#nicki && tamir

[fleetsummers]

If you were to put in a production here in Redwood, what would it be and who would you cast in it?

Are you TRYING to torment me?

For sheer size and number of principals I'd go with Les Miserables because I don't want to inflict Cats on us, Oliver! requires too many children, and people might get touchy about doing Joseph and the Amazing Technicolour Dreamcoat (although I'd be INCREDIBLE in the lead but anyhow).

Here's the breakdown. Don't get upset if your character is unsavoury! Any named role is A ROLE and not just ensemble/swing!!

Jean Valjean - Ermano Javert - Zack The Bishop (covers for Valjean) - Lucien Farmer & Wife (refuse to help Valjean) - Orion & Leigh Fantine - ME (my mom sang this part!) Foreman (at the factory) - Frank Pimp - Mike Bamatabois (a dandy who tries to buy Fantine) - Tamir Factory/Lovely Ladies (factory girls/prostitutes) - Leigh, Hazel, Athena, Drea Factory Girl (who reads out the letter) - Mayra Crone (buys hair) - Vivienne Thenardier - Isaac Madame Thenardier - Jimmy Marius - Clint Cosette - Beth Eponine - Val Enjolras - Alden Grantaire - Harry Students/Thenardier Gang - Ares, Cat, Nicki, Colin, Theo Gavroche - Lucy French Soldier (reads out terms of surrender) - David Mothers (after the student massacre): Renee, Adriana

You people should start building me the barricades immediately

[unibrowzz]

The Signs and their Eurovision winners

Here we are again, with just one new name this time, but one for a rarely seen sign for once 👀

♈ Aries: Agnetha Fältskog (ABBA, 1974), Ard Weeink (Teach-In, 1975) Lee Sheridan (Brotherhood of Man, 1976), Elisabeth Andreassen (Bobbysocks, 1985), Céline Dion (1988), Nenad Nakić (Riva, 1989), Linda Martin (1992), Rolf Løvland (Secret Garden, 1995) Katrina Leskanich (Katrina and the Waves, 1997), Nils Olsen (Olsen Brothers, 2000), Sergei Morgun (2XL, 2001) Duncan Laurence (2019)

♉ Taurus: Teddy Scholten (1959), Jacqueline Boyer (1960), Jørgen Ingmann (1963), Björn Ulvaeus (ABBA, 1974), Marie Myriam (1977), Johnny Logan (1980 and 1987), Jay Aston (Bucks Fizz, 1981), Emilija Kokić, Dalibor Musap AND Zvonimir Zrilić (All Riva, 1989), Paul Harrington (1994), Alexander Rybak (2009), Victoria de Angelis (Måneskin, 2021), Oleh Psiuk and MC KylymMen (both Kalush Orchestra, 2022)

♊ Gemini: Grethe Ingmann (1963), Anne-Marie David (1973), Salomé (Spain, 1969), Koos Versteeg (Teach-In, 1975), Kaido Põldma (2XL, 2001), Ruslana (2004), Lena Meyer-Landrut (2010), Eldar Qasımov (Ell & Nikki, 2011), Måns Zelmerlöw (2015)

♋ Cancer: John Gaasbeek (Teach-In, 1975), Toto Cutugno (1990), Amen and OX (both Lordi, 2006)

♌ Leo: Isabelle Aubret (1962), Massiel (1968), Vicky Leandros (1972), Per and Richard Herrey (Herreys, 1984), Bobby Gee (Bucks Fizz, 1981), Marie N (2002), Nemo (2024)

♍ Virgo: Dana (1970), Boško Colić (Riva, 1989), Carola (1991), Fionnuala Sherry and Hans Frederik-Jacobsen (Secret Garden and Co, 1995), Indrek Soom (2XL, 2001), Nigar Jamal (Ell & Nikki, 2011), Jamala (2016)

♎ Libra: France Gall (1965), Udo Jürgens (1966), Séverine (1971), Chris de Wolde (Teach-In, 1975), Smulik Bilu (Milk and Honey, 1979), Sandra Kim (1986), Åsa Jinder (Secret Garden and Co, 1995) Vince de la Cruz (Katrina and the Waves, 1997), Charlotte Nilsson (1999), Loreen (2012 and 2023), Ethan Torchio (Måneskin, 2021), Sasha Tab and Vitalii Duzhyk (Kalush Orchestra, 2022)

♏ Scorpio: Jean-Claude Pascale (1961), Frida Boccara (France 1969), Lulu (UK, 1969), Anni-Frid Lyngstad (ABBA, 1974), Rudi Nijhuis (Teach-In, 1975), Reuven Erez (Alphabeta, 1978), Nicole (1982), Corinne Hermès (1983), Louis Herrey (Herreys, 1984), Tanel Padar (2001), Marija Šerifović (2007), Conchita Wurst (2014)

♐ Sagittarius: Corry Brokken (1957), André Claveau (1958), Gigliola Cinquetti (1964), Benny Andersson (ABBA, 1974), Martin Lee, Nicky Stevens AND Sandra Stevens (all Brotherhood of Man, 1976), Reuven Gvirtz (Milk and Honey, 1979), Mike Nolan (Bucks Fizz, 1981), Charlie McGettigan (1994), Eimear Quinn (1996), Kimberley Rew (Katrina and the Waves, 1997), Sertab Erener (2003)

♑ Capricorn: Esther Tzuberi (Alphabeta, 1978), Gali Altari (1979), Aleksandra Kalafatović (Riva, 1989) Dima Bilan (2008), Salvador Sobral (2017), Damiano David and Thomas Raggi (both Måneskin, 2021), Ihor Didenchuk (Kalush Orchestra, 2022)

♒ Aquarius: Yehuda Tamir (Milk and Honey, 1979), Hanne Krogh (Bobbysocks, 1985), Niamh Kavanagh (1993), Gunnhild Tvinnereim (Secret Garden and Co, 1995), Dana International (1998), Dave Benton (2001), Helena Paparizou (2005), Mr Lordi and Kita (both Lordi, 2006), Netta Barzilai (2018), Tymofii Muzychuk (Kalush Orchestra, 2022)**

♓ Pisces: Lys Assia (1956), Sandie Shaw (1967), Lenny Kuhr (Netherlands, 1969), Getty Kaspers (Teach-In, 1975), Yizhar Cohen (1978), Cheryl Baker (Bucks Fizz, 1981) Jørgen Olsen (Olsen Brothers, 2000), Lauri Pihlap (2XL, 2001) Awa (Lordi, 2006), Emmelie de Forest (2013)

UNKNOWN: Lisa Gold-Rubin*, Itzhak Okev and Nehama Shutan* (all Alphabeta, 1978), Alex Cooper (Katrina and the Waves, 1997)

*I did uncover some information regarding Lisa Gold-Rubin and Nehama Shutan which would make them Pisces and Leo respectively, however I was unable to confirm whether they were the actual Eurovision performers or whether they just happened to share the same names. The lead for Gold-Rubin is stronger... but still unconfirmed 😅

**Some sites list Tymofii's birthday as being in September, however his actual Ukrainian Wikipedia page shows it as February 6th, so that's what I'm going with

Corrections/additional information welcome!

[captaincoffeegirl515]

Hi, I saw one of your reblogs and am feeling a little ignorant. I don’t understand how people mentally picturing Nicky as smaller is racist and I would like to hear your thoughts. Is it people thinking Nicky is smaller that’s the racist part or people thinking that Joe is bigger? And why? I’m always interested in correcting my mental biases, but it’s also important to understand them. Thank you and sorry to bother you!

Hi! So I'm really sleep-deprived at the moment, but here's what I got.

The reason why it's racist is because it plays on racial stereotypes of Black/Brown people being big, scary, aggressive, and dominant in order to raise up White people as being pure, sweeter, and gentler.

And what better (easier) way to showcase that, than with their builds.

How much easier is it to consider Nicky as better, pure, and in need of protecting, than by making him smaller, thinner, and submissive while making Joe bigger, taller, more muscular than him?

This affects people's perception of Black/Brown men. Remember Tamir Rice? That boy was only 12 years old, but racist cops saw him as a big, hulking, grown man because of his skin color.

I'm not saying that there are no interracial gay couples where the white half is smaller than their darker-skinned counterpart, but ppl ignoring the fact that Nicky and Joe actually have just the tiniest differences in build and instead exaggerating it to make Joe (the Brown guy) the bigger, more aggressive one in the couple is really iffy and racist.

[queensofrap]

Most Misunderstood: Iggy Azalea's American Dream    

he early reality of Amethyst Kelly is difficult to imagine. There was once a small home in the tiny Australian town of Mullumbimby, made of red brick, cemented by mud and laid by her father's careful hands. Her mother would spend her days emptying trash bins at a motel as a vacation rental cleaner, a path Amethyst would eventually follow at age 14. Water didn't always run, clothes were never new, and bathrooms were separated from the home by a muddied path. It's a tale of immensely humble beginnings, a hemisphere away from the life she would come to inhabit as Iggy Azalea a decade later. And while her origins are unfathomable for some, it's Amethyst's American dream that remains universal.

I first witnessed a glimpse of that dream in the fall of 2011. It was through a cracked iPhone screen, held casually by my friend. "You have to see this bitch," she announced, flicking her perfectly coiled locs and turning up the volume. "She's every-fucking-thing!" There, on the screen, was a tall, curvy woman with ice-blonde hair and creamy incandescent skin. She was surrounded by two brown cheerleaders in matching green uniforms, strutting in towering heels and rapping furiously: My world, rhyme vicious/ White girl team, full of bad bitches. Immediately, I recognized her: this confident, eccentric girl who didn't fit into preppy white hierarchies. While others girls were quoting lines from Mean Girls, imagining themselves Regina George, she appeared as someone I knew. A girl unruly and self-possessed, always late to class, always blasting D4L. I could see her crafting beats with her knuckles and strolling into class hours late, another detention slip placed on her desk. We were sold.

If "My World" was the bait, "Pussy" was the hook, line and sinker. Iggy, Iggy/ Pussy illy/ Wetter than the Amazon/ Taste this kitty! Her accent was thick and affected, reminiscent of our cherished childhood favorite Diamond from Atlanta's Crime Mob. The "Pussy" video was a Boyz N The Hood homage with ATLien pastiche. There were ice cream trucks and babysitting, front porch posing and concrete runways, sherbet-colored pants and shredded shorts. And we weren't the only ones taking notice of Iggy and her ways. Seemingly overnight, our private cafeteria secret had become a viral phenomenon.

“ Here I am at the darkest period of my life, contemplating suicide, and I'm singing "Switch.“

Press came quickly, grand and bold. The New York Times suggested that "all this proximity to blackness characterizes Iggy Azalea as a person who is no stranger to black culture and communities, suggesting it's no anomaly for her to rock the mic." The Los Angeles Times described her flow as "brash and aggressive," while Complex decided that she was ready to "really make her mark on the game." Classmates had her image as their screensavers and sprawled across their Tumblrs, and were dropping her name in new music debates. She performed at small venues in Atlanta and cars across the city boomed with Never not better/ Law should ban it! A few months later, when "Murda Bizness" featuring T.I. dropped, her dream was actualized. She was not a one-hit wonder. She was a star, poised to rise.

There are many forgotten Iggy freestyles from that era. In one, she raps over Chris Brown's "Look At Me Now," prophesying her divisive nature. In another, titled "Home Town Hatred," she reflects on her time in Australia and her desire to leave. Over Kanye West's ominous "Hell of A Life" beat, she details how industry executives told her to dumb it down. But it was her 2011 "D.R.U.G.S." freestyle that first illuminated the parameters of her ignorance.

Reflecting the industry's tendency not to look at things too deeply, at first the song went unchallenged. (It would be a year before its lyrics were critically examined). In fact, Complex covered the freestyle, commending her craft and comparing her to fellow white rapper Yelawolf. The following January, Iggy signed to major label Interscope, tweeting, "Get used to me + Jimmy [Iovine] smashing shit, cause that's the plan."

In February of 2012, she landed the coveted cover of XXL's Freshman Class issue: an annual declaration of hip-hop stars poised to break big. Between up-and-comers French Montana and Future stands Iggy in a lush green fur. She was the first woman to ever grace the cover — a backhanded achievement. For many, XXL is a bastion of hip-hop excellence. To be a cover star and stamped with their approval was to suggest an imminent dominance. If Iggy could be shot, styled, and photographed for her buzz, where were the black women who broke the boundaries, paved the lanes, and inspired her craft?

It was Harlem-born musician and artist Azealia Amanda Banks who first articulated concern about Iggy's image and her space within hip-hop. On Twitter, Banks wrote, "Iggy Azalea on the XXL freshman list is all wrong. How can you endorse a white woman who called herself a 'runaway slave master'? Sorry guys, I'm a pro black girl. I'm not anti white girl, but I'm also not here for any1 outside of my culture trying to trivialize very serious aspects of it."

Media outlets immediately crafted Bank's criticism into a heavily publicized rap beef, thrusting Banks into the insidious stereotype of bitter black woman. The line Banks referred to was a re-interpretation of a Kendrick Lamar lyric on Iggy's "D.R.U.G." freestyle. In Kendrick's 2010 track "Look Out For Detox," he raps, When the relay starts/ I'm a runaway slave. In Iggy's version, she says, When the relay starts/ I'm a runaway/ Slave master/ Shittin' on the past/ Gotta spit it like a pastor.

Conversations surrounding the lyric lacked necessary context. Journalists missed questions and painted simple proclamations. In October of 2011, Banks had tweeted, "how sexy is iggy azalea?? It's kind of ridiculous…*tugs collar to let out steam*." In January, she wrote "Iggy Azalea's hair looks really great in her new video. How long do you all reckon that hair is? 40" in? By March 2012, the dream was dented, with Iggy being called out as misappropriating at best, racist at worst.

She issued a heartfelt apology, which fell on mostly unsympathetic ears. Two months later, Iggy was dropped by Interscope. Her debut album, The New Classic, stalled indefinitely. But still, there was room for redemption. In April 2013, Iggy signed with Mercury Records, a UK subsidiary of Universal Music Group. After recording new music in England, she returned stateside, armed with a completed album and a firmly set 2014 release date. During press runs she's tested: asked if she's an imposter; if her body is enhanced; if the cringe-worthy assumptions about her mentor T.I. are true. Old tweets were dug up, which made the disdainful murmurings worse. She's asked to freestyle on Sway, but instead inexplicably recites a line from her own album. Her music begins to change, becoming less lyrically explicit and trap-influenced, and more poppy and prim. Now a Complex cover star, she fumbles when asked about her divisive rapping accent. She's quoted saying, "This is the entertainment industry. It's not politics." Soon enough, that statement would no longer be true.

In 2012, political discussions had begun to dominate all forms of media. The slain lives of Trayvon Martin and Jordan Davis became proponents of combustible change. Movements like Black Lives Matter materialized, refusing silence or forgetfulness of the innocent and slaughtered black people, churning hundreds of American murders into global narratives. Each case, though singular and specific, represented the transgressions of America's not-too-distant-past and its perpetual present. If there was once a time when innocent victims could be smudged from history and their murderers left unscathed, that clock no longer ticked. Images of callous violence circulated more than music. Cellphone and camera footage displayed women being beaten, children being shot, and men being strangled. Language seemed to shift, relegating all ignorance to silence; expanding itself to capture the expansive feelings of others. And at the top of the same year, "Fancy" was released. Like lightning, Iggy's dream merged seamlessly with reality. She was now a star with a verifiable hit.

With her Clueless themed video for the inescapable track, 2014 became the year of Iggy's art. She held the number one spot on Billboard's Hot 100 for seven consecutive weeks. She luxuriated in the second spot too, appearing as a featured artist on Ariana Grande's "Problem." Billboard claimed Iggy tied with The Beatles and attached her name to the legacies of Mariah Carey, Missy Elliott, Lauryn Hill, and Nicki Minaj. She was now booking prime-time television spots — appearing on Good Morning America with Charli XCX — and on the covers of grocery store aisle magazines. Forbes declared her "Hip Hop's New Queen of Rap" and she was nominated for four Grammys. Simultaneously, America's racial rhetoric and division began to feel claustrophobic. In early February, Yvette Smith was murdered on her front porch. In August, Michael Brown Jr. and Ezell Ford were shot and killed. November was the month Laquan McDonald and Tamir Rice became portraits of unfinished lives. In July, Eric Garner was placed in an illegal chokehold, his last words becoming a symphony of unbearable sadness. The dichotomy between a world callously slaughtering black people on one end and rewarding a white rapper with success and visibility on another was dizzying.

What is it like to attach oneself exclusively to a dream, to pursue it even as the odds are stacked against you?

By 2015 the dream dissolved completely. Iggy was accused of racism, cultural appropriation, minstrelsy, and ignorance, becoming the perfect conduit for whiteness and all of its horrors. Her silence during racist events was considered complicit. A world tour was canceled, and neither a follow up album or a Top 10 hit reappeared. In 2016, she announced Digital Distortion, her sophomore album that was ultimately held after three singles — "Team," "Mo Bounce," and "Switch" — and a leaked music video. This year, Iggy released "Savior" with hopes of a refresh.

To some, she was an untalented white supremacist Barbie, infiltrating a space crafted by black people and laughing to the bank. Her dream — an innocent one of music, money, and acclaim — had become grotesque. To others, she was an iconic legend who was just easily projected upon. Now a refracted mirror for public opinion, a line was permanently drawn: black or white — no in-between.

But for me, there's always been a gray area. In art, in music, and in life, there is a space where the eye can shift inward to ask and answer questions. What might it look like for a young girl in Australia to re-discover life through hip-hop? What did it look like to want to manifest a world of make-believe, to create art once unseen? What is it like to attach oneself exclusively to a dream, to pursue it even as the odds are stacked against you? What do you do when you can't separate criticism from hate? When each day you're bombarded with projections based on media machinations? What does it look like when your dream comes true, when it's finally real, only for it to be mocked? To me, it's a perfect portrait of America.

At The Roxy Hotel, in New York City, I sat with Iggy Azalea. We spoke about her life, her dream, her craft, and her upcoming music. She was thoughtful and articulate, eyes glinting with Gemini humor and intellect, deeply apologetic and severely misunderstood. This is what transpired.

Can you take me back to your childhood? I read that your hometown is called "The Biggest Little Town in Australia." What was it like?

I still don't know why the fuck they call it that. It was a really small town, incredibly rural, but there's a looser, less stereotypical element to it. There were a lot of crystals and hippies, weed smokers, and horoscopes. The town was split between this hippie, carefree fairy spectrum, or conservative farmers and their crops. My parents were on the fairy spectrum, but I went to public school. Everyone there was straight-laced with names like Amber and Stephanie and there I was as Amethyst, with platform shoes, and immediately it was like, Okay, bitch prepare to get bullied.

What were the students like?

There were two schools. One was private and more artistic, and that's where all the people that could be considered carefree and more imaginative were able to go. The public school was very sterile, very conservative. The private school was expensive and my family had no money for that, so I went to the public school and I was miserable. These were the children of bricklayers whose parents drove tractors and guys who played football on the weekends. I got teased for everything. Literally everything, there was no winning with those kids.

I'm ignorant to Australia — I've never been — but there is the classic stereotype of the tanned, athletic, white Australian. When we think of whiteness, we often forget its specifications, even the types that are lauded and coveted. For instance there's the archetype of the popular blonde. You were tall, pale, and curvy…

Oh my goodness, yes! And I was never that girl. Not even anywhere near that girl's posse. I never fit in and there was a time I really tried to fit in. I remember getting teased because I hadn't shaved my legs yet. I was only in sixth grade and I had never even thought of something like that. They would call me "monkey" everyday. One day I got my mom's razor and shaved my legs thinking it would finally be over and it wasn't. There was always a new thing. My hat. My mole. My weight. All of these things now seem so dumb, but I didn't do anything like them and there was no appeasing those kids.

When did you first think of leaving?

I always knew I was going to leave because I knew I didn't belong with any of the people that lived there. I only decided I wanted to go to America when I visited the states with my grandparents. I was 11, and I remember seeing all the showgirls in Las Vegas, all their sparkles and rhinestones. They were the most fabulous girls I had ever seen. I had only seen something like that on TV, and it blew my mind. Then we went to Hollywood, and there were all these wig stores and the Star Walk, and just seeing all the ways people dressed, how they styled their hair, the color of their wigs, I wanted to be able to do all of those things. When I wanted to dress like this in Australia, I'd get shitted on. But coming to America and watching people put on a show, watching them being ridiculously fabulous, no one was doing that where I was from. Nobody was even wearing high heels in Mullumbimby.

When did you put the plan in action?

That happened when I really started to get into music. I was insanely confident, with the kind of deluded grandeur that I think you need when no else believes in you. I thought I was good at it even though in retrospect I was bad still. I was about 14 and that's when I started writing music. I'd go to open mic nights and take the bus all over the city. I'd go to battle raps, I'd get booed. There was a sound audio engineering school, called SAE, and the first music I ever recorded was there. From 14 to 16, that's when the plan formed. As soon as I started writing, I knew music was what I had to do. Even if I wasn't a rapper, I thought I could be a sound engineer or a writer. I just knew I wanted to be involved in music. And I knew I had to get the fuck out of where I lived. It was suffocating me. I wanted to live in a place where the sky was the limit, a place where my dreams weren't strange or weird, where others had even crazier ideas than me. I knew all of that was in America, and that's where I had to go and that's where I thought people were going to accept my wild thoughts. I tried Sydney and Melbourne and they just weren't it. Nothing else was.

"I wanted to live in a place where the sky was the limit, a place where my dreams weren't strange or weird, where others had even crazier ideas than me. I knew all of that was in America."

Why Miami first?

They had a SAE campus in Miami. I thought I would be able to get in and get a student visa. I saved up enough money to live there for a couple of months, but I didn't have enough to live and go to school, so I ended up not going.

Next was Houston. What was that like?

I only lived there for a year. This producer found my music through Myspace, and he said if I was ever in Houston to let him know. Then he told me all the people he produced for, and I was so excited because I really loved Rap-A-Lot records, so I went. I met him and he was really cool. We recorded a bunch of songs and we would go to Metropolis. It was in a strip mall and everyone would just hang out in front of their cars, and inside one side was reggaeton and the other was a Slim Thug record chopped n' screwed. The plan was to give the DJ your cd and hopefully he'd play it, which they never do. Then you'd hangout in the parking lot until someone has a fist fight and then you go home. Those were my nights there. Just absorbing everything. I made some friends and then Hurricane Ike hit. Most of my friends were moving to Atlanta because their homes were destroyed. I went too.

How were you making money?

Two of my friends introduced me to their sound engineer and his girlfriend would come to the studio and drop him off lunch. She and I ended up becoming roommates. I told her how I had gone to Thailand before and how fascinated I was with the hair. How you could get in bundles and stuff. She said we should save up money to go and then bring it back and sell it to salons. So we saved up and went on our last dime. She had just graduated college and was working at Bank of America and we went out there and got a bunch of hair. When we came back we sold it super quick, wholesale, to all the salons. It was insane. Technically, even though I didn't have a work visa it isn't illegal if you invest in someone's business. So she registered it as little corporation under her name and I invested in it.

There's this idea that there was "Fancy" and then boom — immediate success! But there were a lot of setbacks.

Obviously there are years that people don't know about. I was in Atlanta for nearly two years just writing for people. I was doing so many writers camps for other known artists, just trying to get my spot. That's why there were a lot of pop demo references that came out. Everyone accused me of wanting to be a pop star and that wasn't something I've ever been interested in. I would write pop music with other people and try to get it placed. I've always rapped. Even the video that came out of the pop song, that was just some shit I did with my friend. We were playing.

The wildest thing is that there are so many reports that I used to be a model and that's always been strange. Just last week on my Spotify profile my bio says, "Iggy Azalea was a high profile model before she became a rapper." When?! I would have loved to be a high profile model, but last time I checked I'm a fucking size eight. What the fuck runway or editorial model do you know that size? There's so much of those kind of rumors that have a mind of their own now.

How did you end up in LA?

The music I was making in Atlanta, I started putting a couple of songs online. They didn't have anymore than 300-400 views. I still don't know how the fuck they found me, but an A&R at Interscope messaged me. He told me he had asked his girlfriend at the time, "Who do you think is cool?" And she played him my music. I was skeptical but he ended up being legitimate. He said I should move to LA and as soon as my lease was up, I went.

When I moved there they put me with a bunch of people. They were trying to help me make connections, but they didn't really understand what I was doing. I met these guys who make up "D.R.U.G.S." about a year after I moved to LA. We'd record in their garage. YG was there. Mustard was there before he was DJ Mustard. Ty Dolla $ign was there all the time. That's where I made Ignorant Art and put out "Pussy."

That song was such a success, Interscope must have been happy.

I had gotten to the end of things with Interscope and was at the point where I felt like since they didn't understand me, this would be a "fuck you." As soon as I put out "Pussy," they called me and said they totally understood the vision. It was a "what the fuck" moment. For nearly a year I had been trying to explain it to them, and suddenly when I did it on my own they want me? I don't think they truly got it, I think they just saw the numerical element to it.

Were you signed to Interscope yet at that point?

I finally had my meeting with Jimmy Iovine after that, and they wanted to sign me. The problem was my A&R wanted to manage me. Interscope, at the time, was working on an in-house management team with LMFAO. They wanted me to sign a document that literally detailed how signing would be a conflict of interest. They gave me two options: sign or leave. I had so many potential deals with other labels but in the end I chose Interscope. We got all the way down to the agreement and, the day of, the deal was dead. Completely done. I had bigger offers, better offers, and I stayed to be loyal to the people who helped me when I was in Atlanta.

What happened?

That was a Jimmy situation and it had a lot to do with Azealia Banks. They wanted to sign her and it became a conflict of interest. Once that happened, everyone wondered why I wasn't signed, why Jimmy didn't want it, and it brought into question my worth as an artist. No one wanted to fucking touch me at all. I couldn't get a deal anywhere after that. Before this I could've asked for a fucking elephant, a Ferrari, four monkeys, and a million dollars — after there was nothing. People wondered, What was wrong with Iggy Azalea? That's how it works with these things. I was done.

What'd you do next?

I had to go to England. I got new management based out of the UK and went and recorded a bunch of music in Wales with a few producers from America. I recorded "Work" and most of The New Classic there and went and shopped a deal in England. They were the only place that didn't give a fuck about what had happened in America. I signed to Mercury Records and after putting out my music there, I came back to America to get upstreamed through Universal Records. I put out five singles through Def Jam before I ever had "Fancy." I toured with Nas before "Fancy." I toured with Beyoncé before "Fancy." I toured my own tour in Europe and North America before "Fancy." I had done five tours before I ever made "Fancy." "Fancy" was truly the last attempt. Not for me to quit music, but for the label to quit me. They had given me four video budgets, none of them exceeded their expectations, and "Fancy" was their last hurrah. For them it was like either this works or it doesn't, but we're gonna put the album out and see if it sells. I decided to do something left and do Clueless, and it worked. Luckily, we had so many attempts before that with the label and this one worked.

What was that moment like?

I was really happy and surprised. I've always known the art I make is pretty left. I didn't expect it to connect. Music has changed a lot from when I first started, but at the time, my music was considered left. There was a lot of monumental success from "Fancy" that I didn't anticipate. All these people were discovering my music and suddenly I'm doing shows with 6,000-7,000 people. It was way more than I ever imagined. I thought I'd be doing basement shows or college parties and even that was so cool to me. I thought I had fully made it! I didn't think beyond that. To see brands that I knew, magazines, all of these mainstream fixtures, people, and media embrace my music, I never could have dreamt that.

When "Fancy" gained such visibility, the media seemed to adore you. Billboard said you tied with The Beatles and bested Michael Jackson. Forbes declared you "Queen of Hip Hop." What were your thoughts during that time?

It was very strange. I never said I was the queen of rap, I've never even thought that. I truly think it was like a great white hope, similar to the film Rocky. All of these people were championing me and branding me these things because of their own projections and not only were they outlandish, they were all incredibly premature. I had just started and there was this influx of, "Queen of rap! Queen of the world! Best record ever! Song of the century!" And so everyone starts saying, "No she's not, fuck her! She has some fucking nerve!" And all of those are things I never said.

What were your thoughts when you were then nominated for four Grammys, including Best Rap Album and Best Record of the Year?

I remember sitting at the Grammy's praying to God I didn't win, literally crossing my fingers, hoping there was no media frenzy. I didn't ask to be nominated. I don't even think I deserved nominations. People were so frustrated with those headlines and all those articles became attached to me personally. People assumed that's how I saw myself, or how I thought of my music. It's never been that. There was this element of trying to humble me, a moment where it seemed like, "Oh this bitch thinks she's this? We're gonna fucking show her that she ain't shit."

Did you ever anticipate that side of fame?

I've always known that I'm controversial. I love to move the needle. Things like "Murda Bizness," yes — I'm going to put toddlers and tiaras in a music video and I know many won't understand it. Or with "Pussy," yes there is a child and I know it pushes buttons. But I think that the best things in pop culture are polarizing. I knew I would always come with controversy, but that was a different kind of controversy. I didn't anticipate that. I didn't even anticipate the success. I didn't think that would be the thing that made it all come crumbling down.

"I think that the best things in pop culture are polarizing."

What is your biggest regret during that time?

I wish that I would've handled criticism better in the beginning. I knew I was polarizing. I aim to be polarizing, sometimes too polarizing where I've pushed the limit too far. When I first got here, there was so much I thought I understood that I really didn't. I've really had to learn a lot of things by being here and having friends and seeing things play out in real life. Especially in the last few years in culture and how far conversations have come, I look back and cringe.

Like what?

Things like the Kendrick lyric, something I profusely apologized for and have learned from. That wasn't okay. It was insanely ignorant. That wasn't an experience to toy with. Sometimes you have to learn the hard way, specifically with that line, like fuck, I hate that I said it. There was so much criticism that came with "Fancy" and I wish I would've handled it better, but it felt very thick.

Everything was coming from every angle. My success. Being worn out. Having lawsuits. I had five different court cases and all of that factored into my responses. It was hard to decipher what criticism was valid and what criticism was just hate. Even with Azealia, we've since spoken and in retrospect, I'm sorry that I trivialized the way she felt about her experience as a black woman navigating the music industry. She and I have our own history and beef about other shit, but when she went on the radio and spoke there was validity to it. Those were her experiences that many others could relate to and I can't take those away, but at the time I thought it was her saying 'fuck you' and trying to hate on me.

You felt what she said was valid in the end?

There were so many critiques she made that were valid. I wish I hadn't been so defensive and emotional, but it invalidated important conversations that shouldn't be overlooked. It created a situation where it looks like I'm unable to be accountable, or I'm unable to accept criticism, that I'm tone deaf, and a fucking idiot. I felt like I had to defend myself against everyone, and that attitude didn't work in my favor. I wish I didn't give impulse responses and say things that made it worse. I was just popping off shit, and I wish I would've thought before I spoke. The problem got so big that I didn't know how to handle it, and I just thought I'll just go away and wait until it blows over or gets better. But it won't just get better, I have to acknowledge it and have conversations about it because otherwise it seems like I don't give a fuck or I'm not ready to take accountability.

Why do you think you weren't able to hear the criticism at the time?

I think when you're an artist and you're just starting out, especially as someone who isn't American, there's a difficult line to walk. I came here when I was 16 and people don't seem to understand that that time period truly defines who I am. They don't get that a lot of these things are my genuine influences, the same way they were informed and influenced by their surroundings. I really did live here. I lived in apartment full of people from Jamaica and after work we'd battle rap by the pool. I really did have friends that were involved in illegal activities. I was actually in the south, recording with Dem Franchize Boyz, listening to Outkast, Dungeon Family, Field Mob, Crime Mobb. And that seems incredibly hard for people to swallow. People think I should rap about Australia in an Australian accent but I'm 28-year-old woman now. I can't rap about being 10 and living in Australia. That never inspired me. My time in America, my time in those cities, were when I really started having life experiences that were worthy of going into my music. It all happened here in this country.

"I wish I hadn't been so defensive and emotional, but it invalidated important conversations that shouldn't be overlooked."

On some of the leaked tracks for Digital Distortion you didn't seem afraid to acknowledge it. Tracks like "Middle Man," "7Teen," and "Elephant" were incredibly aggressive and direct. What happened with that era?

For the record I love Def Jam, there are a lot of people that I truly respect and like. The problem I had during this time was that I was preparing to address how I felt. I had gotten so pop, and when you have success as a pop artist it makes the label a lot of money, so they pushed me to keep churning out hits. They pushed for more branding money, more endorsements — that's their job. And I made the conscious choice to go along with it because I was making a lot of fucking money.

But in doing that I think I isolated a lot of my original supporters. I also stifled myself creatively because I wasn't making the kind of music I wanted to make. If I wanted to make endless hits, I would have been making pop music from day one. I just lost my passion. I didn't feel motivated in the studio. When I told them I was going to make an album, I sat there with the president of the label and told him that his 10-year-old daughter is probably not going to like the songs. I said, "She's not gonna want to come to the concert," and I could see a look of pure horror etched on his face. The expression of, "Fuck, the money maker is going to make some weird, non-radio album."

They weren't backing you up.

There was no support in my decision. They couldn't understand it unless it fit into a radio format, but I knew I would never have success again unless I connected with my original fans. That's what I knew I needed for me to have authenticity and for me to feel passionate. Not only that but for me to just endure life. Everything was falling apart and I need to love the music I'm making and truly believe in it. When I delivered the album, they wanted to know where the radio hits were. All they wanted to create were songs like "Switch." And those songs are great, but pop records don't work without a foundation. Those big songs are supposed to be cherries on top, not just a roof with no house. Pop records are like Skittles, they taste really good but if you eat too many you'll feel sick. They're not a creative meal. Here I am at the darkest period of my life, contemplating suicide, and I'm singing "Switch."

Can you tell me a bit about this new era — Surviving The Summer?

Releasing "Savior" was incredibly therapeutic for me. It felt good to have a record where I can talk about depression, and just let down all my cards. It's completely different from a lot of the other tracks which are heavily rap.

Who are you collaborating with?

I'm working with Detail. I'm working with Pharrell. There's still going to be those unexpected Diplo elements like my early mixtapes. I'm really taking it back to that place. I started with Digital Distortion, but that was really aggressive and angry. I'm not in that place anymore. I'm happy. I know my fans want me to rap and I want to give them that. I want to give them the hard shit that they love, the shit that's different, that moves the needle. I hope people will support it.

From your rapping accent, to your pop accolades, you're constantly criticized for being inauthentic — specifically within the hip-hop realm. What do you think, ultimately, of those debates?

The way I've always felt about music is that I never approached anything as partial to a genre. There's never been a sense of this is a pop record, this a rap record. Even with the way music is today, there are so many melodies and variations to any song, any genre. I think a big part of the judgement in those things — not exclusively for me, but for most women in the music industry — is misogyny. Do you know how many men are on pop records? When they do it, it's rewarded and they're considered smart for reaching a bigger audience.

People like to pick and choose the rules. We bury things that don't give our theories sense. Everyone does it, it's human nature. I feel like with me, there's a lot of reasons why people are trying to invalidate me. Is it not authentic because I make pop music? Or is it because I'm from Australia? What about the fact that I've been here for 12 years? What about white rappers who are saying the most absurd things about hip-hop, but in the club everyone's singing their songs? Other rappers are allowed to do the things that I do — even things I would never even think of doing — but it's okay because they have likability, or a different perception attached to their image, or a fucking dick. People are misogynistic. It is what it is.

"Fuck what I was doing before, I'm doing new shit. It's exciting."

Do you feel like you're a new artist now?

Yes, 1000 percent! It's almost harder now because when you're new people have no preconceived notions about what you are or what you represent. When you become mega successful and you go mainstream, no longer is the sky the limit. It becomes, "Oh she's mainstream, she's had a Steve Madden deal, she's on Cosmo," and the art becomes dissected in a new way with more eyes. But I like it. Sonically, when I'm in the studio, it's fun approaching music as a new artist. Fuck what I was doing before, I'm doing new shit. It's exciting.

[stormyrecords-blog]

new arrivals 8-9-17

this week's tunes at noon is pretty special - Michael Malis trio with Jaribu Shahid from the legendary Griot Galaxy on bass - and it's free!! free music in the park in downtown dearborn. music starts at noon on thursday - don't be late!!! you don't want to miss this one!! items in stock thursday aug 9th,  2017

please pardon our rush on this promotion - the mogwai promotion does not start until aug 22nd. we will have these cool seven inches with coupons available on that date. thank you for your patience.  MOGWAI Party in the Dark seven inch $2.00this is a special coupon to get $2 off the full length new MOGWAI lp that comes out in early September. limit one per customer, you can buy this record, hear som eof the new lp, and then use the coupon inside for $2 off the full length when it is released on september 9th 2017. what a fun promotion!!  we will have the full length lp and box set for the release date in early sept. LOCKWOOD, ANNEATiger Balm / Amazonia Dreaming / Immersion  LP  $31.99Black Truffle presents a new issue of Annea Lockwood's classic 1970 tape piece "Tiger Balm", unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice. "Created while Lockwood was living in the UK, the side-long 'Tiger Balm' is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern. The B side presents two pieces for percussion recorded here for the first time. 'Amazonia Dreaming' (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures. 'Immersion' (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams, and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds" --Francis Plagne. Comes in a deluxe gatefold sleeve with archival pictures and liner notes by Annea Lockwood; Includes the score to "Amazonia Dreaming"; LP design by Stephen O'Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering. MCPHEE & ANDRE JAUME, JOENuclear Family  CD  $16.992016 release. Multi-instrumental master Joe McPhee and his longtime colleague, French saxophonist and clarinetist André Jaume, joined forces for this studio recording in 1979 that was prepared but never released. It is primarily structured around pairs of tunes by Charles Mingus, Thelonious Monk, and Duke Ellington (or Billy Strayhorn), adding Ornette Coleman's "Lonely Woman" for good measure. The results are stunningly intimate and show the twosome's capacity for creative interplay at a fairly early stage in its unfolding. Mingus's "Pithecanthropus Erectus", which was performed by a larger group on Topology (1981), gets pared down to its essential walking-bass-ness, while Monk's "Evidence" is taken apart, and solo spots by both men are as riveting as one would expect. Part of Corbett vs. Dempsey's ongoing historical effort to unearth and reissue McPhee's important discography, this previously unknown recording will delight existing fans and make new ones. NURSE WITH WOUNDDark Fat  3LP BOX  $59.99Triple LP box set of Nurse With Wound's 2016 release Dark Fat. Dark Fat is a celebration and documentation of ten years of NWW shows, but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. M.S. Waldron is to thank as he is archival commandant of the NWW oeuvre, and since 2006 he has recorded every single thing. He has recorded all the live shows, sound-checks, rehearsals, off-stage events, and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Steven Stapleton with delicate embroidery and filigree added by Andrew Liles and Colin Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat. SUN RA & HIS ARKESTRAMy Way Is The Spaceways  LP  $18.992017 repress. "Fourth volume of spoken word wisdom -- direct from Saturn! The Music Is Like A Mirror / My Way Is The Spaceways / The Music Is A Sound Image / Music Is A Vibration" GALACTIC EXPLORERSEpitaph For Venus  CD  $17.99Mental Experience present a reissue of Galactic Explorers' Epitaph For Venus. Another album from the Pyramid label shrouded in mystery and produced by Toby Robinson in Cologne, circa 1974. Kosmische and head sounds with plenty of Minimoog, analog synths/keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming, and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind. RIYL: Terry Riley, Popol Vuh, Sand, Peter Michael Hamel, Tangerine Dream, Baba Yaga, Cluster, Cozmic Corridors, Brainticket. 24-bit domain remaster from the original tapes; Insert with liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996). AREL, BULENTElectronic Music 1960-1973   LP  $24.992017 repress; LP version. Bülent Arel's (1919-1990) work occupies a special place in the history of electronic music, with one thing being certain: Arel's work is still fresh, groundbreaking, and it always look outs for the next adventure in sound. Sub Rosa present a collection of his works here as part of their Early Electronic series. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 to 1947, Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959, Arel came to the US on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse, with whom in 1962 he worked on the electronic sections of Varèse's Déserts. Frank Zappa lists Arel as a key influence. Today's electronic music - whether it is Autechre's Confield (2001), Aphex Twin's Selected Ambient Works Vol. II (1999), or Squarepusher's Do You Know Squarepusher (2001) - builds upon a solid foundation which Bülent Arel helped to pave. Wire #403: Sept. 2017 MAG   $10.50"Lichens, 21st century polymath Robert Aubrey Lowe talks patching up modular synths, vocalising doom metal, and acting the part. Meanwhile, inside the issue... Peter King, New Zealand lathe cutter to the likes of The Dead C, Lee Ranaldo, Acid Mothers Temple, and No-Neck Blues Band. A report on composers who require musicians to throw their bodies as well as their souls into their performances, including Michael Baldwin, Celeste Oram, Louis d'Heudieres, Alwynne Pritchard and others. Plus: Invisible Jukebox: Sparks; Epiphanies: Maggi Payne; Inner Sleeve: Ryoko Akama; Global Ear: Algarve; Unofficial Channels: Pop Not Slop." HIRO KONELove Is The Capital  LP  $18.99"Love Is The Capital the debut LP by Hiro Kone, the recording alias of Nicky Mao. The album is a follow-up to the incredibly well received Fallen Angels cassette, bringing with it some of Mao's most emotionally and politically driven work yet. It is Hiro Kone's long coming opus, examining a number of all-too-relevant themes: capital, the state, egoism, anxiety, and steadfast optimism. The eight songs on Love Is The Capital highlight Mao's austere, politicized techno battling for the greater good. Songs are visceral meditations of rhythm, noise, and melody in the vein of Pan Sonic, Chris & Cosey, Muslimgauze, and Kangding Ray. The sounds were often recorded in scenes of isolation, whether physically or emotionally. 'Infinite Regress' was during a trek with RLoveoxy Farman (Wetware) up to the sleepy, upstate NY town of Palenville. There, frozen in a cabin with the most DIY of recording booths, Mao recorded Roxy's vocals and what would be the track that would put into motion the entire album. 'Less Than Two Seconds' was written in a single afternoon in late December 2015 when it was revealed that the grand jury had declined to indict the police officer who shot to death 12-year old Tamir Rice. The taut techno, industrial minimalism, and aural upheaval is embedded in tracks 'Rukhsana' (featuring Drew McDowall, formerly of Coil & Psychic TV, on modular synthesizer), 'The Place Where Spirits Get Eaten,' and 'Less Than Two Seconds,' an emotionally wrought blitz of serrated Monomachine tones flanked by timeless recordings of essayist, poet, and social writer James Baldwin. Mao ventures deep into heady, prismatic runs of hypnotic techno, on 'Don't Drink the Water' and 'The Declared Enemy.' On opener 'Being Earnest' and 'Love is the Capital,' foreboding motifs brood their way back into the narrative. Still, the album maintains a sense transformation, burdened with an alien tension- the awareness of an impending and necessary collapse. And what may come next." MOON DIAGRAMSLifetime Of Love  2LP  $29.99"Lifetime Of Love is the debut album by Moon Diagrams, the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Recorded in Georgia (Atlanta and Athens) and Manhattan (East Village) over a 10-year period, Lifetime Of Love finds Archuleta processing various stages of love, loss, and regeneration via forlorn pop, minimal techno, and weightless experimentation. Throughout each of the 8 songs, Archuleta follows fits of inspiration or moments of chance. By lifting samples from thrift store-sourced LPs, removed from their sleeves and chosen at random to find loops and textures, Archuleta lets the unknown happen naturally, but still confined to a specific set of boundaries. 'Bodymaker' and 'Nightmoves' feature Archuleta's earliest solo recordings, captured between the release of Deerhunter's 2007 breakout LP Cryptograms and 2008 LP Microcastle. The two songs also show Archuleta's willingness to venture outside of the taut, mesmerizing drone rock of his main band. The chilling, ambient techno of 'Nightmoves' perfectly foils and compliments the broodingly sullen but sincerely beautiful shuffle into the dark. In 2012, Archuleta decided to pick up his recording activity, challenging himself to make a solo album. Locking himself in his practice space and using only the spare instruments laying around, Archuleta would enter fugue states in recordings. This period yielded a disparate mix of sonic sketches, from eerily bucolic choir recordings ('Playground'), dusty art-pop ('Moon Diagrams'), and infectiously jubilant dance pop ('End of Heartache'). For the final period, Archuleta found inspiration after an extended stint in Berlin, estranged from his friends and family. But Archuleta used the relative isolation to take in the city's dark energy, eventually returning home to finish the album with a newfound sense of resolve. Subtly grandiose and quietly epic, the album explores a nascent beginning, a morose middle, and a bittersweet, optimistic end." ADI GELBARTPreemptive Musical Offerings To Satisfy Our Future Masters  LP  $30.99For his next release on Felix Kubin's Gagarin Records, multi-instrumentalist Adi Gelbart delivers twelve Preemptive Musical Offerings To Satisfy Our Future Masters. With a spiraling musical complexity reminiscent of film scores, BBC Radiophonic Workshop, library music, criminal swing, Russian vitamins, tinnitus' twist, abstract jazz and musique concrète, Gelbart surpasses himself this time by augmenting his palette of instruments to the extent where he becomes a small orchestra. "The Source" of his musical identity plays "The Message" of synths, broken organs, harpsichord (!), double bass, horns, cymbals and crispy drum machines. It's a "Spacetime Reverie," where "Tsuburaya" blows "Leaves For Gamera" while "He Who Speaks Through Pyramids" walks through "Echoville" with "Dust" on his shoes, contemplating the "Birth Of Alpha" after "The Big Sleep." While humming to songs of the second moon, the "Harpsichord Automata" leads "The March Of The Thinking Machines" to a blissful silver big bang. The LP comes in a beautifully designed sleeve with cover artwork by Berlin-based German illustration star Benedikt Rugar, who has contributed to newspapers such as The New York Times and Spiegel, as well as numerous animation film festivals. A download card is included with the purchase of the record. KING BUCKNOR JR. & AFRODISK BEAT 79African Woman LP  $26.99Hot Casa present a reissue of King Bucknor Jr. & Afrodisk Beat 79's African Woman, originally released in 1979. African Woman is a fantastic Afro-beat album from the Fela Anikulapo Kuti disciple and Kalakuta Republic member. A sublime spiritual and political session recorded in 1979 at the EMI studio in Lagos, Nigeria. Arranged and self-produced, Kingsley Bucknor's second album, hopelessly obscure and impossible to find, ranks alongside the best Afro-beat albums in history. At the age of 19, King Bucknor Jr., also known as the Black Isaiah of Africa, released his second album backed by a 16-piece band called The Afrodisk, and ten background singers. Two long and hypnotic grooves with all the Afro-beat ingredients: fluid and complex drums patterns, strong horns, female voices on chorus, strong lyrics, beautiful keys, and horns solos. Essential for all Afro collectors and music lovers. Vinyl replica; Remastered by Carvery (UK); Includes inner sleeve with an interview. RAINFOREST SPIRITUAL ENSLAVEMENTFallen Leaves Camouflaged Behind Tropical Flowers  LP  $24.99Marking six years of Rainforest Spiritual Enslavement's cultish, elemental output, Dominick Fernow (Prurient) gives the project's first ever release a vinyl pressing for the first time, coiling up two extended tracts of impure, unnatural gloom ranking amongst his most cherished works. Fallen Leaves Camouflaged Behind Tropical Flowers was originally released on tape in 2011 in an edition of 59. When RSE was first conceived with Fallen Leaves Camouflaged Behind Tropical Flowers in 2011, the project was shrouded in a veil of mystery which left many fiends guessing to its provenance -- it seemed too far reduced to be identified as Fernow's work, but also didn't easily resonate with anyone of Hospital Productions' usual suspects, instead holding a unique line of stygian slow techno that sounded like some our bleakest, febrile fantasies come to life. Soon enough RSE's creator and navigator was indeed revealed to be Fernow, and the project became regarded among his most prized golems by those in the know, not least because it was starkly defined in contrast to his myriad other pseudonyms -- Vatican Shadow, Prurient, Christian Cosmos, Force Publique Congo, and so on -- by dint of its perceived restraint and glowering minimalism. Perhaps because of that stringent, meditative asceticism, the hypnotic grip of RSE has remained undiminished and perhaps as strong as ever on this new vinyl edition, where the predator heartbeat and keening tonal groans of "Life Would Transform" sound more pensive and narcotically effective than ever, and the borderland industrial chug and clag of "Skull Covered In Moss" seems to be seated deeper into its dank gloom, emulating a location recording of a burial-by-mud in some godforsaken no-man's-land, with lurking parakeets and mechanical birds awaiting their turn on your soon-to-be carrion. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell's Fourth World (1980). Remastered by Paul Corley; Cut at Dubplates & Mastering, Berlin. Edition of 500. OMAR KHORSHID AND HIS GROUPLive in Australia 1981  LP  $25.99This is the first live concert recording ever issued of legendary Egyptian guitarist Omar Khorshid and his group. It features tracks recorded during his 1981 tour of Australia, including live versions of songs that grace his various LPs recorded for Lebanese and Egyptian labels during the 1970s with one phenomenal tune, "Al Rabieh," being exclusive here as never before issued in any form. The sound is surprisingly great for a live cassette recording and the band is as sharp and monumental as ever, with stunning instrumental performances throughout, including an extended improvisational rhythmic exchange between percussionist Ibrahim Tawfiek and Omar's electric guitar on the epic track "Sidi Mansour." This record is loaded with Khorshid's signature microtonal Arabesque surf guitar elegance darting atop the backing band's brilliant accompaniment, and the tones of organist Fouad Rohaiem sound raw and abrasive, as though it were still 1973. The album has even more nostalgic (and tragic) significance as these shows would be his last; a car accident claiming Omar's life within 72 hours of flying back to Cairo from Australia. Mohamed Amine, Khorshid's lifelong friend and member of his group from 1975-1981, recorded these tracks and provided the photographs that embellish the beautiful gatefold jacket that accompanies this LP. Collected and researched by Khorshid historian Hany Zaki in Cairo, this unbelievable treasure is now available for the world to behold. Limited edition LP release in a full-color gatefold jacket with exquisite photos from Mohamed Amine's personal archive and informative liner notes by Hany Zaki. TUNES AT NOONevery thursday at 12 noon in dearborn city hall park at the corner of michigan ave and schaeferone hour of free music - bring your lunch and enjoy some fun in the sun!! 8/10 Michael Malis TrioMichael Malis is a pianist and composer based in Detroit, MI. Malis bridges the gap between original composed, complex material and the spontaneity of improvisation. His trio (piano, bass, drums),   featured on his latest album, has toured in the United States and Canada, and in September 2016, they performed at the Detroit International Jazz Festival. 8/17 Viands "Viands is a spontaneous collaboration between two auteurs of Detroit's underground music scene: Joel Peterson and David Shettler. The music they create is a deep, reflective and fearless alternate-reality keyboard meditation that draws on the pair's broad musical vision to explore new vistas.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/chance-rapper-gets-honored-bet-awards-plus-winners/

Chance the Rapper gets honored at BET awards plus winners

Like many awards shows, the 2017 BET Awards had its technical issues and was very long, but Chance the Rapper enjoyed the evening, taking home not only the best new artist award (beating out 21 Savage, Cardi B, Khalid and Young M.A.) but also the Humanitarian Award. "I just love everything about him," BET Networks' president Debra Lee said prior to presenting Chance with the award, making him the youngest recipient yet. Before Chano came onstage, a video played detailing his efforts in Chicago to better education and funding in the public schools and his nonprofit Social Works. A special message from Michelle Obama then played after, in which she told the audience she and Barack have known Chance since he was "a wee little baby rapper." The show's performances and special moments made up for having to stay up late on a Sunday. CHANCE'S GOOD WORK At the tender age of 24, Chance the Rapper was honored as a humanitarian during the BET Awards on Sunday for his work in his hometown of Chicago, with accolades from the Obamas to Kendrick Lamar. Former First Lady Michelle Obama delivered a taped message for the rapper, saying he was an "outstanding role model" she and her husband, former President Barack Obama, had known since he was a "wee little baby rapper." Lamar gave him a shout-out later on as well, saying Chance was just getting started. Chance acknowledged that the honor felt early in his young career. But he said, "My God doesn't make mistakes. And I like to think he puts this immense pressure on me to see how I react. " His wide-ranging speech, which he said was off the cuff, called out several institutions, including the federal government, the Chicago public school system and the judicial system. But he ended by saying he wanted simply to be a better father and person. "I am a good man, and I will be a better man," he said. MARS' LATE RECOGNITION Bruno Mars had a big night with his first-ever BET Award for best male R&B/pop artist, which seems a little late in coming for a star whose been putting out multiplatinum albums and hit singles for years. The singer though was grateful to the network for giving him his first-ever award, a Soul Train honor for the collaboration he did with B.o.B "Nothin' On You." "Ever since then, BET has shown me nothing but love and support of my career throughout the years," Mars said in his acceptance speech. Mars, who was nominated for four awards that night, kicked off the show with an energetic and fun performance of his song "Perm," with his band the Hooligans, all performing and singing in perfect synchronization. THE FEUD CONTINUES Remy Ma ended Nicki Minaj's seven-year winning streak for best female hip hop artist at the BET Awards and further extended a rivalry that has been going on for years. Ma took home the award at the end of the four-hour award show in one of the night's most anticipated award announcements. Ma, who served six years in jail for a shooting, thanked God and named two correctional facilities in her speech and told others that they can come back. "It's hard, but you can do it," Ma said. "You can make mistakes and come back." In March, Ma released the diss track "Shether," which was hostile toward Minaj and earned praised from critics and rap fans. Minaj never officially responded to the song, and she wasn't at the BET Awards on Sunday. Ma ended by quoting from one of her songs with Fat Joe and walked away with the award high in her hands. '90s NOSTALGIA PARTY The BET Awards paid tribute to two '90s era groups with extended performances of soulful, harmony-laced R&B. The all-female quartet Xscape, featuring LaTocha and Tamika Scott, Kandi Burruss and Tameka "Tiny" Cottle, reunited at the award show with a medley of their hits including "Just Kickin' It," ''Understanding" and "Who Can I Run To?" A lifetime achievement tribute to New Edition came in a three-part performance with help from the actors from the BET biopic about the band. It started with the child actors singing "Candy Girl," later followed by the older actors for some of the band's hits apart from the group, including BBD's "Poison" and Ralph Tresvant's "Sensitivity." Finally, the real group, clad all in white suits, hit the stage to sing together again with the finale for all the singers and actors together on "If It Isn't Love." THE SISTER ACT Beyonce was the leading nominee of the night with seven, but she was not in attendance. She reportedly had her twins earlier this month, but she hasn't publicly commented on it. Still, Beyonce had words to share when she won the viewers' choice award through a young duo, Chloe x Halle, that the pop star asked to pick up her award. "This has been a journey of love, of celebrating our culture, honoring the past, and approaching the present and future with hope and resolve," Beyonce said in the letter. Her younger sister, Solange, also picked up the Centric award and celebrated her birthday after turning 31 on Saturday. "My armpits are sweating so much right now," Solange said. POLICE VIOLENCE Some of the artists reflected on police violence against blacks during the awards show, which came just days after a police officer in Minnesota was acquitted in the shooting death of Philando Castile. Solange had a moment of silence for "the lives of our brothers and sisters that we have lost due to brutality and violence," during a presentation to honor activist Tamika Mallory. "Black-ish" actress Yara Shahidi, who won the young stars award, noted in her acceptance speech that the night was also the birthday of Tamir Rice, who was 12 when he was shot in Cleveland in 2014. "So in the midst of this celebration, I'd love to honor his life," Shahidi said. Actors from the upcoming film "Detroit" also listed names of black men and women killed by police and others, including Castile.

2017 BET Awards Full List of Winners:

- Video of the year: Bruno Mars, "24K Magic"; Beyonce, "Sorry" - Best male R&B/pop artist: Bruno Mars - Best female R&B/pop Artist: Beyonce - Best male hip hop artist: Kendrick Lamar - Best female hip hop artist: Remy Ma - Best new artist: Chance the Rapper - Album of the year: Beyonce, "Lemonade" - Best group: Migos - Best gospel/inspirational award: Lecrae - Best collaboration: Chance the Rapper featuring Lil Wayne and 2 Chainz, "No Problem"; Migos featuring Lil Uzi Vert, "Bad and Boujee" - YoungStars award: Yara Shahidi - Viewers' choice award: Beyonce, "Sorry" - Centric award: Solange, "Cranes In the Sky" - Video director of the year: Beyonce and Kahlil Joseph, "Sorry" - Best actor: Mahershala Ali - Best actress: Taraji P. Henson - Best movie: "Hidden Figures" - Sportswoman of the year: Serena Williams - Sportsman of the year: Stephen Curry - Humanitarian award: Chance the Rapper - Lifetime achievement award: New Edition - Best international act, Europe: Stormzy, England - Best international act, Africa: Wizkid, Nigeria

Movie TV Tech Geeks News

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Movements

Another example that could be made is the Civil Rights Movement in the United States of America. African Americans faced racial discrimination and oppression. It was particularly bad in the South in the 1950s as White Supremacists ruled the states and cities(Morris 1984). The same as South Africa, there was mass destruction as black people faced racial and social oppression and in their fight against the injustices, the white supremacists did everything in their power to prevent black liberation from occurring(Morris 1984). The Civil Rights Movement is over, however the idea that white people are superior still exists. This is seen clearly in the present day movement in the USA, the #BlackLivesMatter movement. This movement began as a result of police brutality towards black people. This includes the famous story of 18-year-old Michael Brown, who was shot and killed by a white police officer on the 9th of August 2014(Lowery 2017). There were other killings, which include the deaths of Eric Garner, John Crawford, Tamir Rice, Walter Scott, Freddie Gray and Sandra Bland, only to name a few. These killings caused citizens to be enraged and therefore sparked protests and riots to occur(Lowery 2017). These killings stem from colonialism and slavery and any other form of oppression that Africans have had to face and are still facing in the post-colonial period. As stated earlier, the world is now more technologically advanced and how people perceive one another is largely influenced by the media. 

The colonial period is over, but the colonial ideologies still exist and the media plays a huge role in the existence of colonial ideologies, as a result of the way black people are portrayed in the media. This then, also instills the stereotypes of black people, that have existed for centuries. Which then also instills the ideology that black people are inferior to white people. I can personally say, that this notion has affected me as a black girl, especially when I was a kid. It is a known fact that girls always want to look their best. As a child, I would watch television. My mother enjoyed watching Soap Operas. American and South African. Focusing on the American ones though, The Bold and the Beautiful and Days of Our Lives. In both of these soap operas, the white race is the dominant race in the casts. I remember admiring the female characters’ hair on these soap operas and wishing that I had hair like them as it was soft, smooth, silky and would blow in the wind. I remember nagging my mother to purchase shampoos that are made for white people’s hair, thinking that it would change the texture and the length of my hair. I started to compare myself to my friends who were not black, and longed for their hair. I hated seeing my hair curly or frizzy and I would always get excited when I went to the salon to get my hair relaxed as it comes out looking and feeling, straight and smooth. Only then, would I feel pretty. Then I discovered braids. Although they do not look like white people’s hair, it still made me happy as I would also have long hair, that move and every time it would hit my face, I would be able to be like my friends and put my hair behind my ears. 

Not only that, I would feel like I fit in,because I would be able to play and whip my braids. This then, helped me to feel like I was white and therefore beautiful, even if it was for a short period of time. I remember receiving compliments and my friends as well as other kids, wanting to play with my braids, which is what I would to my friends, who were not black. Having braids in my hair, made me feel like I was close to being a white person, which made me feel beautiful. I was made to feel this way, as well as many other black girls, because of what the media tells society, what beauty is-whiteness(Johnson 2016). Google image search, fashion magazines or advertisements are filled with images of white women as they are the ones who are perceived and portrayed as the standard of beauty. This is clearly seen in the modelling industry as New York’s Fashion Week had more white models than people of colour(Johnson 2016). To emphasize that “whiteness” is the “true” definition of beauty, the industry advertises women of colour, however only predominantly women of colour who are of lighter skin. In other words, women of colour that are dark-skinned are not beautiful(Johnson 2016). So, not only do black people have to deal with racism but also colourism. This can be seen on social media, such as Twitter, light-skinned black women are viewed as more attractive. Black celebrities such as Beyonce, Rihanna and Nicki Minaj, only to name a few, are placed on a pedestal, making black girls who do not look like them, feel unattractive and purchase skin lightening creams, in order to be accepted in society as they will look more prettier(Johnson 2016). Light skin is not the only  factor, having European features is also a factor. Actresses of colour, such as Halle Berry, Jessica Alba and Zoe Saldana are celebrated and viewed as gorgeous people as they are not only light skin but also possess European features. These features include having a small nose, not having full lips and having slender curves(Johnson 2016). Another factor is hair. 

Long, straight hair is considered to be beautiful, and nothing else. Which is why, it was so shocking to see actress Viola Davis, reveal her natural hair on the hit show, “How to Get Away with Murder.” This was an epic moment, especially for black women as black women on television are rarely seen with their natural kinky hair, because it is considered to be ugly(Johnson 2016). Eyes are also a factor, which is why Asians tend to struggle to break into Hollywood. This is so bad, that Asians go for plastic surgery to widen their eyes and look “less Asian.” The colour of the eyes, matter too as the mainstream media’s idea of beauty is that people with lightly coloured eyes are more beautiful than those with darker eyes(Johnson 2016).

REFERENCES

Johnson,M.Z. 2016. 10 Ways the Beauty Industry Tells you Being Beautiful Means Being White. Retrieved 30 October 2017 from the World Wide Web, https://www.everydayfeminism.com

Lowery,W. 2017. The Long read. Black Lives Matter: birth of a movement. Retrieved 1 November 2017 from the World Wide Web, https://www.theguardian.com

Morris,A.D. 1984. The Origins of the Civil Rights Movement. Black Communities Organizing for Change. Retrieved 1 November 2017 from the World Wide Web, https://www.books.google.co.za

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The signs and their Eurovision winners

Another year, another six new names to add to the list!

(As usual, special thanks to @ignatius-servatius for helping me out with this. Man straight up emailed Riva's manager to get info and believe it our not, they responded, the absolute legends 😂)

♈ Aries: Agnetha Fältskog (ABBA, 1974), Ard Weeink (Teach-In, 1975) Lee Sheridan (Brotherhood of Man, 1976), Elisabeth Andreassen (Bobbysocks, 1985), Céline Dion (1988), Nenad Nakić (Riva, 1989), Linda Martin (1992), Rolf Løvland (Secret Garden, 1995) Katrina Leskanich (Katrina and the Waves, 1997), Nils Olsen (Olsen Brothers, 2000), Sergei Morgun (2XL, 2001) Duncan Laurence (2019)

♉ Taurus: Teddy Scholten (1959), Jacqueline Boyer (1960), Jørgen Ingmann (1963), Björn Ulvaeus (ABBA, 1974), Marie Myriam (1977), Johnny Logan (1980 and 1987), Jay Aston (Bucks Fizz, 1981), Emilija Kokić, Dalibor Musap AND Zvonimir Zrilić (All Riva, 1989), Paul Harrington (1994), Alexander Rybak (2009), Victoria de Angelis (Måneskin, 2021), Oleh Psiuk and MC KylymMen (both Kalush Orchestra, 2022)

♊ Gemini: Grethe Ingmann (1963), Anne-Marie David (1973), Salomé (Spain, 1969), Koos Versteeg (Teach-In, 1975), Kaido Põldma (2XL, 2001), Ruslana (2004), Lena Meyer-Landrut (2010), Eldar Qasımov (Ell & Nikki, 2011), Måns Zelmerlöw (2015)

♋ Cancer: John Gaasbeek (Teach-In, 1975), Toto Cutugno (1990), Amen and OX (both Lordi, 2006)

♌ Leo: Isabelle Aubret (1962), Massiel (1968), Vicky Leandros (1972), Per and Richard Herrey (Herreys, 1984), Bobby Gee (Bucks Fizz, 1981), Marie N (2002)

♍ Virgo: Dana (1970), Boško Colić (Riva, 1989), Carola (1991), Fionnuala Sherry and Hans Frederik-Jacobsen (Secret Garden and Co, 1995), Indrek Soom (2XL, 2001), Nigar Jamal (Ell & Nikki, 2011), Jamala (2016)

♎ Libra: France Gall (1965), Udo Jürgens (1966), Séverine (1971), Chris de Wolde (Teach-In, 1975), Smulik Bilu (Milk and Honey, 1979), Sandra Kim (1986), Åsa Jinder (Secret Garden and Co, 1995) Vince de la Cruz (Katrina and the Waves, 1997), Charlotte Nilsson (1999), Loreen (2012 and 2023), Ethan Torchio (Måneskin, 2021), Sasha Tab and Vitalii Duzhyk (Kalush Orchestra, 2022)

♏ Scorpio: Jean-Claude Pascale (1961), Frida Boccara (France 1969), Lulu (UK, 1969), Anni-Frid Lyngstad (ABBA, 1974), Rudi Nijhuis (Teach-In, 1975), Reuven Erez (Alphabeta, 1978), Nicole (1982), Corinne Hermès (1983), Louis Herrey (Herreys, 1984), Tanel Padar (2001), Marija Šerifović (2007), Conchita Wurst (2014)

♐ Sagittarius: Corry Brokken (1957), André Claveau (1958), Gigliola Cinquetti (1964), Benny Andersson (ABBA, 1974), Martin Lee, Nicky Stevens AND Sandra Stevens (all Brotherhood of Man, 1976), Reuven Gvirtz (Milk and Honey, 1979), Mike Nolan (Bucks Fizz, 1981), Charlie McGettigan (1994), Eimear Quinn (1996), Kimberley Rew (Katrina and the Waves, 1997), Sertab Erener (2003)

♑ Capricorn: Esther Tzuberi (Alphabeta, 1978), Gali Altari (1979), Aleksandra Kalafatović (Riva, 1989) Dima Bilan (2008), Salvador Sobral (2017), Damiano David and Thomas Raggi (both Måneskin, 2021), Ihor Didenchuk (Kalush Orchestra, 2022)

♒ Aquarius: Yehuda Tamir (Milk and Honey, 1979), Hanne Krogh (Bobbysocks, 1985), Niamh Kavanagh (1993), Gunnhild Tvinnereim (Secret Garden and Co, 1995), Dana International (1998), Dave Benton (2001), Helena Paparizou (2005), Mr Lordi and Kita (both Lordi, 2006), Netta Barzilai (2018), Tymofii Muzychuk (Kalush Orchestra, 2022)**

♓ Pisces: Lys Assia (1956), Sandie Shaw (1967), Lenny Kuhr (Netherlands, 1969), Getty Kaspers (Teach-In, 1975), Yizhar Cohen (1978), Cheryl Baker (Bucks Fizz, 1981) Jørgen Olsen (Olsen Brothers, 2000), Lauri Pihlap (2XL, 2001) Awa (Lordi, 2006), Emmelie de Forest (2013)

UNKNOWN: Lisa Gold-Rubin*, Itzhak Okev and Nehama Shutan* (all Alphabeta, 1978), Alex Cooper (Katrina and the Waves, 1997)

*I did uncover some information regarding Lisa Gold-Rubin and Nehama Shutan which would make them Pisces and Leo respectively, however I was unable to confirm whether they were the actual Eurovision performers or whether they just happened to share the same names. The lead for Gold-Rubin is stronger... but still unconfirmed 😅

**Some sites list Tymofii's birthday as being in September, however his actual Ukrainian Wikipedia page shows it as February 6th, so that's what I'm going with

Corrections/additional information welcome!

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The signs and their Eurovision winners

Well it’s back. The (almost) definitive guide to which winner is under which sign.

And would you believe it, the Alphabeta and drummer from Katrina and the Waves have still managed to elude me 😂

(With special thanks to @ignatius-servatius for helping me complete this monstrosity. Could not have done it without you 😂)

♈ Aries: Agnetha Fältskog (ABBA, 1974), Ard Weeink (Teach-In, 1975) Lee Sheridan (Brotherhood of Man, 1976), Elisabeth Andreassen (Bobbysocks, 1985), Céline Dion (1988), Nenad Nakić (Riva, 1989), Linda Martin (1992), Rolf Løvland (Secret Garden, 1995) Katrina Leskanich (Katrina and the Waves, 1997), Nils Olsen (Olsen Brothers, 2000), Sergei Morgun (2XL, 2001) Duncan Laurence (2019)

♉ Taurus: Teddy Scholten (1959), Jacqueline Boyer (1960), Jørgen Ingmann (1963), Björn Ulvaeus (ABBA, 1974), Marie Myriam (1977), Johnny Logan (1980 and 1987), Jay Aston (Bucks Fizz, 1981), Emilija Kokić, Dalibor Musap AND Zvonimir Zrilić (All Riva, 1989), Paul Harrington (1994), Alexander Rybak (2009), Victoria de Angelis (Måneskin, 2021)

♊ Gemini: Grethe Ingmann (1963), Anne-Marie David (1973), Salomé (Spain, 1969), Koos Versteeg (Teach-In, 1975), Kaido Põldma (2XL, 2001), Ruslana (2004), Lena Meyer-Landrut (2010), Eldar Qasımov (2011), Måns Zelmerlöw (2015)

♋ Cancer: John Gaasbeek (Teach-In, 1975), Toto Cutugno (1990), Amen and OX (both Lordi, 2006)

♌ Leo: Isabelle Aubret (1962), Massiel (1968), Vicky Leandros (1972), Per and Richard Herrey (Herreys, 1984), Bobby Gee (Bucks Fizz, 1981), Maria Naumova (2002)

♍ Virgo: Dana Rosemary-Scallon (1970), Boško Colić (Riva, 1989), Carola (1991), Fionnuala Sherry and Hans Frederik-Jacobsen (Secret Garden and Co, 1995), Indrek Soom (2XL, 2001), Nigar Jamal (2011), Jamala (2016)

♎ Libra: France Gall (1965), Udo Jürgens (1966), Séverine (1971), Chris de Wolde (Teach-In, 1975), Smulik Bilu (Milk and Honey, 1979), Sandra Kim (1986), Åsa Jinder (Secret Garden and Co, 1995) Vince de la Cruz (Katrina and the Waves, 1997), Charlotte Nilsson (1999), Loreen (2012), Ethan Torchio (Måneskin, 2021)

♏ Scorpio: Jean-Claude Pascale (1961), Frida Boccara (France 1969), Lulu (UK, 1969), Anni-Frid Lyngstad (ABBA, 1974), Rudi Nijhuis (Teach-In, 1975), Reuven Erez (Alphabeta, 1978), Nicole (1982), Corinne Hermès (1983), Louis Herrey (Herreys, 1984), Tanel Padar (2001), Marija Šerifović (2007), Conchita Wurst (2014)

♐ Sagittarius: Corry Brokken (1957), André Claveau (1958), Gigliola Cinquetti (1964), Benny Andersson (ABBA, 1974), Martin Lee, Nicky Stevens AND Sandra Stevens (all Brotherhood of Man, 1976), Reuven Gvirtz (Milk and Honey, 1979), Mike Nolan (Bucks Fizz, 1981), Charlie McGettigan (1994), Eimear Quinn (1996), Kimberley Rew (Katrina and the Waves, 1997), Sertab Erener (2003)

♑ Capricorn: Esther Tzuberi (Alphabeta, 1978), Gali Altari (1979), Aleksandra Kalafatović (Riva, 1989) Dima Bilan (2008), Salvador Sobral (2017), Damiano David and Thomas Raggi  (both Måneskin, 2021)

♒ Aquarius: Yehuda Tamir (Milk and Honey, 1979), Hanne Krogh (Bobbysocks, 1985), Niamh Kavanagh (1993), Gunnhild Tvinnereim (Secret Garden and Co, 1995), Dana International (1998), Dave Benton (2001), Helena Paparizou (2005), Mr Lordi and Kita (both Lordi, 2006), Netta Barzilai (2018)

♓ Pisces: Lys Assia (1956), Sandie Shaw (1967), Lenny Kuhr (Netherlands, 1969), Getty Kaspers (Teach-In, 1975), Yizhar Cohen (1978), Cheryl Baker (Bucks Fizz, 1981) Jørgen Olsen (Olsen Brothers, 2000), Lauri Pihlap (2XL, 2001) Awa (Lordi, 2006), Emmelie de Forest (2013)

UNKNOWN: Lisa Gold-Rubin*, Itzhak Okev and Nehama Shutan* (all Alphabeta, 1978), Alex Cooper (Katrina and the Waves, 1997)

*I did uncover some information regarding Lisa Gold-Rubin and Nehama Shutan which would make them Aquarius and Leo respectively, however I was unable to confirm whether they were the actual Eurovision performers or whether they just happened to share the same names. 

Corrections/additional information welcome!

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The signs and their Eurovision winners:

I'm not sure if I should be proud or ashamed of this but here it is. The (almost) definitive guide to which winner is under which sign.

(With special thanks to @gaylormood-and-eurojizz for helping me complete this monstrosity. Could not have done it without you 😂)

♈ Aries: Agnetha Fältskog (ABBA, 1974), Ard Weeink (Teach-In, 1975) Lee Sheridan (Brotherhood of Man, 1976), Elisabeth Andreassen (Bobbysocks, 1985), Céline Dion (1988), Nenad Nakić (Riva, 1989) Linda Martin (1992), Rolf Løvland (Secret Garden, 1995) Katrina Leskanich (Katrina and the Waves, 1997), Nils Olsen (Olsen Brothers, 2000), Sergei Morgun (2XL, 2001) Duncan Laurence (2019)

♉ Taurus: Teddy Scholten (1959), Jacqueline Boyer (1960), Jørgen Ingmann (1963), Björn Ulvaeus (ABBA, 1974), Marie Myriam (1977), Johnny Logan (1980 and 1987), Jay Aston (Bucks Fizz, 1981), Emilija Kokić, Dalibor Musap AND Zvonimir Zrilić (All Riva, 1989), Paul Harrington (1994), Alexander Rybak (2009)

♊ Gemini: Grethe Ingmann (1963), Anne-Marie David (1973), Salomé (Spain, 1969), Koos Versteeg (Teach-In, 1975), Kaido Põldma (2XL, 2001), Ruslana (2004), Lena Meyer-Landrut (2010), Eldar Qasımov (2011), Måns Zelmerlöw (2015)

♋ Cancer: John Gaasbeek (Teach-In, 1975), Toto Cutugno (1990), Amen and OX (both Lordi, 2006)

♌ Leo: Isabelle Aubret (1962), Massiel (1968), Vicky Leandros (1972), Per and Richard Herrey (Herreys, 1984), Bobby Gee (Bucks Fizz, 1981), Maria Naumova (2002)

♍ Virgo: Dana Rosemary-Scallon (1970), Boško Colić (Riva, 1989), Carola (1991), Fionnuala Sherry and Hans Frederik-Jacobsen (Secret Garden and Co, 1995), Indrek Soom (2XL, 2001), Nigar Jamal (2011), Jamala (2016)

♎ Libra: France Gall (1965), Udo Jürgens (1966), Séverine (1971), Chris de Wolde (Teach-In, 1975), Smulik Bilu (Milk and Honey, 1979), Sandra Kim (1986), Åsa Jinder (Secret Garden and Co, 1995) Vince de la Cruz (Katrina and the Waves, 1997), Charlotte Nilsson (1999), Loreen (2012)

♏ Scorpio: Jean-Claude Pascale (1961), Frida Boccara (France 1969), Lulu (UK, 1969), Anni-Frid Lyngstad (ABBA, 1974), Rudi Nijhuis (Teach-In, 1975), Reuven Erez (Alphabeta, 1978), Nicole (1982), Corinne Hermès (1983), Louis Herrey (Herreys, 1984), Tanel Padar (2001), Marija Šerifović (2007), Conchita Wurst (2014)

♐ Sagittarius: Corry Brokken (1957), André Claveau (1958), Gigliola Cinquetti (1964), Benny Andersson (ABBA, 1974), Martin Lee, Nicky Stevens AND Sandra Stevens (all Brotherhood of Man, 1976), Reuven Gvirtz (Milk and Honey, 1979), Mike Nolan (Bucks Fizz, 1981), Charlie McGettigan (1994), Eimear Quinn (1996), Kimberley Rew (Katrina and the Waves, 1997), Sertab Erener (2003)

♑ Capricorn: Esther Tzuberi (Alphabeta, 1978), Gali Altari (1979), Aleksandra Kalafatović (Riva, 1989) Dima Bilan (2008), Salvador Sobral (2017)

♒ Aquarius: Yehuda Tamir (Milk and Honey, 1979), Hanne Krogh (Bobbysocks, 1985), Niamh Kavanagh (1993), Gunnhild Tvinnereim (Secret Garden and Co, 1995), Dana International (1998), Dave Benton (2001), Helena Paparizou (2005), Mr Lordi and Kita (both Lordi, 2006), Netta Barzilai (2018)

♓ Pisces: Lys Assia (1956), Sandie Shaw (1967), Lenny Kuhr (Netherlands, 1969), Getty Kaspers (Teach-In, 1975), Yizhar Cohen (1978), Cheryl Baker (Bucks Fizz, 1981) Jørgen Olsen (Olsen Brothers, 2000), Lauri Pihlap (2XL, 2001) Awa (Lordi, 2006), Emmelie de Forest (2013)

UNKNOWN: Lisa Gold-Rubin, Itzhak Okev and Nechama Shutan (all Alphabeta, 1978), Alex Cooper (Katrina and the Waves, 1997)