Bonnie And Clyde Brigitte Bardot & Serge Gainsbourg
Brigitte Bardot’s most famous musical endeavor, and one of the songs for which her collaborator Serge Gainsbourg is most famous, 1968’s “Bonnie and Clyde” is one of the pinnacles of ‘60s French pop, as important to the Parisian pop scene (where its romanticized view of the real-life ‘30s gangsters Bonnie Parker and Clyde Barrow was part and parcel of the same worldview that encompassed everything from nouvelle vague films such as Breathless to anarcho-pranksters the Situationist International) as “Hey Jude” was in England or John Wesley Harding was in the states. Unlike most French singles of its era – including Gainsbourg’s other tracks with Bardot – “Bonnie and Clyde” has not dated at all in the intervening decades, most likely because few other songs have ever sounded like this: the arrangement is built on a circular violin riff that’s so unvarying that it may well be a tape loop, augmented by an utterly bizarre vocal hook that appears, unchanging, approximately every eighth bar: an odd strangled yelp somewhere between a hiccup and a baby’s burble. Over these, as a well as a full orchestra and an oddly prominent (for the time period) drum kit, Bardot and Gainsbourg trade lines in hushed near-whispers, joining together only for the title refrain. A strange but immediately appealing song, “Bonnie and Clyde” has remained a hipster classic that regularly gets revived by the likes of Steve Wynn and Johnette Napolitano (on Wynn’s Dazzling Display) and Dean Wareham and Laetitia Sadier (on Luna’s Penthouse).
Appears On 1968. Besplatne Ratne Igrice here.

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Os 7 Blackberry 9700 Terbaru. When Bonnie Parker and Clyde Barrow meet, the United States are weaken by the Great Depression and both decide to upgrade their poor existence. To do so, the couple attacks shops, restaurants and gas stations on board of their stolen Ford cars. They often seek the help of accomplices and form the Barrow gang that never hesitates to kill the individuals that would retard their crazy escapades. Highly narcissistic, Bonnie and Clyde love to take photographs of themselves, staging their love for violence and glamour - they become popular and famous just as Al Capone.
Yet this megalomania turns itself against the deadly couple whose faces are now known by all and in particular by the police, desperate to arrest the cop-killers. In 1934, Bonnie who is 23 and Clyde, 25 are hit by 150 bullets and the couple is installed in legend thanks to popular culture who illustrated, in images and songs, the words of Bonnie Parker who had sensed how iconic they would become: ‘ Some day they ’ ll go down together; And they ’ ll bury them side by side; To few it ’ ll be grief; To the law a relief; But it ’ s death for Bonnie and Clyde.