Washington, Tyne and Wear
Washington is a new town in the City of Sunderland local government district of Tyne and Wear and part of historic County Durham. Washington is located geographically at an equal distance from the centres of Newcastle and Sunderland, hence it has close ties to all three cities. Washington was designated a new town in 1964 and became part of the City of Sunderland in 1974, it expanded by the creation of new villages and the absorption of areas of Chester-le-Street, to house overspill population from surrounding cities. At the 2011 census, Washington had a population of 67,085, compared to 53,388 in 2001. Early references appear around 1096 in Old English as Wasindone; the etymological origin is disputed and there are several proposed theories for how the name "Washington" came about. Early interpretations included Wassyngtona; the origins of the name Washington are not known. The most supported theory is that Washington is derived from Anglo-Saxon Hwæsingatūn, which means "estate of the descendents of Hwæsa".
Hwæsa is an Old English name meaning "wheat sheaf", the Swedish House of Vasa being a more famous cognate. Due to the evolution of English grammar, modern English lacks the Germanic grammatical features that permeated Anglo-Saxon English; this adds an air of confusion for most in regards to the name Hwæsingatūn. It is composed of three main elements: "Hwæsa" – most the name of a local Anglo-Saxon chieftain or farmer. "ing" – a Germanic component that has lost its original context in English: ing means " of/from". In the name Hwæsingatūn, "ing" is conjugated to "inga" in accordance with the genitive plural declension of OE. "tūn" – root of the modern English "town", is a cognate of German Zaun, Dutch tuin and Icelandic tún. The word means "fenced off estate" or more "estate with defined boundaries"; the combined elements therefore create the name Hwæsingatūn with a full and technical meaning of "the estate of the descendants of Hwæsa". However, there has been no evidence found of any chieftain/land owner/farmer in the area by the name of Hwæsa, although any such records from the time would have been long lost by now.
Although this is by no means the definite theory of origin, most scholars and historians agree that it is the most likely. Another of the popular origin theories is that Washington is in fact derived from the Old English verb wascan and the noun dūn meaning "hill"; this theory originates from the proximity of the river Wear to the actual Anglo-Saxon hall at the time. This idea is not backed by linguistic evidence. Combining the two Old English words "wascan" and "dūn" would have meant "washed hill" and not "washing hill"; the Old English "dūn" meant a range of rolling hills, as evidenced by the naming of the North and South Downs in southern England. William de Wessyngton was a forebear of George Washington, the first President of the United States, after whom the US capital and many other places in the United States are named. Though George Washington's great-grandfather John Washington left for Virginia from Hertfordshire, Washington Old Hall was the family home of George Washington's ancestors.
The present structure incorporates small parts of the medieval home. American Independence Day is marked each year by a ceremony at Washington Old Hall; the Old Hall may have been built by William de Hertburn, who moved to the area in 1183. As was the custom, he took the name of his new estates, became William de Wessyngton. By 1539, when the family moved to Sulgrave Manor in Northamptonshire, the spelling "Washington" had been adopted; the present Hall is an early 17th-century small English manor house of sandstone. Only the foundations and the arches between the Kitchen and the Great Hall remain of the original house. Sir Isaac Bell and his wife Margaret, parents of Gertrude Bell, lived in Washington New Hall on The Avenue. After Margaret's death in 1871, Sir Isaac set up an orphanage in the house, named Dame Margaret Home in his late wife's honour, it became a Barnardo's home until World War II. After the war, it was taken over by the National Coal Board as a training centre, it is now a private residence.
Washington's design was developed through the New Towns concept aiming to achieve sustainable socio-economic growth. The new town is divided into small self-sufficient "villages", it was also divided into the 15 numbered districts, a fate that confused many visitors to the area. These numbered districts have been removed as well as increased, now road signs indicate the villages' names instead of district number. Washington's villages are called: Donwell Usworth Concord Sulgrave Albany Glebe Barmston Biddick Washington Village Columbia Blackfell Oxclose Ayton Lambton Fatfield Harraton RickletonMount Pleasant was added to the list of numbered districts, despite being out of the Town "boundary line" of the River Wear and having a DH4 Postcode. Built on industry, Washington contains several industrial estates, named after famous local engineers, such as Parsons, Stephenson, Pattinson and Emerson. A lot of the land that makes up the town was purchased from the Lambton family
Leftism is the debut studio album by English electronic music duo Leftfield, released in 1995 on Columbia Records. It contained a mixture of new tracks along with reworked versions of previous Leftfield singles; the album contains guest spots from musicians not associated with dance music at the time such as John Lydon from Public Image Ltd. and Toni Halliday from Curve. The album was described as progressive house, although some journalists found that label too limiting, suggesting the album incorporated many genres. After completing the album, the duo were not pleased with it. On its release, the album was well received from the British press with positive reviews from the NME and Q; the album was lost to Portishead. Leftism sold well and was released months in the United States. Critics have praised the album as one of the major album-length works of dance music, with Q referring to it as "the first complete album experience to be created by house musicians and the first quintessentially British one".
Leftism is an album that consists of singles recorded by Leftfield members Paul Daley and Neil Barnes between 1992 and 1995, with the exception of the single "Not Forgotten", not included, other new tracks. These earlier singles included "Release The Pressure", "Song of Life", "Open Up"; some of these singles were changed drastically from their original versions for Leftism. Barnes stated that "rethinking and re-recording a few of our older tracks put us on the right road."Barnes chose the guest vocalists who were not associated with dance music, as he "love taking people with nothing to do with dance music, like Toni, or Danny Red, putting them in a different environment, It's getting back to the original ethic of remixing, taking anything and turning it into dance music." Barnes was a fan of the group Curve, had Toni Halliday from Curve to come in and work on the song "Original". "Open Up" features John Lydon on vocals. Neil Barnes stated. Leftfield wanted to do a track with Lydon for about two years but were held up as "it took all that time to get him to commit to doing it and to get the track good enough."
Two reggae vocalists are featured on the album, including Danny Red on "Inspection" and Earl Sixteen on "Release the Pressure". Lemn Sissay guests on "21st Century Poem". After completing the production on Leftism, Rob Daley was unhappy with how the album turned out stating that "It sounded shit It seemed to have no cohesion, the tracks just didn't seem to hang well together, but having lived with it for a while it sounds much better." Paul Daley echoed these statements saying "We did all the tracks, listened to them and decided it sounded a fucking mess we went back, messed around with the running order and chopped a lot of things out. Now it sounds complete, something that can be listened to in one go."The album closes with a hidden track that follows an unique sequence: "21st Century Poem" climaxes and cuts off for dramatic effect, after a 30 second period of silence, a sub-bass loop plays. John Bush of the online music database Allmusic stated the album is not a "progressive house LP" and that it "spans a wide range of influences".
Clash expanded on this, describing "Release the Pressure" and "Inspection" as dub influenced tracks while "Storm 3000" is a bass-heavy track that includes jungle rhythms. The Q described "Original" as a "sultry rock / electro fusion" A review in Slant Magazine commented that "Leftism eschews mainstream categorization and manages to reside in the leftfield of all the electronic genres it propagates". Leftism was released on 30 January 1995 in the United Kingdom on Columbia Records. In the United States, it was released on 15 August; the single "Open Up" peaked at number 13 on the UK singles charts. In the United States, "Afro-Left" peaked at number 20 on the Club Play Singles chart in 1995. Leftism sold over 220,000 copies.. On 5 May 2017 the band released Leftism 22; this re-release features a remastered album as well a bonus disc of remixes by current artists, including Adrian Sherwood. Leftism lost to Portishead's Dummy. Mixmag praised the singles for Leftism, stating that "classics like'Release The Pressure' and'Song of Life' were the cement that welded a whole new British house scene together.
London proudly joined the league of house capitals. British dance music has never looked back." The NME praised the album as helping keep British house music alive "when the boffins were getting complacent, the junglists were lining their pockets and the trip-hoppers were muscling in, Leftfield have returned to save the night." The NME gave the album a nine out of ten, declaring that "there's a scope and spirit, an energy and a madness to'Leftism' which'll make it one of the few dance derived that'll stay up there, bouncing around in the great echo chamber of futurity for years." Q awarded the album four stars out of five, stating that "Leftfield unleash some of the most thumping techno to be housed under a major label" and "On this evidence, Leftfield join Underworld, The Prodigy and Orbital as dance acts to prove themselves across an album."Pitchfork gave a negative reception to Leftism when reviewing the group's follow-up Rhythm and Stealth, stating that when Leftism was released "few could say it was worth the wait" and "Had'Open Up' and'Release the Pressure' not been included in its track listing, it seems unlikely that anyone would be talking about Leftfield nowadays."
Reviews of the album were positive. In 2000, Q gave a re-issue of the album four stars out of five, opining that "It's hard
Shaken 'n' Stirred
Shaken'n' Stirred is the third solo album by former Led Zeppelin vocalist Robert Plant, released in 1985 on the Es Paranza label. It featured his second Mainstream Rock Tracks top hit, "Little by Little", #1 on the chart for two weeks. Rhino Entertainment released a remastered edition of the album, with one bonus track, on 20 March 2007. Side one"Hip to Hoo" – 4:51 "Kallalou Kallalou" – 4:17 "Too Loud" – 4:07 "Trouble Your Money" – 4:14 "Pink and Black" – 3:45Side two"Little by Little" – 4:43 "Doo Doo a Do Do" – 5:09 "Easily Lead" – 4:35 "Sixes and Sevens" – 6:042007 Remaster bonus track "Little by Little" – 5:12 Robert Plant – vocals Robbie Blunt – guitar, synthesizer guitar Paul Martinez – bass guitar, guitar Jezz Woodroffe – keyboards Richie Hayward – drums Toni Halliday – additional vocals Benji LeFevre – producer, engineer Tim Palmer – producer, engineer Album - Billboard Singles - Billboard
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
Curve were an English alternative rock and electronica duo from London, formed in 1990 and split in 2005. The band consisted of Dean Garcia. Halliday wrote the lyrics of their songs and they both contributed to songwriting. An important collaborator was producer Alan Moulder, who helped them to shape their blend of heavy beats and densely layered guitar tracks set against Halliday's vocals. Curve released five studio albums, five compilation albums, a string of EPs and singles. Dean Garcia, half Hawaiian and half Irish, had played in some small bands when he auditioned for Eurythmics; the English-born Toni Halliday met Dave Stewart of Eurythmics after he had read a rock magazine interview with her in which she praised his pre-Eurythmics band, The Tourists. Halliday and Garcia were introduced to each other by Stewart. Garcia had played bass guitar as part of Eurythmics' live band in 1983–84 and on two of their studio albums, while Halliday was signed to Stewart's Anxious Records label as a solo artist.
The pair formed an ill-fated group named State of Play in the mid-1980s before parting ways, embarking on a no less ill-fated solo career and further stints as a backing musician, reuniting for a more long-term partnership in Curve. As Curve and Garcia released three acclaimed and successful EPs throughout 1991 on Anxious Records, they made an impact on the UK album charts in 1992 with their debut studio album Doppelgänger. The group toured extensively during this period, with Halliday and Garcia being supported on stage by two additional guitarists and a drummer. Highlights of Curve's live career included a performance at the 1992 Glastonbury Festival, a package tour of the United States and Canada with The Jesus and Mary Chain and Spiritualized. In 1992, the band released the compilation album Pubic Fruit, containing their first three EPs and an extended mix of the single "Faît Accompli". Toni Halliday featured on two songs from Recoil's album, Bloodline. In 1993, Curve issued Radio Sessions, a compilation album of recordings made during their two sessions for John Peel's show on the UK broadcasting station BBC Radio 1.
Curve's second studio album, the harder-edged Cuckoo, did not repeat the UK Top 20 success of the band's debut. That coupled with the stressfulness of the tour in support of the record, may have contributed to Halliday and Garcia's decision to disband the group in 1994. "It got to the point where Dean didn't want to tour," Halliday told Select magazine. "We did reach that point of hedonistic head-fuckery: glugging JD, hollering,'Where's the schnozz?' You get that out of your system and think,'This is sad.' We couldn't have gone on like that." During their hiatus, Halliday formed the band Scylla and Garcia began a solo project under the name Headcase. Scylla's track "Helen's Face" was featured on the Showgirls soundtrack. Halliday collaborated with The Future Sound of London for the song "Cerebral" from Lifeforms, with Freaky Chakra for the song "Budded on Earth to Bloom in Heaven" from Lowdown Motivator, with Leftfield for their #18 UK hit "Original" from Leftism, she featured on "Original"'s music video.
Curve returned to the music business in 1996 with the EP Pink Girl With the Blues. In the same year, Curve collaborated with Paul Van Dyk by reworking the instrumental song "Words" from the album Seven Ways and adding Halliday's vocals. In 1997, they released "Chinese Burn", the first single to be taken from their third studio album Come Clean; the album is a set of songs displaying a more pronounced influence of electronic music than earlier releases. Curve continued to do small-scale live shows around Europe; the follow-up to Come Clean was an internet-only compilation titled Open Day at the Hate Fest, released in 2001. In the same year, Curve issued Gift, their fourth studio album. Kevin Shields of My Bloody Valentine played guitar on the songs "Want More Need Less" and "Perish"; the opening song "Hell Above Water" has gained the highest public profile as a result of its use in trailers for the 2002 film Spider-Man and the 2008 film Iron Man. In 2002, Curve released the internet-only fifth studio album The New Adventures of Curve and various download-only tracks via their official site.
In 2003, Toni Halliday collaborated with the industrial rock Japanese band Acid Android on the song "Faults" from the album with the same name. A two-CD retrospective compilation entitled The Way of Curve summarized the group's output in 2004; the first disc included the band' singles. The second disc contained a selection of B-sides and remixes. In early 2005, Halliday announced. In 2010, Curve published some of their most important releases as digital downloads on their Bandcamp page, including a new compilation with 39 songs entitled Rare and Unreleased. In 2017 Curve re-released the Doppelganger cd as a double album; this release included their first three EPs. The Cuckoo album was re-released as a double album and included, amongst other songs, several remixes. Toni Halliday featured on The Killers' 2006 Christmas track "A Great Big Sled"; this song was included in the 2011 compilation Christmas EP. On 27 February 2008, she introduc
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Showgirls is a 1995 erotic drama film written by Joe Eszterhas and directed by Paul Verhoeven. It stars former teen actress Elizabeth Berkley, Kyle MacLachlan, Gina Gershon; the film centers on a "street-smart" drifter who ventures to Las Vegas and climbs the seedy hierarchy from stripper to showgirl. Produced on a then-sizable budget of $45 million, significant controversy and hype surrounding the film's amounts of sex and nudity preceded its theatrical release. In the United States, the film was rated NC-17 for "nudity and erotic sexuality throughout, some graphic language, sexual violence." Showgirls was the first NC-17 rated film to be given a wide release in mainstream theaters. Distributor United Artists dispatched several hundred staffers to theaters across North America playing Showgirls to ensure that patrons would not sneak into the theater from other films, to make sure film-goers were over the age of 17. Audience restriction due to the NC-17 rating coupled with poor reviews resulted in the film becoming a box office bomb, grossing just $37 million.
Despite a negative theatrical and critical consensus, Showgirls enjoyed success on the home video market, generating more than $100 million from video rentals, allowing the film to turn a profit and become one of MGM's top 20 all-time bestsellers. For its video premiere, Verhoeven prepared an R-rated cut for rental outlets that would not carry NC-17 films; this edited version deletes some of the more graphic footage. Despite being ranked as one of the worst films made, Showgirls has become regarded as a cult classic, was released on Blu-ray in June 2010 and has been subject to critical re-evaluation, with some notable directors and critics declaring it a serious satire worthy of praise. An unofficial spin-off sequel entitled Showgirls 2: Penny's from Heaven, focused on the minor character Penny, played by Rena Riffel, was written, produced and directed by Riffel, it was released at midnight film showings, art house theaters, film festivals, charity non-profit organizations, was direct-to-video.
Nomi Malone is a young drifter. After being robbed by her driver, Nomi meets Molly Abrams, a costume designer who becomes her roommate. Molly invites Nomi backstage at Goddess, the Stardust Casino show where she works, to meet Cristal Connors, the diva star of the topless dance revue; when Nomi tells Cristal she dances at Cheetah's Topless Club, Cristal derisively tells her that what she does is akin to prostitution. When Nomi is too upset to go to work that night, Molly takes her dancing at The Crave Club. Nomi is arrested after causing a fight involving a bouncer at the club. James bails Nomi out of jail. Cristal and her boyfriend Zack Carey, the entertainment director at the Stardust, visit Cheetah's and request a lap dance from Nomi. Although the bisexual Cristal is attracted to Nomi, her request is based more on her desire to humiliate Nomi by proving she engages in sex work. Nomi reluctantly performs the lap dance after Cristal offers her $500. James happens to witnesses the lap dance, he visits Nomi's trailer the next morning and, like Cristal, tells Nomi that what she is doing is no different from prostitution.
Nomi and James have a brief fling. Cristal arranges for Nomi to audition for the chorus line of Goddess. Tony Moss, the show's director, humiliates Nomi by asking her to put ice on her nipples to make them hard while Cristal eagerly watches offstage. Furious, Nomi abruptly leaves the audition after scattering ice everywhere in a fit. Despite her outburst, Nomi quits Cheetah's. Cristal further humiliates Nomi by suggesting she make a "goodwill appearance" at a boat trade show which turns out to be a thinly disguised form of prostitution. Undeterred, Nomi claim her mantle, she seduces Zack. Nomi wins the role, but when Cristal threatens legal action against the Stardust, the offer is rescinded. After Cristal gloats and taunts her, Nomi pushes her down a flight of stairs. Unable to perform, Cristal is replaced by Nomi as the show's lead. Although Nomi has secured the fame she sought, she alienates Molly, who realizes she pushed Cristal down the stairs. Molly relents and attends Nomi's opening night celebration at a posh hotel, where she meets her idol, musician Andrew Carver.
Carver lures Molly to a room where he helps one of his bodyguards rape her. Molly is hospitalized after the assault. Nomi wants to report the assault to the police, but Zack tells her the Stardust will bribe Molly with hush money to protect their celebrity performer, Carver. Zack confronts Nomi about her sordid past: her real name is Polly, she became a runaway and prostitute after her parents' murder-suicide, she has been arrested several times for drug possession and assault with a deadly weapon. Zack blackmails Nomi by vowing to keep her past quiet if she will not tell the police about the assault. Unable to obtain justice for Molly without exposing her past, Nomi decides to take justice into her own hands, she beats him bloody. Nomi pays two hospital visits: one to Molly to let her know that Carver's actions did not go unpunished, another to Cristal to apologize for injuring her. Cristal admits; because her lawyers secure her a large cash settlement, Cristal forgives Nomi, th