As the creative powerhouse behind hugely influential band The Kinks, Ray Davies was responsible for writing some of the best-loved songs of the 60s like "You Really Got Me", "Tired of Waiting", "Sunny Afternoon" and "Waterloo Sunset".

Dave Davies, the legendary guitarist of the Kinks, relives his tumultuous life and times amidst the serenity of his Exmoor sanctuary. Walking across the moors that have fascinated him since childhood, Dave takes us back to life with Brother Ray in an extended working class family amidst the austerity of postwar London. Bringing to life its deprivations and triumphs, he reveals the profound sense of community and family bonds which underpins the extraordinary story of the Kinks. From their formation at a North London Secondary Modern, through time spent as backing band to an upper class crooner at debutante balls, Dave tells how the Kinks career as Searchers sound alikes was almost over before it began.
That all changed though when Dave attacked his amp with a rusty Gillette razor blade in the front room of their semi detached house in Muswell Hill. Slashing the speaker, he produced the distorted, barking dog guitar riffs which powered their first hit, You Really Got Me, catapulted the Kinks to worldwide fame and in the process rearranged the sonic architecture of the 1960s. Finding himself at the unlikely age of 15 enshrined along with Brian Jones and Keith Moon as one of the three undisputed Kings of Swinging London, Dave trailblazed the rock 'n' roll lifestyle. As he puts it, Dave did the partying and Ray wrote about it. In America Dave's shoulder length hair and subversive sexuality on stage drove teenage TV audiences wild whilst scandalising the Rat Pack generation.
Dave explains why The Kinks' refusal to compromise who they were resulted in them being banned from America at the height of their fame. For the next four years, while the Beatles, Stones and Who went onto global megastardom, the Kinks re-invented themselves as the quintessential English group with timeless hits such as Sunny Afternoon, Waterloo Sunset and Days. With disarming honesty, Dave reveals how the burning glass of fame caused the sibling rivalry between him and Ray to explode into violence on stage and mental cruelty off it. He tells how, by the end of 60s, the breakdown of the relationship between the warring brothers and his own surfeit of girls, drink and pills led to the mother of all rock 'n' roll meltdowns. Following the failure of his briefly successful solo career, Dave finds himself locked in a New York hotel room, listening to voices telling him to jump.

作为滚石乐队(the Rolling Stones)的主唱，Mick Jagger是摇滚乐有史以来最有影响力的主唱之一。1943年6月26日，原名Michael Phillip Jagger的Mick Jagger出生在英国的Dartford，5岁上小学时就认识了后来音乐事业上终生的伙伴凯西·理查兹(Keith Richards)。在中学期间，Mick Jagger开始着迷于音乐，尤其是早期的摇滚乐。于是，Mick Jagger自己所幸组建了一支名叫 Little Boy Blue & the Blue Boys的乐队。后来，Mick Jagger上了伦敦经济学学校.osNV_v在Jagger再次与儿时好友Keith Richards相遇之后不久，the Rolling Stones诞生了。1964年5月，the Rolling Stones发行首张专辑。到60年代末，滚石在Jagger和Richards的带领下已经成为全世界最为知名的摇滚乐队之一。在70年代初，Jagger还曾涉足影视圈。到了70年代中后期，在随乐队度过了辉煌的20年之后，Jagger和Richards关于乐队的发展方向开始有了不同的意见。在两人矛盾激化之后，Jagger于1984年开始录制首张个人专辑。1985年，偏向主流舞曲华的首张个人专辑《She's the Boss》正式发行。1985年夏，Jagger和David Bowie合作录制了一首《Dancing in the Street》。这首单曲名列美国榜第7位，两人将歌曲所有的收益全部捐给了Live Aid。 C28i|)X5.在随滚石乐队发行86年的专辑《Dirty Work》之后，Jagger把全部精力都放在了第二张个人专辑上。1987年，第二张个人专辑《Primitive Cool》正式发行。尽管获得了比《She's the Boss》更好的评价，但本张专辑依然没有如愿成为金唱片。在两张专辑都在商业上宣告失败之后，Jagger在1989年重返滚石乐队。在乐队发行受到好评的专辑《Steel Wheels》以及“Steel Wheels”巡演之后，滚石乐队进入到了一个休整期，乐队每位成员都在忙着个人的发展，Jagger在这时联系到Rick Rubin制作他的第三张个人专辑。1993年，Jagger第三张专辑《 Wandering Spirit》面世，好评如潮。与此同时，专辑在美国榜中名列第11位并在发行当年就成为金唱片。随后，滚石乐队重组发行专辑《Voodoo Lounge》并再次举办了一次大规模的世界巡演。跨入90年代，Jagger再次涉足电影界.2001年，Jagger发行第四张个人专辑《Goddess in the Doorway》。2005年9月，62岁高龄的Jagger随乐队滚石乐队发行最新专辑《A Bigger Bang》。
主音吉他手Keith Richards是the Rolling Stones乐队的创始人之一，作为乐队的两大核心之一，比主唱Mick Jagger小半岁的Keith Richards也是出生于英国的Dartford。Keith Richards药品和酒精的痴迷以及他放荡，糜烂的生活方式甚至和他高超的吉他技艺一样出名。Keith Richards有时被人称为是继他的偶像查克·贝里(Chuck Berry)之后最优秀的摇滚节奏吉他手。
Keith Richards与Mick Jagger在60年代初共同创建了the Rolling Stones并参与创作和录制了乐队发行过的所有专辑。在乐队1986年的专辑《Dirty Work》之后，由于Mick Jagger与Keith Richards的矛盾日渐激化，Mick Jagger决定全力准备第二张个人专辑，而不举办巡演。Keith Richards索性利用这段时间发展个人事业，不仅组建了一支玩票性质的乐队the Xpensive Winos，而且在1988年发行了首张个人专辑《Talk Is Cheap》。《Talk Is Cheap》在销量与评论界取得了双赢，远比Jagger87年的个人专辑《Primitive Cool》成功。
主音吉他手Keith Richards是the Rolling Stones乐队的创始人之一，作为乐队的两大核心之一，比主唱Mick Jagger小半岁的Keith Richards也是出生于英国的Dartford。Keith Richards药品和酒精的痴迷以及他放荡，糜烂的生活方式甚至和他高超的吉他技艺一样出名。Keith Richards有时被人称为是继他的偶像查克·贝里(Chuck Berry)之后最优秀的摇滚节奏吉他手。
Keith Richards与Mick Jagger在60年代初共同创建了the Rolling Stones并参与创作和录制了乐队发行过的所有专辑。在乐队1986年的专辑《Dirty Work》之后，由于Mick Jagger与Keith Richards的矛盾日渐激化，Mick Jagger决定全力准备第二张个人专辑，而不举办巡演。Keith Richards索性利用这段时间发展个人事业，不仅组建了一支玩票性质的乐队the Xpensive Winos，而且在1988年发行了首张个人专辑《Talk Is Cheap》。《Talk Is Cheap》在销量与评论界取得了双赢，远比Jagger87年的个人专辑《Primitive Cool》成功。在Mick Jagger单飞失败之后，Keith Richards与老搭档Jagger终于再度联手，于1988年底重组了the Rolling Stones，而乐队重组后的首张专辑《Steel Wheels》以及随后的巡演大获成功。1992年，Keith Richards发行了第二张个人专辑《Main Offender》。目前，Keith Richards一直跟随the Rolling Stones进行世界巡演。吉他手荣·伍德(Ron Wood)是目前滚石乐队四名成员中最年轻的一位，1947年6月1日生于英国伦敦。60年代末，年轻的Ron Wood作为the Creation乐队的一员首次参与录制专辑。当the Creation解散之后，Wood又被邀请到杰夫·贝克乐队(the Jeff Beck Group)担任贝斯手，当时乐队中的主唱是日后被称作豆沙嗓的罗德·史都华(Rod Stewart)。虽然被寄予很高的希望，但乐队只发行了两张不错的专辑就宣告解散。Ron Wood随后又加入了the Small Faces(后期更名为the Faces)并跟随乐队发行了3张专辑，而the Faces乐队最终于1975年解散。虽然Ron Wood在70年代中期发行了几张评价不错的个人专辑，但他真正为人关注还是从加入the Rolling Stones乐队开始。Ron Wood第一次参与滚石乐队专辑的录制是1976年的《Black and Blue》。从80年代中后期开始，随着Mick Jagger和Keith Richards的矛盾激化，the Rolling Stones进入了冬眠期，而Ron Wood也有了更多的时间发展个人的事业。从80年代至今，Ron Wood又发行多张个查理·沃兹(Charlie Watts，又名Charlie Wards)于1941年7月2日出生于英国伦敦，是The Rolling Stones乐队中年龄最大的成员。作为世界上最成功的摇滚乐队之一The Rolling Stones的鼓手，Charlie Watts个人最喜欢的音乐是爵士乐。另外，Charlie Watts还是The Rolling Stones从发行首张专辑至今除Mick Jagger和Keith Richards之外乐队唯一没有更换过的成员。人专辑，而除了音乐之外，Ron Wood还是一名出色的画家。KFC MAN/文.查理·沃兹(Charlie Watts，又名Charlie Wards)于1941年7月2日出生于英国伦敦，是The Rolling Stones乐队中年龄最大的成员。作为世界上最成功的摇滚乐队之一The Rolling Stones的鼓手，Charlie Watts个人最喜欢的音乐是爵士乐。另外，Charlie Watts还是The Rolling Stones从发行首张专辑至今除Mick Jagger和Keith Richards之外乐队唯一没有更换过的成员。1980年，Charlie Watts加入了由多位英国顶级音乐家组成的大乐队的世界巡演。1991年，Charlie Watts组建Bop四重奏并发行专辑向爵士萨克斯演奏大师查理·帕克(Charlie Parker)致敬。2004年，63岁的Charlie Watts被诊断出患上喉癌。在顽强的战胜了疾病之后，老而弥坚的Charlie Watts随乐队录制了最新专辑《A Bigger Bang》，获得一致的好评。2006年，即将年满65岁的Charlie Watts仍跟随滚石乐队进行世界巡演。
滚石
1967年9月，加州大学肄业生简·温纳（Jann Wenner）怀揣被摇滚乐蛊惑的激昂，带领一群年轻人在旧金山的一个破印刷厂的阁楼里，没日没夜地排版、印制、争吵。9月30日，4万份封面是约翰·列侬的音乐小报出炉。他们叫它《滚石》。谁也没想到，这本第一期只卖出6000本的音乐小报在日后30多年里不断捕捉摇滚乐的经典瞬间，参与甚至制造了整个摇滚乐的历史。
“孟斐斯录音棚看上去跟以前没什么分别，但1954年7月5日，摇滚乐就在这里诞生。”《滚石》杂志在“改变摇滚乐的50个时刻”专刊中以这句话宣布了摇滚乐的确切诞生日期。那个夜晚被看成一个意外:来自密西西比州的卡车司机埃尔维斯·普雷斯利(Elvis Presley) 好不容易得到进入孟斐斯录音棚的机会，他有些紧张，唱了几首乏善可陈的乡村民谣后，这个19岁的青年自己都有点沮丧。之后一首叫《没事了，妈妈》（That's all right,Mama）的歌曲前奏响起，普雷斯利又开始演唱。这本是一名叫克留达普的黑人歌手在1947年创作的布鲁斯歌曲，但白人小青年普雷斯利把它演绎得既“黑人”，又乡村。
那个夜晚在当时被忽略，但《滚石》这本13年以后才创办的杂志将它提到了摇滚乐历史的起点。也许应该感谢这13年，正因为站在时间中点回望，《滚石》才更能看清被摇滚情绪感染的岁月，更能捕捉具有转折意义的时刻。普雷斯利那个夜晚的演唱打动了在场所有人，也让孟斐斯录音棚的老板萨姆·菲利普斯(Sam Phillips)感觉，这样一位带黑人风格的白人歌手，日后定会成为大明星。他帮助普雷斯利发唱片，开巡回演唱会。融合乡村音乐和布鲁斯音乐的曲风，满是黑人味的唱腔，让普雷斯利迅速走红。到70年代，他已经创下销售1.55亿张单曲唱片的无敌纪录。那时，人们喜欢叫他的花名:“猫王”。
猫王被《滚石》挑中确有道理。他是第一位将乡村音乐和布鲁斯音乐融和起来的白人歌手，并不断将流行歌曲、福音音乐、蓝草音乐甚至歌剧式的渲染调和成一体;他夸张的现场表演风格与胯部扭动动作被称为“撞与扭”，最直接反映了“摇滚”这一名称。但更重要的是，猫王首次将边缘化的摇滚乐带入主流，为大众所知、并带来了流行音乐行为方式及观念的革新。从那时起，摇滚开始成为一种文化。1967年《滚石》创刊之前，摇滚乐已经走过了许多值得记取的片段。在内容上，它继续融合已有的其他音乐形式，但音乐要素注定不能成为摇滚乐的标准，表演形式与倡导的信念才是决定历史的传奇。到60年代，查克·贝里36次的错误奠定下摇滚乐的演奏法则;女子乐队与黑人歌手走入大众视线;车库摇滚、民歌摇滚、迷幻摇滚已经出现;而“谁人”乐队将吉他砸向音箱，嬉皮运动将摇滚情绪蔓延到世界各地摇滚乐之于60年代，如同莫里斯·迪克斯坦在《伊甸园之门》中所写道的:“摇滚乐是60年代的集团宗教——不仅是音乐和语言，而且也是舞蹈、性和毒品的枢纽，所有这一切集合而成一个单独的自我表现和精神旅行的仪式。”
这样的背景让《滚石》的创刊人简·温纳敏锐意识到，一个前所未有的时代已经来临，摇滚乐将是这个时代最震撼人心的标志。他迷恋的偶像，不管是鲍勃·迪伦、约翰·列侬还是“滚石”乐队，都是英雄。但1967年的旧金山处处可见摇滚乐打出的“革命”旗帜，反摇滚势力则对摇滚乐疯狂诅咒，凡是跟摇滚有关的都被描述成“三R”——摇、滚、乱（Rock, Roll, Riot），包括品目繁多的音乐小报。新生的《滚石》似乎要被当时音乐媒体的杂乱无序淹没时，温纳显露出他的新闻才华。他一改当时地下小报起哄的报道方式，用传统清晰的新闻写作方式来深入报道当时的摇滚英雄。对此温纳曾这样回忆:“我具有一种将事物清晰化与条理化的直觉，了解设计与如何呈现，当时的地下报纸对我毫无吸引力。”就在此时，《滚石》式封面与长篇专访推出。
1968年，《滚石》选用列侬与大野洋子手拉手裸体背对镜头的照片作为封面，引起全国轰动。1970年，温纳启用当时只有20岁的旧金山大学学生安妮·莱伯维茨（Annie Leibovitz）担任首席摄影师，列侬与大野洋子通过她的镜头屡屡出现于《滚石》，伴随的是对列侬的长篇专访。“披头士”从最初的乖巧平静，到“披头士”热，以及与革命、宗教的种种纠葛，直至解散，从《滚石》中都可找到记录。1980年12月8日，莱伯维茨为列侬与大野洋子拍下一张列侬蜷曲身体拥抱洋子的照片，当时她已经与这对夫妇成为朋友并住在纽约中央公园的同一栋公寓内。12月10日，安妮还没来得及将照片拿给这对夫妇看，列侬被刺杀的消息便传来。这张列侬最后的照片，最终成为《滚石》纪念列侬专刊的封面。此时的《滚石》已经异常接近影响摇滚乐历史的瞬间。
罗伯特·德瑞普在《滚石杂志:未经删改的历史》中曾说:“从1970年到1977年，在美国没有另一家杂志像简·温纳所称‘来自旧金山的摇滚小报'那样诚实和富有想象力。”实际上，到70年代中期，《滚石》已经是美国新闻业的先锋。这不仅得益于它网聚了一批如乔·克雷恩、莱伯维茨等若乾美国杰出记者、摄影师，也不仅是因为对于列侬、摇滚乐走向、甚至美国大选等各类社会问题的深刻挖掘与探索，更重要的原因是，《滚石》所推崇与引领的音乐潮流已经成为美国主流的一部分，甚至可以说整个美国已经摇滚乐化了。
1967到1977的10年间，《滚石》记录下摇滚乐的如下关键词:吉米·亨德里克斯手上燃烧的吉他、月桂谷、伍德斯托克、《大街上的流亡者》、重金属、朋克、雷鬼、迪斯科舞曲摇滚乐继续发展的同时，改变着美国或整个世界的生活方式、思维方式、文化甚至政治。当时的《滚石》身处历史之中，已经成为时代的证明人与风向标。
1976年，《滚石》迁往纽约，很多批评家认为这是它衰落的开端。纽约的《滚石》继续保有深刻的新闻报道风格，并收获了更多的金钱和名誉，但它开始失去先锋的思想与革命的气质。有人说，因为温纳已经长大了，他不想反抗任何事情。实际上长大的是摇滚乐。80年代后的摇滚乐，最令人激动的是商业成功。说唱乐风行一时，但这只是长期潜伏的地下黑人音乐浮出水面;忠实摇滚者继续焚毁堂皇和伪善，散播不满与反叛，但他们的重复动作已经没了60年代毫不在乎的决心。当有人称《滚石》已经是一单生意的时候，摇滚乐也在成为生意。温纳这样辩解《滚石》的衰落:“70年代的反文化已经变成了一种今天的主流文化。30年前的《滚石》，诞生于一个什么人都在反抗的社会，今天呢，孩子已经非常自由，他们不知道该反抗什么，摇滚乐成为每个商业电视台的节目。《滚石》或许遗憾失去了最初的旁观者角色，但从另一个角度讲，也有越来越多的人开始听到我们最初所倡导的东西了”这并非没有道理。
这个时期的《滚石》占据美国音乐杂志老大的位置，很是志得意满。但能做的却只有将性感女郎请上封面，不停反刍那让人心池荡漾的60年代。1997年夏季的Lilith Fair音乐节刺激了《滚石》怀旧的决心。这个音乐节参演歌手均为女性，力图打破摇滚女歌手弱势的局面。1997年9月30日，《滚石》推出“摇滚的女人”庆生专刊。1969年《滚石》就描述过献身给摇滚明星的女孩们，她们的全部精神寄托于此，用性来迎合摇滚反抗生活，她们被叫做“骨肉皮”（Groupie），北京话里的“果儿”。“摇滚的女人”再次提起鲜亮的“果儿”，同时回顾的还有朋克女青年克里斯·辛迪，性感天后麦当娜，戏弄男女之情的帕蒂·史密斯但她们依旧是摇滚乐的次要角色，她们也只是过去。
1998年5月，《滚石》杂志在ABC电视台播出30周年纪念专题《我们在哪里:滚石国情咨文》，从摇滚乐说起，直至宗教文化政治情感金钱方方面面。它其实在提醒美国人，我，《滚石》，曾经参与或制造了摇滚乐的历史，曾经承载了一代人的理想与信仰、愤怒与欢乐。但那又怎么样，都过去了。
2004年的《滚石》在性感女星和商业大碟的空隙中，辟出一块地方，告诉人们，摇滚乐已经诞生50年了。50个改变摇滚乐的历史时刻依次排列，50幅《滚石》式封面一一悬起，又在历史一点上回望，《滚石》在自己与摇滚乐的昔日辉煌中品味的却是今日萧瑟。庆典总要有的，但9月30日的庆生专刊，《滚石》能做的只是与我们一起歌颂60年代。

Tracklist:
01. There’ll Always Be An England (Vera Lynn)
02. Pretty Vacant
03. Seventeen
04. No Feelings
05. New York
06. Did You No Wrong
07. Liar
08. Beside The Seaside
09. Holidays In The Sun
10. Submission
11. I’m Not Your Stepping Stone
12. No Fun
13. Problems
14. God Save The Queen
15. EMI
16. Bodies
17. Anarchy In The UK
18. End Credits
19. Road Runner
Extra: “The Knowledge – The Pistols’ Guide To London”
20. Steve Jones, Paul Cook, Glen Matlock, John Lydon – A Unique Guide To London By The Pistols
21. John Lydon – John Lydon’s Open-top Bus Ride

犹太裔的BULLET刚在狱中服刑期满，但他并没有因此而改过自新，反而继续从事他最熟悉的勾当——贩毒及犯罪。一晚BULLET与朋友李斯达进行入屋行窃，然后拿偷来的钱到夜总会挥霍。不料，死对头坦克已派人前往并打算干掉他，二人发生激烈的殴斗。

约翰尼·德普将制作推出一部纪录片《Shane》，主角为爱尔兰传奇民谣/朋克音乐人、The Pogues乐队的Shane MacGowan。
朱利安·邓波(《污秽与愤怒》《摇滚大骗局》)执导，并和德普等人一起制片，将聚焦MacGowan的音乐、才情和人生故事，“捕捉爱尔兰的灵魂，和MacGowan那非常私人的、深入‘黑暗之心’的旅程。”德普表示自己与MacGowan认识30年了，很荣幸制作这部决定性的电影来“聚焦我的朋友和20世纪最重要的艺术家、最受爱戴的诗人之一”。
该片将在英国、爱尔兰等地上映，也会在BBC4台播出。

Julien Temple shot the music video, which echoed the 1950s style of the movie. The video was a homage to an old British advert for Strand cigarettes. The ill-fated advertising tagline "You're never alone with a Strand" is quoted by Partners in the film. The video also uses footage from the film.

Vic and his date watch as rock star Lord Byron performs the song "Blue Jean." Vic tells her that he knows the star, and that Lord Byron will visit them at their table after the show.

Oh! You Pretty Things (from Old Grey Whistle Test),
Queen Bitch (from OGWT),
Five Years (from OGWT),
Starman (from Top of the Pops), John I\'m Only Dancing,
The Jean Genie,
Space Oddity,
Drive-in Saturday (from Russell Harry Plus Pop),
Life on Mars?,
Ziggy Stardust (from the motion picture),
Rebel Rebel (from TopPop),
Young Americans (from the Dick Cavett Show),
Be My Wife, \"Heroes,\"
Boys Keep Swinging, D.J.,
Look Back in Anger,
Ashes to Ashes,
Fashion,
Wild Is the Wind,
Let\'s Dance,
China Girl,
Modern Love,
Cat People (Putting Out Fire) (from Serious Moonlight Tour),
Blue Jean,
Loving the Alien,
Dancing in the Street (with Mick Jagger)
Absolute Beginners,
Underground,
As the World Falls Down,
Day-In Day-Out,
Time Will Crawl,
Never Let Me Down,
Fame \'90,
Jump They Say,
Black Tie White Noise,
Miracle Goodnight,
Buddha of Suburbia,
The Heart\'s Filthy Lesson, Strangers When We Meet,
Hallo Spaceboy,
Little Wonder,
Dead Man Walking,
I\'m Afraid of Americans,
Thursday\'s Child,
Survive

In this personal film, Julien Temple, who directed the definitive documentary history of the Glastonbury Festival, explores the alternative side of the festival away from the spotlight of the main stages with their global pop superstars.
In fields known as Shangri La, Arcadia, the Unfair Ground, Strummerville, Block 9 and the Common, every year an unlikely attempt at utopia takes shape. Here, the festival reconnects with its radical, countercultural origins combining underground music, performance art and some of the funniest and most provocative sights of the festival with a dark, urgent 21st century spontaneity.
Filmed at the 2011 festival, this 75 minute documentary features Michael Eavis, the creators of, and visitors to the true heart of the Glastonbury, and, fuelled by the music of tomorrow, explores the hopes, dreams and personal utopias of those who, for one weekend in June, come together as the tribes of 21st Century Albion.

想想它拍摄的年代，弄成这样很牛了
Plot Summary for
The Great Rock 'n' Roll Swindle (1980)
A rather incoherent post-breakup Sex Pistols "documentary", told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make "a million pounds." Silly and hard to follow at times, but worth seeing for some excellent Pistols concert footage, some wickedly amusing animated sequences, and Sid Vicious' eerily prophetic performance of "My Way."
Summary written by Marty Cassady {martyc@vt.edu}
--------EMULE ED2K-------
ed2k://|file|The.Great.Rock%C2%B4n%C2%B4Roll.Swindle.(eng)DVDrip.Xvid.w.commentary.avi|1080057856|BA138682ACAADDE02257351E743DB554|/

尚·维果被后世的影评人尊称为“法国天才导演”，他执导的仅有的两部剧情长片《操行零分》和《阿特兰提斯号》都在影史上占有重要地位。然而，在维果生前，他个人在婚姻、家庭、事业尤其在健康上都遭遇相当不幸，结果年仅二十九岁便因败血病去世。

一艘太空船撞进了吉娜·戴维斯的后花园，她与女友茱莉·布朗将外星人的手剃去后，发现他们都是靓仔，于是带他们扮靓买衫，过着美国人式的生活。

A musical adaptation of Colin MacInnes' novel about life in late 1950s London. Nineteen-year-old photographer Colin is hopelessly in love with model Crepe Suzette, but her relationships are strictly connected with her progress in the fashion world. So Colin gets involved with a pop promoter and tries to crack the big time. Meanwhile, racial tension is brewing in Colin's Notting Hill housing estate...

十位导演拍摄的十部短片，每一段基于一部歌剧的一首咏叹调。

英格蘭西南方的平原孕育了世界上規模最大的音樂祭。自1970年起，已成為與伍茲塔克一般，深刻影響搖滾樂的嬉皮神話。全片混合了歷史影像、現場訪談與表演實況，不但讓人體驗Radiohead、Pulp、Coldplay等樂團的魅力，更呈現了活動本身與裸體解放、嗑藥文化、青年暴動之間的關係。
As the King of all music festivals takes a break in 2006, Temple's documentary is the closest thing you can get to the Glastonbury experience this year. It charts the history of the event, but is formed in a way that recreates the feeling of three days of fun rather than simply following chronology.
Two hours and twenty minutes might seem a long time for a documentary, but as you're kept smiling most of the way through, it's not in the least overbearing. We are treated to a number of musical highlights, but just as entertaining is meeting some of the weird and wonderful people that make the festival so unique. Particularly memorable are the three-man family team who run the tanker that sucks the, aherm, human waste out of the portaloos – such are the moronic faces of the two children, they really could be characters from Little Britain!

Friendship and betrayal between two poets during the French Revolution.

If nothing else, this is the only Sex Pistols film (there are now at least 3) to make explicit and in-depth reference to the band members' working class roots, and the way that experience informed their project. This alone makes the film worth seeing, as it explodes the myth, fostered no doubt by their PT Barnum manager, Malcolm McLaren, that the whole project was an exercise in cynical nihilism and money grubbing. As the band members tell it, nothing could have been further from the truth. I believe them.
The film is cobbled together in large part from 2 previous Sex Pistols documentaries, "Rock 'n' Roll Swindle," (a McLaren project also directed, ironically enough, by F&F director Julie Temple) and "D.O.A," plus clips from BBS television and elsewhere that try to locate the Pistols in the political and social climate that spawned them. This effort, to give the Pistols a historical context, is by far the most valuable part of the film for those trying to understand how a bunch of working class stiffs, who could barely play their instruments, and who only released one album, could set off an explosion that reverberates in the music world--if increasingly faintly--even today.
Best part of the film: footage from their last, secret gig at a palace in a working class district (they had been banned from appearing anywhere in England) before embarking on their ill-fated US tour. It consists of two performance on Christmas Day, benefiting the families of striking local firefighters, who had been out of work for many months. The attendees consist of the local lads and lasses, none of whom are "punk" in any apparent sense of the term.
Before the Pistols performed, everyone eats Sex Pistols cake and ice cream; "Never Mind the Bollocks" shirts are stretched over the pubescent bodies of every bobby soxer. Then, after a thank you from the emcee, the Pistols launch into the searing "Bodies," its sarcastic refrain sung from the point of view of an aborted fetus ("I'm not an animal!/I'm an abortion..."). All the boppers dance like it's a sock hop, with the difference that everyone gleefully throws leftover desserts at one another. Steve Jones is shown playing guitar with his face covered in cake icing, beaming. In his reminiscence about the gig, Rotten grows wistful, saying it was easily their best memory as a band, and the last good one before it all fell apart.
I never knew the guys were such sentimentalists.
It's hard to believe that there once was a time when rock music could actually matter, when it was possible to actually escape the commodified rebellion that now sells Budweiser, Nike, and SUVs, when it was possible, however briefly to scare the pants of the political establishment. Young pop music lovers who swallow the meretricious rebellion of rap or grunge--whose self-important lyrics and idiotically monotonous rhythms make their authors rich off the weekly allowances of white middle class kids whose idea of rebellion is big loud subwoofers in the Corolla Daddy bought them for their 16th birthday--might profit from getting a glimpse of the Real Thing.
The rest of us, who were lucky enough to have been there when history was made, and who can still recall the opening chords of "Anarchy in the UK" blasting all traces of "More Than a Feeling" and "Take It Easy" out of our speakers cabinets and into the first circle of music Hell where they always belonged, can enjoy the film for what it teaches us about the power of ordinary, thoroughly obnoxious people to make their own history, and ours.

伦敦城市的历史以及生活在这里的人们都是如此的丰富多彩。