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The Velvet Underground in Boston

This newly unearthed film, which Warhol shot during a concert at the Boston Tea Party, features a variety of filmmaking techniques. Sudden in-and-out zooms, sweeping panning shots, in-camera edits that create single frame images and bursts of light like paparazzi flash bulbs going off mirror the kinesthetic experience of the Exploding Plastic Inevitable, with its strobe lights, whip dancers, colorful slide shows, multi-screen projections, liberal use of amphetamines, and overpowering sound. It is a significant find indeed for fans of the Velvets, being one of only two known films with synchronous sound of the band performing live, and this the only one in color.

The Velvet Underground in Boston

NR 1967
Recital Jiří Suchý – Jiří Šlitr

The word recital was supposedly coined by the piano virtuoso Ferenc Liszt for a solo performance. In the introduction, lyricist Jiří Suchý emphasizes that although this program is dedicated to two artists, only one of them will perform, namely himself. He performs in songs that were set to music by his colleague Jiří Šlitr (1924–1969). The audience can thus once again be reminded of the enormous musical talent of this Czech composer, instrumentalist (an excellent pianist), singer, actor and artist, whose life ended prematurely at the age of just 45.

Recital Jiří Suchý – Jiří Šlitr

6.0 1965
A-Go-Go '67

A GoGo 67 is an alluring snapshot of the Beatles-influenced “Pop Yeh Yeh” movement that was exploding throughout Malaysia back in the 60s. Fauziah works days as a shop girl while Joe labors at a stable. When night time comes, the two would dedicate their time practicing with their beat band, Dendang PerinduThis is an activity that Fauziah must keep secret from her father (Ahmad Nisfu), a blustering martinet who loudly objects to the youth music of today with all of its “yeah yeah yeah”-ing.

A-Go-Go '67

7.0 1967
Duke Ellington at the Côte d'Azur with Ella Fitzgerald and Joan Miro

The rather dusty black-and-white footage, dating from the summer of 1966, opens with bikinis, beach umbrellas and Foster Grant-shaded sophisticates strolling La Croisette. The scene then shifts to a surprisingly drab hotel suite, where Duke Ellington explains that, though his career had taken him to all corners of the globe, this is his first visit to the French Riviera. Ellington is there, with Ella Fitzgerald, for the Festival International de Jazz at Juan-les-Pins, but, as he enthuses in his introduction, he’s equally eager to indulge his love of modern art with up-close observation of works by Picasso, Calder, Alberto Giacometti and Joan Miró. As any fan of Ellington and/or Fitzgerald is well aware, an edited version of their four-night Côte d’Azur appearance was released in ’66 as a two-record set. That version found its way onto CD in 1997. A year later, a massive, eight-disc compendium served up the Duke and Ella sessions in their entirety.

Duke Ellington at the Côte d'Azur with Ella Fitzgerald and Joan Miro

8.0 1966