On this day in music history: March 24, 1990 - “Black Velvet” by Alannah Myles hits #1 on the Billboard Hot 100 for 2 weeks. Written by David Tyson and Christopher Ward, it is the biggest hit for the singer from Toronto, Canada. Musician and songwriter Christopher Ward is inspired to write “Black Velvet” after a visit to Elvis Presley’s mansion, Graceland in the Summer of 1987. Ward and Myles meet each other years before, eventually working together as band mates, then becoming romantically involved for several years. Possessing strong vocal chops, and alluring beauty, Myles is signed to Warner Music Canada later in 1987, spending over a year writing and recording material for her first release. The label releases her self-titled debut album in May of 1989. The album spins off four top forty singles in her native Canada, when Atlantic Records picks up the album for release in the US. Released as a single on December 17, 1989, the sultry “Black Velvet” doesn’t take long to take hold stateside, hitting pop, rock and Adult Contemporary radio. Entering the Hot 100 at #86 on January 6, 1990, it climbs to the top of the chart eleven weeks later. The single wins Myles a Grammy Award for Best Female Rock Vocal Performance in 1991, with the accompanying album hitting number five on the Billboard Top 200, and turning Platinum. In spite of this success, the singer finds it difficult to follow up her chart topping breakthrough in the US. Subsequent singles fail to chart, and Alannah Myles’ second and third albums “Rockinghorse” (1992) and “A-lan-nah” (1995) do not chart, she is dropped by Atlantic and Warner Music Canada in 1996. Still actively recording and performing today, Myles released her most recent album “85 BPM” in 2014. “Black Velvet” is certified Gold in the US by the RIAA.
However, there is a limit to how far desire can be articulated in speech because of a
fundamental ‘incompatibility between desire and speech’ (Ecrits, 275); it is this
incompatibility which explains the irreducibility of the unconscious (i.e. the fact that the
unconscious is not that which is not known, but that which cannot be known). Although
the truth about desire is present to some degree in all speech, speech can never articulate
the whole truth about desire; whenever speech attempts to articulate desire, there is
always a leftover, a surplus, which exceeds speech.
One of Lacan’s most important criticisms of the psychoanalytic theories of his day
was that they tended to confuse the concept of desire with the related concepts of
DEMAND and NEED. In opposition to this tendency, Lacan insists on distinguishing
between these three concepts. This distinction begins to emerge in his work in 1957 (see
Seminar 4, 100–1, 125), but only crystallises in 1958 (Lacan, 1958c).
Need is a purely biological INSTINCT, an appetite which emerges according to the
requirements of the organism and which abates completely (even if only temporarily) when satisfied. The human subject, being born in a state of helplessness, is unable to
satisfy its own needs, and hence depends on the Other to help it satisfy them. In order to
get the Other’s help, the infant must express its needs vocally; need must be articulated in
demand. The primitive demands of the infant may only be inarticulate screams, but they
serve to bring the Other to minister to the infant’s needs. However, the presence of the
Other soon acquires an importance in itself, an importance that goes beyond the
satisfaction of need, since this presence symbolises the Other’s love. Hence demand soon
takes on a double function, serving both as an articulation of need and as a demand for
love. However, whereas the Other can provide the objects which the subject requires to
satisfy his needs, the Other cannot provide that unconditional love which the subject
craves. Hence even after the needs which were articulated in demand have been satisfied,
the other aspect of demand, the craving for love, remains unsatisfied, and this leftover is
desire. ‘Desire is neither the appetite for satisfaction, nor the demand for love, but the
difference that results from the subtraction of the first from the second’ (Ecrits, 287).
Desire is thus the surplus produced by the articulation of need in demand; ‘Desire
begins to take shape in the margin in which demand becomes separated from need’ (Ecrits,
311). Unlike a need, which can be satisfied and which then ceases to motivate the subject
until another need arises, desire can never be satisfied; it is constant in its pressure, and
eternal. The realisation of desire does not consist in being ‘fulfilled’, but in the
reproduction of desire as such.
Lacan’s distinction between need and desire, which lifts the concept of desire
completely out of the realm of biology, is strongly reminiscent of Kojève’s distinction
between animal and human desire; desire is shown to be distinctively human when it is
directed either toward another desire, or to an object which is ‘perfectly useless from the
biological point of view’ (Kojève, 1947:6).
It is important to distinguish between desire and the drives. Although they both belong
to the field of the Other (as opposed to love), desire is one whereas the drives are many.
In other words, the drives are the particular (partial) manifestations of a single force
called desire (although there may also be desires which are not manifested in the drives:
see Seminar 11, 243). There is only one object of desire, OBJET PETIT A, and this is represented
by a variety of partial objects in different partial drives. The OBJET PETIT A is not the
object towards which desire tends, but the cause of desire. Desire is not a relation to an
object, but a relation to a LACK.
EVANS, Dylan. An Introductory Dictionary of Lacanian Psychoanalysis. Routledge. 1996.
On this day in music history: March 24, 1979 - “Tragedy” by the Bee Gees hits #1 on the Billboard Hot 100 for 2 weeks. Written by Barry, Robin and Maurice Gibb it is the eighth US chart topper for the three brothers from the Isle Of Man, UK. Recorded at Criteria Studios in Miami, FL in the Spring of 1978, the song is written during a particularly prolific period for the brothers Gibb. “Tragedy” is written in mid 1977 while the Bee Gees are filming “Sgt. Pepper’s Lonely Hearts Club Band” during which time they also write “Too Much Heaven” and “Shadow Dancing”. The songs climactic explosion sound effects are created by the engineer recording several overdubs of Barry Gibb cupping his hands over the microphone while making the explosion sound with his mouth, combined with keyboardist Blue Weaver playing random notes on the bottom end of the piano with the sounds being heavy processed in the mix. Issued as a single in late January of 1979, prior to the release of their first post “Saturday Night Fever” album “Spirits Having Flown”, it is another immediate hit. Entering the Hot 100 at #29 on February 10, 1979, it streaks to the top of the chart six weeks later. “Tragedy” is certified Platinum in the US by the RIAA.
Tu as vu l'imitation de AM par Canteloup devant BH ce matin ? Il pleurait littéralement de rire, ça m'a fait plaisir, il ne doit pas rire souvent en ce moment le pauvre choupi...
Oh que oui, je me suis levée à 7h20 exprès ce matin, sacrifiant mon sommeil pour écouter BH. Et du coup quand Canteloup a commencé ses imitations j’attends celle d’AM, il ne pouvait en être autrement. Et elle est arrivée. Vous vous rendez compte. C’est dingue quand même. Quand BH est sur Europe 1, Canteloup imite AM et quand AM est sur Europe 1 il imite BH. CHB 100% confirmed my friends <3 !
I’ve loved this idea for a while, and I’m finally starting it!
I haven’t done a whole lot, but I have gotten a couple things out of the way. Totally unrelated to anything about school, but I finally added more soil to my little succulents and I moved them outside. They just weren’t getting enough light indoors.
I also started my chapter 5 notes on person-centered therapy for my theories of counseling class! I have a discussion due tomorrow, so I do have to speed things up a bit, so that’s what I’ll be doing with my downtime at work today.
I also finally got some books I ordered, one of which is Clockwork Angel by Cassandra Clare. I’ve been wanting to read it for so long! So I’ll probably start it during my 10-15 minute breaks I take during all that studying.
1 sene öncesine kadar 100 kiloydum nerdeyse ve benimle ilgilenen cok az arkadaşım vardı cogu zaman kız arkadaşlarıma anlatamadıklarımı erkek arkadaşlarıma anlatıyodum ve gercekten beni dinliyolardı şuan 70 kiloyum 1.70 boyum var herkesin dikkatini cekmeye basladım 9 ay belki daha uzun sure sevdigim cocuk mesaj attı cok değişmişsin falan diye bulusmak istedi buluştuk yeniden sevgili olmak istedi dıs görünüşüm değişti diye benimle olmak istedigini biliyorum buda benim canımı cok acıtıyor
Ayrıl. O dar kafalı pislikten ayrıl! Seni GERÇEKTEN seven insanlarla birlikte ol. Bedenin için sana “Seni Seviyorum” diyen birisine güvenme. Yarın -Allah Korusun- bir kaza geçirsen arkasına bakmadan topuklayacak kişidir o. Yanında olacak insaları sev. Ve bu büyük başarın için seni tebrik ederim. İmkansız diye bir şey yoktur bunu gösterdin ^^
Okay, guys I have to do this. Seeing how my Father continues to emotionally and verbally abuse me, I need to start doing commissions so I can save to get a car and find a place to live with my cat. Also to help pay with my phone bill. So here is what I’m offering:
100 words = $1
Basically every 100 words will be a dollar.
(Please note, I’m not in every fandom! So when you go to request we’ll talk about it if I’m not familiar with it.)
1 card = $1
2 cards = $3
3 cards = $5
(Please note, I use the “Wisdom of the House of Night” oracle cards)
If interested please shoot a PM and we’ll talk, the transaction will be via paypal!
Kuruklu Yıldız, Baykuş ve Galaksi⠀
Kuyruklu yıldız 41P/Tuttle-Giacobini-Kresak, Mart 21’den bu teleskobik enstantanede bir Messier anı için poz veriyor. Gerçekte bu 1 derecelik görüş alanını 18. yüzyılın kuyruklu yıldız avcısı astronomunun ünlü kataloğundaki iyi bilinen iki kayıtla paylaşıyor. Büyük Kepçe’nin hemen altında kuzey ilkbahar göklerinde sürüklenen sönük yeşilimsi kuyruklu yıldız gezegenimizden yaklaşık 75 ışık saniyesi uzaklıktaydı. Tozlu, yanlamasına duran spiral galaksi Messier 108 (alt orta) yaklaşık 45 milyon ışık yılı uzakta. Ancak sağ üstte, yaşlanan ama aşırı derecede sıcak bir merkezi yıldıza da sahip gezegenimsi nebula, baykuşa benzeyen Messier 97, Samanyolu galaksimizin içerisinde, yalnızca 12 bin ışık yılı mesafede yer alıyor. Kaşifi ve tekrar keşfedenlerin onuruna adlandırılmış olan bu sönük periyodik kuyruklu yıldız ilk kez 1858’de görüldü ve 1907 ve 1951’e kadar bir daha görülmedi. Yörünge hesaplamalarının karşılaştırılması aynı kuyruklu yıldızın farklı zamanlarda yaygın olarak görüldüğüne işaret etti. 1 Nisan’da gerçekleşecek 100 yıl içerisindeki en iyi görünümüne ve Dünya’ya en yakın geçişine yaklaşan kuyruklu yıldız 41P Güneş etrafında yaklaşık 5.4 yıllık bir periyodla dönüyor.⠀
Görsel & Telif: Barry Riu⠀
#nature #nasa #uzay #repost #apod #sky #science #suretialem #bugununkaresi #gununfotosu #uzaydanhaberler
I have decided to finally start 100 days of productivity as an attempt to motivate myself since finals/exams are right around the corner. But before I die from finals, I still have to suffer through two weeks of hell (4 midterms, essay, assignment, and a huge presentation). 🙃