“Nightclubbing,” the first-ever documentary about the legendary New York City nightclub Max’s Kansas City, which from 1965 through 1981 was a hotbed for the city’s rock, glam, punk and new wave scenes, has announced a series of screenings across the globe in July and August.
The film — the full title of which is “Nightclubbing: The Birth of Punk Rock in NYC” — will screen along with another doc from Chip Baker Films, “Sid: The Final Curtain,” which is a brief documentary about the late Sex Pistols bassist Sid Vicious’ final concert, which took place at Max’s.
“Nightclubbing” is the sixth music documentary from Spanish filmmaker Danny Garcia (others include “The Rise and Fall of The Clash” and “Rolling Stone: The Life and Death of Brian Jones” about the group’s founder and original leader). It premiered at the Dock of the Bay Film Festival in San Sebastián, Spain last month...
The film — the full title of which is “Nightclubbing: The Birth of Punk Rock in NYC” — will screen along with another doc from Chip Baker Films, “Sid: The Final Curtain,” which is a brief documentary about the late Sex Pistols bassist Sid Vicious’ final concert, which took place at Max’s.
“Nightclubbing” is the sixth music documentary from Spanish filmmaker Danny Garcia (others include “The Rise and Fall of The Clash” and “Rolling Stone: The Life and Death of Brian Jones” about the group’s founder and original leader). It premiered at the Dock of the Bay Film Festival in San Sebastián, Spain last month...
- 6/22/2022
- by Jem Aswad
- Variety Film + TV
Every Monday my Facebook feed is filled with people kvetching about Vinyl, the new HBO series created by Martin Scorsese, Mick Jagger and Terence Winters. Every criticism I see is valid (the pace is slow, the characters and the situations in which they find themselves are unbelievable), but I still kind of like it.
If you haven’t watched, you should know that Vinyl is about a record company struggling through the changes in music and culture in the early mid-1970s. I moved to New York full time a few years later, so perhaps some of the reason I like it is that it reminds me of my lost youth.
Bobby Cannavale plays Richie Finestra, the head of the company, a drug addict with no moral code (is that redundant?) who uses people in his pursuit of money and more drugs. We are supposed to believe that his love...
If you haven’t watched, you should know that Vinyl is about a record company struggling through the changes in music and culture in the early mid-1970s. I moved to New York full time a few years later, so perhaps some of the reason I like it is that it reminds me of my lost youth.
Bobby Cannavale plays Richie Finestra, the head of the company, a drug addict with no moral code (is that redundant?) who uses people in his pursuit of money and more drugs. We are supposed to believe that his love...
- 4/1/2016
- by Martha Thomases
- Comicmix.com
(Charles Pinion‘s Killbillies, which you’ll discover all about below, is one of the great unfinished underground movies. It’s complex, uncompleted production involved a multitude of talents, not least of which was Joey Ramone whose involvement got a write-up in the infamous Page Six gossip column. The scan of that article that you see here was provided to the Underground Film Journal by Killbillies co-producer and actress Marina Lutz. But, this is Charles’s story… and his on-set pictures. Click the article and all pictures to embiggen.)
Underground Film Journal: Ok, so Madball is done and you’re moving into another film project, Killbillies? What’s the story behind that?
Charles Pinion: Killbillies‘ basic notion came from my friend George Cavano, an artist/musician in Gainesville, Florida. (His piece, “A Violent Release of a Large Body of Water” plays over the opening titles of Red Spirit Lake.
Underground Film Journal: Ok, so Madball is done and you’re moving into another film project, Killbillies? What’s the story behind that?
Charles Pinion: Killbillies‘ basic notion came from my friend George Cavano, an artist/musician in Gainesville, Florida. (His piece, “A Violent Release of a Large Body of Water” plays over the opening titles of Red Spirit Lake.
- 5/9/2014
- by Mike Everleth
- Underground Film Journal
When Brooklyn Nine Nine won the Golden Globe for best television comedy on Sunday, my first thought was, “That’s the end of that.”
I mean, I love the show. I thought the episode that came after the Globes on Tuesday was really funny (although I don’t want to see any romances develop within the department. None. At All. Ever.).
But now I know that other people like it. It’s not cool anymore.
You may ask yourself, “Why does a woman who is 60 years old care about what is cool?” And you would be right. I have long held the belief that no one can be cool once he or she has children (exception that proves the rule: David Bowie). My colleague, Mike Gold, disagrees, telling me that his daughter’s friends think he is. I suspect they do think he’s cool – for a parent.
There is...
I mean, I love the show. I thought the episode that came after the Globes on Tuesday was really funny (although I don’t want to see any romances develop within the department. None. At All. Ever.).
But now I know that other people like it. It’s not cool anymore.
You may ask yourself, “Why does a woman who is 60 years old care about what is cool?” And you would be right. I have long held the belief that no one can be cool once he or she has children (exception that proves the rule: David Bowie). My colleague, Mike Gold, disagrees, telling me that his daughter’s friends think he is. I suspect they do think he’s cool – for a parent.
There is...
- 1/17/2014
- by Martha Thomases
- Comicmix.com
Cbgb begins with a bit of misdirection. You think punk started at 315 Bowery. You’re wrong. It began in a basement in Connecticut with two ne’er-do-wells, John Holmstrom and Legs McNeil. There, according to the film—a mostly turgid, boring-as-hell, campy slog that gets more wrong than right—the two created Punk magazine, and thusly punk. Never mind that you can’t have a zine that covers punk if punk doesn’t already exist, or that McNeil’s contention that he coined the term has long been disputed. Cbgb treats his claim as gospel. It’s the film’s lede. From there, we’re off to the wrongheaded races. Cut to: a baby jumping from its crib and running for miles through a Hightstown, New Je...
- 10/7/2013
- Village Voice
In a few days, I’ll be in California. Not in San Diego, but in California. I’ll get the good weather without the mobs.
It is the habit of old farts (check out our editor-in-chief’s tirade in this space next Wednesday morning) such as myself to complain about the San Diego Comic Convention. It’s too big. It’s not about comics anymore. Nobody kisses my ass anymore. I don’t have an expense account. (Those last two might be unique to me.)
My major philosophical objection is that a fine, non-profit educational organization has been completely co-opted by Hollywood. True, comic book companies used the occasion of the convention to promote their books, but the convention was at least about comics. Now, it’s a stop on the promotional train for television, movies and video games, complete with red carpets and stylists.
And, apparently, rock bands. Metallica...
It is the habit of old farts (check out our editor-in-chief’s tirade in this space next Wednesday morning) such as myself to complain about the San Diego Comic Convention. It’s too big. It’s not about comics anymore. Nobody kisses my ass anymore. I don’t have an expense account. (Those last two might be unique to me.)
My major philosophical objection is that a fine, non-profit educational organization has been completely co-opted by Hollywood. True, comic book companies used the occasion of the convention to promote their books, but the convention was at least about comics. Now, it’s a stop on the promotional train for television, movies and video games, complete with red carpets and stylists.
And, apparently, rock bands. Metallica...
- 7/12/2013
- by Martha Thomases
- Comicmix.com
Like many old people, New Year’s Eve makes me remember earlier times. When I was young. When I knew who the new bands were. When I was cool. Once one has children, one is never cool again.
There was a period of time in the mid-1970s when I dropped out of college and went to work for an antiwar magazine. We had a barter arrangement with lots of underground newspapers and magazines, so I got to read Creem magazine, and from that and the Village Voice, I knew who all the cool bands were and where to see them in New York.
When I decided to go back to college for my degree, I kept up subscriptions to Creem and the Voice, and it was from these that I discovered Punk.
Not the music, although also the music. No, I mean Punk, a magazine that combined my two greatest passions,...
There was a period of time in the mid-1970s when I dropped out of college and went to work for an antiwar magazine. We had a barter arrangement with lots of underground newspapers and magazines, so I got to read Creem magazine, and from that and the Village Voice, I knew who all the cool bands were and where to see them in New York.
When I decided to go back to college for my degree, I kept up subscriptions to Creem and the Voice, and it was from these that I discovered Punk.
Not the music, although also the music. No, I mean Punk, a magazine that combined my two greatest passions,...
- 12/28/2012
- by Martha Thomases
- Comicmix.com
Cbgb
Director: Randall Miller
Writer: Miller and Jody Savin
Cast: Malin Akerman, Alan Rickman, Stana Katic, Rupert Grint, Joel David Moore, Ryan Hurst, Josh Zuckerman, Estelle Harris, Julian Acosta, Richard de Klerk, Mickey Sumner, Arthur Bridgers and John Holmstrom
Crew: Dp: Mike Ozier. Editor: Dan O’Brien. Production Designer: Craig Stearns
Producers: Miller, Savin and Brad Rosenberger
Filming in Los Angeles...
Director: Randall Miller
Writer: Miller and Jody Savin
Cast: Malin Akerman, Alan Rickman, Stana Katic, Rupert Grint, Joel David Moore, Ryan Hurst, Josh Zuckerman, Estelle Harris, Julian Acosta, Richard de Klerk, Mickey Sumner, Arthur Bridgers and John Holmstrom
Crew: Dp: Mike Ozier. Editor: Dan O’Brien. Production Designer: Craig Stearns
Producers: Miller, Savin and Brad Rosenberger
Filming in Los Angeles...
- 9/1/2012
- by admin
- IONCINEMA.com
More stars are joining Randall Miller and Jody Savin’s biopic of iconic New York music venue "Cbgb" alongside the already cast Alan Rickman as club-owner Hilly Kristal and Rupert Grint as Dead Boys guitarist Cheetah Chrome.
THR reports that "Rock of Ages" and "Watchmen" actress Malin Akerman is set to play the one and only Deborah Harry from Blondie, while Joel David Moore and Julian Acosta are locked as Joey and Johnny Ramone respectively.
Joining them are "Castle" actress Stana Katic as Goldie & the Gingerbreads singer Genya Ravan, Richard De Klerk as Cbgb soundman Taxi, Josh Zuckerman as Punk magazine creator John Holmstrom, Ryan Hurst as 'Mad Mountain', and Estelle Harris as Hilly’s mother Bertha.
Shooting kicks off this time next month in Savannah before moving to New York City.
THR reports that "Rock of Ages" and "Watchmen" actress Malin Akerman is set to play the one and only Deborah Harry from Blondie, while Joel David Moore and Julian Acosta are locked as Joey and Johnny Ramone respectively.
Joining them are "Castle" actress Stana Katic as Goldie & the Gingerbreads singer Genya Ravan, Richard De Klerk as Cbgb soundman Taxi, Josh Zuckerman as Punk magazine creator John Holmstrom, Ryan Hurst as 'Mad Mountain', and Estelle Harris as Hilly’s mother Bertha.
Shooting kicks off this time next month in Savannah before moving to New York City.
- 5/28/2012
- by Garth Franklin
- Dark Horizons
Richard Hell and Debbie Harry, Seventeenth Street, New York City. Photograph by Chris Stein, with graphics by John Holmstrom, “The Legend of Nick Detroit” Punk magazine, no. 6 (October 1976) © Chris Stein. Gail Buckland is a photographer first and a music-lover second, which makes her the perfect person to create Who Shot Rock & Roll, the dazzling new book and photo exhibition opening on October 30 at the Brooklyn Museum. In the introduction to the book, published today by Knopf, Buckland writes perceptively about how rock ’n’ roll images, many taken by photographers we’ve never heard of, “changed the world and how we see and experience it.” Hey, that’s true! But not every image is a modern-day Mona Lisa, so familiar that you can barely see it through the accompanying haze of formative memories and wistful associations. Click through for eight shots from the book that illustrate Buckland’s other main thesis,...
- 10/22/2009
- Vanity Fair
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