It’s Nadine The Ranter (@BlackWomenRock) from Twitter again! Knocking on the doors of your mentions like a door-to-door salesman to promote a project called #BWinRock. This is something I have started to center black women as creators, pioneers and gatekeepers of rock music.
Slave To The Rhythm was my invitation to the beauty of interpretation, the power of production and the importance of a clear vision. It’s a fully formed idea, from its musical and sonic approach to the powerful imagery. The interviews felt like small intimacies, listening to her enunciation and her aura of grandeur, I eroticized her, her features, her beauty, her complicated androgyny.
I was living in D.C. when I heard these albums for the first time. D.C., the fertile ground from which the rhythm of this recording originates. GO-GO MUSIC often existed in dark, dank urban landscapes where sex, fashion, competition, comedy, jazz and crime mingled tightly together. We played and we danced with the rhythm and pulse of a unified chain gang, slaving for the hedonistic pleasures I so yearned for, all while I attempted to escape the shackles of obedience to a society that didn’t seem to care about me or a certain category of people and their creations.
— Me’Shell NdegéOcello