View allAll Photos Tagged Parenting
I love taking shots of birds in flight and swallows are especially challenging as they are speedy and change direction constantly. Years ago on Flickr, l saw a photo of a swallow in flight and that showed me that it could be done given a lot of practice
Birds leave when you to get too close, but I wanted a shot that had little cropping. So, I added a teleconverter making my lens 560mm so I could be further away. I also hid in the shadow of a low wall so I wouldn’t be as visible.
It was a bright day, so I was able to change my aperture to f/10 to get more of the shot in focus and to increase my shutter speed to 1/3200 trying to decrease motion blur. Fortunately, I was able to keep my ISO at 800 so my shot would not have too much noise. I set my camera on burst mode and waited until something happened. Then I got lucky!
Tree Swallow
Tachycineta bicolor
Member of Nature’s Spirit
Good Stewards of Nature
© 2018 Patricia Ware - All Rights Reserved
Best enlarged - minor crop
ƒ/10.0
560.0 mm
1/3200
ISO 800
I am honored that this photo was chosen as one of top 25 photos on Flickr in 2018 from around the world.
The plaque at the bottom of the Partners statue in Walt Disney World’s Magic Kingdom reads “We believe in our idea: a family park where parents and children could have fun – together”
I am thankful that Walt’s idea became a reality.
In this image the parent Barn Owl has just dropped off food to the young Barn Owl on top of the owl box on our property. The young owl hasn't been fed in at least fifteen hours and it's been screeching for food impatiently every since it came outside about twenty minutes earlier. The owls only come out and hunt (or wait for a delivery) after the sun has set.
Strobist info: Here's the description of the setup that I use for photographing the Barn Owls, and the owl house.The owl house is on top of a fifteen foot pole, which is about two feet in the ground, so the bottom of owl house is about thirteen feet off of the ground. I have one tall light stand on either side of the owl house, extended as high as they will go, and a third shorter light stand in the middle. The one on the left is lower because it is positioned on a slope that goes down from the house. The light stand in the middle is a shorter stand than the others, but it is extended as high as it will go. The flash on the left is a YN560, the middle flash is a Strobie 130 and the flash on the right is a YN560-II. All thee strobes are in manual mode set at 1/2 power. The middle and right flash are triggered by a Yongnuo RF-603 and the left flash is in slave mode and is triggered by the light from the other two flashes. I have a Yongnuo RF-603-N trigger on my camera which is triggered by an identical trigger that I have in my hand while sitting in a chair off camera. The Yongnuo triggers can act as either transmitter or receiver. The great thing about these triggers is that they are reliable, and are about $33 for a pair of them on Amazon. Wonderful technology at an amazing price. They're cheap, they work and they have a range of 15 meters.
Pictures that I've taken of the Barn Owls can be seen in my Barn Owls set. www.flickr.com/photos/9422878@N08/sets/72157630045851110/
Your parents, they give you your life, but then they try to give you their life.
I love you dad and mom!!!! <3333
Unedited..
teen girl wearing very colorful make-up and accessories.
Strobist:
used 3 lights out of 1 powerpack
Main/key light softbox on the right
a fill light with reflective umbrella opposite.
and a full blast background light at an angle
Seeing as how I didn't get to drag out all my lighting equipment at the surprise birthday party earlier that day, I simply had to do it in the evening. I scouted around Amber's parents' home (outdoors) for a good place to shoot. Then I realized the basement seemed like an interesting place to try some shots.
This particular pose, however, is not one I imagined shooting while I was setting up my equipment. After trying a few things, Amber began to get a bit woozy and had to sit down on the concrete floor. I sat with her a while to make sure she was ok, then it struck me how interesting her pose was. I quickly repositioned the overhead light we had been using for stand-up shots, and started shooting. This was my favorite from that series.
strobist: 1 Vivitar 285HV, camera right (in room behind subject), 1/16 power, bare, with a full CTB gel. 1 Vivitar 285HV, camera left high and pointed downward, 1/4 power, shot using a 15 degree SaxonPC grid in foam housing and a full CTO gel. Triggered via Cybersyncs. Setup shot here.
A cute little (baby) Swamphen this evening in Jells Park. Very alert. If I drew nearer, it would run to its parents.
Un flash Yongnuo 560 III à gauche dans parapluie blanc diffusant au 1/4 de la puissance et un autre Yongnuo 560 à droite dans parapluie blanc diffusant à la 1/2 puissance
A flash Yongnuo 560 III left in white umbrella diffusing to 1/4 of the power and another Yongnuo 560 right in white umbrella diffusing at 1/2 power
I took my parents to visit the botanic garden for the first time few weeks ago. It was fun family event that we havent had time to do since forever. My parents owns a little sub shop here in Memphis that actually got pretty famous. So if you ever in memphis please visit the Highland Super Sub Shop. XD
On the sidenote i made some wallpapers. Its on my website under download. check them out!
Have a wonderful sunday! slowly catching up on your beautiful streams!
Copyright © 2010 Studio494 Production
This was taken at a small wildlife preserve in a suburban neighborhood in Bear, DE, USA. The pond is used for rainfall runoff collection.
The sanctuary windows were made locally in Adelaide By Thompson & Harvey and were donated by parents connected with the college: Sacred Heart being the gift of Mrs Fred Tennant, Our Blessed Lady that of Mr Taylor, and St Joseph, Mr P Flannagan. Ref: Stained Glass Australia.
Other chapel stained glass windows were designed by Franz Xaver Zettler of Munich, Germany.
Sacred Heart College Memorial Chapel
The Marist Brothers were favoured with beautiful, though rather warm weather, for the double ceremony which took place at the Sacred Heart College, Glenelg, on Sunday afternoon last, when his Grace the Archbishop blessed and opened the extensions to the College recently erected, and laid the foundation stone of the fine new chapel which is to be erected as a memorial of the jubilee of the Marist Brothers in Australia and of the students of the College who were killed in the late European war.
A crowd of some thousand persons, including many visitors from the city and suburbs, assembled in the grounds to witness the ceremony.
The Archbishop first blessed the extensions at the rear of the College, assisted by Rev Frs Gatzemeyer and Considine.
He then blessed the ground on which the memorial chapel is being erected on the eastern side of the College, and blessed and laid the foundation stone. For this purpose he was presented by Bro Joseph with a silver trowel, suitably inscribed, the gift of the architects (Messrs Garlick and Jackman).
Fifty years ago four Marist Brothers arrived in Sydney to take up the work at St Patrick's School in that city. They began with 117 scholars. Since then they had extended their operations from New Norcia, in the West, to Sydney, in the East, throughout the Commonwealth, in the Dominion of New Zealand, and the islands of the Pacific, and had nearly 300 brothers engaged in scholastic work, and something like 9000 scholars.
In order to signalise this jubilee a committee was formed. They were anxious to mark the occasion by some permanent memorial. The Marist Brothers had never made an appeal to the public for help during their 50 years' existence in Australia, and he thought that was a record for any of the Orders in Australia. The committee also desired to erect a memorial to the ex-students of the College who had fallen in the war, and it had been decided that the two objects could best be combined in the erection of a college chapel.
Bro. Joseph said it was his pleasant duty to introduce his Grace the Archbishop, who had kindly come down to perform the ceremony.
The one concern of the appeal committee was the erection of the chapel, which would cost between £9000 and £10,000, and which they all knew would be an architectural ornament, not only to the college, but to the district. The committee was not merely an ornamental body. It had done a large amount of work in the 12 months since its formation with his Grace's consent, and deserved their best thanks. It had £3300 in hand, of which the members had contributed £1200, over a third, out of their own pockets. They had shown themselves willing to back their enthusiasm with their cash.
In addition to being a memorial of the jubilee, the building would serve another purpose, rather by coincidence than by set design. His Grace would remember that he was present five years ago, when Sir Henry Galway unveiled a roll of honour to over 300 of their students who had enlisted. Some 70 or 80 went to the front afterwards, bringing the total up to nearly 400. Between 60 and 70 of these had made the supreme sacrifice. It was thought fitting to commemorate them by a jubilee and memorial chapel.
The visitors then inspected the building and extensions, and afternoon tea was served.
The style adopted for the new chapel is that known as the Romanesque, and the materials to be used, bluestone with cement dressings, will harmonize with the architectural treatment of the existing buildings. The foundations are of specially designed reinforced cement concrete. The walls will be built of Tapley's Hill bluestone, with cement quoins and dressings to all door and window openings. The trustees have obtained a lease of a quarry at Tapley's Hill, and only specially selected stone will be used.
All the window frames will be of steel, with subdued colour-stained glass leaded lights of simple design. The joinery will be of blackwood, specially chosen for beauty of grain, and polished. The whole of the walls internally will be finished in cement and brown sand, thus giving a permanent buff shade effect, and they will be jointed to represent stone. The ceiling will be panelled in wood and stained to harmonize with the cement-finish of the walls.
The roof is to be covered with Roman-pattern terra cotta tiles. The width of the chapel will be 28 feet, and the length 66 feet, with aisles on each side six feet wide. The sanctuary at the eastern end will be 18 feet wide and 21 feet long, semicircular and lighted by three stained glass windows placed above the altar.
The entrance porch will be 14 feet by 10 feet, with white Angaston marble steps leading from the carriage drive. At each side of the entrance porch will be a tower 12 feet square carried up to a height of 60 feet, the upper portion of which will be octagonal and surmounted with a copper dome and cross.
Provision will be made over the entrance porch for an organ chamber, and curved and panelled wooden gallery for the organ-passage ways leading from the sanctuary.
The whole of the floors will be of reinforced cement concrete, covered with wood parquetry flooring of specially selected blackwood and oak. Messrs Garlick and Jackman are the architects, and Messrs Dwyer and Warner the contractors.
[Ref: Southern Cross Friday 29-9-1922]
The blessing and opening of the magnificent Romanesque Memorial Chapel recently erected in the grounds of the Sacred Heart College, Glenelg, will take place on Sunday, March 30, at 3.15 pm. The ceremony will be performed by his Grace the Archbishop. The public are cordially invited to attend, especially the parents and friends of Marist Bros' old boys who fell in the war, of whom the chapel is a memorial. It also commemorates the centenary of the Marist Brothers in France in 1817 and the golden jubilee of their establishment in Australia in 1922.
The chapel, which was built at a cost of £11,000, is an imposing structure of Tapley Hill bluestone. In the porch two beautiful statues of Youth will serve as lights. The chapel has seating accommodation for 350 persons.
[Ref: Southern Cross Friday 14-3-1924]
A beautiful Parent Bug with her brood of early instar nymphs on a birch leaf in the garden. Two additional pictures below.
Parent’s Login
The article is about Parent’s login but the article is for Teachers. Yes! Continue reading to know why.
Oh my Busy World! Educated parents but have no time to know how their kid’s education is shaping up.
How often parent teacher’s meet are held at schools and ‘how many parents really turn up to the meetings’ and how many hang up on calls with teachers giving excuses? But we really care about future of the growing buds. It’s important that every parent should know not only their kids academic performance but also when they win a first prize in running race or a drawing competition.
World was created from BIG BANG they said but see now the world runs on small phones! It’s the technology that’s ruling the world. People getting socialized, working on smart techs and trying new things have no time for traditional Parents Teacher’s meeting.
Modern parents need Modern monitoring methods. Don’t just make techno schools and try making students smarter. Make parents aware too.
Wake up, Schools don’t you feel it’s important to connect with the parents even if they’re busy? Oh! Yes it is.
With this concern we decided to connect Teachers and parents in the easiest way possible. MarvelSoft’s School Admin connects schools and parents online with Parent Login integrated with the software.
So how does it help parents and Schools?
We’ve desktop version of parent’s login app and also provide android application. In android application, the app is exclusively made available on the google play store to the parents of the kids studying in your school.
Parents are given a username and password to login into the software. The username and password is generated by the software for every student and the login details can be sent to the parents via SMS or mail from the School Admin itself.
Parents can use their respective username and password and login into the parent’s application to view student’s school activities and academic performance.
Not just the performance, a working mother can view their son’s school dairy on the way coming back home and plan for it before hand. A hard working dad can view his daughter’s Cultural event dates scheduled to free from work.
With the easy and beautiful User Interface, it’s quick and easy for the parents to monitor their kids even in their busy schedule.
Great Crested Grebes.
This juvenile gcg would soon be chased off to give it's smaller sibling a chance.
St Aidan's Nature Park.
Grace Beverly Jones (b19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.
In 1977, Jones secured a record deal with Island Records, initially becoming a star of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985). She scored Top 40 entries on the UK Singles Chart with "Pull Up to the Bumper", "I've Seen That Face Before", "Private Life", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude.
Jones appeared in some low-budget films in the US during the 1970s and early 1980s. In 1984, she made her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the 1985 James Bond movie A View to a Kill as May Day. In 1986, she played a vampire in Vamp, and acted in and contributed a song to the 1992 Eddie Murphy film Boomerang. She appeared alongside Tim Curry in the 2001 film Wolf Girl. For her work in Conan the Destroyer, A View to a Kill, and Vamp, she was nominated for Saturn Awards for Best Supporting Actress.
In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honored with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s and has been an inspiration for artists including Annie Lennox, Lady Gaga, Rihanna, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In December 2016, Billboard magazine ranked her as the 40th most successful dance artist of all time.[10]
1948–73: Early life, and modeling career
Grace Jones was born in 1948 (though most sources say 1952) in Spanish Town, Jamaica, the daughter of Marjorie (née Williams) and Robert W. Jones, who was a local politician and Apostolic clergyman The couple already had two children, and would go on to have four more.[19] Robert and Marjorie moved to the East Coast of the United States,[19] where Robert worked as an agricultural labourer until a spiritual experience during a failed suicide attempt inspired him to become a Pentecostal minister.[20] While they were in the US, they left their children with Marjorie's mother and her new husband, Peart.[21] Jones knew him as "Mas P" ('Master P') and later noted that she "absolutely hated him"; as a strict disciplinarian he regularly beat the children in his care, representing what Jones described as "serious abuse".[22] She was raised into the family's Pentecostal faith,[23] having to take part in prayer meetings and Bible readings every night.[24] She initially attended the Pentecostal All Saints School,[25] before being sent to a nearby public school.[26] As a child, shy Jones had only one schoolfriend and was teased by classmates for her "skinny frame", but she excelled at sports and found solace in the nature of Jamaica.[27]
"[My childhood] was all about the Bible and beatings. We were beaten for any little act of dissent, and hit harder the worse the disobedience. It formed me as a person, my choices, men I have been attracted to... It was a profoundly disciplined, militant upbringing, and so in my own way, I am very militant and disciplined. Even if that sometimes means being militantly naughty, and disciplined in the arts of subversion. ."
— Grace Jones, 2015.[28]
Marjorie and Robert eventually brought their children – including the 13 year old Grace – to live with them in the US, where they had settled in Lyncourt, Salina, New York, near Syracuse.[29][30] It was in the city that her father had established his own ministry, the Apostolic Church of Jesus Christ, in 1956.[31] Jones continued her schooling and after she graduated, enrolled at Onondaga Community College majoring in Spanish.[32][33] Jones began to rebel against her parents and their religion; she began wearing makeup, drinking alcohol, and visiting gay clubs with her brother.[34] At college, she also took a theatre class, with her drama teacher convincing her to join him on a summer stock tour in Philadelphia.[35][33] Arriving in the city, she decided to stay there, immersing herself in the Counterculture of the 1960s by living in hippie communes, earning money as a go-go dancer, and using LSD and other drugs.[36] She later praised the use of LSD as "a very important part of my emotional growth... The mental exercise was good for me".[37]
She moved back to New York at 18 and signed on as a model with Wilhelmina Modelling agency. She moved to Paris in 1970.[33][38] The Parisian fashion scene was receptive to Jones' unusual, androgynous, bold, dark-skinned appearance. Yves St. Laurent, Claude Montana, and Kenzo Takada hired her for runway modelling, and she appeared on the covers of Elle, Vogue, and Stern working with Helmut Newton, Guy Bourdin, and Hans Feurer.[39] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting his line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Le Sept, one of Paris's most popular gay clubs of the 1970s and '80s, and socialised with Giorgio Armani and Karl Lagerfeld.[40] In 1973, Jones appeared on the cover of a reissue of Billy Paul's 1970 album Ebony Woman.
1974–79: Transition to music, and early releases
Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit.[41] The artwork to the album was designed by Richard Bernstein, an artist for Interview.
In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD.[42] Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."[4]
Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.[43]
1980–85: Breakthrough, Nightclubbing, and acting
With anti-disco sentiment spreading, and with the aid of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured by the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was also the first to be recorded with Jones.[44][45] Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones' reinterpretation.[46] The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material.[47] By 1981, she had begun collaborating with photographer and graphic designer Jean-Paul Goude, with whom she also had a relationship.[48]
The 1981 release of Nightclubbing included Jones' covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Three songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Police on the album Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Top 5 in four countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts.
Nightclubbing claimed the number 1 slot on NME's Album of the Year list.[49] Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s.[50] Nightclubbing is now widely considered Jones' best studio album.[51] The album's cover art is a painting of Jones by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty live on air after he had turned to interview other guests, making Jones feel she was being ignored.[52]
Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982 and recorded Living My Life; the album resulted in Jones' final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a limited single release, the title track was left off the album. Further session outtakes included "Man Around the House" (Jones, Reynolds) and a cover of "Ring of Fire", written by June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration; the artwork has been described as being as famous as the music on the record. It features Jones' disembodied head cut out from a photograph and pasted onto a white background. Jones' head is sharpened, giving her head and face an angular shape.A piece of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.
Jones' three albums under the production of the Compass Point All Stars resulted in Jones' One Man Show, a performance art/pop theatre presentation devised by Goude and Jones in which she also performed tracks from the albums Portfolio ("La Vie en rose"), Warm Leatherette, ("Private Life", "Warm Leatherette"), Nightclubbing ("Walking in the Rain", "Feel Up", "Demolition Man", "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)") and from Living My Life, "My Jamaican Guy" and the album's title track. Jones dressed in elaborate costumes and masks (in the opening sequence as a gorilla) and alongside a series of Grace Jones lookalikes. A video version, filmed live in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video the following year.
After the release of Living My Life, Jones took on the role of Zula the Amazonian in Conan the Destroyer (1984) and was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred as May Day, henchman to main antagonist Max Zorin in the 14th James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. That same year, she was featured on the Arcadia song "Election Day". Jones was among the many stars to promote the Honda Scooter; other artists included Lou Reed, Adam Ant, and Miles Davis Jones also, with her boyfriend Dolph Lundgren posed nude for Playboy.
After Jones' success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Island. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones.All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in German-speaking countries and in the Netherlands, where it secured Top 10 placings. It reached number 12 on the UK Albums Chart in November 1985 and became the second-highest-ranking album released by Jones. Jones earned an MTV Video Music Award nomination for the title track's music video.
After her success with Slave to the Rhythm, Island released Island Life, Jones' first best-of compilation, which featured songs from most of her releases with Island (Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American writer and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the UK, New Zealand and the United States.The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones' celestial body in a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible.
The artwork, a piece called "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used as a backdrop for the music video of Jones' hit single "La Vie en rose". The artwork has been described as "one of pop culture's most famous photographs". The image was also parodied in Nicki Minaj's 2011 music video for "Stupid Hoe", in which Minaj mimicked the pose.
1986–89: Slave to the Rhythm, Island Life, further films, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era.[67] The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones' last entry to date on US Billboard 200 albums chart. The same year, Jones starred as Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the film, Jones was awarded a Saturn Award for Best Supporting Actress.
In 1987, Jones appeared in two films, Straight to Hell, and Mary Lambert's Siesta, for which Jones was nominated for Golden Raspberry Award for Worst Supporting Actress. Bulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured as a guest vocalist on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.
1990–2004: Boomerang, soundtracks, and collaborations
In 1990, Jones appeared as herself in the documentary, Superstar: The Life and Times of Andy Warhol. 1992 saw Jones starring as Helen Strangé, in the Eddie Murphy film Boomerang, for which she also contributed the song "7 Day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.7, and "Let Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electro album titled Black Marilyn with artwork featuring the singer as Marilyn Monroe. "Sex Drive" was released as the first single in September 1993, but due to unknown reasons the record was eventually shelved. The track "Volunteer", recorded during the same sessions, leaked in 2009.[68]
In 1996, Jones released "Love Bites", an up-tempo electronic track to promote the Sci-Fi Channel's Vampire Week, which consisted of a series of vampire-themed films aired on the channel in early November 1996. The track features Jones singing from the perspective of a vampire. The track was released as a non-label promo-only single. To this day, it has not been made commercially available.[69] In June 1998, she was scheduled to release an album entitled Force of Nature, on which she worked with trip hop musician Tricky.[70] The release of Force of Nature was cancelled due to a disagreement between the two, and only a white label 12" single featuring two dance mixes of "Hurricane" was issued at the time;[71] a slowed-down version of this song became the title track of her comeback album released ten years later while another unreleased track from the album, "Clandestine Affair" (recycling the chorus from her unreleased 1993 track "Volunteer"), appeared on a bootleg 12" in 2004.[72] Jones recorded the track "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster television series as the Umpatra Warrior.
The same year, Jones recorded "The Perfect Crime", an up-tempo song for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was also ranked 82nd place on VH1's "100 Greatest Women of Rock & Roll".[citation needed] In 2000, Jones collaborated with rapper Lil' Kim, appearing on the song "Revolution" from her album The Notorious K.I.M. In 2001, Jones starred in the made-for-television film, Wolf Girl (also known as Blood Moon), as an intersex circus performer named Christoph/Christine. In 2002, Jones joined Luciano Pavarotti on stage for his annual Pavarotti and Friends fundraiser concert to support the United Nations refugee agency's programs for Angolan refugees in Zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena
My parents celebrated their Ruby wedding anniversary in 1981. My sisters and I put on a surprise lunch for them and invited their bridesmaid (her sister) and groomsman. The red wine glass was given to them as a present on this occasion. Unfortunately they didn't get to celebrate their Diamond anniversary as they both passed away in the 1980s - my mother from breast cancer at age 69 and my father died 4 years later.