Coming across visually as a prototype Nancy Sinatra about to enter The Valley Of The Dolls, Lynn Castle in the 1960s was an entrancing and beguiling entity. Her debut album finally appears a few years shy of her turning eighty, and it is a tremendous affair, an index of splendid and unrealized possibilities, as stark as it is haunting.
Vocally she sounds like a female Leonard Cohen who's been listening to too much Nina Simone, whose smoke-laced croak she frequently echoes. Her look though uber-girlie doesn't match her sound, and simply serves to enhance the appeal of her beauty and big, big hair. Think Warhol's Candy Darling doing an arch Barbie doll look and you are nearly there. Add Jackie O shades and you have quite simply arrived. Her sole single 'The Lady Barber' is a wonderful piece of
The film explores relationships, in the post modern mode of Woody Allen, plus has amazing song breaks in the style of Motown, Punk, The Beatles and even “Grease” (if Grease would have had a song called “F**king Love”). The cinematic freedom of Jude Klassen’s director influence is woven throughout the work, as she portrays a rocker Mom named Dani, who is raising a Hunger-Games-loving-environmentally-conscious 12 year-old named Kat (Mika Kay, in a memorable performance).
Dani’s relationship with Sid (T.C. Folkpunk) is complicated, and gets in the way of
1) Save Your Legs
There are a couple of pretty fail-safe ways to stop a conversation dead in its tracks, but one of the best is to try and convince someone that they need to go and see an Australian movie. If that Australian movie happened to be about a cricket team, it wouldn't be out of the question to suggest that your co-conversationalist might just turn and walk at pace. Which brings us to Save Your Legs, surely one of the least-loved Australian films of recent times and with no good reason; this film is actually half-decent.
It's quite admirable that an Australian filmmaker would multiply their odds of failure by making a film like this one. We're often told that cricket is the sport with the richest and most voluminous literary canon,
In the video (shown above), the 26-year-old singer prances around flower fields and dances with her long-haired pal for a very '60s effect. The man in the video is Del Rey's real-life boyfriend, Barrie-James O'Neill, a singer for the band Kassidy.
Written by Lee Hazlewood, "Summer Wine" was recorded by Sinatra in 1967, nabbing a feature spot on Sinatra's collaboration with Hazlewood, 1968's "Nancy & Lee" Ep. Del Rey has compared herself to Frank Sinatra's daughter in the past, calling herself a “gangster Nancy Sinatra” in 2010.
Del Rey has taken an old-school sound as of late, also recording a song for the upcoming "Great Gatsby" soundtrack. The singer's track for the film, "Young and Beautiful," was featured on a recent teaser for the soundtrack.
The 23-year-old has announced she is expecting a little boy again just seven months after she gave birth to first son Astala in April this year, reports contactmusic.com.
The mum-to-be, who married rocker Thomas Cohen in September this year, has revealed she is planning to name the tot Phaedra, reports contactmusic.com.
She tells Britain's Hello! Magazine: "It's a name that comes from an ancient Greek play but it also features in a song Tom and I both love called Some Velvet Morning by Lee Hazlewood. Finding out I was pregnant again so soon.
After three seasons and 21 episodes of foul-mouthed, painfully funny and obnoxious comedy, on Thursday we will bid a final fond farewell to Kenny Powers. Powers is a fearsome comedy construct: a man whose natural pitching talent had taken him to baseball's big leagues, a sport where being overweight with a never-fashionable mullet hairdo is no handicap. His hair-trigger temper, lack of a work ethic and almost supernatural level of self-obsession and ego had seen him tumble from such lofty heights. Eastbound & Down hasfollowed his journey back to the top.
But this hasn't been your standard tale of redemption: Powers never accepted responsibility for any of his actions, was never humbled and never learned a thing thanks to his impregnable force-field of arrogance and denial. For Kenny, it's his world, and the rest of
On April 3rd, Twentieth Century Fox Home Entertainment releases the rather impressive "The Frank Sinatra Film Collection" on DVD.
Films include Stanley Kramer's "The Pride and the Passion" co-starring Cary Grant and Sophia Loren, "Kings Go Forth" with Tony Curtis and Natalie Wood, Frank Capra's "A Hole in the Head," "Can-Can," featuring Shirley MacLaine, John Frankenheimer's classic "The Manchurian Candidate," "Von Ryan’s Express," "Cast a Giant Shadow" starring Kirk Douglas, Yul Brynner and John Wayne among others, "Tony Rome" (featuring a score by Lee Hazlewood), its sequel, "Lady in Cement" co-starring Raquel Welch, and "The Detective."
The 10-title collection spans 11 years
Fat Possum Records is set to drop a nice two-disc soundtrack to the series, featuring a handful of songs played through the show's twenty-one episodes. No surprise, this one is heavy on the rock 'n roll with tracks from folks like The Black Keys, The Stooges, MC5, The Animals, Ram Jam and more. There is a bit of country lovin' with Kenny Rogers and Lee Hazelwood, some hip hop with Too Short and 'Lil Wyte and even an obscure R&B tune by Brenton Wood.
Finer retails will carry the collection on April 24th. Full tracklist below. [Prefix]
"Eastbound & Down" Soundtrack Tracklist
Battle for Brooklyn is a documentary co-directed by Michael Galinsky and Suki Hawley that chronicles the long 7-year struggle of local residents against the proposed development of a basketball stadium and 16 skyscrapers in downtown Brooklyn planned by the company Forest City Ratner. The aggressive building plans meant the displacement of nearly 1,000 local residents.
Bad Lit: The Journal of Underground Film reviewed the documentary just previous to its release, saying
The film chronicles the intense fight over the controversial Atlantic Yards project being built in downtown Brooklyn. Multi-million dollar development company Forest City Ratner and local politicians propose a new basketball stadium and 16 surrounding skyscrapers to be built, but in order to do so they must kick out almost a thousand local residents and business owners, several of whom do not plan to leave without a fight.
Opening at the height of Hollywood’s summer blockbuster season, Battle for Brooklyn is an equally epic, cinematic tour de force and this year’s must-see political thriller.
And, of course, since Battle for Brooklyn is a documentary, it’s all true.
Filmmaking duo Michael Galinsky and Suki Hawley are no strangers to the political documentary game having previously directed the strange, sad fate of George W. Bush biographer J.H. Hatfield in the film Horns and Halos, which was reviewed on Bad Lit: The Journal of Underground Film back in 2002.
That’s a long time between films, but the directors know how to really get involved with their subjects. Battle for Brooklyn has been seven years in the making, mostly because the battle that they chronicle — over Brooklyn’s controversial Atlantic Yards development project — has been an epic one in the real world.
While it would be a little outlandish to say that John Barry lived a James Bond lifestyle, it wasn't hard to imagine him in the world of The Persuaders, driving an open-top E-type to the south of France, immaculately turned out, eloping with the au pair. He was, more than many familiar faces, a movie star.
The theme from The Persuaders was – ignoring the James Bond theme, which existed like air – my introduction to the John Barry sound. The opening notes of its electric harpsichord matched high-contrast screen images of Tony Curtis and Roger Moore and created great excitement. It was the soundtrack to many Sunday lunchtimes in the early-70s.
Theme from the Persuaders on the CBS label was one of the first records I owned,
The occasion for this short doc about Lee Hazlewood was a re-release screening of the 1973 documentary Nancy & Lee in Las Vegas at the Anthology Film Archives sometime in the late ’90s. Hazlewood, who helped edit the ’73 film, and the film’s director, Torbjörn Axelman, were at the Archives’ screening where Hawley and Galinsky sat them down to discuss the making of it.
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