With unflinching honesty, self-examination, regret, fear, exuberance and an unshakable belief in family and the transformative nature of music, singer-songwr...

[English text follows - Texte anglais plus bas] La séquence complète comprenant «Le tourbillon» est tirée du film «Jules et Jim» de François Truffaut paru le 23 janvier 1962. Cette chanson de Cyrus "Boris" Bassiak [alias Serge Rezvani] est Interprétée par Catherine [Jeanne Moreau]. Albert à la guitare, n'est nul autre que l'auteur-compositeur Bassiak/Rezvani. Autres rôles: Jules [le petit blond] : Oskar Werner Jim [le grand en chemise blanche] : Henri Serre Selon Wikipédia Rezvani a réellement écrit cette chanson sept ans plus tôt, en référence justement au couple que formaient Jeanne Moreau et son compagnon de l'époque Jean-Louis Richard, qui était aussi le meilleur ami de Serge. Vers 1:45 Jeanne Moreau signifie discrètement au réalisateur d'un geste de ses mains qu'elle s'est trompée en intervertissant les paroles et continue avec un sourire radieux. Truffaut décide d'utiliser cette prise. Note technique: la piste sonore a été repiquée avec l'enregistrement CD de la bande originale. Il a fallu réajuster la vitesse de 4,2% pour une synchro parfaite. Une excellente entrevue de Jeanne Moreau ici : http://www.liberation.fr/culture/0101434760-dans-le-tourbillon-de-jeanne LE TOURBILLON Boris Bassiak [alias Serge Rezvani] Elle avait des bagues à chaque doigt Des tas de bracelets autour des poignets Et puis elle chantait avec une voix Qui, sitôt, m'enjôla Elle avait des yeux, des yeux d'opale Qui me fascinaient, qui me fascinaient Y avait l'ovale de son visage pâle De femme fatale qui m'fut fatal De femme fatale qui m'fut fatal On s'est connu, on s'est reconnu On s'est perdu de vue, on s'est r'perdu d'vue On s'est retrouvé, on s'est réchauffé Puis on s'est séparé Chacun pour soi est reparti Dans l'tourbillon de la vie Je l'ai revue un soir, aïe, aïe, aïe Ça fait déjà un fameux bail Ça fait déjà un fameux bail Au son des banjos je l'ai reconnue Ce curieux sourire qui m'avait tant plu Sa voix si fatale, son beau visage pâle M'émurent plus que jamais Je me suis soûlé en l'écoutant L'alcool fait oublier le temps Je me suis réveillé en sentant Des baisers sur mon front brûlant Des baisers sur mon front brûlant On s'est connu, on s'est reconnu On s'est perdu de vue, on s'est r'perdu de vue On s'est retrouvé, on s'est séparé Puis on s'est réchauffé Chacun pour soi est reparti Dans l'tourbillon de la vie Je l'ai revue un soir ah! là là Elle est retombée dans mes bras Elle est retombée dans mes bras Quand on s'est connu, quand on s'est reconnu Pourquoi s’perdre de vue, se reperdre de vue ? Quand on s'est retrouvé, quand on s'est réchauffé Pourquoi se séparer? Alors tous deux on est repartis Dans le tourbillon de la vie On a continué à tourner Tous les deux enlacés Tous les deux enlacés Tous les deux enlacés _______________________________________________________ This is the complete sequence from the movie "Jules and Jim" that includes the song "Le tourbillon". It was directed by François Truffaut and published on January 23, 1962. This song of Cyrus "Boris" Bassiak [aka Serge Rezvani] is interpreted by Catherine [Jeanne Moreau]. Albert on guitar, is none other than songwriter Bassiak / Rezvani. Other roles: Jules [the short one with blond hair]: Oskar Werner Jim [the tall one with white shirt]: Henri Serre According to Wikipedia Rezvani actually wrote this song seven years before, in reference to the couple formed by Jeanne Moreau and his companion at the time, Jean-Louis Richard, who was also Serge's best friend. Around 1:45 Jeanne Moreau discreetly indicates to the director with a hand gesture that she erred inverting some lyrics and continues with a smile. Truffaut decided to use that take. Technical note: the song was overdubbed with the CD recording of the original soundtrack. Speed was readjusted by 4.2% to get a perfect sync. An excellent interview with Jeanne Moreau in French here: http://www.liberation.fr/culture/0101434760-dans-le-tourbillon-de-jeanne English translation: https://nsmf01.casimages.com/f/2022/12/07//22120707142614553310778.txt

Intervista [1987} was Fellini's most meta movie since "8 1/2". In this clip we meet Mandrake The Magician [Marcello Mastroianni] as he interrupts Fellini's p...

The Waterboys perform ''A Girl called Johnny'' from the Waterboys album at the Iveagh Gardens on Friday 14-07-2023. Fantastic band at the top of their game. ...

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Elvis Presley - Hey Jude [Spliced from Takes 5 & 1]Hey Jude, don't be a foolTake a sad song and make it betterThe minute you let her into your heartThen you ...

“San Francisco (Be Sure To Wear Flowers In Your Hair)” by Scott McKenzie; released in 1967.

Here is a newly restored version of the incendiary Patti Smith Group OGWT performance of 25th Floor, recorded live at the BBC Television Theatre, 45 years ago on this day, 3rd of April 1978. At the time the band were touring to support their new album Easter, and this performance happened whilst the band were in London for a 4-night residency at the Rainbow Theatre. Also at that time, Because the Night was a hit single, riding high in the UK and the US charts. • I don’t feel qualified to comment on the meaning of 25th Floor. Patti Smith’s own website offers tributes to each of her pet dogs, but seemingly nothing about her songs. The following is the only significant thing I could find on the web about the song: “Patti Smith's song "25th Floor" is a song about the rigid structure of society. In the beginning of the song, the ladies' room has lost electricity, so they explore the men's room, at which she says "we don't give a shit." which means that they don't care what others think about what they are doing. This introduction, when taken in the context of the entire song, gives the song heavy undercurrents of anarchism and feminism. Going into the men's room symbolizes their rejection of social rules and, at the same time, of the segregation between men and women, where men are almost always "superior," as symbolized by the men's room having electricity while the ladies' room does not. She then wants to explore the 25th floor, which may symbolize her desire to ascend and escape from the bounds of social convention. Zeus and Christ, who are "up there," are then mentioned Zeus and Christ are both masculine figures, and both are "at the top." Thus these two figures represent the whole of what anarchism and feminism wants to remove from society, which is patriarchy and rigid social hierarchy. She wants to destroy the "veil of smoke" which man calls order (again, patriarchy and social hierarchy). She then speaks of the "transformation of waste," where "waste" refers to the current evils in society. The desire to create something valuable from something worthless is inside all of us-this refers to the noble intentions of people, which oftentimes become misdirected. She says that "all must not be art; some art we must disintegrate," which means that however valuable the current social structure may seem to be, it may be worth it to destroy it and try something else. She then says that she is "waiting above for you baby," meaning that she is waiting for the rest of humankind to "see the light." She is then "...floating... on boundaries over this world," meaning that she has, is some way, escaped from the rigid structure of society, although she is "floating," which is a way of saying that she is somewhat helpless and cannot really control her environment. All she can do is wait.” https://blablawriting.net/figurative-language-in-the-song-25th-floor-by-patti-smith-essay • This video includes a short excerpt from a Patti Smith interview by Lisa Robinson, from the Midnight Special broadcast of the OGWT performance. Watch the complete interview on the YouTube channel: What's for afters? https://www.youtube.com/watch?v=goaxO3mynJQ • The YouTube copyright algorithm blocked my upload of the complete 1978 Patti Smith Group OGWT performance, that included Because The Night. From that OGWT performance, here at least is 25th Floor, for which I’ve tried to create an optimized sound and vision HD version for us to enjoy. Thanks for watching, I hope you dig it! • Sources Video and Audio: Patti Smith Group| 25th Floor | Live on the Old Grey Whistle Test | BBC Television Theatre, London | 3 April 1978 | Broadcast 4 April 1978 | Sound by Ken Gregory | Directed by John Burrowes | Produced by Michael Appleton Excerpt from a Patti Smith interview with Lisa Robinson for a Midnight Special rebroadcast of the OGWT performance | 1978 Musicians: Patti Smith – vocals Lenny Kaye –bass guitar, vocals Jay Dee Daugherty – drums, percussion Ivan Král – guitar Bruce Brody – keyboards, synthesizer • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #PattiSmith #25thFloor #Easter #OldGreyWhistleTest

Drusilla Foer - Io ne voglio ancora (con Asia Argento) https://DrusillaFoer.lnk.to/ionevoglioancoraID Credits video: Scritto e diretto da Gianluca Gori Prodotto dalla Best Sound di Franco Godi Seguite Drusilla Foer anche su: Facebook ▶ www.facebook.com/drusilla.foer Instagram ▶ https://www.instagram.com/drusillafoer/ #Drusilla #AsiaArgento #ionevoglioancora