Music Video of the Day: Cars by Gary Numan (1979, directed by Derek Burbidge)


One of the first great hits of the new wave era, Gary Numan’s Cars was inspired by an incident of road rage.  As Numan explained in an interview

  “I was in traffic in London once and had a problem with some people in front. They tried to beat me up and get me out of the car. I locked the doors and eventually drove up on the pavement and got away from them. It’s kind of to do with that. It explains how you can feel safe inside a car in the modern world… When you’re in it, your whole mentality is different… It’s like your own little personal empire with four wheels on.”

From this humble beginning came the song that not only became synonymous with post-punk new wave music but which also inspired an untold number of teenagers to switch from learning how to play the drums to wanting a keyboard for Christmas.  Cars may have been about something as modern as road rage but its futuristic sound and video made it a science fiction anthem.

(Sorry, you’re probably going to have to go to YouTube to actually watch this video.)

Cars starts with what I like to call a Doctor Who shot.

Anyone who has ever seen classic Doctor Who or really any science fiction movie from the late 70s knows how important neon was to decorating any villain’s intergalactic lair.  When Gary Numan approaches the microphone, he could easily be mistaken for a militaristic alien who had made the mistake of falling under the influence of the Master.

Once Numan starts to perform, it becomes more obvious that he was more inspired by David Bowie than Doctor Who:

The video features several close-ups of Numan’s tambourine.  The effect may seem cheesy now but in 1979, it undoubtedly blew a lot of minds.

Of course, no new wave video would be complete without some synthesizer action.

Cars became an unexpected hit and remains popular today.  Anyone who has played Grand Theft Auto: Vice City knows the pleasure of fleeing the police while listening to Cars on Wave 103.

No Chip Off The Old Block : “8 Million Ways To Die”


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

After finding myself considerably more than pleased with writer/director Scott Frank’s 2014 adaptation of modern noir master Lawrence Block’s gritty PI drama A Walk Among The Tombstones, I decided, in spite (or maybe because?) of its 0% Rotten Tomatoes score, to track down the only other cinematic take on Block’s work (and, more specifically, on his legendary protagonist, former-cop-turned-unlicensed-gumshoe Matt Scudder), 1986’s 8 Million Ways To Die. As things turned out, I had to go the Blu-ray route with this one since it’s not available for streaming anywhere so far as I can tell, but hey, things could have been worse — the Kino Lorber Blu (and,I presume, DVD, although I didn’t actually check to see if it’s available in that format) is actually a semi-recent release, dating back to October of 2017, and if I’d been determined to track this flick down before that, I may have…

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Book Review: THE LAST STAND by Mickey Spillane (Hard Case Crime 2018)


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2018 is the centennial anniversary of Mickey Spillane’s birth! Spillane got his start in comic books, then caused a sensation with his 1947 novel I, THE JURY, introducing the world to that hardest of hardboiled PI’s, Mike Hammer. Hard Case Crime, an imprint every pulp fiction fan should know about, celebrates Spillane’s birth by releasing THE LAST STAND, The Mick’s last completed novel, with a bonus unpublished novella from the early 1950’s.

Spillane with friend/literary executor Max Allan Collins

Mickey’s literary executor and friend Max Allan Collins writes the introduction. Collins is no stranger to the hardboiled genre himself, having been Chester Gould’s replacement on the long-running comic strip Dick Tracy from 1977-92, author of the graphic novel ROAD TO PERDITION, and the Quarry series of books (made into a Showtime series in 2016). Since Spillane’s death in 2006, Collins has been editing and completing the writer’s (“I’m not an…

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Wasted Youth? Max Clotfelter’s “The Warlok Story”


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

There’s one in every school — the kid with the depraved imagination. The kid with no reservations about tapping into the deepest recesses of his or her id and displaying the contents for all to see. The kid who’s something more than just a garden-variety oddball. The kid who hears, at least once every day, “dude, you’re sick” — and, fortunately for us all, for whatever unfathomable cosmic reason, those kids can usually draw.

They may not be especially good at it, mind you, but it’s more about ideas than execution. It’s about using paper and pencil as their instruments for self-exorcism, as interpretive devices for channeling what’s within to the outside world. About cooking up the sickest, most extreme shit imaginable not just because they can, but because they must.

Max Clotfelter was one such kid, and in his 2016 self-published mini, The Warlok Story

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Music Video of the Day: You Can Call Me Al by Paul Simon (1986, directed by Gary Weis)


How did Chevy Chase come to star in a music video?

It all started with a case of mistaken identity.  Paul Simon and his then-wife were at a party where they met French composer, Pierre Boulez.  Boulez was not sure who Simon was and repeatedly called him “Al.”  At the same time, Simon was suffering from a mid-life crisis that would not be resolved until Simon visited South Africa.   Simon brought the two incident together when he wrote You Can Call Me Al, the lead single off of his 1986 album, Graceland.

As for the video, it was the brainchild of Lorne Michaels.  Michaels, of course, is best known for producing Saturday Night Live and it was his idea to combine the tall and extroverted Chevy Chase with Paul Simon, who was neither of those things.

Lorne Michaels and Chevy Chase have had a long history together.  Michaels originally hired Chase for SNL and was instrumental in Chase’s early success.  Chase reacted to his sudden success by leaving SNL after its first season and subsequently trashing the show in interviews.  When Chase first returned to host SNL, he got into a fist fight with his successor, Bill Murray.  Chase’s subsequent appearances on the show have become legendary for Chase’s obnoxious and absuive behind-the-scenes behavior.  (In 1986, for example, Chase suggested a sketch in which openly gay cast member Terry Sweeney would announce that he had AIDS and then be regularly weighed throughout episode.)  Eventually, Chase managed to become the first former cast member to be banned from appearing on the show.

Paul Simon, though, is still welcome anywhere he goes.

 

Pre-Code Confidential #21: Wheeler & Woosley in DIPLOMANIACS (RKO 1933)


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Political satire in film ran rampant during the Pre-Code Era. Somewhere between W.C. Fields’s MILLION DOLLAR LEGS and the Marx Brothers’ DUCK SOUP  sits DIPLOMANIACS, Wheeler & Woolsey’s madcap take on war and peace, 1930’s style. It’s purely preposterous, unadulterated farce, and is guaranteed to offend someone, if not everyone.

Let’s get it out of the way right now: DIPLOMANIACS is not politically correct in any way, shape, or form. It’s loaded with racist stereotypes, casting Hugh Herbert as a not-so-wise Chinaman (“It is written that it is written that it is written that it is written”), lambastes Jews, Native Americans, and homosexuals, and portrays women as sex objects (spy Marjorie White is delivered in plastic wrap). A bomb tossed into the peace talks causes everyone to turn blackface, leading to a prolonged minstrel number! If you’re already offended, stop reading… but if you can take the heat, by all…

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Lisa’s Oscar Predictions for July


Well, here we are.  We’re more than halfway through the year and, to be honest, the Oscar forecast seems just as cloudy as ever.

To be honest, I’m starting to get the feeling that this is going to be a year where the Academy is more concerned with sending a message than anything else.  Just as the Emmy nominations were all about sticking it to Trump (as opposed to actually honoring the best that television has to offer), it wouldn’t surprise me to see the Academy try to do the same thing.  That doesn’t mean that the nominees aren’t going to deserve to be nominated, of course.  Instead, it just means that this might be a good year for films with a political agenda.

Anyway, here are my predictions for July!  They’re still pretty random, to be honest.  Be sure to also check out my predictions for January, February, March, April, May, and June!

Best Picture

Backseat

Black Panther

BlackKklansman

Boy Erased

The Favourite

First Man

If Beale Street Could Talk

Mary, Queen of Scots

Old Man and The Gun

Widows

Best Director

Damien Chazelle for First Man

Barry Jenkins for If Beale Street Could Talk

Yorgos Lanthimos for The Favourite

Spike Lee for BlackKklansman

Josie Rourke for Mary, Queen of Scots

Best Actor

Christian Bale in Backseat

Steve Carell in Beautiful Boy

Ryan Gosling in First Man

Robert Redford in Old Man and The Gun

John David Washington in BlackKklansman

Best Actress

Glenn Close in The Wife

Felicity Jones in On the Basis of Sex

Keira Knightley in Colette

Rosamund Pike in A Private War

Saoirse Ronan in Mary, Queen of Scots

Best Supporting Actor

Russell Crowe in Boy Erased

Sam Elliott in A Star is Born

Topher Grace in BlackKklansman

Michael B. Jordan in Black Panther

Sam Rockwell in Backseat

Best Supporting Actress

Claire Foy in First Man

Nicole Kidman in Boy Erased

Regina King in If Beale Street Could Talk

Margot Robbie in Mary, Queen of Scots

Sissy Spacek in Old Man and the Gun

Music Video of the Day: I Wanna Sex You Up by Color Me Badd (1991, directed by ????)


For today’s music video of the day, we have the song that was ranked #40 on Blender’s list of the 50 Worst Songs Ever.  From Color Me Badd (which I guess earned that extra d by being extra bad), here’s I Wanna Sex You Up.

Let’s break it down.

0:01 — “To the tick tock ya don’t stop” is sampled from La Di Da Di by Doug E. Fresh.

0:03 — Now, we meet the band, who appear to be Kenny G and his roadies.

0:15 — Kenny G and the boys, out for a stroll.

0:22 — “Yes, I will watch my video cassettes.”  Are we watching Swedish porn now?

0:32 — This song was released in 1991, coming at the tail end of late 80s pop but before the start of the grunge revolution.

0:41 — “We’re dancing and we’re spinning!  And now, we’re spinning and we’re dancing!”

0:47 — When listening to the vocals, take a moment to consider that this song came out the same year as Smells Like Teen Spirit and you’ll understand why Nirvana saved the music industry from itself.

0:55 — Kenny G. proves the chivalry is not dead.

1:09 — “Did I ever tell you guys my limo story?”

1:32 — 1991 was also the year that Anita Hill accused her former boss, Clarence Thomas, of sexual harassment.

1:39 — “Are you guys sure you don’t want to hear my limo story?”

1:47 — Kenny G’s trapped in an elevator!

2:16 — The community college art show is always the perfect place to pick up chicks.

2:20 — Meanwhile, Kenny G is still trapped in the elevator.

2:31 — “Doesn’t anyone want to hear about my limo ride?  Anyone?”

2:42 — Where’s your sax now, Kenny?

2:54 — She secretly taped them!?  Where are they, Russia!?

2:58 — She’s not the most discreet voyeur.

3:08 — “Come on, guys!  Just like we practiced!”

3:12 — Kenny G doesn’t need his sax to make beautiful music.

3:17 — Vladimer will be pleased.

3:28 — Woo ew ooo ew!

3:48 — “Nirvana?  What’s that?”