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by Bill Gibron

17 Mar 2010

He won’t be remembered well. His name and face won’t be part of the 2011 Oscar “In Memoriam” celebration of famous film personalities past. For many, he will always be the consummate motion picture rogue, an ex-ad man turned self-taught director who created two of the ‘70s most shocking drive-in experiences - 1972’s The Legend of Boggy Creek and 1977’s The Town that Dreaded Sundown. The former focused on a Bigfoot-like creature that supposedly stalked the population of Fouke, Arkansas since the 1950s. The latter was an Unsolved Mysteries style exposé of “the Phantom Killer”. Together, they gave Charles B. Pierce a foothold in the final phases of exploitation, the moments before schlock became softcore - and then went totally XXX.

Pierce is the perfect Tinseltown afterthought, a man driven by the dollar to make the kind of product he thought would line them up outside the local Bijou. If he had greater artistic aspirations, his mediocre returns almost always usurped them. He got his start in film as a set decorator, working on such noted offerings as The Phantom Tollbooth, Dirty Dingus Magee, and Roger Vadim’s first American movie Pretty Maids All in a Row. All throughout his time behind the lens, he would return to said craft, contributing to blaxsploitation gems like Coffy and big budget releases like The Outlaw Josie Wales and The Cheap Detective. Wanting to test the talent waters outside of his role as part of the ancillary crew, he found backing for his attempted epic, The Legend of Boggy Creek. The rest, as they say, is cheddar cheese history.

by Rob Horning

17 Mar 2010

Keeping the hipster theme going, here are my responses to questions put to me by Heba Hasan, a journalism student from Northwestern University. (It proves my point that everyone believes they are entitled to an opinion about hipsterism, especially me):

1. With everyone denying the fact that they themselves are hipsters, is anyone really a hipster?
The hipster is always the other, someone else who is making you question the legitimacy or impressiveness or timeliness of what you are doing. We see somebody else doing something that is obviously a ploy for a certain kind of recognition through a clever take on consumption, and it makes us feel self-conscious and inadequate. Then we want to lash out.

by C.E. McAuley

17 Mar 2010

Even the greatest aficionados among us suffer from it from time to time – and that’s superhero fatigue. Even superheroes themselves get tired of being superheroes. It happens.

by Sarah Zupko

17 Mar 2010

The Breakestra just released this funky live video of them sampling tunes by the Meters, Eugene McDaniels, and Quincy Jones. Catch the band live this week at SXSW on Friday, March 19th @ Karma Lounge (119 West 8th Street, Austin), where you’ll be treated to smokin’ versions of songs from their latest album Dusk Til Dawn.

by Sarah Zupko

17 Mar 2010

Dominic Umile said of Nosaj Thing in a Now Hear This profile last year, “Nosaj Thing’s music is mysterious and provocative, bringing a rumbling intensity and highly individual style to both remixes and his own work.” Alan Ranta heaped on the praise, calling 2009’s Drift “a fabulous introduction to a burgeoning beat-making talent, one of the finest since edIT’s Crying Over Pros For No Reason”. Back in February, the electronic music maestro performed an improv DJ set for KEXP.

//Mixed media

NYFF 2017: 'Mudbound'

// Notes from the Road

"Dee Rees’ churning and melodramatic epic follows two families in 1940s Mississippi, one black and one white, and the wars they fight abroad and at home.

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