Archive for the Film Category

Tribal Rites of the New Saturday Night

Posted in Dance, Film on June 22, 2009 by lili

The story by Nik Cohn (1976) that became Saturday Night Fever.

Also: Inside The Disco Inferno

Rocksteady: The Roots Of Reggae Trailer

Posted in Film, Music on June 14, 2009 by lili

Live It Up!

Posted in Film, Uncategorized on August 15, 2008 by lili

This flickr set has an awesome collection of screengrabs from “Live It Up” the 1963 movie which features the music production talents of Joe Meek. Starring Heinz and David Hemmings!

Via Cinebeats:

Live It Up! provides viewers with a brief but unforgettable glimpse of a more innocent time just moments before pirate radio, drugs, shorter skirts, Beatlemania and the merseybeat sound would transform the capital city into “Swinging London.” From pop music to beat, trad jazz and American rock-n-roll, Live It Up! is a fascinating concoction of sounds and styles aimed at Britain’s youth during a pivotal point in pop culture history. Soon after Britain’s youth culture would begin to fragment more into different groups (rockers, mods, hippies, etc.) with different haircuts, different fashion sensibilities and different social concerns and attitudes. Of course most individuals during this period combined their various interests in music and fashion and rarely fell into easily defined categories usually created by the media in order to sell newspapers and magazines.

Heinz – Live it Up

Patsy Ann Noble – Accidents Will Happen

Related link: Eddie’s PROJECT JOE (Myspace)

Young Birds Fly

Posted in Film, Uncategorized on July 23, 2008 by lili

Mod movies are a rare thing so I was excited to learn about the new feature movie – Young Birds Fly – based right here in L.A. Here is the trailer for Young Birds Fly. I am bummed that we missed this when it screened in LA in May this year.

Three things that intrigue me about this movie:

1. It is about Mod GIRLS, which I find refreshing because Mod is traditionally a “Guy thing”. Just as much as I loved This Is England (the new definitive Skinhead movie which I cannot recommend enough!), it was primarily a Guy film and seeing the Girls in there was an added buzz. (Hey where did the Get Up Edina website disappear to?)

2. This film is about AMERICAN Mods. There are no Birtish working class roots here. This is all style and music-based. Come to think of it, American Mod = a much broader spectrum of 60’s culture than in England. The lines between Mod, Skinhead, Rude Boy, 60’s Hipster… are very fine. There is as much French Pop, 60’s Garage, and Latin Boogaloo in this scene as there is Rocksteady and Northern Soul.

[historically, Northern Soul was a distinctly different subculture from Mod]

3. This is a film about Contemporary Mods. Neither 60’s mods nor 80’s mods. But Mods in the 2000’s! As ‘groundbreaking’ a film as Quadrophenia was in defining what Mod is, its 80’s-ness was way too obvious with the (wrong) hair and fashion and (ahem)… limited soundtrack, and IMO, a true 60’s style mod film still needs to be made…

[preliminary artwork for our new DANCE CRASHER project]

Well, here’s hoping that there will be another screening of Young Birds Fly … is the DVD out soon?

Skinhead movie

Posted in Film on March 6, 2007 by lili

Review/Link: Cinedelica: Big screen: This Is England (2007).

Will this ever be screened in LA? Will it be on DVD? When? Where? How?

Two Worlds of Punk

Posted in Art/Style, Film, Music, Punk on February 2, 2006 by lili

Don Lett’s documentary “Punk: Attitude” provides some food for thought. Interestingly  the term “Punk” was very loosely thrown around in this film. Early 50’s Rock and Roll was punk. 60’s counter-culture hippies (!) were punk. The Ramones were punk. Nirvana was punk. Devo was punk. Even the internet was punk. In short, any cultural happening that fell outside mainstream culture and had some swagger or attitude was considered Punk.

I am interested in American Punk vs British Punk. (Quote Eddie: “That is like comparing 2D and CG animation. They are two very different animals. How can you compare The Sex Pistols with The Ramones?”)

Strongly tied to musical sensibility/bands. Musically, “Punk Rock” follows from blues-based rock… through to  The Velvet Underground, New York Dolls, Iggy Pop, Ramones… etc. The flowchart would look something like this: Blues/RnR –>  Glam rock –> Punk —> Hardcore Punk, Grunge.


While it certainly is true that the British version of punk rock was
intimately based along class lines, this simplistic version fails not
only to recognize that punk rock is primarily an American creation, but
also is distinctly American in its relationships with both taste and
the generation of cultural capital.

In America, taste, or liking the correct bands in the punk canon,
became the dominant signifier of punk rock. American punk was far too
geographically diverse to form the closed communities of style that
marked most European punk. If there was no set dress code, the only way
to identify fellow punks (especially in the days when school dress
codes were more rigid in most of the country) was by wearing the
correct button, scrawling the correct band names on a notebook, or
wearing the right band patch provided passwords and codes that only the
initiated understood. As American punk positioned itself intentionally
outside of the mainstream of American music, and even increasingly
outside of the major label dominated music industry, having the correct
taste in bands became a sort of cultural capital, or form of “musical
currency” that legitimized those in possession of the necessary
knowledge. (An example of this, although based on a British book, is
the movie High Fidelity, where record store employees obsess
about music and define a proper customer by their breadth of knowledge
and musical taste.) Thus, becoming a punk involved learning a canon of
“acceptable” music, and in a very real sense, becoming not just a
purist, but also a musical elitist.

…American punk rock really was always about taste, about defining
oneself as outside the mainstream, not through economic situation or a
mythologized class consciousness, but through a secret society of
musical taste where ones’ identity was validated through what one
accepted and rejected as legitimate forms of musical expression. In
many ways, this is no different than other forms of musical fanaticism,
but punk rock’s canon of authenticity was by no means a static one. The
canon was always capable of revision as endless debates of what was and
was not “punk” began to dominate the ‘zines and public discussions
about punk rock.

BRITISH PUNK: Influenced by American Punk bands but was more strongly tied to rebellion against the UK political climate, the music (disco) and fashion  of the 70s. Punk was a DIY street culture. Malcolm MacLaren, Vivienne Westwood, haircuts, safety pins, ripped clothing, individualism in fashion etc. The British Punk flowchart (according to Dick Hebdige & Ted Polhemus) might look more like: Reggae/Ska (Skinheads) —> Punk  —> New Wave, Goth, Two-Tone


The two versions of punk, the antecedent American and its British descendent,
were very different. British punk was aggressive and violent it demanded immediate
change and had no interest in working for the solution. The
Sex Pistols typified British Punk
with such songs as “Anarchy in the UK,” which did not give a thought to anarchy’s
effect. American punk seemed lazy by comparison. It was sarcastic where the
English was violent and poetic where the former was illiterate. The American
originator offered lessons for the British to copy, and the British pushed one
step further, thus gaining more recognition.”

…Britain’s success with popularizing punk came from the consistency of its musical and
visual output; years of redundant offerings eventually hit home. Names like the
Clash and
Damned, and the
Sex Pistols finally registered with
their audience, and British bands developed a uniform fashion code of
belligerence. New York’s punk was not as easy to categorize; its scene revolved
around an eclectic melting pot of influences. Whereas British punk meant
aggression and immediacy, its New York antecedents combined aspects of aggression
and immediacy with everything from bubblegum pop records to French bohemian poets
(Savage 86). New Yorkers were not dressing to shock; their aesthetic was strictly
come-as-you-are, which for Manhattan’s glamour and intrigue was statement enough.


Make The Music Go Bang!
Punk and The Imagery of Nostalgia


Posted in Film, Music on October 2, 2005 by lili

From "Rockers"





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