But his bump-and-grind sashay brought conventions of female striptease to mind.
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This style was as much a part of him as the bump-and-grind.
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After the bump and grind, Chuy talked bout the feud between Chelsea and Heather McDonald.
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This was not the Prince who was there to bump and grind or play long guitar riffs.
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With Ginuwine's "Pony" playing in the background, the four women bump and grind their way across the floor.
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The music there, however, provided a much-needed break in pace with less bump-and-grind and more melody.
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"You do not want your airbags to deploy on every little bump and grind that a car goes through," Mr. Brock said.
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One is a re-creation of the bump-and-grind routine that the brothers learned as boys from their ex-chorus-girl grandmother.
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When we live in a culture that actively encourages distraction, what do when we want to counteract our culturally distracted state with a little bump and grind?
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Even at the end of the performance — after Nicki Minaj's verse — both women joined a chorus line with all of the dancers for a little bump and grind.
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" French said R. Kelly's M.O. was clear when he sang, "My mind's tellin' me no, but my body, my body's tellin' me yes" in his song, "Bump and Grind.
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The ability to navigate through crowds, the willingness to bump and grind with other skaters in short track, Choi said, is something deep inside some skaters more than others.
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Bikini model Liziane Gutierrez is getting out of her bubble -- ditching the glamorous life for the bump-and-grind of basketball, and she has King James on the brain ... and her cheeks.
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Yes, it's an old trick ... done by everyone from Britney to Cher to Janet and Mariah -- pulling a fan onstage, tying him to a chair and giving him the ol' bump and grind.
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Heaven. And then below the regality and poise of the upper body, beneath the waist, there continued the bastardized bump and grind from MTV, coming full circle to meet its call-and-response West African roots.
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"Seven: spread your legs apart/Eight: Feel me, I'm so hard/Nine: See I want you from behind/With that bump and grind/20103: Baby, climb on top of me/11: Up and down we'll go, you'll see," he sings. 2.
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"And while the show had its visual side — two women came out and invited audience members to bump and grind onstage with them — it was the intense interlocking of instruments, feeding off Diblo's guitar figures, that kept the music effective," Mr. Watrous added.
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" The song's recent fate as a weight-loss jingle was bad enough, but to see it reduced to the soundtrack for a psychic parasite's bump-and-grind — occasionally shot in silhouette against monochromatic red, like a James Bond title sequence — is somehow even more dispiriting, doubly so given the showrunner Noah Hawley's impeccable use of found music in his other FX vehicle, "Fargo.
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I wrote columns about a county fair bake-off in Michigan, and two bullets fired into the home of a black mayor in Louisiana; the economic struggles of a dairy farmer in Northern California, and a dying mobster in Rhode Island who gave up an old murder's secret; the dreams of migrant workers in Minnesota, and a gathering in Wisconsin of some retired burlesque queens who taught me how to perform a proper bump-and-grind.
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James L. Brown from USC Today described it as "a slow bump and grind ballad".
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" Complex. Complex, August 28, 2013. Web. July 30, 2014. ."Singer Remakes R. Kelly's ‘Bump And Grind’ Into Gospel Song - CBS Atlanta.
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It was reported by WhatsOnStage.com in June 2009 that the musical would open in the West End "in late 2010 or early 2011."Rialto Chatter. "Rialto Chatter: 'Minsky's' To 'Bump and Grind' In West End?" westend.broadwayworld.
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The Guardian. 9 June 2006. Blogcritics published a more negative assessment of the song: The Village Voice wrote that the song "weakly evokes J.J. Fad" and exemplified why Loose "isn't a love child [between Furtado and Timbaland], but a bump-and- grind that never finds a groove".Catucci, Nick.
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Ken Capobianco of Boston Globe who called the song "a bump-and-grind", noted the song as the essential track from the album. Coining it as "lusty", the song was Simon Vozick-Levinson of Entertainment Weeklys recommended download from the album. "Ride" has since been certified Platinum by the RIAA for units exceeding 1 million.
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This first single was called a "double-sided monster" by All-Music Guide reviewer Richie Unterberger. "Bo Diddley" was infused with waves of tremolo guitar, set to a children's chant. "I'm a Man" was a bump- and-grind shuffle, with a powerful blues riff woven throughout. The outcome was a new kind of guitar-based, blues and R&B-drenched;, rock and roll.
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During bump and grind group numbers and a sequence of national dances, it becomes clear that the Queen is powerfully attracted to von Rothbart's son. His father, the Private Secretary, looks on with an increasingly triumphant approval. The Prince also tries to approach young von Rothbart, only to be rebuffed. The Prince retreats into his mind and imagines dancing intimately with him, but the Prince's confusion interrupts the fantasy, and the son's movements turn from love to violence.
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Bill Lamb of About.com gave the song three and a half stars and commented, "It does seem that Britney's bump- and-grind singing style that we first heard 8 years ago on '...Baby One More Time' is still intact, and the 'It's Britney, bitch' announcement that opens the song implies a significant amount of fire remains. The opening alone bumps the song's rating up by half a star". Roger Friedman of Fox News dubbed the line as "cocky and fun".
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Band members from The Plasmatics appear on the album namely, Wes Beech and T.C. Tolliver on rhythm and lead guitar, and drums respectively. Simmons plays bass under the pseudonym-stage name of Reginald Van Helsing. Michael Ray was hired as lead guitarist for the album. Simmons also pulled in the guest-appearance talents of Ace Frehley on "Bump and Grind", Vinnie Vincent on "Ain't None Of Your Business", Paul Stanley on "Ready to Rock", and Eric Carr on "Legends Never Die".
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Michelle and Stephen are planning their wedding day. The first dance is R-Kelly's "Bump and Grind" and there are five boxes of Doritos for the reception. The more than a little "simple" Michelle seems oblivious to abusive yob Stephen's latent homosexual tendencies, perhaps more preoccupied with her unhealthy obsession with Princess Diana. In fact, Michelle is so obsessed that on the night of Diana's death she drove down to the local underpass to "feel how she must have felt".
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Based out of Air Studios in London, first under the production name, Bump and Grind, and later as themselves, they wrote and produced UK pop hits. The pair have worked on Louise Nurding's hit singles, "Naked" (1995) and "Arms Around the World" (1997); and the album track, "The Woman in Me". Other artist Steel and Holliday have worked for include: Andrew Dorff, Aswad, Atomic Kitten, Candice Alley, Baha Men, Boyzone, Eternal, Honeyz, Nightcrawlers, Stella Soleil, Sting, Shaggy, Thunderbugs, and Westlife.
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Beyoncé performed the song for the first time as a part of her residency show Revel Presents: Beyoncé Live in Revel Atlantic City. The performance featured Beyoncé leading a group of ten dancers to perform a choreographed bump and grind dance. While performing the choreography, Beyoncé did not sing the song live, but was accompanied vocally by her three backup vocalists, the Mamas. The performance of "Dance for You" was later included on the live album Live in Atlantic City (2013) which was filmed during the revue.
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A review of her dance at the time stated, "Faith Bacon parades through a moth-eaten fan dance that has lost its punch long ago."Stencell, A.W., 1999, "Girl Show: Into the Canvas World of Bump and Grind", p. 70. Throughout the 1940s, Bacon continued to perform her act at various clubs and venues throughout the United States. In 1948, she was hired to headline in a girl review, however on the last day of the performance she claimed she was owed $5044.00 in back salary.
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In Chicago, Blount quickly found work, notably with blues singer Wynonie Harris, with whom he made his recording debut on two 1946 singles, Dig This Boogie/Lightning Struck the Poorhouse, and My Baby's Barrelhouse/Drinking By Myself. Dig This Boogie was also Blount's first recorded piano solo. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet City strip clubs. In August 1946, Blount earned a lengthy engagement at the Club DeLisa under bandleader and composer Fletcher Henderson.
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In 2011, Love Seat Pig, a smaller Couch Pig replica, was raffled off for donations. In 2012, 2013, and 2014 Sundeep "OrangeShirtGuy (OSG)" Rao performed live "fortune telling" segments, offering humorous predictions about viewers' future lives when they sent in donations to Child's Play Charity. To close the marathon during some years, Jedediah "Jed" Johnson performed an improvisational song, "I Don't See Nothing Wrong (With the Mario Marathon)," in the style of R. Kelly's "Bump and Grind." References to events in the just-completed marathon were typically included.
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In 1929, the slow drag became the first African American social dance to be introduced to Broadway audiences, in the play Harlem. One description of the dance as performed in the play was "a couple dance in which a man and a woman press their bodies tightly together in a smooth bump and grind as they kept the rhythm of the music". It scandalized white critics with its raw sensuality. Many members of the black community were incensed by this picture of the underside of black urban life.
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Alonso was billed as the "Cuban H-Bomb", and mixed Afro-Cuban rhythms from her homeland with "bump and grind". Alonso was first noticed internationally in the 1959 film, Nel segno di Roma (Sheba and the Gladiator), which starred Anita Ekberg and Georges Marchal. Owing to a particularly erotic dance number, her picture and name became more prominent on the movie's publicity posters than either of the two leads, much to Ekberg's dismay. Most of Alonso's films were adventure movies in the style of Le fatiche di Ercole (Hercules).
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David Greenwald of The Oregonian wrote in 2014, "If there's a dance party in Portland, it's probably happening at Holocene, which is routinely home to laptop experimenters, DJs spinning hip-hop classics and LGBT-friendly events such as the monthly Gaycation." Queerty included the venue on its 2016 "5 Nightlife Gems You Can Only Find in Portland" list. Willamette Week readers named Holocene the city's "Best Place to Dance" in 2017. The newspaper's Sophie June wrote: > Holocene is maybe the best spot to go for some bump-and-grind—especially > outside the Old Town zone.
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"Let It Flow", included on the soundtrack to Waiting to Exhale, eventually became a staple of urban contemporary radio. The song is a sultry tune that requires the singer to reach down to her lowest register. On "Why Should I Care", Braxton ascends to a high, breathy croon, while on "I Don't Want To", R. Kelly provides the soft bump-and-grind sound, in a song about a romance in denial, and "I Love Me Some Him" was written by Andrea Martin and Gloria Stewart and produced by Soulshock & Karlin.
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"Bear hug" was a term used in the 1970s for extremely close dancing, which sometimes was called "bump and grind". In business, a "bear hug" is an unsolicited takeover bid which is so generous that the shareholders of the target company are very unlikely to refuse. A "bear hug" is also known as an "icebreaker game" in which an odd number of people are divided into pairs, leaving one member without a partner. All players sit down in a large circle, one partner in front of the other.
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M.I.A.M.I. received critical praise, especially in Pitbull's hometown of Miami. For the Miami New Times, Mosi Reeves especially praised Pitbull's performances in the second half of the album for "spitting thug raps and matching wits with Bun B from UGK, Trick Daddy, and Fat Joe." Evelyn McDonnell of The Miami Herald rated the album three out of four stars, calling Pitbull "a skilled rhymer with a fast, Eminem flow but a deeper, more serious voice" but criticizing the album for including "six gratuitous bump-and-grind tracks." Nationally, the album got good reviews from Allmusic and Stylus Magazine.
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Gonzalez gave the same grade and also took issue with the vocals, though she enjoyed the energy and Brittany's dancing. Rolling Stone Erica Futterman had a different view of the singing, and said that "Holly can't quite muster Jett's vocal power". Berk gave the song four stars out of five and noted the "amazing hairography", but Roberts called the performance a "leather-clad, hair-whipping mess". Slezak gave the performance an "A"; he wrote that Paltrow "completely captured the track's naughty spirit, and Brittany took it over the top with her bump and grind atop the music-room piano".
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In 1988 stories surfaced of Bates having groped and touched women who worked for him as well as others. Dorena Bertussi, a legislative assistant for Bates, testified that "he put my leg in between his and started to do a bump and grind on it, like a dog," and sued Bates for sexual harassment. In 1989, Bates was reprimanded by the House with their lightest possible censure, a "letter of reproval". He was the first congressman to be sanctioned by the House for sexual harassment; his case is now explicitly cited in the House ethics manual as an example of impermissible sexual harassment.
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In late 1971, Zeke Sheppard moved on to other things and the band, again by newspaper advertisement, hired Ted Purdy to take over the mantle of bass player for the otherwise intact band. In February 1972, the band recorded a live album featuring striptease artists at the run-down Victory Theatre, a vintage Toronto burlesque venue. The resulting album, "The Mainline Bump and Grind Review" was mixed at Moses Znaimer's Thunder Sound studios, long before Znaimer gained notoriety as the founder of CITY-TV. The album was recorded by Jay Messina and Jack Douglas on the Record Plant mobile studio out of New York City.
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After her time in Los Angeles she reworked her performance style, bringing back bump and grind and adding a new level of raunchiness to her stage acts. In 2014 she also added fire performing, and whip cracking skills into her repertoire and is always evolving and learning as her career progresses. She is well known for being a performer with hearing loss, wearing hearing aids on and offstage since 2015, as a child Millie had three operations to gain her hearing, one in the UK, and two in Australia. In 2019 Millie was the first performer to perform burlesque in the country of Nepal, at CREA's ReConference in Kathmandu.
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Described by the New York Journal in 1893 as "Neither dancing of the head nor the feet",Stencell, A. W. Girl Show: Into the Canvas World of Bump and Grind ECW Press, 1999. . p. 605 it was a dance performed by women of, or presented as having, Middle-Eastern or Eastern European Gypsy heritage, often as part of traveling sideshows. The hoochie coochie replaced the much older can-can as the ribald dance of choice in New York dance halls by the 1890s. Since the dance was performed by women, female impersonators or drag queens, a goochie man, or hoochie coochie man, either watched them or ran the show.
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Like the burlesque it glorifies – and with tender loving care – this boisterous, colorful, wiggling eulogy to the Lower East Side bump-and-grind culture of the 1920s is plotless, frenetic, funny and just as good as the real thing. It's nostalgic as all get out to see the lumpy dumpy chorus, the snorers and the leerers and the lechers around the runway, the Crazy House bit and the spielers and, beyond the theater, the East Side in its glory from the barrels of half-sours to the knishes to the Murphy-bedded hotel rooms. Director William Friedkin (this was his pre-The Birthday Party film) proves his sense of cinema again by remarkable intersplicing of newsreels and striking use of black-and-white fade-ins to color.
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In 2017, he disallowed the word "intercourse" in the trailer of 'Jab Harry Met Sejal' citing the fact that Indian mentality isn't ready for such progressiveness yet. He was criticised for his seemingly hypocritical stance as he had produced a film called Andaz in 1994, which had songs that glorified erections (Khada Hai) and the bump and grind of intercourse (Main Maal Gaadi) the very word he wished to censor. In August 2017, Nihlani was eventually sacked and replaced by noted ad-man & poet Prasoon Joshi after a controversial stint at the CBFC. In an interview soon after his removal from the post, Nihalani claimed that he was removed by the Government because he did not allow Indu Sarkar, a film about the emergency period, to be passed without cuts.
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Girl Unit contributed a remix of "How Can I Resist U," which, as the producer explained, added "super saturated sounds" and brought the "swirling synth line from the original down into a stormy, tense affair which switches up to this serene moment in which the signature vocals slip in, and then switch back with this constant hard/soft dynamic." Ezra Rubin, known by his stage name as Kingdom, made a "three chapter remix" of Corpcore. As he explained, "there’s an industrial funk build up that brings you to the door of the club, a really hyperactive bass drop area, then the floor to the club opens and you fall into the bump and grind blacklight room below." Kingdom wanted to remix "Corpcore" because he enjoyed the original track's clap programming.
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"What Goes Around... Comes Around", is a pop-R&B; song performed in a slow manner and was described by some music critics as a "sequel" to his 2002 song "Cry Me a River". "LoveStoned/I Think She Knows" is an R&B; and art rock song that contains sexually suggestive lyrics and includes "human beatbox sounds" in its composition. Rolling Stone described the song as "flowing from hip-hop bump-and-grind to an ambient wash of Interpol-inspired guitar drone." Timberlake co-wrote and appeared as a featured vocalist on several songs, including "Give It to Me" with Timbaland, "Ayo Technology" with 50 Cent, "4 Minutes" with Madonna and "Dead and Gone" with T.I.. In March 2013, after a seven-year hiatus from his solo music career, Timberlake released his third studio album, The 20/20 Experience.
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During the video, Jessica and her crew crank the floor-shaking energy up so high that the power goes out. This doesn't stop the party, however, as everyone seems to have brought their flashlights along and begin to dance seductively while some of the dancers engage in public displays of affections with their love interests. This is followed by the flashlight- wielding guy she conveniently bumps into earlier looking for her at the party, searching various rooms filled with some couples making out while a girl applying her makeup writes the song's title on the bathroom mirror in lipstick. Before the clip is over, the power comes back on and everyone on the dance floor dances more energetically while the flashlight-wielding guy finally reunites with his love interest Sutta and the two of them proceed to bump and grind in dance-pop bliss.
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Due to these theaters' proximity to controversially sexualized forms of entertainment like burlesque, the term "grindhouse" has often been erroneously associated with burlesque theaters in urban entertainment areas such as 42nd Street in New York City, where "bump and grind" dancing and striptease were featured. In the film Lady of Burlesque (1943) one of the characters refers to one such burlesque theatre on 42nd Street as a "grindhouse," but Church points out the primary definition in the Oxford English Dictionary is for a movie theater distinguished by three criteria: # Shows a variety of films, in continuous succession # Low admission fees # Films screened are frequently of poor quality or low (artistic) merit Church states the first use of the term "grind house" was in a 1923 Variety article, which may have adopted the contemporary slang usage of "grind" to refer to the actions of barkers exhorting potential patrons to enter the venue. Double, triple, and "all night" bills on a single admission charge often encouraged patrons to spend long periods of time in the theaters. The milieu was largely and faithfully captured at the time by the magazine Sleazoid Express.
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