Amoeblog

15th Annual Festival of Film Noir Continues at The Egyptian Theatre in Hollywood!

Posted by Mr. Chadwick, April 10, 2013 11:13am | Post a Comment



Wednesday, April 10th begins the second week of the 15th Annual Festival Of Film Noir at the Egyptian Theatre.  Wednesday brings us a pair of Fritz Lang rarities in the gothic melodrama House By The River and Joan Bennett vehicle Secret Beyond The Door.  The stunning Ms. Bennett was a Lang favorite, appearing in Woman In The Window and Scarlet Street.  She had a long and varied career including notable roles as the headmistress of both Collinwood in the original Dark Shadows TV series and the boarding school in Dario Argento's Suspiria

Thursday offers up a couple of not-on-DVD rarities in The Case Against Brooklyn and City Across The RiverCIty is considered amongst the earliest film to deal with street gangs and juvenile delinquency and features a young Tony Curtis as well as familiar character faces in Stephen McNally, Jeff Corey, Anabel Shaw and Thelma Ritter

Friday promises much in the double feature Street Of Chance and Night Has A Thousand Eyes, both based on Cornell Woolrich novels and boasting casts featuring Clare



Trevor
, Burgess Meridith, Sheldon
Leonard and Edward G Robinson.

15th Annual Festival of Film Noir Kicks Off Friday at The Egyptian Theatre in Hollywood!

Posted by Mr. Chadwick, April 2, 2013 11:59pm | Post a Comment


This Friday, April 5th, kicks off the 15th Annual Festival Of Film Noir at the Egyptian Theatre in Hollywood.  Things get moving fast with a Cy Enfield double, Try And Get Me (aka The Sound Of Fury) and Hell Drivers. The Film Noir Foundation's newly restored print of Try And Get Me should be a stunner- not available on DVD, this is rare glimpse into Enfield's U.S. career which was prematurely derailed due to HUAC blacklisting bullshit.  Hell Drivers is a Rank Organization picture featuring Irish beauty Peggy Cummins, best known for her roles in Gun Crazy and Night Of The Demon.

Saturday brings a great pair of Hollywood damage tales in Sunset Boulevard and The Other Woman.  Needing no introduction, Sunset Boulevard's brilliance never seems to diminish, it's depiction of desperation and delusion seems applicable to every generation of former greats and their hangers on.    The Other Woman features the criminally under rated Cleo Moore as a scheming second string actress who gets involved in a blackmail plot that goes awry.  Those of you unfamiliar with Ms. Moore should check out the Bad Girls Of Film Noir, Vol 2 DVD set, we often have used copies for sale at the Hollywood Amoeba.




El Haru Kuroi-Canta Gallo

Posted by Gomez Comes Alive!, March 25, 2013 07:30am | Post a Comment

El Haru Kuroi Canta GalloThe name, El Haru Kuroi, is a cultural mash-up.It's a mix of grammatically incorrect Japanese and Spanish. They wanted to be called “Black Spring” in Japanese (It should be Kuroi Haru) and the “El” was added when people said they should have a Spanish name to their band because the band's lyrics were mostly in Spanish. Their latest release, Canta Gallo, is nothing short of brilliant. The influences that make El Haru Kuroi are not hard to pinpoint, yet put together they way they do makes for a sound that is all their own. The influence of Brazil’s Tropicalia movement weighs heavy on them, yet much like those artists involved in that movement, El Haru Kuroi adapted the music they grew up on and took the essence. The result is a haunting mixture of Bossa Nova and Boleros mixed with urgency of post-punk groups like Gang Of Four and Fugazi.

Singer/Guitarist Eddika Organista is the daughter of a Mexican musician who played in many Tropical groups. Most of the music Eddika’s father enjoyed was in Spanish, but he was also a fan of Brazilian music, Bossa Nova in particular. The sound of the Brazilian artists singing in Portuguese resonated strongly with a young Eddika, who was already fluent in both Spanish and English and playing guitar by age eleven. She found herself mimicking the sound of Brazilian singers when she sang. This led her to study Portuguese in school. She started to discover other Brazilian artists that went beyond the Bossa Nova singers that her father favored. At the age of seventeen, she is discovered the Tropicalia movement that started in Brazil in the late 60’s and in particular, her world was blown wide open by the discovery of Caetano Veloso. The influence of Veloso’s work on Eddika’s songwriting and musicianship is undeniable, but it goes beyond imitation. She manages to capture the soul of Caetano rather than his sound, the mixture of beauty and darkness that permeates her songs whether she is writing in English, Spanish or Portuguese.El Haru KuroiOrganista's ability to sing in three languages creates options for the group. Language becomes part of the music, with each language chosen for what works best in the song. The rhythm section of Dominic Rodriguez and Michael Ibarra adapt to the whims of Organista’s imagination. Rodriguez imaginative percussive style works with Organista’s gritty yet breezy guitar tone. Ibarra hold them all together with a playing that resembles Charles Mingus when he played support rather than lead. It was an underrated talent of Mingus and one that Ibarra shares with him.  Lyrically, Organista’s metaphoric lyrics recall the beauty and pain of Caetano Veloso and Agustin Lara writing without imitation. Each song is pure heartbreak blues, even when decorated in sweet melodies.

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Secret Society of the Sonic Six April / May West Coast Tour Dates!

Posted by Mr. Chadwick, March 24, 2013 03:00pm | Post a Comment

California Fool's Gold -- Exploring The Byzantine-Latino Quarter

Posted by Eric Brightwell, March 12, 2013 10:57pm | Post a Comment
WE ARE EACH OF US ANGELS WITH ONE WING 

Pendersleigh & Sons Cartography's map of The Byzantine-Latino Quater
Pendersleigh & Sons Cartography's map of The Byzantine-Latino Quater
Los Angeles's Byzantine-Latino Quarter is neighborhood and commercial corridor that straddles the larger neighborhoods of Harvard Heights and Pico-Union as well as the larger Midtown districts of Wilshire Center to the north and Mid-City to the south. The Quarter is centered along Pico Boulevard between South Hobart Boulevard to the west and South Alvarado Boulevard to the east.



EARLY HISTORY

The westernmost border of Los Angeles, as established by the Spanish in 1781, was along what's now Hoover Boulevard. The land to the west, through the Spanish and subsequent Mexican period were public lands. The land remained a mixture of pastures and farmland for decades after California became part of the US in 1848.

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