Amoeblog

Ted Mikels' THE DOLL SQUAD with guest Francine York TONIGHT!

Posted by phil blankenship, July 29, 2008 11:41am | Post a Comment
The Grindhouse Film Festival returns to the New Beverly Cinema TONIGHT with a special Ted V. Mikels double-feature. We'll be screening Ted's film THE DOLL SQUAD and will have star Francine York (THE CENTERFOLD GIRLS, CURSE OF THE SWAMP CREATURE, CITY BENEATH THE SEA, and a ton of TV appearances) in attendance to introduce the film and do a Q&A afterwards. This film, also starring Michael Ansara, Anthony Eisley and the incredible Tura Satana, was the uncredited inspiration for the original CHARLIE'S ANGELS TV show and should not be missed. Following THE DOLL SQUAD will be a second, surprise Ted V. Mikels film.



The event starts at 7:30pm, and admission for the two features plus a reel of rare exploitation trailers and our world-famous free raffle is still only $8.00.



For additional information and schedules for upcoming events, visit our MySpace page at www.myspace.com/grindhouse.



---------------------------------------------------------

Tuesday • July 29th, 2008

NEW BEVERLY CINEMA
7165 Beverly Boulevard
Los Angeles, CA 90036
(323) 938-4038
Admission: $8.




Tribute to Ted V. Mikels

Special Guest: Francine York

7:30pm THE DOLL SQUAD (1973)

Directed by Ted V. Mikels
Starring Michael Ansara, Francine York, Anthony Eisley, Tura Satana and John Carter

Continue reading...

DAVID BYRNE'S FREE NYC "PLAYING THE BUILDING" INSTALLATION

Posted by Billyjam, July 29, 2008 07:05am | Post a Comment
     David Byrne's Playing The Building installation, NYC

LA and San Francisco may be offering a lot of really good free entertainment this summer, but New York City tops both of them with a richly varied, non-stop offering of entertainment to choose from all summer long: much of it stuff that you would happily pay to see, from great concerts to cool exhibits. Topping this list is David Byrne's Playing The Building (Friday, Saturday, Sunday Noon to 6PM) at the Battery Maritime Building (10 South St.), which has been extended through August 24th. If you are making a visit to NYC by then, make time in your schedule to include this hands-on sound exhibit.

As explained by the former Talking Heads member in the video below, the idea for this unique installation came about after he realized that you "could turn the space into a musical instrument by attaching machines to the various parts of the structure." In conjunction with the wonderful NYC arts group Creative Time, who specialize in transforming soon to be demolished or restructured old city buildings into cool art spaces for their final days, Byrne took over this lower Manhattan decades-abandoned ferry terminal (soon to be remodeled) and turned it into a giant musical instrument.

Byrne and company painstakingly created this giant musical instrument by hooking up a series of sound-generating gizmos, strategically positioned throughout the empty cavernous old ferry building, and connecting them, via long cables, draped down and across the ceiling and back down to the keys on an old organ (the only thing on display in the otherwise completely empty building), which in turn causes the whole building to vibrate and resonate into a myriad of hypnotic noises/sounds. Fun!

Continue reading...

Privilege

Posted by Whitmore, July 28, 2008 11:06pm | Post a Comment


I’ve often said coincidence does not exist, but I'll save that diatribe for another time. However, a couple of days ago, and for the first time, not one but two Paul Jones 45’s -- he’s the former lead singer for the 1960’s British invasion band Manfred Mann -- wandered into Amoeba from separate collections. Both of these singles are from the same soundtrack, Privilege, a film released in 1967 starring Paul Jones, who was making his big screen acting debut. Now, two days later, I find out that for the first time ever, Privilege will be released on DVD today. Coincidence or plot? I just don't know. Well, anyway...

The film was directed by Peter Watkins, whose highly controversial anti-nuclear drama The War Game won the 1966 Academy Award for Best Documentary Feature (and was soon to be banned in Great Britain). Watkins once again doesn’t stray far from controversy in Privilege. Taking place in a totalitarian English State of the near future, specifically 1970, the dark comic vision of Privilege criticizes the media and its media manipulation, corporate culture and its corporate manipulation. It portrays a time where most everything seems to bounce off the absurd and neurotic teen pop-dom dominating the age and the happily tranquilized population is content with fluffy distractions. The main character, Steven Shorter, played by Paul Jones, is a rock god. His popularity and career have been meticulously engineered by a vast music corporation, reaching dizzying Beatlesque heights. But all this begins to crack when an artist, played by the original supermodel Jean Shrimpton, is hired to paint Steven Shorter’s portrait, and finds an unstable, empty shell of a man, lost in a lonely world, a puppet trapped by the demands of a music business out of control, and a simple singer victimized by all the excess, process, and success. Of course, the artist tries to rescue and prop up Steven Shorter before he becomes yet another statistic in the eternally doomed scenario of recyclable pop stars. But as can only happen in real life and/or rock melodramas, fortunes take a Machiavellian twist when rebellion is only a pop song away. Now that’s entertainment!

Continue reading...

Bad Boys At Nite Pt. 1

Posted by Mr. Chadwick, July 28, 2008 12:10am | Post a Comment
Recently, Joey Jenkins and I were giving Vinylandia its once every 7 years cleaning. I guess you could call it the 7 year itch, maybe the 7 year sneeze, as that's all I did for two days afterwards. You would not believe the amount of dust that accumulates when you are sorting and cleaning vintage vinyl... Anyhow, we found quite a few gems tucked away in all the nooks and crannies. One of the best finds is this collection of covers that Chris Guttmacher has set aside over the years. These are THE  "Bad Boys At Nite"...








Go Forth and Replicate: A Few Thoughts on Advertising, Christian Rock, Mad Men and Why Should The Devil Have All The Good Music (2004)

Posted by Charles Reece, July 27, 2008 10:17pm | Post a Comment
I've been letting my Movies We (I) Like blog languish for far too long, so before I get to my Batman critique, I'm adding not one, but two entries to it with in the next couple of days. I'm going to try to add one a week from here on out (we'll see how well that goes). Anyway, until they appear, I won't keep you in suspense: the first pick is the pretty darn good Mad Men (which is a TV show, not a movie, but it's better shot than most movies) and the other is the surprisingly thoughtful and balanced Why Should The Devil Have All The Good Music (a documentary about the current Christian rock scene).


Beginning its second season today, Mad Men is about a third-tier agency on Madison Avenue in the early sixties, a time of radical (well, pseudo-radical) change in the world of selling stuff. The first season is set in 1960, following the recent appearance of the famous Volkswagen ads by the Doyle Dane Bernbach agency. William Bernbach was a critic of advertising as a science, instead using it to convey emotions and deep-seated connotations to sell a product. His ads sold you an image of yourself, rather than a laundry list of the product's qualities that were supposed to appeal to you. The approach proved highly successful, and it's why we have the Super-Bowl commercials we do today.


There's a scene in the final episode of the first season where head adman Don Draper sells a campaign for a new slide projector to clients by using snapshots of his own family. So moving is his pitch that one of the other admen, who's currently undergoing some marital woes, has to leave the room lest he be seen crying. Ironically underscoring this heartwarming moment is the whole season where Don has been shown in the company of two mistresses. Advertising is an art that says less about itself or its creators than it does about the intended audience. It's art that's meant to be entirely consumable by being designed with the audience, not artist, in mind. If it's not understood by the target demographic, then it fails as art. That's why it's questionable to even call it art. It's not intended to offer resistance, only acceptance. Any resistance that it offers is purely manufactured, meant to play into a collective mind that wants to see itself as an uncollected group of free-thinking individuals. That Bernbach and others following him could and can walk that line -- selling individualism as a collective commodity -- is the evil brilliance of late-20th century advertising. 


I was thinking of Bernbach's movement and that scene from Mad Men while watching Why Should The Devil Have All The Good Music, named after the song from Larry Norman. Norman serves as the inspirational spirit for the film, promoting God while still managing to make music that could exist on its own terms. I don't know about the rest of his stuff, but that song's pretty catchy. I love country songs about Jesus, hillbilly sacred harp, classic Gospel, old Southern and Negro spirituals, et al., but the closest I ever came to being inspired by so-called contemporary Christian was dropping acid at a Stryper show (someone had to do it, and therein lay my inspiration). When a womanizing boozer like Kris Kristofferson asks "why me, Lord," one gets the sense of some struggle going on between his beliefs and his actions.  That sort of struggle gives the song an air of authenticity. But when Michael Sweet and his band sing they're "soldiers under God's command," one gets the message that this is metal being sanitized for the easily contaminated. Little has changed since when they were on top.


Most of the bands featured in Heather Whinna and Vickie Hunter's documentary sound like particular secular bands, just with special lyrics. The ones escaping this marketing pigeonholing tend to do so by sounding so generic that they can't be ascribed a particularized label. That strategy was employed by Stryper during the metal heyday, obtaining secular acceptance by sounding blandly like the genre, rather than the Christian-Iron Maiden or -Van Halen. 


The fundamental problem with Christian rock is that, rather than build on an authentically religious tradition of struggle, it's made to serve two masters: mass culture and fundamentalism. It fails both because it has no soul, no aesthetic inner life, being entirely outwardly directed. Like a modern ad, it tells you no more than what you already bring to the table. On the one hand, it's designed to appeal to the "secular audience" (i.e., the largely Christian audience in the U.S. -- if the census is any indication -- that aren't Christian enough for the extremists). Here the connotation is that Evangelicals are just like you (evidently just as bland as you), and after conversion you can keep on liking the same stuff that you liked in your heathen days. This message is doomed to fail, I suspect, because it's saying there is no essential change in who you are when coming over to their side, so why bother? On the other hand, the music is designed to appeal to the "Christian audience" (i.e., those teens raised with a severe pop cultural immune-deficiency order) who really like music, but live in fear of its not serving God, only itself -- in a word, idolatry. By giving the fundamentalist youth what they want, the ability to rock, while only reinforcing their cultural seclusion, the music is depleted of its potential aesthetic-objective vitality, instead serving as agitprop. In making rock music easily consumable, the dialectic between beliefs and the world is cut short. The religiously conservative audience doesn't have to struggle with popular art any more, because it's now being made with only one message in mind: buy Christian. With the Christian rock scene, the religion has become just as much of a commodity as the music that it copies, easily consumable in one's leisure time.


BACK  <<  1379  1380  1381  1382  1383  1384  1385  1386  1387  1388  1389  1390  >>  NEXT