Luigi Caiola, who co-founded the Broadway production and investment company Caiola Productions with his sister Rose and participated in the development of more than 50 shows, died November 26 at his home in Miami. He was 64.
His death was announced by his family. A cause has not been determined.
A managing member of B&l Management LLC, a New York City real estate development company founded by his father Benny Caiola in 1974, Luigi Caiola, along with sister Rose Caiola, launched Caiola Productions in 2011 out of their shared passion for the theater. The entity has been involved in dozens of Broadway shows, including Tony Award winners Dear Evan Hansen, The Color Purple, Once on This Island, Company, All the Way, Who’s Afraid of Virginia Woolf? and the recent revival of Parade.
Born on September 15, 1959, Caiola was a fervent activist for the LGBTQ+ community. Having survived New York’s devastating AIDS crisis of the 1980s and ’90s,...
His death was announced by his family. A cause has not been determined.
A managing member of B&l Management LLC, a New York City real estate development company founded by his father Benny Caiola in 1974, Luigi Caiola, along with sister Rose Caiola, launched Caiola Productions in 2011 out of their shared passion for the theater. The entity has been involved in dozens of Broadway shows, including Tony Award winners Dear Evan Hansen, The Color Purple, Once on This Island, Company, All the Way, Who’s Afraid of Virginia Woolf? and the recent revival of Parade.
Born on September 15, 1959, Caiola was a fervent activist for the LGBTQ+ community. Having survived New York’s devastating AIDS crisis of the 1980s and ’90s,...
- 11/29/2023
- by Greg Evans
- Deadline Film + TV
This past summer, as Hollywood faced its second major strike, the president of actors union SAG-AFTRA took the podium. She was without makeup, she was raspy and she was pissed. Gone was the ozone-shattering hairspray and the wild prints plucked right from the zoo. Nowhere in earshot was the dog whistle voice and the dolphin laugh. This was Fran Drescher: not the street-smart bimbo of somehow successful sitcoms and expectedly by-the-numbers romances, but the woman who will do anything to show her loyalty and not back down from anything. She had done it throughout her career through battles with industry execs and cancer, and now she was doing it against some of the biggest names in Hollywood.
Wtf Happened to…Fran Drescher?
But to truly understand what the fuck happened to Fran Drescher, we go back to the beginning. And the beginning began when she was born on September 30th,...
Wtf Happened to…Fran Drescher?
But to truly understand what the fuck happened to Fran Drescher, we go back to the beginning. And the beginning began when she was born on September 30th,...
- 9/1/2023
- by Mathew Plale
- JoBlo.com
The box was about two feet high and made out of wood, a rudimentary but useful tool to allow Jerry Blavat to get an unencumbered view of his dancers at bars and clubs that didn’t have a proper stage. In his later years, Blavat, a diminutive but supremely influential DJ, placed the box in the middle of the dance floor, hopped upon it like a king on his throne, and began what to some might be considered a shtick, but to those in Philadelphia was the soundtrack of their...
- 2/9/2023
- by Joseph Hudak
- Rollingstone.com
Peter Weller and Sam Elliott on the Forty Deuce under the Times Square Theatre marquee in James Glickenhaus' Shakedown.Movie-lovers!Welcome back to The Deuce Notebook, a collaboration between Notebook and The Deuce Film Series, our monthly event at Nitehawk Williamsburg that excavates the facts and fantasies of cinema's most infamous block in the world: 42nd Street between 7th and 8th Avenues. For each screening, my co-hosts and I pick a flick that we think embodies the era of late-night celluloid consumption and present the theater at which it premiered.American writer, director, and producer James Glickenhaus made action movies: eye-for-an-eye fables starring virtuous underdogs and righteous renegades—rogue cops, ex-Army officers, and cunning FBI agents settling scores with street scum, Mafiosi, and the international drug cartel. These low-cost, high-grossing blockbusters projected do-good Nationalism onto the silver screens and boob tubes of the 1980s, encouraging a generation of bleary-eyed Boy Scouts to stay strong,...
- 2/19/2022
- MUBI
It’s a very musical episode! Director and Tfh Guru, Allan Arkush, returns to talk about his favorite rock and roll movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
No Nukes (1980)
Amazing Grace (2018) – Dennis Cozzalio’s Oscar nominee reactions
The Magnificent Ambersons (1942) – Glenn Erickson’s Criterion Blu-ray review
Get Crazy (1983) – Allan Arkush’s trailer commentary
Rock ‘n’ Roll High School (1979) – Eli Roth’s trailer commentary
Blackboard Jungle (1955) – Allan Arkush’s trailer commentary
Rock, Rock, Rock! (1956) – Jesus Treviño’s trailer commentary
Mister Rock And Roll (1957)
Go, Johnny, Go! (1959) – Allan Arkush’s trailer commentary
Hail Hail Rock And Roll! (1987) – Allan Arkush’s trailer commentary
The Girl Can’t Help It (1956) – Dan Ireland’s trailer commentary
Hellzapoppin’ (1941)
Innerspace (1987) – Glenn Erickson’s Blu-ray review
Almost Famous (2000) – Allan Arkush’s trailer commentary
Wayne’s World (1992)
The Graduate (1967) – Neil Labute’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Scorpio Rising...
Show Notes: Movies Referenced In This Episode
No Nukes (1980)
Amazing Grace (2018) – Dennis Cozzalio’s Oscar nominee reactions
The Magnificent Ambersons (1942) – Glenn Erickson’s Criterion Blu-ray review
Get Crazy (1983) – Allan Arkush’s trailer commentary
Rock ‘n’ Roll High School (1979) – Eli Roth’s trailer commentary
Blackboard Jungle (1955) – Allan Arkush’s trailer commentary
Rock, Rock, Rock! (1956) – Jesus Treviño’s trailer commentary
Mister Rock And Roll (1957)
Go, Johnny, Go! (1959) – Allan Arkush’s trailer commentary
Hail Hail Rock And Roll! (1987) – Allan Arkush’s trailer commentary
The Girl Can’t Help It (1956) – Dan Ireland’s trailer commentary
Hellzapoppin’ (1941)
Innerspace (1987) – Glenn Erickson’s Blu-ray review
Almost Famous (2000) – Allan Arkush’s trailer commentary
Wayne’s World (1992)
The Graduate (1967) – Neil Labute’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Scorpio Rising...
- 12/7/2021
- by Kris Millsap
- Trailers from Hell
Don Everly, who with his brother, Phil, was part of the Everly Brothers, a huge chart success in the late 1950s and early 1960s that grew into Rock and Roll Hall of Famers, died on Saturday at his home in Nashville. He was 84.
A family spokesman confirmed the death to The Los Angeles Times. No cause was given.
The duo were one of the first pop-rock acts to emerge from Nashville, and became instant hitmakers on the strength of the soaring harmonies in such songs as “Wake Up Little Susie” and “Cathy’s Clown.” They became a major influence on everything to follow, from the British Invasion through the Southern California county-rock scene.
Their harmonies on such hits as “Bye Bye Love” and “All I Have To Do Is Dream” are timeless and unforgettable. Don Everly usually sang lead, with his brother handling the higher harmony.
“It’s almost like...
A family spokesman confirmed the death to The Los Angeles Times. No cause was given.
The duo were one of the first pop-rock acts to emerge from Nashville, and became instant hitmakers on the strength of the soaring harmonies in such songs as “Wake Up Little Susie” and “Cathy’s Clown.” They became a major influence on everything to follow, from the British Invasion through the Southern California county-rock scene.
Their harmonies on such hits as “Bye Bye Love” and “All I Have To Do Is Dream” are timeless and unforgettable. Don Everly usually sang lead, with his brother handling the higher harmony.
“It’s almost like...
- 8/22/2021
- by Bruce Haring
- Deadline Film + TV
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.Velvet Goldmine (1998)Todd Haynes’ Velvet Goldmine (1998) opens with a confession that swiftly becomes a command: “Although what you are about to see is a work of fiction, it should nevertheless be played at maximum volume.” Those words, mischievously repurposed from Martin Scorsese’s concert film The Last Waltz (1978), herald one of the great pop music fantasias: a cinema à clef that reimagines ’70s glam rock in an alternate dimension, where fictional versions of David Bowie, Iggy Pop and others perform a parallel version of history as we know it. Embracing the period’s mutable personae and camp energies, the film evokes the spirit of its patron saint, Oscar Wilde—depicted as the original pop star, descended to Earth from outer space—treating “art as the supreme reality and life as a mere mode of fiction,...
- 8/12/2021
- MUBI
Early rock & roll drummer Charles Connor — who played with Little Richard, Sam Cooke, and James Brown in the Fifties — died in his home in Glendale, California, after a battle with the brain disorder normal pressure hydrocephalus. He was 86.
“He was one of those drummers that was a bricklayer of creating that rock & roll genre,” his daughter, Queenie Connor Sonnefeld, told the Associated Press. “He played behind so many legendary musicians in the Fifties. He was a loving grandfather and was very proud of his family and took a lot of...
“He was one of those drummers that was a bricklayer of creating that rock & roll genre,” his daughter, Queenie Connor Sonnefeld, told the Associated Press. “He played behind so many legendary musicians in the Fifties. He was a loving grandfather and was very proud of his family and took a lot of...
- 8/3/2021
- by Andy Greene
- Rollingstone.com
On October 2nd, 1995, weeks after the Rock and Roll Hall of Fame opened its doors in Cleveland, Ohio, Rolling Stone founder and then-Hall of Fame chairman Jann Wenner sent a letter to CBS disc jockey Norm N. Nite.
“With all the hoopla past us, I just want to take a moment to go on record and thank you for linking Cleveland to the Rock and Roll Hall of Fame Foundation in the first place,” he wrote. “Without your being there and doing the right thing at the right time...
“With all the hoopla past us, I just want to take a moment to go on record and thank you for linking Cleveland to the Rock and Roll Hall of Fame Foundation in the first place,” he wrote. “Without your being there and doing the right thing at the right time...
- 12/21/2020
- by Andy Greene
- Rollingstone.com
Steve Van Zandt is trying to stay busy. “I’ve been producing records, and executive-producing records over the phone, believe it or not,” he says from his Greenwich Village home. “But I am looking for something to do in a semi-permanent way, you know?”
Van Zandt’s latest project is Little Steven’s Roadshow, a podcast that begins tonight. It benefits TeachRock, an organization he launched with Bono, Martin Scorsese, Jackson Browne, and Bruce Springsteen, which provides online music history courses, among other resources, to kids whose classrooms have been robbed of arts programs.
Van Zandt’s latest project is Little Steven’s Roadshow, a podcast that begins tonight. It benefits TeachRock, an organization he launched with Bono, Martin Scorsese, Jackson Browne, and Bruce Springsteen, which provides online music history courses, among other resources, to kids whose classrooms have been robbed of arts programs.
- 7/16/2020
- by Patrick Doyle
- Rollingstone.com
Steve Van Zandt first met Little Richard when the guitarist was on the oldies circuit as a young backing musician for the Dovells in 1973. Van Zandt would eventually take on a nickname, Little Steven, that was at least in part a tribute to one of his greatest rock & roll heroes, and enlisted Little Richard to officiate at his wedding to Maureen Van Zandt in 1982 (Little Richard went on to preside at ceremonies for Tom Petty, Bruce Willis/Demi Moore, and Cyndi Lauper, among others). Van Zandt called Rolling Stone to...
- 5/10/2020
- by Brian Hiatt
- Rollingstone.com
This story, originally titled “Tooty, Fruity,” was published in the July 19/Aug 2 1984 issue of Rolling Stone
Richard Penniman was a dishwasher who would be king — or queen, depending on his mood. Born in 1932, the third of Charles and Leva Mae Penman’s 12 children, raised in less than regal circumstances in the black neighborhoods of Macon, Georgia, he was compelled to invent his particular brand of majesty. This was Little Richard, “Handsomest Man in Rock & Roll.”
His image was an immaculate conception, a fantasy born of years in traveling medicine shows,...
Richard Penniman was a dishwasher who would be king — or queen, depending on his mood. Born in 1932, the third of Charles and Leva Mae Penman’s 12 children, raised in less than regal circumstances in the black neighborhoods of Macon, Georgia, he was compelled to invent his particular brand of majesty. This was Little Richard, “Handsomest Man in Rock & Roll.”
His image was an immaculate conception, a fantasy born of years in traveling medicine shows,...
- 5/9/2020
- by Gerri Hirshey
- Rollingstone.com
As if there wasn’t enough sorrow in the world right now, the news arrived Saturday morning that Little Richard died from bone cancer. The rock pioneer was 87. “A lot of people call me the architect of rock and roll,” he told Rolling Stone in 2004. “I don’t call myself that, but I believe it’s true.”
It’s not hard to justify that claim. Starting with “Tutti Frutti” in 1955, the flamboyant piano player unleashed a series of classic singles – including “Long Tall Sally,” “Lucille” and “Good Golly Miss Molly...
It’s not hard to justify that claim. Starting with “Tutti Frutti” in 1955, the flamboyant piano player unleashed a series of classic singles – including “Long Tall Sally,” “Lucille” and “Good Golly Miss Molly...
- 5/9/2020
- by Andy Greene
- Rollingstone.com
Aaron Sagers Dec 23, 2019
We have a guide to the best haunted, true crime, pop culture, and just plain weird destinations in Cleveland, Oh for you!
This article is presented to you by Red Roof Inn.
Cleveland rocks. English musician Ian Hunter knew it when he debuted the song of the same name in 1979. Cleveland native Drew Carey knew it when he used a cover of the city’s anthem by The Presidents of the United States of America as the opening theme of his Cleveland-set TV show in 1997. And Ohio kid LeBron James has known it – twice – since starting his pro career there in 2003. The first in the nation to be called an All-American City, Cleveland is the home of Olympian Jesse Owens, Chef Boyardee, Superman, and Rock and Roll.
So, to celebrate the second largest city in Ohio, let’s take quick trip through some tourist hot spots of Cleveland.
We have a guide to the best haunted, true crime, pop culture, and just plain weird destinations in Cleveland, Oh for you!
This article is presented to you by Red Roof Inn.
Cleveland rocks. English musician Ian Hunter knew it when he debuted the song of the same name in 1979. Cleveland native Drew Carey knew it when he used a cover of the city’s anthem by The Presidents of the United States of America as the opening theme of his Cleveland-set TV show in 1997. And Ohio kid LeBron James has known it – twice – since starting his pro career there in 2003. The first in the nation to be called an All-American City, Cleveland is the home of Olympian Jesse Owens, Chef Boyardee, Superman, and Rock and Roll.
So, to celebrate the second largest city in Ohio, let’s take quick trip through some tourist hot spots of Cleveland.
- 12/24/2019
- Den of Geek
The Amicus Collection
Blu-ray
Severin
1972, ’73, ’74/ 1:85 / 88 Min., 91 Min., 93 Min. / January 16, 2018
Starring Peter Cushing, Herbert Lom, Patrick Magee, Calvin Lockhart
Cinematography by Denys Coop, Jack Hildyard
Written by Robert Bloch
Music by Douglas Gamley,
Produced by Milton Subotsky, Max Rosenberg
Directed by Roy Ward Baker, Paul Annett
Released in 1956, Rock, Rock, Rock was a bantamweight jukebox musical bolstered by the presence of three indelible signifiers of 50’s pop culture, rabble-rousing DJ Alan Freed, Hollywood’s perennial Lolita Tuesday Weld and guitar slinging provocateur Chuck Berry. Produced by Milton Subotsky and Max Rosenberg, the movie’s success inspired the New York-born duo to pack up shop and move to England where they founded Amicus Productions.
Hedging their bets, the fledgling company followed in the footsteps of both Aip and Hammer, putting one foot in teensploitation and the other into a line of shockers with a supernatural bent. To their credit their initial...
Blu-ray
Severin
1972, ’73, ’74/ 1:85 / 88 Min., 91 Min., 93 Min. / January 16, 2018
Starring Peter Cushing, Herbert Lom, Patrick Magee, Calvin Lockhart
Cinematography by Denys Coop, Jack Hildyard
Written by Robert Bloch
Music by Douglas Gamley,
Produced by Milton Subotsky, Max Rosenberg
Directed by Roy Ward Baker, Paul Annett
Released in 1956, Rock, Rock, Rock was a bantamweight jukebox musical bolstered by the presence of three indelible signifiers of 50’s pop culture, rabble-rousing DJ Alan Freed, Hollywood’s perennial Lolita Tuesday Weld and guitar slinging provocateur Chuck Berry. Produced by Milton Subotsky and Max Rosenberg, the movie’s success inspired the New York-born duo to pack up shop and move to England where they founded Amicus Productions.
Hedging their bets, the fledgling company followed in the footsteps of both Aip and Hammer, putting one foot in teensploitation and the other into a line of shockers with a supernatural bent. To their credit their initial...
- 1/30/2018
- by Charlie Largent
- Trailers from Hell
A rock n’ roll time capsule and quintessential teenagers-in-love movie circa 1959. Two jukebox icons, guitar genius Chuck Berry and top dog DJ Alan Freed introduce the story of “Johnny Melody”, a former choir boy (!) who finds the road to rock and roll stardom fraught with peril. Along with the typical teen angst the movie is bolstered by performances from the era’s great rockers including Jackie Wilson, Ritchie Valens, Eddie Cochran and of course Berry himself.
- 7/10/2017
- by Charlie Largent
- Trailers from Hell
Go, Johnny, Go! (1959) screens Wednesday, May 3rd at 8pm at Schlafly Bottleworks Restaurant and Bar (7260 Southwest Ave.- at Manchester – Maplewood, Mo 63143) as part of Webster University’s Award-Winning Strange Brew Film Series. Admission is $5
In Rock Rock Rock! (1959), Rock-n-roll promoter Alan Freed holds a talent search to develop a new rock star, then must find the elusive, mystery contestant (Jimmy Clanton) who doesn’t know he has won.
St. Louis legend Chuck Berry, who passed away last month at age 90, co-stars as himself. Having previously appeared in Rock Rock Rock! and Mister Rock And Roll, Go, Johnny, Go! was the third-and final-appearance of Berry in a movie that also starred DJ Alan Freed. He and Freed actually act together in this one as they try to get singer Johnny Melody (Clanton) on his way to stardom. It will be quite a pleasure for his fans seeing Berry performing his hits “Memphis,...
In Rock Rock Rock! (1959), Rock-n-roll promoter Alan Freed holds a talent search to develop a new rock star, then must find the elusive, mystery contestant (Jimmy Clanton) who doesn’t know he has won.
St. Louis legend Chuck Berry, who passed away last month at age 90, co-stars as himself. Having previously appeared in Rock Rock Rock! and Mister Rock And Roll, Go, Johnny, Go! was the third-and final-appearance of Berry in a movie that also starred DJ Alan Freed. He and Freed actually act together in this one as they try to get singer Johnny Melody (Clanton) on his way to stardom. It will be quite a pleasure for his fans seeing Berry performing his hits “Memphis,...
- 4/27/2017
- by Tom Stockman
- WeAreMovieGeeks.com
St. Charles County, Mo – One of rock and roll music’s last living pioneers, Chuck Berry, was found dead in his home in St. Charles County, Missouri, on Mar. 18, 2017. He was the “Father of Rock ‘n Roll” for his hit songs in the 1950s, but Berry was also known for his controversies and live concert style. He was 90 years old.
Berry, along with Elvis Presley, Jerry Lee Lewis, Little Richard and others in the 1950s, established the style of songs that influenced a generation of rock artists, including The Rolling Stones, The Beatles, Bruce Springsteen and virtually any other guitar hero who had to learn Berry’s song “Johnny B. Goode” to get to the next level. His most productive period came in Chicago, when he recorded songs that he wrote for Chess Records on the near south side. John Lennon once said, “If you tried to give rock and roll another name,...
Berry, along with Elvis Presley, Jerry Lee Lewis, Little Richard and others in the 1950s, established the style of songs that influenced a generation of rock artists, including The Rolling Stones, The Beatles, Bruce Springsteen and virtually any other guitar hero who had to learn Berry’s song “Johnny B. Goode” to get to the next level. His most productive period came in Chicago, when he recorded songs that he wrote for Chess Records on the near south side. John Lennon once said, “If you tried to give rock and roll another name,...
- 3/19/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Our perception of the Forest City having only seen it on screen.
All this week, Cleveland, Ohio, is being overrun with politicians, their supporters, and protestors of their platforms as the Republican National Convention is being held at the Quicken Loans Arena through Thursday. To help get a better sense of this “Cleve-Land,” as Howard the Duck calls it, we’re looking to entertainment, specifically movies and television, for what it can tell us about this city. If there’s anything we miss or misunderstand, blame Hollywood.
Cleveland Rocks
It’s the Rock and Roll Capital of the World, home of the Rock and Roll Hall of Fame, so it’s not surprising that, to an outsider, Cleveland primarily looks like a city where music reigns. You could make a nice concert with all the fictional bands based there, including Cherry Bomb from Howard the Duck, The Barbusters from Light of Day, the...
All this week, Cleveland, Ohio, is being overrun with politicians, their supporters, and protestors of their platforms as the Republican National Convention is being held at the Quicken Loans Arena through Thursday. To help get a better sense of this “Cleve-Land,” as Howard the Duck calls it, we’re looking to entertainment, specifically movies and television, for what it can tell us about this city. If there’s anything we miss or misunderstand, blame Hollywood.
Cleveland Rocks
It’s the Rock and Roll Capital of the World, home of the Rock and Roll Hall of Fame, so it’s not surprising that, to an outsider, Cleveland primarily looks like a city where music reigns. You could make a nice concert with all the fictional bands based there, including Cherry Bomb from Howard the Duck, The Barbusters from Light of Day, the...
- 7/19/2016
- by Christopher Campbell
- FilmSchoolRejects.com
It’s familiar fodder for a comedy/drama. Y’know the story of a parent leaving the family unit in order to follow a dream. Then years later, having to return for an uncomfortable, often strained reunion that usually concludes with a big, new extended-family group hug. After a failed attempt (but sometimes successful) at acquiring fame and fortune the prodigal poppa realizes that everything he really desired was right in his back yard. We recently saw this occur in Danny Collins. But this new flick does a switcheroo with that formula. This time mom flew the coop in pursuit of her passions and dreams. Meryl Streep reteams with Jonathan Demme (they remade The Manchurian Candidate a few years ago) to tell Oscar-winning scribe Diablo Cody’s tale of, not speedster superheroes, family and rock n’ roll. Grab a brew and settle in for a solid set from Ricki And The Flash.
- 8/7/2015
- by Jim Batts
- WeAreMovieGeeks.com
As Drunk History continues its second season on Comedy Central (Tuesdays at 10 p.m. Et), viewers keep learning fascinating stories of America’s lesser-known past—and how far co-creator/interviewer Derek Waters will go to both get his inebriated friends to tell them and actors to reenact them. Here, we discuss some of season two’s early highlights (like “Weird Al” Yankovic as Hitler).
As for what lies ahead, the July 15 “American Music” episode features Johnny Knoxville as Johnny Cash and Jon Daly as Kris Kristofferson, as well as Jack McBrayer as DJ Alan Freed. “He doesn’t scream DJ,...
As for what lies ahead, the July 15 “American Music” episode features Johnny Knoxville as Johnny Cash and Jon Daly as Kris Kristofferson, as well as Jack McBrayer as DJ Alan Freed. “He doesn’t scream DJ,...
- 7/15/2014
- by Mandi Bierly
- EW - Inside TV
Kris Kristofferson was a struggling songwriter – and part-time janitor – when he first met Johnny Cash at a Nashville recording studio. And, like all starving artists, he used the opportunity to pitch the Man in Black some of his tunes.
Cash liked what he heard, but ultimately, never recorded any of Kristofferson's music...until one fateful helicopter ride changed everything.
'Weird Al' is Hitler: Derek Waters on 'Drunk History's' New Season
Or at least that's the way Drunk History remembers it. And now, in this exclusive preview...
Cash liked what he heard, but ultimately, never recorded any of Kristofferson's music...until one fateful helicopter ride changed everything.
'Weird Al' is Hitler: Derek Waters on 'Drunk History's' New Season
Or at least that's the way Drunk History remembers it. And now, in this exclusive preview...
- 7/9/2014
- Rollingstone.com
Contrary to popular belief, Derek Waters – the mastermind behind the Comedy Central show Drunk History — does not always take his work home with him. "People usually think I'm drunk, but it's just how I talk," says the series host and co-creator in his friendly, languid Baltimore drawl (which does, indeed, share the slight slur of some of his more inebriated guests). "But I'm not drunk right now. This is iced coffee."
Summer TV Smackdown: Our Complete 2014 Watch List
Waters hasn't had much time for benders lately; when he calls Rolling Stone from Los Angeles,...
Summer TV Smackdown: Our Complete 2014 Watch List
Waters hasn't had much time for benders lately; when he calls Rolling Stone from Los Angeles,...
- 7/1/2014
- Rollingstone.com
Cleveland – Rock critics are typically reviled or ignored but rarely bronzed. Of the latter, Jane Scott may be the first, which is fitting. Scott took her job at the Cleveland Plain Dealer in 1952, three days after Alan Freed's famous Moondog Coronation Ball, becoming the first full-time music writer at an American daily. "She could have started on Thursday, but if she waited until Monday, she could get a dime more a week," recalls her nephew Bill Scott. "She always regretted it and said 'I should've started on that Thursday so I could've gone to that rock
read more...
read more...
- 10/4/2013
- by Chris Parker
- The Hollywood Reporter - Movie News
Jesus sings — literally sings — about the power of Rock, Rock, Rock.
Before producers Max J. Rosenberg and Milton Subotsky hit upon their popular series of Amicus horror films they made a number of mainstream programmers through their own Vanguard Productions. This was the first. This minimalist excuse for a bunch of hot rock acts to do their stuff was Tuesday Weld’s film debut. Some say she spoofed this role in Lord Love a Duck, especially in the notorious department store scene.
Click here to watch the trailer.
I think the only time in the history of YouTube that the comments have been sensible and accurate are on this clip from The Cincinnati Kid with Steve McQueen and Tuesday Weld:
“Tuesday Weld is as hot as a biscuit.”
Indeed. Tuesday Weld played so many young, hot women that I’m not sure I could watch her here in Rock,...
Before producers Max J. Rosenberg and Milton Subotsky hit upon their popular series of Amicus horror films they made a number of mainstream programmers through their own Vanguard Productions. This was the first. This minimalist excuse for a bunch of hot rock acts to do their stuff was Tuesday Weld’s film debut. Some say she spoofed this role in Lord Love a Duck, especially in the notorious department store scene.
Click here to watch the trailer.
I think the only time in the history of YouTube that the comments have been sensible and accurate are on this clip from The Cincinnati Kid with Steve McQueen and Tuesday Weld:
“Tuesday Weld is as hot as a biscuit.”
Indeed. Tuesday Weld played so many young, hot women that I’m not sure I could watch her here in Rock,...
- 7/18/2011
- by Danny
- Trailers from Hell
It's 'definitely one of the stranger pieces' on display, Rock and Roll Hall of Fame curator Jim Henke tells MTV News.
By Jocelyn Vena
Lady Gaga at the 2010 VMAs
Photo: Kevin Mazur/ Getty Images
Oh, that meat dress! Nearly a year after Lady Gaga wore it at the MTV Video Music Awards, the costume made of various cuts of meat that designer Franc Fernandez and stylist Nicola Formichetti put together is still making headlines.
On Thursday (June 16), that dress will join the "Women Who Rock: Vision, Passion, Power'' exhibit at the Rock and Roll Hall of Fame in Cleveland, where it will sit on display along with Gaga's childhood piano and Armani Prive orbit gown, which she wore to the 2011 Grammys, until February 2012.
"I was talking to Lady Gaga's managers, and this is probably around November [of last year], and basically talked about different things, and we talked about the meat dress...
By Jocelyn Vena
Lady Gaga at the 2010 VMAs
Photo: Kevin Mazur/ Getty Images
Oh, that meat dress! Nearly a year after Lady Gaga wore it at the MTV Video Music Awards, the costume made of various cuts of meat that designer Franc Fernandez and stylist Nicola Formichetti put together is still making headlines.
On Thursday (June 16), that dress will join the "Women Who Rock: Vision, Passion, Power'' exhibit at the Rock and Roll Hall of Fame in Cleveland, where it will sit on display along with Gaga's childhood piano and Armani Prive orbit gown, which she wore to the 2011 Grammys, until February 2012.
"I was talking to Lady Gaga's managers, and this is probably around November [of last year], and basically talked about different things, and we talked about the meat dress...
- 6/16/2011
- MTV Music News
It's another week of great revival screenings here in Weirdsville, and although the Paramount's Summer Film Series has come and gone for another year, there are still a mess o' fine flicks for the Classic Film connoisseur to enjoy.
And although the Austin Classic Movies Examiner has a somewhat arbitrary, self-imposed time limit of ten years before a film is considered "classic," he would be remiss if he did not give mention to what is sure to be a hilarious evisceration of M. Night Shyamalan's 2008 craptacular The Happening by the geniuses at Master Pancake Theater this weekend at the Alamo Ritz. What a twist!
Here are This Week's Classic Movie Screenings in Austin from Friday September 17th through Thursday September 23rd:
Grease (1978) with John Travolta, Olivia Newton-John, and Sid Caesar, directed by Randall Kleiser, Sing-Along at Tinseltown South, Fri. @ 4:40, 7:30, and 10:10 p.m.; Sat. and Sun. @ 11:50 a.
And although the Austin Classic Movies Examiner has a somewhat arbitrary, self-imposed time limit of ten years before a film is considered "classic," he would be remiss if he did not give mention to what is sure to be a hilarious evisceration of M. Night Shyamalan's 2008 craptacular The Happening by the geniuses at Master Pancake Theater this weekend at the Alamo Ritz. What a twist!
Here are This Week's Classic Movie Screenings in Austin from Friday September 17th through Thursday September 23rd:
Grease (1978) with John Travolta, Olivia Newton-John, and Sid Caesar, directed by Randall Kleiser, Sing-Along at Tinseltown South, Fri. @ 4:40, 7:30, and 10:10 p.m.; Sat. and Sun. @ 11:50 a.
- 9/17/2010
- by malthursday
- Examiner Movies Channel
Joan Jett may have loved rock'n'roll but it almost killed her former band, the Runaways. John Patterson thinks it's time we faced the music
There are some rock'n'roll movies, like Floyd Mutrux's American Hot Wax and Bob Zemeckis's I Wanna Hold Your Hand, that manage to convey the palpable sense – palpable, that is, to a hormone-wracked teenager – that rock'n'roll can literally save your life. A particularly wrenching scene in the former has its lead character, a teenage Brill Building songwriter, sobbing with gratitude backstage at one of DJ Alan Freed's early Moondog Matinee rock'n'roll revues in 1955, as she gratefully acknowledges that this music came along for her at exactly the right moment in her life, and that said life would be empty and pointless for her without it. That scene always destroys me.
The Runaways has a little of this feeling, but given the already ruined lives of...
There are some rock'n'roll movies, like Floyd Mutrux's American Hot Wax and Bob Zemeckis's I Wanna Hold Your Hand, that manage to convey the palpable sense – palpable, that is, to a hormone-wracked teenager – that rock'n'roll can literally save your life. A particularly wrenching scene in the former has its lead character, a teenage Brill Building songwriter, sobbing with gratitude backstage at one of DJ Alan Freed's early Moondog Matinee rock'n'roll revues in 1955, as she gratefully acknowledges that this music came along for her at exactly the right moment in her life, and that said life would be empty and pointless for her without it. That scene always destroys me.
The Runaways has a little of this feeling, but given the already ruined lives of...
- 8/27/2010
- by John Patterson
- The Guardian - Film News
(Director, writer, and filmmaker Floyd Mutrux, above.)
By Terry Keefe
It was the 1960s and a foursome took over the popular music charts in America, but they didn’t wear mop-tops. Right before the British Invasion, the girl group known as the Shirelles soared with hits such as “Dedicated to the One I Love,” “Soldier Boy,” “Will You Still Me Tomorrow,” and “Baby It’s You,” amongst many others. The Shirelles were discovered by Florence Greenberg, an ambitious and very prescient New Jersey housewife who founded Scepter Records, and consequently changed the face of popular music forever. In her business life, Greenberg was a woman who dove right into the middle of a male-dominated record industry and created one of the most successful independent labels of the time, and on the personal side, she left her first marriage for a union with African-American songwriter Luther Dixon. The story of Greenberg,...
By Terry Keefe
It was the 1960s and a foursome took over the popular music charts in America, but they didn’t wear mop-tops. Right before the British Invasion, the girl group known as the Shirelles soared with hits such as “Dedicated to the One I Love,” “Soldier Boy,” “Will You Still Me Tomorrow,” and “Baby It’s You,” amongst many others. The Shirelles were discovered by Florence Greenberg, an ambitious and very prescient New Jersey housewife who founded Scepter Records, and consequently changed the face of popular music forever. In her business life, Greenberg was a woman who dove right into the middle of a male-dominated record industry and created one of the most successful independent labels of the time, and on the personal side, she left her first marriage for a union with African-American songwriter Luther Dixon. The story of Greenberg,...
- 12/3/2009
- by The Hollywood Interview.com
- The Hollywood Interview
If it were a '40s romantic comedy, "Why Do Fools Fall in Love" might be titled "Testimony of Three Wives".
A dark, dramatic biopic based on the downsliding life of doo-wopper Frankie Lymon, who rose to fame on the titular song, "Fools" stars Halle Berry, Vivica A. Fox and Lela Rochon as the women who were married to Lymon and whose court fight over his royalty "estate" clue us to Lymon's sorry life, a drug-filled saga that had too little "doo" and way too much "wop."
Boasting some great late '50s and early '60s rock sounds, this Warner Bros. film, unfortunately, spins back and forth narratively so much that it has trouble settling into a consistent story rpm and is likely to get only a short play time at the boxoffice despite the excellent lead performances and nostalgic rock 'n' roll sound track.
Frankie Lymon (Larenz Tate) was short, cute and smooth. In the early '60s he was a star, lighting up the roadshow venues with his electric personality and, most popularly, his hit song -- "Why Do Fools Fall in Love". Even by rock star standards, Frankie had a way with the ladies: they adored him and, with his slight frame and boyish looks, he brought out their motherly instincts as well. According to Tina Andrews' fact-based screenplay, Frankie attracted all kinds as we readily see in the three very different women who vie for the royalties he supposedly acquired following his death by overdose. In a court battle, which very much resembles a game show owing to the varied nature of Limon's wives, Widow No. 1 is Zola Taylor (Berry), a former Platters singer and female rock star; Widow No. 2 is Elizabeth (Fox) a streetwise, petty criminal, and Widow No. 3 is Elmira (Rochon), a demure Southern schoolteacher. Frankie had a rather loose regard for bigamy laws, and all three contend that they are the true wife of the late singer. Each has a story and, as you'd expect, they're not exactly airtight.
In essence, Frankie's life and career is refracted through the prism of these three women's viewpoints and, not surprisingly, each paints a startlingly different portrait of the troubled entertainer. With most of the film told in flashback with multiple viewpoints, we're given a textural portrait that is both entertaining and illuminating. Best, this includes some great rock 'n' roll period stuff as well, early Alan Freed shows with such groups as the Shirelles, Little Richard and the Platters performing up and through the mid-'60s on shows including "Hullaballoo". Most of this is engaging, especially owing to the gritty and glossy lead performances, but some of the period evocation is a bit scratchy: '60s protesters come across as variety-show entertainers and the authenticity is muddled by the all-too-obvious studio-lot look of the settings. Like all music bios, we get the feeling that much of the story is grooved according to which music rights were available -- it's odd to see the mid-'60s in rock history with only a one-line mention of the Beatles and a cursory selection of songs that, overall, gives us no "Satisfaction".
The high note of this affectionate production is in the performances, especially Fox as the sultry bad-girl who decides to take on the music-industry practice of producers plastering their name on the writing credits of pop songs for royalties. Fox's don't-mess-with-me demeanor is a powerful pack of facial expressions, body language and attitude. She's reached back for some moves we haven't seen before. High praise also to Berry for her sassy, splashy performance as Frankie's songstress/wife, while Rochon is splendidly credible as Frankie's provincial Southern schoolmarm wife. As the troubled Frankie, Larenz Tate is a perfect blend of charisma and self-destructiveness. Once again, Paul Mazursky is outstanding in a supporting role, hitting all the right slimy notes in his role as a sleazy music producer.
Despite the artificial, studio look of much of the film, light up the applause meter for Cary White's garish, eye-catching, pink-patched production design, perfectly conveying the excess and transience of the characters and the era.
WHY DO FOOLS FALL IN LOVE
Warner Bros.
Producers: Paul Hall, Stephen Nemeth
Director: Gregory Nava
Screenwriter: Tina Andrews
Executive producers: Gregory Nava, Mark Allan, Harold Bronson
Director of photography: Edward Lachman
Production designer: Cary White
Editor: Nancy Richardson
Music: Stephen James Taylor
Costume designer: Elisabetta Beraldo
Casting: Reuben Cannon
Sound mixer: Veda Campbell
Color/stereo
Cast:
Zola Taylor: Halle Berry
Elizabeth Waters: Vivica A. Fox
Emira Eagle: Lela Rochon
Frankie Lymon: Larenz Tate
Little Richard: Himself
Morris Levy: Paul Mazursky
Herman Santiago: Alexis Cruz
Sherman: J. August Richards
Running time -- 123 minutes
MPAA rating: R...
A dark, dramatic biopic based on the downsliding life of doo-wopper Frankie Lymon, who rose to fame on the titular song, "Fools" stars Halle Berry, Vivica A. Fox and Lela Rochon as the women who were married to Lymon and whose court fight over his royalty "estate" clue us to Lymon's sorry life, a drug-filled saga that had too little "doo" and way too much "wop."
Boasting some great late '50s and early '60s rock sounds, this Warner Bros. film, unfortunately, spins back and forth narratively so much that it has trouble settling into a consistent story rpm and is likely to get only a short play time at the boxoffice despite the excellent lead performances and nostalgic rock 'n' roll sound track.
Frankie Lymon (Larenz Tate) was short, cute and smooth. In the early '60s he was a star, lighting up the roadshow venues with his electric personality and, most popularly, his hit song -- "Why Do Fools Fall in Love". Even by rock star standards, Frankie had a way with the ladies: they adored him and, with his slight frame and boyish looks, he brought out their motherly instincts as well. According to Tina Andrews' fact-based screenplay, Frankie attracted all kinds as we readily see in the three very different women who vie for the royalties he supposedly acquired following his death by overdose. In a court battle, which very much resembles a game show owing to the varied nature of Limon's wives, Widow No. 1 is Zola Taylor (Berry), a former Platters singer and female rock star; Widow No. 2 is Elizabeth (Fox) a streetwise, petty criminal, and Widow No. 3 is Elmira (Rochon), a demure Southern schoolteacher. Frankie had a rather loose regard for bigamy laws, and all three contend that they are the true wife of the late singer. Each has a story and, as you'd expect, they're not exactly airtight.
In essence, Frankie's life and career is refracted through the prism of these three women's viewpoints and, not surprisingly, each paints a startlingly different portrait of the troubled entertainer. With most of the film told in flashback with multiple viewpoints, we're given a textural portrait that is both entertaining and illuminating. Best, this includes some great rock 'n' roll period stuff as well, early Alan Freed shows with such groups as the Shirelles, Little Richard and the Platters performing up and through the mid-'60s on shows including "Hullaballoo". Most of this is engaging, especially owing to the gritty and glossy lead performances, but some of the period evocation is a bit scratchy: '60s protesters come across as variety-show entertainers and the authenticity is muddled by the all-too-obvious studio-lot look of the settings. Like all music bios, we get the feeling that much of the story is grooved according to which music rights were available -- it's odd to see the mid-'60s in rock history with only a one-line mention of the Beatles and a cursory selection of songs that, overall, gives us no "Satisfaction".
The high note of this affectionate production is in the performances, especially Fox as the sultry bad-girl who decides to take on the music-industry practice of producers plastering their name on the writing credits of pop songs for royalties. Fox's don't-mess-with-me demeanor is a powerful pack of facial expressions, body language and attitude. She's reached back for some moves we haven't seen before. High praise also to Berry for her sassy, splashy performance as Frankie's songstress/wife, while Rochon is splendidly credible as Frankie's provincial Southern schoolmarm wife. As the troubled Frankie, Larenz Tate is a perfect blend of charisma and self-destructiveness. Once again, Paul Mazursky is outstanding in a supporting role, hitting all the right slimy notes in his role as a sleazy music producer.
Despite the artificial, studio look of much of the film, light up the applause meter for Cary White's garish, eye-catching, pink-patched production design, perfectly conveying the excess and transience of the characters and the era.
WHY DO FOOLS FALL IN LOVE
Warner Bros.
Producers: Paul Hall, Stephen Nemeth
Director: Gregory Nava
Screenwriter: Tina Andrews
Executive producers: Gregory Nava, Mark Allan, Harold Bronson
Director of photography: Edward Lachman
Production designer: Cary White
Editor: Nancy Richardson
Music: Stephen James Taylor
Costume designer: Elisabetta Beraldo
Casting: Reuben Cannon
Sound mixer: Veda Campbell
Color/stereo
Cast:
Zola Taylor: Halle Berry
Elizabeth Waters: Vivica A. Fox
Emira Eagle: Lela Rochon
Frankie Lymon: Larenz Tate
Little Richard: Himself
Morris Levy: Paul Mazursky
Herman Santiago: Alexis Cruz
Sherman: J. August Richards
Running time -- 123 minutes
MPAA rating: R...
- 8/10/1998
- The Hollywood Reporter - Movie News
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