In case you haven’t heard, Vogueing is back. Madonna brought it to the mainstream, sealing the 80’s sloppy fate with classic club anthems ushering in a whole new breed of contemporary social dance. Yet, this again was an appropriation of Black sub-culture, in this case queer. Indeed, Vogueing is as old as Betty Davis and as American as apple pie, shown even with a quick perusal of the docu-films ‘Looking for Langston’, or even the voyeuristic ‘Paris is Burning’. More interesting, perhaps, or at least speaking from a more liberated voice, would be the 2006 film ‘How Do I Look’. At any rate, Jody Watley made it hot on the charts back in 1987, three years before Madonna, with one of Prince’s bassist Andre Simone’s most fly guitar rifts and synthesized melismatic beats, Still a Thrill. The normally high-pitched diva adopted an androgynous baritone voice for the lyrics, teasing viewers even more. The video was off the chain, and yes, an early dose of this black-n-tan boy ‘House’ dancing. How appropriate that Watley chose a Parisian style ballroom set for the video, and one of the genre’s early champions, Tyron “The Bone” Proctor, as her co-star.
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Most people knew Jethro Tull had been around forever, but more than three centuries??
Oh. You mean the actual British dude, Mr. Tull, whom the progressive band was named after? (Wait, so that isn’t the singer’s name?) Quite an arbitrary choice, though certainly more cerebral than many of its era (Strawberry Alarm Clock, anyone?); and considering one of the early choices was Candy Coloured Rain, I think we can all appreciate that less acid-addled minds prevailed.
So who was this Jethro Tull and why is he important, aside from being on the cover of this album? Well, do the words seed drill mean anything to you?
As T.S. Eliot portentously opined: April is the cruelest month.
Apparently someone once pulled an April Fools’ Day joke on him too.
What’s really sad is I saw this one coming almost before I finished reading it, so my burgeoning excitement was tempered by the lesser but wiser angels of my cynicism. A quick Google check confirmed the farce: there is no Captain Beefheart reunion in the making. Stuff like this is, alas, way too good to ever be true:
Back in February, I expressed how anxious I was for The-Dream’s follow-up to Love/Hate. So with that type of anticipation, when it came out, how could I be anything but disappointed?
Sure, there were some big tunes, but “Rockin’ That Shit” and “Walkin On The Moon” were released before the album, so I had played them out by the time Love Vs. Money was released. There were some other strong efforts too - his weird two-part song cycle (can two songs be a song cycle?) of “Love Vs. Money Part 1” and “Part 2” was good, and though they didn’t say what I suspect he hoped they would, they were catchy with some fairly hard and interesting production. There was really only one truly weak song, “Fancy”, but even it was weird and ambitious. So, the album was only disappointing when compared to the mastery displayed on his debut, and wasn’t weak when compared to other R&B albums.
The Vivian Girls were the Energizer Bunnies of SXSW, playing 18 shows in four days. Yes, 18 PopMatters caught up with them after Show #16 and they talked about their beginnings, their favorite B movies, and upcoming projects.