On this day in music history: November 3, 1984 – “I Feel For You” by Chaka Khan hits #1 on the Billboard R&B singles chart for 3 weeks, also peaking at #3 on the Hot 100 on November 24, 1984. Written by Prince, it is the third solo chart topper and biggest hit for the legendary R&B vocalist. Originally recorded by Prince in 1979, it is the first single from Khan’s fifth album. Producer Arif Mardin uses musicians such as Reggie Griffin (bass) David Frank of The System (keyboards and guitar), Stevie Wonder (harmonica), and Grandmaster Melle Mel (rap) on the track. The stuttering intro heard on the front of the record was initially a mistake, when the producer is “flying in” Melle Mel’s sampled vocals on to the beginning of the multi-track master tape. When he accidentally hits repeat on the digital sampler, the songs trademark “Chaka–Chaka–Chaka–Chaka Khan. Chaka Khan. Chaka Khan” comes out of the studio monitors. Mardin likes it so much, that he’ll leave it as it is. Khan initially is not fond of the rap on the intro, being embarrassed by hearing her own name repeated throughout. Mardin reassures her that it is a key element of the song (telling Chaka, “don’t worry my dear, it will be a hit.”), and it remains on the finished track. Prince himself was supposed to play on the record but scheduling conflicts prevent him from participating in the sessions. At the time of its release, the song is one of the most expensive singles ever recorded, due to the complexity of the production, and time spent in the studio working on the basic track. The Hip Hop flavored music video featuring dancers Adolfo “Shabba-Doo” Quinones and Michael “Boogaloo Shrimp” Chambers (“Breakin’) also play an important role in the records’ huge success. Chaka Khan’s version of “I Feel For You” wins two Grammy Awards including Best R&B Vocal Performance, Female, and Best R&B Song in 1985. “I Feel For You” is certified Gold in the US by the RIAA.
I CANT BELIEVE THAT THE MAIN ROMANCE IS GAY AND THEN THERES A SECONDARY GAY ROMANCE AS WELL????
I can’t believe this show exists I’m obsessed
It’s so funny because Romance A is like Nice Boy being really nice at Curmudgeonly Boy who is secretly nice in return, but Romance B is two angry dickbags who like almost physically fought and then tripped over a bag of feelings that someone had left lying around and now they’re looking at each other with these wide what-the-fuck-is-THIS eyes?
They’re so confused and being so soft together??????
“I look at the way the film begins with me in bed with Liam Neeson. We’re kissing and it’s a sexualized kiss. An here I am, I am dark. I’m 53, I’m in my natural hair. And I’m with Liam Neeson. I’m with what America would consider to be a hunk. And he’s not my slave owner, I’m not a prostitute. It’s not trying to make any social or political statements. We simply are a couple in love and what struck me about that in the narrative is that I’ve never seen it before. You’re not going to see it this year, you’re not going to see it next year, you’re not going to see it the year after that. And most people who look at it, most critics, most cinephiles will probably not even acknowledge that as anything novel. They’ll say ‘okay, so what, it’s not making a political statement’. So if it’s not making anything then why isn’t it done? If we’re indeed committed to inclusion and diversity and we actually do see people of colour as the same as us, as our counterparts. Then why can’t you consider a character that maybe is not ethnically specific, why can’t you consider someone like me for it? If it’s not a big deal, why hasn’t it been done? You know, and sometimes I feel like the biggest political statements are the simplest.
I would say that the biggest thing in my life at 53 is having the courage to live authentically, and that has very little to do with my status, and has more to do with my internal courage and understanding my worth, my value as a human being.”
Viola Davis on how she has stayed grounded in Hollywood and why there still aren’t enough black actors on screen
3) kissing so desperately that their whole body curves into the other person’s
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Tin gasps himself awake, heart ready to thump right out of his chest, disoriented and with the ghost of all the years of pent-up loneliness he carries weighing down on him.
Can is on the other of the bed, blissfully asleep, and Tin doesn’t think twice about creeping closer to him, snuggling him up until he’s got his face hidden in Can’s neck and his body cradled up into Can’s arms. Can, bless his soul, doesn’t wake; he’s pliant as Tin settles against him, right until Tin is done moving, and then he hugs him and kisses his hair, still asleep but so in tune with Tin it makes him want to cry.
“Please, please, never let me go,” Tin whispers, a little hysterical, trying to make himself smaller in order to fit forever against Can’s side.
Slowly, gradually, with his lips pressed against Can’s throat and his nose full with Can’s scent, he drifts back to sleep, feeling safe.
It sounds corny and vague. People always talk about feeling safe with someone and you wonder what it even means. I still don’t really know. All I know is that when I’m with you, I feel like I’m clutching a giant thing of pepper spray or reliving a moment of being carried to bed by my parents when I was five years old and fell asleep in front of the television. — Ryan O’Connell
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