September 3, 2010
limbsandthings@gmail.com sent you a link to content of interest
http://whatgetsmehot.blogspot.com/2010/09/space-fashion-of-michel-theilin.html The sender also included this note: http://www.facebook.com/apps/application.php?id=142241702457221
(video+audio) Saint-Michel Présentation de mode du métro (1959 de Paris)
have you ever been down in the metro at saint-michel with a bunch of french models when a fashion show broke out? now you have
Saint-Michel station du métro ligne 4 (5e et 6e arrondissements de Paris)
Saint-Michel est une station du métro de Paris sur la ligne 4, en limite des 5e et 6e arrondissements de Paris.
La station
La station est ouverte en 1910, et porte le nom du boulevard et de la place en dessous desquels elle se situe.
Correspondances
- RER
(station Saint-Michel - Notre-Dame)
- Bus RATP 21 24 27 38 85 96 Balabus OpenTour
- Noctilien N12 N13 N14 N21 N122 N145
À proximité
Voir aussi
| | Wikimedia Commons propose des documents multimédia libres sur la station Saint-Michel. |
| Saint-Michel
French Metro (Subway) Fashion Show 1959 [HQ]Saint-Michel (Paris Metro), fr:Saint-Michel (métro parisien), cs:Saint-Michel (stanice metra v Paříži), it:Saint-Michel (Metropolitana di Parigi), no:Saint-Michel (Paris Metro), pl:Saint-Michel (metro w Paryżu)
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| Date opened | January 9 1910 | ||||||||||||||||||
| Accesses | 9, pl. Saint-Michel Pl. Saint-Michel × boul. Saint-Michel pl. Saint-Michel × quai Saint-Michel 15, pl. Saint-André des Arts | ||||||||||||||||||
| Municipality/ Arrondissement | the 5th arrondissement of Paris
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| Fare zone | Saint-Michel is a station on Line 4 of the Paris Métro in the 5th arrondissement. Located in the Quartier Latin, it offers a connection to the St-Michel - Notre-Dame RER station. The platform lengths are 110 metres, longer than the 90-105 metre length of most line 4 station platforms. The station was opened on 9 January 1910 as part of the connecting section of the line under the Seine between Châtelet and Raspail. It is named after the Boulevard Saint-Michel | ||||||||||||||||||
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| List of stations of the Paris Métro | |||||||||||||||||||
  Location of Metro station | |||||||||||||||||||
French Metro (Subway) Fashion Show 1959
Fashion show in the subway
unusual fashion show at the Saint Michel metro . George CAUNES ad models worn by charming girls with Dany Saval .
Présentation de mode dans le metro
19/09/1959Présentation de mode insolite au metro Saint Michel. Georges de CAUNES annonce les modèles (muet) portés par de charmantes jeunes filles dont Dany SAVAL.
Space Fashion of Michel Theilin
SPATIAL MODE : MICHEL THEILIN
15/08/1969The beautiful street - beautiful ladies in business suits space - the " Martian Red "- his open face helmet - transparency in flower - the bride and grid - another very bare - the cosmic married .
Et quand la mode s’en mêle, le résultat est “cosmique”!
French 'Dance on the Moon' Tribute to NASA 1969
July 1969: Neil Armstrong and Buzz Aldrin were the first astronauts to set foot on the moon. The success of the Apollo 11 causes a certain enthusiasm that goes beyond the scientific sphere. When the dance is a tribute to seven-time rate, it gives a pretty amazing choreography:
ESPACE - Neil Armstrong, Buzz Aldrin et Michael Collins se retrouvent à Washington ce week-end, quarante ans après les premiers pas sur la lune...
Des parcours différents
Ils s’appellent rarement et ont évolué de manière très différente ces dernières années. De même que Neil Armstrong, qui n’a jamais aimé être dans les spotlights et fait le moins d’apparitions possibles, Buzz Aldrin, a décidé de s’effacer de la scène publique afin de combattre l’alcoolisme et la dépression qui l’ont affecté après son retour sur la Terre. Pourtant moins connu dans l’imaginaire public, Michael Collins, a quant à lui multiplié les interventions: il a publié trois livres sur le sujet, signé des centaines d’autographes et cherché à rappeler à tout le monde qui lui aussi faisait partie d’Apollo 11. Ce week-end, ils devront faire preuve d’une certaine unité. Le Musée de l’air et de l’espace de Washington les a invités à donner une conférence commune. Seul problème: quarante ans plus tard, les trois hommes ne partagent plus la même vision de la conquête de l’espace. Ce vendredi, le «Times» rapporte que Neil Armstrong prépare son intervention depuis plusieurs semaines. Car celui qui a été le premier a foulé le sol rocailleux de la Lune estime, contrairement à ses deux collègues, que l’homme doit continuer à étudier le satellite de la Terre. Buzz Aldrin et Michael Collins estiment, eux, que les astronautes doivent maintenant se tourner vers Mars.
Neil Armstrong et Buzz Aldrin sont les premiers astronautes à fouler le sol de la lune. Le succès de la mission Apollo 11 provoque alors un certain enthousiasme qui dépasse la sphère scientifique. Quand la danse se fait hommage sur un rythme à 7 temps, cela donne une chorégraphie assez étonnante:
Et quand la mode s’en mêle, le résultat est “cosmique”!
Katy on a roll (from my new favorite YouTube Channel and Blog)
In this week's New York Times Magazine, there's a fascinating article about how the language a person speaks affects his or her worldview called "Does Your Language Shape How You Think?" Revisiting an old, supposedly disproved theory regarding the limitations one's native tongue places on cognition, writer Guy Deutscher spends a lot of time describing the ways of those who speak the Australian aboriginal tongue of Guugu Yimithirr. That language contains no words for egocentric directions (directions in reference to oneself such as English's "ahead" or "behind" or "right" or "left") and instead relies solely on geographical ones. The bug in front of your foot is north of it (if, in fact, you're facing north) or the glass on the table is south of the magazine pile. The result is that those who speak languages like Guugu Yimithirr are instilled with an impeccable sense of direction, virtually from birth, since a large part of their communication depends on having just that. In reference to our own language, you could think of a Guugu Yimithirr speaker as being at an expressive disadvantage, but if you ever find yourself lost in the forest with one, surely you'll see the upside.
I wonder if U.K. dance singer Katy B is similarly informed by vocabulary. Born during the peak of the London acid house wave, or soon after as rave was exploding (her Wikipedia says she was born in "1989 or 1990"), it's possible that this young artist never knew pop music that didn't contain self-reference to dance culture -- overt language imploring everyone to dance now, to get on up and pump up the jam. Her debut solo single, "Katy On a Mission" (above), feels like the work of someone who's going with what she knows, as Katy B exhibits a preternatural capacity for enveloping you in her scene and showing you around the club. Sharp and evolved, "Mission" is not your typical dance song about dancing. For one thing, it's dubstep, which, like its genre ancestor drum and bass, is confounding as dance music until you see people who know how actually dancing to it (its lopsided beat patterns initially seem to beckon hopscotch or wobbling). More importantly, Katy paints her time at a club (her "element") as a multi-sensory experience: she tastes a drink, she looks into the eyes of some guy, she hears the subwoofer go "boom," she inhales fumes, she feels herself letting go ("My limbs seem to move what the beat dictates to me"). The senses then mix ("I'm pushing to the middle, the sound becomes a part of me"). "Mission" is one in a long line of deceptively simple songs about a night out, but it's certainly among the most detail-oriented. This South London native shares her mastery of the language of clubbing down to what it's lacking: permanence (the song's refrain is, "This right here I swear will end too soon"). The come-and-go world of pop music seems like the perfect venue to express this.
The intoxicating hook of "Mission," in which Katy's voice repeatedly jumps up an emphatic octave, confirms mounting evidence suggesting that Katy B is one of the most exciting new voices in pop. In the 10 or so tracks she's sung lead on (mostly guesting on the work of other artists like DJ Zinc, Geeneus and the Count & Sinden), she's shown a stunning versatility, taking on dubstep, drum and bass and UK funky house (which, like UK garage, is not exactly the same as its U.S. namesake, but is also close enough for you to see why the name-sharing isn't such a stretch). Her voice is sweet enough to provide a satisfying counterpoint to the cold and frantic breaks she sings above, and it's tart enough to alter the flavor of milquetoast house. She's able to wail like a pitched-up sample, like on her recent collaboration with Magnetic Man, "Perfect Stranger." A perfect dance partner, she can give a track exactly what it's asking for, like when she adds joy on top of the joy of the Count & Sinden's "Hold Me" on their recently released Mega Mega Mega (you aren't likely to hear another album so invested in the concept of fun for the rest of the year, by the way). On her solo singles, she plays it cool, eschewing the melisma that R&B-worshiping British white girls with something to prove tend to run into the ground (Joss Stone she ain't). Most impressive, though, is that this girl really can blow, as evidenced in DJ Zinc's two-years-old "Fade Away," in which she sounds like a cross between Amerie and Lady Kier on her very best day with a dash of N'dea Davenport. There's something wonderfully modest, yet impressively secure in the fact that Lady B can sing this way, but often chooses not to. Instead of showing off, she's interpreting felicitously, choosing her vocal battles to fit the occasion. How many young people do you listen to who do that? How many old ones?
Lady B's followup to "Mission" is "Louder," a portrait of one young person's perpetual thirst for more. Over a housey beat that's more straightforward than that of "Mission," and a wiggly bass line that sounds stripped down to its essence but enveloping -- this unassuming yet massive entity -- Katy talks about having been up for 24 hours thanks to her ever-evolving whims. She doesn't have time for hard work, because "there’s always somewhere new to go, and I can never say no, say no." Let's hope that music stays as fun for her as it sounds (as opposed to being actual hard work) and that "there's always somewhere new to go" is, in fact, a promise. I have a lot of faith in her sense of direction.
