(video)Genius of Lady Gaga - In Camera interview

Genius of Lady Gaga

Lady Gaga was the ninth participant for In Camera interview series.

Pop phenomenon, fashion icon and award-winning recording artist, in May 2010 Lady Gaga became the ninth participant in our In Camera live interview series, exclusively answering questions submitted by friends, celebrities and fans worldwide.

View the on-demand footage of this exclusive broadcast here alongside the real-time transcript edit created during the course of the interview process.

The Transcript

• 

  SHOWstudio.com is a fashion website, first and foremost - Lady Gaga, we have asked you to be the ninth participant in our series of In Camera interviews because, more than any other contemporary musician, your work feels inextricably connected to fashion. What function does fashion serve for you? Do you use it to underline your musical themes, or is it another outlet for a different type of creative expression?

  - asked by Alexander Fury, London.

  

  It's all of the above, but I think more importantly on a cultural level I think music and fashion have always mirrored each other as part of a creative context. They cannot be separate. I need fashion for my music, and I need music for my fashion.

• 

  You are such an inspiration, from what you wear to how you sing. But where do you get your inspiration from?

  - asked by Ricky White , New York, New York.

  

  From capital HIM. I think there are two different kinds of artists. People who need to be plugged into a cultural movement, in music, fashion or the latest fishing techniques. But I think for some of us - and I would perhaps say the same about my friend Nick Knight - it's a much more innate gift. A much more spiritual experience. We don't have to be plugged into a particular movement to be part of it. It's transcendent, it's an inspiration that we're born with. To be perfectly honest, right now my biggest inspirations are my fans...(cunt. after the gaga)

http://whatgetsmehot.posterous.com/the-genius-of-lady-gaga-2-hr-int

 http://whatgetsmehot.posterous.com/?search=lady%20gaga

 

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!

 

Download now or watch on posterous

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

Death Penalty, The Chinese Style

The Chinese authorities intend to reduce the number of 68 death charges in criminal law to 55. The adequate draft law was submitted to the parliament of the country on August 23.

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Some of those charges were rarely used before as the reason for sentencing perpetrators to death penalty. The abolishment of death penalty on other articles of the nation's criminal law means that such crimes as robbery or the production of forged monetary checks will not be considered in China as socially dangerous. To crown it all, the country will have both the bottom and the top age limit for the use of death penalty - 18 and 70-75 years respectively.

International human rights organizations constantly criticize China for its absolute leadership in terms of legalized death penalties. China passes up to 80 percent of all death sentences on the planet.

Chinese authorities execute about 1,700 people every year, official statistics data say. Human rights activists believe that the real number is much higher and may even reach 10,000 people a year. It can be true indeed, because the Chinese authorities classify the information related to death penalty and share it with the general public unwillingly.

Russia Today: Death row case in Texas stirs US death penalty debate

In China, a person can be sentenced to death not only for such serious crimes as espionage, state treason, murder, but for other less serious felonies, such as illegal trade, pimping, organizing brothels, grave desecration, making counterfeit bank notes, etc. However, one should bear in mind the fact that some death articles of the Chinese criminal law have become anachronism. For example, they have capital punishment stipulated for opening brothels, whereas brothels can be found practically everywhere in the country.

The Chinese authorities try to keep up with the times and expand the list of death charges periodically. For example, in 2003, the nation introduced capital punishment for the deliberate distribution of SARS infection and for the production of toxic raw materials. For instance, the entrepreneurs behind the production of melamine-containing milk powder were executed last year.

Human rights activists claim that there is no such notion as "presumption of innocence" in China. Evidence received under tortures is considered reliable and legally valid, defendants' lawyers may not always be present during interrogations, etc.

Pages: 12

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Pravda.ru forum. The place where truth hurts

via english.pravda.ru

The Wacky Weed

via weirduniverse.net

TateShots Edinburgh: Martin Creed

via channel.tate.org.uk

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