We don’t often post covers here , but this contains four things we’re rather fond of – the faded timeless glamour of vintage footage, Paris, Françoise Hardy and Chløë Black – and perhaps the fact that the French language can turn us in Gomez Addams isn’t entirely irrelevant here .But on a more serious note in the wake of the dreadful murders in Paris people have been shocked by the random nature of the attack and the fact that going to a gig, which is apparently where “pagans gathered for a concert of prostitution and vice” rather than a place to have fun and dance can make you a target. Sadly there has also been a tsunami of horseshit sprayed about on social media by the self-appointed ‘grief police.’ Their main issue appears to be so-called ‘selective mourning’ as if showing sympathy, empathy and solidarity for the innocent people killed in the attack on a neighbouring city, one many of us are familiar with and have friends living there meant somehow we were disrespecting the loss of life in other parts of the world. Our response was something along the lines of c’est le plus gros tas de conneries que j’aie jamais entendu.
For Chløë, who was born in Australia and was brought up in Paris, there was no political agenda, just a wish to do something and in some way pay tribute to the city of her childhood as she explained –
“Last week’s heartbreaking events literally hit close to home as Paris is the backdrop of my earliest memories. This grief made me hear the song in a new light. No longer just cool; it has taken on a personal melancholy and deeper meaning for me.
I wanted to, in a small way, honour not only the beauty of Parisians but humanity itself. I cut together a combination of stock footage and some clips I filmed myself in Paris a couple of years ago”
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