Is there an early rock & roller who has a crazier reputation than the Killer, Jerry Lee Lewis? His exploits as a piano-thumping, egocentric wild man with an unquenchable thirst for living have become the fodder for numerous biographies, film documentaries, and a full-length Hollywood movie.
Breathless is the sixth studio album by saxophonist Kenny G, released in 1992 on Arista Records. It reached number 1 on the Contemporary Jazz Albums chart and number 2 on the Billboard 200 and R&B/Hip-Hop Albums charts despite negative reviews from critics. The track "Forever in Love" won a Grammy Award for Best Instrumental Composition at the 1994 ceremony and reached #18 on the Billboard Hot 100. The album has been certified Diamond for shipments of over 12 million copies in the US, making it one of the top 100th best-selling albums in the United States.
I'm Breathless: Music from and Inspired by the Film Dick Tracy is the second soundtrack album by American singer-songwriter Madonna. It was released on May 22, 1990, by Sire Records to promote and accompany the film Dick Tracy. In the film Madonna starred as Breathless Mahoney and her then-boyfriend Warren Beatty played the title role. After filming was complete, Madonna began work on the film's soundtrack, with songwriter Stephen Sondheim, producer Patrick Leonard and engineer Bill Bottrell. She also worked with producer Shep Pettibone on the album's first single, "Vogue". The album was recorded in three weeks, at Johnny Yuma Recording and Ocean Way Studios, in California…
The first feature film directed by Jean-Luc Godard and one of the seminal films of the French New Wave, Breathless is story of the love between Michel Poiccard, a small-time hood wanted for killing a cop, and Patricia Franchini, an American who sells the International Herald Tribune along the boulevards of Paris. Their relationship develops as Michel hides out from a dragnet. Breathless uses the famous techniques of the French New Wave: location shooting, improvised dialogue, and a loose narrative form. In addition Godard uses his characteristic jump cuts, deliberate "mismatches" between shots, and references to the history of cinema, art, and music. Much of the film's vigor comes from collisions between popular and high culture: Godard shows us pinups and portraits of women by Picasso and Renoir, and the soundtrack includes both Mozart's clarinet concerto and snippets of French pop radio.
Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American.