How many albums does blood on the dance floor have
| Florida's Blood on the Dance Floor (whose name is the title of a Michael Jackson remix album from 1997) was initially the trio of rapper Jesus Torres aka Dahvie Vanity, guitarist Christopher Mongillo and keyboardist Rebecca Fugate. They came out of the "crunkcore" scene publicized on the Internet by the social platform MySpace which included makeup artist and future cosmetics tycoon Jeffree Star as well as Brokencyde, a hip-hop group that pioneered the fusion with screamo hardcore. |
Blood on the Dance Floor's first album, Let's Start a Riot (2008), doesn't even feel like a real album, as its songs sound like cheesy, hilariously incompetent, lo-fi, covers of past synth-pop and electroclash hits. What offended the masses was the vulgar, gross and depraved lyrics, and the general display of Vanity's abominable persona, but the melodic talent was undeniable. Vanity's morbidly androgynous (and frankly amateurish) vocals further antagonized the rock and pop audiences. But in a sense his project was simply the continuation of the attack on sexual dogmas launched in the 1960s in a satirical vein by the likes of Frank Zappa and Alice Cooper and continued in the 1980s in a gross and self-destructive vein by certified punks like GG Allin and the Meatmen. Hip-hop music had often turned that attack into something more obscene and abusive. It's something that countless rock stars, from Elvis Presley to Mick Jagger and from Jim Morrison to David Bowie, had alluded to (with the silent collaboration of their fans). Blood on the Dance Floor restored a demented dimension to the long-running sexual-trasgression project of (un)popular music. The perverted anthem I Can't Get Enuff borrows from Nine Inch Nails but with much less virulence, more closely related to disco-music of the 1970s. The core of the album are degenerate raps like Bitches Get Stitches, that often exploit the beat of Hellogoodbye's Bonnie Taylor Shakedown (2004), and often sound like variations on Bloodhound Gang's The Bad Touch (1999), and often evoke the mood of 1980s synth-pop albums such as Soft Cell's Non-Stop Erotic Cabaret. Blood On the Dance Floor also incorporates the childish rigmaroles of Aqua, and in fact I Heart Hello Kitty sounds like Aqua on lust-inducing steroids. The two bands share the same passion for insanely silly erotic parody. There's also room for the gloomy atmosphere of Sex and Violence, that winks at Joy Division, and for the gallopping hard-rocking polka You're a Dancer You're Not a Lover. Vanity's delirious show ends with the piano-driven Libertine at a Neil Young-ian martial pace. The album is a tribute to musical stupidity, it's parody of music that wasn't meant to be taken seriously in the first place. In a sense, it's total nonsense. In a sense, it's the ultimate statement of provocation as entertainment (the ultimate punk ethos). In a sense, it's a weapon of deviant post-modernist cultural terrorism. The musical merits are certainly limited, especially after the first seven songs.
Vanity, who already had a reputation as a serial paedophile and rapist, recruited two different partners (Garrett "Ecstasy" McLaughlin and Rusty "Lixx" Wilmot) for It's Hard to Be a Diamond in a Rhinestone World (2008) Here they didn't even try to sound like a hip-hop band. Past the brief demonic Slash Gash Terror Crew Anthem, this is jovial, flamboyant, thumping, Euro-house music of the late 1990s, again modeled after Aqua's catchy satirical skits (Save the Rave). The best (worst?) outrage is the breathless Scooter-esque S My D. Alas, it's a repetition of the same joke, which, like most jokes, sounds less funny every time you repeat it. Vanity's texts amount to a paranoid confession of being a sexual predator. Party music for retarded perverts, but viral on MySpace's crunkcore scene.
The duo of Vanity and Ecstasy also released the singles Siq With a Q (2008), Suicide Club (2008), one of their most frenzied techno numbers, and Crunk Man (2009), as well as the EPs I Scream I Scream (2009), which contains five songs (including Suicide Club and Scream for My Icecream) in five different styles, and OMFG Sneak Peak (2009), containing four better produced but mediocre songs (including Crunk Man and Lookin' Hot Dangerous).
Vanity was arrested in Colorado for sexually assaulting a little girl. Garrett Ecstasy left (accusing Vanity of being a pervert) and 18-year-old guitarist Jeremy "Jayy VonMonroe" Griffis partnered with Vanity for the sprawling, 22-song Epic (2010). The album is a cauldron of trivial, recycled musical stereotypes from the history of (non-intelligent) electronic dance music. The lyrics are the usual awful hell of perversion. And so their "art" remains the intersection of shocking hyper-pornographic proclamations set to relentless, pounding beats and to sugar-coated catchy melodies. They do produce an incredible number of memorable ditties: Beautiful Surgery, Candyland, Horrifically Delicious, Sluts Get Guts, Innocent High, and perhaps their best hip-hop number yet, It's on Like Donkey Kong, plus improved versions of Lookin' Hot Dangerous and Scream for My Icecream, while Sexting was the "hit" among the crunkcore crowd. Of course, 22 songs with almost the exact same beat and very similar melodies (and the crudest imaginable lyrics) don't constitute a groundbreaking achievement.
Meanwhile, even Jeffree Star accused Vanity of being a sexual predator (he retracted the accusation two years later).
All the Rage (2011) veered towards more fashionable pop-soul ballads and yielded their biggest hit, Bewitched, besides the grandiose aria of Star Power. Evolution (2012) embraced a loud and dense wall-of-sound style and largely abandoned their sexual innuendos. Unfortunately the bombast didn't yield any memorable song. It became their most successful album yet. By this time Vanity had become a pop star, and his fanbase was largely made of teenage girls. After the mediocre Clubbed to Death (2012) and The Anthem of the Outcast (2012), the turn towards conventional disco-pop ballads continued on Bad Blood (2013), another professionally produced and performed album that attempted to establish them as a serious musical act with power-ballads like Always and Forever, bad imitations of Nine Inch Nails like Bad Blood, and goofy hip-hop numbers like I Refuse to Sink. The more sophisticated rhythms of Bitchcraft (2014) don't help. The album is bland and uneventful except for the ballad Call Me Master and the industrial metal of Poison Apple.
Vanity's solo project Master of Death recorded only one album, Master of Death (2015), a rock opera of sorts which is basically a macabre fantasy about his own death and resurrection. This album features some melodies worthy of Vanity's early career, like Beyond the Wasteland (over a primal beat), and some intricate synth work, notably in the creepy Ultima. Balancing the two, Vanity obtains some virulent digital hardcore like The Labrynth, gothic-industrial nightmares like All Hallow's Eve and fits of neurotic melodrama like The Suffering. On the other hand, Vanity also succeeds in naive rigmaroles that feel like skits of an expressionist cabaret, notably the double whammy of Death of Vanity and Skull Kid Rises From the Ashes. A female vocalist, Kerry Louise, helps to make the songs more digestible. The electronic arrangements are Vanity's most atmospheric yet.
Meanwhile, Blood on the Dance Floor released the six-song EP Cruel Pornography (2015), still produced by Rusty "Lixx" Wilmot, and then the album Scissors (2016) of more conventional synth-pop, with the magniloquent ballads Scissors and Mess Like Me. After this album VonMonroe quit. He had already released the solo album 10CMD (2015).
Vanity launched a new solo project, Sinners Are Winners, which debuted with an album of demonic bombast, For Beginners (2016). Half of the songs are explosive industrial screamo. It's a ceremony that begins with the grandiloquent Punish Me, continues with the vicious Zero F***s Given, peaks with the pummeling Like a Moth to the Flame and ends with the seismic Psycho. In between there's room for the gothic singalong Down With My Demons and the swinging Sex Drugs Hexes & Gore. The second album credited to Sinners Are Winners, The Invocation (2017), sounds like a psychoanalytic and gothic concept, inferior to its predecessor although it contains one of his most ferocious screamo outbursts, Kill Your Ego, the evil anthem I Hate Every Fucking One, propelled by a percussive maelstrom, and the demonic singalong The War Inside Our Soul. The symphonic pomp of Invoke the Darkness and the operatic metal of Perfectly Flawed make it sound like another rock opera, although the narrative here is all interior.
Vanity resurrected Blood on the Dance Floor, now a duo with his girlfriend Fallon "Vendetta" Maressa, for the album Kawaii Monster (2017), which sounds like a self-tribute to early Blood on the Dance Floor. However, the likes of Resurrection Spell and Love Live Voodoo are but faint echoes of those synth-pop anti-anthems, albeit much better produced. The frenzied and demented Ghosting and The Anti-Social Media are the real winners: exuberant, propulsive and catchy ditties built out of stale stereotypes of electronic dance music. The cartoonish Kawaii Monster is the manifesto of their post-modernist take on their own post-modernist take on dance-pop.
Haunted (2018) is instead a collection of tedious high-tech ballads. Cinema Erotica (2018) sounds like a collection of leftovers. Vanity created Hollywood Death Star (2019) alone.
Vanity set aside Blood on the Dance Floor for a new project, Kawaii Monster, which released the mini-album Love From Hell (2019) and two EPs, Poison Love (2019) and The Balance (2020).
In 2018 MetalSucks published an article about six women who claimed to have been raped by Vanity. In 2019 a harrowing report by the Huffington Post identified 21 women claiming that they been sexually assaulted by Dahvie Vanity (16 of them while still teenagers). In 2020 Insider ran another lengthy article about these accusations. Ironically, Vanity's main defenders on social media were teenage girls.
Vanity launched yet another solo project, the Most Vivid Nightmares, with a dozen singles between 2020 and 2022, starting with the power ballad Drowning in the Darkness (2020) and peaking with the catchy Angel From My Nightmares (2021).
Blood on the Dance Floor (album) - frwiki.wiki
This article is about the Michael Jackson album. For the same singer's song, see Blood on the Dance Floor.
For articles of the same name, see Blood on the Dance Floor.
Blood on the Dance Floor: HIStory in the Mix is an album by singer Michael Jackson released on May 20, 1997 by Epic Records and MJJ Productions. The album contains thirteen tracks in total: five unreleased tracks and eight remixes of tracks from the previous album HIStory, released two years earlier.
The singer originally had an idea to release an album consisting of only five new songs (EP). His record label, Epic, insisted on releasing a semi-album/half-remix (LP) LP. The album was released shortly before the second part of HIStory World Tour (which includes the title Blood on the Dance Floor ) and a year after the middle movie Ghosts (with titles Ghosts and Is It Scary ).
With over 6 million copies sold worldwide, Blood on the Dance Floor became the world's best selling remix album in 2007.
- 1 General
- 2 Analysis of unreleased titles
- 2.1 Blood on the dance floor
- 2.2 Morphine
- 2.3 Superfly sister
- 2.4 Ghosts
- 2.5 It's scary
- 3 Name list
- 4 subsequent mixes
- 5 singles
- 6 clips
- 7 Notes and references
Blood on the Dance Floor , if it is the shortest album (five unreleased) and the least known artist, on the other hand, probably one of the most surprising and revealing in terms of his vision of the world and his psychology. This album, like its predecessor, contains a message of rebellion, disappointment and desperation that the artist experienced during those periods when he had to face accusations of minor touching and rejection by a certain part of his audience and himself. friends. But album Blood on the Dance Floor also features titles with the most subtle and amazing lyrics written by Michael Jackson.
With the exception of Morphine , which began during the period of 's history , all tracks were written during the launch of Dangerous .
In the single Blood on the Dance Floor Michael Jackson uses the name Susie for a woman and she seems to have a lot in common with Billie Jean , Diana from Dirty Diana or the seductress from Dangerous .
Guitarist Slash appears on Morphine , a song commemorating the drug addiction of the same name that Jackson suffered at the end of Dangerous World Tour (when the first case of child sexual abuse occurred, known as the "Chandler Affair").
Ghosts and Is It Scary are twin songs that start with very similar lyrics, with the difference that the former seems to be more about the media harassment that Jackson was a victim of and Is It Scary has a wider purpose: the defendants are those who take him for the beast (which may echo the "Elephant Man" story). Ghosts of is the flagship song of the 35-minute medium-length film of the same name.
Analysis of unreleased titles
Blood on the Dance Floor
The title Blood on the Dance Floor is about an evil, charming and seductive woman that Jackson has already brought to life in several of his songs, starting from Billie Jean . Some critics associate the "dance floor" with the bed, the blood with the consumed sexual intercourse. Some reporters also saw the lyrics as a metaphor for the illness of AIDS, hence the debate raging that the song was dedicated to homosexual artist Elton John (Jackson simply dedicated the song to him as a token of the support the British singer gave him by recommending an English drug rehab clinic in 1993, in which he himself was). The metaphor for AIDS would be this: the danger of "Susie", the heroine of the song, would be in her blood: she would be HIV-positive and would not tell her partners that she would infect one by one with the virus. AIDS virus. The "dance floor" that Michael Jackson refers to ("Dance Floor") will be both the place where Susie seduces her victim, but also the bed metaphor where she infects them. Hence the name " Blood on the dancefloor ", which means " Blood on the dancefloor ".
Another metaphor: several times the song refers to a knife (measuring " seven inches ", or 18 cm) that represents both the male sex and the deadly power of the virus. "There's blood on the knife," Michael Jackson sings in the chorus. And, a few sentences later, these words: " She gave birth to your child, it happened quickly ." Regarding the title's ambiguity, Jackson says, "No, not at all. Actually, I didn't come up with the title, my sound engineer (Teddy Riley) came up with it, and I thought it was cool, so I wrote a song from the title. "
"Morphine" - raw title with melancholy and theatrical breaks. It intelligently induces the various phases of drug addiction, Jackson's addiction to Demerol, which he relapses into shortly after the album's release. The track is almost a harbinger of his own death (it causes a heart attack from the morphine, and the song nearly ends with the line "And while taking morphine / Something will go wrong / Continue / Do"). Morphine uses violent terms ("he's just a bitch", "I'm such a pig baby", "hot high babe") and speaks of wasted confidence ("I hate your racial child", "you're just a liar", "you do me sick, baby"), in which the artist is lost and finally falls into the arms of Morphine. The sentences are confusing, changeable, shifting from one subject to another, describing the embarrassment of a junkie who is in need or wholly "working". The artist never mentioned this song in an interview.
Superfly sister , meanwhile, obviously refers to the youth of Michael Jackson. Using spinning metaphors (such as basketball), Jackson causes discomfort in sexual relationships, in simple girls who quickly give up on themselves, or men who sleep with more mature women . .. "Love is never different from what it was" , - he said. telling the words of his brothers. This is an almost all-too-obvious and yet little-understood parallel to the artist's youth, who (by his own account) pretended to be asleep while touring with the Jackson Five in various hotels while his older brothers slept with groupies in the same room. like her. Definitely a traumatic episode for the child, which the artist will remember years later. His father Joe Jackson did the same. This table of gratuitous sexuality and devoid of feeling will break the vision of little Jackson's love, torn between the example of his father and his older brothers and his mother's upbringing, religious, instilling in him the principles of Jehovah's Witnesses. So Superfly Sister is an acknowledgment of these episodes, the only time they were explicitly mentioned in the song.
Phantoms is a title dedicated to a topic already covered by Jackson: the media's constant harassment of him, specifically to humiliate him at his leisure about anything and everything. Ghosts, the living dead, spirits - these are the tabloids, the paparazzi.
The song is a musical atmosphere that causes fear and Michael Jackson denounces the treatment he is undergoing. Excerpt: " Who gave you the right to scare my family? / And who gave you the right to scare my baby, she needs me .
Jealousy seems to Jackson the only possible motive for this persecution (“ Tell me, are you a ghost of jealousy? ”). He will not touch on another press motivation in this song, namely all the money earned on his back when the tabloids talk about him.
Is It Scary, is perhaps Jackson's darkest and "desperate" track on this album. Ghosts and Is It Scary are false twin songs that share the same musical theme, fear. However, here the ghosts are no longer different, as in Ghosts , but Jackson himself.
Lyrics are almost identical at the beginning of the song, then Jackson makes the ghosts attend the spectacle, a spectacle he is all alone, for public opinion and the media. Extract: " I'll be exactly what you want to see ."
There is a duality between Jackson's detractors and himself: who is really to blame, and who is scaring? The artist seeks to find something that can frighten them, and therefore entertain them, acting as a "beast of the fair". At the same time, he does not hesitate to accuse them of being real destroyers: " I know that the stranger is you / You know that the stranger is you "that you are a stranger"). Some also saw in It's Scary criticism of Michael Jackson towards his father, who was very harsh with him and his brothers during the Jackson 5 period.
|1.||Blood on the dance floor||Michael Jackson, Teddy Riley||4:14|
|3.||Superfly sister||Michael Jackson||6:27|
|4.||Ghosts||Michael Jackson, Teddy Riley||5:13|
|5.||This is scary||Michael Jackson, James Harris III, Terry Lewis||5:35|
|6.||Scream Louder (Flyte Tyme Remix)||Michael Jackson, James Harris III, Terry Lewis, J. Jackson||5:26|
|7.||Money (Fire Island Radio Edit)||Michael Jackson||4:22|
|8.||2 Bad (mixture of refugee camps)||Michael Jackson, D. Austin, R. Austin, Bruce Swedien||3:22|
|9.||Stranger in Moscow (Tee's In-House Club Mix)||Michael Jackson||6:53|
|10.||This Time (DM Radio Mix)||Michael Jackson, Dallas Austin||4:04|
|11.||Earth Song (Honey Club Experience)||Michael Jackson||7:55|
|12.||You Are Not Alone (Classic Club Mix)||R. Kelly||7:35|
|13.||HISTORY (Tony Moran's HISTORY Lesson)||Michael Jackson, James Harris III, Terry Lewis||8:00|
- Stranger in Moscow : Todd Terry remix.
- This Time Around : David Morales remix.
- You Are Not Alone : Frankie Knuckles remix.
- 1. Blood on the dance floor
- 2. STORY/Ghosts
- 3. This is scary (promotional material)
- Blood on the dance floor : co-directed by Michael Jackson. There are two versions of this music video, a classic one and a somewhat sulphurous one, as well as a remixed version called Blood on the Dance Floor - Refugee Camp Mix .
- The Ghosts of : music video made from clips from a medium-length motion picture Ghosts .
Notes and links
- ↑ (in) , Blood on the Dance Floor (album) on AllMusic ().
- ↑ The album is the second after History to be co-produced by Jackson's label. It can be considered the singer's tenth studio album and his sixth solo album on Epic Records. However, due to the reduction in the number of unreleased tracks, some talk about the "mini-album" and do not include it in the singer's studio album discography.
- ↑ With the argument that the remixes will appeal to a younger audience.
- ↑ " The Ghosts of Michael Jackson - Forgotten Masterpiece " [video] , on YouTube (accessed October 17, 2020) .
- ↑ (in) Chris Royek, Cultural Studies , Cambridge, Politics, , 184 p. (ISBN 978-0-7456-3683-2) , p.
- ↑ Website: Elusive shadow for greater accuracy.
- ↑ This topic has already been covered in titles such as Leave Me Alone , Why You Wanna Trip On Me , Tabloid Junkie .
- ↑ Translation: "Tell me, are you a ghost of jealousy?" "
- ↑ https://genius. com/Michael-jackson-ghosts-lyrics
- ↑ The topic of making money at any cost, however, is already covered in the previous album HIStory (1995) called Money .
- ↑ https://genius.com/Michael-jackson-is-it-scary-lyrics
- ↑ This single has been released on CD and vinyl (except in the US). The CD version of " double A-side " (two A-sides) contains the Ghosts Radio version, while the vinyl version contains two remixed versions of the title. Note that the title HIStory (an excerpt from the album of the same name) is released in several unpublished remixes.
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Mujus: music by Roma Litvinov and his album Downshifting
Favorite song from the album: No favorite, because they are all more or less the same.
Since Artemy does not have his own favorite song, GQ.ru has taken the liberty of inserting his own here:
Alexander Gorbachev, editor-in-chief of Afisha: presentation in Solyanka, heated discussions in social networks. Not necessarily with a positive result - someone likes it, someone smashes it, but in any case: I don’t remember a comparable Russian album in recent years due to public outcry. And in this regard, it upsets me that professionals do not keep up with this resonance, maybe even defiantly ignore it, meaning that all this is, as it were, nonsense. Well, that is, in addition to my text in "Afisha" (sorry) and the review by Alexei Mazhaev on the "Intermedia" website, which is made in a kind of b2b genre and is intended primarily for professionals, I have not seen any intelligible statements about the album, some, seemingly logical and obligatory polemic in such cases does not occur. I do not mean that everyone should sing praises and consider Mujus the new Tsoi. But there is an event. The duty of a professional is to reflect it, comprehend it. By God, there are more lyrics about this album in English. Probably, this is also the specificity of cultural media in this country, yes, but still. Why doesn't Kommersant write about this album? Why did OpenSpace write three lines about him? Well, and so on. Around the helpless (and absolutely incomparable in resonance) album by Nike Borzov, released last fall, the hype in the professional environment was, paradoxically, much more. And here it seems that everyone thinks that Mujus is a project of "Afisha", and, like, let them take the rap for it. But it's not. And then the complaints about the lack of new heroes are rather strange, if those who are supposed to fix these heroes do not do their professional duties. A similar story was a few years ago with Russian hip-hop, which everyone almost somehow brushed aside, until it turned out that this is the most popular youth music in the country, and Noise MC gathers 5 thousand people for concerts easily. It remains to be wished that Mujus' career develops in a similar way.
Favorite song from the album: At the moment - "Blood on the dance floor"
Roman Mazurenko, head of the summer program of the Strelka bar: The album is wonderful. The problem with most Russian artists is that every more or less successful release has high hopes, which then hang on the necks of the authors and really interfere with them. And this album turned out to be sonorous - Mujus jerked off the sound and did everything with high quality and sound. If there was any hype around him, it was only because in our country there is a hype about everything new.
Favorite song from the album: "Youth".
Alexander Kondukov, editor-in-chief of Rolling Stone: Unfortunately, the presentation of his album took place in the Solyanka club, where everyone came not to look at Mujus, but to look at the people who came to see Mujus. Stand in cigarette smoke with beautiful well-dressed people and disperse in half an hour. In the album, I did not see any poetics of Viktor Tsoi, which could hook the masses and gather stadiums. I see the electronic industrial angst and some good lines he found to get people to move and go buy his album. In this sense, the poetics of Mudzhus does not differ from the poetics of Yevgeny Grishkovets or the Machete project, where Yaroslav Maly sings common truths that not everyone can formulate for themselves due to the influence of narcotic or alcohol-containing drugs. Here are some people who were able to formulate. Again, I don't think Mujus looks good for gracing magazine covers or even spreads. You need to do something with your appearance in order to move towards Viktor Tsoi. If Choi lowered his head all the time, then his gallant chin would not cling to girlish hearts. Mujus also needs to straighten his shoulders, raise his chin and look at the world with meaningful eyes, and not with the blurred gaze of a sysadmin who digs through his meager dictionary in search of the aforementioned common truths.