#nighthawks 1978

[celluloidrainbow]

NIGHTHAWKS (1978) dir. Ron Peck Jim, a London teacher by day, spends his evenings cruising bars and discos meeting men from different backgrounds and places, constantly on the lookout for any kind of connection. He tries to keep his personal life separate from his professional one, compartmentalizing his 'Gay encounters' and his 'friendships with school colleagues' in different boxes, but this status quo can't remain forever. (link in title)

[monkeyspanker69]

[pierppasolini]

Nighthawks (1978) // dir. Ron Peck

[actorsinunderwear]

Ken Robertson in Nighthawks (1978)

[lazzarella]

“The film only shows one part of the gay scene . . . it does not cover everything as many people wish it did. But such a hope or expectation is only a reflection of the dire situation in which there are so few films with or about gay characters. Almost any film starts off with the burden of trying to redress an imbalance, to make homosexuality visible in the cinema. We need hundreds of gay films, not half a dozen.”

- Ron Peck, director of Nighthawks 1978, quoted in The Celluloid Closet revised edition by Vito Russo

[cosmicanger]

Nighthawks (1978)

dir. Ron Peck

[marvelousmrm]

Doctor Strange #29 (Stern/Sutton, Apr 1978). Nighthawk recruits Strange to investigate a murder. Perhaps the Daredevil foe Death-Stalker is more mystical than we’d assumed!

[betogun]

“We all are innocent while we sleep” - Fotograma de “Nighthawks” (1978) de Ron Peck.

[mogwai-movie-house]

The Best of Tom Waits

Every album, ranked and rated high-to-low:

Swordfishtrombones (1983) ★★★★★★★★★★

Rain Dogs (1985) ★★★★★★★★★½

Closing Time (1973) ★★★★★★★★★☆

Frank's Wild Years (1987) ★★★★★★★★½☆

Bone Machine (1992) ★★★★★★★★☆☆

Real Gone (2004) ★★★★★★★★☆☆

Heartattack and Vine (1980) ★★★★★★★★☆☆

Mule Variations (1999) ★★★★★★★½☆☆

Small Change (1976) ★★★★★★★½☆☆

Blood Money (2002) ★★★★★★★½☆☆

Nighthawks at the Diner (1975) ★★★★★★★½☆☆

Blue Valentine (1978) ★★★★★★★½☆☆

Orphans (2006) ★★★★★★★½☆☆

Alice (2002) ★★★★★★★½☆☆

Bad As Me (2011) ★★★★★★★☆☆☆

The Black Rider (1993) ★★★★★★★☆☆☆

Foreign Affairs (1977) ★★★★★★★☆☆☆

The Heart of Saturday Night (1974) ★★★★★★½☆☆☆

Night On Earth (1992) ★★★★★★☆☆☆☆

One From The Heart (1982) ★★★★★☆☆☆☆☆

[garethllane]

FILM LOG || March 2024

★★★★★ - Blonde Ambition, Lem Amero and John Amero (1981) ★★★★☆ - Salo, or the 120 Days of Sodom, Pier Paolo Pasolini (1975) ★★★★☆ - Theorem, Pier Paolo Pasolini (1968) ★★★★☆ - Wild at Heart, David Lynch (1990) ★★★★☆ - Chatterbox!, Tom DeSimone (1977) ★★★★☆ - Barbara Broadcast, Radley Metzger (1977) ★★★★☆ - Peeping Tom, Michael Powell (1960) ★★★★☆ - Streets of Fire, Walter Hill (1984) ★★★★☆ - Women in New York, Rainer Werner Fassbinder (1977) ★★★★☆ - Shock Corridor, Samuel Fueller (1963) ★★★★☆ - Pumping Iron, George Butler and Robert Fiore (1977) ★★★★☆ - Rapture, Ivan Zulueta (1979) ★★★★☆ - Superstar: Karen Carpenter Story, Todd Haynes (1987) ★★★★☆ - Pumping Iron II: The Women, George Butler (1985) ★★★☆☆ - Muscle, Hisayasu Sato (1989) ★★★☆☆ - The Death of Maria Malibran, Werner Schroeter (1972) ★★★☆☆ - Reform School Girls, Tom DeSimone (1986) ★★★☆☆ - Hell Night, Tom DeSimone (1981) ★★★☆☆ - Angel III: The Final Chapter, Tom DeSimone (1988) ★★★☆☆ - Mary Jane's Not a Virgin Anymore, Sarah Jacobson (1996) ★★★☆☆ - Gentlemen Prefer Blondes, Howard Hawks (1953) ★★★☆☆ - Death on the Beach, Enrique Gomez Vadillo (1991) ★★★☆☆ - Erotikus, Tom DeSimone (1973) ★★★☆☆ - I'm Going to Get You Elliot Boy, Ed Forsyth (1971) ★★★☆☆ - Mondo Trasho, John Waters (1969) ★★★☆☆ - Nighthawks, Ron Peck (1978) ★★★☆☆ - Bloody Muscle Body Builder, Shinichi Fukazawa (1995) ★★★☆☆ - Fortune and Men's Eyes, Harvey Hart (1971) ★★★☆☆ - She Devils on Wheels, Hershell Gordon Lewis (1968) ★★☆☆☆ - Jail Bait, Ed Wood (1954) ★★☆☆☆ - Athena, Richard Thorpe (1954) ★★☆☆☆ - Flaming Creatures, Jack Smith (1963) ★★☆☆☆ - The Hunger, Tony Scott (1983) ★★☆☆☆ - Jesus Christ Superstar, Norman Jewison (1973) ★★☆☆☆ - Beefcake, Thom Fitzgerald (1998) ★★☆☆☆ - Partners, James Burrows (1982)

Shorts:

★★★★☆ - La Ricotta, Pier Paolo Passolini (1963) ★★★★☆ - I Was a Teenage Serial Killer, Sarah Jacobson (1993) ★★★☆☆ - Le Plus Del Homme Du Monde, Jean Mineur (1948) ★★★☆☆ - Sins of the Fleshapoids, Mike Kuchar (1965) ★★☆☆☆ - Ed Fury on the Beach, Bob Mizer (1960)

[queerstuffonscreen]

Nighthawks (1978)

108 min.

Country: UK

Genre: Drama, History

Language: English

A gay teacher is forced to hide his sexuality by day while living his secret life by night, in Great Britain in the 1970s, not mixing his professional and private life, until the day comes when his students and his headmaster find out.

Watch on Tubi or Kanopy

[sheetmusiclibrarypdf]

Happy birthday, Tom Waits (born in December 1949)

Happy birthday, Tom Waits (born in December 1949)Best Sheet Music download from our Library.Please, subscribe to our Library.Tom Waits' DiscographyFilmography (on Wikipedia)Tom Waits - "This One's From The Heart"Browse in the Library:

Happy birthday, Tom Waits (born in December 1949)

Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on society's underworld and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. As per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.” Tom Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola's One from the Heart (1982) and made cameos in several subsequent Coppola films.

In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch's Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the "cowboy opera" The Black Rider (1990), the songs for which were released on the album The Black Rider. Waits and Wilson collaborated again on Alice (2002) and Woyzeck (2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Album and Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).

Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart and the Eagles and he has written songs for Johnny Cash and Norah Jones, among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said: "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling… I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits mused, "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!" Musical style Per Bowman, Tom Waits: has never been of his time, ahead of his time, or, for that matter, locked into any particular time. An outsider artist before the term was in common use, Waits has been enamored, at various points in his career, with the cool of 1940s and 1950s jazz; the 1950s and 1960s word-jazz and poetry of such Beat and Beat-influenced writers as Jack Kerouac, Lord Buckley, and Charles Bukowski; the primal rock & roll crunch of the Rolling Stones; the German cabaret stylings of Kurt Weill; the postwar, alternate world of invented instruments and rugged individualism of avant-garde composer Harry Partch; the proto-metal blues of 1950s and 1960s Howlin' Wolf and their extension into the world of Captain Beefheart's late-1960s avant-rock; the archaic formalism of 19th-century parlor ballads; Dylan's early- and mid-sixties transformation of the possibilities of language in the worlds of both folk and rock; the elegance of pre-war Irving Berlin, Cole Porter, and Hoagy Carmichael; the sophistication of postwar Frank Sinatra; and, more recently, the bone-crushing grooves of 1980s and 1990s funk and hip-hop. Indeed, the art of Tom Waits has altogether transcended time and, to some degree, place. Asked about the distinction between words and music, he says: "I'm still a word guy. I'm drawn to people who use a certain vernacular and communicate with words. Words are music, really. I mean, people ask me, 'Do you write music or do you write words?' But you don't really, it's all one thing at its best." His work was influenced by his voracious reading and by conversations that he overheard in diners. In addition to Kerouac and Bukowski, literary influences include Nelson Algren, John Rechy and Hubert Selby Jr. Bowman notes the influence of crime writers like Dashiell Hammett and John D. Macdonald. Tom Waits says that "for a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter." Musical influences include Randy Newman and Dr. John. He has praised Merle Haggard: "Want to learn how to write songs? Listen to Merle Haggard." He is an opera lover, and recalls hearing Puccini's "Nessun dorma" "in the kitchen at Coppola's with Raul Julia one night, and it changed my life, that particular Aria… It was like giving a cigar to a five-year old." A jazz influence is Thelonious Monk: "He almost sounded like a kid taking piano lessons. I could relate to that when I first started playing the piano, because he was decomposing the music while he was playing it." Regarding his eclectic influences, he says: "I draw from all kinds of sources and I listen to a lot of things … I would recommend that when you are starting out that you stay with your own stuff and find out who you are. And stay with you mining your own unique qualities rather than trying to sound like somebody else. I mean you do start out like somebody else, and slowly you become yourself, so it's kinda like life, you know?" Waits described his voice as being "the sand in the sandwich." By 1982, Waits's musical style shifted; Hoskyns noted that this new style "was fashioned out of diverse and disparate ingredients." This new style was influenced by Beefheart and Partch. Noting that he had a "gravelly timbre", Humphries characterized Waits's voice as one that "sounds like it was hauled through Hades in a dredger." His voice was described by critic Daniel Durchholz as sounding as though "it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car." Rolling Stone also noted his "rusted plow-blade voice." One of Waits's own favorite descriptions of his vocal style was "Louis Armstrong and Ethel Merman meeting in Hell." Humphries cited him, alongside Newman, Kris Kristofferson and John Prine, as a number of U.S. singers who followed Dylan in breaking away from conventional styles of popular music and singing with their "distinctive" voices. Tom Waits can sing in falsetto, as heard on "Shore Leave", "Temptation" and "All Stripped Down". Waits said he couldn't sing in falsetto until after he quit smoking, adding "Nobody does it like Mick Jagger; nobody does it like Prince." He is known for his eclectic use of instruments, some of his own devising. On Swordfishtrombones, his orchestration included talking drums, bagpipes, banjo, bass marimba and glass harmonica; on Rain Dogs, accordion and harmonium; on Franks Wild Years, glockenspiel, Mellotron, Farfisa and Optigan; on Bone Machine and Mule Variations, the Chamberlin; on The Black Rider, the singing saw; on Alice, the Stroh violin; on Blood Money, a 57-whistle pneumatic calliope and an Indonesian seedpod. He explains "I use things we hear around us all the time, built and found instruments. Things that aren't normally considered instruments: dragging a chair across the floor or hitting the side of a locker real hard with a two-by-four, a freedom bell, a brake drum with a major imperfection, a police bullhorn. It's more interesting. I don't like straight lines. The problem is that most instruments are square and music is always round." As he later put it, "A lot of things are instruments and they don't even know it." Tom Waits' Discography Closing Time (1973) The Heart of Saturday Night (1974) Nighthawks at the Diner (1975) Small Change (1976) Foreign Affairs (1977) Blue Valentine (1978) Heartattack and Vine (1980) Swordfishtrombones (1983) Rain Dogs (1985) Franks Wild Years (1987) Bone Machine (1992) The Black Rider (1993) Mule Variations (1999) Alice (2002) Blood Money (2002) Real Gone (2004) Bad as Me (2011) Filmography (on Wikipedia)

Tom Waits - "This One's From The Heart"

https://www.youtube.com/watch?v=P40vLY45nQQ "This One's From The Heart" by Tom Waits from the 'One From The Heart' soundtrack Read the full article

[pierppasolini]

Nighthawks (1978) // dir. Ron Peck

[actorsinunderwear]

Ken Robertson in Nighthawks (1978)

[lastchancevillagegreen]

Now Playing! Sunday, 26 March 2023:

Blue Valentine Tom Waits (Asylum) (released in 1978)

I first bumped into Tom Waits’ music in Carbondale listening to WIDB, the college radio station.  It would have been one of two songs I first heard: Better Off Without A Wife (from his live 1975 album Nighthawks At The Diner) or Romeo Is Bleeding from this album.  Ultimately it doesn’t matter which I heard first, both made a huge impression on me.  I had never heard anyone like this in my lifetime.  Someone singing about not wanting a wife (even if ironically, it felt subversive) and someone who sounded like this?  I bought both albums in 1978 and as often felt the case, most of my roommates made immense fun of me: ‘the man cannot sing!’  My take was always, are you kidding me?  Listen to those lyrics and listen to the emotion in that voice and music!  That my friends, is some serious singing.  Yes, albeit an unconventional voice perhaps, but certainly an emotional voice like I had never heard.  And for goodness sakes, the subject matter Waits was singing about.  It all impacted me and made me think differently about what music and singing really was.  College gave me musical insight I had not had before.  Sure, I was a dork who refused myself admission into the Ramones work and I bought London Town when I should have been buying Road To Ruin.  All these years later I no longer own the former, but I do own the latter.  We can’t be everything all at once.

I was astonished to discover he was on Asylum as I was a fan of the label.  It wasn’t until I realized that he was a California boy and not a New York boy that it made sense.  Essentially a singer/songwriter he just didn’t fit in the mold of that moniker. Waits was always so much more in my mind. 

I remember the very first time I put this album on and heard Waits’ version of Somewhere, the Leonard Bernstein/ Stephen Sondheim song which comes from West Side Story.  When my gay roommate heard that emanating from my room, he barged in and demanded to know who that was.  He thought Waits’ version was the most spectacular thing he had ever heard.  He got Waits and understood there is power in visceral emotion which impacts lyrical content in ways not even the most beautiful voice can deliver.  I was always a sucker for his ballads like Kentucky Avenue.  It was then I realized that Waits spoke heavily to the melancholia I’ve always felt deep inside myself.  There is something agonizingly beautiful about pain and sorrow and his work speaks to that in a manner unlike most artists are able to do.

I caught Waits’ live at Shryock Auditorium in Carbondale in 1979 and it was mesmerizing.  I’d never seen someone who had an actual set onstage as if there would be some kind of a reading.  It looked like a park with a park bench, a wire trash can, a tree, grass...Waits of course was not just musically performing, he was giving an acting performance as a drunken man muttering to himself about a litany of why life bothered him.  When Waits later became a fine character actor, I was not at all surprised.  It was just Waits and his piano and the park bench.  The audience would roar with laughter or they would be hushed as he whispered out his vocals, crushing us with emotions.  It was the most memorable show I saw during college. 

After college I lost sight of Waits’ work operating on a hit and miss approach to his albums.  Heartattack and Vine, Franks Wild Years, Bone Machine I bought and then I vanished for supporting his work.  The double release of Blood Money and Alice brought me back to his music and I proceeded filling in all the gaps in my collection of his work and then bought everything as it came out from that point.  Heaven knows I don’t play him enough, when you have as much music as I do, some artists suffer.  But here he is on my turntable now and the memories come flooding back from when I first discovered this fine work.  It means the same thing to me now as it did all those years ago. 

[filmap]

Nighthawks Ron Peck. 1978

Buildings Ledbury Estate, Ledbury St, London SE15 1BA, UK See in map

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