Taxi Videohive

Beautiful, fearless, resourceful and talented. That’s Taxi. One night, a man named Nelson rescues her from an attack… and changes her life. He works for a news agency called Control Press, and “recruits” Taxi for his investigative team.

In 2023 DAY & TAXI celebrates its 35th anniversary. Bassist Silvan Jeger celebrates his 10th DAY & TAXI anniversary and drummer Gerry Hemingway has now also been with the band for 5 years. Reason enough to release a live production after 18 years (LIVE IN SHENZHEN, SHANGHAI AND TAIPEI). LIVE IN BADEN was recorded on 29 November 2021 and is, so to speak, an interim report.

First published in 1932, The Taxi-Dance Hall is Paul Goalby Cressey’s fascinating study of Chicago’s urban nightlife—as seen through the eyes of the patrons, owners, and dancers-for-hire who frequented the city’s notoriously seedy “taxi-dance” halls. Taxi-dance halls, as the introduction notes, were social centers where men could come and pay to dance with “a bevy of pretty, vivacious, and often mercenary” women. Ten cents per dance was the usual fee, with half the proceeds going to the dancer and the other half to the owner of the taxi-hall. Cressey’s study includes detailed maps of the taxi-dance districts, illuminating interviews with dancers, patrons, and owners, and vivid analyses of local attempts to reform the taxi-dance hall and its attendees. Cressey’s study reveals these halls to be the distinctive urban consequence of tensions between a young, diverse, and economically independent population at odds with the restrictive regulations of Prohibition America. Thick with sexual vice, ethnic clashes, and powerful undercurrents of class, The Taxi-Dance Hall is a landmark example of Chicago sociology, perfect for scholars and history buffs alike.

Fruit d’une longue expérience méthodologique et de pratiques de classe, Taxi ! 1 est le premier volume d’une méthode de français langue étrangère constituée de trois niveaux.Taxi ! est une méthode interactive qui développe non seulement les compétences de savoir de l’apprenant mais aussi celles de savoir-faire et de savoir-être.Taxi ! permet à l’enseignant de mener une classe dynamique à l’aide d’un parcours simple et équilibré tant à l’écrit qu’à l’oral, clairement balisé grâce à la présentation en double page de chaque leçon.
Taxi ! propose donc aux professeurs des séances de cours prêtes à l’emploi avec des activités variées et une vidéo pour la vie pratique.Chaque niveau couvre environ 90 heures de cours.

Travis Bickle is an ex-Marine and Vietnam War veteran living in New York City. As he suffers from insomnia, he spends his time working as a taxi driver at night, watching porn movies at seedy cinemas during the day, or thinking about how the world, New York in particular, has deteriorated into a cesspool.

American composer Bernard Herrmann's last film score was for director Martin Scorsese's (and writer Paul Schrader's) deeply unsettling, Dostoyevskian film noir, Taxi Driver–a portrait of urban alienation that's never been matched. In the slow-motion images of New York City as Dante's Inferno (steam rising into the air to suggest the hellfire below), the orchestral music is ominous and dissonant, a rumble and crash that rises up from the underworld. But Herrmann's other major motif is a slinky, smoldering sax theme that suggests the forbidden pleasures of big-city nightlife–bars and clubs, prostitutes and porno palaces–things Travis Bickle (Robert DeNiro) may himself indulge in, but that give him no pleasure. (In fact, they disgust him.) The soundtrack features a track in which Herrmann's music is played behind bits and pieces of narration from Travis's "diary": "Some day a real rain will come along and sweep all the scum off the streets." Unforgettable music, unforgettable movie. –Jim Emerson