Check all Phillips’ designs HERE!
“The video is meant to be a lighthearted satirical video that deals with objectification of women within modern pop culture. It has nothing to do with race, at all…If I was a little braver, I would have been wearing a bikini too…What I’m trying to say is that me being covered up has nothing to do with me wanting to disassociate myself from the girls, it has more to do with my own insecurities and I just wanted to feel as comfortable as possible on the shoot day.” – Lily Allen
I would have cut out the slow mo ass/twirk bits (but that’s just me)… LOVE the song though. The SLATE’s take HERE
NOISEY talks to video director Chris READ THE WHOLE INTERVIEW HERE!
One concern people have levelled is that the video uses mostly black dancers, dancing in sexually explicit positions around a white singer. Obviously you’re doing that ironically, but does that make it any better?
We just chose the best dancers. Suzette who choreographed it is an amazing dancer herself, she does the Major Lazer tour and things, and we said we want twerking dancers and so we got the six best. Four of the girls are black, two of them weren’t and I felt that was a good balance in the sense that I didn’t want to comment on race, but it was just who was good.
More generally though, does making a satirical video about misogyny then make it ok to have skinny twerking girls pouring champagne in each others butts? You can still exploit women’s bodies, even for the purpose of satire. Do you get a free pass because you’re being ironic?
I think you do, because now people are talking about it. There are hundreds of girls who are in those [type of] videos and they come to the castings without getting told what they’re doing beforehand, they just have to walk in on the day and shake their arse. With this video we spoke to the girls in the casting, we talked about what we were doing and they all thought it was really funny.
I think if you’re gonna do it with pop music you’ve got to do it in a playful way, you can’t take yourself too seriously. With Lily’s songs you just want people to think a bit and say “hold on a sec.” That’s all it’s about, it’s not a campaign, its just meant to make people think.
I feel this works beautifully with this post.
Birthday Boy Colby Keller in his errrr… Birthday Suit posing for Justin Jorgensen’s collectable figures (via Penis Ennui)
random nakedness mixed with felix d’eon, hirschfeld, clark gregg, catherine the great’s dirty furniture, butt beautiful & …
SISSYDUDE LOVES: THE ACF REVOLVING COLLECTIVE’s THE HARD GRAFT (The DJ Technique Applied To Menswear). A post for Matthew & Grant
The ACF Revolving Collective Presents: THE HARD GRAFT (The DJ Technique Applied To Menswear) Explained by Liam Maher of Denham
Produced by copenhagers.com, Film & Edit: Mattia Abeni
In occasion of latest CIFF Trade Show here in Copenhagen we got the honor and pleasure to pay a visit the the A.C.F. (Art Comes First) rotating Collective while they were presenting their latest project: THE HARD GRAFT.
We talked to Liam and Jennifer Maher from Denahm about it and put together a lovely explanatory video about it.
THE DJ TECHNIQUE APPLIED TO MENSWEAR
A Collaboration Between Sam Lambert and Shaka Maidoh with Matteo Gioli and Liam Maher
Progressing the tradition of menswear design from the past through the present into the future involves a process of hybridization, grafting, sampling and mixology.
Like a DJ digging through classic vinyl, remixing standards from the jazz and pop musical canon, menswear designers attempt to harmonize the most potent influences from their vintage research within a single contemporary concept. Sam and Shaka of Art Comes First step into the atelier with Matteo Gioli of SuperDuper Hats and Liam Maher of Denham to cut, scratch, sample and mix vintage menswear in a demonstration of the DJ Technique Applied to Menswear. Lambert, Maidoh, Gioli and Maher will working toward a creative synthesis of sartorial and workwear influences that reflect each of their individual design obsessions.
Scratching with Sewing Needles: Each day of the event hybrid designs will evolve within a nomadic atelier.
Each day finished pieces will be styled into a focused exhibit of looks inspired by the men who progressed modern music from yesterday’s legends like Thelonious Monk
to contemporary pioneers like Yasijn Bey.
Shaka & Sam: ART COMES FIRST
Matteo Gioli: Super Duper Hats
Liam and Jennifer: DENHAM
Copenhagen International Fashion Fair: CIFF
Guild Press Ltd. Washington DC
6 x 10 inches, 24 pages with drawings to color, most as two page spreads
Follow cover boy Percy as he visits the classic hangouts of gay culture of the time and identifies the classic types of gay men, from queens to rough trade. Very fine, uncirculated, unread (tiny bit of shelf rubbing on cover) Warehouse find in very limited quantities
Very rare especially in this condition
3 AVAILABLE, $69.99 US.
His first solo album… and the only one I really liked.
“Everyday Is Like Sunday” is the best SMITHS song that never was a SMITHS song.
WIKI: Viva Hate is Morrissey’s debut solo album, released on 14 March 1988 by HMV Records. The album was a strong debut for Morrissey’s solo career, as he used his traditional lyrical style and retained the basic sound that The Smiths had developed by the time they broke up. It was listed by Q as one of the top 50 albums of 1988. The album was originally going to be called Education in Reverse; some LPs in Australia and New Zealand were released with this title.
The album was released a mere six months after The Smiths’ final album, Strangeways, Here We Come. The album was produced by Stephen Street, who enlisted Vini Reilly of The Durutti Column as the guitarist. Reilly’s distinctive style is evident throughout the entire album, especially in tracks such as “Late Night, Maudlin Street” and “Bengali in Platforms”. The record remains one of Morrissey’s best known recordings and was certified Gold by the RIAA on 16 November 1993. Some of the tracks caused controversy such as the track “Margaret on the Guillotine”, which described the death of prime minister Margaret Thatcher as a “wonderful dream”.