#bill cowsill

[misquotedmosquito]

[fancycolours]

THE COWSILLS. (Circa 1968.)

[shadowland]

Bill Cowsill Nervous Breakthrough (1971) MGM Records

[texasthrillbilly]

Bill "Will Robinson" Mumy forming a band with other bygone rock stars and calling it Action Skulls is such a Venture Bros coded thing to do.

Makes sense, tho, as he is the partial inspiration for Rusty Venture.

Excuse me while I look up their music.

[leonardcohenofficial]

as is tradition here are my top nine new-to-me watches of the year—in no particular order (l-r, top row to bottom row):

the african desperate (martine syms, 2022) not a pretty picture (martha coolidge, 1975) anatomy of a fall (justine triet, 2023) the girls (mai zetterling, 1968) network (sidney lumet, 1976) the year of the cannibals (liliana cavani, 1970) all the beauty and the bloodshed (laura poitras, 2022) straight on till morning (peter collinson, 1972) microhabitat (jeon go-woon, 2017)

i hit 150 total films and my continual goal of half of the films by women and nonbinary filmmakers, and still definitely need to keep up with deliberately seeking out films by directors of color! feel free to tell me your faves if you’ve seen any of these 🖤👀🎬🍿🎥

i'll tag @privatejoker / @wanlittlehusk / @majorbaby / @edwardalbee / @draftdodgerag / @lesbiancolumbo / @frmulcahy / @nelson-riddle-me-this / @firewalkwithmedvd and anyone else who'd like to share their top watches of the year!

full list of films for the year is included below, favorites are bolded in red:

Farewell Amor (Ekwa Msangi, 2020)

Hell Camp: Teen Nightmare (Liza Williams, 2023)

Blacks Britannica (David Koff, 1978)

New Year, New You (Sophia Takal, 2023)

Family Band: The Cowsills Story (Louise Palanker and Bill Filipiak, 2011)

The Color Purple (Blitz Bazawule, 2023)

The Apology (Alison Star Locke, 2022)

Close (Lukas Dhont, 2022)

Unintended (Anja Murmann, 2018)

Other People’s Children (Liz Hinlein, 2015)

Omega Rising Women of Rastafari (D. Elmina Davis, 1988)

The Gypsy Moths (John Frankenheimer, 1969)

Be My Cat: A Film for Anne (Adrian Țofei, 2015)

Insomnia (Christopher Nolan, 2002)

Chowchilla (Paul Solet, 2023)

Intimate Relations (Philip Goodhew, 1996)

Monument (Jagoda Szelc, 2018)

After Sherman (Jon Sesrie Goff, 2022)

Remnants of the Watts Festival (Ulysses Jenkins, 1980)

Network (Sidney Lumet, 1976)

The Taking of Pelham One Two Three (Joseph Sargent, 1974)

Down Low (Rightor Doyle, 2023)

Our Father, the Devil (Ellie Foumbi, 2021)

The Zone of Interest (Jonathan Glazer, 2023)

Youngblood (Noel Nosseck, 1978)

Joy Division - Under Review (Christian Davies, 2006)

Being Frank: The Chris Sievey Story (Steve Sullivan, 2018)

Sun Ra: A Joyful Noise (Robert Mugge, 1980)

Fanny: The Right To Rock (Bobbi Jo Hart, 2021)

Depeche Mode: The Dark Progression (Alec Lindsell, 2009)

Kraftwerk And The Electronic Revolution (Thomas Arnold, 2008)

Blank City (Celine Danhier, 2010)

Oliver Sacks: His Own Life (Ric Burns, 2019)

Monster (Hirokazu Kore-eda, 2023)

Black Is Beltza (Fermín Muguruza, 2018)

Werewolf (Ashley McKenzie, 2016)

The Humans (Stephen Karam, 2021)

Relative (Tracey Arcabasso Smith, 2022)

The Believer (Henry Bean, 2001)

Lost Angel: The Genius of Judee Sill (Brian Lindstrom and Andy Brown, 2022) 

Animals (Collin Schiffli, 2014)

Scott Walker: 30 Century Man (Stephen Kijak, 2006)

Novitiate (Maggie Betts, 2017)

Hunger (Henning Carlsen, 1966)

Late Night With The Devil (Cameron Cairnes and Colin Cairnes, 2023)

The Stunt Man (Richard Rush, 1980)

New York Doll (Greg Whiteley, 2005)

The Iron Claw (Sean Durkin, 2023)

Your Fat Friend (Jeanie Finlay, 2023)

Scarred Justice: The Orangeburg Massacre 1968 (Bestor Cram and Judy Richardson, 2008)

Targets (Peter Bogdanovich, 1968)

Uptight (Jules Dassin, 1968)

Messiah of Evil (Gloria Katz and Willard Huyck, 1973)

Plastic Paradise (Brett O’Bourke, 2013)

You Hurt My Feelings (Nicole Holofcener, 2023)

Pretty Poison (Noel Black, 1968)

The Shout (Jerzy Skolimowski, 1978)

Shakedown (Leilah Weinraub, 2018)

Class of 1984 (Mark L. Lester, 1982)

Betty: They Say I’m Different (Philip Cox, 2017)

Beautiful Boy (Felix van Groeningen, 2018)

Anatomy of a Fall (Justine Triet, 2023)

Gimme Shelter (Albert Maysles, David Maysles, and Charlotte Zwerin, 1970)

The Beach Boys (Frank Marshall and Thom Zimny, 2024)

High and Low (Kevin Macdonald, 2023)

Brats (Andrew McCarthy, 2024)

I Saw The TV Glow (Jane Schoenbrun, 2023)

The Talented Mr. Ripley (Anthony Minghella, 1999)

Altered States (Ken Russell, 1980)

This Closeness (Kit Zauhar, 2023)

How To Have Sex (Molly Manning Walker, 2023)

American Commune (Rena Mundo Croshere and Nadine Mundo, 2013)

Look In Any Window (William Alland, 1961)

Private Property (Leslie Stevens, 1960)

We’re Still Here: Johnny Cash’s Bitter Tears Revisited (Antonino D’Ambrosio, 2015)

The Wobblies (Stewart Bird and Deborah Shaffer, 1979)

Last Summer Won’t Happen (Tom Hurwitz and Peter Gessner, 1968)

Goodbye Gemini (Alan Gibson, 1970)

Keyboard Fantasies: The Beverly Glenn-Copeland Story (Posy Dixon, 2019)

The Most Beautiful Boy in the World (Kristina Lindström and Kristian Petri, 2021)

The Passenger (Carter Smith, 2023)

The Boys Who Said No (Judith Ehrlich, 2020)

Synecdoche, New York (Charlie Kaufman, 2008)

Karen Carpenter: Starving for Perfection (Randy Martin, 2023)

...And Justice For All (Norm Jewison, 1978)

I Used To Be Funny (Ally Pankiw, 2023)

Badlands (Terrence Malick, 1973)

Straight On Till Morning (Peter Collinson, 1972)

The Same Difference: Gender Roles in the Black Lesbian Community (Nneka Onuorah, 2015)

Thanksgiving (Eli Roth, 2023)

Sorry/Not Sorry (Caroline Suh and Cara Mones, 2023)

Am I OK? (Tig Notaro and Stephanie Allynne, 2022)

Joan Baez: I Am a Noise (Maeve O’Boyle, Miri Navasky, and Karen O’Connor, 2023)

No Direction Home (Martin Scorsese, 2005)

Shutter Island (Martin Scorsese, 2010)

Water Lilies (Céline Sciamma, 2007)

The Strings (Ryan Glover, 2020)

The Crucible (Nicholas Hytner, 1996)

Woman of the Hour (Anna Kendrick, 2024)

The Platform (Galder Gaztelu-Urrutia, 2019)

Tabloid (Errol Mark Morris, 2010)

Will & Harper (Josh Greenbaum, 2024)

Miller’s Girl (Jade Halley Bartlett, 2024)

Give Me Pity! (Amanda Kramer, 2022)

Landlocked (Paul Owens, 2021)

Perfect Love (Catherine Breillat, 1996)

Not a Pretty Picture (Martha Coolidge, 1975)

Seeking Mavis Beacon (Jazmin Jones, 2024)

Renfield (Chris McKay, 2023)

Compulsion (Richard Fleischer, 1959)

An Angel At My Table (Jane Campion, 1990)

Longlegs (Oz Perkins, 2024)

Rare Beasts (Billie Piper, 2019)

Nightman (Mélanie Delloye-Betancourt, 2023)

The Changin’ Times of Ike White (Daniel Vernon, 2020)

The Substance (Coralie Fargeat, 2024)

The Year of the Cannibals (Liliana Cavani, 1970)

Fanatical: The Catfishing of Tegan and Sara (Erin Lee Carr, 2024)

The Loneliest Planet (Julia Loktev, 2011)

Marjoe (Howard Smith and Sarah Kernochan, 1972)

Witches (Elizabeth Sankey, 2024)

Angela (Rebecca Miller, 1995)

The Morning After (Richard T. Heffron, 1974)

Beach Rats (Eliza Hittman, 2017)

Last Summer (Catherine Breillat, 2023)

The Fits (Anna Rose Holmer, 2015)

Hold Your Breath (Karrie Crouse and Will Joines, 2024)

What Comes Around (Amy Redford, 2022)

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)

Priscilla (Sofia Coppola, 2023)

The Girls (Mai Zetterling, 1968)

Sweetie (Jane Campion, 1989)

Victim/Suspect (Nancy Schwartzman, 2023)

The African Desperate (Martine Syms, 2022)

Les Nôtres (Jeanne Leblanc, 2020)

A Sacrifice (Jordan Scott, 2024)

All the Beauty and the Bloodshed (Laura Poitras, 2022)

My Name is Not Ali (Viola Shafik, 2011)

Committed (Sheila McLaughlin and Lynne Tillman, 1984)

Chained (Jennifer Lynch, 2012)

The Hour of Liberation Has Arrived (Heiny Srour, 1974)

All Power To The People! (Lee Lew-Lee, 1997)

Night Moves (Kelly Reichardt, 2013)

Destroyer (Karyn Kusama, 2018)

Late Night (Nisha Ganatra, 2023)

The Year Between (Alex Heller, 2022)

Loved (Erin Dignam, 1997)

Girl In The Picture (Skye Borgman, 2022)

Microhabitat (Jeon Go-Woon, 2017)

Dear Ex (Mag Hsu and Chih-yen Hsu, 2018)

[remus-poopin]

What Neville Longbottom listens to in the greenhouse

All 60s psychedelic pop and early 70s Baroque pop!

Track list:

1. Leaves That Are Green - Simon & Garfunkel

2. Pink Lemonade - Peppermint Rainbow

3. Lonely Leaf - The Peanut Butter Conspiracy

4. The Rain The Park And Other Things - The Cowsills

5. Rainy Day Mushroom Pillow - Strawberry Alarm Clock

6. Little Dreams - The New Wave

7. Your Mother Should Know - The Beatles

8. Technicolor Dreams - The Alan Bown

9. Skip-A-Long Sam - The Sugar Shoppe

10. Sunshine Superman - Donovan

+more!

Other playlists:

Lily Evans, Bill Weasley, Nymphadora Tonks, James Potter, Ginny Weasley, Fred and George Weasley, Sirius Black, Ron Weasley, Hermione Granger, Luna Lovegood, Severus Snape

[radiomaxmusic]

Feature LP / Cowsills - Global (1998) / 4pm ET / 11-14-24

The Cowsills are an American singing group from Newport, Rhode Island, six siblings noted for performing professionally and singing harmonies at an early age, later with their mother. The band was formed in early 1965 by brothers Bill, Bob, and Barry Cowsill; their brother John joined shortly thereafter. Originally Bill and Bob played guitar and Barry played the drums. When John learned to play…

[vickiabelson]

Butch Patrick Live on Game Changers with Vicki Abelson

What a fun chat with Butch Patrick, aka Eddie Munster, who’s warm,  easy and so comfortable in his skin that it’s impossible to not feel like an old friend coming home. Butch makes everyone in his path feel seen, heard, and important. What a gift. 

We talked about current events… living in Arkansas, his Munster Mobiles, getting out and meeting his fans, his girlfriend, how they met, and how they keep it going. And we went back… how a 7 yr old got his start in film, had a career in TV, and at the age of 10, a starring role on one of the most iconic and endearing television shows of all time. Thank goodness Bill Mumy took a pass. There are no accidents. This was Butch’s path. 

We talked Fred Gwynne, Al Lewis, Yvonne De Carlo, The Cowsills, and The Monkees, and his amazing episode and time shooting with them at the height of all of their fame. 

There were crazy days and trouble. Pot, booze, and drugs, and then, 13 years ago, getting sober. Butch’s ease and commitment to his sobriety, and helping others. It’s a beautiful thing.  

The upside of the pandemic is that it led the way to interview celebrity gems who live far away. I hope one day to meet Butch in the reals and feel his great energy sans a screen between us, but I’m grateful as hell for these opportunities to spend time getting to know this once boy who gave this girl so much childhood joy, and as a man, moves through the world with so much kindness and grace.

Butch Patrick Live on Game Changers with Vicki Abelson

Wednesday, March 20, 5 PM PT, 8 PM ET 

Streamed Live on my Facebook

Replay here:

[onehandtypingb1]

MMMM: Summer!

Robin selected today’s theme, “songs about vacation – destination, activity, transportation, anything related to vacation.” Well, I came up with a dozen songs that more or less fit the bill. You’ll find the playlist here. The Cowsills, “Indian Lake” Freddy Cannon, “Palisades Park” Paul Revere & The Raiders, “Where The Action Is” Sly & The Family Stone, “Hot Fun In The Summertime” The…

[kaleidoscopr]

💌 & 🔊 for anhope.. ik shes not like canon or whatever but shes canon in my heart and thats what matters

Fluffy headcanon: Because of their sleep schedule being a little wonky, they like to go out to those 24/7 restaurants at night, and sometimes go with other people when she can't sleep. Sometimes she might bake in the middle of the night when sleeping isn't working, and after going to bed at 6am, there are cookies now. Also, they have some house plants, and talk to them sweetly or sing to them. Plants like when you talk to them. Also, she shares clothes with Ingsoc even though they're different sizes.

A song (more than one in this case, I think Anhope is neat) that reminds me of them: Sweater Weather by The Neighborhood, Mr Brightside by the Killers, and the day goes on by Bill Wurtz, Central Time by Vansire, Talk to Me by Cavetown, Float On by Modest Mouse, I Love the Flower Girl by the Cowsills, Would You Rather by Crusher, What the Hell by Avril Lavigne, Love Grows by Edison Lighthouse, Heaven Can Wait by Meatloaf, A Town With an Ocean View from Kiki's Delivery Service, Windy by The Association, Firecracker by CamiCat, Just Leave Everything to Me from Hello Dolly, It's Time by Imagine Dragons, Punx by Ivan Trevino, Record Player by Daisy the Great, that jazz arrangement of Bonetrousle by insaneintherainmusic, Nyan Cat, YMCA by Village People, Starlight by Muse, Pompeii by Bastille, frog song by Eva Sterett, That's My Jam by Owl City, Deck Park Tunnel by Josh Gottry, As Summer Was Just Beginning by Larry Dahen, Fireflies by Owl City, Sad Machine by Porter Robinson, My Way by Frank Sinatra, Sinners by Lauren Aquilina, Singin' In the Rain from Singin' In the Rain, Dream Sweet in Sea Major by ミラクルミュージカル , Wanderer's Lullaby by Adriana Figueroa, and I Dare You by the Regrettes

@lmaoidkwhatnametochoose Tagging you so you still get notified

[thefrogholler]

Musical Birthday Notes - January 9th

Musical Birthday Notes – January 9th

[freddyfreeman]

Bill Cowsill ❤ 🐺 ✨

[cowsillsflower]

[shadowland]

In Need of a Friend The Cowsills on A Family Thing (TV special, 1968)

[lonelyasawhisper]

Records

Creem, 1st March 1979

The Royal Screw, Part VII

QUEEN Jazz (Elektra)

by Mitch Cohen

For a few weeks in 1978, an FM radio station in New York City was trying, earnestly and imaginatively, to create rock ’n’ roll counter-programming. A ratings turnaround didn’t happen fast enough, so it changed its format to something called “the Rock Champions” (i.e., more AOR elitism). This was around the same time that every film clip of The Yankees on television was scored with “We Are The Champions,” and the movie FM attempted to pass off “We Will Rock You” as the “We Shall Overcome” of the rock revolution. I started to despise Queen; a two-sided platinum single of aristocratic, pompous, triumphof-the-will arrogance in 4/4 time (if marches are to resound over the .airwaves, better Ace Frehley’s “New York Groove” any day) summed up for me the worst in royalist rock, and I couldn’t remember more joyless, numbing, contemptuous music reaching a mass audience. Frankly, I was wary of the implications.

I needn’t have been. I still despise Queen, but their music is so absurdly dull on Jazz, so filled with dumb ideas and imitative posturing, that it’s impossible to feel threatened by a barely competent rock group singing “if you can’t beat ’em, join ’em” (real 70’s-think: can you imagine a Queen Army, a pack of mascara’d lounge lizards walking in lockstep?). “Fun It” is their disco number for Christ’s sake, and it still sounds like a funeral march, with lyrical babble about dynastic movements. And no lead singer who evokes Joel Grey’s slimy Cabaret smarminess and who writes “the first Moroccan rock ’n’ roll song” (it sounds more like his haftorah) can truly be scary, just genuinely awful.

Queen used to make enjoyably ludicrous records like “Liar” and “Bohemian Rhapsody,” and Roy Thomas Baker gave their music an entertaining art-rock veneer that he adapted so successfully for The Cars. But now, even their best jokes—“Let Me Entertain You”, a parody of their own worthlessness; “Dreamer’s Ball,” an extravagantly condescending jazz-blues—are pummeled by the approach to the material. All four of Queen’s writers seem to know what a song is (they’ve learned and stolen from the worst of The Beatles just as Cheap Trick have absorbed and adapted the best) and when to stop, qualities lacking in many of their progressive competitors, and stripped of their pretentious overlays, the tunes on Jazz turn out to be swipes from The Cowsills, “Holly Holy,” Magical Mystery Tour, Disraeli Gears, Mott The Who-ple. If only Queen could lock into the simplest formula without attaching dead weights, if Freddie Mercury weren’t such a screeching bore (even his cock-rock, like “Don’t Stop Me Now,” is flaccid), if their arrangements weren’t on the basic level of Mel Brooks’ “Prisoners Of Love,” then Jazz could be studied as a catalog of pop-rock sources.

Mercury, surprise of surprises, may have turned into the weakest link of the quartet (although the rhythm section does plunge to deeper depths, it does so less frequently); his compositions dominate side one and they are, without exception, earsores: “Mustapha” (the weirdest lead-off track in the history of rock albums?), “Let Me Entertain You” (a pure rocky horrorshow). Guitarist Brian May handles all the jazzing up around here, with his rollin’ and tumblin’ “Dead On Time” and “Dreamer’s Ball,” the only song that even approximates the LP’s title (if Queen pulled a Kiss and released four solo albums, May’d be the best bet (o be their Ace), but as he is also responsible for the sniggery “Fat Bottomed Girls,” it would be a misrepresentation to exempt him from blame.

Maybe Queen thinks all this is funny, that their undisguised condescension (“rock ’n’ roll just pays the bills”) and operatic mannerisms atop a beat more Rockette than rock is entertainment, but it’s not my idea of a good time. For me, their snappiest one-liner is on the inner sleeve: “Written, arranged and performed exclusively by Queen.” As if anyone else would want to.step forward and take credit.

Bonus:

Mail

Creem, 1st May 1979

FAT-MOUTHED BOYS This letter is dedicated to some guy who calls himself Mitch Cohen,' they sapling who dares take credit for the review of the LP Jazz by Queen. (CREEM, March 1979)

The review he presented to us CREEM readers finally solved the mystifying question that has been baffling us since the beginning of time. The question being: Does listening to hours of shit (some assholes prefer to refer to it as "music") performed by such tirds (Or "musicians" as those same ball heads call them) as the Rolling Stones, Led Zeppelin, Kiss, Dead Ted Nugent, and other similar assorted nymphos deteriorate the brains and eardrums of rock critics? For those of you who are suffering from the listed ailments (Or worse. You could be trapped in a closet with a hi-fi crooning Black Sabbath shit), the answer is Y-E-S. That spells yeah.

One of the few remaining remedies for those conditjons is Q U-E-E-N. That spells excellency.

Disco is dying.

Punk is putrid.

But QUEEN is KING.

Fun it.

All Hail Their Majesties,

Fresca A. Randazzo Dover, NH

(And this month's winner in the Critic Hatred Sweepstakes is Mitch Cohen! Previous record holder Billy Altman distinguished himself with the hate mail received after his Who Are You review. Queen fans: we wanted to run some representative of your many amusing letters, and this is it; unfortunately the rest concentrate on what you see as Mr. Cohen's sexual and medical problems, and are hopelessly rank with spittle, with nary a defense of their music. Instructive, no?—Ed.)

THAT'S NOT A BANANA... Hey! RE: Your review-putdowns of Queen's latest, Jazz in your March issue:!!!!!!!!!!!!!!!!!!! YOU'RE SO DAMN RIGHT!!!!!!!!!!!!!

You told 'em!!!!!

Baby Face Toronto, Ontario

P.S. And that's not an opinion. That's a FACT!

Retrieved from The Creem Archive