DOCSLIB.ORG

Vol. 23, No. 2, Winter, 1969-1970.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vol. 23, No. 2, Winter, 1969-1970.Pdf ?IIL ::--:-:-::A Y::1::1~R T E R L 01- I:~i- lciiil~ii~iii~riil N .5iiilliiiiiijillli: ::l-.;:::::iilii~l .iii:-:l i~i'i :l::?i?::;~l?NNWi --iil-lii;;iii-iiii:~?'?iiiiiiii% :.'k"~'~~I~i?-B".1"i4 ;;E . iq.i mi:??i~?ii id"iiii:i:iii~~i~iiii ii~-ii;i'~i 31?s tkiiii~iil ~w . - -7? A- i:?i l~~::j::~~~w~iii IS???lE'-i -wlii-li~ ~ ~ i~iis ACE"',;W`: ;1 0 410~iiiiiiiiiiiii a I WA."'::?iiii'~i:ii Amiiiiiiiii~iiiiii -;ii.iiii~iiii~ii3 'i ? 4,::i:_:::`---iiiii . ... ...... i????iii~i"il i'iiii ??. so n d :' " ': '' -_iiii'i:~i:~ -iii~~l:?i ~'':''''i-4.7 X i iii ijixa . ......... ..ii~iiii~iii PARADIGM FILM EDDIE-New York Festival '69 NO VIETNAMESE EVER CALLED ME NIGGER-Mannheim, New York, San Francisco, Chicago Festivals '68; Melbourne & Sydney Festivals '69. A Paradigm Production MEAN TO ME-New York Festival '69 MY GIRL FRIEND'S WEDDING-New York Festival '69; Cannes '69. A Paradigm Production _.l HOW DO YOU SEDUCE A MAN-New York Festival '69 ONCE UPON A LINE-Chicago & 3rd International Festivals, '68 SECRET CINEMA-London Festival '66; New York Festival '67 THE AROUSING-British Board of Film Censors Reject r NEW INDEPENDENT EXPERIMENTAL FILMS o 0- THEATRICAL---COLLEGE-SPECIALIZED DISTRIBUTION 0 FOR RENTAL RATES AND PRINT PURCHASE INFORMATION: c1 (% ED B PARADIGM-LOS ANGELES PARADIGM-NEW YORK 1356 N. GENESEE AVENUE 90046 2248 BROADWAY 10024 (213) 874-4486 (212) 787-4200 1 VOL. XXIII, No. 2 Winter 1969-1970 Editor's Notebook ARTICLES AMERICANNEW WAVE? So is the of End of the Road? STEPHEN FARBER 3 compelling appeal Midnight Cow- boy, Easy Rider, Medium Cool, and Alice's Prospects of the Ethnographic Film Restaurant that many theaters accustomed to DAVID IMAcDOUGALL 16 showing a wide range of art-house films seem to Lost Films from National Film Collection have been deserted by their customary young audiences. The belated in RICHARD KOSZARSKI 31 appearance Holly- wood films of concerns and style preferences Redivivus Wajda that used to be confined to "underground" or KRZYSZTOF-TEODORTOEPLITZ 37 imported films is hurting many theaters already Comparative Anatomy of Folk-Myth Films: in trouble from the competition of exploitation Robin Hood and Antonio das Mortes houses. On the box-office front at least, then, ERNEST CALLENBACH 42 these new films constitute some kind of break- through; and their success has caused, at least temporarily, an almost ludicrously warm wel- REVIEWS come for new young film-makers in the industry. MediumCool: Stay with Us, NBC The assessment of any body of new work takes JUDITH SHATNOFF 47 time; this was true of the French New Wave in 1959-1960 and it will Medium Cool: Haskell Wexler's Radical be true of these films and Education RICHARDCORLISS 51 their successors now in production. As in the French case, it is easy to exaggerate the amount Ma Nuit Chez Maud GRAHAMPETRIE 57 of similarity among the new directors; films that Black God and White Devil have a certain degree of shared subject-matter ALLAN FRANCOVICH59 may nonetheless vary widely. In France it took several years for it to be clear to all that the dif- ferences among, say, Godard, Resnais, and Truf- SHORTNOTICES 62 faut were profound. We can as yet only guess what directions may be taken in future by Wex- ler, Hopper, Penn, or other directors such as Francis Coppola. In France the eruption of under-30 culture onto the screens in serious films was dramatic, but it did not solve the crisis of the French industry. And, perhaps most difficult to discuss, the French breakthrough like the American involved subtle problems of style, nar- rative point of view, and filmic conventions gen- COVER:Haskell Wexler shooting in the streets of erally. Where the New Wave mostly escaped the Chicago on Medium Cool. academic methods of the established industry FILM is QUARTERLY published by the University of California Press, Berkeley, California 94720. per copy, $5.00 per year in the U.S., Canada, and Pan-America. Special two-year subscription rate: $8.00. Elsewhere: $2.50 per copy,$1.25 $9.00 per year. Editor: ERNEST Assistant to the GRANA. New CALLENBACH. Editor: MARIGAY York Editors: ROBERT HUGHES and JUDITH Los Angeles Editor: STEPHENFARBER. Paris Editor: GINETTE Editor: SHATNOFF. BILLARD. Rome GIDEON BACHMANN. London Editor: PETER CowIE. Advisory Edi- torial Board: ANDRIES AUGUST FRUGE, HUGH GRAY, ALBERT NEAL DEINUM, JOHNSON, OXENHANDLER, COLIN YOUNC. Copyright 1969 by The Regents of the University of California. Views expressed in signed articles are those of the authors. Indexed in Reader's Guide to Peri. odical Literature, Art Index and Social Sciences and Humanities Index. Published quarterly. Second-class postage paid at California. Printed in U.S.A. Berkeley, 1 VOL. XXIII, No. 2 Winter 1969-1970 Editor's Notebook ARTICLES AMERICANNEW WAVE? So is the of End of the Road? STEPHEN FARBER 3 compelling appeal Midnight Cow- boy, Easy Rider, Medium Cool, and Alice's Prospects of the Ethnographic Film Restaurant that many theaters accustomed to DAVID IMAcDOUGALL 16 showing a wide range of art-house films seem to Lost Films from National Film Collection have been deserted by their customary young audiences. The belated in RICHARD KOSZARSKI 31 appearance Holly- wood films of concerns and style preferences Redivivus Wajda that used to be confined to "underground" or KRZYSZTOF-TEODORTOEPLITZ 37 imported films is hurting many theaters already Comparative Anatomy of Folk-Myth Films: in trouble from the competition of exploitation Robin Hood and Antonio das Mortes houses. On the box-office front at least, then, ERNEST CALLENBACH 42 these new films constitute some kind of break- through; and their success has caused, at least temporarily, an almost ludicrously warm wel- REVIEWS come for new young film-makers in the industry. MediumCool: Stay with Us, NBC The assessment of any body of new work takes JUDITH SHATNOFF 47 time; this was true of the French New Wave in 1959-1960 and it will Medium Cool: Haskell Wexler's Radical be true of these films and Education RICHARDCORLISS 51 their successors now in production. As in the French case, it is easy to exaggerate the amount Ma Nuit Chez Maud GRAHAMPETRIE 57 of similarity among the new directors; films that Black God and White Devil have a certain degree of shared subject-matter ALLAN FRANCOVICH59 may nonetheless vary widely. In France it took several years for it to be clear to all that the dif- ferences among, say, Godard, Resnais, and Truf- SHORTNOTICES 62 faut were profound. We can as yet only guess what directions may be taken in future by Wex- ler, Hopper, Penn, or other directors such as Francis Coppola. In France the eruption of under-30 culture onto the screens in serious films was dramatic, but it did not solve the crisis of the French industry. And, perhaps most difficult to discuss, the French breakthrough like the American involved subtle problems of style, nar- rative point of view, and filmic conventions gen- COVER:Haskell Wexler shooting in the streets of erally. Where the New Wave mostly escaped the Chicago on Medium Cool. academic methods of the established industry FILM is QUARTERLY published by the University of California Press, Berkeley, California 94720. per copy, $5.00 per year in the U.S., Canada, and Pan-America. Special two-year subscription rate: $8.00. Elsewhere: $2.50 per copy,$1.25 $9.00 per year. Editor: ERNEST Assistant to the GRANA. New CALLENBACH. Editor: MARIGAY York Editors: ROBERT HUGHES and JUDITH Los Angeles Editor: STEPHENFARBER. Paris Editor: GINETTE Editor: SHATNOFF. BILLARD. Rome GIDEON BACHMANN. London Editor: PETER CowIE. Advisory Edi- torial Board: ANDRIES AUGUST FRUGE, HUGH GRAY, ALBERT NEAL DEINUM, JOHNSON, OXENHANDLER, COLIN YOUNC. Copyright 1969 by The Regents of the University of California. Views expressed in signed articles are those of the authors. Indexed in Reader's Guide to Peri. odical Literature, Art Index and Social Sciences and Humanities Index. Published quarterly. Second-class postage paid at California. Printed in U.S.A. Berkeley, 2 EDITOR'SNOTEBOOK through a turn toward very personal, often "sub- For any reader contemplating an intimate rela- jective" cinema, very free and self-conscious in itionship with a computer, several words of its camerawork and editing, American new warning. Aside from their inherent and expected directors are facing another set of problems: the "stupidity," computers also suffer both mechan- relating of "real" footage (and more or less real ical and electronic breakdowns-some of which, people) with dramatic contexts, the difficult despite their advertised image of infallibility, problems of attitude and thought that must be are difficult for their makers to fix. They require solved in confronting the realities of American highly trained programmers to supervise their life. operations, and carefully programmed people to These realities have been touched upon in predigest information for them. The change- some 16mm films for years-as in the under- over period to a computer system takes some ground press, various media freak-outs, rock months; and it is folly to dismantle your old music, and so on. Their confrontation by the system until you have the new one operating 35mm film, however welcome, is the overdue smoothly, even though that means double costs closing of a cultural lag. What the consequences for a sizable period. Caveat emptor! will be, in even the short run, is hard to see. But in this issue, at the risk of a certain amount of CONTRIBUTORS overlap, we return to several films discussed in our last issue; and the articles and reviews in DAN BATESnow lives in Los Angeles.
Load more

Recommended publications
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • Warner/Reprise Loss Leaders Booklet
    THE WARNER BROS. LOSS LEADERS SERIES (1969-1980) Depending On How You Count Them, 34 Essential Various Artist Collections From Another Time We figured it was about time to pull together all of the incredible Warner Bros. Loss Leaders releases dating back to 1969 (and even a little earlier). For those who lived through the era, Warner Bros. Records was winning the sales of an entire generation by signing and supporting some of music’s most uniquely groundbreaking recording artists… during music’s most uniquely groundbreak- ing time. With an appealingly irreverent style (“targeted youth marketing,” it would be called today), WB was making lifelong fans of the kids who entered into the label’s vast catalog of art- ists via the Loss Leaders series—advertised on inner sleeves & brochures, and offering generous selections priced at $1 per LP, $2 for doubles and $3 for their sole 3-LP release, Looney Tunes And Merrie Melodies. And that was including postage. Yes… those were the days, but back then there were very few ways, outside of cut-out bins or a five-finger discount, to score bulk music as cheaply. Warners unashamedly admitted that their inten- tions were to sell more records, by introducing listeners to music they weren’t hearing on their radios, or finding in many of their (still weakly distributed) record stores. And it seemed to work… because the series continued until 1980, and the program issued approximately 34 titles, by our questionable count (detailed in later posts). But, the oldsters among us all fondly remember the multi-paged, gatefold sleeves and inviting artwork/packaging that beckoned from the inner sleeves of our favorite albums, not to mention the assorted rarities, b-sides and oddities that dotted many of the releases.
    [Show full text]
  • Omega Auctions Ltd Catalogue 28 Apr 2020
    Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available.
    [Show full text]
  • The Real Frank Zappa Book Contents
    The Real Frank Zappa Book by Frank Zappa with Peter Occhiogrosso eVersion 3.0 - click for copyright info and scan notes THIS BOOK IS DEDICATED TO GAIL, THE KIDS, STEPHEN HAWKING AND KO-KO. F.Z. August 23, 1988 06:39:37 Contents INTRODUCTION -- Book? What Book? 1 How Weird Am I, Anyway? 2 There Goes the Neighborhood 3 An Alternative to College 4 Are We Having a Good Time Yet? 5 The Log Cabin 6 Send In the Clowns 7 Drool, Britannia 8 All About Music 9 A Chapter for My Dad 10 The One You've Been Waiting For 11 Sticks & Stones 12 America Drinks and Goes Marching 13 All About Schmucks 14 Marriage (as a Dada Concept) 15 "Porn Wars" 16 Church and State 17 Practical Conservatism 18 Failure 19 The Last Word Introduction Book? What Book? I don't want to write a book, but I'm going to do it anyway, because Peter Occhiogrosso is going to help me. He is a writer. He likes books -- he even reads them. I think it is good that books still exist, but they make me sleepy. The way we're going to do it is, Peter will come to California and spend a few weeks recording answers to 'fascinating questions,' then the tapes will be transcribed. Peter will edit them, put them on floppy discs, send them back to me, I will edit them again, and that result will be sent to Ann Patty at Poseidon Press, and she will make it come out to be 'A BOOK.' One of the reasons for doing this is the proliferation of stupid books (in several languages) which purport to be About Me .
    [Show full text]
  • Gonzo Weekly #155
    Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ 3 Dear Friends, Welcome to another issue of this singular periodical. I know that I say it every week, but it never ceases to amaze me how such a tiny band of brothers and sisters, the vast majority of whom are unpaid, manages to put out a full length magazine of such like to once again publicly thank my editorial quality every single week of the year. Before team particularly Doug, John, Corinna and I continue with this week’s musings I would Jessica, although it really goes against the 4 grain to single anyone out of such a hard who read this magazine. Some of you will, working and productive team. no doubt, be shocked by this revelation. DeMille is a fairly gung ho Republican One of my favourite authors is an American whose ethos would seem to be quite far thriller writer called Nelson DeMille who removed from the anarchist ethos of what I may not be familiar to many of the people write for this magazine, and indeed, how I live my life. But he does write cracking stories! Probably my favourite of his books is one called Word of Honour which tells a very interesting and morally intriguing tale. The main protagonist is a wealthy businessman who, at some time during the late 1980s, is on his way to work.
    [Show full text]
  • Complete Film Noir
    COMPLETE FILM NOIR (1940 thru 1965) Page 1 of 18 CONSENSUS FILM NOIR (1940 thru 1959) (1960-1965) dThe idea for a COMPLETE FILM NOIR LIST came to me when I realized that I was “wearing out” a then recently purchased copy of the Film Noir Encyclopedia, 3rd edition. My initial plan was to make just a list of the titles listed in this reference so I could better plan my film noir viewing on AMC (American Movie Classics). Realizing that this plan was going to take some keyboard time, I thought of doing a search on the Internet Movie DataBase (here after referred to as the IMDB). By using the extended search with selected criteria, I could produce a list for importing to a text editor. Since that initial list was compiled almost twenty years ago, I have added additional reference sources, marked titles released on NTSC laserdisc and NTSC Region 1 DVD formats. When a close friend complained about the length of the list as it passed 600 titles, the idea of producing a subset list of CONSENSUS FILM NOIR was born. Several years ago, a DVD producer wrote me as follows: “I'd caution you not to put too much faith in the film noir guides, since it's not as if there's some Film Noir Licensing Board that reviews films and hands out Certificates of Authenticity. The authors of those books are just people, limited by their own knowledge of and access to films for review, so guidebooks on noir are naturally weighted towards the more readily available studio pictures, like Double Indemnity or Kiss Me Deadly or The Big Sleep, since the many low-budget B noirs from indie producers or overseas have mostly fallen into obscurity.” There is truth in what the producer says, but if writers of (film noir) guides haven’t seen the films, what chance does an ordinary enthusiast have.
    [Show full text]
  • The Rondo Hatton Report Vol Ix December 21, 2011
    THE RONDO HATTON REPORT VOL IX DECEMBER 21, 2011 IN THIS ISSUE As the winter solstice marks the end of Zappadan , our ninth edition rolls out a selection of old friends and new prepared to confess all for your celebratory pleasure. Still not enough of you stepping up to the plate , but the intake is broad enough to prove that we're a catholic church . So if you like what you see here -- and even more if you don't -- take some time out over your holy-daze to let us know how it is where you come from. 'Cos that's the way we like it. As always, the texts are supplied as a single pdf file. Those wishing to fondle & fetish a paper version can download and print texts at their leisure; conservers of the carbon footprint can view online. Thanks to all who contributed this time. Content is alphabetic by author . Views are the opinion of the writer and the responsibility of the reader. You is what you am . Anyone wishing to correspond with a contributor may do so through the 'SUBMIT' page, and messages will be duly forwarded. You are encouraged to do so: please let the authors know that you appreciate their efforts - it will make them happy. Hopla! CONTENTS 1. HATS OFF TO DWEEZIL? / Jim BEUGH 2. LINGUA FRANKA PART V / Arjun von CAEMMERER 3. I AM A FRANK ZAPPA FAN / Joe CRAWFORD 4. VINYL HYGIENE DILEMMA / Andy HOLLINDEN 5. WHAM BAM THANK YOU SHAZAM / Simon PRENTIS 6. LARRY TAUGHT ME TO GO MERRY-GO-ROUND / John RILEY 7.
    [Show full text]
  • Gonzo Weekly #170
    Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ 3 the "mature" approach will actually translate as another cut to services or benefits aiming to make those bloody people like me shake themselves down, pick themselves up, and play a straight bat (or some other cricketing metaphor that presently escapes me). But I digress. Or rather, I don't because mental health is one of the more important aspects of this weekend's editorial thingy. Last weekend I carried on my practise of recent weeks and watched a film that I really should have seen a year or so before. This time it was Love and Mercy the Brian Wilson biopic. Now Brian Wilson's career polarises people on all sorts of levels. And this movie continues this habit of polarisation, and this time the subject of the polarisation comes in the contentious form of Dr Eugene Landy. Over to those jolly nice fellows at Wikipedia. Dear Friends, "Eugene Ellsworth "Gene" Landy (November 26, This week our lord and master David Cameron 1934 – March 22, 2006) was an American became the first Prime Minister in history to psychologist and psychotherapist best known for his address mental health in a public speech. Alongside unconventional 24-hour therapy as well as ethical an almost £1billion investment in mental health violations concerning his treatment of Beach Boys services across the UK, he also claimed that he co-founder Brian Wilson in the 1980s.
    [Show full text]
  • Frank Zappa's Legacy: Just Another Hoover? L’Héritage De Frank Zappa : Juste Un Autre « Hoover »? Ben Watson
    Document généré le 26 sept. 2021 16:13 Circuit Musiques contemporaines Frank Zappa's Legacy: Just Another Hoover? L’héritage de Frank Zappa : juste un autre « Hoover »? Ben Watson Frank Zappa : 10 ans après Résumé de l'article Volume 14, numéro 3, 2004 Dans ce texte, Ben Watson révèle un fait en apparence anodin : lorsque Zappa référait à son « oeuvre », vers la fin de sa vie, en utilisant le mot français, il le URI : https://id.erudit.org/iderudit/902325ar prononçait comme le mot anglais Hoover, qui est le nom de l’une des marques DOI : https://doi.org/10.7202/902325ar d’aspirateurs les plus connues dans le monde. Watson choisit, en utilisant un procédé parfaitement en phase avec le dédain dadaïste que Zappa affichait Aller au sommaire du numéro pour les valeurs culturelles, de transformer cette homophonie en prémisse à son essai : l’oeuvre de Zappa est, en effet, un « Hoover ». La critique académique s’entend aujourd’hui pour faire l’éloge de Zappa en tant que compositeur, mais en laissant de côté l’angle critique de son travail. En fait, ce Éditeur(s) qui rendait Zappa particulier, c’était précisément le fait qu’il reconnaissait que Les Presses de l'Université de Montréal la mise en marché et l’industrie du legs, appliquées au concept de génie, répriment le désire et annihilent la musique. En utilisant des concepts littéraires et psychoanalytiques, l’algèbre zappologique de Watson arrive à ISSN l’équation suivante : Stéphane Mallarmé + Wilhelm Reich = Frank Zappa. Après 1183-1693 (imprimé) une étude approfondie de la récurrence du motif « Hoover » dans l’oeuvre de 1488-9692 (numérique) Zappa, l’auteur examine l’héritage du compositeur, qu’il remarque particulièrement dans le travail de Project/Object, des Muffin Men, de Matt Découvrir la revue Groening avec la série télévisée The Simpsons et du trio formé des improvisateurs Eugene Chadbourne, Jimmy Carl Black et Pat Thomas.
    [Show full text]
  • CLINE-DISSERTATION.Pdf (2.391Mb)
    Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright.
    [Show full text]
  • Table of Contents
    Table of Contents Frank Zappa/Mothers Of Invention Singles 23 How Could I Be Such A Fool? I Help, I'm A Rock, Third Movement: It Can't Happen Here 23 How Could I Be Such A Fool? I It Can't Happen Here 29 Trouble Comin' Every Day / Who Are The Brain Police? 31 Who Are The Brain Police? I Trouble Comin' Every Day 34 Big Leg Emma I Why Don't You Do Me Right? 36 Son Of Suzy Creamcheese I Big Leg Emma 46 Lonely Little Girl I Mother People 48 Motherly Love /1 Ain't Got No Heart 51 Ruben And The Jets: Deseri / Jelly Roll Gum Drop 52 Anyway The Wind Blows I Jelly Roll Gum Drop - USA Promo 56 My Guitar I Dog Breath 57 My Guitar Wants To Kill Your Mama / The Orange County Lumber Truck - Venezuela Promo 64 Peaches En Regalia / Peaches En Regalia - USA Picture Sleeve Only 64 WPLJ / My Guitar 65 Tell Me You Love Me / Will You Go All The Way For The U.S.A.? 68 Mi Guitarra (Quiere Matar A Tu Mama) / Desde Mi Corazon Hacia Ti 69 Tears Began To Fall [Mono] / Tears Began To Fall [Stereo] 71 Tears Began To Fall / Junier Mintz Boogie 72 Tears Began To Fall / Happy Together - France 83 Magic Fingers I Magic Fingers - USA Promo 85 Magic Fingers I Daddy, Daddy, Daddy 86 Daddy, Daddy, Daddy I Magic Fingers 88 What Will This Evening Bring Me This Morning?I Daddy, Daddy, Daddy 90 Cletus Awreetus-Awrightus [Stereo] / Cletus Awreetus-Awrightus [Mono] - USA Promo 93 Cletus Awreetus-Awrightus / Eat That Question 94 I'm The Slime / Montana 96 Cosmik Debris I Uncle Remus 101 Don't Eat The Yellow Snow [Stereo] I Don't Eat The Yellow Snow [Mono] Promo 103 Don't Eat The Yellow Snow I Cosmik Debris 104 Don't Eat The Yellow Snow / Camarillo Brillo 106 Du Bist Mein Sofa / Stinkfoot 107 Find Her Finer [Stereo] I Find Her Finer [Mono] - USA Promo 108 Find Her Finer I Zoot Allures - USA 109 Disco Boy [Stereo] I Disco Boy [Mono] - USA Promo 110 Disco Boy I Ms.
    [Show full text]
  • The Beast of Yucca Flats
    Apocalypse Later Books by Hal C F Astell Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Filmography Series Velvet Glove Cast in Iron: The Films of Tura Satana Festival Series The International Horror & Sci-Fi Film Festival 2012 Apocalypse Later Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Apocalypse Later Press Phoenix, AZ Apocalypse Later Cinematic Hell Series Huh? An A-Z of Why Classic American Bad Movies Were Made ISBN-10: 0989461300 ISBN-13: 978-0-9894613-0-6 Apocalypse Later Press catalogue number: ALP001 Reviews by Hal C F Astell These reviews originally appeared, albeit in evolutionary form, at Apocalypse Later http://www.apocalypselaterfilm.com They evolved out of a series of reviews I wrote for Cinema Head Cheese http://cinemaheadcheese.blogspot.com Front cover art by Eric Schock http://www.evilrobo.com All posters and videocassette covers reproduced here are believed to be owned by the studios, producers or distributors of their associated films, or the graphic artists or photographers who originally created them. They are used here in reduced, black and white form in accordance with fair use or dealing laws. Published through CreateSpace https://www.createspace.com Typeset in Gentium http://scripts.sil.org/FontDownloadsGentium Licensed through Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) http://creativecommons.org/licenses/by-nc-sa/3.0/ Dedication This book is dedicated to three ladies and three gentlemen, all of whom had a hand in its evolution, however inadvertently. Pam Astell, you’ve put up with me longer than anyone else and, in doing so, taught me to read, to write and to think.
    [Show full text]