Peter Fonda • Dennis Hopper Jack Nicholson

Total Page:16

File Type:pdf, Size:1020Kb

Peter Fonda • Dennis Hopper Jack Nicholson 12-SIDELINES, November 6, 1973 Hilltoppers spoil Raider homecoming by Scott Elliott in the first quarter when Peeken- Mike McCoy on the Toppers' 37- Copeland also ran for the two- Sports Editor paugh hit Jim Ivey for a 22-yard yard line set up the next Western point conversion to make the score Behind the accurate throwing of touchdown pass. Charlie Johnson score, a 27-yard scamper by Jack- 35-8. quarterback Leo Peckenpaugh and kicked the extra-point to put the son. Jackson got his second touch- the running of tailback Clarence Hilltoppers in front 7-0. With 1:43 remaining in the half. down on a seven-yard run around Jackson, the Western Kentucky Neither squad scored again in Western got on the scoreboard for the right side of the Raiders' line Hilltoppers romped over the Blue the first quarter, but Peckenpaugh the fourth time on a 27-yard run by for the last Western six-pointer. -Raiders 42-8 Saturday in MTSU's pitched a 14-yard scoring aerial fullback John F.mbree. Johnson's extra-point ended the homecoming. to Jim Wafzig at the beginning of Johnson was good on all three scoring at 42-8. Western took advantage of the the second period. conversions, and the intermission Peckenpaugh turned in a fine first of three Raider fumbles earl} An interception by cornerback score was 28-0. performance for the Hilltoppers Although the Toppers had to hitting on 12 of 19 passes and three compete for the attention of the touchdowns. FRIEDMAN'S 10.000 spectators with Nashville Copeland led the Raiders' attack 224 W. Main St. stripper Heaven Lee in the second with 57 yards rushing. His touch- half. Western scored on the second down and two-point play totaled the play. highest number of points scored Is your headquarters for against Western in a single game F.mbree hauled in a pass from this season. LEVIS FLARES, BELLS, BIG BELLS LEVI Peckenpaugh and raced 57 yards The loss dropped the Raiders' JACKETS also CHAMBREE SHIRTS for the score. Johnson's kick made record to 3-6 and Western's slate it 35-0. is now 8-0. and FANNEL SHIRTS The Raiders got their only "I'm not disappointed in our touchdown early in the fourth effort regardless of the score," quarter. Operating out of a shot- Raider Head Coach Bill Peck said. gun formation, tailback Dwaine "Our boys played their hearts out. Copeland broke past the Toppers' Western is just a tremendous MON-THURS 8:00 - 6:00 line for a five-yard scoring carry. team." FRI-SAT 8:00 - 8:00 Phone 896-2910 II.C Cinema Presents Pancio Company in ,issoci;ition with Raybert Productions presi easy RIDER An American Odyssey (Photo by Tim Hamilton) MTSU's fleet tailback Dwaine Copeland charges toward the Top- pers' line. Copeland scored a touchdown and a two-point conver- sion to lead the Raider offense. Every Thursday Is MTSL Day at One Hour Martinizing Store* Blue Jeans-Laundered 60CEa. starring PETER FONDA • DENNIS HOPPER You Save 20C a Pair JACK NICHOLSON directed by Dennts Hooper, written by Peter Fonda Dennis Hopper and Terry Southern. Just bring in your Faculty or Student I.I). produced by Peter Fonda. Executive Producer Bert Schneider when you bring in your clothing. CANNES FILM FESTIVAL WINNER "BEST FILM by a NEW DIRECTOR" 3-LOCATIONS-3 Feature time is 6:00 and 8:00 Tuesday and Wednesday One HOUR 960 N.W. Broad // Matinee is Wednesday at 3:30 p.m. Mercury Plaza mmimim 0 Price of admission is $.50 Downtown THE MOST IN DRY CLEANING .
Recommended publications
  • Review Reviewed Work(S): Hearts and Minds by Bert Schneider and Peter Davis Review By: Peter Biskind Source: Cinéaste, Vol
    Review Reviewed Work(s): hearts and minds by Bert Schneider and Peter Davis Review by: Peter Biskind Source: Cinéaste, Vol. 7, No. 1 (1975), pp. 31-32 Published by: Cineaste Publishers, Inc. Stable URL: https://www.jstor.org/stable/41685779 Accessed: 11-09-2019 15:10 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cineaste Publishers, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Cinéaste This content downloaded from 138.37.228.89 on Wed, 11 Sep 2019 15:10:03 UTC All use subject to https://about.jstor.org/terms the virtue of HEARTS AND MINDS that in a presumably descended from Ralph Waldo crazy-quilt of interviews, stock footage, vérité, Emerson, embody the very essence of New and film clips, it manages to breathe new life England rectitude, yet utter some of the film's Brn reviews into the worn out images of the war that passed sfllliest remarks. ("The strength of our system is from film to film until they became no longer that you can rely on President Nixon for shocking but comforting, like old friends orleadership.") Jhe mixture of foolishness, familiar faces. HEARTS AND MINDS contains intelligence, and pain in this sequence makes it the original footage of many of these scenes difficult to watch.
    [Show full text]
  • Verizon Channel Lineup Custom Tv
    Verizon channel lineup custom tv Continue By the mid-1960s, the participants in the traditional street scene had broken away in many directions. Some custom enthusiasts have switched to muscle cars and drag racing. Two original custom car architects, George Barris and Dean Jeffries, have been dragged into the World of Hollywood to create custom cars for television. When 20th Century-Fox and Batman producer William Dozier needed a Batmobile in 1965 (the pilot episode was supposed to premiere on ABC in January 1966), his first call went to Jeffreys, who began working on the 1959 caddy. Jeffries had to bow when he realized he couldn't meet Dozier's three-week term. Advertising custom car image Gallery Barris subsequently took the job, probably because he already owned the 1955 Lincoln Futura, a bubble-canopy concept car that Barris saved from a Ford crusher a few years ago by handing over one dollar. With a suitably low, wide chassis, as well as burning fins, a wide-mouthed grille, and a swoopy body line already in place, Futura was the Platform Barris needed to quickly deliver an outlandish, photogenic TV custom car that lived up to the manufacturer's expectations. Inside, the Futura Dash has been modified only slightly to accommodate prop gadgets such as Bat Phone, Discover-a-Scope, and Extraordinary Bat-Turn Lever. Claims about the number of Barris Batmobiles vary. Barris' crew pulled fiberglass molds from the original car to make duplicates for car show tours. Chances are four or five were made, including a drag-race race exhibition car.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • September 23-29, 2019 Wheeler Opera House | Aspen Isis Theatre | Aspen Crystal Theatre | Carbondale
    September 23-29, 2019 Wheeler Opera House | Aspen Isis Theatre | Aspen Crystal Theatre | Carbondale @aspenfilm #filmfest40 aspenfilm.org 2 Filmfest 2019 Official Program Guide | aspenfilm.org welcome LIFETIME ACHIEVEMENT AWARD ASPEN FILM LIFETIME ACHIEVEMENT AWARD Hello and welcome to our 40th anniversary Filmfest! TO BOB RAFELSON FOR EXCELLENCE IN THE CINEMATIC ARTS I am gratified to be heading into my third consecutive year with Aspen Film. It is incredible that this organization has been creating inspiring cinematic experiences The tradition of Aspen Film began 40 years ago when our founder, in Aspen and beyond for four decades now. And it’s all thanks to you, our incredi- Ellen Hunt, had a vision for a small-scale but inspiring festival emphasiz- ble members, patrons and audiences. Thank you for supporting us and our mission ing an independent spirit. In its early days, Aspen Filmfest focused on to enlighten, enrich, educate and entertain through film! the work of American independent directors, but soon broadened its lineup to include the work of ground-breaking foreign directors as well. We’re incredibly proud of this year’s program, which focuses very much on family, Four decades later, we continue to showcase work from world-class artistry, perseverance and change-making, particularly in the face of adversity. independent filmmakers. The characters and subjects in our slate of 23 films are all heroes in their own To commemorate our 40th anniversary, we are presenting our first-ever right, illuminating new ways of helping, healing and enlightening a community or Aspen Lifetime Achievement Award for Excellence in the Cinematic the world in general.
    [Show full text]
  • The Monkees to Perform at Silver Creek Event Center, Four Winds New Buffalo, on Friday, March 15, 2019
    FOR IMMEDIATE RELEASE THE MONKEES TO PERFORM AT SILVER CREEK EVENT CENTER, FOUR WINDS NEW BUFFALO, ON FRIDAY, MARCH 15, 2019 Tickets go on sale Friday, November 16 NEW BUFFALO, Mich. – November 12, 2018 – The Pokagon Band of Potawatomi Indians’ Four Winds® Casinos are pleased to announce The Monkees will make a stop at Silver Creek® Event Center on Friday, March 15, 2019 at 9 p.m. Hotel and dinner packages are available on the night of the concert. Tickets can be purchased beginning Friday, November 16 at 11 a.m. ET by visiting FourWindsCasino.com, or by calling (800) 745-3000. Ticket prices for the show start at $55 plus applicable fees. Four Winds New Buffalo is offering hotel and dinner packages along with tickets to The Monkees performance. The Hard Rock option is available for $484 and includes two concert tickets, a one-night hotel stay on Friday, March 15 and a $50 gift card to Hard Rock Cafe® Four Winds. The Copper Rock option is available for $584 and includes two tickets to the performance, a one-night hotel stay on Friday, March 15 and a $150 gift card to Copper Rock Steakhouse®. All hotel and dinner packages must be purchased through Ticketmaster. The Monkees are an American rock and pop band originally active between 1966 and 1971. They were formed in Los Angeles in 1965 by Bob Rafelson and Bert Schneider for the American television series The Monkees which aired from 1966 to 1968. The musical acting quartet was made up of Micky Dolenz (drummer, lead vocals), Michael Nesmith (guitar, vocals), Peter Tork (bass guitar, vocals) and Davy Jones (lead vocals).
    [Show full text]
  • Les Productions BBS Et Le Nouvel Hollywood Bruno Dequen
    Document generated on 09/29/2021 5:10 p.m. 24 images En quête de l’Amérique Les productions BBS et le Nouvel Hollywood Bruno Dequen Des villes et des hommes Number 153, September 2011 URI: https://id.erudit.org/iderudit/65072ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Dequen, B. (2011). En quête de l’Amérique : les productions BBS et le Nouvel Hollywood. 24 images, (153), 48–49. Tous droits réservés © 24/30 I/S, 2011 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DVD Les productions bbs et le Nouvel Hollywood En quête de l’Amérique par Bruno Dequen What we need are good old American – and that’s not to be confused with European – Art Films. […] The whole damn country’s one big real place to utilize and film, and God’s a great gaffer ! – Dennis Hopper1 You know, this used to be a hell of a good country. I can’t understand what’s gone wrong with it. – George Hanson (Jack Nicholson) dans Easy Rider ’est la fin des années 1960.
    [Show full text]
  • PDF Download Monkee Business: the Revolutionary Made-For-TV Band
    MONKEE BUSINESS: THE REVOLUTIONARY MADE- FOR-TV BAND PDF, EPUB, EBOOK Eric Lefcowitz | 282 pages | 03 Jan 2011 | Retrofuture Products LLC | 9780943249001 | English | United States Monkee Business: The Revolutionary Made-For-TV Band PDF Book Following the television show's cancellation in , the Monkees continued to record music until , after which the group broke up. I went on the anniversary tour with the agreement that I didn't have to put up with drinking and difficult behavior offstage. We were really gettin' beat up pretty good. The Monkees also had a contractual obligation to appear in several television commercials with Bugs Bunny for Kool-Aid drink mix as well as Post cereal box singles. Retrieved November 30, This same month Kirshner released their second album of songs that used session musicians, More of the Monkees , without the band's knowledge. We were getting along pretty well until I had a meltdown. Retrieved November 9, Please improve it by verifying the claims made and adding inline citations. Chicago Tribune. After the end of the 50th anniversary tour, Dolenz, Tork, and Nesmith spent engaging in solo activities. Lots of information and context. Retrieved May 20, Main article: The Monkees discography. Archived from the original on June 20, They know when they look at the television series that we're not a rock 'n' roll band; it's a show about a rock 'n' roll band. When things weren't getting better, I gave the guys notice that I was leaving in 30 days for good. On August 8, , the band cancelled ten last- minute shows due to what was initially reported as "internal group issues and conflicts", [74] though Tork later confirmed "there were some business affairs that couldn't be coordinated correctly.
    [Show full text]
  • Hearts and Minds
    HEARTS AND MINDS By Peter Davis “Reprinted by permission of the authors and the Academy of Motion Picture Arts and Sciences" In 1972 the Vietnam war had just passed determination I shared with Bert to get the American Revolution as the longest to the core of the war. For me this was war in our history. I myself had made a an opportunity --discover the America film on Defense Department public that was fighting its longest war (up to relations, THE SELLING OF THE that point), proceed with the unheard-of- PENTAGON, the year before, as a result for-documentaries budget of a million of which CBS News and I were dollars – that would never come again. If investigated by Congress for our somewhere there’s a filmmaker who investigation of Pentagon propaganda. wouldn't rise to that bait and quit even a At this point Bob Rafelson, an old friend job he'd been very happy doing (which who had made the brilliant FIVE EASY was my lot most of the time at CBS PIECES, called me in New York and News), it wasn't me. Bert Schneider and asked if I'd like to speak to his partner, his two partners, Bob Rafelson and Bert Schneider, about making a film that Steve Blauner, had a production had something to do with Daniel company amply funded, for my purposes Ellsberg and the Vietnam war. at least, by Columbia Pictures. Meeting Bert a couple of days later in In the beginning I thought it might be Los Angeles, was, to put it mildly, a possible to use the trial of Daniel defining moment in my life.
    [Show full text]
  • Welles Exploring New Hollywood Production Opportunities: Sex and Nudity in the Other Side of the Wind Massimiliano Studer
    Miscellanea – peer-reviewed Cinergie – Il cinema e le altre arti. N.16 (2019) https://doi.org/10.6092/issn.2280-9481/8762 ISSN 2280-9481 Welles Exploring New Hollywood Production Opportunities: Sex and Nudity in The Other Side of the Wind Massimiliano Studer Submitted: December 10, 2018 – Revised version: May 30, 2019; July 24, 2019 Accepted: November 25, 2019 – Published: December 23, 2019 Abstract In November 1968, Jack Valenti, then president of the Motion Picture Association of America (MPAA), cre- ated the Rating System so that theater owners could indicate to families which films were suitable for chil- dren. New and talented young producers such as Bert Schneider took great advantage of the new opportu- nities this system offered. Orson Welles, still self-exiled in Europe, himself wanted to take advantage ofthe changed climate in Hollywood. Thanks to the support of his new partner, Oja Kodar, Orson Welles decided that his films would explore sexuality in a more explicit way. Nudity, corporeity, and sex (though already appearing in his previous films) are copiously dealt with in The Other Side of the Wind, whose initial con- ception and realization was largely due to Oja Kodar. One of the film’s most iconic sequences, the “car sex scene”, features well-known Wellesian techniques as applied to the depiction of dominant female sexuality. Keywords: The Other Side of the Wind; Orson Welles; New Hollywood; Rating System; Jack Valenti. Acknowledgements I wish to thank Professor Francesco Pitassio, Professor Joseph McBride and Ray Kelly for their invaluable comments, suggestions and support. I express profound gratitude to Steven North for sharing with me his personal insights and thoughts about the New Hollywood.
    [Show full text]
  • Gerd Stern Papers M1954
    http://oac.cdlib.org/findaid/ark:/13030/c8pz5g8n No online items Guide to the Gerd Stern Papers M1954 Franz Kunst Department of Special Collections and University Archives 2018 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Gerd Stern Papers M1954 1 M1954 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Gerd Stern papers creator: Stern, Gerd Identifier/Call Number: M1954 Physical Description: 50 Linear Feet(156 containers) Date (inclusive): 1938-2012 Abstract: The papers of poet, writer, artist and multimedia pioneer Gerd Stern span over fifty years of creative work in the American counterculture. Conditions Governing Use While Special Collections is the owner of the physical and digital items, permission to examine collection materials is not an authorization to publish. These materials are made available for use in research, teaching, and private study. Any transmission or reproduction beyond that allowed by fair use requires permission from the owners of rights, heir(s) or assigns. Conditions Governing Access Open for research. Note that material must be requested at least 36 hours in advance of intended use. Audiovisual materials are not available in original format, and must be reformatted to a digital use copy. Immediate Source of Acquisition Purchased, 2013. Accessions 2013-098, 2013-121, and 2013-122. Preferred Citation [identification of item], Gerd Stern Papers (M1954). Dept. of Special Collections and University Archives, Stanford Libraries, Stanford, Calif. Biographical / Historical Gerd Stern is a poet, artist, and multimedia pioneer whose remarkable life spans 40s bohemia, 50s Beat culture, 60s hippiedom, 70s hip capitalism, and continues today.
    [Show full text]
  • Copyrighted Material
    bindex.qxp 8/28/07 9:56 AM Page 470 INDEX Abdul-Jabbar, Kareem, 262 Anspach, Susan, 226, 258, 321, 368 About Schmidt, 142, 382–384, 388 Nicholson affair with, 111, 114–115 Academy of Motion Pictures Arts and Sci- Nicholson legal dispute, 352–354, 358, ences, 123–124, 135, 166, 182–184, 247 368 Oscars won by Nicholson, 4, 115, 144, Antonioni, Michelangelo, 139, 152–154, 198–200, 259–260, 369–370 153, 186 political statements at, 183–184, 219–220 Apocalypse Now, 181, 228 Actors Studio, 35 Archerd, Army, 182, 208, 229, 247, 318, Adler, Lou, 71, 136, 150–151, 323 355, 402 Adler, Nicholai, 136, 150 Arkoff, Samuel, 31, 73, 77, 90 Adler, Renata, 86, 131 Arness, James, 61 AIDS, 253, 323 As Good as It Gets, 356–357, 360–362, Allen, Linda, 398 368–369 Allen, Nancy, 149 Ashby, Hal, 71, 145, 147–149, 168, 228, Almendros, Nestor, 192 295–296 Altman, Robert, 128 As I Lay Dying, 365 Altobelli, Rudy, 109–110 Attanasio, Paul, 340 American Film Institute, 4, 117, 237, 339, Aubrey, James, 145 343–345 Auerbach, Red, 262 American Indian Movement (AIM), 187, Axton, Hoyt, 93 196, 311 Aykroyd, Dan, 247 American International Pictures (AIP), 31, Ayres, Gerald, 145, 148, 207 39, 63, 73 COPYRIGHTED MATERIAL American Releasing Corporation, 31 Babenco, Hector, 286 Anatomy of a Psycho, 43 Babilonia, Tai, 368 Anders, Luana, 27–28, 302, 370 Bach, Steven, 228 Anderson, Lindsay, 104 Back Door to Hell, 55–56 Anderson, Roger “Storeroom,” 23–24 Badham, John, 297 Andy Griffith Show, The, 71 Banks, Dennis, 187, 196 Annie, 240 Baratta, Tomasino “Tommy,” 266, 325, 332, Annie Hall,
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles United
    UNIVERSITY OF CALIFORNIA Los Angeles United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Mirasol Aurelia Riojas 2012 ©copyright by Mirasol Aurelia Riojas 2012 ABSTRACT OF THE DISSERTATION United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship by Mirasol Aurelia Riojas Doctor of Philosophy in Film and Television University of California, Los Angeles, 2012 Professor Chon A. Noriega, Chair Latinas’ marginalization within the film industry has been reproduced in the writing of film history as a result of many factors, including (but not limited to) male-centered notions of history and dominant models of authorship that center the director as the principle creative force behind the filmmaking process. Motivated by a commitment to securing Latina filmmakers’ place in film history, this study of U.S.-based Latina producers of Latina/o-themed feature films proposes a “synergistic” model of authorship that makes visible creative contributions of authors who do not occupy designated roles such as “director” or (less so) “writer,” traditionally associated with authorship. Instead, it acknowledges the way numerous creative, institutional, historical, sociological, and economic forces come together to shape a film. ii This dissertation involves
    [Show full text]