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Mummy Dearest

Posted by Eric Brightwell, April 15, 2009 06:06pm | Post a Comment


Mummy films
are unique among classic monster movies in that they're neither primarily based upon myths or literature. Only Isaac Henderson's 1902 play, The Mummy and the Hummingbird and Bram Stoker's 1903 novel, Jewel of the Seven Stars, have inspired cinematic adaptations (the latter spawning four to date) with its subject of an archaeologist attempting to revive a mummy. There were a few examples of the mummy in literature, as with Edgar Allan Poe's "Some Words with a Mummy," Théophile Gautier's The Romance of a Mummy, Ambrose Pratt's The Living Mummy, Louisa May Alcott's "Lost in a Pyramid or, The Mummy’s Curse" and Sir Arthur Conan Doyle's "Lot No. 249" and "The Ring of Thoth" all deal with mummies, albeit not always in a horror setting, and have never even loosely been adapted into film.

The rise of mummy films seem to be directly related to a then-widespread interest in archaeology and, more specifically, an enduring western vogue for Orientalism and fascination with the Near East.  Several major discoveries in the field of Egyptology occurred in the 20th century and helped renew and increase interest in one the the planet's oldest, most complex and enduring civilizations. Yet fascination with Egyptian mummies, with their tantalizing ties to the ancient past, never really translated into a healthy monster subgenre, only sporadically rising to the level of more continually popular monsters like vampires and ghosts.

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Easter Promises - Every Sin Leaves a Mark

Posted by Eric Brightwell, April 12, 2009 03:24pm | Post a Comment
Hello friends, it's Easter once again. And no one does Easter better than Amoeba. Yes friends, Amoeba is known for our selection that simply can't be beat. So after gorging yourselves on low quality milk chocolate lupine effigies to honor a pagan fertility goddess, sit back in the easy chair and let those calories do their worst whilst you enjoy some of our fine Easter fare. Do your one "hop" shopping at Amoeba this Easter, won't you?




Thanks Easter Bunny!!!!!!!! *Bwok Bwok!*



Remember, Ēostre is the reason for the season.



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Elli et Jacno... et Lio. Les electro-ye-yes

Posted by Eric Brightwell, April 6, 2009 09:13pm | Post a Comment
Denis Quillard (born in 1957) came from an eccentric but distinguished family in Champagne. A chainsmoking fan of Gauloises, he was known to some as "Jacno," after Marcel Jacno, the illustrator who designed the cigarette manufacturer's logo. Jacno had learned to play flute at a religious school in Margency, Notre-Dame-de-Bury. As a child his musical heroes had been Chopin, Mozart and Satie, but as a young teenager, he gravitated toward The Who and The Rolling Stones. At fourteen, he took a job as a messenger boy, enabling him to buy a guitar. He also grew increasingly rebellious, experimenting with drugs, engaging in petty theft, and being expelled from a succession of schools. In 1973, he formed a short-lived band called Bloodsuckers.

Elli Medeiros was born January 18, 1956 in Montevideo, Uruguay. Her mother, Mirtha Medeiros, was an actress, and as a child, Elli also appeared in Uruguayan film, stage and TV productions. In the early '70s, along with her mother and her stepfather, she moved to Paris. The following year, at a protest, Elli and Jacno crossed paths. Soon, the two began dating and plotted a musical career.

   

In 1976, Elli and Jacno (joined by Bruno Carone, Albin Dériat and Hervé Zénouda) formed Les Stinky Toys in Rennes, Brittany. They played their first gig as Les Stinky Toys on the fourth of July, 1976. Les Stinky Toys quickly garnered a reputation as a willing and fairly able band who played several notable performances, including at London's 100 Club alongside The Buzzcocks, The Clash, The Damned, The Sex Pistols and Siouxsie & the Banshees. That came about after Malcolm McLaren discovered the band at a boutique in Les Halles. The notoriously hype-loving Melody Maker featured them on their cover. Conversely, the notoriously bitchy Trouser Press described them as "uninspired sub-Rolling Stones rock'n'boogie with terrible vocals by Elli Medeiros." In March of 1977, they played with Generation X, The Jam and The Police at Le Palais des Glaces. Soon after, they signed with Polydor and released their debut single, "Boozy Creed," followed by an album, Plastic Faces.

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From the women's picture to the chick flick

Posted by Eric Brightwell, March 31, 2009 05:52pm | Post a Comment
30 Helens

I wrongly assumed that it would be easy to fire off a blog briefly summarizing the history of women’s pictures. When I began, I quickly realized that it is a genre that’s simplistically treated as synonymous with both weepies/tearjerkers and their near opposite, the rom-com; it quickly proved to be more than I bargained for, which is why it’s showing up on this, the last day of Women’s History Month. The history of the genre occupies an interesting position, little discussed and yet obviously affecting and responding to the Hollywood narrative, the larger global film market, and broader history. Anyway, it proved to be a bit too much so, here's the fast & furious driveby account of a genre that deserves more.


First of all, tear-inducing films are by no means all women's pictures, which is why someone coined the annoying term “guy cry” for young male-targeted stories/films about dying dogs (e.g. My Dog Skip, Old Yeller, Where the Red Fern Grows, &c). For adult males, sentimental melodramas (usually tempered by the macho backdrop of war, the wild west or sports (e.g. Bang the Drum Slowly, Brian’s Song, Knute Rockne) allow men the opportunity to cry with less shame. But, whereas men generally try to resist crying, telling themselves in the heat of a battle scene as the hero lies dying in his buddy's arms, "It's only a movie. It's only a movie. You will not cry!"; women, it is assumed, seek out movies with the hope that they will have "good cry." I have no doubt that this is part of why women’s pictures have rarely been afforded serious critical examination and were only lauded, for the most part, near the beginning of film history.

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Fleeting and Forgotten Female Folkies

Posted by Eric Brightwell, March 24, 2009 05:47pm | Post a Comment
Lately, whilst reading about unfamiliar folkies popping up on my Pandora folk station, I sometimes feel like I'm reading the same thing over and over when it comes to a handful of female artists. I doubt that the reasons were the same, but several new (to me) discoveries had similar careers involving under-recognized talent, followed by disappearance/retirment and then, several decades later, new interest. Among these chanteuses are:


Bridget St. John -- Bridget St. John learned guitar from John Martyn. St. John began touring the folk circuit and recording for the BBC and on John Peel's Dandelion label with members of Jethro Tull and King Crimson. In 1974, she recorded Jumble Queen and was voted the fifth most popular female singer in the Melody Maker readers' poll. In 1976, St. John moved to Greenwich Village and retired from music. She re-emerged in 1999 for a Nick Drake tribute concert and toured Japan in 2006.


Diane Hildebrand -- Hildebrand started out writing for Screen Gems alongside Boyce & Hart, Carole King & Gerry Goffin as well as other Brill Building alumni, including her frequent partner, Jack Keller. Together they wrote several songs for The Monkees as well as the theme to The Flying Nun. Whilst living in Beachwood Canyon, she signed a one record deal with Elektra, for whom she recorded her sole album, Early Morning Blues and Greens.

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