Alicia Bridges

Today we celebrate an out lesbian artist who only had one big hit - but that hit is one of the most iconic Disco songs ever.

Alicia Bridges was born in Charlotte North Carolina. She grew up in the nearby rural hamlet of Lawndale, NC. Alicia began to write songs and play guitar at the age of ten when her dad Myles Bridges taught her to strum her first chords on his Gibson tenor guitar. At 12, she launched her own radio program in Shelby, NC on station WADA. "The Alicia Bridges Show” aired every Saturday morning, with Alicia at the control board, cueing records and accepting requests like a pro. 

At thirteen, Alicia performed with a popular North Carolina group, The Ray Ledford Band. As lead singer of rock band Zachary Ridge, she sang to the Love Generation and Flower Children of the early 70s. Alicia met southern publishing mogul, Bill Lowery of Atlanta and relocated from NC. In 76 Alicia Bridges and Susan Hutcheson partnered and began writing for Lowery. 

Scanning the top ten charts one weekend, Alicia noticed songs containing either ‘Boogie’ or ‘Disco’. Inspired, the writing team penned the now-famed, I Love The Nightlife.  Alicia recorded her Disco anthem in 1978. Her resounding “I Want Some Action” along with the song title “I Love The Nightlife” caught the spirit of the times. This empowering feminist anthem made the top 5 in the US and Canada and was also a big hit all over the world. The way Alicia pronounces the word "action" is a source of endless merriment. The girl should have been a movie director.

Laura Branigan sang the song live on German television and it was included on the very rare compilation album Gut Gestimmt in 1980:

In 1995 the song was released by the band Bronski Beat labeled I Luv The Nightlife:

Bridges' second single, Body Heat, was a rock song with strong electric guitar rhythms. It was a "rock/dance" song released at a time when there was some rivalry between disco fans and rock fans. In consequence, its chart fortunes suffered and it became only a minor hit:

Contrary to the impression created by her success with I Love the Nightlife, Alicia was primarily a singer of rock, blues, and love songs. In an interview, Bridges mentioned Elvis Presley as the singer who originally aroused her interest in rock music but she has always considered herself an R&B singer. She cited Tina Turner, Aretha Franklin, Gladys Knight and Patti Labelle as her 70's influences. She said that she didn't care for white female singers as a rule with the exception of Joni Mitchell and Janis Joplin. She complained that white women sounded like they were "sleepwalking" through their performances. "Yeah, I jump around a lot when I'm performing," she said.

Another song that stood out from her first album was Diamond In The Rough:

We Are One was a softer offering from Alicia, but as good:

Her sophomore album, Play It as It Lays (1979), features an impressive cast of session musicians, including the Tower of Power horns and background vocalists Rhodes-Chalmers-Rhodes. Bridges and writing partner Susan Hutcheson prove they are apt in a number of styles, ranging from the gutsy soul of Learned to Dance Too Soon to the fiery rock of What Would You Do if Your Heart Stopped Beating Tonight? The videos are geo-blocked for me, but perhaps not for you. This is the former:

... And this is the latter:

Here she is, in a mellow mood, in Cheap Affairs:

Meanwhile, tunes like Rex the Robot effectively blend disco elements with straight-ahead rock and funk ingredients:

Star Child is one of my favorite songs from this album:

This is the title track:

Finally, from this album, this is another good one, California Sunset:

Bridges tried to fit in with '80s rock trends on her independently released third album, Hocus Pocus (1984). Employing lots of synthesizers and various chant-like background voices, many numbers have interesting melodic elements. I could find no videos on youtube that aren't geo-blocked in my part of the world, but perhaps they'll work for you.

This is This Girl Don't Care:

This is Soul Twister:

... And this is Bullets Don't Talk:

In 1987 she released the EP Hungry Eyes. This is the title track:

Never straying far from her roots, she, along with her partner, Mary LeTellier founded Alicia Bridges Music. Together they released 3 albums, This Girl Don’t Care (2006), Say It Sister (2007), and FauxDiva XX (2008), which were essentially remastered and remixed compilations of her earlier songs.

Bridges is currently active in the music community as a producer and DJ. She had publicly come out as a lesbian during a 1998 interview for The Advocate. It's a pity she hasn't had more hits because she really has a good voice. Still, nobody will forget I Love The Nightlife anytime soon...

The Oscar-winning Songs Countdown: 2010

The time has come for another entry in our Oscar-winning song countdown, which is also an excuse to present as many of the outstanding movies of the year as possible. For those keeping scores, this song is at #62 on our list.

A few films were celebrated in 2010 like David Fincher's The Social Network, the story of Mark Zuckerberg, the creator of Facebook. The film got a 95% Metascore rating, which means that pretty much every film critic was in love with the movie. Rolling Stone gave the film 100% and said, "The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further. Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade." New York Post went even further: "Quite possibly the first truly great fact-based movie of the 21st century." The audience went to see the film, making it reasonably profitable for the kind of film it was.

A film that divided the critics but united the audience was Christopher Nolan's Inception. It's the complicated story of a thief and his group of merry men and women, who steal corporate secrets through use of dream-sharing technology. He is given the inverse task of planting an idea into the mind of a CEO. And it gets more complicated from here... (Will the spinning top stop spinning?)

The critics picked sides; Boxoffice Magazine was on the admirers' side: "In terms of sheer originality, ambition, and achievement, Inception is the movie of the summer, the movie of the year and the movie of our dreams." The Village Voice, on the other hand, was among the film's detractors: "It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams - and his barren Inception doesn't capture much of either."

There was no such problem with the film's audience, however. They flocked to see the film, giving it a worldwide gross of more than 800 million dollars, making it the fourth biggest-grossing film of the year. Also, it's the 14th best-rated movie ever on the imdb site.

Another movie that divided the film critics was Darren Aronofsky's Black Swan, the tale of a committed dancer who wins the lead role in a production of Tchaikovsky's "Swan Lake" only to find herself struggling to maintain her sanity. New York Magazine's David Edelstein wrote, "This is, no doubt about it, a tour de force, a work that fully lives up to its director's ambitions," while Kenneth Turan was really pissed - and wrote in the Los Angeles Times, "Not just any kind of trash, it's high-art trash, a kind of 'When Tutu Goes Psycho' that so prizes hysteria over sanity that it's worth your life to tell when its characters are hallucinating and when they're not."

Never mind: the film was a hit and grossed over 25 times its frugal budget. Plus, everybody was talking about Natalie Portman's amazing performance.

The boxing movie, a genre that was extremely popular in the first half of the 20th century and had experienced a resurgence from the 70s to the mid-80s, with movies like the Rocky series, Great White Hope, Fat City, The Greatest, and Raging Bull, was granted a new lease of life in the 21st century, beginning with 2004's Million Dollar Baby. David O. Russell's The Fighter was one of the finest examples, a look at the early years of boxer "Irish" Micky Ward and his brother who helped train him before going pro in the mid-1980s.

What attracted the most attention was Christian Bale's amazing performance; The A.V. Club enthused: "Bale's live-wire performance typifies the many major and minor elements that elevate The Fighter from the deeply conventional sports movie it might have been into the endearingly offbeat sports movie it turns out to be."

There were lots of expectations concerning Danny Boyle's follow-up to Oscar-winning Slumdog Millionaire. Danny decided to use a real-life story, the account of the 127 hours that adventurous mountain climber Aron Ralston spends trapped under a boulder, having to resort to desperate measures in order to survive. Boyle used Slumdog Millionaire's screenwriter, music composer, and director of photography - and the film was naturally titled 127 Hours. The main character was portrayed by James Franco, who scored a winner: Salon.com's review was one of the many accolades that he received, "Franco is up to every bit of Boyle's challenge, capturing Aron's transition from clownish outdoorsman and party boy to an introspective chronicler of his own impending demise and a visionary lunatic."

The Coen brothers have over the years gathered a dedicated fandom among the cinephiles. Many were surprised at their 2010 project, a remake of the 1969 Western that awarded John Wayne with his only Oscar, True Grit. True, Jeff Bridges, fresh from his Oscar win, was more than a match for John Wayne. Also, Matt Damon was an interesting choice for the part made famous by Glen Campbell, Josh Brolin was a convincing bad guy, while newcomer Hailee Steinfeld shone in the part that used to be Kim Darby's. The reviews were mostly enthusiastic; ReelViews wrote, "The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous." The film was a box-office hit, grossing six times its budget.

Two "small" films also dominated the conversation. First, there was Lisa Cholodenko's queer dramedy The Kids Are All Right. The story of two children conceived by artificial insemination, who bring their biological father into their family of two mothers was unanimously applauded by the critics; Entertainment Weekly said, "This warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority."

The other "small" film was Winter's Bone, also directed by a woman (Debra Granik). This Ozark Mountain tale of hardship and danger introduced to the world a new film star, in what I consider was her most visceral performance: Jennifer Lawrence. The Boxoffice Magazine said it well: "Winter's Bone is so far past any notion of formula or precedent that comparison is a futile exercise. This film is a thing all its own."

There were other "small" pictures that made an impression; like Derek Cianfrance's Blue Valentine, the anatomy of a couple's relationship, a two-hander expertly brought to life by Michelle Williams and Ryan Gosling; Rabbit Hole by John Cameron Mitchell, a study of the grief of losing a child; and a good film from Australia, Animal Kingdom (by David Michôd), the story of a seventeen-year-old who navigates his survival amongst an explosive criminal family and the detective who thinks he can save him.

Then there were the "big" movies: We have already spoken about Inception (#4 grosser of the year). In the top 10 there were also the inevitable sequels of successful franchises (Harry Potter, Twilight, Iron Man) and at #2, Alice In Wonderland, a live-action Disney film that was the most (financially) successful entry in the long and fruitful collaboration between Tim Burton and Johnny Depp.

The other five top 10 entries were animated features. At #10 and #9, were the first entries of two new franchises, the cynical Despicable Me and the ingenious How to Train Your Dragon. At #8 was a typical Disney princess movie, Tangled, while at #5 was the 4th and rather tired installment of Shrek. Here's the full top 10:

The #1 hit of the year, however, was a rare beast; Toy Story 3, although a sequel of a much-loved original, it managed to both make more money and receive more critical praise than its predecessors. The movie had a 92% Metascore and, as ReelViews opined, "Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages."

The Town wasn't a blockbuster, but it wasn't a "small" film either. A medium-budget film, of the kind that studios have almost stopped making nowadays, Ben Affleck's second movie as a director did well at the box-office and received fair reviews. Entertainment Weekly wrote, "A rich, dark, pulpy mess of entanglements that fulfills all the requirements of the genre, and is told with an ease and gusto that make the pulp tasty."

Then, on Xmas day, another film crept in the Oscar conversation; the Harvey Weinstein production, The King's Speech, by Tom Hooper. The story of King George VI, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch overcome his speech impediment, appealed to the less "progressive" and older members of the Academy, those who found The Social Network to be too heartless and Inception to be too confusing. The original sentiment was that Colin Firth was due for the Best Actor award, especially since he was "robbed" the year before for his mesmerizing performance in A Single Man. Slyly, Weinstein built on that sentiment, until he created enough momentum for the film to be considered a legitimate Best Picture contender.

The Foreign Language Submissions

It was a great year for non-English speaking films - and it so happens that I managed to see many of that year's submissions - 25 out of 66. I will present them in the order I enjoyed them.

The best non-English speaking film of the year (and probably the best film of the year, period) is Canada's Incendies (Fires). Denis Villeneuve wasn't a superstar director yet, but this is his most powerful work. Coupled with an amazing screenplay and powerful performances, I'll just say, if you haven't yet seen it, do.

A personal favorite is Peru's submission, Contracorriente (Undertow). A folktale, a gay love story, and a ghost story all in one, this hymn to the power of love transcending death is another must-see.

Susanne Bier's Danish entry, Hævnen (In A Better World) is a very satisfying study of the complicated relationships between children and their parents, as well as between children themselves.

The German entry, Die Fremde (When We Leave) tells the story of a young German/Turkish mother’s struggle for self-determination between two systems of values. It is a multi-layered story about honor, intolerance and the unshakeable belief in a harmonious coexistence.

The Spanish entry, También La Lluvia (Even The Rain), is an atmospheric and political drama featured good cinematography and great performances by Gael García Bernal and Luis Tosar.

The French entry, Des Hommes Et Des Dieux (Of Gods And Men), the winner of the Grand Prix in that year's Cannes Film Festival, is a deeply spiritual look at the goings-on at a Christian monastery in Algeria, and about the ramifications of the Algerian Civil War.

The Algerian War is also at the center of Algeria's entry, Hors-la-Loi (Outside the Law). The story takes place between 1945 and 1962 and focuses on the lives of three Algerian brothers in France. It's captivating.

The Italian entry, La Prima Cosa Bella (The First Beautiful Thing) is a moving story of a beautiful and unconventional woman, told through the memories of her son.

The Belgian entry, Illègal (Illegal) is a powerful story concerning the illegal immigrants who seek refuge in Western Europe.

The Mexican entry, Biutiful, directed by Alejandro González Iñárritu, is a bleak and intentionally ugly-looking film that packs a powerful punch. Illegal immigrants are at the center of its story - and the film is anchored by a captivating performance by Javier Bardem.

The Swedish entry, I Rymden Finns Inga Känslor (Simple Simon) tells the heart-warming story of an 18-year-old man with Asperger Syndrome.

The South African entry, Life, Above All, has a touching mother-daughter relationship at its center that reflects the changes in South Africa.

The Russian entry, Край (The Edge), is a powerful post-WWII drama.

The Japanese entry, 告白 (Confessions), is a taut psychological drama of a junior high school teacher getting revenge for her daughter's death by punishing the two students who were responsible for it.

The Turkish entry, Bal (Honey), is a lyrical exploration of nature through the eyes of a child.

The Romanian entry, Eu Cand Vreau Sa Fluier, Fluier (If I Want to Whistle, I Whistle), is a powerful social drama of an abandoned Romanian youth who inevitably finds himself in prison.

The Czechian entry, Kawasakiho Růže (Kawasaki's Rose), is a pensive study of memory, repression, and reconciliation.

The Chinese entry, 唐山大地震 (Aftershock), is a suspenseful depiction of the aftermath of the 1976 Tangshan earthquake.

The entry from Hong Kong, 歲月神偷 (Echoes of the Rainbow), tells the moving story of a working family in Hong Kong whose eldest son, a popular boy and star athlete, becomes ill with leukemia.

The entry from Taiwan, 艋舺 (Monga), is a captivating gangster saga.

The above films were all worth watching. I enjoyed less the films that follow:

I'm not one of the haters of Greek entry, Kυνόδοντας (Dogtooth), by Giorgos Lanthimos, but I'm not a big fan either. I recognize his originality and skill (which he put to better use in The Lobster), but I believe that Dogtooth often overindulges in its quirkiness, to the detriment of the audience's emotional connection to the film.

The entry from Thailand, ลุงบุญมีระลึกชาติ (Uncle Boonmee Who Can Recall His Past Lives) was the winner of that year's Palme d'Or at the Cannes Film Festival, as well as a critics darling. It has its merits, but it was hard to go through it without dozing off once or twice.

The Indian entry, पीपली लाइव (Peepli [Live]) is a satirical comedy that is just OK - definitely not Oscar-nomination stuff.

The Argentinian entry, Carancho, was one of the country's less appealing Oscar entries, despite the presence of good actor Ricardo Darín.

Finally, the Estonian entry, Püha Tõnu Kiusamine (The Temptation of St. Tony), was a rhythm-less, meaningless, faux-arthouse disappointment. Sorry, Estonia.

My choices would be Canada, Peru, Denmark, Germany, and for fifth place, Spain, France, and Algeria would battle it out.

The Nominations

Best Motion Picture of the Year

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All Right

The King's Speech

The Social Network

Toy Story 3

True Grit

Winter's Bone

Best Achievement in Directing

Black Swan: Darren Aronofsky

The Fighter: David O. Russell

The King's Speech: Tom Hooper

The Social Network: David Fincher

True Grit: Ethan Coen, Joel Coen

Best Performance by an Actor in a Leading Role

127 Hours: James Franco

Biutiful: Javier Bardem

The King's Speech: Colin Firth

The Social Network: Jesse Eisenberg

True Grit: Jeff Bridges

Best Performance by an Actress in a Leading Role

Black Swan: Natalie Portman

Blue Valentine: Michelle Williams

The Kids Are All Right: Annette Bening

Rabbit Hole: Nicole Kidman

Winter's Bone: Jennifer Lawrence

Best Performance by an Actor in a Supporting Role

The Fighter: Christian Bale

The Kids Are All Right: Mark Ruffalo

The King's Speech: Geoffrey Rush

The Town: Jeremy Renner

Winter's Bone: John Hawkes

Best Performance by an Actress in a Supporting Role

Animal Kingdom: Jacki Weaver

The Fighter: Amy Adams

The Fighter: Melissa Leo

The King's Speech: Helena Bonham Carter

True Grit: Hailee Steinfeld

Best Writing, Original Screenplay

Another Year: Mike Leigh

Inception: Christopher Nolan

The Fighter: Scott Silver (screenplay), Paul Tamasy (screenplay/story), Eric Johnson (screenplay/story), Keith Dorrington (story)

The Kids Are All Right: Lisa Cholodenko, Stuart Blumberg

The King's Speech: David Seidler

Best Writing, Adapted Screenplay

127 Hours: Danny Boyle, Simon Beaufoy

The Social Network: Aaron Sorkin

Toy Story 3: Michael Arndt (screenplay), John Lasseter (story), Andrew Stanton (story), Lee Unkrich (story)

True Grit: Joel Coen, Ethan Coen

Winter's Bone: Debra Granik, Anne Rosellini

Best Achievement in Art Direction

Alice In Wonderland

Harry Potter and the Deathly Hallows: Part 1

Inception

The King's Speech

True Grit

Best Achievement in Costume Design

Alice In Wonderland

I Am Love

The King's Speech

The Tempest

True Grit

Best Achievement in Cinematography

Black Swan

Inception

The King's Speech

The Social Network

True Grit

Best Achievement in Film Editing

127 Hours

Black Swan

The Fighter

The King's Speech

The Social Network

Best Achievement in Sound Mixing

Inception

The King's Speech

Salt

The Social Network

True Grit

Best Achievement in Sound Editing

Inception

Toy Story 3

TRON: Legacy

True Grit

Unstoppable

Best Achievement in Visual Effects

Alice In Wonderland

Harry Potter and the Deathly Hallows: Part 1

Hereafter

Inception

Iron Man 2

Best Achievement in Makeup

Barney's Version

The Way Back

The Wolfman

Best Documentary, Features

Exit Through the Gift Shop

GasLand

Inside Job

Restrepo

Waste Land

Best Animated Feature Film of the Year

How to Train Your Dragon

The Illusionist

Toy Story 3

Best Foreign Language Film of the Year

Biutiful / Mexico

Dogtooth / Greece

In A Better World / Denmark

Incendies / Canada

Outside the Law / Algeria

The nominees for Best Achievement in Music Written for Motion Pictures, Original Score were:

A.R. Rahman, for 127 Hours:

John Powell, for How to Train Your Dragon:

Hans Zimmer, for Inception:

Alexandre Desplat, for The King's Speech:

Trent Reznor and Atticus Ross, for The Social Network:

What about the songs? The nominees for Best Achievement in Music Written for Motion Pictures, Original Song were:

If I Rise, for the film 127 Hours • Music: A.R. Rahman • Lyrics: Rollo Armstrong & Dido:

Coming Home, for the film Country Strong • Music & Lyrics: Tom Douglas, Hillary Lindsey, & Troy Verges:

I See the Light, for the film Tangled • Music: Alan Menken • Lyrics: Glenn Slater:

We Belong Together, for the film Toy Story 3 • Music & Lyrics: Randy Newman:

Here are other eligible songs that failed to be nominated. The Golden Globe winner, You Haven't Seen the Last of Me, from Burlesque:

Also from Burlesque, the Golden Globe nominee, Bound to You:

Another Golden Globe nominee, There's a Place For Us, from The Chronicles of Narnia: The Voyage of the Dawn Treader:

Alice, from Alice in Wonderland:

Chanson Illusionist, from The Illusionist:

Life during Wartime, from Life During Wartime:

Little One, from Mother and Child:

Better Days, from Eat Pray Love:

Eclipse: All Yours, from The Twilight Saga: Eclipse:

Sticks & Stones, from How to Train Your Dragon:

Be the One, from The Next Three Days:

What If, from Letters to Juliet:

There are more, but you get the drift. Surely, there were enough quality songs for the Academy to have the usual 5 nominations? Of the ones nominated, the Randy Newman songs was definitely the best. The Dido song was also deserving its inclusion. The other two were generic Oscar-bait. I would rather include Eddie Vedder, Beck & Devendra Banhart, Jónsi, Cher, Christina Aguilera, or certainly the French song from The Illusionist.

The King's Speech was the king of nominations, with 12 in total. True Grit had 10, The Social Network and Inception had 8 each, The Fighter had 7, 127 Hours had 6, Black Swan and Toy Story 3 had 5 each, The Kids Are All Right and Winter's Bone had 4 each, and Alice In Wonderland had 3. All the others had one or two nominations each.

According to the various critics' unions and other awards that came before the Oscars, it seemed that Colin Firth, Natalie Portman, Christian Bale, and Melissa Leo were the favorites for the acting awards, Toy Story 3 would be the Animated Feature winner, while the two Screenplay awards would go to The King's Speech and The Social Network. David Fincher seemed a safe bet for Best Director, while The Social Network was also the favorite for Best Score. There were no sure-fire favorites for Best Song, while the vote was split on Best Picture; most of the critics, as well as the Golden Globes, favored The Social Network, while the SAG and the BAFTAs preferred The King's Speech.

The Awards

The acting awards went, as expected, to Colin Firth, Natalie Portman, Christian Bale, and Melissa Leo. The latter got so excited that she let slip the 'f' word in her acceptance speech.

Inception ruled the technical awards categories, winning Sound Mixing, Sound Editing, and Visual Effects, as well as a major award, the one for Cinematography. Alice In Wonderland got two Oscars, winning for Best Art Direction and Costume Design.

The Screenplay awards went, as expected, to The King's Speech and The Social Network. The latter also won for Best Film Editing and Best Score (the Nine Inch Nails' Trent Reznor and Atticus Ross), but not Best Picture or Director. These went to The King's Speech, the "safe" choice.

The Inside Job, the exposé of the causes of the 2008 financial meltdown, won for Best Documentary, while Rick Baker, the makeup pioneer, won yet again for The Wolfman.

In A Better World gave Denmark the Foreign Language Oscar, while the indisputable favorite, Toy Story 3, won the Best Animated Feature award. Toy Story 3 also won for Best Song. Randy Newman, picking up his second Oscar, criticized the complicated voting system that was responsible for only 4 Best Song nominations. The following year there were only two nominations! The powers that be realized that the voting system was leading the Best Song category to extinction, so, thankfully, they changed it. We've been having five nominations/year ever since...