#1970 release

[65eatonplace]

Sharon Tate in production stills for her film “12+1″ 

[beatleswings]

Official Theatrical Trailer for ONE HAND CLAPPING.

[bobdylan-n-jonimitchell]

Joni Mitchell, Providence, Rhode Island, February 1976 © Joel Bernstein.

[satanfemme]

⛓️⚡️⛓️ Mutt + the guy who turned him into a good boy ⛓️⚡️⛓️

[pomegranate]

Jenny (1969)

[k-i-l-l-e-r-b-e-e-6-9]

Black Sabbath - Paranoid

[brokehorrorfan]

Hollywood 90028 will be released on Blu-ray on November 26 via Grindhouse Releasing. Jerry Martinez designed the new cover art for the 1973 exploitation movie.

Also known as The Hollywood Hillside Strangler and Twisted Throats, the film is written and directed by Christina Hornisher. Christopher Augustine, Jeannette Dilger, Dick Glass, and Gayle Davis star.

The film has been newly restored in 4K from the original camera negative. The three-disc set includes a newly remastered soundtrack CD composed by Basil Poledouris (RoboCop, Conan the Barbarian).

Special features are listed below.

Special features:

Audio commentary by film historians Marc E. Heuck and Heidi Honeycutt

Audio commentary by film historian Shawn Langrick

Interviews with actors Christopher Augustine, Jeannette Dilger, Gayle Davis, editor Leon Ortiz-Gil, and Tom DeSimone

Alternate scenes from original X-rated verison

16mm short films by Christina Hornisher

Outtakes

Still galleries

Theatrical trailers

Radio spots

Liner notes by film historians Marc E. Heuck, David Szulkin, Richard Kraft, and Jim Van Bebber

Soundtrack CD composed by Basil Poledouris

Mark (Christopher Augustine) is a disturbed loner who toils in the sub-basement of the movie business as a cameraman shooting porno films for swinish boss Jobal (Dick Glass). In his off hours, Mark prowls the peep shows and strip clubs of Los Angeles to prey on random young women who he picks up and strangles to death. When Mark pursues a romantic interest in Michelle (Jeannette Dilger), a model who he films in one of Jobal's sleazy movies, the grim reality behind the fantasy leads the frustrated cinematographer to shoot a different kind of Hollywood ending.

Pre-order Hollywood 90028.

[workinghardforthemoney]

diana ross as tracy chambers in 'mahogany' (1975)

[summerofsmiles]

Nothing will be funnier than jimmy page posting “on this day in 1970 I visited the rock castle. it was a castle built on rock. hence the name rock castle.” on the day of Led Zeppelin iii’s release.

[addictedtorobertpalmer]

[soupy-harry]

Two Mules For Sister Sara, 1970

[65eatonplace]

Sharon Tate, Vittorio Gassman & Ottavia Piccolo  ham it up between takes while filming "12+1" "The Thirteen Chairs" 1969

[beatleswings]

WINGS at Abbey Road Studios. 1974. Photo taken by MICHAEL PUTLAND.

[bobdylan-n-jonimitchell]

Joni Mitchell "You Turn Me On, I'm A Radio" Graham Nash / David Crosby Session, December 13, 1971.

[lennylenski]

Can YOU guess this vintage VIP?

Watch 'till the end for the reveal!

[thislovintime]

Peter Tork; photos by Nurit Wilde.

“Tork in the late 1960’s” - Nurit Wilde, Instagram, June 19, 2021

“I’m free, I don’t know what I’ll be doing. I’m actually a little apprehensive, because there’s no doubt that there are three other incredibly talented fellows out there. They’re very talented guys. Mike is one of the funniest people I’ve ever known. Micky is even funnier and Davy is just cute as a button. Who could ask for anything more? Davy dances so great, did you see him dance in the film? I’ve not seen dancing like that on the screen except from Fred Astaire. The only other thing is that I’m both really relieved and really, really apprehensive. I’m terribly glad and also terribly sad.” - Peter Tork, NME, January 25, 1969

"[Tork] says The Peter Tork Project plays music ‘sort of on the heavy end’ of album-oriented rock radio. ‘We’re not heavy metal per say, but we’re just on the pop side of that,’ adds the affable performer. The band, formed in January with Scott Avitabile on guitar, Jerry Renino on bass and Derek Lord at the drums, is one of several ensembles with which Tork has performed since leaving The Monkees. [In the early 1970s, Peter was a member of the] San Francisco-based rock band named [Osceola]. ‘That was a name full of significance,’ he said. ‘[Osceola] was chief of the Seminoles, the only tribe never to have surrendered to the federal government.’ Tork said he identifies strongly with that kind of defiance. ‘All of my early life was spent feeling out of whack. Physically I matured late and never was very athletic and always found myself on the short end of the stick. I was raised in a liberal family in the middle of the McCarthy era.’ Against those odds, Tork inevitably developed an inferiority complex that he carried into adulthood and his musical career. When he became one of four young men chosen out of 437 applicants to become what were supposed to be the ‘American Beatles,’ his self-doubt grew to mammoth proportions. ‘Half of the time I would think I didn’t deserve it and the other half I would think I was God’s gift to the children. I got my head turned around. It was the “arrogant doormat” syndrome low self-esteem combined with arrogance.’ [...] Tork recalls now that he wanted things done his way, but wasn’t willing to put his effort where his mouth was. His subsequent attempts at a career of his own were consistent failures, and for a while in the mid-’70s he joined his wife in the teaching profession, instructing a variety of classes in private high schools. That career was shortlived. [More about Peter’s time teaching here and here.] ‘Not that I didn’t enjoy teaching, but there’s no money in it. It’s a tragic comment on social priorities, but there it is.’ Tork expresses fervent enthusiasm for his new group [...]. As for his old bandmates, with whom he enjoyed superstardom for such a short time so many years ago, Tork says he stays in touch. Assessing his relationships with each one, Tork favored the diminutive, British-born Davy Jones ‘because he could see things the others couldn’t. Occasionally he was able to reach down into the depths.’ Drummer [Micky] Dolenz, who gained childhood fame as TV’s ‘Circus Boy,’ was ‘a whole lot more fun’ to be around than the other Monkees. Nesmith, considered the most creative of the four, was the most ‘respectable, in the sense that he did his work and had a sense of his own work ethic.’” - The Daily Oklahoman, November 7, 1983

"To tell you truth… I… I never was able in those days [the '60s] particularly — I’m getting better at it these days — but in those days I was almost entirely unable to fight for what I saw as quality. If I didn’t get somebody fighting on my behalf then it didn’t, just didn’t come to pass." - Peter Tork, Headquarters radio, September 1989 (read more here)

"I had pathological self value. I really didn’t have a sense of it at all. I didn’t get why. I thought I had been picked almost at random. I didn’t have any sense of myself bringing anything except that character to the Monkees. What I thought they hired me for was that character, and I think to this day that that had a lot to do with it. I didn’t recognize how that sprung forth from whom who I really am. I thought I was faking them out. I thought I was handing them a lie and they were buying the lie — and so how could I value myself? Any time you compliment somebody and they can’t take the compliment, what they’re saying to you is, ‘You don’t know what you’re talking about.’ That’s the message that anybody with low self-esteem gives back when somebody compliments them. Which is where I was. All that played into this fame thing. 
And it plays backwards, too. The reason that I got into the fame game was because I didn’t have any sense of value. I thought, ‘Jeez, if I can get the millions to love me then I’ll be all right.’ I got the millions to love me — and it still wasn’t all right. What a surprise. Ha, ha, ha.” - Peter Tork, Toxic Fame: Celebrities Speak on Stardom (1996) (x)