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LaDonna Rama - JPop.com
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LaDonna Rama

LaDonna Rama

LaDonna Rama


Ladonna’s electronic dancescapes zoom in on the unique, delusional-obsessive reality of the fin de siecle camp sensibility. Prodding zaps and pulses, like computerised poker winnings, spill over the deeper layered beats, bursting a pearl necklace across the disco dancefloor. Her lyrics contemporaneously express the cosmic feminine knowledge and caprice filtered through a queer ambivalent tone. Ladonna invokes the meta self-sexploitation of the late Vanity or Madonna in her SEX period. Read more on Last.fm
Ladonna’s electronic dancescapes zoom in on the unique, delusional-obsessive reality of the fin de siecle camp sensibility. Prodding zaps and pulses, like computerised poker winnings, spill over the deeper layered beats, bursting a pearl necklace across the disco dancefloor. Her lyrics contemporaneously express the cosmic feminine knowledge and caprice filtered through a queer ambivalent tone. Ladonna invokes the meta self-sexploitation of the late Vanity or Madonna in her SEX period.

But it’s more than a queer post facto dance with pop. It itself embodies the avant pop of a pint-sized singing budgie on the edge of acceptability. I'll require you’re full attention Full attention is what’s required to appreciate the depth of this surface, as any child of Wilde's aestheticism would understand. To underestimate or dismiss the surface is to dismiss reality itself.

I laugh in seduced awe as Ladonna explores these themes. But in Internet land we are not stuck. Ladonna leaves the cyberspace and her glamour becomes a hazard in the street. To the world and to herself “a woman and a child” are causing a commotion.

Or are they the stillness within it? Who do you think you’re talking to? Her Two-Step Twist grinds and gurgles like waking, inverted Prince synths with a high dosage of Madonna’s liturgical elements, the twinkles of a lucky star sparkling above. Step ball change, work it child. The faux commands recall the demonic undertones of Pete Burns' Dead or Alive Stock Aitken Waterman hits. ​ For me the pièce de résistance is the self-aware, unapologetic queer gaze behind the lyrics and the seductive, menacing, self-produced beats of Ladonna Rama's live electro pop show. Between bursts of nightclub smoke, Ladonna took the stage in her post-Vanity, S&M robo-Madonna glamour and stuck a wet-look black latex finger up the arsehole of every hot fucktoy at the festival.

Not only did they need it, they loved every second of it. ​ What's she been doing and who's she been doing it with? ​ Ladonna was born in 2005 on a playful afternoon during a Wild Boys art residency at Hibernian House, Sydney, with face by Sydney drag legend Miss 3D. She debuted for the original cLUB bENT at Performance Space in the late 90s. She's danced for Peaches, worked with Chicks on Speed in Köln and Ben Drayton and The Naked Barber at the Oxford Hotel.

She's collaborated with Sari Kivinen as performance troupe screwsLoose in Sydney and Helsinki and with Christina Harvey as techno duo New Lover. She's rubbed shoulders with the Motel Sisters for Parramatta Laneways, Aaron Manhattan at Tokyo Sing Song, Glitta Militia for Monsta Gras and Harvest Festival and headlined for Camp Queen with Matt Format at Secret Garden Festival. She's also worked with Apocalypstik for Glamour Pour Le Hammer and Bunny Hoop Star and the Hoopaholics for Sleaze Ball and the Mardi Gras Party. Other gigs include BOYTHiNG, Homosocial, Broken Heel Festival, FreeFall, Honcho Disko, Trannii Panic, MCA Art Bar with Pan Flute, Department H Tokyo, Doodz Brooklyn, Carriageworks, Peter Lovertits' House of Mince, Glitta Supernova's Pretty Peepers with Regrette Etcetera, Loose Ends, Club Kooky, the Sly Fox, Heaps Gay, Artspace, AGNSW and Art Sydney.

She supported the vile Christeene at Lovecult2000 at the Oxford Art Factory for Velvet Hammer in 2015. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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