True story: I modeled my “don’t look at me, don’t talk to me, don’t fuck with me” walk on Sandra Bullock in this scene. Perfected it in the halls of Wilde (yes with an E, no not for Oscar) Lake Middle School. And I use it every day as I walk past the security creep who stands guard (“guard”) at the Constitution Center parking garage.
Selected YouTube comments:
I was a teen when this came out, and YES, we girls thought they were really HOT!!! I miss these days„„great music, gorgeous guys wearing really sexy jeans, great hair, and oh, the perfumes and shampoo smells….The smell of the original Clairol Herbal Essence, the Gee Your Hair Smells Terrific Shampoo, the Coty perfume smells of Sandalwood and Jasmine and Yling Ylang…OMG, magical
veronicanbetty69 1 day ago
I can still remember when I was 5 and seeing my dad chop up a line of coke while listening to this song
BLAM1ONE 1 week ago
!Bay City Michigah Kid! Boy, were we proud to know that this Group had chosen our city to be its Band’s name. I remember taking Jill to the concert in ‘77 when they came to town. It was hot!!! It was horny in that pre-teen, prebescent, 8th grade kind of way. I held her hand. We listened to lSAturday night. We shared a shake . And the final kiss on her porch that night was heaven!!!! “Music makes the memories!”
jeff62rey 1 month ago
this isa hell ofa better than ke$ha crap!
The80sgal 3 months ago
Think of that Friday, or Saturday night dance in the School gym during the 70’s. Picture that lovely young lady in a chiffon mid calf dress with the beautiful vanilla sweet hair, the guys in leisure suits and just enough playful sexual tension in the air to set it all afire.
jeff62rey 3 months ago
This song was a number one hit in the U.S.A. in January of 1976, and sold something like 1.5 million copies in the States alone. Personally, I believe that it SHOULD have been released in the UK - in the autumn of ‘75 - as the follow-up single to “Give A Lil Love”, which had been a chart-topper in the July of that year. However, the Rollers’ record company at the time - ‘Bell’ - chose to release “Money Honey” in Nov. ‘75, as an alternative. In my view, this was an error of judgment.
TheEctomorph 4 months ago
We were talking about this song today and it came to my attention that I’d somehow never reblogged this.
"Just enough playful sexual tension in the air to set it all afire."
In 1960 there was the shooting at Sharpeville, which resulted in the proclamation of a State of Emergency and the declaration of the ANC as an unlawful organisation. My colleagues and I, after careful consideration, decided that we would not obey this decree. The African people were not part of the Government and did not make the laws by which they were governed. We believed in the words of the Universal Declaration of Human Rights, that “the will of the people shall be the basis of authority of the Government”, and for us to accept the banning was equivalent to accepting the silencing of the African people for all time.
We had no doubt that we had to continue the fight. Anything else would have been abject surrender. Our problem, My Lord, was not whether to fight, but was how to continue the fight. We of the ANC had always stood for a non-racial democracy, and we shrank from any action which might drive the races further apart than they already were. But the hard facts were that fifty years of non-violence had brought the African people nothing but more and more repressive legislation, and fewer and fewer rights.
At the beginning of June 1961, after a long and anxious assessment of the South African situation, I, and some colleagues, came to the conclusion that as violence … was inevitable, it would be unrealistic and wrong for African leaders to continue preaching peace and non-violence at a time when the Government met our peaceful demands with force.
This conclusion, My Lord, was not easily arrived at. It was when all, only when all else had failed, when all channels of peaceful protest had been barred to us, that the decision was made to embark on violent forms of struggle, and to form Umkhonto we Sizwe. We did so not because we desired such a course, but solely because the Government had left us with no other choice.
Four forms of violence are possible. There is sabotage, there is guerrilla warfare, there is terrorism, and there is open revolution. We chose to adopt the first method and to test it fully before taking any other decision.
In the light of our political background the choice was a logical one. Sabotage did not involve loss of life, and it offered the best hope for future race relations. Bitterness would be kept to a minimum and, if the policy bore fruit, democratic government could become a reality….
The last bit’s been quoted everywhere today, but anybody interested in liberation movements, popular uprisings and organized struggle for equality should read Mandela’s full statement from the dock at the Rivonia trial.
In manipulating material, the worker becomes attuned to aspects of the environment, a training or disciplining of perception that both enhances knowledge and informs perception. Carpenters have an eye for length, line, and angle; mechanics troubleshoot by listening; hair stylists are attuned to shape, texture, and motion. Sensory data merge with concept, as when an auto mechanic relies on sound, vibration, and even smell to understand what cannot be observed.
Planning and problem solving have been studied since the earliest days of modern cognitive psychology and are considered core elements in Western definitions of intelligence. To work is to solve problems. The big difference between the psychologist’s laboratory and the workplace is that in the former the problems are isolated and in the latter they are embedded in the real-time flow of work with all its messiness and social complexity.
Much of physical work is social and interactive. Movers determining how to get an electric range down a flight of stairs require coordination, negotiation, planning, and the establishing of incremental goals. Words, gestures, and sometimes a quick pencil sketch are involved, if only to get the rhythm right. How important it is, then, to consider the social and communicative dimension of physical work, for it provides the medium for so much of work’s intelligence.
This reminds me of the founder of the concrete construction & engineering company I worked for right out of college, who could tell what was wrong with concrete by tasting it.
ok i usually hate remixes but this is amazing
Grimes is right, HAIM is right, Giorgio is always right
Upon the orchidean beauty of the new world the old rushed inevitably to revenge itself after the Italian’s return. Such things occur in secret. Though men may be possessed by beauty while they work that is all they know of it or of their own terrible hands; they do not fathom the forces which carry them…They moved across the sea stirred by instincts, ancient beyond thought as the depths they were crossing, which they obeyed under the names of King or Christ or whatever it might be, while they watched the recreative New unfolding itself miraculously before them, before them, deafened and blinded. Steering beyond familiar horizons they were driven to seek perhaps self-justification for victorious wars against Arab and Moor; but these things are the surface only. At the back, as it remains, it was the evil of the whole world; it was the perennial disappointment which follows, like smoke, the bursting of ideas. It was the spirit of malice that underlies men’s lives and against which nothing offers resistance.William Carlos Williams, In the American Grain (via stucktoearth)
Photos from Bergen, Norway, an uncanny place.
I can never say that Pinterest is worthless because without it I never would have found this photo.
I love em both but Tina definitely wins here. Cher gets points for the braces, though. And the matching hair & leather jackets are dang cute.
Arnold Odermatt, “Buochs” (1965)
While destruction as a theme can be traced throughout art history, from the early atomic age it has become a pervasive cultural element. In the immediate post-World War II years, to invoke destruction in art was to evoke the war itself: the awful devastation of battle, the firebombing of entire cities, the dropping of the atomic bombs on Japan, and, of course, the Holocaust. Art seemed powerless in the face of that terrible history. But by the early 1950s, with the escalation of the arms race and the prospect of nuclear annihilation, the theme of destruction in art took on a new energy and meaning. In the decades since, destruction has persisted as an essential component of artistic expression.
— Hirshhorn Museum and Sculpture Garden, Damage Control: Art and Destruction Since 1950, October 24, 2013 - May 26, 2014