rex Moves Like Jagger - Maroon 5 Karma Chameleon - Culture Club Play That Funky Music - Wild Cherry I Love to Boogie – T-Rex Mr Brightside - The Killers Land Down Under - Men at Work Rockin All Over the World - Status Quo I Only Wanna Be With You – Bay City Rollers Rock n Roll Medley - Status Quo Let’s Dance - David Bowie Signed Sealed Delivered - Stevie Wonder Jean Genie – David Bowie Sex
  • Selected Discography

    Selected Discography

    479 of 522 selected discography 6932 Lawrence / LOVE SAVES THE DAY / sheet The following discography lists all of the recordings referred to in Love Saves the Day. It provides basic information on the name of the artist, the title of the recording, the name of the label that originally released the recording, and the year in which the recording was first released. Entries are listed in alphabetical order, first according to the name of the artist, and subsequently according to the title of the recording. Albums are highlighted in italics, whereas individual album cuts, seven-inch singles, and twelve-inch singles are written in normal typeface. Abaco Dream. ‘‘Life and Death in G & A.’’ , . Area Code . ‘‘Stone Fox Chase.’’ Polydor, . Ashford & Simpson. ‘‘Found a Cure.’’ Warner Bros., . '.‘‘It Seems to Hang On.’’ Warner Bros., . '. ‘‘Over and Over.’’ Warner Bros., . '. ‘‘Stay Free.’’ Warner Bros., . Atmosfear. ‘‘Dancing in Outer Space.’’ Elite, . Auger, Brian, & the Trinity. ‘‘Listen Here.’’ , . Ayers, Roy, Ubiquity. ‘‘Don’t Stop the Feeling.’’ Polydor, . '. ‘‘Running Away.’’ Polydor, . Babe Ruth. ‘‘The Mexican.’’ Harvest, . Barrabas. Barrabas. , . '. ‘‘Wild Safari.’’ , . '. ‘‘Woman.’’ , . Barrow, Keith. ‘‘Turn Me Up.’’ Columbia, . Bataan, Joe. ‘‘Aftershower Funk.’’ Mericana, . '. ‘‘Latin Strut.’’ Mericana, . '. ‘‘Rap-O Clap-O.’’ Salsoul, . '. Salsoul. Mericana, . Bean, Carl. ‘‘I Was Born This Way.’’ Motown, . Beatles. ‘‘Here Comes the Sun.’’ Apple, . Tseng 2003.10.1 08:35 481 of 522 !. ‘‘It’s Too Funky in Here.’’ Polydor, . !. ‘‘Mother Popcorn (You Got to Have a Mother for Me).’’ King, . Brown, Peter. ‘‘Do Ya Wanna Get Funky With Me.’’ , . !. ‘‘Love in Our Hearts.’’ , . B. T. Express. ‘‘Do It (’Til You’re Satisfied).’’ Scepter, .
  • Post-Cinematic Affect: on Grace Jones, Boarding Gate and Southland Tales

    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.