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Thursday, Feb 28, 2008
by PopMatters Staff

Hysterics
Radical Chic [MP3]
     


Mostly Untitled [MP3]
     


Chatham County Line
Birmingham Jail [MP3] (from IV releasing 4 March)
     


Great Northern
Telling Lies [MP3] (from Sleepie Eepie EP releasing 18 March)
     


The Photon Band
Thinkin’ Boutchoo [MP3]
     


American Music Club
All Lost Souls Welcome You to San Francisco [MP3]
     


The Ruby Suns
Tane Mahuta [Video]


Beach House
Heart of Chambers [Video]



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Thursday, Feb 28, 2008

Naughty, naughty but are you really surprised?  I mean, they started the lawsuits on the artists’ behaves so why should they share in on the money they’ve squeezed outta people?  See this NY Post story for more details.


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Wednesday, Feb 27, 2008

In celebration of the upcoming Gasparilla Film Festival in Tampa, FL, and the 1 March screening of Herschell Gordon Lewis and David F. Friedman’s Blood Feast (complete with an appearance by the exploitation gods) SE&L will focus on the movies made by these two living legends. Today, a brief overview of their individual creative canon.


After their profitable partnership dissolved, after their once amicable relationship started to fray (in part thanks to lawsuits, misunderstanding, and miscommunication), director Herschell Gordon Lewis and producer David F. Friedman were desperate to prove they could go it alone. Both knew that the exploitation game was still the most important genre in all of cinema. It was where the medium was truly testing the limits of its aesthetic. It was also where the easy money was. A little gore, some T&A, and a fine living could be made. Before coming back together to make Blood Feast 2 in 2001, both men made several sensational pictures. Unfortunately, when the time comes to write their bios, the same THREE films take front and center.


Yet there are many amazing movies as part of this duo’s individual oeuvres that get unfairly overlooked. While few have had the impact of Blood Feast, Two Thousand Maniacs, and Color Me Blood Red, they definitely deserve an equal amount of attention (and in the case of Color, much more so). Consider this list as a beginner’s guide so to speak, a starting off point for a further perusal of the considered works of two exploitation giants. While they are not the only names among the founding members of the genre, Herschell Gordon Lewis and David F. Friedman are truly artists among the raincoat rabble. Our overview starts from the production end of things:


From David F. Friedman



The Defilers 1965


The first true “roughie”, an exploitation subgenre that focused on violence as much as sex, this craven bit of carnality remains Friedman’s confirmation he could hack it without Lewis. Two spoiled men kidnap a gal and make her their perverted plaything. Unrelenting in its brutality and corporeal cruelty.



A Smell of Honey, A Swallow of Brine 1966


Friedman discovery Stacey Walker is the only reason to watch this otherwise routine ‘bad girl gets her eventual comeuppance’ drama. She primps and preens across the black and white screen, her Baby Doll like innocence swamped in gallons of sleazoid slime. Everything else is by the book and routine.



She Freak 1967


Using his status as an actual carnival owner to reimagine Tod Browning’s Freaks, Friedman digs up a deliciously seamy look at love and betrayal on the Midway. Much of the story stays the same, but with late ‘60s sexuality taking over, we get a healthy dose of dementia.



The Erotic Adventures of Zorro 1972


There’s much more than swashbuckling in this scandalous take on the Hispanic hero. Featuring the unflappable Bob Cresse as a corrupt officer, and a bevy of California beauties, this is the kind of softcore sex spoof that Friedman fell into late in his career. It stands as one of his best.



Johnny Firecloud 1975


In light of the success of Tom Laughlin’s Billy Jack character, Friedman found his own way to celebrate growing Native American awareness. The result was this action packed tale of bigotry, bravery, and the most irredeemable white people ever. Jack may have started the war, but this amazing artifact ended it.


From Herschell Gordon Lewis



Blast Off Girls 1967


Like A Hard Day’s Night gone gangrenous, Lewis lifts the lid off of rock and roll corruption and finds a talentless bunch of wannabe musicians and a cameo by Colonel Harlan Sanders? Let’s face it - any film with a character named Boogie Baker (who everyone pronounces “boo-gee”) has more moxie than most.



The Gore Gore Girls 1972


Strippers are being slaughtered and it’s up to a fey private dick to figure out whodunit. Featuring classic moments including the ground hamburger butt (complete with salt and pepper), the plain and chocolate milk giving nipples, and gratuitous Henny Youngman. It’s enough to make you scream…with deranged delight!



The Gruesome Twosome 1967


The local wig shop needs inventory, and guess who supplies the samples? Why, it’s the girls from the nearby college campus. Another in Lewis’ hilarious string of gore comedies, this one note nasty is far funnier than frightening. Even the blood is a little less festive than before.



How to Make a Doll 1968


Hoping to trade on the growing promiscuity of the sexual revolution, the Godfather of Gore decided to go robot. When a nerdy scientist realizes he’ll never get a real girl, he decides to build one. The results are like an outtake from Rowan and Martin’s Laugh-In…only crazier.



Jimmy the Boy Wonder 1966


A rare non-exploitation spin for Lewis, this heartwarming family film has a horrid child actor in the lead, the producer’s wife as the singing female star, and enough sloppy psychedelic missteps to give the wee ones nightmares. The story centers on a boy who can stop time. He should have halted it before production began.



Just For the Hell of It 1968


Juvenile delinquents run ramshackle over a small Florida town, wrecking all kinds of ‘baby into garbage can’ havoc along the way. Really nothing more than a series of smash and grab set pieces supplemented by droning dialogue about all things antisocial, this stands as one of Lewis’ most unhinged efforts.



She-Devils on Wheels 1968


Female biker babes, riding hard and partying harder - that’s the premise to one of the ‘60s greatest grindhouse classics. The scene where the gals pick over the male members for their evening’s pleasure is a glorious goof on the long running battle of the sexes. In fact the whole narrative is one long feminism/chauvinism chopper tirade.



Something Weird 1967


Hoping to do something with LSD and ESP, Lewis lumbered into a crackpot combination of witchcraft, psychics, and supernatural possession. Toss in some acid, and the title speaks for itself. It stands as a benchmark in the director’s solo work, an ‘anything for a dollar’ drive that saw him finally returning to terror. 



The Wizard of Gore 1970


Montag is a magician whose splatter show acts somehow come to life hours after the performance. Unlike his later horror comedies, Lewis takes this material very seriously, and the resulting grue is quite disturbing. While Ray Sager’s sprayed gray hair is rather unconvincing, the rest of the film is unrelenting in its desire to disturb.



Year of the Yahoo 1972


An election time favorite, this outsider view of the political process is as vital today as it was 35 years ago, perhaps even more so. A country bumpkin singer is tricked into running for the Senate by a group of corrupt campaign chiefs. Oddly enough, his rube hick humility strikes a chord with the public.


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Wednesday, Feb 27, 2008
by PopMatters Staff

The Red Stick Ramblers
Made in the Shade [Video]


Here’s to Made in the Shade, a foot-tappin’, energetic standout by the Red Stick Ramblers. Midway through the opening title track, lead vocalist Linzay Young confirms what you already know—you are in a place where Texas swing, Cajun music, and N’awlins jazz mix and mingle (“it comes from Opelousas / and it’s made in the shade”). When he adds that “chances are / my back pocket’s got a little thirst aid”, you have no doubt that beverage is white lightnin’. The Red Stick Ramblers offer you a drink and tug you onto the dance floor.—Mark W. Adams


Nick Lowe
I Love My Label [MP3]
     


Panther
Violence, Diamonds [MP3]
     


On the Lam (Copy remix) [MP3]
     


Astrid Williamson
I Am the Boy for You [MP3]
     


Apes
Beat of the Double [MP3]
     


The Teenagers
Starlett Johansson [MP3]
     



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Wednesday, Feb 27, 2008

Not necessarily following the lead of the New York Philharmonic, EC’s management said that he has no plans to play in North Korea.  And so the isolation debate continues, just as it does with Cuba and Iran.  But is music really the answer to softening relations and bringing ‘rogue’ nations in line with American foreign policy (which itself is many times suspect)?


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