At 60 she still rocks the gossamer tunics and shaws that have seduced and bespelled two generations of the hippy sorceress’s acolytes. And while audiences have rocked to, aged with, newly discovered from the records hidden in their parents basements the music of Fleetwood Mac, it is invariable Stevie Nicks, the love child goddess that they are besotted with. Ruth La Ferla said in this New York Times article that “the rock star is no sylph. She is the anti-Madonna — fragile and ethereal — and as constant as the tides” and isn’t that but a bit of the magic that so encapsulates us in Nicks’ gossamer embrace.
Today Nicks remains a legend encompassed in the romantic eyre layers of chiffon and lace and speculations of the relationship she had with long ago lover Lindsey Buckingham — and her phoenix rising-like saga, a rebirth from the ashes of drug abuse and rehabilitation.
And now Lindsay Lohan reportedly wants to buy the rights to the singer’s life story and play her on the big screen.
Nicks told New York Times “Over my dead body.” Just the kind of candor that has endeared fans for generations.
Loving this Virgin Megastore campaign for Audio Books.
Gilding wants to dream like this…
Music video Her Morning Elegance by Oren Lavie
Rising from the flood of “awareness-as-apathy preachings” of modern day artists to such ranks of “awareness-as-action” the likes of Bob Dylan, Neil Young, Public Enemy, and Dead Kennedys, Flobots is being heralded in music reviews as a “chocolate/peanut butter combination of music and activism mixed together to create the tasty sensation of protest music.”
Ok, so it was only one review that expressly said that, but that was a pretty damn tasty description. And an accurate one. Flight With Tools, the band’s first full-length release, is a call to arms that even the most jaded listener will swayed to pick up a flag — or cardboard sign touting fancing slogans of activistic ilk — and march on Washington with.
Flobots — a hip-hop group from Denver, Colorado — is a lyrical cacophony that seeks to educate without sermonizing. The song structure is complicated, the music is rivals the operatic complexities of arena rock with a rising, flowing discord of varies instruments and beats, and all culminate into one seemless entity that is…Handlebars. Ok, all of their songs. Handlebars just happens to be the one Gilding is inspired by at the moment.
Who knew Bryan Adams ‘the singer’ is also Bryan Adams ‘the photographer’? Ok, so many may have known that. But Gilding didn’t, and its not often that she’ll admit to not knowing something. Especially pop culture related. Mr. Gilding would never let her live it down. But even he did not know this one. So, Ha!
Actually, many a favorite campaign and magazine spread of Gilding’s is the work of Bryan Adams, such as: the Zoo Magazine #15 editorial of that wrethed Amy Winehouse; his editorial of Mickey Rourke for which he won the Gold Award in 2006 (ok, Rourke is gross but magnetic and these photographs capture it…all of it); Oh, and a favorite among favorites, the spring/summer2008 Guess by Marciano campaign featuring the oh-so-Sophia Loren-look alike, Line Gost, who very unabashadly and unapologetically seduces it up with a side of glamorous and playful; and the photographs of Maggie Gyllenhall in Interview Magazine (one of the few times Gilding has ever seen the appeal in her).
Adams’ photographs have been published in Vogue, British Vogue, L’uomo, Vanity Fair, Harper’s Bazaar, Esquire, Interview, and Zoo magazines, among others, and has two books to his photographic name, American Women, whose proceeds go to breast cancer research for programs at the Memorial Sloan-Kettering Cancer Center in New York City, and its predecessor, Made in Canada.
Link: Bryan Adams Photography
Inspired by Marie Antoinette and “Killer Queen” by Queen, Lorena Alvarez created this rough sketch. And while this sketch holds hopes of becoming a big illustrations project, this talented artist already has the makings of a pretty prolific oeuvre of works under her belt. Be sure to check out the images taken from her project “Trip to the Moon,” a photo-diorama based on her loose interpretation of Jules verne’s children’s book of the same name.
Illustrator, Graphic Designer, Art Director, Director, and Street Artist, Katsura Moshino has been producing funky, psychedelic art for the Japanese club scene since the early 90′s.
Creating illustrations for club flyers, motion graphics, and animation films, Moshino has worked in a variety of genres with international musicians, such as: DJ Krush, Monday Michiru, Mondo Grosso, Audio Active, and Alex Patterson. Moshino is well known for his works on such record sleeves.
Benny Mardones exploded onto the music scene in 1980 and was quickly nicknamed “the Voice” due to his incredible vocal range and soulful, passionate performance of his signature song Into the Night. The track became an instant nationwide radio classic, topped the charts twice, and remains one of the most frequently played tunes in radio history. It is estimated that Into the Night has been played more than 4,000,000 times in the US alone.
She’s just sixteen years old
Leave her alone, they say
Separated by fools
Who don’t know what love is yet
But I want you to know -
If I could fly
I’d pick you up
I’d take you into the night
And show you a love
Like you’ve never seen – ever seen.
It’s like having a dream
Where nobody has a heart
It’s like having it all
And watching it fall apart
And I would wait till the end of time for you
And do it again, it’s true
I can’t measure my love
There’s nothing to compare it to
But I want you to know
Long disputed over the meaning of the songs lyrics (the song is a giulty pleasure for Gilding’s Mother, in fact, for this very reason)–is it pedophilia or is it fatherly. It can’t be helped that even by the purest intented mind the lyrics conjure up that guilty tingle of arousal for love of a forbidden fruit. However, Mardones’ friends hold steadfast that the song was written about a young girl who lived across the hallway from the singer/songwriter, and is in fact an expression of desire to remove the girl from her abusive family and show her the love a father SHOULD give his child.
From the perspective of Gilding’s once 16 year-old self, the song always sent a titillating fantasy spinning in her daydream filled head of having the innocent sexual prowess enough to seduce the gorgeous older man of her dreams. Yep, Gilding thinks she likes her version better. Forbidden sex it is!
Listen to the song: Into the Night
“On one hand, these could be construed as innocent love songs. On another, they are weird and sordid writings of a man curiously obsessed with his own daughter…
Charlotte was just a child when this was made, and she ‘speaks’ the words rather than singing them. ["Lemon Zest" is] possibly the most un-controversial track…as compared to the even more bizarre “Oh Daddy Oh”.
“Lemon Incest” translates as “Inceste de citron”, a wordplay on “un zeste de citron” (a lemon zest). The title demonstrates Gainsbourg’s love for puns.
“Vanessa was entrancing, vogueing about in her Naf Naf tracksuit, pouting bravely at the camera, but you couldn’t help wondering where it was all going to end. Trash magazines are littered with the wrecks of former pop nymphets, after all.
…but there is steel in this butterfly’s wings…there is more than a little triumph in her possession of him…”
Link: FRENCH lessons by Hermione Eyre
“Ninety-nine per cent of the world’s lovers aren’t with their first choice. That’s what makes the jukebox play.”