Tony Bennett, Buddy Rich - Manhattan
George Coleman - Amsterdam After Dark
Billy Cobham's Drum Clinic - Part 1
FB Doug Meet
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@mrjyn
December 15, 2008
George Coleman: Amsterdam After Dark [RONNIE SCOTT'S Jazz Series] + Tony Bennett & Buddy Rich: Manhattan + Billy Cobham's Drum Clinic
'GET CARTER': MOVIEDROME [BBC 2] + Orson Welles: FORTUNE TELLING + STONE ROSES POWER CUT + SUGARCUBES INTRO [The Late Show BBC2 - 1989]
The Late Show - Highlights 1989
David Stafford doing a superb pisstake of Kenneth Branagh and Emma Thompson.
The Stone Roses having a powercut.
The Sugarcubes not letting Paul Morley introduce anything.
Orson Welles explains Cold Reading
Adriano Celentano: Prisencolinensinainciusol + C'è qualcosa che non va + Fantastico 8 - Al Molleggiato scappano le molle + Geppo il folle + Yuppi du
Adriano Celentano
thanks to jahsonic for the inspirationAdriano Celentano - Prisencolinensinainciusol - il primo rap
C'è qualcosa che non va - Celentano e Parisi
Fantastico 8 - al Molleggiato scappano le molle
Geppo: Geppo il folle
Yuppi du - Scena storia...un capolavoro
70 anni Adriano - il mito
Prisencolinensinainciusol live francamente me ne infischio
ys1982 party: don't watch if you're boring
Ozzy Osbourne - Crazy Train
Ozzy Osbourne - Mr. Crowley
Guns N' Roses - Rocket Queen: Riot [jumps in at 1:43]
RHCP - I Like Dirt: Flea breaks his bass at the very begining of their concert!and lastly, just cuz it's so good if you're a guitar player, american, sousaphone player, or have a pulse, it's chet atkins playing john phillips sousa's "stars and stripes forever." this is all from the same guy, and i love him!
Chet Atkins - Stars And Stripes Forever: Soundstage, 1978
[OH, MAN, IT'S] THE TRIP: PETER FONDA + BRUCE DERN [...THERE'S SOME REAL STUFF HAPPENING HERE!
THERE'S SOME REAL STUFF HAPPENING...EVERYTHING'S IN THE HEAD
DID YOU HEAR ME?
I'M STARTING TO COME DOWN...I FEEL LIKE I'M LOSING SOMETHING...LET IT GO
Brinsley Schwarz [NICK LOWE]: Surrender To The Rhythm [The Old Grey Whistle Test: November, 1973]
Surrender To The Rhythm from The Old Grey Whistle Test, 6 November 1973
Iggy Pop - Eat Or Be Eaten [DAVID LETTERMAN]
I got nothin to eat in this old house
I gotta go out and catch a mouse
I can't be wrong so I gotta be right
It's eat or be eaten
Something's hungry like a hunter
And it's probing like a finger
As the drumbeat keeps things hurrying
That's the part that's so appealing
It's the beat that dominates
Each breath you draw
Each step you take
Strike or be stricken
Eat or be eaten
Eat or be eaten
Your skills are highly specialized
But still that girl can magnetize
You sense the hunger in her eyes
It's beat or be beaten
There's no softness in her eyes
A weird dull glint is in her eyes
With a stubborn will to tantalize
Like some cheap devil in disguise
And it's troubling me
Hell it's nervy that's what it is
Eat or be eaten
Beat or be beaten
Strike or be stricken
The night is dark the night is pulp
Tilt back your head and take a gul
Of air that's screamed a thousand times
The main thing is to victimize
It's just the night for a conquering tribe
Oh it's just the night for a conquering tribe
Eat or be eaten
Beat or be beaten
Faster than the arrow flies
Or the man who smiles while he lies
It's just the night for a conquering tribe
And the girls are calling in a yellow dress
That girl is calling in a yellow dress
She says eat eat eat here boys
Eat eat eat here boys
ELVIS COSTELLOMAX: 'Romeo was restless, he was ready to kill'
Romeo was restless, he was ready to kill
He jumped out the window 'cause he couldn't sit still
Juliet was waiting with a safety net
He said "Don't bury me 'cause I'm not dead yet"
Chorus:
Why don't you tell me 'bout the mystery dance
I wanna know about the mystery dance
Why don't you show me 'cause I've tried and I've tried
and I'm still mystified
I can't do it anymore and I'm not satisfied
Well I remember when the lights went out
And I was tryin' to make it look like it was never in doubt
She thought that I knew, and I thought that she knew
So both of us were willing, but we didn't know how to do it
(chorus)
Well I was down under the covers in the middle of the night,
Tryin' to discover my left foot from my right
You can see those pictures in any magazine
But what's the use of looking when you don't know what they mean
(chorus)
I can't do it anymore and I'm not satisfiedElvis Costello - Get Happy!! TV Commercial
Elvis Costello & The Attractions - Chelsea
Elvis Costello & The Attractions - Color of the Blues
Elvis Costello - Help Me, Live 1981
Elvis Costello - From a Whisper to a Scream With The Attractions and Glenn Tilbrook
Elvis Costello & Ricky Skaggs - That's All It Took
Elvis Costello - Red Shoes - Live, 1978
Elvis Costello - Mystery Dance - Live, 1978
Dr. Samuel Hoffman [LA VIE EN ROSE: Orig. RCA Theremin]
Dr. Samuel Hoffman took his 1929 RCA theremin with him when he moved from New York City to Los Angeles, California, in 1941. He eventually became world famous as "The Hollywood Thereminist" and the distinctive sound of his instrument can be heard on the soundtracks of over 40 major motion pictures of the 1940's and 50's. Alfred Hitchcock's SPELLBOUND (music by Miklos Rosza), the SciFi classic THE DAY THE EARTH STOOD STILL (music by Bernard Herrmann) and Cecile B. deMille's perennial THE TEN COMMANDMENTS, are just a few of the movies in which this theremin can be heard. I acquired this unique vintage instrument from the Hoffman family in 1998 and have carefully maintained it and enjoyed playing it ever since. It sounds today just the way it sounded when the late Dr. Hoffman played it at the "Casino In The Air" on top of mid-town Manhattan's Hotel Montclair in the 1930's.
In order to give the camera a better view of the inside, for the purpose of this video, I removed the two cabinet doors (which normally remain closed). I am playing French chanteuse Edith Piaf's hit from the 1940's, LA VIE EN ROSE.
Bonnie And Clyde [Original Trailer 1967]
Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come.
Warren Beatty - Clyde Barrow
Faye Dunaway - Bonnie Parker
Michael J. Pollard - C.W. Moss
Gene Hackman - Buck Barrow
Estelle Parsons - Blanche
Gene Wilder - Eugene Grizzard
Denver Pyle - Frank Hamer
Dub Taylor - Ivan Moss
Evans Evans - Velma Davis
Martha Adcock - Bank customer
Mabel Cavitt - Bonnie's mother
Sadie French - Bank customer
Roy Heard - Man
Clyde Howdy - Deputy
J.J. Lemmon, Jr. - Sheriff
Russ Marker - Bank guard
Ken Mayer - Sheriff Smoot
Ann Palmer - Bonnie's sister
Joe Spratt - Farmer
James Stivers - Butcher
KISS: Kids Are People, Too
Clips from the Sunday morning variety and interview series. These clips feature the original host, Bob McAllister. This show was similar to McAllister's previous show, Wonderama, which aired in the New York area and was syndicated to several major cities.
The show was later hosted by Michael Young, then Randy Hamilton.
Big John, Little John [Themes 1976]
The opening and closing credits for the 1976 Saturday morning series starring Herb Edelman, Robbie Rist, Kristoff St. John, and Joyce Bulifant.
For more info on this show and other Saturday morning shows, check out:
BRIGITTE BARDOT + SERGE GAINSBOURGH (Sitar): La bise aux hippies [I LIKE TO KISS HIPPIES] 1968
"La bise aux hippies"
La Bise aux hippies - B.B. en duo avec Sacha Distel December 1968.
On New Year's Eve 1967, French TV broadcast a special colour programme devoted to B.B. - 'Le Bardot Show'. Years before its time, it effectively consisted of a collection of video-clips, which made an incredible impression on the French public - who have the chance to revive their memories, as the show is now available on video. Of the dozen songs she sang, nearly half were specially commissioned. They were released first of all on the soundtrack LP, "Brigitte Bardot Show", which was where disc-buyers first heard that quintessential Bardot vehicle: Serge Gainsbourg's "Harley-Davidson". This celebration of an unusual variation on the eternal triangle - woman, love and the motorcycle - had been delivered on TV as Bardot perched, legs astride, on a Harley, conjuring up all sorts of mental apparitions for impressionable male viewers. Adding to the sexual appeal, Bardot was pictured on the sleeve of the LP (and the spin-off EP) virtually naked, but carefully masked by a layer of wrapping-paper. Fans declared the design a masterpiece.
Gainsbourg himself recorded"Harley-Davidson" in later years, while a more unusual cover of the song came in 1987 from the boldly-named post-punk outfit, the Bollock Brothers. But that wasn't the only outstanding number in the TV show. The steamy Gainsbourg/Bardot duet "Bonnie & Clyde" also won much applause, and was released as the title track of a Fontana LP and EP, both reprising numbers from the two artists' back catalogues. Another duet should have been included on that Fontana LP: "Je T'Aime...Moi Non Plus". At the end of 1967, Gainsbourg (who was enjoying a brief affair with Bardot) penned the ultimate statement of eroticism for the couple, which they duly recorded that December. But after the two lovers split up, Brigitte and her German millionaire husband, Gunther Sachs, insisted that the track should remain in the vaults. Gainsbourg had no choice but to agree. It wasn't for another year that he revived the song, this time recording it with the English actress Jane Birkin in London - and scoring a worldwide hit (and scandal) in 1969. Brigitte must have realised that the novel taste of international success that brought Birkin as a singer could have been hers.
In 1986, Bardot eventually gave her permission for the original recording to be released. Slightly remixed, it was issued as a 7" and 12" single - and was virtually ignored by the public, who were perfectly happy with the existing Jane Birkin version. With its original mix, the Bardot/Gainsbourg duet finally appeared on the complete CD set of Gainsbourg's recordings in 1989.
In December 1968, Bardot's TV show was broadcast in the States. The programme's U.S. sponsor, Burlington, prepared a promo album for the occasion, titled "Special Bardot". It's been a highly sought-after record ever since, as it includes a Bardot/Sacha Distel duet, "La Bise Aux Hippies", which has never been reissued. In addition, thre were two English-language recordings with Serge Gainsbourg (also pressed on a French export single): "Bonnie & Clyde" and "Comic Strip", on which Bardot handled a response vocal that had been sung by an English session singer on the original French version.
BB TIMELINE
1934: Born 28 September in Paris, France. Father is Louis Bardot
1952: Makes screen debut in Le Trou normand. Marries Roger Vadim
1956: Appears in classic film, Vadim's And God Created Woman. Salary: $15,000
1957: Divorces Roger Vadim
1959: Marries Jacques Charrier
1960: Birth of son, Nicholas Charrier
1962: Divorces Charrier
1963: Works with Jean-Luc Godard in Contempt
1965: Appears with Jeanne Moreau in Louis Malle's Viva Maria. Appears as herself in one scene only in Dear Brigitte with James Stewart
1966: Marries Gunter Sachs
1969: Divorces Sachs
La bise or le bisou means kiss: French friends and acquaintances exchange kisses on alternating cheeks upon meeting and separating. Two people introduced by a mutual friend may also faire la bise, particularly kids and young adults. The number of kisses and the side that the kisses start on vary by region and by other factors that are more difficult to pin down. * Two bises (one on each cheek) is the most common, exchanged between family and friends of all ages as well as between people of the same age who are introduced by friends or family. * Three bises is common in Provence. In addition, a friend of mine in Rouen gave me three bises the day I arrived and the day I left, but only two during the week in between. * Four kisses are exchanged in Nantes. This may sound confusing - it is! In my experience, the best thing to do is just hold still and let the French person do the bises; whenever I try to anticipate how many kisses or which side to start on, I mess it up. :-)
MRJYN'S TOP 10 MOST VIEWED 123VIDEO'S OF ALLTIME [65,000 123VIEWS CUN'T BE WRONG, OR CAN THEY?]
AND THE TOP MOST VIEWED
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