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May 9, 2009

Jeannie C. Riley: "Harper Valley P.T.A." [ya think, this is the first country fetish video?]

This is a vintage live performance by Jeannie C. Riley of her hit song, "Harper Valley P.T.A.", written by Tom T. Hall. Riley was born in 1945 in Anson, Texas. This song immediately became a giant...

Mickey Newbury - An American Trilogy

Mickey Newbury's songs (encompassing a wide variety of musical genres) have been recorded by hundreds, but he's most remembered for his creation of this song, "An American Trilogy". It's a medley that's since been recorded by many (including symphony orchestras), but most notably by Elvis Presley.

Mickey was born Milton Sim Newbury, Jr. in Houston, Texas. He wrote many songs recorded by artists such as Johnny Cash, Roy Orbison, Tennessee Ernie Ford, Bill Monroe, Hank Snow, Ray Charles, Jerry Lee Lewis, Tammy Wynette, Ray Price, Don Gibson, Brenda Lee, Charlie Rich, Sammi Smith, Joan Baez, Tom Jones, Willie Nelson, Waylon Jennings, John Denver, Kenny Rogers, BB King, Linda Ronstadt, and Bobby "Blue" Bland, and many others.

Marlon Brando: 'Burn' + 'Mermaids of Tiburon' + 'HAUNTED WORLD of ED WOOD, Jr.' [Behind The Scenes of 'Orgy of The Dead']


Marlon Brando

Marlon Brando in Burn!
You can't have everything, at least not in one format. While I was working on a piece about Marlon Brando ("Orpheus Ascending") for the Sept/Oct issue of FILM COMMENT, I bought (for $6.95 via Amazon ) a VHS copy of Gillo Pontecorvo's Burn! issued in 1991 by MGM/UA and currently out of print. The color is faded, the image not letterboxed. Nevertheless, it is an invaluable relic of one of Brando's most complicated performances. The VHS is the American version, which was regarded as "butchered" by both the director and the star (who managed to agree on little else). UA eliminated 20 minutes from Pontecorvo's cut (which was released in Europe under the title Queimada), thus undermining the sweep of the action and rendering the film's attempt to map the historic cycles of white colonialist oppression and black insurgency fairly incoherent.

Through October 7, Film Forum is screening a restored print of the uncut Italian version of Burn! (A DVD release of the restored version will likely follow.) In all respects save one, this Burn! is preferable to the out-of print VHS. For the first-time, American audiences will be able to appreciate Pontecorvo's blending of cinematic romanticism with an analysis of black revolutionary struggle which is part Marx and part Franz Fanon. Unlike The Battle of Algiers, which made use of a cinema vérité style to tell the story of an actual liberation struggle, Burn! is a political allegory, styled like a costume action-adventure picture. The setting is a fictional sugar cane-producing Caribbean Island named Queimada. In the original script, this fictive island was part of the Spanish empire, which would have been a more accurate historical conceit, since Spain, rather than Portugal, was the dominant European power in the Caribbean. But since Portugal accounts for a considerably smaller share of international box-office receipts than Spain, the producers did the economically expedient thing by making the Portuguese the bad guys.

As we learn in the opening scene, Queimada (which means "burn" in Portuguese) has had a history of conflagration. In the 17th century, the Portuguese put down an uprising of the indigenous population by killing almost everyone and reducing the cane fields to scorched earth. They then rebuilt the labor force with slaves imported from Africa. By the mid-19th century (the point at which Pontecorvo's narrative begins), a slave revolt is brewing. The British see an opportunity to send the Portuguese packing and gain control of the island. Enter Marlon Brando in plantation whites and creams as Sir William Walker, the 19th-century English equivalent of a CIA operative. Walker has been sent by the British government to fan the flames of the insurrection and simultaneously to whisper encouraging words to members of the mixed-race middle-class so that when the Portuguese are routed, they will be ready to seize the reins of power. Not real power, of course, because it is British wealth to which this puppet regime will be permanently indebted.

All this comes to pass in the first half of the film in scenes that are sometimes overly schematic but just as often thrilling. Here, as in The Battle of Algiers, Pontecorvo is masterful at conjoining camera movement and the choreography of large groups of people so that the screen becomes charged with collective desire. Ennio Morricone's score, similar in its insistence and repetitiveness to the one he composed for The Battle of Algiers, employs the choral harmonies and modalities of Gregorian chants with a syncopated beat that has you just about leaping out of your seat when the victorious slave army, ragtag and radiant, comes dancing and prancing on the backs of plumed horses to claim the prize for their hard-won, bloody rebellion. The prize, of course, will not be theirs. The fork-tongued Walker will convince José Dolores (Evaristo Márquez), the rebel general he has mentored, that he's gone as far as he can go - that blacks cannot govern themselves or trade on the world market. "Who will buy your sugar, José?" he asks, even as the British have imposed a boycott on the island. Part I ends in compromise. Dolores is persuaded to lay down his weapons and take his army back to the cane fields. No longer slaves, they will be paid for their work, and in addition, there will be schools and hospitals - and you know the rest of that line.

Twelve years pass in a few seconds of black screen. The second half of the film is the mirror inverse of the first. Walker is sent back to Queimada to put down the insurgency he once fomented. The British have treated their freed workers no better than the Portuguese did their slaves. Dolores and his men have once again taken up arms and are fighting the government troops from hideouts in the mountains. When he refuses to negotiate with Walker, it's all-out war. As in the 17th century, the island is torched so that the fires of revolution will not spread throughout the Caribbean and beyond. Rather than the triumphant march that climaxed Part I, Pontecorvo gives us an equally riveting set piece, but this time of prolonged horror. Dolores's followers are smoked out of the burning brush. As they are forced into the open, they are slaughtered one by one as Walker watches through his spyglass.

Burn! is such an ambitious film and parts of it are so inspiring that one can't help forgiving its unresolved contradictions, the largest of which is the attempt to fit a dialectical reading of history into the form of an action drama with the opposing forces of colonizer and colonized embodied in the two leading characters. Brando often remarked that he was proudest of his work in Burn!, and certainly it's his performance that makes the film more than just a series of visually spectacular set pieces, and riveting from beginning to end. In terms of Brando's career, one can look at Burn! as a match with Reflections in a Golden Eye, which was made just two years earlier. In both films, Brando plays a member of the ruling elite who is eaten up by self-loathing and fights desperately against his attraction to another man. Reflection is specifically about repressed homosexuality. In Burn!, sexual desire is an undercurrent of the power game between Walker and Dolores.

Brando plants the notion right at the start when we see him looking at Queimada from a boat arriving in the harbor and fingering a lavender scarf flung casually around his throat. Brando knew how to communicate entire subtexts through a prop and the way he handled it. You can bet he didn't choose lavender because it was a pretty color. There is, however, a behind-the-scenes story: Pontecorvo, who was reputed to be highly superstitious, felt about lavender the way John Ashcroft feels about calico cats - that they are signs of the devil. Brando was at war with Pontecorvo throughout the production, and he may have chosen to make that bit of lavender silk the focus of the film's opening shot just to spite him. Nevertheless, a suggestion has been planted in the viewer's mind, and it's reinforced in the scenes that follow where we begin to see that Walker conducts his power games as he would a seduction. Walker seduces Dolores into becoming an outlaw and then the general of an insurgent army; having gotten what he wants, he subsequently abandons him. When he comes back and tries the game a second time, Dolores has become his own man and will have none of it.

And so Walker has to bring him to his knees by killing his followers. But at the last moment, he can't bring himself to kill the opponent he has been so obsessed with. If Dolores dies, he will not only become a martyr for the cause of freedom, he will escape Walker's power. One of the most amazing moments in Brando's performance comes when Walker is preparing himself for a last ditch effort to persuade Dolores to escape hanging by going into exile. Walker is aware that he has already lost the game, and as he tries to pull himself together to confront Dolores, he notices his own belly - a belly that he has most carefully concealed beneath tight pants and jackets buttoned - he knows how power is invested in the presentation of self. It's this belly, now bulging out in the open, that signals his loss of control over his own and Dolores's destiny. And then he makes the most extraordinary decision. Rather than trying to conceal the betrayal of the flesh, he lets it show, perhaps because he has nothing to lose but more likely because he seizes on letting it all hang out - as they were wont to say in 1968 - as the only manipulative strategy left in his arsenal.

Brando's greatness rests in his ability to invest his body and his gaze with multiple layers of meaning. His voice was part of that physical apparatus. Walker is vocally one of Brando's most risky and inspired constructs - the English accent plummy to the point of self-mockery (or mockery of the privilege it signifies), its whispery tone oddly intimate as if the person he is talking to is the only person special enough to understand what he's saying. The great deficiency in the restored version of Burn! is that all the actors' voices - Brando's included - have been dubbed into Italian. Which is why I suggest that in addition to going to the Film Forum you get hold of one of those few remaining VHS copies.

Mermaids of Tiburon
Underwater Adventure

The Haunted World


Paula & Raiford's Disco MEMPHIS 14th South Second

Paula & Raiford's Disco

14 South Second

Looking For Colonel Parker Doc. 1/5 [NPS - Het uur van de wolf]

Andreas Cornelis van Kuijk was not even twenty years old when he left Holland for America as a stowaway. He had no education, no money and knowledge of English. Twenty-five years later, he was the celebrated and feared manager of the King of Rock and Roll, Elvis Presley, and known to the world as Colonel Tom Parker.
Despite Parker's dubious life and despite the accusation that profited shamelessly from Elvis and took no steps to prevent his downfall, In LOOKING FOR COLONEL PARKER, Constant Meijers came to the conclusion, after a journey right across the United States, that the name Colonel Parker can rightly be mentioned in the same breath as that of the King of Rock'n Roll. The succes of the gifted singer Elvis is inextricably linked to the gifted salesman that Parker still was even after Elvis' death.

script and director: Constant Meijers
producer: Pieter van Huystee

First aired on Dutch Television (NPS, Het uur van de wolf) January 18th 1999.

Interviews this part:
- Loanna Miller (Colonel Parker's wife)
- Marie Gort - van Kuijk (Colonel Parker's sister)
- Larry Davis (carnival director)

Elvis Presley - Making Of Jailhouse Rock (documentary) 2/2

The Scene That Stole Jailhouse Rock

Documentary 2007.

- Peter Guralnick (author)
- Joe Levy (editor, Rolling Stone Magazine)
- Steve Pond (author)
- Robert Relyea (director)
- George Klein (Elvis friend)
- Jerry Leiber (songwriter)
- Mike Stoller (songwriter)
- Russ Tamblyn (actor/dancer)
- Harry Kubernik (author)
- Bill Rock (host, Elvis radio)

Elvis Presley - Making Of Jailhouse Rock (documentary) 1/2

The Scene That Stole Jailhouse Rock

Documentary 2007.

- Peter Guralnick (author)
- Joe Levy (editor, Rolling Stone Magazine)
- Steve Pond (author)
- Robert Relyea (director)
- George Klein (Elvis friend)
- Jerry Leiber (songwriter)
- Mike Stoller (songwriter)
- Russ Tamblyn (actor/dancer)
- Harry Kubernik (author)
- Bill Rock (host, Elvis radio)

Elvis Presley - Behind The Gates Of Graceland (documentary)

Very rare documentary probably from the early eighties.
An inside look on Elvis's home Gracland.
Tour-guide are a young Jerry Schilling and Joe Esposito.

This footage is available on the 2-Disc Special Edition of "This Is Elvis".

Girls dancing in Kliptown

South African Tourism 2010 Football TV Advert

South African Tourism 2010 Football TV Advert


London by Keith Richards for Louis Vuitton

London by Keith Richards for Louis Vuitton
Video sent by zoedeleu

After New York by Andre Agassi and Steffi Graf, Paris by Catherine Deneuve, Moscow by Mickael Gorbatchov. Discover London by Keith Richards for Louis Vuitton, available on 21 April 2008 at http://journeys.louisvuitton.com

May 8, 2009



Jerry Lee & Linda Gail

Don't Let Me Cross Over
Jerry Lee Lewis

Jerry Lee & Linda Gail

Jerry Lee & Linda Gail
Jerry Lee Lewis
Linda Gail Lewis

Don't let me cross over love's cheatin' line I'm
tempted my darling to steal you away don't let me
cross over stay out of my way You know that I love
you and I'm not the stealing kind But I'm faced
with heartaches at love's cheatin' line Don't let
me cross over love's cheatin' line You belong to
another and can never be mine I know one step
closer would be heaven divine Don't let me cross
over love's cheatin' line [ steel ]
(I've tried to forget you but what else can I do
When your eyes keep saying that you love me too I
know if I lose you not a dream will I have left I
don't want to cheat dear but I can't help myself)
Don't let me cross over...

Family Name


Shindig mix


Born July 18, 1947
Ferriday, LA
Elmo and Mamie Lewis
sister of

Jerry Lee Lewis
Frankie Jean Lewis


Bobby Goza

Jim Bushland

Cecil Harrelson (twice)

Kenny Lovelace

Brent Dolan

Robert Ellis (aka Bobby Memphis)

Eddie Braddock


Cecil Jr.
Mary Jean

Like her brother Jerry Lee, Linda Gail Lewis soaked up the sounds of hillbilly music and rhythm and blues in the rural areas of Ferriday and Black River, Louisiana. Although the Lewis family was poor, they always had enough to eat because of father Elmo Lewis's skill at farming. When Jerry Lee began to score hits with "Whole Lotta Shakin' Goin' On" and "Great Balls of Fire" in 1957, he singlehandedly lifted the family from dire poverty to a life of relative ease. "Jerry shared everything he had with us," Linda Gail remarked in a personal interview. "He'd call my mama up and say, 'Mama, I want you and daddy and Frankie Jean and Linda Gail to have everything that I have.' And we did!. ... I don't know how many people would say that. He meant it too." Linda Gail's chief inspiration was Jerry Lee, but later, as the era of rock 'n' roll came into play, she also tuned into the sounds of Brenda Lee, Patsy Cline, and Lavern Baker. Like her famed elder brother, she was married many times, and her first marriages were at ages 14 and 15.

Toured with Brother

Lewis's official recording debut came when she performed as Jerry Lee's duet partner for Sun Records in 1963, where her defiantly off-key vocals turned their rendition of George Jones's "Seasons Of My Heart" into one of the worst records ever made.

"I've gotten a lot of criticism for the vocals I did early on," Linda Gail said in an interview. "I hate to say it was a mistake to do it, because it is a part of history and something I remember in a fond way, but I wish I could've sung that song a little bit better."

As a teenager Lewis joined her brother on the road, playing in numerous tank towns and dives. Yet according to Lewis, her brother shielded her from the late night parties and exploits that were common to a touring rock 'n' roll band.

"Oh yeah, he did take care of me," she remarked. "He protected me.... I knew that after the gigs I wasn't welcome to be at these parties. I knew I was just going to be watching the late, late show if I was lucky enough for one to be on in my motel room."

Wolverton Mountain

The near-constant touring provided Lewis with valuable experience and a chance to sharpen her vocal skills, and resulted in a unique opportunity--a steady gig with the road company of ABC-TV's mid-1960s teenfest Shindig.

Don't Be Cruel (1965)

"It was great," remembered Lewis. "Jack Good [Shindig's producer] actually asked for me. My brother didn't have to give them the hard-sell and say 'Would you please have my sister on too?'"

Recorded with Jerry Lee Lewis

Lewis's first solo release, the ABC-Paramount single "Small Red Diary," sank into obscurity, as did a lone single for Columbia, a remake of LaVern Baker's "Jim Dandy."

Meanwhile, Lewis made several duet appearances on her brother's b-sides and albums for Smash records. It was only after Jerry Lee mounted his late-1960s comeback via country music that Lewis was finally able to ride his coattails onto the charts.

Recording with her brother, she scored her lone top ten country hit with a version of Carl and Pearl Butler's "Don't Let Me Cross Over."

A rousing duet remake of Chuck Berry's "Roll Over Beethoven," a staple of her act, followed it onto the lower chart regions. The Lewis duo's 1969 Smash LP Together featured their rowdy duet style on a variety of country standards and rockers.

When You Wore a Tulip

[Duet w/JLL]

This led to Lewis's debut solo album for the label, The Two Sides Of Linda Gail Lewis, a hard sung but poor-selling country album.

Son of a Preacher Man

In addition to composing material for her brother's top-selling Smash and Mercury discs, Lewis also garnered an ASCAP award for her song "Smile, Somebody Loves You," her only solo top 40 country hit.

She was growing artistically, but her label did not seem to notice. "Nobody was really serious about my career," declared Lewis. The best pure country singles of her career, 1970's "Before The Snow Flies," which featured a rare appearance by brother Jerry Lee on rhythm guitar, and 1973's "I Wanna Be a Sensuous Woman," which she debuted on ABC-TV's In Concert, received no meaningful push from the label.

Mercury 73463

Linda Gail Lewis:

I Wanna Be A Sensuous Woman

While her recording career languished, Lewis toured almost non-stop as part of her brother's show. She twice married and divorced his best friend and road manager, Cecil Harrelson, and then married Jerry Lee's guitarist/fiddle player Kenny Lovelace, with whom she often wrote songs. The constant touring wreaked havoc on her relationship with her two children, and her drug use took a toll on her health. The drugs were prescribed by several physicians, none of whom knew she was under treatment by others. Lewis recalled that a mistake may have saved her life.

"I slipped up by calling one doctor who found out about the other doctors---about three or four of 'em were giving me these things."

Lewis was hospitalized as a result of her drug habit, and Jerry Lee picked up the tab, but her efforts to stay clean and sober alienated her from her brother. By 1977 she had had enough---she quit the act, married a man outside the music industry and started a new family.



Charles Manson: Apportez-moi la tête de Geraldo Rivera

Charles Manson: Apportez-moi la tête de Geraldo Rivera
Video sent by mrjyn

Charles Milles Manson, né le 12 novembre 1934 à Cincinnati, en Ohio, aux États-Unis, est un criminel américain. Il était le leader d'une communauté hippie (« la famille ») au début des années 1960 rendue célèbre à cause d'une série d'assassinats dans la région de Los Angeles.

Il a été reconnu coupable, en 1971, du meurtre très médiatisé de Sharon Tate (épouse de Roman Polanski) et de quatre de ses amis. Il n'a pas lui-même commis les crimes, mais en a été le commanditaire.

Geraldo Rivera est un journaliste et un animateur de télévision américain né le 4 juillet 1943 à Brooklyn, New York (États-Unis). Connu pour ses reportages dramatiques sur des sujets chauds, il a à maintes occasions dû répondre à des accusations de sensationnalisme.

Dans les années 1980, Manson a donné trois interviews notable. Le premier, enregistré à la California Medical Facility, 1981, a été de Tom Snyder pour NBC's The Tomorrow Show. La deuxième, à la prison de San Quentin, 1986, par Charlie Rose pour CBS News, 1987.

La dernière, avec Geraldo Rivera en 1988, faisait partie de ce journaliste de prime-time spécial sur le satanisme "Geraldo" Devil Worship: Exposing Satan's Underground (1988), et a été l'inspiration pour le personnage de Wayne Gale (interprété par Robert Downey Jr.), en 1994, Oliver Stone film Natural Born Killers, en fait, beaucoup de la nature de l'interaction avec les assassins de Mickey et Mallory Knox a été fortement inspiré de Rivera Interview avec Charles Manson.


Video sent by mrjyn

“Maidstone” functions for the intelligentsia of the ’60s in much the same way that “Gimme Shelter,” Albert and David Maysles’s documentary about the Altamont festival, does for the counterculture.
In our diminished age, “Maidstone” provokes renewed amazement that artists ever really did such things, as well as nostalgia for the vivid presence of literary action heroes like Mailer. A bright thread of violence wound through the shooting, giving “Maidstone” its ominous air and notorious climax. At one point, Rosset emerged from his house to find a drunken Villechaize drowning in the pool; then come the last three minutes, which guarantee “Maidstone” a kind of immortality as one very late night in a so-called “Assassination Ball,” where Mailer/Kingsley, in top hat and tails, no attempt on his life was staged. The next day the cast decompress and use up leftover film. Pennebaker’s camera focuses on Rip Torn, who removes a hammer from a backpack, strides over to Mailer and hits him on the head twice, announcing: “You are supposed to die, Mr. Kingsley. You must die, not Mailer. I don’t want to kill Mailer, but I must kill Kingsley in the picture.” Shocked, Mailer wrestles him to the ground, and they roll down the hill in an ugly tussle, Mailer biting Torn’s ear as Mailer’s wife and children scream. Finally separated, the two bloodied men walk at a wary distance from each other, Mailer hurling curses, Torn explaining calmly: “When — when is an assassination ever planned? It’s done, it’s done.” The sequence ends with Torn calling Mailer “a fraud” and pointing a finger at the camera, taunting, “Hoo hoo!”Rip Torn took Mailer’s premise more seriously than Mailer himself and acted them out, in the process both stealing Mailer’s film and making it for him. The scenario slipped away as things devolved into a saturnalia, “a psychic pigout” in the words of one participant, and a dangerous one. His bullyragging, mock-seductive treatment of the nakedly needy actresses “auditioning” made my skin crawl.

Johnny Thunders: The Wizard 1982 + Jayne County + Klaus Nomi

Johnny Thunders: The Wizard 1982 + Jayne County + Klaus Nomi
Video sent by mrjyn

Johnny Thunders [RIP]: "The Wizard" [w/b Marc Bolan] (Acoustic: Live in Studio with Elliot Kidd [RIP]guitar, 1982) + Jayne County Live @ Max's Kansas City, 1979 (Peter Jordan on bass with Jeff Salen [RIP]guitar) from "Paul Tschinkel's Inner-Tube" [NYC Public Access Cable, 1982]

"HOLY CRAP!Was that me??? LOL. What was I wearing and what was I on??? And doing Countrybilly!!! Well, at least I was still a skinny bitch. Now I am FAT!!! Time Has No Mercy!!!--Jaynecounty

Professor Paul Tschinkel, a video artist, trained his camera on contemporary art and music and produced documentaries that will be viewed and treasured for as long as scholars and students contemplate late 20th century art.
Professor Tschinkel produced four different documentary series. His first series, "Paul Tschinkel's Inner-Tube" (1974-75), produced for New York public access cable, was the first weekly cable program created by an artist. His second series (1977-78) was entitled "Artifacts." His third series, "New York Music New York" (1979-84), captured early Punk and New Wave music. His fourth series, 1979-present, "Art/new york" 58 programs. The "Art/new york" series is internationally applauded and incorporated into contemporary art exhibitions.

James Joyce macellaio il suo sporco lettere [Nora Barnacle]

James Joyce macellaio il suo sporco lettere [Nora Barnacle]
Video sent by mrjyn

James Joyce macellaio il suo sporco lettere [Nora Barnacle]

JERRY LEE LEWIS: Breathless [3rd MIDNIGHT SPECIAL 21.10.73]

JERRY LEE LEWIS: Breathless [3rd MIDNIGHT SPECIAL 21.10.73]
Video sent by mrjyn





Los Angeles 21.10.73
Broadcast 11.11.73

Kenny Lovelace - guitar
Herman Hawkins - bass
Morris 'Tarp' Tarrant - drums
J. L. Lewis Jr. - drums
Marty Morisson - organ
Charlie Owens - steel guitar
Bill Taylor - trumpet
Russ Carlton - saxophone

*thanks to thrund for the video and peter checksfield for the jll jr. videography.

temperal lobe epilepsy

temperal lobe epilepsy
Video sent by mrjyn

temperal lobe epilepsy

Har Mar Superstar - Power Lunch [i've been getting a lot of requests from my hispanic female readership for this video]

Har Mar Superstar - Power Lunch

Har Mar Superstar
Power Lunch

No, no es Ron Jeremy
(su cara no te suena de esas películas que ves a escondidas),
Har Mar Superstar
Length: 02:57
Date: 12/29/06 17:18

HarMar, Superstar, Har, Mar, sex, symbol

Harry Smith: "Early Abstractions" (1946-57), Pt. 1

Short animations by Harry Smith.
No. 1: A Strange Dream (l946)
No. 2: Message from the Sun (1946-48)
No. 3: Interwoven (1947-49) (Part 1)




Todd Bentley: DENNY'S Drunk Power Anointing

Todd Dauntlessness Nondiscrimination Denny's a churchman drunk noisemaker depreciating Inward Argumentativeness


Todd Bentley shows you how to keep people alert for the unexpected injury. It is a Florida Outpouring of violence! The ministry of assault and battery goes on! Todd Bentley Revival miracles raging revival Florida outpouring angels false doctrine warfare preaching exploding tumor dead kick drunk tumor assault punch cancer

7-Headed Vampire Voodoo Demon: TODD BENTLEY [Dead raised]

Seven headed vampire voodoo demon. Claims of dead raised.

Church-Feathers FALLING [Test on Church-Feathers (where allowed) came up, "Bird Feathers" Oslo, Norway]

This is a short video clip recorded at a service held in Oslo, Norway. The video captures a manifestation of feathers and supposed angelic activity These feathers not seen by all in attendance but were recorded on video to testify of how people would make a religious icon of a chicken feather. Any test on church-feather (where allowed) came up, "Bird Feathers"


See how it all started in Orlando, Florida - TBN 1980's or early 90's EXCLUSIVE

A Church on Fire

Witness how Strange Fire can destroy a church. Coming to a Church near you? Rodney-Howard Brown South Africa Todd Bentley fresh fire Lakefront Raging Revival Florida Outpouring drunk scream manifesto...

Psycho Rotoscoped

My midterm for Intermediate VFX II. We had to do a basic 30 second rotoscope. I did a rotoscope from the movie "Psycho" to show Norman Bates insanity.

Anna Karina Rotoscope

Take it Easy ! Maxime Avet Bday

The lauching of the new fetish fashion party in Lille (north of France) during the Maxime Avet's Bday.

RUBBER 55 HIGH RES fetish wear

High Res Rubber 55 fetish wear viral

German Fetish Ball 2006 - Breathless

This was the German Fetish Ball 2007

See what you missed last year

Yumi Yumi - I AM RIGHT!

The sadly now Disbanded Yumi Yumi

INLAND EMPIRE: david lynch

Mylene Farmer - Que mon coeur lache Hot Version Interdit au

Freyagushi Animal Hospital Show [Torture Garden Valentines 2008 Pt 1]

Freyagushi Fashion show at Torture Garden Valentines 2008.

Ulorin Vex [uv ray] Tribute

Maya Hansen - Cake Corsets Around the World [from vexter]

Funny and really colourful corsets collection based on the flavours, mixes and colours of the cupcakes, candies and sweets! Delicious! http://www.mayahansen.com

Strangers In Paradise - We Have A Plan [1984 Musical]

From the 1984 musical "Strangers In Paradise"

Bibleman - Shadow Of Doubt

Say what you want about the Bibleman...the villians are downright awesome.

Mama Cass Elliott - Dream A Little Dream Live

Mama Cass Elliott singing "Dream A Little Dream Of Me" on the Smothers Brothers Show, from 1968 I believe.

The Fat Boys - Are You Ready For Freddy Krueger?

The Fat Boys get busy with the one and only Freddy Krueger! Bust a move!

May 7, 2009

Spun Ducky + Arabic Speed Reading + Autobahn + TGV Retour Paris + Naked Wine Show



Arabic Speed Reading


TGV Retour Paris

Naked Wine Show
Henry of Pelham's Sibling Rivalry
It has a medium intensity nose of coconut oil, pineapple, candied citrus and some green apple. On the palate, notes of pineapple, green apple skin, papaya and tangerine come though.
Great, complex wine for under $15!