#Charly et lulu

[emmarousil]

Tous les oiseaux volent dans le ciel 🎶

Le feu ça brûle et l'eau ça mouille

[goat-esc-winner-showdown]

ROUND 1 WINNERS

Round 1 Poll 1: "What's Another Year" - Johnny Logan (Ireland, 1980) vs "Arcade" - Duncan Laurence (Netherlands, 2019)

Round 1 Poll 2: "Tu te reconnaîtras" - Anne-Marie David (Luxembourg, 1973) vs "Euphoria" - Loreen (Sweden, 2012)

Round 1 Poll 3: "J'aime la vie" - Sandra Kim (Belgium, 1986) vs "Ein bißchen Frieden" - Nicole (Germany, 1982)

Round 1 Poll 4: "Puppet on a String" - Sandie Shaw (United Kingdom, 1967) vs "The Voice" - Eimear Quinn (Ireland, 1996)

Round 1 Poll 5: "Boom Bang-a-Bang" - Lulu (United Kingdom, 1969) vs "Tom Pillibi" - Jacqueline Boyer (France, 1960)

Round 1 Poll 6: "Rise Like a Phoenix" - Conchita Wurst (Austria, 2014) vs "Toy" - Netta (Israel, 2018)

Round 1 Poll 7: "Refrain" - Lys Assia (Switzerland, 1956) vs "Everyway That I Can" - Sertab Erener (Turkey, 2003)

Round 1 Poll 8: "Diva" (דיווה) - Dana International (Israel, 1998) vs "Satellite" - Lena (Germany, 2010)

Round 1 Poll 9: "Si la vie est cadeau" - Corinne Hermès (Luxembourg, 1983) vs "La det swinge" - Bobbysocks! (Norway, 1985)

Round 1 Poll 10: "Nous les amoureux" - Jean-Claude Pascal (Luxembourg, 1961) vs "Un banc, un arbre, une rue" - Séverine (Monaco, 1971)

Round 1 Poll 11: "Dors, mon amour" - André Claveau (France, 1958) vs "Ne partez pas sans moi" - Céline Dion (Switzerland, 1988)

Round 1 Poll 12: "1944" - Jamala Jamala (Ukraine, 2016) vs "Save Your Kisses for Me" - Brotherhood of Man (United Kingdom, 1976)

Round 1 Poll 13: "Waterloo" - ABBA (Sweden, 1974) vs "Hold Me Now" - Johnny Logan (Ireland, 1987)

Round 1 Poll 14: "Take Me to Your Heaven" - Charlotte Nilsson (Sweden, 1999) vs "Zitti e buoni" - Måneskin (Italy, 2021)

Round 1 Poll 15: "Why Me?" - Linda Martin (Ireland, 1992) vs Ukraine "Wild Dances" - Ruslana (Ukraine, 2004)

Round 1 Poll 16: "Stefania" (Стефанія) - Kalush Orchestra (Ukraine, 2022) vs "De troubadour" - Lenny Kuhr (Netherlands, 1969)

Round 1 Poll 17: "Only Teardrops" - Emmelie de Forest (Denmark, 2013) vs "Nocturne" - Secret Garden (Norway, 1995)

Round 1 Poll 18: "Hallelujah" (הללויה) - Milk and Honey (Israel, 1979) vs "Molitva" (Молитва) - Marija Šerifović (Serbia, 2007)

Round 1 Poll 19: "Diggi-Loo Diggi-Ley" - Herreys (Sweden, 1984) vs "I Wanna" - Marie N (Latvia, 2002)

Round 1 Poll 20: "Fairytale" - Alexander Rybak (Norway, 2009) vs "Merci, Chérie" - Udo Jürgens (Austria, 1966)

Round 1 Poll 21: "Fångad av en stormvind" - Carola (Sweden, 1991) vs "A-Ba-Ni-Bi" (א-ב-ני-בי) - Izhar Cohen and the Alphabeta (Israel, 1978)

Round 1 Poll 22: "Après toi" - Vicky Leandros (Luxembourg, 1972) vs "Love Shine a Light" - Katrina and the Waves (United Kingdom, 1997)

Round 1 Poll 23: "Dansevise" - Grethe and Jørgen Ingmann (Denmark, 1963) vs "Fly on the Wings of Love" - Olsen Brothers (Denmark, 2000)

Round 1 Poll 24: "Making Your Mind Up" - Bucks Fizz (United Kingdom, 1981) vs "L'Oiseau et l'Enfant" - Marie Myriam (France, 1977)

Round 1 Poll 25: "Insieme: 1992" - Toto Cutugno (Italy, 1990) vs "Everybody" - Tanel Padar, Dave Benton and 2XL (Estonia, 2001)

Round 1 Poll 26: "All Kinds of Everything" - Dana (Ireland, 1970) vs "In Your Eyes" - Niamh Kavanagh (Ireland, 1993)

Round 1 Poll 27: "Hard Rock Hallelujah" - Lordi (Finland, 2006) vs "Net als toen" - Corry Brokken (Netherlands, 1957)

Round 1 Poll 28: "Een beetje" - Teddy Scholten (Netherlands, 1959) vs "Heroes" - Måns Zelmerlöw (Sweden, 2015)

Round 1 Poll 29: "Rock 'n' Roll Kids" - Paul Harrington and Charlie McGettigan (Ireland, 1994) vs "My Number One" - Helena Paparizou (Greece, 2005)

Round 1 Poll 30: "Running Scared" - Ell and Nikki (Azerbaijan, 2011) vs "Amar pelos dois" - Salvador Sobral (Portugal, 2017)

Round 1 Poll 31: "Poupée de cire, poupée de son" - France Gall (Luxembourg, 1965) vs "Believe" - Dima Bilan (Russia, 2008)

Round 1 Poll 32: "Vivo cantando" - Salomé (Spain, 1969) vs "Tattoo" - Loreen (Sweden, 2023)

[hits1000]

All Winners of the Eurovision Song Contest (1956-2023)

All Winners of the Eurovision Song Contest (1956-2023) Here is a recap of all winners of the Eurovision Song Contest, from the start in 1956 to the latest contest in 2023. In 1969, four countries shared the 1st place by getting the same amount of points. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. 🇨🇭 Lys Assia - Refrain (1956) 🇳🇱 Corry Brokken - Net Als Toen (1957) 🇫🇷 André Claveau - Dors, Mon Amour (1958) 🇳🇱 Teddy Scholten - Een Beetje (1959) 🇫🇷 Jacqueline Boyer - Tom Pillibi (1960) 🇱🇺 Jean-Claude Pascal - Nous, Les Amoureux (1961) 🇫🇷 Isabelle Aubret - Un Premier Amour (1962) 🇩🇰 Grethe & Jørgen Ingmann - Dansevise (1963) 🇮🇹 Gigliola Cinquetti - Non Ho L'Età (1964) 🇱🇺 France Gall - Poupée De Cire, Poupée De Son (1965) 🇦🇹 Udo Jürgens - Merci, Chérie (1966) 🇬🇧 Sandie Shaw - Puppet On A String (1967) 🇪🇸 Massiel - La, La, La (1968) 🇫🇷 Frida Boccara - Un Jour, Un Enfant (1969) 🇳🇱 Lenny Kuhn - De Troubadour (1969) 🇬🇧 Lulu - Boom Bang-A-Bang (1969) 🇪🇸 Salomé - Vivo Cantando (1969) 🇮🇪 Dana - All Kinds Of Everything (1970) 🇲🇨 Séverine - Un Banc, Un Arbre, Une Rue (1971) 🇱🇺 Vicky Leandros - Après Toi (1972) 🇱🇺 Anne-Marie David - Tu Te Reconnaîtras (1973) 🇸🇪 ABBA - Waterloo (1974) 🇳🇱 Teach-In - Ding-A-Dong (1975) 🇬🇧 Brotherhood of Man - Save Your Kisses For Me (1976) 🇫🇷 Marie Myriam - L'Oiseau Et L'Enfant (1977) 🇮🇱 Izhar Cohen & the Alpha-Beta - A-Ba-Ni-Bi (1978) 🇮🇱 Gali Atari & Milk & Honey - Hallelujah (1979) 🇮🇪 Johnny Logan - What's Another Year (1980) 🇬🇧 Bucks Fizz - Making Your Mind Up (1981) 🇩🇪 Nicole - Ein Bißchen Frieden (1982) 🇱🇺 Corinne Hermès - Si La Vie Est Cadeau (1983) 🇸🇪 Herreys - Diggi-Loo, Diggi-Ley (1984) 🇳🇴 Bobbysocks - La Det Swinge (1985) 🇧🇪 Sandra Kim - J'Aime La Vie (1986) 🇮🇪 Johnny Logan - Hold Me Now (1987) 🇨🇭 Céline Dion - Ne Partez Pas Sans Moi (1988) 🇭🇷 Riva - Rock Me (1989)* 🇮🇹 Toto Cutugno - Insieme: 1992 (1990) 🇸🇪 Carola - Fångad Av En Stormvind (1991) 🇮🇪 Linda Martin - Why Me? (1992) 🇮🇪 Niamh Kavanagh - In Your Eyes (1993) 🇮🇪 Paul Harrington & Charlie McGettigan (1994) 🇳🇴 Secret Garden - Nocturne (1995) 🇮🇪 Eimear Quinn - The Voice (1996) 🇬🇧 Katrina and the Waves - Love Shine A Light (1997) 🇮🇱 Dana International - Diva (1998) 🇸🇪 Charlotte Nilsson - Take Me To Your Heaven (1999) 🇩🇰 Olsen Brothers - Fly On The Wings Of Love (2000) 🇪🇪 Tanel Padar & Dave Benton & 2XL - Everybody (2001) 🇱🇻 Marie N - I Wanna (2002) 🇹🇷 Sertab Erener - Every Way That I Can (2003) 🇺🇦 Ruslana - Wild Dances (2004) 🇬🇷 Helena Paparizou - My Number One (2005) 🇫🇮 Lordi - Hard Rock Hallelujah (2006) 🇷🇸 Marija Šerifović - Molitva (2007) 🇷🇺 Dima Bilan - Believe (2008) 🇳🇴 Alexander Rybak - Fairytale (2009) 🇩🇪 Lena - Satellite (2010) 🇦🇿 Ell & Nikki - Running Scared (2011) 🇸🇪 Loreen - Euphoria (2012) 🇩🇰 Emmelie de Forest - Only Teardrops (2013) 🇦🇹 Conchita Wurst - Rise Like A Phoenix (2014) 🇸🇪 Måns Zelmerlöw - Heroes (2015) 🇺🇦 Jamala - 1944 (2016) 🇵🇹 Salvador Sobral - Amor Pelos Dois (2017) 🇮🇱 Netta - Toy (2018) 🇳🇱 Duncan Laurence - Arcade (2019) 🇮🇹 Måneskin - Zitti E Buoni (2021) 🇺🇦 Kalush Orchestra - Stefania (2022) 🇸🇪 Loreen - Tattoo (2023) #allwinnerseurovision #allwinnersesc #allwinners #allesc #alleurovision #winnersesc #esc1956-2023 #winners1956-2023 https://www.youtube.com/watch?v=6KPUrKWenhs

[creativepup]

It's OK if y'all didn't originally recognize her name, but here's some Louise Brooks propaganda from my mom (courtesy of https://www.pandorasbox.com/tributes/):

"Aside from Charlie Chaplin, no silent film star — and few actors or actresses of today — have received so much cultural and creative recognition. Arguably, Brooks has become a 20th century icon, even something of a muse."

In Dangerous Female (1931), the first film version of The Maltese Falcon, Brooks or someone who looks a lot like her, is pictured as Sam Spade’s girlfriend.

The femme fatale played by Cyd Charisse in Singin in the Rain (1952) was modeled after Brooks.

Over the years, many actresses have stated in print their desire to play Brooks on the big screen, including Shirley MacLaine, Julie Roberts, Dana Delaney, Winona Ryder and Neve Campbell, to name a few.

Performers who have sported bobbed hair and name checked Brooks include Siouxsie Sioux of Siouxsie and The Banshees, country music star Lorrie Morgan, singers Linda Rondstadt and Kylie Minogue, and pop superstar Madonna.

In Jonathan Demme’s Something Wild (1986), Melanie Griffith plays a femme fatale who calls herself “Lulu” and adopts a bobbed haircut like Brooks.

The Eddie Muller short The Grand Inquisitor (2008) features a Brooks’ inspired character named Lulu.

Images of Brooks are seen a number of times in the French film Blue is the Warmest Color (2013).

Brooks was the inspiration behind Show Girl (1928) and Hollywood Girl (1929), two bestselling comedic novels by J.P. McEvoy. Each was serialized in Liberty magazine and later widely syndicated in dozens of American newspapers.

According to the Argentine author Adolfo Bioy Casares, the character of Faustine in his 1940 novel The Invention of Morel was inspired by Brooks.One of the very first works of magic realism, The Invention of Morel reportedly influenced both Alain Resnais’ film Last Year at Marienbad (1961) as well as the popular American television show, Lost.

A character named Louise Brooks, who happens to resemble the actress, plays an important role in Willem Frederik Hermans’ The Saint of the Clockmakers (1987), a philosophical novel considered one of the finest works by one of the most important Dutch novelists of the post WWII era.

Brooks is mentioned or a minor character in a number of genre novels or novels by genre writers including Kim Newman’s Anno Dracula (1992), Nancy Baker’s Kiss of the Vampire (1995), and Neil Gaiman’s American Gods (2001). In the latter novel, the character named Czernobog refers to Brooks as the greatest movie star of all time. In Houdini Heart (2011), a novel of supernatural horror, author Ki Longfellow uses Brooks as a character in the lead character’s visions. Brooks is also referenced in works by Fritz Leiber, Jr., Clive Barker, Peter Straub, Elizabeth Hand, and Lemony Snicket.

Riffing on the Brooks’ film, Frank O’Hara wrote a poem titled “F.Y.I.(PRIX DE BEAUTE)” (1961). Another poet associated with the New York School, Bill Berkson, also wrote a poem inspired by Brooks, “Bubbles” (early 1960’s). Additionally, Brooks is pictured in a book of 1978 film-inspired poems by Edward Field.

Brooks was the inspiration behind Dixie Dugan, the comic strip by J.P. McEvoy and John H. Striebel which ran from 1929 to 1966.

Brooks is popular among European comix artists. Hugo Pratt, another celebrated Italian artist, found inspiration in Brooks and drew her likeness into various works and named characters after her. Two French graphic novels, Olivia Sturgess 1914-2004 (2005) by Floc’h, and Louise et les loups (2012), by Marion Mousse, were each inspired by Brooks and her look.

The character of Death in the Sandman books by Neil Gaiman was originally based on Brooks.

Brooks is a character and appears on the cover of a Dr. Who comic, Silver Scream (2009). [The eighth Doctor, actor Paul McGann, is also a big fan of the actress.]

Brooks’ likeness is incorporated into a 1929 photo-montage by the Bauhaus associated artist Herbert Bayer. She can also be found in a collage (c. 1930) by the English artist Edward Burra.

Famed caricaturist David Levine drew a likeness of Brooks which appeared in the New York Review of Books (1982), and has been subsequently reproduced on calendars, postcards and other print media.

The first rock music nod to Brooks may be from The Freeze, a Scottish punk band. In 1980, they released a 7″ EP featuring the song “Celebration”, which the back cover notes is “dedicated to Louise Brooks who inspired this song.” Composer Gordon Sharp reportedly sent the recording to the actress. The earliest rock music video featuring footage of Brooks may be “It Hurts” by the Lotus Eaters, from 1985.

Singer songwriter Mike Doughty sports a Brooks’ tattoo, which he has worn since the 1990s. More recently on social media sites, fans have posted images of their own Brooks’ tattoos.

Rufus Wainwright’s 2010 recording, All Days Are Nights: Songs for Lulu, is an acknowledged tribute to Brooks. The Lou Reed / Metallica collaboration, Lulu (2011), can also be regarded as a more oblique homage to Brooks.

The British new wave group Orchestral Manoeuvres in the Dark (OMD) released a hit single called “Pandora’s Box” (1991) as a Brooks tribute.The lyrics are about the actress, and the video for the song uses footage of Brooks.

International songs referencing Brooks include Jen Anderson’s “Lulu the song” (1993) from her Australian Pandora’s Box soundtrack; “Lulu” (1995) from the Canadian singer- songwriter Ron Hawkins; and “Interior Lulu” (1999) by the British prog-rock band Marillion. Another prog-rock band, TIMELOCK, from The Netherlands, released two songs about the actress, “Louise Brooks” from their 1994 album Louise Brooks, and “Louise Brooks Revisited” from a 2002 album. In 2014, Scottish singer songwriter Louise Rutkowski released Diary of a Lost Girl.That same year, the Tiger Lillies released Lulu – A Murder Ballad. In 2015, Wurlitza, a five piece band from the UK, released their original soundtrack to the Brooks’ film, Diary of a Lost Girl. And on a different note, there’s “Louise Brooks: Lulu’s Ragtime” (2007) by the Vienna Art Orchestra. As well, Brooks appears on the cover of Eliogabablus (1990), by the Italian-Slovenian experimental rock band Devil Doll. While a few images of Brooks appear in the video of Caro Emerald’s “Tangled Up” (2013).

Brooks may be more popular in France than just about anywhere. Among the French acts that have recorded tributes to the actress is the musette revival band Les Primitifs Du Futur (whose line-up includes famed cartoonist Robert Crumb); in 2006, they reworked the theme song from Prix de Beauté into “Chanson pour Louise Brooks”. Among other French recordings there is “Louise Brooks” by Lady Godiva, from their 1999 release Louise Brooks Avenue, “Actress (Louise Brooks theme)” by Nouvelle Culture from 2005, and Olivia Louvel’s “Lulu a Hollywood” from her 2007 album, Lulu in Suspension.

A French perfume, “LouLou”, from 1987, was inspired by Brooks.

“Impasse Louise Brooks”, a street named after the actress, is located in Bois d’Arcy, a village outside of Paris.

((My mom also had a coworker who styled her hair like Louise Brooks.))

Y'all are doing a cultural disservice not to vote for Louise.

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Vilma Bánky (The Son of the Sheik, The Eagle)—She's famous now for being a silent star ruined by the transition to talkies, unlike her frequent co-star Ronald Colman. I think that's a shame, as she has a real vivaciousness and charm in The Winning of Barbara Worth. In this *checks notes* western about environmental engineering, she rides around the desert and gets wooed by both Colman and a young Gary Cooper (good for her dot gif.) Even in stills from films that are sadly lost, I think there is a distinctive warmth and individuality to her. Also she is extremely hot in her extremely pre-Code dress in The Magic Flame.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Vilma Bánky:

I love Vilma Bánky! She was called "the Hungarian Rhapsody" and apparently had a thick Hungarian accent which I think is cute. Several men fighting over the same women can be very cliche but when I saw her in The Winning of Barbara Worth (1926) I got it because my god she really is that drop dead gorgeous. She's also a wonderful actress though, expressive yet natural. I read once that seeing her in The Dark Angel (1925)—a film now seemingly lost—inspired Merle Oberon to become an actress :)

This is more of a factoid but she was apparently the women's golf champion at Wilshire Country Club through the 1940s. [link] I just think she's neat.

I love herrrrr she’s my everything. Watching her kiss Rudolph Valentino in Son of the Sheik made me so flustered I had to pause the movie to cool down. She’s the prettiest the most beautiful the most incredible woman I’ve ever seen. I could look at a picture of her for hours

[undergroundrockpress]

Bazooka est un collectif d’artistes, né aux ateliers graphiques des Beaux-Arts de Paris en 1974. Il est constitué de Kiki Picasso, Loulou Picasso, Olivia Clavel, Lulu Larsen, Bernard Vidal et TI5 Dur.

Indissociables de la vague punk qui déferle sur l’Europe, les Bazooka publient leurs propres magazines : Bazooka production (1975), Bulletin Périodique (1976), créent des affiches, des pochettes de disques, notamment pour le label Skydog de Marc Zermati (fondateur du Festival punk de Mont de Marsan) et investissent entre 1976 et 1978 de nombreuses revues (Métal Hurlant, l’Echo des savanes, Hara Kiri, Charlie, Rock & Folk etc…). En 1977, en véritable commando, ils instaurent leur « dictature graphique » à Libération en réagissant à chaud à l’actualité, tout d’abord dans les colonnes du journal, puis entre février et juin 1978 dans le mensuel Un regard Moderne.

En 1979 le groupe éclate, et les membres de Bazooka poursuivent chacun leur travail individuellement, même s’ils se retrouvent pour de ponctuelles collaborations.

lien/link

[sortirdanslesud]

@olivier.kaefer Aujourd’hui tournage du HIT MACHINE pour la chaîne W9 diffusé en début d’année 23. Il sera bien sûr annoncé la tournée d’été . Charly et Lulu sont au taquet https://www.instagram.com/p/Cks-T-pqJY9/?igshid=NGJjMDIxMWI=

[forayoff]

Journal,

Permettons-nous de se donner une bonne nouvelle. Aujourd'hui, Titi, lulu et oim avons eu de la visite dans le studio 3 du 106, et se fut bref mais néanmoins savoureux. L'homme, que tu vois en train d'exécuter cette partition mentale n'est autre que le célèbre Raphael Quenehen, ceinture noire de baryton, médaillé olympique de lance-flamme en 2010.

Si on regarde de plus près son fidèle instrument, on devine alors deux lettres gravées à même le cuivre; B.T. J'avoue que ces mystérieuses initiales ont remué la verve endormie de ma curiosité. Selon la légende, Rapha en aurait fait l'aquisition un soir, dans le monde d'avant le confinement, dans les limbes fièvreuses d'une vieille boite de jazz enfumées de NY, "le p'tit bar" (prononcé avec l'accent de Harlem). La bête était attachée au mur, tel un trophée, art top déco, symbole des années folles, d'un vent de liberté made in USA. C'est certain, les anches de ce vieux baryton ont du en voir passer des notes, et des belles! Maybe, celles de Charlie Parker Jr, John William Coltrane, Julian “Canonball” Adderley ? Nul ne sait. Je me laissait doucement dériver, mon enquête piétina ainsi, pendant que Rapha enchaînait de merveilleux phrasés buccaux enjoleurs. En un quart d'heure, l'affaire était pliée, dans la boîte. J'étais heureux, comme jamais je ne l'avais été, devant un solo de sax. Mais une question subsistera. God almighty, who are you BT ?

C'est sur ce questionnement que je te laisse à ta soirée. Je tiens encore à remercie Rapha de nous avoir offert ce cadeau de noël.

Prends soin de toi et de tes proches, n'oublions pas de sauver la culture aussi, si possible.

FORAY

[pisralels]

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Avatars Hommes

Clark Coombs 9 avatars ici Charlie Knepper 9 avatars ici Tom Hardy 9 avatars ici Corey Campbell 9 avatars ici Travis Fimmel 15 avatars ici Tyler Posey 9 avatars ici Wang Yibo 9 avatars ici Avatars femmes Sabrina Carpenter 39 avatars ici Anja Leuenberger 18 avatars ici Sophie Skelton 9 avatars ici Hannah Keeple 9 avatars ici Stefanie Scott 9 avatars ici Lulu Antariksa 9 avatars ici Martina Stoessel 9 avatars ici María Pedraza 9 avatars ici AzuraxAqua 5 avatars de Yungblud : ici Wollstonecrafts 164 avatars de Anya Taylor Joy ici 147 avatars de Lily James ici

[jmbivard]

Dans[k] from LaLa films on Vimeo.

“This film documents the journey of 7 Afro-Danish women through life with dance as their anchor and the space where a Black woman can explore herself in a White environment.

With their stories and their movement, they cross both personal and societal boundaries. While their journey into dance is all different, what they share is the desire to escape conformity and the norm that a Black body can’t satisfy in a White space.

To exist in a White world as a Black woman activates one’s inner chameleon. A flexibility meant to originate in self-love and not curated by the concept of Blackness. These women need to turn to draining backroads time and time again when doors remain closed in an industry where power, budgets and access to the big stages is plagued with systemic inequality. They water the seeds sown on their own with tears building a table where they themselves don’t have a seat.

For these women the road to self-acceptance as dancers and Black women is paved with rejection, misunderstanding, selfhate -hate for the color of their skin, their bodies and the feeling of not being able to express themselves freely and creatively, expressing the justified anger and frustration. The reflection, identification and community surrounding dance is liberating and affirming for the women. A place where no explanation is needed, a place where body and mind become one."

“Denne film dokumentere 7 afrodans(k)eres rejse igennem livet, med dansen som deres anker og som det rum hvor en sort kvinde i et hvidt landskab kan gå på selvopdagelse.

Med deres fortællinger og deres bevægelser springer de grænser, både de personlige og dem som samfundet konstituerer. Vejene ind i dansen er forskellige men de har alle søgt væk fra det konforme og den normalitet, man som sort krop i en hvid ramme ikke kan udfylde. At blive til som sort kvinde og skulle navigerer i en hvid verden, aktiverer en indre kamæleon. En fleksibilitet som skal udspringe fra selvkærlighed og ikke en kuratering af konceptet sorthed. Disse kvinder finder gang på gang opslidende bagveje, når dørene forbliver lukkede i en industri hvor magt, budgetter og adgang til de store scener er underlagt en systemisk ulighed. De vander de frø de selv sår med deres tåre og bygger bordet som de ikke får plads ved, selv.

For disse kvinder har vejen til en selverkendelse som danser og som sort kvinde, været brolagt med benægtelse, misforståelser, selvhad -had til hudfarve og kropsformer og følelsen af ikke at kunne udtrykke sig frit og kreativt og give udtryk for den vrede og frustration som er dem berettiget. Men spejlingen, identifikationen og fælleskabet omkring dansen er fritsættende og bekræftende for disse kvinder. Et sted hvor ingen forklaring er nødvendig, et sted hvor krop og sind flyder sammen.”

Cast Toniah Pedersen Nafi Lisa Gravesen Maji Claire Marie Kaae Liv Crescesse Mariama Bajo Ambrose Amy Sarr

Dancers

Lulu Safia Elling Ciara Rose Blankenship Luc Boris André Sebastian Skov Nefertiti Pedersen Beck Heiberg Charlie Laban Trier Andree Hoxfeldt Dato Vande Putte Hector Volcano

Maji Claire styled by Alecsander Rothschild "Masculina"

Idea & Producer Detour Dance Festival Sara Jordan

Interviewer Sade Johnson

DOP & Editing & lights Sara Jordan

Production assistant Marie Paldrup

MUA & Hair Cianne Denize

Supported by Detour Dance Festival & The Danish Arts Council

[goat-esc-winner-showdown]

ROUND 1 BRACKETS

Round 1 Poll 1: "What's Another Year" - Johnny Logan (Ireland, 1980) vs "Arcade" - Duncan Laurence (Netherlands, 2019)

Round 1 Poll 2: "Tu te reconnaîtras" - Anne-Marie David (Luxembourg, 1973) vs "Euphoria" - Loreen (Sweden, 2012)

Round 1 Poll 3: "J'aime la vie" - Sandra Kim (Belgium, 1986) vs "Ein bißchen Frieden" - Nicole (Germany, 1982)

Round 1 Poll 4: "Puppet on a String" - Sandie Shaw (United Kingdom, 1967) vs "The Voice" - Eimear Quinn (Ireland, 1996)

Round 1 Poll 5: "Boom Bang-a-Bang" - Lulu (United Kingdom, 1969) vs "Tom Pillibi" - Jacqueline Boyer (France, 1960)

Round 1 Poll 6: "Rise Like a Phoenix" - Conchita Wurst (Austria, 2014) vs "Toy" - Netta (Israel, 2018)

Round 1 Poll 7: "Refrain" - Lys Assia (Switzerland, 1956) vs "Everyway That I Can" - Sertab Erener (Turkey, 2003)

Round 1 Poll 8: "Diva" (דיווה) - Dana International (Israel, 1998) vs "Satellite" - Lena (Germany, 2010)

Round 1 Poll 9: "Si la vie est cadeau" - Corinne Hermès (Luxembourg, 1983) vs "La det swinge" - Bobbysocks! (Norway, 1985)

Round 1 Poll 10: "Nous les amoureux" - Jean-Claude Pascal (Luxembourg, 1961) vs "Un banc, un arbre, une rue" - Séverine (Monaco, 1971)

Round 1 Poll 11: "Dors, mon amour" - André Claveau (France, 1958) vs "Ne partez pas sans moi" - Céline Dion (Switzerland, 1988)

Round 1 Poll 12: "1944" - Jamala Jamala (Ukraine, 2016) vs "Save Your Kisses for Me" - Brotherhood of Man (United Kingdom, 1976)

Round 1 Poll 13: "Waterloo" - ABBA (Sweden, 1974) vs "Hold Me Now" - Johnny Logan (Ireland, 1987)

Round 1 Poll 14: "Take Me to Your Heaven" - Charlotte Nilsson (Sweden, 1999) vs "Zitti e buoni" - Måneskin (Italy, 2021)

Round 1 Poll 15: "Why Me?" - Linda Martin (Ireland, 1992) vs "Wild Dances" - Ruslana (Ukraine, 2004)

Round 1 Poll 16: "Stefania" (Стефанія) - Kalush Orchestra (Ukraine, 2022) vs "De troubadour" - Lenny Kuhr (Netherlands, 1969)

Round 1 Poll 17: "Only Teardrops" - Emmelie de Forest (Denmark, 2013) vs "Nocturne" - Secret Garden (Norway, 1995)

Round 1 Poll 18: "Hallelujah" (הללויה) - Milk and Honey (Israel, 1979) vs "Molitva" (Молитва) - Marija Šerifović (Serbia, 2007)

Round 1 Poll 19: "Diggi-Loo Diggi-Ley" - Herreys (Sweden, 1984) vs "I Wanna" - Marie N (Latvia, 2002)

Round 1 Poll 20: "Fairytale" - Alexander Rybak (Norway, 2009) vs "Merci, Chérie" - Udo Jürgens (Austria, 1966)

Round 1 Poll 21: "Fångad av en stormvind" - Carola (Sweden, 1991) vs "A-Ba-Ni-Bi" (א-ב-ני-בי) - Izhar Cohen and the Alphabeta (Israel, 1978)

Round 1 Poll 22: "Après toi" - Vicky Leandros (Luxembourg, 1972) vs "Love Shine a Light" - Katrina and the Waves (United Kingdom, 1997)

Round 1 Poll 23: "Dansevise" - Grethe and Jørgen Ingmann (Denmark, 1963) vs "Fly on the Wings of Love" - Olsen Brothers (Denmark, 2000)

Round 1 Poll 24: "Making Your Mind Up" - Bucks Fizz (United Kingdom, 1981) vs "L'Oiseau et l'Enfant" - Marie Myriam (France, 1977)

Round 1 Poll 25: "Insieme: 1992" - Toto Cutugno (Italy, 1990) vs "Everybody" - Tanel Padar, Dave Benton and 2XL (Estonia, 2001)

Round 1 Poll 26: "All Kinds of Everything" - Dana (Ireland, 1970) vs "In Your Eyes" - Niamh Kavanagh (Ireland, 1993)

Round 1 Poll 27: "Hard Rock Hallelujah" - Lordi (Finland, 2006) vs "Net als toen" - Corry Brokken (Netherlands, 1957)

Round 1 Poll 28: "Een beetje" - Teddy Scholten (Netherlands, 1959) vs "Heroes" - Måns Zelmerlöw (Sweden, 2015)

Round 1 Poll 29: "Rock 'n' Roll Kids" - Paul Harrington and Charlie McGettigan (Ireland, 1994) vs "My Number One" - Helena Paparizou (Greece, 2005)

Round 1 Poll 30: "Running Scared" - Ell and Nikki (Azerbaijan, 2011) vs "Amar pelos dois" - Salvador Sobral (Portugal, 2017)

Round 1 Poll 31: "Poupée de cire, poupée de son" - France Gall (Luxembourg, 1965) vs "Believe" - Dima Bilan (Russia, 2008)

Round 1 Poll 32: "Vivo cantando" - Salomé (Spain, 1969) vs "Tattoo" - Loreen (Sweden, 2023)

[dansersurdelarchitecture]

Machine Girl - ...BECAUSE I'M YOUNG ARROGANT AND HATE EVERYTHING YOU STAND FOR (Orange Milk, 2017)

Attention ça va très très vite. Après une petite sirène d'introduction, on se prend direct un train dans la gueule. À bord, un mécano un peu fou. Il sort juste de l'adolescence, il porte des fringues fluo, il hurle à s'en arracher les cordes vocales. Il est arrogant, ça ne fait aucun doute mais en même temps il peut se le permettre parce qu'à ma connaissance personne n'a atteint ce niveau de pure brutalité, même pas Death Grips dans leurs moments les plus sauvages. Disons que si Death Grips c'était Son Goku contre Freezer, Machine Girl ce serait Son Goku contre Cell. Une autre division, de quoi être fier parce que la brutalité, c’est bien. 

Des choses qui sont contenues dans cette musique :

-Atari Teenage Riot -Acen, Prodigy et "hardcore you know the score" -Les jeux Cave (dodonpachi, Esp Ra De, Esp Galuda etc) -James Ferraro et Daniel Lopatin -Les voix digitales de Mac Os -Rick et Morty et Adventure Time -les modems 56k -Les blood brothers -Beaucoup d'hormones : dopamine, serotonine, adrénaline... -les restes de la culture New Age -Thunderdome, gabber et MDMA -Public Ennemy -Aphex Twin évidemment. -Teklife

je me sens un peu paralysé quand j'écoute cette cassette. Trop d'information. Il y a surchauffe. A côté Richard d James c'est un papy un peu mou du bulbe.

Mais c'est logique : on est dans un monde de plus en plus rapide, on a pas trop le choix, sinon on est un loser. Il faut aller très vite, Machine Girl est plus rapide que tout le monde, c'est un winner. C'est comme pour être président de la république : il faut en avoir envie plus que les autres et c'est gagné. De manière générale dans la vie, tu obtiens ce que tu désires vraiment vraiment beaucoup, généralement. Donc lui, il avait envie de prendre tout le monde de vitesse. Probablement que son cerveau tourne à 500 à l'heure, on appelle ça surefficience mentale, pensée en arborescence, cerveau droit dominant.

Je suis pas super bien placé pour écrire des choses à propos de cette musique, je l'aime trop. Je n'ai qu'un mot en tête : perfection.

La perfection d'une tête qui gonfle qui gonfle qui gonfle et finit par exploser en un feu d'artifice de petits bouts de chair de toutes les couleurs, décorant les murs de la pièce façon Jakson Pollok, sauf que c'est comestible et super bon, les meilleurs bouts de cervelle que tu n'as jamais mangés, ils te donnent une sorte de flash, tes pupilles se dilatent un max, et à ton tour tu as envie de sauter partout, de t'asperger de lait et de céréales Kellog's, d'acheter une kalachnikov sur le dark net pour démolir toutes les oeuvres d'art installées dans la rue par la municipalité, tous ces trucs plus moches les uns que les autres, et puis si une balle se perd et atterrit dans le ventre d'un pigeon c'est pas grave, on le mangera au dîner avec de la mayonnaise et quelques dragibus et puis on vomira tout dans la baignoire, c'est pas grave c'est de l'art, on rigolera bien, on mettra des photos de vomi sur instagram et des MILLIONS de like trop de like partout on partagera sur Facebook sur Myspace sur Linkedin toutes nos belles photos de vomi de pigeon avec un petit bec qui flotte dedans et deux trois dragibus mal digérés. Mais n'allez pas croire qu'on s'arrêtera là, il y a tellement de choses marrantes à faire quand on est un peu excité, qu'on a de l'imagination et pas trop trop d'amour pour son prochain, par exemple tirer les cheveux des filles au hasard dans la rue, balancer ses kleenex usagés sur le trottoir, péter dans la file d'attente du cinéma, voler des choses dans les boutiques, se déguiser en clown et proposer des bonbons hyper pimentés aux enfants à la sortie de l'école, acheter plein de boites de sauterelles à l'animalerie et les libérer dans un tram bondé, et enregistrer les cris des gens sur son zoom h4n, cacher un couteau suisse dans son caleçon avant de rentrer à l'iboat et sectionner discretos tous les cables des enceintes pendant un concert.

Et puis après, rentrer à la maison, se servir un bol de chocapic, et se poser devant Pokémon en soufflant un peu. C'est ça la vraie liberté : c'est jouissif, c'est un peu fatigant aussi, et puis, faut pas rêver, tout ça ne se produit jamais parce qu'on est un peu conditionnés par la télé, par les profs, les parents, les vieux, les jeunes-vieux, les moniteurs d'auto école, Charlie et Lulu, Dorothée, Michel Edouard Leclerc, cette enflure de Mark Zuckerberg, les parents de tes potes. etc. Il ne reste plus qu'un truc : faire de la musique violente à rendre fou, sortir tous ses synthés dans le rade du coin et se défouler devant quelques personnes tout aussi frustrées. C'est pas très politique, mais c'est un point d'équilibre, l'équilibre est bon, j'aime l'équilibre.

...BECAUSE I'M YOUNG ARROGANT AND HATE EVERYTHING YOU STAND FOR by Machine Girl

[happybeurzdisque]

27-10-99 // Les Princes de la ville

Putain, 20 ans!

« Ouais gros, ouais gros, ouais gros […] Camille Groult style Camille Groult style (bis repetita) ». Ah, ce temps ingrat de l’adolescence où ce que tu mettais dans ta chaine hi-fi devenait - ou pas - facteur d’intégration sociale… Au moins, quand tu étais banlieusard et en ��ge d’être au collège, il n’y avait pas beaucoup de choix. Pour rejoindre un clan, le kid moyen pouvait se tourner vers le crew des « Princes de la ville », « l’école du micro d’argent », la team Dre si tu étais amateur de flow cainri ou apprenti dealer; et NTM à condition d’être rebelle haut gradé, carnet de correspondance à l’appui. Bien sûr, si tu voulais opter pour une vie monastique, tu pouvais toujours battre le rythme avec tes bottes cloutées sur du Marilyn Manson.

Pour alimenter les conversations des cours d’école et les trajets quotidiens à pied sans fin, le Doc était généralement hors sujet, sauf à parler de sape. Même en classe anglais renforcé, on bitait pas grand-chose à papi Dré sinon que ça parlait de teuteu. NTM jouant dans un registre beaucoup trop grave et adulte pour les piwis, les débats sur « c’est qui qui le plus gros thug » opposaient généralement les auteurs de ‘Hold up’ et ceux de ‘L’empire du côté obscur’. Soit la vieille lutte intestine entre parigots et marseillais.

Ce qui n’empêchait pas qu’une fois rentré chez toi, tu faisais tourner l’un ou l’autre skeud pour accompagner ton Pitch au chocolat, avec les Minikeums comme fond télévisuel… Mais dans ma banlieue -  parler de téci serait légèrement excessif, si tu ne voulais pas être la tête de turc au petit pont massacreur, valait mieux se ranger dans l’équipe des princes de Vitry. C’est comme si les représentants du « Neuf-quatre » jouissaient d’une légitimité d’office sur l’ensemble du territoire francilien. Et quelques effets de style les distinguaient quand même de leurs comparses élevés à l’anisette: l’accent de « wesh » appuyé et gentiment agressif que tu empruntais pour te donner un genre – technique sophistiquée du babtou que j’étais pour se fondre dans la masse de l’école black blanc beurre début 2000, les paroles poil à gratter à l’encontre de la police, et bien sûr la description du quotidien des téci parisiennes.

Non pas que IAM soit à la ramasse là-dessus, l’écriture du 113 n’ayant jamais été aussi percutante que sur un ‘Petit frère’. Mais comment des sudistes pourraient venir donner des leçons sur la vie derrière les murs de la cité Robespierre ou du 113 rue Camille Groult? Parce que sont gentils avec leurs quartiers Nord les buveurs de pastaga... Rien à voir avec l’asphalte parisien! Bon, en vrai, pas besoin d’être anthropologue pour trouver des ressemblances. Reste qu’en deux deux, le sort des auditeurs d’IAM au collège était plié: si tu kiffais sur ‘Chez le mac’ ou ‘Nés sous la même étoile’, t’étais bon à écouter de la pop avec ta mère sur RTL et suivre des cours d’équitation le mercredi après-midi. Ridicule, mais qui a dit que les collégiens étaient des gens sensés?

Car dans le fond, est-ce que les 113 sont vraiment plus sulfureux que les tontons de Belsunce? Pas de sticker « Parental advisory » sur la pochette mosaïque des ‘Princes de la ville’ par exemple, contrairement au méchant monsieur Dre. Certes, ça mentionne des gros berettas sur ‘Hold up’, la piquouze dans ‘Reservoir Drogues’ mais aucune cervelle qui éclabousse les murs ni d’overdose accompagnée de détails glauques. Au contraire, même quand les chansons s’annoncent dark, 113 distille suffisamment de positivité pour ne pas tomber dans la déprime du bitume. Les braquages se passent crème à la mode Point Break, ‘Reservoir Drogues’ met en garde contre le business du deal qui termine en bains de sang... On est loin de la spirale infernale de ‘La Haine’, et franchement ça nous change des geignards à vocoder d’aujourd’hui. Bon, avec ‘Tonton du Bled’ et ‘Jackpotes 2000’ on frôlait quand même l’invitation chez Charlie et Lulu!

La grosse teuf selon le 113: “je lève mon verre de Coca, j’picole pas” - Mokobé. C’est un peu du Booba light parfois

N’empêche, sur la planète Paname, les vitriots étaient les maîtres du game et IAM une bande de comicos bons à animer les aprèm clips de M6.

Anecdote marrante, on m’avait filé ‘Princes de la ville’ sur un CD cracké, tandis que pour mon shoot de rap pastis je devais piocher honteusement dans la collection commerciale de maman, quelque part entre Étienne Daho et Mc Solaar.

Si on va au-delà des paroles et des postures, 113 raconte quelque chose de plus que sa musique et le quotidien de blédard condamné à l’échec scolaire et à l’éclairage nocturne bleu gyrophare (‘1001 nuits’). Le groupe est le résultat d’un métissage digne de Benetton. Sur l’album, chacun y va d’ailleurs de sa petite dédicace au pays – les Antilles pour AP, le Mali pour Mokobé, et Rim’K sur le tube ‘Tonton du bled’. Et le melting pot culturel continue sur les arrangements des ‘Princes de la ville’: d’abord avec le producteur DJ Medhi et son CV très parisien (Assassin, Mc Solaar...). Puis l’apparition de DJ Pone sur ‘Hold up’ et ses vibes bien seventies. Si ça c’était su que les 113 avaient confié leurs platines à un type qui s’appelle en réalité Guilhem Gallart, qui plus est passé par la case Marseille (ex-Fonky Family) ç’aurait été mauvais pour leur compte-chèque, comme chantaient d’autres habitués des services “poniens”, les Svinkels. Voilà qui signait en tout cas un début d’ouverture du rap français à l’électro, et les samples qui parsèment le disque l’ont préservé dans le formol. C’est comme ça que ‘Les Princes de la ville’ traverse sans encombre deux décennies d’évolution du hip-hop francophone.

La classe, les tontons! 

Francis Skeud B-)

La note complètement arbitraire de HBD pour ‘Les Princes de la ville’: 7.5/10 histoire de faire, à l’ancienne, un p’tit tour sur soi même

[hits1000]

Reaction to the Winners of the Eurovision Song Contest (1956-2022)

Reaction to the Winners of the Eurovision Song Contest (1956-2022) Here is a recap of all winners of the Eurovision Song Contest, from the start in 1956 to the latest contest in 2022. In 1969, four countries shared the 1st place by getting the same amount of points. 00:00 Introduction 00:41 First Part (1956-1989) 04:23 Reaction to Part One 04:54 Second Part (1990-2022) 08:06 Reaction to Part Two 🇨🇭 Lys Assia - Refrain (1956) 🇳🇱 Corry Brokken - Net Als Toen (1957) 🇫🇷 André Claveau - Dors, Mon Amour (1958) 🇳🇱 Teddy Scholten - Een Beetje (1959) 🇫🇷 Jacqueline Boyer - Tom Pillibi (1960) 🇱🇺 Jean-Claude Pascal - Nous, Les Amoureux (1961) 🇫🇷 Isabelle Aubret - Un Premier Amour (1962) 🇩🇰 Grethe & Jørgen Ingmann - Dansevise (1963) 🇮🇹 Gigliola Cinquetti - Non Ho L'Età (1964) 🇱🇺 France Gall - Poupée De Cire, Poupée De Son (1965) 🇦🇹 Udo Jürgens - Merci, Chérie (1966) 🇬🇧 Sandie Shaw - Puppet On A String (1967) 🇪🇸 Massiel - La, La, La (1968) 🇫🇷 Frida Boccara - Un Jour, Un Enfant (1969) 🇳🇱 Lenny Kuhn - De Troubadour (1969) 🇬🇧 Lulu - Boom Bang-A-Bang (1969) 🇪🇸 Salomé - Vivo Cantando (1969) 🇮🇪 Dana - All Kinds Of Everything (1970) 🇲🇨 Séverine - Un Banc, Un Arbre, Une Rue (1971) 🇱🇺 Vicky Leandros - Après Toi (1972) 🇱🇺 Anne-Marie David - Tu Te Reconnaîtras (1973) 🇸🇪 ABBA - Waterloo (1974) 🇳🇱 Teach-In - Ding-A-Dong (1975) 🇬🇧 Brotherhood of Man - Save Your Kisses For Me (1976) 🇫🇷 Marie Myriam - L'Oiseau Et L'Enfant (1977) 🇮🇱 Izhar Cohen & the Alpha-Beta - A-Ba-Ni-Bi (1978) 🇮🇱 Gali Atari & Milk & Honey - Hallelujah (1979) 🇮🇪 Johnny Logan - What's Another Year (1980) 🇬🇧 Bucks Fizz - Making Your Mind Up (1981) 🇩🇪 Nicole - Ein Bißchen Frieden (1982) 🇱🇺 Corinne Hermès - Si La Vie Est Cadeau (1983) 🇸🇪 Herreys - Diggi-Loo, Diggi-Ley (1984) 🇳🇴 Bobbysocks - La Det Swinge (1985) 🇧🇪 Sandra Kim - J'Aime La Vie (1986) 🇮🇪 Johnny Logan - Hold Me Now (1987) 🇨🇭 Céline Dion - Ne Partez Pas Sans Moi (1988) 🇭🇷 Riva - Rock Me (1989)* 🇮🇹 Toto Cutugno - Insieme: 1992 (1990) 🇸🇪 Carola - Fångad Av En Stormvind (1991) 🇮🇪 Linda Martin - Why Me? (1992) 🇮🇪 Niamh Kavanagh - In Your Eyes (1993) 🇮🇪 Paul Harrington & Charlie McGettigan (1994) 🇳🇴 Secret Garden - Nocturne (1995) 🇮🇪 Eimear Quinn - The Voice (1996) 🇬🇧 Katrina and the Waves - Love Shine A Light (1997) 🇮🇱 Dana International - Diva (1998) 🇸🇪 Charlotte Nilsson - Take Me To Your Heaven (1999) 🇩🇰 Olsen Brothers - Fly On The Wings Of Love (2000) 🇪🇪 Tanel Padar & Dave Benton & 2XL - Everybody (2001) 🇱🇻 Marie N - I Wanna (2002) 🇹🇷 Sertab Erener - Every Way That I Can (2003) 🇺🇦 Ruslana - Wild Dances (2004) 🇬🇷 Helena Paparizou - My Number One (2005) 🇫🇮 Lordi - Hard Rock Hallelujah (2006) 🇷🇸 Marija Šerifović - Molitva (2007) 🇷🇺 Dima Bilan - Believe (2008) 🇳🇴 Alexander Rybak - Fairytale (2009) 🇩🇪 Lena - Satellite (2010) 🇦🇿 Ell & Nikki - Running Scared (2011) 🇸🇪 Loreen - Euphoria (2012) 🇩🇰 Emmelie de Forest - Only Teardrops (2013) 🇦🇹 Conchita Wurst - Rise Like A Phoenix (2014) 🇸🇪 Måns Zelmerlöw - Heroes (2015) 🇺🇦 Jamala - 1944 (2016) 🇵🇹 Salvador Sobral - Amor Pelos Dois (2017) 🇮🇱 Netta - Toy (2018) 🇳🇱 Duncan Laurence - Arcade (2019) 🇮🇹 Måneskin - Zitti E Buoni (2021) Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. #reactionwinnerseurovision #allwinnerseurovision #allwinnersesc #allwinners #allesc #alleurovision #winnersesc #esc1956-2022 #winners1956-2022 https://www.youtube.com/watch?v=xYtRkI7MuvY

[stainedglassgardens]

Favourite films watched in 2020

In no particular order:

Katalin Varga (Peter Strickland, 2009) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Post Tenebras Lux (Carlos Reygadas, 2012) The Return (Возвращение, Andrey Zvyaginstev, 2003) The Grand Bizarre (Jodie Mack, 2018) Transnistra (Anna Eborn, 2019) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) The Petrified Forest (Archie Mayo, 1936) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967)

Complete list of all 323 films watched in 2020 under the cut!

January

Angus, Thongs and Perfect Snogging (Gurinder Chadha, 2008) Blade (Steven Norrington, 1998) Who Among Us! (Abhishek Prasad and Rebecca Kahn, 2019) Brotherhood (Meryam Joobeur, 2018) Disctrict 9 (Neill Blomkamp, 2009) Hair Love (Matthew A. Cherry and Karen Rupert Toliver, 2019) Kitbull (Rosana Sullivan, 2019) Sister (妹妹, Siqi Song, 2019) Nuts! (Penny Lane, 2016) The Judge (Erika Cohn, 2017) The Ghosts of Sugar Land (Bassam Tariq, 2019) Amazonia (Dominic Hicks, 2018) Dearborn Ash (Hena Ashraf, 2018) Pineal (Jenny Rinta-Kanto, 2019) Headcleaner (Nick Scott, 2019) Rattlesnake (Zak Hilditch, 2019) The Neon Demon (Nicolas Winding Refn, 2016) Skin (Audrey Rosenberg, 2018) The Banishment (Изгнание, Andrey Zvyagintsev, 2007) F is for Friendship (Shaya Mulcahy, 2016) Paradise Hills (Alice Waddington, 2019) Road House (Rowdy Herrington, 1989) Hustlers (Lorene Scafaria, 2019) I Believe in Unicorns (Leah Meyerhoff, 2014) Ghost Train (Lee Cronin, 2014) Troop Zero (Bert & Bertie, 2019) For the Love of God (Pour l'Amour de Dieu, Micheline Lanctôt, 2011)

February

Sitting Next to Zoe (Ivana Lalović, 2013) Dark Places (Gilles Paquet-Brenner, 2015) Nocturnal Animals (Tom Ford, 2016) The Limey (Steven Soderbergh, 1999) Side Effects (Steven Soderbergh, 2013) Good Sam (Kate Melville, 2019) Anima (Paul Thomas Anderson, 2019) What Did Jack Do? (David Lynch, 2017) Fleur de tonnerre (Stéphanie Pillonca, 2016) Parasite (Bong Joon-ho, 2019) The Field Guide to Evil (Peter Strickland, Veronika Franz & Severin Fiala, Katrin Gebbe, Yannis Veslemes, Ashim Ahluwalia, Agnieszka Smoczynska, Can Evrenol, Calvin Reeder, 2018) Devil (John Eric Dowdle, 2010) 37 Seconds (Hikari, 2019) The Falling (Carol Morley, 2014) Grave of the Fireflies (火垂るの墓, Hotaru no Haka, Isao Takahata, 1988) Elena (Елена, Andrey Zvyagintsev, 2011) The Lighthouse (Robert Eggers, 2019) Baskin (Can Evrenol, 2015) In Fabric (Peter Strickland, 2018) Leviathan (Левиафан, Andrey Zvyagintsev, 2014) Suffragette (Sarah Gavron, 2015)

March

The East (Zal Batmanglij, 2013) Solaris (Солярис, Andrei Tarkovsky, 1972) Mamma Mia! (Phyllida Lloyd, 2008) There Will Be Blood (Paul Thomas Anderson, 2007) Io (Jonathan Helpert, 2019) The Death and Life of Marsha P. Johnson (David France, 2017) A Bump Along the Way (Shelly Love, 2019) Color Out of Space (Richard Stanley, 2019) Divines (Houda Benyamina, 2016) Vanishing Waves (Kristina Buožytė, 2012) Mirror (Зеркало, Andrei Tarkovsky, 1975) Zama (Lucrecia Martel, 2017) Swallow (Carlo Mirabella-Davis, 2019) Joy (Sudabeh Mortezai, 2018) Good Time (Josh and Benny Safdie, 2017) Quarantine (John Eric Dowdle, 2008) The Reflecting Skin (Philip Ridley, 1990) Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017) Leto (Лето,  Kirill Serebrennikov, 2018) The 39 Steps (Alfred Hitchcock, 1935)

April

Queen of Earth (Alex Ross Perry, 2015) Black Christmas (Sophia Takal, 2019) Dogs of Chernobyl (Léa Camilleri & Hugo Chesnel, 2020) Firecrackers (Jasmin Mozaffari, 2018) Les Misérables (Ladj Ly, 2019) The Evil Dead (Sam Raimi, 1981) The Daughters of Fire (Las hijas del fuego, Albertina Carri, 2018) The Fallen Idol (Carol Reed, 1948) The Wailing (곡성, Gokseong, Na Hong-jin, 2016) Inherent Vice (Paul Thomas Anderson, 2014) Sorrowful Shadow (Guy Maddin, 2004) Mistery Lonely (Harmony Korine, 2007) The Grand Bizarre (Jodie Mack, 2018) Zombieland: Double Tap (Ruben Fleischer, 2019) Waves '98 (Ely Dagher, 2015) Uncut Gems (Josh and Benny Safdie, 2019) The Last Séance (Laura Kulik, 2018) Too Late to Die Young (Tarde para morir joven, Dominga Sotomayor Castillo, 2018) Room (Lenny Abrahamson, 2015) Queen & Slim (Melina Matsoukas, 2019) The Holy Mountain (La montaña sagrada, Alejandro Jodorowsky, 1973) The Chaser ( 추격자, Chugyeokja, Na Hong-jin, 2008) Made in Dagenham (Nigel Cole, 2010) The Color of Pomegranates (Նռան գույնը, Nřan guynə, Sergei Parajanov, 1969) Lost Girls (Liz Garbus, 2020) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) And Then There Were None (René Clair, 1945) Doctor Sleep (Mike Flanagan, 2019) Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) Circus of Books (Rachel Mason, 2019) Catfish (Henry Joost and Ariel Schulman, 2010) Wildling (Fritz Böhm, 2018) Delphine (Chloé Robichaud, 2019) The Strange Love of Martha Ivers (Lewis Milestone, 1946) The Red Balloon (Le Ballon rouge, Albert Lamorisse, 1956) Nona. If They Soak Me, I’ll Burn Them (Nona. Si me mojan, yo los quemo, Camila José Donoso, 2019) The Lodge (Veronika Franz & Severin Fiala, 2019) Invisible Man (Leigh Whannell, 2020) Sans Soleil (Chris Marker, 1983)

May

A Russian Youth (Мальчик русский, Alexander Zolotukhin, 2019) Sicario (Denis Villeneuve, 2015) Fedora (Billy Wilder, 1978) LoveTrue (Alma Har'el, 2016) The Platform (Galder Gaztelu-Urrutia, 2019) Water Lilies (Naissance des pieuvres, Céline Sciamma, 2007) The Assistant (Kitty Green, 2019) The Half of It (Alice Wu, 2020) Tomboy (Céline Sciamma, 2011) The Last Man on Earth (Ubaldo Ragona and Sidney Salkow, 1964) Beanpole (Дылда, Kantemir Balagov, 2019) Mommy (Xavier Dolan, 2014) The Fall (Jonathan Glazer, 2020) Girlhood (Bande de filles, Céline Sciamma, 2014) Carnival of Souls (Herk Harvey, 1962) Marguerite & Julien (Valérie Donzelli, 2015) Portrait of a Lady on Fire (Portrait de la jeune fille en feu, Céline Sciamma, 2019) This Magnificent Cake! (Ce Magnifique Gâteau!, Emma De Swaef & Marc James Roels, 2018) Romantic Comedy (Elizabeth Sankey, 2019) Transnistra (Anna Eborn, 2019) Eraserhhead (David Lynch, 1977) The Farewell (Lulu Wang, 2019) Emma. (Autumn de Wilde, 2020) Late Night (Nisha Ganatra, 2019) Charlie's Angels (Elizabeth Banks, 2019) Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan, 2020) The Ancestors Came (Cecile Emeke, 2017) Suicide by Sunlight (Nikyatu Jusu, 2019) Anthropocene: The Human Epoch (Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier, 2018) A Perfect 14 (Giovanna Morales Vargas, 2018) Westwood: Punk, Icon, Activist (Lorna Tucker, 2018) Free Radicals (Len Lye, 1958) Aniara (Pella Kågerman and Hugo Lilja, 2018) Vivarium (Lorcan Finnegan, 2019) La Pointe-Courte (Agnès Varda, 1955) Diary of a Pregnant Woman (L'Opéra-Mouffe, Agnès Varda, 1958) Salut les Cubains (Agnès Varda, 1964) Uncle Yanco (Oncle Yanco, Agnès Varda, 1967) GUO4 (Peter Strickland, 2019) Atlantiques (Mati Diop, 2009) Sitara: Let Girls Dream (Sharmeen Obaid-Chinoy, 2019) Lions Love (Lions Love... And Lies, Agnès Varda, 1969) Živan Makes a Punk Festival (Živan pravi pank festival, Ognjen Glavonić, 2014) Plastic and Glass (Tessa Joosse, 2009) The So-Called Caryatids (Les Dites Cariatides, Agnès Varda, 1984) The Octopus (La Pieuvre, Jean Painlevé, 1928) Hyas and Stenorhynchus (Hyas et sténorinques, crustacés marins, Jean Painlevé, 1929) Sea Urchins (Les Oursins, Jean Painlevé, 1929) Bernard-L'Hermite (Bernard-l'Ermite, Jean Painlevé, 1930) The Sea Horse (L'Hippocampe ou "cheval marin", Jean Painlevé, 1934) Voyage to the Sky (Voyage dans le ciel, Jean Painlevé, 1937) Le Vampire (Jean Painlevé, 1945) Freshwater Assassins (Assassins d'eau douce, Jean Painlevé, 1947) How Some Jellyfish Are Born (Comment naissent des méduses, Jean Painlevé and Geneviève Hamon, 1960) Shrimp Stories (Histoires de crevettes, Jean Painlevé and Geneviève Hamon, 1964) The Love Life of the Octopus (Les Amours de la pieuvre, Jean Painlevé and Geneviève Hamon, 1965) Acera, or The Witches' Dance (Acera, ou le Bal des Sorcières, Jean Painlevé and Geneviève Hamon, 1972) Pigeons of the Square (Les Pigeons du square, Jean Painlevé, 1982) The Slumber Party Massacre (Amy Holden Jones, 1982) Jane B. par Agnès V. (Agnès Varda, 1988) The Cranes Are Flying (Летят журавли, Mikhail Kalatozov, 1957) Crystal Swan (Хрусталь, Darya Zhuk, 2018) Take Me Somewhere Nice (Ena Sendijarević, 2019) Microhabitat ( 소공녀, Jeon Go-woon, 2017) The Unforeseen (Laura Dunn, 2007)

June

Funny Games (Michael Haneke, 1997) Louise Bourgeois: The Spider, the Mistress and the Tangerine (Marion Cajori and Amei Wallach, 2008) Wodaabe: Herdsmen of the Sun (Werner Herzog, 1989) Bells from the Deep: Faith and Superstition in Russia (Glocken aus der Tiefe - Glaube und Aberglaube in Russland, Werner Herzog, 1993) We Are the Best! (Vi är bäst!, Lukas Moodysson, 2013) Olla (Ariane Labed, 2019) Return to Reason (Le Retour à la raison, Man Ray, 1923) Ghosts Before Breakfast (Vormittagsspuk, Hans Richter, 1928) Sissy Boy Slap Party (Guy Maddin, 2004) The Republic of Enchanters (La République des enchanteurs, Fanny Liatard and Jérémy Trouilh, 2016) Sullivan's Banks (Sullivans Banken, Heinz Emigholz, 2000) Black Panthers (Agnès Varda, 1970) Asparagus (Suzan Pitt, 1979) America (Valérie Massadian, 2013) The Fall (Tarsem Singh, 2006) The Watermelon Woman (Cheryl Dunye, 1996) Douce Menace (Ludovic Habas, Yoan Sender, Margaux Vaxelaire, Mickaël Krebs, Florent Rousseau, 2011) Curling (Denis Côté, 2010) Trouble Every Day (Claire Denis, 2001) The Return (Возвращение, Andrey Zvyaginstev, 2003) Maillart's Bridges (Maillarts Brücken, Heinz Emigholz, 2000) Two Years at Sea (Ben Rivers, 2011) The Creeping Garden (Tim Grabham and Jasper Sharp, 2014) Homo Sapiens (Nikolaus Geyrhalter, 2016) A Radiant Life (Une Vie radieuse, Meryll Hardt, 2013) Shirley (Josephine Decker, 2020) Disclosure (Sam Feder, 2020) Baghead (Mark Duplass and Jay Duplass, 2008) Lahemaa (Leslie Lagier, 2010) Closeness (Теснота, Kantemir Balagov, 2017) Touki Bouki (Djibril Diop Mambéty, 1973) Daughter (Dcera, Daria Kashcheeva, 2019) Human Nature (Sverre Fredriksen, 2019) 1 Dimension (一维, Lü Yue, 2013)

July

Post Tenebras Lux (Carlos Reygadas, 2012) Something to Remember (Något Att Minnas, Niki Lindroth Von Bahr, 2019) Gegenüber (Ewa Wikiel, 2019) The Claudia Kishi Club (Sue Ding, 2020) Villa Empain (Katharina Kastner, 2019) Fata Morgana (Werner Herzog, 1971) Some Like It Hot (Billy Wilder,1959) Breakwater (Quebramar, Cris Lyra, 2019) Y a-t-il une vierge encore vivante? (Bertrand Mandico, 2015) Virus Tropical (Santiago Caicedo, 2017) The Tribe (Племя, Miroslav Slaboshpitsky, 2014) Integration Report 1 (Madeline Anderson, 1960) Tribute to Malcolm X (Madeline Anderson, 1967)

August

The Stopover (Voir du pays, Delphine and Muriel Coulin, 2016) Our Time (Nuestro Tiempo, Carlos Reygadas, 2018) Never Rarely Sometimes Always (Eliza Hittman, 2020) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Continental, a Film Without Guns (Continental, un film sans fusil, Stéphane Lafleur, 2007) Spaceship Earth (Matt Wolf, 2020) The Go-Go's (Alison Ellwood, 2020) First Cow (Kelly Reichardt, 2019) Light of My Life (Casey Affleck, 2019) Wadjda (Haifaa al-Mansour, 2012) Spinster (Andrea Dorfman, 2020) Love and Anarchy (Film d'amore e d'anarchia, ovvero: stamattina alle 10, in via dei Fiori, nella nota casa di tolleranza..., Lina Wertmüller, 1973) Shapito Show (Шапито шоу, Sergey Loban, 2011) Charade (Stanley Donen, 1693) Cat People (Jacques Tourneur, 1942) Radioactive (Marjane Satrapi, 2019) Tabloid (Errol Morris, 2010) The Mourning Forest ( 殯の森, Mogari No Mori, Naomi Kawase, 2007) Lilya 4-ever (Lilja 4-ever, Lukas Moodysson, 2002)

September

The Nightingale (Jennifer Kent, 2018) Babyteeth (Shannon Murphy, 2019) Let the Corpses Tan (Laissez bronzer les cadavres, Hélène Cattet & Bruno Forzani, 2017) Wings of Desire (Der Himmel über Berlin, Wim Wenders, 1987) In My Room (Mati Diop, 2020) Katalin Varga (Peter Strickland, 2009) Les 3 Boutons (Agnès Varda, 2015) Somebody (Miranda July, 2014) Öndög (Wang Quan'an, 2019) Strasbourg 1518 (Jonathan Glazer, 2020) Mermaid (Русалка, Anna Melikyan, 2007) The Lighthouse (Маяк, Maria Saakyan, 2006) Phenomena (Dario Argento, 1985) That One Day (Crystal Moselle, 2016) Brigitte (Lynne Ramsay, 2019) The Wedding Singer's Daughter (Haifaa al-Mansour, 2018) Shako Mako (Hailey Gates, 2019) Carmen (Chloë Sevigny, 2017) The Summer of Sangailė (Sangailės Vasara, Alanté Kavaïté, 2015) Hello Apartment (Dakota Fanning, 2018) Seed (Naomi Kawase, 2016) Beyond the Visible: Hilma af Klint (Halina Dyrschka, 2019) Matthias & Maxime (Xavier Dolan, 2019) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000)

October

American Murder (Jenny Popplewell, 2020) Hereditary (Ari Aster, 2018) Ghostland (Pascal Laugier, 2018) Triangle (Christopher Smith, 2009) The Amityville Horror (Stuart Rosenberg, 1979) The Visit (M. Night Shyamalan, 2015) The House of the Devil (Ti West, 2009) Misery (Rob Reiner, 1990) The Exorcist (William Friedkin, 1973) Coherence (James Ward Byrkit, 2013) Metamorphosis (변신, Kim Hong-sun, 2019) Errementari (Paul Urkijo Alijo, 2017) I Am a Ghost (H.P. Mendoza,2012) The Changeling (Peter Medak, 1980) Witching and Bitching (Las Brujas de Zugarramurdi, Álex de la Iglesia, 2013) Thirst (박쥐, Park Chan-wook, 2009) V/H/S ( Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, Radio Silence, 2012) The Autopsy of Jane Doe (André Øvredal, 2016) Overlord (Julius Avery, 2018) Häxan (Benjamin Christensen, 1922) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967) Amulet (Romola Garai, 2020) A Bucket of Blood (Roger Corman, 1959) The Wasp Woman (Roger Corman, 1959) Mother! (Darren Aronofsky, 2017) Suspiria (Dario Argento, 1977) The Open House (Matt Angel, Suzanne Coote, 2018)

November

The Damned Don't Cry (Vincent Sherman, 1950) Notorious (Alfred Hitchcock, 1946) While the City Sleeps (Fritz Lang, 1956) The Man Who Wasn't There (Joel Coen, 2001) The Naked City (Jules Dassin, 1948) The Petrified Forest (Archie Mayo, 1936) Croupier (Mike Hodges, 1998) In a Lonely Place (Nicholas Ray, 1950) Elevator to the Gallows (Ascenseur pour l'échafaud, Louis Malle, 1958) Key Largo (John Huston, 1948) Dial M for Murder (Alfred Hitchcock, 1954) The Long Farewell (Долгие проводы, Kira Muratova, 1971) The Killers (Robert Siodmak, 1946) Gun Crazy (Joseph H. Lewis, 1950) Alphaville (Jean-Luc Godard, 1965) Laura (Otto Preminger, 1944) The Third Man (Carol Reed, 1949) Dark City (Alex Proyas, 1998) Night and the City (Jules Dassin, 1950) Ace in the Hole (Billy Wilder, 1951)

December

Nimic (Yorgos Lanthimos, 2020) Elsa la rose (Agnès Varda, 1966) Le Bonheur (Agnès Varda, 1965) Little Girl (Petite Fille, Sébastien Lifshitz, 2020) Cold Meridian (Peter Strickland, 2020) The Fiancés of the Bridge Mac Donald (Les Fiancés du Pont Mac Donald ou (Méfiez-vous des Lunettes Noires)) (Agnès Varda, 1961) Along the Coast (Du côté de la côte, Agnès Varda, 1958) Vic + Flo Saw a Bear (Vic + Flo ont vu un ours, Denis Côté, 2013) Zootopia (Byron Howard, Rich Moore, 2016) It's a Wonderful Life (Frank Capra, 1946) Paddington (Paul King, 2014) Miracle on 34th Street (George Seaton, 1947) High Life (Claire Denis, 2018) Paddington 2 (Paul King, 2017)

[florekunst]

Deux de mes photomontages pour le livre d'images de la compil DONT WORRY BE ANGRRY "Various Arghtists. 2" du label "! a N G R r !". ------------------------------------------------------------------------ COFFRET Compilation : Quadruple EP 25cm 33rpm (VINYLES couleurs 110gr) + LIVRE images 60 pages. - Avec le son de: ALBERT MARCŒUR,  FANTAZIO et BENJAMIN COLIN { Monnaie de singe }, CHRISTINE SALEM | GUESS WHAT { Mondo Giallo }, WITCHES VALLEY, GOPHER WYBOROWA, DR SNUGGLE & MC JACQUELINE, UNLOGISTIC. - Les images de pochettes: PLONK & REPLONK, MATTHIEU MESSAGIER, Frank Loriou, FÉLIX, ÉRIC CADILLAC, ANGELA EHRHARD, DAVID SNUG, PHILIPPE URBAIN. - Et les images du livre: MARIE BOUSSEAU, Flore Kunst,  Loulou Picasso, MASTO,  Matthias Lehmann, SÉBASTIEN THOMAZO, POPAY, BENJAMIN COLIN, MÉLANIE TÖRÖK, LULU LARSEN, LES CHATS PELÉS, NINA CHILDRESS, CHARLIE CHINE,  Léo Quievreux,  Anne van der Linden, Baldo Ortas-Peretti, NORMA { Myth'of the rainbow }, RÉMI, FANTAZIO,  Pakito Bolino, IVAN BRUN, EMY ROJAS, GASPARD LE QUINIOU, DENIS GRRR et DAMIEN DAUFRESNE. Disponible sur: http://florekunst.tictail.com/product/coffret-compilation-dont-worry-be-angrry-various-arghtists-2

OU en VENTE-DIRECTE sur le stand de Monsieur Macario Infos: aNGRRykULTURRa@gmail.com O U via CD1D: http://cd1d.com/fr/album/Various-Arghtists-2

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Cet article Vous n’aviez rien demandé et pourtant, ils l’ont fait Lou Bega et Scatman John sortent un duo vient d'être publié sur Anotherwhiskyformisterbukowski.

  Vous ne rêvez pas, vous n’avez pas fait un voyage temporel, mais Lou Bega et Scatman John sortent un duo. Je ne m’y attendais pas. Je me suis retourné pour voir si charlie et lulu n’étaient pas derrière moi. Mais non c’est vrai. Dans la plus pure tradition de la dance des années 90, Lire la suite

Cet article Vous n’aviez rien demandé et pourtant, ils l’ont fait Lou Bega et Scatman John sortent un duo vient d'être publié sur Anotherwhiskyformisterbukowski.