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On Expo - Film - In concert

This month's blogs: 2005 April (2) | 2005 April (1)

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"Method of this work:
literary montage.
I have nothing to say only to show."
(Passagenwerk (1927 - 1940) - Walter Benjamin)

2005, Apr 03; 23:42 ::: Les Larmes d'Éros, Les Éditions Astarté, Les Archives d'Éros

Maniac, revue d’amour critique, magazine published by Les Éditions Astarté, edited by Gilles Berquet
image sourced here.

For several decades, we have been hunting down erotic pictures in all its forms, and photographs in particular. Thus, we have accumulated thousands of documents about the most diverse issues. Today, thanks to the Internet, we are able to put the collection at your disposal. Some of these pictures have already been used in order for us to make books such as Yva Richard, l’âge d’or du fétichisme, Collection privée de Monsieur X, L’album obscène d’un photographe anonyme, or else to illustrate our magazine Maniac, revue d’amour critique. Via this website, under the heading Les Archives d’Éros, we put at your disposal hundreds of unique and previously unpublished documents, typical of the European production - especially the French production - dating back from 1860 to 1950. You will be given a free access to a part of the pictures offered on sale, and another part, much more substantial, will be available by subscription.

Being fascinated by the searching in this sphere, we have opened in 1991 the Galerie Les Larmes d’Éros, located 58 rue Amelot in the XIe district of Paris, a bookshop which promotes the ancient as well as the contemporary erotic art, in all its forms. Every year, we put on about ten exhibitions of modern and contemporary artists. Via this website, you will get the opportunity to discover or get in touch with the artists and purchase the work that could appeal to you. With the same view, we have created the Éditions Astarté, which publishes about two books a year and a magazine: Maniac, revue d’amour critique. Our publications are not directed to the people we commonly name the “general public”. We are dealing here with meticulous books, of bibliophilism, turned out by the hundred, generally numbered, dealing with the secret and intimate world of erotic art. Our publications are available only in few bookshops, including Les Larmes d’Éros, and now on this website. --http://www.erosconnexion.com/avert_anglais.htm [Apr 2005]

see also: Paris - erotic art

2005, Apr 03; 23:42 ::: Medea (1969) - Pier Paolo Pasolini

Maria Callas in
Medea (1969) - Pier Paolo Pasolini [Amazon.com] [FR] [DE] [UK]

The only movie made by Maria Callas, Medea nevertheless contains not a note of the great diva singing. And yet her presence is stunning, with a face (often seen in close-up) that cuts across the frame like a great phenomenon of nature. This raw, mostly wordless take on the Greek classic is a characteristic film from the influential Italian director Pier Paolo Pasolini: intellectually sophisticated yet almost primitive in its feel. The weird, jagged locations and Pasolini's elliptical style contribute to the sense of violence already in the story, and the visual approach (realized by Gangs of New York production designer Dante Ferretti) brings in African masks and pagan rituals. If it's not quite satisfying as a treatment of the original Euripides play, it succeeds as a blunt experience in its own right. And tantalizingly suggests what Callas might have done had she opted for a movie career. --Robert Horton

From the Back Cover
Based on the Greek classic by Euripides, Pasolini's Medea tells the tale of Jason, the leader of the invincible army of Argonaut, and his quest for the Golden Fleece. Meeting the priestess of the Flees, Medea (Callas), Jason falls in love with her and takes her home as she sacrifices everything to be with him, including dismembering her own brother. Years later he spurns her for a new love, the young and beautiful Glauce. Medea, using her witch-craft powers, exacts a terrible revenge upon... --via Amazon.com

2005, Apr 03; 23:24 ::: Thesmophoriazousae and Deus ex machina

Thesmophoriazousae - translated as "Women Celebrating the Thesmophoria" - is a comedy written by the Greek playwright Aristophanes. It was first produced in 411 BC.

In the fantasy, the character of Euripides learns that the women of Athens are secretly holding a trial of sorts to decide his fate. The female population is up in arms over the playwright's continual portrayal of women as mad, murderous, erotomaniac and suicidal (even as his most sympathetic protagonists), and they are using the festival of Thesmophoria, an annual fertility celebration dedicated to Demeter, as a cover for their plot to hold Euripides accountable for his slanderous words.

Euripides, panicked by this turn of events, sends his aged relative Mnesilochus into the debate, dressed as a woman, to get information and to advocate on his behalf. But the female jury quickly discovers the spy and his identity, and in the end, Euripides himself, dressed up as the legendary hero Perseus, must intervene to save his kinsman, swooping into the scene on a device used frequently by Greek playwrights to allow for a deus ex machina plot twist.

Euripides finally promises to stop giving the women of Athens a bad name in his writing, saving himself and Mnesilochus from the wrath of the female population, and the comedy ends happily. --http://en.wikipedia.org/wiki/Thesmophoriazousae [Apr 2005]

fantasy - plot - device - deus ex machina

Deus ex machina is Latin for "god from the machine" and is a calque from the Greek [...], (pronounced "apo mekhanes theos"). It originated with Greek and Roman theater, when a mechane would lower a god or gods onstage to resolve a hopeless situation. Thus, "god comes from the machine". The phrase Deus ex machina has been extended to refer to any resolution to a story which does not pay due regard to the story's internal logic and is so unlikely it challenges suspension of disbelief, and presumably allows the author to end it in the way he or she wanted.

The pronunciation of the phrase is a problem in English. Traditional ways of saying Latin would have it something like DAY-us ex MAK-in-a, while more modern ways of pronouncing Latin would give perhaps DAY-oos ex MAH-kin-ah, but many people naturally bring in the modern English m'SHEEN, resulting in a mixed pronunciation.

The Greek tragedian Euripides was notorious for using this plot device. --http://en.wikipedia.org/wiki/Deus_ex_machina [Apr 2005]

fantasy - plot - device - machine

Euripides Euripides (c. 480 BC-406 BC) was one of the three great tragedians of classical Athens, along with Aeschylus and Sophocles; he was the youngest of the three and was born c. 480 BC. His mother's name was Cleito, and his father's either Mnesarchus or Mnesarchides. Evidence suggests that Euripides' family was comfortable financially. He had a wife named Melito, and together they had three sons. It is rumored that he also had a daughter, but she was killed after a rabid dog attacked her. Some call this rumor a joke that Aristophanes, a comic writer who often poked fun at Euripides, wrote about him. However, many historians fail to see the humor in this and believe it is indeed true.

According to ancient sources, he wrote over 90 plays, 18 of which are extant (since it is now widely agreed that the play Rhesus was actually written by someone else). Fragments of most of the other plays survive, some of them substantial. The number of Euripides' plays that have survived is more than that of Aeschylus and Sophocles together, partly due to the chance preservation of a manuscript that was likely part of a complete collection of his works.

The record of Euripides' public life, other than his involvement in dramatic competitions, is almost non-existent. There is no reason or historical evidence to believe that he travelled to Syracuse, Sicily or engaged himself in any other public or political activities during his lifetime, or left Athens at the invitation of Archelaus II and stayed with him in Macedonia after 408 BC.

Euripides first competed in the famous Athenian dramatic festival (the Dionysia) in 455, one year after the death of Aeschylus. He came in third. It was not until 441 that he won first place, and over the course of his lifetime, Euripides claimed a mere four victories.

From his plays it is apparent that he was very skeptical of Greek religion, and was aware of intellectual movements of his time, such as the Sophists. He reshaped the formal structure of traditional Attic tragedy by showing strong women characters and smart slaves, and by satirizing many heroes of Greek myths.

Euripides was a frequent target of Aristophanes' humor. He appears as a character in The Acharnians, Thesmophoriazousae, and most memorably in The Frogs, where Dionysus travels to Hades to bring Euripides back from the dead. After a competition of poetry, Dionysus opts to bring Aeschylus instead.

Euripides' final competition in Athens was in 408. Although there is a story that he left Athens embittered because of his defeats, there is no real evidence to support it. He died in 406, probably in Athens or nearby, and not in Macedon, as some biographers repeatedly state.

When compared with Aeschylus, who won thirteen times, and Sophocles, with eighteen victories, Euripides was the least honored, though not necessarily the least popular, of the three - at least in his lifetime. Later, in the 4th century BC, the dramas of Euripides became more popular than those of Aeschylus and Sophocles. His works influenced New Comedy and Roman drama, and were later idolized by the French classicists; his influence on drama reaches modern times.

Euripides' greatest works are considered to be Alcestis, Medea, Electra and The Bacchae. --http://en.wikipedia.org/wiki/Euripides [Apr 2005]

2005, Apr 03; 20:54 ::: Maniac

In psychiatry a maniac is a person who suffers the mental disease called mania. This type of personality shows an emotionally expansive behaviour, hyperirritability, excess of loquacity, hyperkinesis (hyperactivity and inability to pay attention), and an excessive imagination. --http://en.wikipedia.org/wiki/Maniac [Apr 2005]

see also: psychiatry - behaviour - attention - imagination - mental illness

2005, Apr 03; 15:08 ::: Elmer Batters (1919-1997)

Elmer Batters: Legs That Dance to Elmer's Tune (1998) - Elmer Batters [Amazon.com] [FR] [DE] [UK]

Elmer Batters (1919-1997) was a fetish photographer who specializes in capturing images of women with an empasis on stockings, legs, and feet.

He started out publishing his photographs himself, and since the late 1960s his work has been featured in magazines such as Leg-O-Rama, Nylon Doubletake, and Black Silk Stockings, to name but a few. Taschen has published several books featuring the work of Elmer Batters. --http://en.wikipedia.org/wiki/Elmer_Batters [Apr 2005]

See also: fetish photography - foot

2005, Apr 03; 13:22 ::: Patrick Dewaere (1947 - 1982)

Patrick Dewaere (1947 - 1982)
image sourced here.

Patrick Dewaere (January 26, 1947 - July 16, 1982) was a French actor.

He was born in Saint-Brieuc, Côtes-d'Armor, France. He committed suicide at age 35 in Paris. --http://en.wikipedia.org/wiki/Patrick_Dewaere [Apr 2005]

Still from Série noire (1979) - Alain Corneau
image sourced here.

Themroc (1973) - Claude Faraldo

[r]ather charming scenes at the end where the barbarians try to tempt a handsome bricklayer who does his best to ignore them as they playfully poke fingers into his wet cement, before he strips off his clothes and joins in too. --Richard Scheibhttp://www.moria.co.nz/sf/themroc.htm [Apr 2005]


Cannibalism and incest in Themroc (1973)
Michel Piccoli and Miou-Miou star in this 1973 French period piece that may not be available in North America. A middle class guy throws in the towel and walls himself up in his apartment with his sister ( why stop at cannibalism when you can have incest too). They proceed to capture policemen and serve them up as "pork" to their neighbors. The best part is they devolve into urban primitives and, yes, they grunt in French. --http://www.oddfilms.com/cannibal.htm [Apr 2005]

See also: cannibalism - incest

Red triangle

The red triangle was a content warning system employed by mainstream terrestrial British TV broadcaster Channel 4 for a brief period in 1986. The channel showed a number of 18-rated art films in the early hours of the morning as part of the "red triangle" series, gaining unexpectedly large audiences. After lobbying from newspapers and pressure groups the series was quickly discontinued. --http://en.wikipedia.org/wiki/Red_triangle [Apr 2005]

The outcry over the red triangle series had entirely the opposite effect than the objectors had intended; the opening film, the grisly surreal-comedy Themroc, garnered over two million viewers (Whitehouse apparently among them, later saying of its broadcast "It's not good enough to slap on a warning symbol and then indulge in sadistic madness of this kind."). --http://en.wikipedia.org/wiki/Red_triangle#The_red_triangle_broadcasts [Apr 2005]

Patrick Dewaere and Gérard Depardieu in
Les Valseuses/Going Places (1974) Bertrand Blier [Amazon.com]

2005, Apr 03; 13:17 ::: Breast fetishism

Chesty Morgan in Il Casanova di Federico Fellini/Fellini's Casanova (1976) - Federico Fellini

Breast fetishism is a pronounced fetishistic sexual interest in female breasts, their shape and most often their size. Quite common in American and Japanese culture, this fixation has led to cultural acceptance of and a predilection for female breast implants. Many adult film and pornography stars have capitalized on this cultural phenomenon by having their breasts enlarged to implausible sizes.

Although it is a cultural phenomenon in the adult film world, that can be seen as a reflection and exaggeration of the real world. Large breasts are seen as symbols of sexuality and attractive to men in large portions of the Western world. Sociologists and others have often tried to explain this in terms of natural selection and biology but conflicts exist over what is the true reason for men's attraction to large breasts. This can be seen in the rise in ordinary women getting large breast implants.

Not all breast fetishism concerns size. Some individuals have a fetishistic preference for breasts with large, dark, or puffy areolae (commonly, though incorrectly, referred to as "puffy nipples"), or to unusually long or thick nipples. These variations are all sufficiently common, for example, to rate individual binaries groups on Usenet. The puffy fetish, in particular, can be somewhat controversial, as this is a manifestation most common in pubescent girls (though it is not unknown in older women).

There are also a fetishism that deals with lactation. It is quite common in many hentai games/anime/manga, where busty girls will be able to lactate, despite not being pregnant.

More recent breast fetishism can be in part linked with the Canadian actress and glamour model, Pamela Anderson. She helped to amplify and normalize the trend, and her enhancement seemed to increase her stardom, and on some level render breast implants more permissible for women.

In comics, animation, and video games, where gravity is not a limiting factor, large-breasted female characters are fairly common; this is particularly true in American comic books, and Japanese anime and manga. --http://en.wikipedia.org/wiki/Breast_fetishism [Apr 2005]

see also: breast

2005, Apr 03; 12:16 ::: Modern theories of sexual fetishism

Drawing by Yoshifumi Hayashi, which probably is arousing for leg fetishists

more images of Hayashi's work here., but be quick about it, while they are still in Google's cache
and here also [Cipango is a very cool image blog] with entries on Bellmer, Japanese art, etcetera.

Drawing by Yoshifumi Hayashi, sourced here.

Although Freud's theory on fetishes may seem peculiar and was based on anecdotal evidence rather than empirical, he had discovered a critical aspect of human sexuality: the relationship between human orgasms and conditioning. Ongoing studies make this relationship more clear. For example, in a study published by Dr. Lique M. Coolen on April 14, 2003 at an Experimental Biology conference in San Diego, California, male rats accustomed to having sex in a particular cage will have elevations of "pleasure-inducing chemicals in the brain" simply from being in the particular cage, even if a female or a female scent are not present. Sexual conditioning occurred. It has been hypothesized that human sexuality may similarly be tied to conditioning, and this may explain the phenomenon of sexual fetishism.

This is consistent with the theory that fetishism derives from behavioural imprinting in early childhood, a phenomenon which is not only supported by anecdotal evidence in humans, but can be demonstrated experimentally in animals.

It is also hypothesized that the modern world provides many opportunities for superstimulus based on objects that both mimic and exaggerate natural stimuli.

Common fetishes include fetishes focused on footwear, gloves, wigs, body piercing, underclothing, diapers, or other garments made out of specific materials such as rubber, fur, spandex, leather, or nylon. Transvestic fetishism, the fetish of dressing in the clothes of the opposite sex, is also common. Some clothing materials are fetishized by a small number of people, perhaps on the basis that the material forms a "second skin" that acts as a fetishistic surrogate for the wearer's own skin. The most common forms of this are spandex fetishism and rubber fetishism, in which the fabric is both stretchy and shiny, exaggerating some of the aspects of human skin.

Other fetishistic attachments can be to specific parts of the body, such as head or body hair, legs, feet or breasts, rather than to the person as an individual. This might explain foot binding in China prior to 1911 and breast implants in the contemporary United States.

Sometimes, whole cultures can develop the fetish to such an extent that it is no longer perceived as a fetish, but merely as a 'normal' desire; e.g. late-Victorian England's ankle fetish, or the modern commonplace fetish for lingerie.

In this regard, there can be said to be a degree of fetishistic arousal in most normal individuals who respond to particular bodily features as sign of attractiveness. However fetishistic arousal is generally considered to be a problem only when it interferes with normal sexual or social functioning. Sometimes the term 'fetishism' is used only for those cases where non-fetishist sexual arousal is impossible.

Although these forms of fetishism are the most common, fetishism, like other forms of human sexuality, can be extremely varied and can encompass almost any aspect of human behavior.

A number of sub-genres of pornography exist to serve fetishistic interests, with corresponding erotica in the form of fetish art. --http://en.wikipedia.org/wiki/Sexual_fetish#Modern_theories_of_fetishism [Apr 2005]

Common varieties of fetishism

  • Breast fetishism
  • Diaper fetishism
  • Foot fetishism
  • Glove fetishism
  • Infantilism
  • Leather fetishism
  • Medical fetishism
  • Panty fetishism
  • Pantyhose fetishism
  • Pregnancy fetishism
  • Rubber fetishism
  • Shoe fetishism
  • Boot fetish
  • Spandex fetishism
  • Spanking fetishism
  • Stocking fetishism
  • Tickling fetishism
--http://en.wikipedia.org/wiki/Sexual_fetish#Modern_theories_of_fetishism [Apr 2005]

Less common forms of fetishism

  • balloon fetishism
  • blindness fetishism
  • calligraphy fetishism (Japan)
  • circumcision fetish
  • depilation fetishism
  • eyeglasses fetishism
  • eyepatch fetishism
  • fart fetishism
  • fat fetishism
  • foreskin fetishism
  • hair fetishism
  • hypnofetishism
  • giant fetishism
  • milk fetishism
  • robot fetishism
  • smoking fetishism
  • spitting fetishism
  • veil fetishism
  • wet and messy fetishism
  • wheelchair fetishism
  • Vorarephilia fetishism (desire for being eaten)
--http://en.wikipedia.org/wiki/Sexual_fetish#Modern_theories_of_fetishism [Apr 2005]

2005, Apr 03; 12:16 ::: Turks Fruit/Turkish Delight (1973) - Paul Verhoeven

still from Turks Fruit/Turkish Delight (1973) - Paul Verhoeven
image sourced here.

Turks Fruit/Turkish Delight (1973) - Paul Verhoeven [Amazon.com] [FR] [DE] [UK]

2005, Apr 03; 03:26 ::: Chicago house music

Sleeve for BCM records 12 volume The history of the house sound of Chicago
sleeve notes to this comp by Stuart Cosgrove here.

01-A1:Colonel Abrams/Trapped - Dance Version
01-A2:Shirley Lites/Heat You Up - Melt You Down
01-A4:Positive Force/We Got The Funk
01-A5:First Choice/Let No Man Put Asunder
01-B1:Jimmy 'Bo' Horne/Spank
01-B2:Two Man Sound/Que Tal America
01-B3:Sharon Redd/Can You Handle It
01-B4:Geraldine Hunt/Can't Fake The Feeling
01-B5:Sparque/Let's Go Dancing - Club Dancing

02-A1:D-Train/You're The One For Me - Vocal Version
02-A2:Raw Silk/Do It To The Music - Vocal
02-A3:Ripple/Beat Goes On
02-A4:Klein & M.B.O./Dirty Talk
02-A5:Martin Circus/Disco Circus
02-B1:Fatlarry's Band/Act Like You Know
02-B2:T-Connection/At Midnight
02-B3:D-Train/Keep On
02-B4:Telex/Moskow Diskow - Original Version
02-B5:Instant Funk/I Got My Mind Made Up

03-A1:Steve "Silk" Hurley/Music Is The Key - House Key
03-A2:Arrogance/Crazy - Club Mix
03-A3:The It/Donnie
03-A4:Shawn Christopher/People Of All Nations - Club Mix
03-A5:Chip E. Inc.Featuring K. Joy/Like This - Extended Mix
03-B1:Farm Boy/Move - Club Mix
03-B2:Steve "Silk" Hurley/Shadows Of Your Love - House Mix
03-B3:Mark Imperial/J'adore Danser - Club Mix
03-B4:White Knight/Never Give Up - Club
03-B5:Fingers Inc./A Path - Club Mix

04-A1:Liz Torres Featuring Kenny 'Jammin'' Jason/What You Make Me Feel - Fierce Mix
04-A2:The House Rockers Featuring Frankie 'Hollywood' Rodriguez And Jimmy L.A. Perna/Everybody Do It! - Hollywood Mix
04-A3:House People/Godfather Of House - Club Mix
04-A4:E.S.P./It's You - Vocal
04-A5:Tyree Featuring Chic/I Fear The Night - Subterranean Mix
04-B1:Fingers Inc./It's Over - Dub
04-B2:Raz/Amour Puerto Riqueno (Puerto Rican Lover) - Spanish Club Mix
04-B3:Fingers Inc./Mystery Of Love - Club Mix
04-B4:Steve "Silk" Hurley/Jack Your Body - Club
04-B5:Professor Funk & The House Brothers/Work Your Body Rap

05-A1:Mario Reyes/What Ever Turns You On - Club Mix
05-A2:Farley 'Jackmaster' Funk Feat. Ricky Dillard/It's U - House Mix
05-A3:Chip E/Time To Jack
05-A4:Femme Fion/Jack The House
05-A5:Mk 2/Used By DJ - Vocal
05-B1:Kenny 'Jammin'' Jason With 'Fast' Eddie Smith/Can U Dance
05-B2:Fingers Inc./It's Over - Club Mix
05-B3:Dymond/Wild About Your Love - Club Mix
05-B4:Chip E/If You Only Knew - Radio Edit
05-B5:Julian 'Jumpin'' Perez Featuring Connie V./Jack Me 'Til I Scream - Jumpin' Mix

06-A1:Adonis/No Way Back
06-A2:On The House Featuring Marshall Jefferson/Ride The Rhythm
06-A3:Farley Jackmaster Funk/Funking With The Drums Again (Farley Farley)
06-A4:Farm Boy/Jackin' Me Around - Farm Mix
06-A5:Boris Badenough/Hey Rocky - Extended
06-B1:Marshall Jefferson/Move Your Body - The House Music Anthem
06-B2:Sampson 'Butch' Moore/House Beat Box - Instrumental
06-B3:Sweet D/Thank Ya
06-B4:Kevin Irving/Children Of The Night
06-B5:Phuture/Acid Tracks

07-A1:Farley 'Jackmaster' Funk Featuringg Daryl Pandy/Love Can't Turn Around
07-A2:Denise Motto/Imnxtc
07-A3:Ralphi Rosario Featuring Xavia Gold/You Used To Hold Me
07-A4:Libra Libra/I Like It
07-A5:Liz Torres Featuring Edward Crosby/Can't Get Enough - Club
07-B1:The House Master Boyz And The Rude Boy Of House/House Nation
07-B2:On The House/Pleasure Control - Radio
07-B3:The Force/It's O.K., It's O.K.
07-B4:Hercules/7 Ways - Vocal
07-B5:Ramos/The Jackin' National Anthem

08-A1:Blaze/Whatcha Gonna Do - Vocal
08-A2:Mel & Kim/Showing Out (Get Fresh At The Weekend) - The Morgage Mix
08-A3:Cleavage/Barah - The House Mix
08-A4:Phil Fearon/Ain't Nothing But A House Party
08-A5:Harlequin Four's Faeturing Barbera Tucker/Set It Off
08-B1:Jack'n Chill/The Jack That House Built
08-B2:Raze/Jack The Groove
08-B3:Kissing The Pink/Certain Things Are Likely - Garage
08-B4:Cultuaral Vibe/Ma Foom Bay - Love Chant Version
08-B5:Mirage/Jack Mix #2

09-A1:Nitro Deluxe/This Brutal House - US Version
09-A2:Jack E. Mokassa/The Opera House
09-A3:Mel & Kim/Respectable - Tabloid Mix
09-A4:Gary L/Time - Time To Party
09-A5:Wired/To The Beat Of The Drum - On The Burn Mix
09-B1:2 Puerto Ricans? A Black Man And A Dominican/Do It Properly - Def Mix
09-B2:Lennyd & Tommy Musto/Everythings Bamboo - Club Version
09-B3:Wally Jump Junior And The Criminal Element/Turn Me Loose
09-B4:Movement/The Movement
09-B5:Home Wreckers/Jackin' - Emu Style

10-A1:Risque Rhythm Team/122 Home
10-A2:Matt Warren/Way To My Heart - Chicago House Mix
10-A3:Mink/What Does It Take - Fashion Mix
10-A4:Rhythim is Rhythim/Nude Photo
10-A5:Philly Cream/Love Can't Turn Around - Vocal Club Version
10-B1:Quest/Mind Games - Underground Mix
10-B2:Kreem/Triangle Of Love - Vocal Mix
10-B3:Master Plan/Electric Baile - Commercial Mix
10-B4:Billie/Nobody's Business - Radio Mix
10-B5:Thompson & Lenoir/Can't Stop The House

11-A1:Chic/Jack Le Freak
11-A2:Loleatta Holloway/Hit And Run '88 Gotta Be Number One
11-A3:Dalis/Rock Steady
11-A4:Cerrone/Supernature '88
11-A5:Patrick Adams Featuring Lari Lee/Jack In The Bush
11-B1:Freeez/I..O.U. - Megamix
11-B2:Paris Gray/Don't Make Me Jack (Tonite I Want To House You) - Club
11-B3:John Rocca/I Want It To Be Real - Farley's Hot House Piano Mix
11-B4:Turntable Terror Trax? Vol.2/Let's Begin
11-B5:Farley 'Jackmaster' Funk And The Shy Boyz/U Ain't Really House - Club Mix

12-A1:Criminal Element Orchestra/Put The Needle To The Record
12-A2:Jellybean Featuring Steven Dante/The Real Thing - West 26th Street Mix
12-A3:Kelly Charles/You're No Good for me - Club Mix
12-A4:L.A. Mix/Don't Stop Jammin' - The Brutal Remix
12-A5:Rhythim is Rhythim/Strings (Flam-Boy-Ant Mix)
12-B1:M|A|R|R|S/Pump Up The Volume - Original Version
12-B2:Full House/Communicate - Club Mix
12-B3:Secret Secret/We Came To Jack
12-B5:The Beatmasters Featuring The Cookie Crew/Rock Da House - Remix

Chicago's greatest influence on electronic dance music is as the birthplace of house music. The name house music is said to come from the Chicago dance club, the Warehouse, where the legendary Frankie Knuckles DJed. The classic house record label Trax Records was based in Chicago, and put out seminal house records like Jamie Principle & Frankie Knuckles's "Your Love" and Marshall Jefferson's "Move Your Body". Other influential house artists to come out of Chicago include Adonis, Larry Heard, Ron Hardy, Phuture, Robert Owens, and Farley Jackmaster Funk. --http://en.wikipedia.org/wiki/Music_of_Illinois#Electronic_music [Apr 2005]

Chicago house
Chicago house is a style of house music. House music originated in a Chicago, Illinois nightclub called the WareHouse, and this is where the style of music derives its name from. DJ Frankie Knuckles originally popularized house music while working at the WareHouse.

House music grew out of the post-disco dance club culture of the early 1980s. After disco became popular, certain urban DJs, particularly those in gay communities, altered the music to make it less pop-oriented. The beat became more mechanical and the bass grooves became deeper, while elements of electronic synth pop, Latin soul, dub reggae, rap, and jazz were grafted over the music's insistent, unvarying 4/4 beat. Frequently, the music was purely instrumental and when there were vocalists, they were faceless female divas that often sang wordless melodies.

By the late 1980s, house had broken out of underground clubs in cities like Chicago, New York, and London, and had begun making inroads on the pop charts, particularly in England and Europe but later in America under the guise of artists like C+C Music Factory and Madonna. At the same time, house was breaking into the pop charts; it fragmented into a number of subgenres, including hip-house, ambient house, and most significantly, acid house (a subgenre of house with the instantly recognizable squelch of the Roland TB-303 bassline generator). During the '90s, house ceased to be cutting-edge music, yet it remained popular in clubs throughout Europe and America. At the end of the decade, a new wave of progressive house artists including Daft Punk, Basement Jaxx, and House of 909 brought the music back to critical quarters with praised full-length works. --http://en.wikipedia.org/wiki/Chicago_house [Apr 2005]

2005, Apr 02; 16:26 ::: Fetish art and photography

Steve Diet Goedde photograph sourced here.

The Beauty of Fetish (1998) - Steve Diet Goedde [Amazon.com] [FR] [DE] [UK]

The Beauty of Fetish II (2001) - Steve Diet Goedde [Amazon.com] [FR] [DE] [UK]

Related: bondage - erotica - fetishism - fetish art - fetish photography - paraphilia - perversion - s&m

2005, Apr 02; 15:51 ::: Persistent sexual arousal syndrome

Persistent sexual arousal syndrome is a rare disorder found in women. It results in a spontaneous and persistent of genital arousal, with or without orgasm or genital engorgement, unrelated to any feelings of sexual desire. In particular, it is not related to nymphomania. In addition to being very rare the condition is also frequently unreported by sufferers who may consider it shameful or embarrassing. It has only recently been reported and characterized as a distinct syndrome in medical literature.

Physical arousal caused by this syndrome can be very intense and persist for extended periods, days or weeks at a time. Orgasm can sometimes provide temporary relief, but within hours the symptoms return. The symptoms can be debilitating, preventing concentration on mundane tasks. Some situations, such as riding in an automobile, can aggravate the syndrome unbearably.

Persistent Sexual Arousal Syndrome can have a variety of causes. Some drugs such as trazodone may cause it as a side effect, in which case discontinuing the medication may give relief. In at least one recorded case, the syndrome was caused by a pelvic arterial-venous malformation with arterial branches to the clitoris; surgical treatment was effective in this case. In other cases where the cause is unknown or less easily treatable, the symptoms themselves can sometimes be reduced by the use of antidepressants, antiandrogenic agents and anaesthetising gels. Psychological counselling with cognitive reframing of the arousal as a healthy response may also be used. --http://en.wikipedia.org/wiki/Persistent_sexual_arousal_syndrome [Apr 2005]

2005, Apr 02; 13:00 ::: Candido

Dancin' and Prancin' (1979) - Candido [Amazon.com] [FR] [DE] [UK]

1. Dancin' & Prancin'
2. Jingo
3. Thousand Finger Man
4. Rock and Shuffle (Ah-Ha)

See also: Candido - Salsoul records - Jingo

Thousand Finger Man (1969) - Candido [Amazon.com] [FR] [DE] [UK]

See also: Candido - drums - percussion

2005, Apr 02; 13:00 ::: Revancha del Tango (2001) - Gotan Project

Revancha del Tango (2001) - Gotan Project [Amazon.com] [FR] [DE] [UK]

Gotan Project is a group based in Paris, consisting of musicians Philippe Cohen Solal, Eduardo Makaroff and Christoph H. Müller (a former member of Touch El Arab). They formed in 1999. Their first release was "Vuelvo al sur/El capitalismo foraneo" in 2000, followed by the album "La Revancha del Tango". Their music is clearly tango, but also uses electronic elements like samples, beats and sounds to it. Out-takes were aired on Gilles Peterson's show "Worldwide" aired on BBC one in May 2004. Philippe Cohen Solal recently released a DJ set: "Inspiración Espiración - A Gotan Project DJ Set Selected & Mixed by Philippe Cohen Solal" (2004). This album also includes a second CD with the track "La Cruz del Sur" that was meant for "La Revancha del Tango", but didn't make it in 2001.

Before Gotan Project, Müller and Cohen Solal formed a duo called Boyz from Brazil.

Gotan Project is currently (June 2004) back in the studio creating a new album, scheduled to be released in September 2005. --http://en.wikipedia.org/wiki/Gotan_Project [Apr 2005]

Gilles Peterson
Gilles Peterson is a DJ and founder of the Talkin' Loud record label. He used to have a radio show on London's Kiss FM dance music station, but was recruited to the BBC's youth-oriented Radio 1 in 1998.

Peterson is known for his eclectic musical selections. Though not as "anything goes" as John Peel, he plays anything from dub and reggae through jazz, nu-jazz, drum and bass and hip-hop. --http://en.wikipedia.org/wiki/Gilles_Peterson [Apr 2005]

See also: 2001 - Gilles Peterson - tango

2005, Apr 02; 12:42 ::: Good Times Vol.4 (2004) - mixed by Norman and Joey Jay

Good Times Vol.4 (2004) - mixed by Norman and Joey Jay [Amazon.com] [FR] [DE] [UK]

Disc: 1 1. Ten City - Superficial People (Extended 12" Remix) 2. L.T.D. - It's Time To Be Real 3. Jaimeson featuring Terri Walker - Common Ground (Bimbo Jones Remix) 4. Oi Va Voi - Refugee (A Matthew Herbert Big Band Remix) 5. The Impressions - We're A Winner 6. Mica Paris - I Should've Known Better 7. Bomb The Bass featuring Justin Warfield - Bug Powder Dust (La Funk Mob Remix) 8. First Class - Strictly Rollin' (Da Block Mix) 9. Estelle - 1980 10. Willis Jackson - Nuther'n Like Thuther'n 11. Zap Pow - This Is Reggae Music 12. Aswad - Warrior Charge 13. The Five Corners Quintet - Three Corners 14. Mel Torme - Comin' Home Baby

Disc: 2 1. The System - I Can't Take Losing You 2. Jakki - You Are The Star (A Tom Moulton Mix) 3. Shapeshifters - Lola's Theme (Norman Jay's Good Times Vocal Mix) 4. Mekkah featuring Stephen Granville - Dimensions (Vocal Mix) 5. Jeff Lorber - Best Part Of The Night 6. Lee Dorsey - Night People 7. Eddie Harris - It's All Right Now 8. James Brown - Don't Tell It 9. The Nextmen - The Next Trend (instrumental version) 10. Damaris Carbaugh - What About My Love? 11. Brenda Russell - Way Back When 12. Billy Paul - Windy 13. James Mason - Sweet Power Your Embrace

See also: Norman Jay

2005, Apr 02; 12:36 ::: Masters at Work Present Latin Verve Sounds (2004) - Masters At Work

Masters at Work Present Latin Verve Sounds (2004) - Masters At Work [Amazon.com] [FR] [DE] [UK]

1. Sandunga - Dave Pike 2. Aphrodite - Dave Pike 3. Boss Tres Bien - Quartet Tres Bien 4. Todos Locos - Herbie Mann 5. Ritmo Uni - Cal Tjader & Eddie Palmieri 6. Picadillo - Patato & Totico 7. La Descarga de Bobo - Willie Bobo 8. Roots - Willie Bobo 9. Caravan - George Shearing 10. Mas Que Nada - Patato & Totico 11. La Descarga de Bobo (remix by Masters at Work) - Willie Bobo

Related: MAW - MAW biography by Tim Lawrence - Kenny Gonzalez - Louie Vega - Nuyorican Soul

2005, Apr 02; 00:41 ::: Dirty Talk (1982) - Klein & MBO

See also: http://www.discogs.com/release/148108 [Apr 2005]

See also: Euro disco - Italo disco - synth pop - Klein & MBO - electro pop

2005, Apr 01; 20:39 ::: Soulwax, 2 Many DJs and bastard pop

As heard on radio Soulwax (2002) - Various Artists [Amazon.com] [FR] [DE] [UK]

Soulwax, headed by David and Stephen Dewaele, is an alternative rock band hailing from Belgium. Though the Dewaele Brothers have created several major albums under this moniker, including Much Against Everyone's Advice (2001) and Any Minute Now (2005), the two are perhaps best-known for their influential contributions to the bastard pop genre under the name 2 Many DJ's. The latest Soulwax album, Any Minute Now, has spawned a fairly popular single, "E Talking". --http://en.wikipedia.org/wiki/Soulwax [Apr 2005]

Bastard pop
Bastard pop is a musical genre which, in its purest form, consists of the combination (usually by digital means) of the music from one song with the acapella from another. Typically, the music and vocals belong to completely different genres. At their best, bastard pop songs strive for musical epiphanies that add up to considerably more than the sum of their parts. --http://en.wikipedia.org/wiki/Bastard_pop [Apr 2005]

2005, Apr 01; 16:17 ::: Is It All Over My Face? The Life and Music of Arthur Russell () - Tim Lawrence

Is It All Over My Face? The Life and Music of Arthur Russell will tell the story of the vocalist, cellist, percussionist and composer Arthur Russell. Having worked and partied in the creative milieu of downtown New York in the late 1970s and early 1980s, Russell forms a symbolic bridge between Tim Lawrence's first book, Love Saves the Day , which examines seventies dance culture, and Paradise and After , which will focus on dance culture in the 1980s and early 1990s. Russell generated a remarkable roster of quirky, off-beat, radical recordings that relentlessly tested the boundaries of established genres -- and which are worthy of a biographical study. --Tim Lawrence http://www.timlawrence.info/writing-pages/wr_forth_is-it.html [Jan 2005]

In the spring of 2003 I travelled to Seattle for the first time to deliver a paper at the Experience Music Project. I had worked as a consultant for EMP's Disco Exhibit, which has subsequently travelled to the Lincoln Centre in New York, and was keen to seen the exhibition in full flow, as well as attend the organisation's second conference, which brings together journalists and academics. Having started out in journalism and ended up in academia while never feeling entirely comfortable in either profession, it seemed like an excellent conference to attend.

During my trip to Seattle I met Ken Wissoker, the editor-in-chief at Duke and my editor for Love Saves the Day (then a year away from publication), for the first time. I also met Ned Sublette, author of Cuba and Its Music: From the First Drums to the Mambo (then a year away from publication), who delivered the conference's outstanding paper on the hidden Cuban influence on North American music culture. At the final night party, we all met, and the conversation went something like this:

Tim: You're paper was great, Ned!

Ned: Why thank you! I'm sorry I didn't get to hear yours. What do you do?

Tim: I'm a lecturer at the University of East London and I write about dance music.

Ned: Boom, boom, boom, boom! That's not dance music ľ that's a pneumatic drill! This is dance music. [Sublette sings the following] Is it all over my face, I'm in love dancing…

Tim: Arthur Russell! I write about that kind of dance music. Why "Is It All Over My Face"?

Ned: I knew Arthur Russell from way back. We met in the mid-seventies. We used to hang out together. We were musicians. We made organic music!

Tim: Arthur and Walter Gibbons -- those are the two music makers from the seventies/eighties that I really want to write about in a bit more detail. I'm just finishing this book on dance culture in the 1970s and one of the really frustrating things about ending it there is that I don't really get to write about Arthur. I talk about "Kiss Me Again", but most of Arthur's dance releases came out in the eighties, so he doesn't get much of a look-in.

Ned: Arthur was a genius and dance music was only small part of his work. He was an avant-garde classical cellist, he was music director of the Kitchen, he played in Peter Gordon's Love of Life Orchestra…

Tim: Arthur's life is kind of where I am at the moment with my work. I'm still neck-deep in the seventies and am about to charge into the eighties with the sequel to Love Saves the Day. Arthur kind of forms a bridge between the two decades.

[Ken comes up]

Tim: Hi, Ken. You know Ned, right? Ned knew Arthur Russell, who produced "Is It All Over My Face" and "Go Bang", which were big early eighties dance classics.

Ken: I think I have those records.

Tim: People are around who knew Arthur Russell. How would you like a biography of Arthur Russell before I write about the 1980s?

Ken: That's something we can think about.

Ken and I met again the following year, again at EMP. By that time Love Saves the Day had been published and, within two months, the first three thousand copies had sold out and reviews were starting to appear. We met to talk about that and future projects, including the Arthur Russell biography.

Russell had had quite a year, even though he died (from complications arising from Aids) in 1992. Having received next to no recognition during his life, Russell was suddenly receiving an extraordinary wave of press recognition following the simultaneous release of two complications: Calling Out of Context (Audika, 2004), which contained previously unreleased Russell recordings from the late 1980s, and The World of Arthur Russell (Soul Jazz, 2004), which brought together the musician's dance twelve-inches.

The media frenzy was ostensibly set off when David Toop published a feature about Russell in the Wire -- David quoted Love Saves the Day generously, noting that the main focus of the book, the downtown private party dance scene, was the milieu that inspired Russell's dance recordings and was the place where he would take his acetates for a first hearing -- and it was followed by extensive features in the New Yorker, the New York Times, and scores of other publications.

The media coverage took away the scoop-like element of the biography. Just as nobody had written about David Mancuso and the Loft when I started to research Love Saves the Day, so nobody had written about Russell up to this point. But t it was also clear that a book could go a lot further than any of the journalistic pieces that had been published, and the flurry of articles also made the publication of a book on Russell more likely. Having been sceptical about the potential of the biography about, Ken was now confident that an audience existed.

I have been researching Russell's life since the publication of Love Saves the Day in February 2004. When I travelled to New York for the launch of the book -- the first party took place at David Mancuso's Loft, the second at one of Danny Krivit's 718 Sessions -- I spent a good part of my time with Steve Knutson, the head of Audika, who is on an Arthur mission: to re-release as many of Russell's recordings as the music market can bear. Steve now holds most of Russell's tapes and archive files, and we spent many hours going through this hall-of-mirrors material. During my trip I also met up with the wry and radical Peter Zummo, Russell's favourite trombonist, as well as the lovely and indefatigable Tom Lee, Russell's long-term lover. We talked Arthur and by the end of the trip it was clear that there was the potential for a captivating and illuminating book.

Since that trip I have interviewed many of Arthur's family, friends, collaborators and supporters, including Mustafa Ahmed, Bob Blank, Joyce Bowden, Ernie Brooks, Rhys Chatham, Jon Gibson, Philip Glass, Peter Gordon, Steven Hall, Elodie Lauten, Eric Liljestrand, Gary Lucas, Phil Niblock, Chuck and Emily Russell, Will Socolov, Geoff Travis and Jennifer Warnes. I am nearing the end of the research process and will start to write soon. --Tim Lawrence via email [Apr 2005]

2005, Apr 01; 14:21 ::: Hi-NRG

Outline () Gino Soccio [Amazon.com] [FR] [DE] [UK]

Mindwarp () Patrick Cowley [Amazon.com] [FR] [DE] [UK]

Menergy () Patrick Cowley [Amazon.com] [FR] [DE] [UK]

Do Ya Wanna Funk (1982) Sylvester [Amazon.com] [FR] [DE] [UK]

E=MC2 - (1979) Giorgio Moroder [Amazon.com] [FR] [DE] [UK]

Hi-NRG is an early evolution of new-style disco. It is typified with simple, fast, danceable early house styles where the bass often takes the place of the hi-hat. Considered to be a cheesy, obsolete form of house by underground fans but still played in some of the more commercial clubs.

It has been said that the defining Hi-NRG track is Evelyn Thomas' "High Energy", produced by Ian Levine.

  • Hi-NRG musicians include: --http://en.wikipedia.org/wiki/Hi-NRG [Apr 2005]

    See also: disco - electronic music - house music - cheesy - Giorgio Moroder - proto-house -

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