#tony gayton

[bestfrozentreats2]

RIP Dexter Romweber.

He was the real deal...

“TWO-HEADED COW”

A documentary about Flat Duo Jets frontman Dexter Romweber. Directed by Tony Gayton and edited (and partially shot) by Charles Wing.

[vintagewarhol]

[starbiopic]

Liam Neeson’s ‘Absolution’: A Crime Thriller About Redemption With Familiar Themes

Liam Neeson’s latest movie Absolution dives into the life of an aging Boston gangster trying to make peace with his past while confronting personal demons. Directed by Hans Petter Moland and written by Tony Gayton, the film combines elements of crime, family struggles, and redemption, though it treads familiar territory for the actor. Known for his commanding presence, Neeson attempts to add…

[genevieveetguy]

- Man cannot live freely without embracing suicide and crime. - A pact made with relentless fire that says, while some live, others must die.

Murder by Numbers, Barbet Schroeder (2002)

[adamwatchesmovies]

Murder by Numbers (2002)

As you get further into Murder by Numbers and its concept of “the perfect crime”, you'll be captivated. There are enough twists and turns to keep you guessing throughout. While it might not be groundbreaking and the ending is somewhat of a letdown, it’s an enjoyable thriller/mystery.

High school students, Richard (Ryan Gosling) and Justin (Michael Pitt) are determined to commit murder and get away with it. They do their research ahead of time, set up fake clues for the police to discover, and frame a perfect suspect. Despite this, Police Detective Cassie Mayweather (Sandra Bullock) immediately suspects them. Although the evidence points elsewhere, there’s something about the crime that doesn’t make any sense to her.

We’ve all played this scenario in our minds. Admit it. You’re watching a crime scene investigation show and you see where those who got caught made mistakes. That’s what these teens are doing. You don’t want them to get away with it, obviously. Thinking about committing the perfect crime is one thing. Going through with it is another. You wonder if they might just manage to slip through Mayweather's fingers. When the movie focuses on her figuring things out, that’s the good stuff.

I also have to credit the film's characters. Richard and Justin are actually believable as intelligent, but deranged teenagers. They’re doing this murder thing more out of boredom and depression than anything else. School and homework is too easy for them and they’re frustrated with their lives. They want to do something, anything that will have some impact on the world because they’ve read a few too many nihilistic philosophical books and, like all teenagers, assume the world revolves around them. The film also remembers to make them into teenagers; insecure about who they are, concerned about what girls and their peers think of them despite what they may say. Also enjoyable is Sandra Bullock, playing way against type. She's got a lot of personality but is deeply flawed and beneath the surface, she's been badly hurt.

The problem is the crime itself. It’s way sloppy. They’ve made some dumb mistakes, far too many for them NOT to get caught. If it had been one tiny screw up, maybe two, it'd be in that sweet middle to give you some uncertainty. As is, the police are playing catch up with the audience for far too long.

There are other instances where the wrong numbers have been placed in the equation. The first is a subplot with Detective Mayweather where we learn of her past, and why a particular parole hearing puts such a strain on her. It ends up tying indirectly to the crime committed by Richard and Justin and frankly, it’s lame. It’s a huge cliché that belongs in another movie. You can see where it’s going right away, features some bad acting and drags Murder by Numbers down. The second problem is related to this backstory. Several times, for no real reason, the teens suddenly change temperament in order to push Mayweather and the audience’s buttons. The most egregious example is a scene where Mayweather is observing Richard from her distance when he spots her. What follows is an intimidation (despite being a grown woman and a seasoned police officer she becomes frightened) and an attempt at seduction, which, combined with, some comments, makes the detective break down in tears. What?

Then we get to the picture's conclusion, which is awful. It’s yet another situation where a police officer should know better but walks into a building without any backup, just begging to be killed. It’s not enough for this tension about murderers possibly getting away with a horrific crime to finally be released; we need an action scene! It belongs somewhere else entirely and brings the movie down a notch by itself.

Murder By Numbers had promise, but the story isn't smart or well written enough. This story needed one or two more passes to buff out the dents, smarten up the story and needed a whole new ending. As is, this is not a terrible film. It’s actually got a long going for it, but the flaws cannot be ignored. It evens out to an average detective thriller. The kind of movie you can enjoy if you catch on TV or rented for a couple of bucks. You can do worse, but also a lot better than Murder by Numbers. (On DVD, July 14, 2014)

[bluesman56]

2022 09 20 141614 Pargate Gayton Walk by Tony

[dippedanddripped]

Stüssy’s official launch date is anything but concrete. Don Letts, the musician, filmmaker and OG-affiliate of the brand says it all started in 1984, but Shawn Stüssy first remembers scratching his infamous punky scrawl in 1979. Without an official logo, per se, Shawn was making surfboards and branding them with a signature scribble -- a practice that, though he was unaware at the time, teemed with potential. He later applied it to T-shirts, earned cult acclaim, and a few years down the line, what is arguably the original streetwear brand was in business.

Underground culture was inherent to Shawn’s work, as was a William Burroughs-esque aptitude for combining scenes, ideas and tastes in simple, effortless clothing. Hip-hop, reggae, graffiti, surfing, skating, punk: a span of influences and urban cultures were brought together to create graphic-heavy garb, at a time when these influences weren’t as widely catered to. Before Stüssy, the youth were reinterpreting, borrowing and cutting garments up -- or, in the case of those seeking out higher-brow attire, stealing Ralph Lauren Polo. Stüssy filled a void; his work reflected what people wanted to buy.

Shawn’s ideas developed organically, spurred on by the ever-expanding network of individuals he came across. “He just kept on meeting like-minded people that were interested in similar things,” Stüssy’s former creative director Paul Mittleman says. “It just kept on going.” The International Stüssy Tribe, a club founded by Shawn, was the beating heart of the brand. One of the original members, Alex Turnbull AKA Alex Baby, remembers the first time he and Shawn met. Originally from London, then a hip-hop DJ in New York, Alex was hanging out with Jules Gayton, a DJ and part-time assistant to Jean-Michel Basquiat. They were routinely flying between London and New York, shuttling rare record collections across the pond. On one visit, Paul invited them over to the Stüssy warehouse. “It was basically a couple of rails of clothes in a space for something else, and Paul was just sitting there,” says Alex. “I remember leaving with a T-shirt and a pair of the beach pants, and they were just mind-blowing.” Never before had he seen such hip-hop amenable clothing. Not long after, Shawn would make a visit to London, attend a nightclub Alex was playing, and initiate six or so members with the now-infamous tribe jackets, complete with logos, names on the front, and ‘Staff’ stitched on them. Not your average hiring process.

With time, the tribe grew. In London, there was hairdresser James Lebon, Gimme 5 founder Michael Kopelman, streetwear scenius Barnzley Armitage, The Clash’s Mick Jones, Big Audio Dynamite’s Don Letts, and jungle pioneer Goldie. In New York, skater Jeremy Henderson, hip-hop A&R rep Dante Ross. In LA, thrasher Tony Converse. Not to forget streetwear kingpin Hiroshi Fujiwara in Tokyo. It was a network of taste-makers, skate rats and musical vanguards, spread across what Alex considers the world’s most culturally adept cities. “With the exception of Kingston, Jamaica, of course,” he’s quick to note. Through his tribe, Shawn had innocently stumbled upon and mastered a communication method that a good proportion of brands are still eager to decode today. “Shawn even pre-empted the whole 'viral’ thing, foregoing big budget advertising and trusting in the organic process of word of mouth,” Don Letts remarks.

Profiling the brand in the 90s, BBC 4’s The Look interviewed Shawn, as well as some of his associates in an effort to unpick the fashion phenomenon. Shawn’s modest attempt to explain his craft was “pants and shirts… and jackets and hats.” But behind the brevity of his response lay a firm confidence; after all, his formula of quality over quantity had garnered enough interest to warrant a BBC feature. “A lot of people collect them -- like these, there’s ten of them, and some people buy every single colour”, explains then-Stüssy’s store manager James Jebbia, pointing out the ‘S’ logo baseball caps. As you’ll likely know, he would later go on to found Supreme, streetwear’s eminent household name. And just as Stüssy had done before, sampling, ripping and re-appropriating became key components of the Supreme creative vocabulary. The former’s infamous interlocking Ss, a humorous ape of Chanel, would foreshadow the latter’s cease-and-desist Louis Vuitton rip skate decks. Looking back, it was oddly prescient, given that both would work with top-tier conglomerate fashion houses years down the line.

Paul draws a parallel between Shawn’s work and 80s postmodern art: just as Jeff Koons placed submerged basketballs in the gallery space, Shawn placed lyrics from American hip-hop duo EPMD on clothing. ‘I get goosebumps when the bass line thumps’, reads a now-coveted T-shirt. In introducing aesthetics and cultures deemed low-brow into public consciousness, Shawn’s graphic style also shared much with graffiti writing, which, as Alex is keen to note, was still considered mere vandalism at the time: “You were still a criminal, it wasn’t accepted as art,” he says. Regardless of public opinion, that confluence of cultures it implied made it widely wearable, as Dante Ross echoes: “We could wear it to a thugged-out party, to a trendy event or to go skate in, all depending on how we wore it.”

At a time when streetwear is unarguably ubiquitous, it’s easy to forget that streetwear was counterculture. “Without Shawn, there would be no streetwear”, says Ross Wilson, an acclaimed streetwear collector who sold a 1,000+ piece Supreme archive in 2018. “Shawn Stüssy is the reason I became immersed in this culture in the first place.” And it doesn’t seem like Stüssy’s contemporary relevance is in decline -- if anything, the opposite is true. ALYX creative director Matthew Williams grew up a Stüssy fan, citing it as “the first fashion brand outside of huge sportswear brands that I became aware of." He now regularly collaborates with Kim Jones at Dior, and his work featured alongside Shawn’s graphics in the house’s Pre-Fall 20 menswear collection. And then there’s Kim himself, who grew up working at Gimme 5, one of Stüssy’s first UK distributors. “He’s part of the community; he’s not just an observer,” Paul says.

While today the internet has allowed everyone, wherever they’re from, the opportunity to engage with street culture, things were trickier in the 80s. But despite the developments since, Stüssy has far from lost its lustre. If anything, the past decade has reiterated Stüssy’s position as a subcultural fixture. Whether throwing parties with Boiler Room or spotlighting Kiko Kostadinov, Stüssy has been – and still is – a driving force in contemporary culture and fashion. Nonetheless, its core values remain: quality clothing, radical graphics, and international community dedicated to representing the brand. As the network has expanded, it’s only grown stronger. The launch of Stüssy’s London Chapter store was a case in point: a BBQ attended by old disciples and a fresh batch of new ones. One of the newcomers to the brand, Jordan Vickors, is grateful for its illustrious history. “It’s been my home since the second I joined; everything Shawn, Alex, Goldie, Paul have built over the years has provided me with a hub of creativity and energy. I can’t thank them enough.” Indeed, as a print on a particularly iconic Stüssy T-shirt, referencing Bob Marley’s “No Woman, No Cry”, reads: ‘In this great future, you can’t forget your past.’

[lexilhoward]

                                             ‘ The world don't care about our plans. ‘

Hell on Wheels (2011 - 2016) created by Joe & Tony Gayton

[musiconanironingboard]

19 March 2022: Themes from Venus, Love Tractor. (2022 DB Recs/Propeller Sound Recordings reissue of 1988 DB Recs release)

Love Tractor was an ’80s band from Athens, Georgia, who entered my consciousness via the cutout bin at Camelot Records all those years ago when I bought their third album, 1986′s This Ain’t No Outerspace Ship, solely because it was cheap and looked “weird” (i.e. alternative or off the beaten path). I liked the album well enough at the time, but I never tracked down any additional Love Tractor albums. I knew they were also on the soundtrack to Tony Gayton’s 1987 film Athens, GA—Inside/Out, an album my brother owned and that I tracked down a few short years later in my college town, but that album didn’t make a lot of inroads on my stereo and Love Tractor was not the kind of band that got a lot of press, at least not in anything I was reading in Illinois. This Ain’t No Outerspace Ship magically survived numerous purges I made to my record collection, but I’ve not played it since 2002, and even then it was just to play it a single time (yes, I keep track of these things). (Update: pulling out my copy, I have begun to think I did purge the album somewhere along the line, only to rebuy it: my copy has no cutout mark and does not include the custom inner sleeve that I know my original Camelot copy had. Ugh! By god, I will rebuy it yet again to get that sleeve back. I’m guessing that 2002 spin I gave the album was after rebuying it. That was the first time I’d played it since I started keeping track of my listening in 1993.)

When the band announced a personally curated reissue program of their first four albums, I knew I would buy them. Revisiting sounds from the golden age of college rock is an endlessly fun pursuit, and I’m also a sucker for nice reissue campaigns. Having broken up in 1988, the group resurfaced in 2001 for four more albums, but I didn’t plan to worry about those latter-day things; I wanted the “true” Love Tractor catalog.

Right out of the gate, this reissue program was confounding to me. Before any of the albums came out, a Love Tractor 7″ single was released on Record Store Day 2020; the artwork and title were confounding, with half of the credits being in Chinese characters and the two-track single having its own title that didn’t refer to either of the songs: 1880 to 1920 + 100. Huh? I presumed this was new music from Love Tractor and that they were entering a third phase of recording while simultaneously reissuing their first phase. I never played the single, and it’s in storage or I’d show a copy here. I really should stop buying 45s; I have a dozen boxes of them and I never play them. There was a time when I had a nice 45 display table that my father made, but I had to ship that off to my brother’s house to make more room for LPs, which I do play.

When the band’s eponymous debut was finally reissued—by the microscopic Athens label Happy Happy Birthday to Me—I bought it and it was still confounding to me while I held the CD in my hands. Granted, I had never owned this album, so I had no familiarity, but my girlfriend did own an original copy and I was able to sit and do a comparison. While it’s not explained anywhere on the reissue of 1982′s Love Tractor, it’s simply the original album plus three bonus tracks, and those bonus tracks are simply the three tunes on that RSD 7″ called 1880 to 1920 + 100. I suppose that 7″ got cranked out to appease the people who bought the vinyl edition of the album reissue, which did not include the bonus tracks.

Or so I thought it was simply the album plus bonus tracks. The reissue is actually a remixed version of the original album. The credits, however, indicate four more musicians than are shown in the credits of the original version, leading me to wonder, is this not just a remix, but a remix with some new parts dubbed in? One of the four musicians shown in the reissue’s credits is Bill Berry of R.E.M. on percussion. I know that Berry had played with Love Tractor at times in the past, and he is credited as one of the producers of this remix. Was Berry on the original album and couldn’t be credited because of his contract with IRS Records? Or had he added some parts to this new version? None of this is explained anywhere. I know Berry is still on the scene with Love Tractor, because he’s present in plenty of the photos the band posts on Facebook. There are numerous gushing essays in the liner notes—from Kate Pierson of The B-52′s, rock writer Anthony DeCurtis, and R.E.M.’s Mike Mills—but I see no details about exactly how this album was retooled from its original form. 

What is obvious to the naked eye, though, is the album’s original artwork has been changed. The reissue’s art is based on the original’s, at least. I’ve read numerous articles about Love Tractor’s 2020s activity that emphasize the group contains more than one graphic designer. It was explained in one of these articles that their original vision for the cover was not technologically possible in 1982, at least not with the tools they had at their disposal. The reissue realizes their original idea. It was never a very compelling cover to begin with. Maybe they were able to capture an effect on this reissue they had chased fruitlessly in the past, but it’s still not a very compelling cover, and the way it is printed makes it look garish and cheaply done. Here is a bad photo of the original cover (courtesy of my girlfriend’s copy) and the reissue CD on top of it. There are a lot of reflections, but this gives you a general idea. (Those diagonal streaks of light  on the CD are reflections of a shelf of my albums.) Aside from some geometric design changes, the colors went from maroon and gold to bright red and blue. 

A year or so went by, and the second album in the Love Tractor reissue campaign was announced. This time the band skipped ahead to their fourth album, 1988′s Themes from Venus. I never read anything about why they skipped ahead three albums. There have been other reissue campaigns in the past that trickled catalogs out in non-chronological order: Elvis Costello’s Rykodisc campaign in the mid-to-late ‘90s, for instance, found his records issued in themed batches of three, and the company was clear about their intentions. Then you have things like Omnivore Recordings deciding with their Game Theory reissue to suddenly go out of order mid-program because, apparently, they didn’t think doing it in order would garner them more sales, though they cloaked it by claiming it would encourage more new listeners to learn about the band. Because Love Tractor themselves are helming their reissue campaign, I can’t claim the sequential change-up is for a cynical reason, but it still seems strange and questionable. Maybe I missed a post about why they’re doing it this way—the band is prodigiously active on Facebook—but I’d rather the four albums come out in order. I would have explained all of this if I’d done a post on this page about the actual Love Tractor reissue, but I bought that when I was on hiatus here and it got skipped. Let me get back to the intended theme of this particular post.

The reissue of Themes from Venus was originally announced for late 2021, and Happy Happy Birthday to Me Records (boy, what a label name) had CDs and LPs up for pre-order, as well as half a dozen bundles including shirts, etc., just as they had done for the first Love Tractor reissue. I’d ordered the first album from HHBTM, but I never quite felt like ponying up for a pre-order of Themes from Venus. I wanted it, but I also knew that I’d probably be able to buy it elsewhere here in Chicago, and I decided I’d just wait for that. When the release date came, however, I noticed it wasn’t available anywhere. I even checked Amazon, and they showed the new reissue as unavailable with no indication that it would ever come back. I went to HHBTM’s site and all evidence of Love Tractor had been completely scrubbed away! Not only could you no longer buy Themes from Venus; the reissue of Love Tractor was also gone and it was as if the band had never been a part of HHBTM.

This whole thing was so confounding that I wrote to the band and asked if the Themes from Venus reissue was already out of print. They wrote back and told me it hadn’t been released yet, and that they’d make an announcement when it was available for pre-order. What?! It had already been available for pre-order, for months. Something didn’t add up. Then, two or three months later, Themes from Venus was announced as soon to be released by the Propeller Sound Recordings label. It was as if the HHBTM situation had never happened. Other people wrote to the group on Facebook and said “I already bought this album last fall, is it being reissued again?!” It was only said that it was coming out on a new label; never that I saw was this strange shift explained. If you go to Discogs, there is a listing for the HHBTM vinyl version, but not the CD, and no detailed photos are offered. I would love to see what that thing looks like, since it’s clear that some people managed to obtain copies of it. 

In March of this year the second new version of Themes from Venus finally arrived, and its design manages to look even cheaper than the Love Tractor reissue. Way up above at the beginning of this post are the front cover and back cover of the digipak. The HHBTM issue of Love Tractor is in a jewel case; I wonder if their Themes from Venus was, or would have been, in a jewel case as well? 

Once again, the original cover is reworked; in this case, though, it is more of a decimation. Flat fields of primary color dominate, and only the Venus statue from the original artwork is retained; even then, it’s a completely different image of Venus. And once again, there is a wealth of Chinese characters. You can’t see it very well here, but on the back cover every song is shown by its English title and then again in translation. I’ve also not read anything about the sudden fixation with Chinese that is present on every new Love Tractor release including the aforementioned RSD 7″ single.

That theme gets even more intense when you pull the booklet out of the new Themes from Venus reissue. Look at this:

I simply don’t know what they are doing. There is nothing on the original album cover even loosely connected to this kind of concept. They really went all-in on futzing with their own legacy here. Graphic designers or not, I think this whole approach and its execution is terrible. They continue to be quite proud of it, though; just this weekend I saw a photo on Facebook of guitarist Mark Cline from a recent live performance, and the caption made sure to remind us that he designed the Themes from Venus reissue.

Here is the opened digipak, showing the disc, which features more Chinese characters. I didn’t photograph the tray with the disc removed, but it is a lengthy excerpt from some sort of epic poem or story or who knows what. Again, nothing is explained.

Unlike its predecessor, this doesn’t appear to be a remix or a newly overdubbed version of the album. There is so little explication about what is happening in this program, though, that I wouldn’t be surprised if the same fiddling about with the material occurred here.

For posterity, here are photos of the original 1988 release of Themes from Venus. I suppose I can see why the group might have wanted to shift away from the now very dated, pixelated, computer-style imagery of the original, but frankly I’d have preferred it to what they did with the reissue.

I’m halfway through the reissue program, presuming they finish it. If they do, I suppose I’ll buy the other two. I dread seeing what they do to the artwork of This Ain’t No Outerspace Ship, which might be the worst of their original album covers.

Danny Beard, the original owner and operator of DB Recs, and whom is listed as Executive Producer of this reissue, still runs the Wax ‘n’ Facts record shop in Atlanta, Georgia. It’s at the same address given as DB’s on all the album covers going back to the early ’80s. I used to go to Atlanta several times a year for work and Wax ‘n’ Facts would always be one of my first stops from the airport. The pandemic changed my business travel significantly, so I don’t know when or if I’ll go to Atlanta for work again, but when I do I will undoubtedly hit the shop and if Beard is working I may muster up the courage to ask what happened between them and Happy Happy Birthday to Me. 

As for this disc, I really look forward to hearing it. A couple of years before the reissue program was announced, I got on a big Themes from Venus kick. I like the album quite a bit. Unlike the debut, which I never got into very deeply, it’s not an all-instrumental record. Until these reissues, I never realized that Love Tractor started as an instrumental band! Garish artwork or not, it will be good to hear this album again, and I feel the same way about Outerspace Ship. We’ll see if another Love Tractor reissue gets announced in the coming months.

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 5 / 10

Título Original: Murder by Numbers

Año: 2002

Duración: 120 min

País: Estados Unidos

Director: Barbet Schroeder

Guion: Tony Gayton

Música: Clint Mansell

Fotografía: Luciano Tovoli

Reparto: Sandra Bullock, Ben Chaplin, Ryan Gosling, Michael Pitt, Agnes Bruckner, Chris Penn, R.D. Call, Tom Verica, Janni Brenn, John Vickery, Michael Canavan, Krista Carpenter, Neal Matarazzo, Adilah Barnes

Productora: Warner Bros., Castle Rock Entertainment, Schroeder Hoffman Productions

Género: Crime, Mistery, Thriller

https://www.imdb.com/title/tt0264935/

TRAILER:

[realretroroger]

QRKY Radio Playlist For 03/07/20

QRKY – Quirky Radio Playlist For 03/07/20

Listen Free.  Blues, Swing, Rockabilly, Old Time Radio Shows & More.

Click on the individual song titles in BOLD below.  They’re linked to music videos or to online audio files of the old time radio shows.  Or, if you’d prefer to autoplay the music video playlist, just click HERE.  It;s all for fun and for free, so enjoy.

Night Life -- Ray Price

East St. Louis Toodle-Oo -- Duke Ellington & the Kentucky Club Orchestra

I Want A Bowlegged Woman -- Bull Moos Jackson

Ladder -- Joan Osborne

Stranded In The Jungle -- Cadets

Yes Sir, That’s My Baby -- Coon-Sanders’ Original Nighthawk Orchestra

Mister Bad Luck -- Oscar Jordan

Quaker Puffs (Retro Commercial)

JUBILEE Radio Show (12/20/43) with C.P. Johnson -- Armed Forces Radio Service

I’m GonnaTake Care Of Your Dog -- Rosie Ledet

Papa Was A Rolling Stone -- Temptations

Mama, He Treats Your Daughter Mean -- Ruth Brown

Down At Jasper’s Bar-B-Que -- Frankie “Half-Pint” Jaxon

Papa’s On The Housetop -- Jim Kweskin Jug Band

Don’t Forget Me -- Toni Lynn Washington

Life Buoy Soap (Retro Commercial)

As She Moved In -- Rich Harper Blues Band

A Change Would Do You Good -- Sheryl Crow

All Mama’s Children -- Carl Perkins

Worryin’ The Blues Away -- Bob Brozman

Ain’t That Peculiar -- Marvin Gaye

Hot Cross Buns -- Paul Gayton

It’s Too Late -- Carole King

Marlboro Cigarettes (Retro Commercial)

Money Honey -- Elvis Presley

One Hour Mama -- Lavay Smith & Her Red Hot Skillet Lickers

Jump, Jive And Wail -- Louis Prima

Fried Neck Bones And Home Fries -- Southern Hospitality

Stay High -- Brittany Howard

Crawling King Snake -- John Lee Hooker

Barbecue Bust -- Mississippi Jook Band

Nash Automobiles (Retro Commercial)

Peter Gunn -- Sarah Vaughan

Hips Don’t Lie -- Shakira

Garbage Man -- Harlem Hamfats

Camel Walk -- Ikettes

Every Woman I Know -- Billy “The Kid” Emerson

The Battle Of New Orleans -- Johnny Horton

Patricia -- Perez Prado

Old Spice (Retro Commercial)

Born Under A Bad Sign -- Albert King

I’m Wild About My Stuff -- Memphis Minnie & Kansas Joe

The Amway Challenge -- Donna Kay Honey & the Cowpokers

Be What You Are -- Staple Singers

I Gotta New Car -- Big Boy Groves

Mississippi Mud -- Fontane Sisters

My Dog’s Still Walkin’ -- Smokin’ Joe Kubek & Bnois King

Theme From Shaft -- Isaac Hayes

[xetastheband-blog]

Top 5 Music Documentaries by Kana Harris

5. Athens, GA: Inside/Out (1987) Directed by Tony Gayton, 1hr 23min. The B-52s and REM put Athens, GA on the map in the 1980s but the reason they were so great is because of the cultural petrie dish featured in this time capsule. Beautiful footage of REM performing in the Lucy Cobb Institute Chapel, live footage and interviews with Pylon, Bar-B-Q Killers, B-52s, Flat Duo Jets. 4. Salad Days: A Decade of Punk in Washington, D.C. (1980-1990) (2014) Directed by Scott Crawford, 1hr 30min. This documentary is the most recently made and also the slickest in terms of production. Great energy, this is definitely one that made me inspired to go out and kick ass the next day - no, RIGHT NOW. Although the 80s DC scene was predominately white males, I feel they do an ok job of acknowledging that and admitting that they learned from it, too, which is more important than you might think. Love all the live footage -- this creative amoeba was one of the better parts of the country (USA) for documentation of their scene and they understood the longevity of it, which is very helpful to someone like me who wants to know how everyone worked together. 3. The Shield Around The K: The Story of K Records (2000) Directed by Heather Rose Dominic, 1hr 25m. I watched this movie for the first time by renting it from the local video store because I couldn’t find it anywhere else. I came for the Beat Happening footage, but this is where I fell in love with Mecca Normal. Why isn’t there a documentary about Mecca Normal? Maybe I should ask if I can make it. They stole the show! and from Calvin Johnson, no less! 2. 1991: The Year Punk Broke (1992) Directed by David Markey, 1hr 39min This movie changed my life. I have posted about it before, but the footage of Babes in Toyland playing to a swelling crowd, the Sonic-Nonsense, the un-self-conscious nature of it. It’s great. Or maybe it’s stupid, whatever. Go watch some movies and make your own freaking list, I don’t care. 1. We Jam Econo: The Story of the Minutemen (2005) Directed by Tim Irwin, 1 hr 31 min. My favorite parts of this movie: D Boon met Mike Watt by jumping on him out of a tree. They didn’t know about tuning and just thought “some guys like ‘em tight, and some guys like ‘em loose” D Boon’s mom encouraging them to play music no matter how awful it sounded because “at least [she knew] where he was.”

[cineplex51]

Faster: George Tillman Jr. filmje nem lányregény, de nem is ezt vártuk tőle. A rendező akinek a Férfibecsületet is köszönhetjük, végre visszahelyezte Rockot az akciósztárok közé, nem való neki a gyerekfilm és itt tényleg rendesen zúz. A másfél óra alatt volt minden, bosszút kereső testvér, megtért bűnöző, egy bérgyilkos aki legyőzte a yogát, egy drogozó rendőr és egy rakat akció. Megjegyzem a bérgyilkos figuráját ennyire nem kellett volna bemutatni, nekem kicsit sok volt belőle és a jövőbeli terveiből. Ami nagyon rendben volt, az a villámgyors bosszúhadjárat. Ha semmi más nem lett volna benne, akkor fél óra alatt vége lett volna. Ehhez még jön a dögös verda, amit szerencsére nem tettek tönkre, mint ezekben a filmekben szokás lenne. A zeneválasztás remek volt, igazi kemény ritmusok és pörgés, ehhez a produkcióhoz méltóan. Ez egy adrenalintól fűtött tesztoszteronbomba, ahol hiába sejted mi fog történni, annyira leköt a hangulata, hogy nem fog érdekelni. A Casting remek volt. Dwayne Johnson király volt, nem is kell rá több szó. Billy Bob Thornton remek színész, ezt most is megmutatta, de azt a frizurát nem volt könnyű megszokni. Carla Gugino most játszott másodszor egy filmben a Sziklával, habár itt nem is találkoztak. Minimális szereplése ellenére nem volt nehéz megkedvelni a karakterét. Oliver Jackson-Cohen -t ellenben nem sikerült, ha csak azt csinálta volna ami elvárható, akkor nem lett volna zavaró, az a folyamatos lelkizése. John Cirigliano öreg papaként is eléggé ijesztő tudott lenni. A kezdésnél felbukkant még Tom Berenger, akit jó látni mozifilmben, még ha csak ilyen kicsi szerepben is. És itt volt még Xander Berkeley, aki megint hozta az elvárásokat. Valamiért elkapott az az érzés, hogy Tarantino-nak nagy hatása volt a direktorunkra, de legalábbis az írókra a Gayton tesókra. Joe és Tony mindketten kipróbálták már magukat ebben a műfajban, habár Tony-nak köszönhetjük az Igazság helyett-et, amiben Val Kilmer az egyik legjobb alakítását nyújtja. Aki szereti a jó akciófilmeket, az mindenképpen nézze meg.#fastermovie #film #nagyítóalatt https://www.instagram.com/p/BvVW4wwgDme/?utm_source=ig_tumblr_share&igshid=s2n5qgdy4d5n