Jerry Lee Lewis Serge Gainsbourg (Midi doc)

This is a mash of the best moments of this unlikely meeting and juxtapostion of two Killers. Jerry Lee arrives at the airport in Bourges, France, where waiting for him is none other than Serge 'Lemon Incest' Gainsbourg. Cut to much later that night, and you won't believe the subjects that these two, one of whom (Serge) is completely shitfaced but funny as hell--Oh, AND JERRY LEE PLAYS GUITAR. Here's a hint: they talk about PUSSY...a lot!

 

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jerry_lee_lewis_serge_sprngtime_in_bourges.mp4 (21257 KB)

Download now or watch on posterous

jerry_lee_lewis_bourges_1987.mp4 (8298 KB)

Jerry Lee Lewis Serge Gainsbourg (Official Midi doc) Festival du Printemps de Bourges

Report on the Printemps de Bourges 1987 directed by Serge Gainsbourg. Without voice-over commentary, editing alternates interviews, rehearsal footage and concert singers and bands playing this year. Most songs are not sung in their entirety. Rehearsals and performances are linked in a very fitting cut.

Reportage sur le Printemps de Bourges 1987 réalisé par Serge GAINSBOURG. Sans commentaire off, le montage fait alterner interviews, extraits de répétitions et de concerts de chanteurs et groupes musicaux à l'affiche cette année. La plupart des chansons ne sont pas chantées dans leur intégralité. Les répétitions et les interprétations s'enchaînent dans un montage très cut.

 

 

 ROUND UP

Jerry Lee Lewis Meets Serge Gainsbourg  

This is a mash of the best moments of this unlikely meeting and juxtapostion of two Killers. Jerry Lee arrives at the airport in Bourges, France, where waiting for him is none other than Serge 'Lemon Incest' Gainsbourg. Cut to much later that night, and you won't believe the subjects that these two, one of whom (Serge) is completely shitfaced but funny as hell--Oh, AND JERRY LEE PLAYS GUITAR. Here's a hint: they talk about PUSSY...a lot!

Festival du Printemps de Bourges: round up this week:

Saturday, 4/18/1987

Jane Birkin and Serge Gainsbourg on stage singing together "Knife in the play."

19/04/1987

Brief interview with Rita Mitsouko (Fred and Catherine RINGER Chichin)

Karim Kacel on stage.

Ray CHARLES onstage at the piano.

 Jerry Lee Lewis on stage

 04/22/1987:

Charles Trenet singing (from "There's the joy")

Jean Claude CASADESUS conducting the Mahler's 5th Symphony

Cathedral of Bourges.

Birkin, Jane ; Clegg, Johnny ; Lewis, Jerry Lee ; Head, Murray ; Southside, Johnny ; Alpha Blondy ; Savuka ; Communards-groupe ; Lazlo, Viktor ; Orchestre National de France ; Ray, Charles

Gainsbourg, Serge

 

 

Frank Sinatra Japanese Pretzels

 Frank Sinatra Japanese Pretzels

http://post.ly/qtOp

http://whatgetsmehot.posterous.com/lady-is-a-tramp-frank-sinatra-japanese-pretze

Robert Blake Bonny Lee Bakley Rap

via youtube.com

Mastering The Medicine Spoon Device - Public Restroom

via youtube.com

Ken Okiishi (Goodbye to) Manhattan (2010)

"Chapter One. He adored New York City," begins Woody Allen's 1979 Manhattan. "To him it was a metaphor for the decay of contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out . . ." Allen's line may be an allusion to suicide, but one less radical departure for New York creatives has been, traditionally, to move away. With seemingly exponential increase over the past decade, asylum seekers have turned not to Brooklyn but to Berlin, inaugurating in their wake a love-hate fantasy wherein the German capital is cast as a utopian center of artistic production, and New York as a place to sell, not to make––a sexy but commercial hell. The success of Ken Okiishi's film work (Goodbye to) Manhattan, 2010, is its dismantling of that bipolar fantasy, of which its protagonists are ostensibly a part.

Okiishi has been living between New York and Berlin since 2001, and (Goodbye to) Manhattan combines materials from that experience (filmed between 2006 and 2009) into a seventy-two-minute, semiautobiographical transposition of Allen's classic. Okiishi's cast of characters is pared down to Manhattan's three female protagonists, interpreted by key players in the artist's actual New York/Berlin life; its script is the Google translation, into English, of the German version of Allen's original. The resultant semantic layering is mirrored in the video's sometimes vertiginous, pixelated editing; still, if there is anything neurotic here, it is only in both films' intuitive, historicized preoccupation with Germanness. Okiishi's work indulges the hysterical potential of that transatlantic transaction; its Technicolor destabilizes a black-and-white cliché. One sees a zany shopping and dining experience in West Berlin's KaDeWe department store; Manhattan meanwhile languishes under a sound track of slightly decelerated Gershwin tunes that have the metallic quality of a recording made, perhaps, in the hull of a Berlin-bound Boeing 757.

(Goodbye to) Manhattan's presentation in Berlin this summer, after its debut at New York's Alex Zachary Gallery earlier this year, provides an opportunity to view the work in the space in which it was partly conceived and filmed: Galerie Neu's apartment annex, where Okiishi once briefly resided. Viewers, too, thus find themselves green-screened into the film's Berlin/Manhattan hallucination––the work, after all, is about you.

-- Victoria Camblin, Artforum

via ubu.com