Tag Archives: Mick Jagger


A trove of over 150 drawings by Andy Warhol—now on view at the New York Academy of Art—trace nearly four decades of work by the hand of the artist who wanted to be a machine.

This week—in conjunction with ANDY WARHOL: BY HAND—join curator and Warhol associate Vincent Fremont, curator Donna De Salvo, and poet, artist, and Warhol actor John Giorno for a panel discussion on the exhibition, moderated by curator and New York Academy of Art president David Kratz.


DRAWINGS 1950s–1980s


Monday, February 11, at 6:30 pm.

Exhibition runs through March 10.

New York Academy of Art

111 Franklin Street, New York City.

From top: Andy Warhol, Two Male Heads; Andy Warhol, Self Portrait, 1986 synthetic polymer paint on paper; Andy Warhol, Mick Jagger, 1975; Andy Warhol, Serious Girl, circa 1954, ink and graphite on paper. Images courtesy the Andy Warhol Foundation for the Visual Arts, Inc., licensed by Artists Rights Society (ARS).


AMAZING GRACE—Aretha Franklin ’s landmark gospel album—was recorded live at the New Temple Missionary Baptist Church in Los Angeles in January 1972. Franklin’s producer Jerry Wexler was there, as was film director Sydney Pollack, who was hired to document the performance.

The film—a revelation—has gone unseen until recently for two reasons: the sound and images were never in sync, and Franklin herself did not want the footage released to the public. Following her death, and a review of her original Warner Bros. film contract, AMAZING GRACE premiered in November 2018 in New York. It will screen in Los Angeles as part of the inaugural Red Bull Music Center Channel film festival.


Monday, February 11, doors at 7 pm.

Ukrainian Culture Center

4315 Melrose Avenue, East Hollywood, Los Angeles.

From top: Aretha Franklin in Amazing Grace; album cover image courtesy Atlantic Records; Mick Jagger (foreground center) enjoying Franklin’s performance at the New Temple Missionary Baptist Church.


As part of the Los Angeles Filmforum series 1968: Visions of Possibilities, MOCA will screen the Los Angeles 4K restoration premiere of Jean-Luc Godard’s ONE PLUS ONE—part documentary of how the Rolling Stones developed their song “Sympathy for the Devil” at Olympic Studios in London, part 1968 political agitprop by Godard in the wake of the May uprisings.

“Godard had the crew lay down tracking rails that ran in a figure-eight throughout the studio… In ten-minute takes, Godard followed the song’s metamorphosis from a straight-ahead rocker to a pantheistic samba. Drummer Charlie Watts put down his drumsticks in favor of Algerian hand drums, and the four backup singers (including Marianne Faithfull) congregated around a microphone for gospel exhortations.

“The last night of the shoot ended prematurely as the studio caught fire when a gel filter on an overhead light ignited.” — Richard Brody*

Alternating with the studio footage are scenes Godard shot with Anne Wiazemsky playing “Eve Democracy,” who, followed by a documentary crew, responds to elaborate political questions—many of them lifted from a 1968 interview Norman Mailer did with Playboy—with “yes” or “no” answers. “In bringing Wiazemsky to London and casting her as the absurd and naïve Eve Democracy, Godard mocked not only democracy but Wiazemsky’s non-revolutionary commitment to it.”*


Thursday, November 8, at 7 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.


*Richard Brody, Everything is Cinema: The Working Life of Jean-Luc Godard (New York: Metropolitan Books, 2008), 338, 340.

From top:

Film poster with Jean-Luc Godard’s title. (An alternative cut—titled Sympathy for the Devil by the producers—re-edited the soundtrack of the film’s final scenes.)

The Rolling Stones and Marianne Faithful lay down the backing vocal track.

Anne Wiazemsky in her One Plus One final scene.

Godard and Mick Jagger during filming.

The Stones at Olympia Studios.

Image credit: ABKCO Films.


The late Christopher Gibbs was given an inimitable send-off by Hamish Bowles last week:



See “The Great Someone,” Massimiliano Mocchia di Coggiola’s essay on dandyism, in the forthcoming print issue of PARIS LA.


Above: Anita Pallenberg, James Fox, and Mick Jagger in Performance (1970, directed by Donald Cammell and Nicolas Roeg), for which Christopher Gibb was the set designer. Image credit: BFI Archives.

Below: Christopher Gibbs.

Image result for christopher gibbs




PERFORMANCE is a mirror: You look in it, and it shows you a kind of self you fear or dream of….It’s part of the chronic English addiction to noir. It’s a fairy story, poised between the godheads of Aleister Crowley and Jorge Luis Borges. It has moments that belong to the history of the musical. It has passages worthy of an anthology of the most pretentious films ever made. It takes itself so seriously that it can be very funny….

James Fox and Mick Jagger…are both good enough to hold the film in place, though the most powerful figure onscreen is Anita Pallenberg as Pherber, the seductive impressario….

PERFORMANCE has to be seen—it is very visual. But it is very heady, too—and that requires patience….By now there is enough written about it to nearly bury the film. So hold on to moments, like Jagger singing ‘Memo from Turner.’ ” — David Thomson

This Friday, the American Cinematheque is screening a 35mm print of PERFORMANCE (1970, directed by Donald Cammell and Nicolas Roeg, with a score by Jack Nitzsche) on the second half of a “Rated X” double-bill with Lindsay Anderson’s landmark of rebellion and anarchy IF…. (1968, starring Malcolm McDowell, in his debut).

IF…. and PERFORMANCE, Friday, July 21, at 7:30 pm

EGYPTIAN THEATRE, 6712 Hollywood Boulevard, Hollywood.


Top: Malcolm McDowell in If…. Bottom: Mick Jagger (right) in Performance.

Picture Of Malcolm Mcdowell In If Large Picture If

performance 3 vice versa