Big Brother and the Holding Company were a band before the summer of 1967. They had gigs, fans and even a full-length record ready for release. But all that early history was eclipsed after they took the stage at the Monterey Pop Festival in June for a pair of performances that transformed Janis Joplin & Co. from San Francisco scenesters to cultural giants. Joplin herself would describe the weekend as “one of the highest points of my life.” The lonely and misunderstood young woman from Texas proudly wrapped herself in her newfound...
- 8/12/2018
- by Jordan Runtagh
- Rollingstone.com
Magazines are returning from their summer breaks. The new Artforum features Melissa Anderson on Todd Haynes's Carol and Alice Echols on Giorgio Moroder, The new frieze features Tom Newth on the newish restoration of Michael Powell and Emeric Pressburger's The Tales of Hoffmann (1951), and there's a whopping new issue of desistfilm celebrating the 50th years of Super 8. Also in today's roundup: Jonathan Rosenbaum on Rainer Werner Fassbinder's Martha, Alain Resnais and Claude Chabrol; Adrian Martin on Alfred Hitchcock's Marnie; Girish Shambu on Jean-Pierre Dardenne and Luc Dardenne's Two Days, One Night; Stuart Klawans on Stanley Nelson’s The Black Panthers: Vanguard of the Revolution and F. Gary Gray’s Straight Outta Compton—and more. » - David Hudson...
- 9/1/2015
- Keyframe
Magazines are returning from their summer breaks. The new Artforum features Melissa Anderson on Todd Haynes's Carol and Alice Echols on Giorgio Moroder, The new frieze features Tom Newth on the newish restoration of Michael Powell and Emeric Pressburger's The Tales of Hoffmann (1951), and there's a whopping new issue of desistfilm celebrating the 50th years of Super 8. Also in today's roundup: Jonathan Rosenbaum on Rainer Werner Fassbinder's Martha, Alain Resnais and Claude Chabrol; Adrian Martin on Alfred Hitchcock's Marnie; Girish Shambu on Jean-Pierre Dardenne and Luc Dardenne's Two Days, One Night; Stuart Klawans on Stanley Nelson’s The Black Panthers: Vanguard of the Revolution and F. Gary Gray’s Straight Outta Compton—and more. » - David Hudson...
- 9/1/2015
- Fandor: Keyframe
It’s impossible to talk about the women of Mad Men without talking about feminism. But now that we can finally discuss when season 6 picks up (the wee hours of 1968), we can also address what our working heroines think of their position in the burgeoning movement.
Peggy Olson (Elisabeth Moss) and Joan Harris (Christina Hendricks) are both in very different positions now then they were when we first met their characters five seasons ago (or eight years by Mad Men’s timeline). Both women have made significant professional strides while suffering consistent humiliations at the hands of their male colleagues and superiors.
Peggy Olson (Elisabeth Moss) and Joan Harris (Christina Hendricks) are both in very different positions now then they were when we first met their characters five seasons ago (or eight years by Mad Men’s timeline). Both women have made significant professional strides while suffering consistent humiliations at the hands of their male colleagues and superiors.
- 4/9/2013
- by Lindsey Bahr
- EW - Inside TV
So it turns out that disco was actually a revolutionary tool that ended the oppression of women and black and gay people in the Us. Who knew?
I like disco as much as the next person, which is to say I like it at night, in moderate helpings, and only when accompanied by spirits. Disco has long been the musical genre to caricature rather than savour, best enjoyed in the background on hazy nights out rather than as a legitimate musical experience. So presented with the opportunity to sit through a two-hour disco documentary at the London film festival, I was a bit circumspect.
But from the first bar of that sour-sweet high-octane disco beat, I was hooked. This is because The Secret Disco Revolution is no ordinary history lesson about the 70s craze. Rather than simply charting the rise and fall of disco to a thumping soundtrack, the film...
I like disco as much as the next person, which is to say I like it at night, in moderate helpings, and only when accompanied by spirits. Disco has long been the musical genre to caricature rather than savour, best enjoyed in the background on hazy nights out rather than as a legitimate musical experience. So presented with the opportunity to sit through a two-hour disco documentary at the London film festival, I was a bit circumspect.
But from the first bar of that sour-sweet high-octane disco beat, I was hooked. This is because The Secret Disco Revolution is no ordinary history lesson about the 70s craze. Rather than simply charting the rise and fall of disco to a thumping soundtrack, the film...
- 10/26/2012
- The Guardian - Film News
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