Amoeblog

Karen Carpenter - Only Yesterday

Posted by Miss Ess, April 15, 2009 05:28pm | Post a Comment
karen carpenter

Been thinking about Karen Carpenter today. Isn't this just the best?


Poor Karen, the submissive misfit in a controlling, perfectionistic family. Here's a frail looking Karen playing a huge drum solo on the Carpenters' 1976 TV special:


In the typically dull world of easy listening, Karen Carpenter really stands out as someonClose To You: Remembering the Carpenterse with great talent and passion for music, inserting both pathos and intensity into her singing and playing. She also appears to have been someone who never quite fit into that rigid, clean cut and repressed world and who was emotionally damaged in part by that realization. The sadness and the difficulties she faced seem to have been channeled into her creative endeavors, which no doubt added to her capability and appeal, but anorexia withered her away to the bone and she finally passed away due to its complications in 1983.

There's an interesting documentary about the Carpenters that's available on DVD, Close To You: Remembering the Carpenters, which in my memory is notable for Richard Carpenters' closed-offedness, constantSuperstar: The Karen Carpenter Story creepy smiling and refusal to admit or recognize much of anything that might have been tragic or difficult throughout the career he and his sister had.

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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Women of the Western

Posted by Eric Brightwell, March 16, 2009 06:48pm | Post a Comment
 

Ever since the dawn of film theory, film critics have loved the Western; probably because its engagement with formula and its psychological subtext are so obvious, so close to the surface, that theorizing about westerns is a bit like kicking gravel and striking oil. The genre bears a similarity to tales of knights errant, who similarly were bound by codes of honor and used strength and wit to defeat malevolence, &c &c &c... Part of what makes the Western attractive for film theorists is the way it shifts and evolves too -- spiraling off subgenres like Curry Westerns, Northerns, Oesterns, Red Westerns ands Spaghetti Westerns -- and engages other genres like samurai films and noir. But whereas a little bit of research turns up several scholarly works addressing women's place in the Western, I haven't been able to find any that focus on female-centric Westerns, nor been able to uncover a clever or cutesy name for the subgenre. When I started this blog, I thought I'd come up with a tiny handful, but was quickly surprised at how many Westerns feature females in roles of central importance.

   
Real women of the west. washing clothes (left), famous madame Chicago Joe (center), bandit Belle Starr (right)

The Wild West was, to be sure, a male-dominated place. Of course, there were women too who, just like their male counterparts, were probably more likely to run a ranch or work in town than to find work as gunslingers, bandits and bounty hunters... although there were those too. The National Cowgirl Museum Hall of Fame has, since its founding, sought to better document the contributions of women in the west. Although women in Westerns generally seem to symbolize civilization/the east, making cowboys uneasy with their use of risque talk and their attempts to transport urban conventions to an untamed land, in real life, that role would've been impractical and probably abandoned pretty quickly. When there's work to be done, propriety and traditional societal constructions would just get in the way. In fact, in Wyoming, for example, women gained the right to vote in 1869, over 40 years before the ratification of the nineteenth amendment. The photographs of Evelyn Cameron depict no-nonsense women who have little in common with the dippy, ditzy cowgirls of Gil Elvgren's art or Hollywood cowgirls. Of course, I'm not suggesting that Hollywood is in the business of portraying reality, but it's interesting to look at the decisions they make when constructing mythology.

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Women's history documentaries

Posted by Eric Brightwell, March 14, 2009 10:19am | Post a Comment









              

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