au revoir, jeanne moreau (1928 – 2017)

From Jules et Jim (Directed by François Truffaut, 1962), the song “Le Tourbillon”. The film was directed by François Truffaut and released 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.

_
Elle avait des bagues à chaque doigt, (She had rings on every finger)
Des tas de bracelets autour des poignets, (A profusion of bracelets on her wrists)
Et puis elle chantait avec une voix (And she was singing with such a voice)
Qui sitôt m’enjôla. (That I was at once under her spell)

Elle avait des yeux, des yeux d’opale (She had eyes, eyes of opal)
Qui fascinaient, qui fascinaient, (That fascinated me)
Y avait l’ovale de son visage pâle, (And there was the oval of her pale face)
De femme fatale qui me fut fatale (bis). (That of a”femme fatale” who was fatal to me)

On s’est connus, on s’est reconnus, (We met, we met again)
On s’est perdus de vue, (We lost sight of each other)
on s’est reperdus de vue, (we again lost sight of each other)
On s’est retrouvés, (We found each other anew)
on s’est réchauffés, (We warmed each other)
Puis on s’est séparés. (And then we separated)

Chacun pour soi est reparti (We each went our own ways)
Dans le tourbillon de la vie; (In Life’s whirlpool of days)
Je l’ai revue un soir aïe aïe aïe! (One night I saw her again)
Ca fait déjà un fameux bail (bis). (It was such a long time again already)

Au son des banjos je l’ai reconnue, (To the sounds of banjos I recognized her)
Ce curieux sourire qui m’avait tant plu, (This mysterious smile that pleased me so much)
Sa voix si fatale, son beau visage pâle (Her voice so fatal, her beautiful pale face)
M’émurent plus que jamais. (Moved me more than ever)

Je me suis saoulé en l’écoutant, (I drank as I listened to her)
L’alcool fait oublier le temps, (Alcohol removes time’s sting)
Je me suis réveillé en sentant (I awoke as I felt)
Des baisers sur mon front brûlant (bis). (Her kisses on my burning brow)

On s’est connus, on s’est reconnus, (We met each other, we again met)
On s’est perdus de vue, on s’est reperdus de vue, (We lost each other, we lost each other anew)
On s’est retrouvés, on s’est séparés, (We found each other again, we separated)
Puis on s’est réchauffés. (And then, we warmed each other)

Chacun pour soi est reparti (We each went our own ways)
Dans le tourbillon de la vie; (In Life’s whirlpool of days)
Je l’ai revue un soir ah la la, (Again I saw her one night)
Elle est retombée dans mes bras (bis). (She fell in my arms anew)

Quand on s’est connus, (When two lovers met)
quand on s’est reconnus, (when they met again)
Pourquoi se perdre de vue, (Why losing sight of each other)
se reperdre de vue, (why losing each other again)
Quand on s’est retrouvés, (When they found each other)
quand on s’est réchauffés, (when they warmed each other)
Pourquoi se séparer? (Why go their separate ways?)

Alors tous deux on est repartis (Thus both of us resumed our ways)
Dans le tourbillon de la vie, (In Life’s whirlpool of days)
On a continué à tourner, (We continued to go round and round)
Tous les deux enlacés (ter). (Both together bound)
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More Jeanne Moreau on Fleurmach here and here.

And this is a WONDERFUL interview, from 2002!

mondo grosso – ラビリンス (labyrinth) (2017)

In my daydreams I am sometimes this girl.

Starring:Hikari Mitsushima

Creative Director:Nozomu Hayashi (HAKUHODO DY MEDIA PARTNERS)
Director:Takeshi Maruyama
Producer:Yuki Miyamoto (HAKUHODO PRODUCT’S)
Director of photography:Chigi Kanbe
Assistant Director : Yuzuru Tatebe
Planner:Motoki Uno (HAKUHODO)
Hair & Make-up:Sayuri Yamashita (3rd)
Stylist:Babymix
Stylist assistant:Mana Iwanami
Choreography, Dance Inspired by Jillian Mayers

(English Subtitles by Junko Otsubo)

NEW ALBUM「何度でも新しく生まれる」
2017.6.7 Release
2017.6.6 Digital Release

http://www.mondogrosso.com/

Behind the scenes:

living next door to alice (in W-LAN) (2010)

off with her head

i’m never really here
never really not here

this is the in-between
where we un-appear
in the web of day to day
it’s the back alleyway
that sucks us in

mind that gap, gal, you say,
it’s no zero-sum game.

ja-nee
it’s a dirty crack habit
but i’m not paying, pal!

i’m chasing that rabbit
i’m hunting that quark
i’m ripping, unzipping
tumbling through the dark

i’m pulled, i’m polluted
the vertigo’s heady
the jostling vacuum
blaring and unsteady

warrens of voids
streaming past
screaming future
endlessly new
have i seen this already?

uh-huh, it’s not pretty
these blown-up dead pixels
no taste, so not witty
they stink like nothing

on earth

in asunderland
nothing rots

i’m always here, not-here
it’s off with me ’ead
when bored, i bore deeper
through holes yet unread

i need more; drop a fresh tab

hop a window

and i tiptoe
past the daemon
with a keygen
while it snores
unlock the door

to

another tube flickr-ing
twittering, bickering
low resolution
there’s no revelation
there’s no revolution
just revaluation
search optimisation
and too many shares

i spin rumpelstiltskins’
straw dogs into gold
using worm-riddled troll jam
i scavenge ‘twixt threads

i needle this grey gunk
i snip it to shreds
i bump and i juggle
grind bones badly bred

i flip and i giggle
i slough off my shame
i slurp it up, spew it out
flooding the drain

logged in or logged out
i have no real name
if I do it is M.U.D.
and i’m out of my death

and where is my body?

my own flesh and blood
it sleeps with the ‘fiches
not holding its breath

see, it doesn’t do digital
it keeps crashing
so it’s chained to the terminal
wired to the grid
with a stay of execution

logged on or logged off
the haunted dimension
buzzes in my marrow
drowns out my dreams
howls me back
out of bed
out of the car
out of the street
from the supermarket
from the sunset
from supper
in a stupor
on my phone
into my inbox
unto my outbox
onto the blog

*welcome to [UR(hel)L]*

you can’t turn off a never-present stranger.

(2010)

alice1

james baldwin and margaret mead – a rap on race (1971)

“In honor of the release of James Baldwin: I Am Not Your Negro documentary, we’ve decided to share the rare audio version of the classic conversation between Margaret Mead and James Baldwin from 1971. Long out of print, original LP sells for 3 figures. Courtesy The Charles Woods Collection. For educational purposes. No rights given or implied. Feel free to comment/share/subscribe. Share original link whenever possible.”

laurie penny – cybersexism: sex, gender and power on the internet (2013)

‘In ye olden tymes of 1987, the rhetoric was that we would change genders the way we change underwear,’ says Clay Shirky, media theorist and author of Here Comes Everybody.‘[But] a lot of it assumed that everyone would be happy passing as people like me – white, straight, male, middle-class and at least culturally Christian.’ Shirky calls this ‘the gender closet’: ‘people like me saying to people like you, “You can be treated just like a regular normal person and not like a woman at all, as long as we don’t know you’re a woman.”’

The Internet was supposed to be for everyone… Millions found their voices in this brave new online world; it gave unheard masses the space to speak to each other without limits, across borders, both physical and social. It was supposed to liberate us from gender. But as more and more of our daily lives migrated on line, it seemed it did matter if you were a boy or a girl.’

It’s a tough time to be a woman on the internet. Over the past two generations, the political map of human relations has been redrawn by feminism and by changes in technology. Together they pose questions about the nature and organisation of society that are deeply challenging to those in power, and in both cases, the backlash is on. In this brave new world, old-style sexism is making itself felt in new and frightening ways.

In Cybersexism, Laurie Penny goes to the dark heart of the matter and asks why threats of rape and violence are being used to try to silence female voices, analyses the structure of online misogyny, and makes a case for real freedom of speech – for everyone.

Laurie Penny. Cybersexism: Sex, Gender and Power on the Internet (London: Bloomsbury, 2013). PDF here.