



All together now: AAAAAAWWWWWWWWW!!!!!
Pit stop for Road Rage; Saratoga show canceled
Road Rage Tour headliner Blondie is taking a hiatus from it national tour due to an injury sustained by one of its touring partners.
Elliot Easton, founding member and guitarist for The New Cars, underwent surgery on June 12 for a broken left clavicle sustained during a near crash on June 5 when the tour bus swerved to avoid another vehicle.
Determined to not miss any dates, Elliot continued to play. "I've been waiting 17 years for this tour," Easton told his doctor when was getting his X-rays, although, because of the severity of the break, Easton required surgery.
Said Debbie Harry of Blondie: "It was amazing that after the accident, Elliot played four more shows in a brace and in constant pain. He really tried his best to keep on playing, so he should be given a great deal of credit for that."
I really get confused on who would make all this
is there a God in Heaven
Everybody says join our religion get to Heaven
I say no thanks why bless my soul
I'm already there!
Please to bend down for the one called the Greenman
He wants to make you his bride
Please to bend down for the one called the Greenman
Forever to him you're tied
And you know for a million years he has been your lover
He'll be a million more
And you know for a million years he has been your lover
Down through the skin to the core
Heed the Greenman
Heed the Greenman
Please to dance round for the one called the Greenman
He wants to make you his child
Please to dance round for the one called the Greenman
Dressed in the fruits of the wild
And you know for a million years he has been your father
He'll be a million more
And you know for a million years he has been your father
Run to his arms at the door
Lay your head, lay your head, lay your head, lay your head on the Greenman
Lay your head, lay your head with mine
Lay your head, lay your head, lay your head, lay your head on the Greenman
Build a bed out of oak and pine
See the Greenman blow his kiss from high church wall
And unknowing church will amplify his call
It is one of the mysterious lacunae in my film education that I have never seen Beyond the Valley of the Dolls, the legendary collaboration between critic Roger Ebert and exploitation auteur Russ Meyer, boob men with a mission.
.......
In a tour de force appreciation, Dennis Cozzalio at Sergio Leone and the Infield Fly Rule pays homage to the film's bravura palette and neo-Eisensteinian editing:
"The transfer rendered for this release by Fox Home Video is superlative—the colors pop off the screen and overwhelm you with their audacity just the way they’re supposed to, courtesy of cinematography by the usually workmanlike and stodgy Fred Koenekamp, fresh off of Patton ( !!! ), with an occasional assist from former wartime photographer Meyer himself. And if you watch any part of the movie, or all of it, with the sound off—either to listen to one of the two commentary tracks included on the main feature, or to watch the French subtitles or English SDH titles—Meyer’s fairly radical editing techniques become more apparent and appreciable. For instance, during the movie’s first big Hollywood party set piece (the one in which Z-Man delightedly exclaims, to no one in particular, 'This is my scene, and it’s freaking me out!'), you might not notice, underneath the mad cacophony of squealing, shouting partygoers, the only slightly exaggerated fashions, and the driving beat of the Strawberry Alarm Clock, the razor-sharp, insistent, almost metronomic montage that Meyer uses to carve the scene up into strobe-light flashes of overwhelming experience, mirroring the disorientation that the Carrie Nations are themselves experiencing as they jump into the Hollywood scene for the first time. The whole movie is edited in a similar fashion, and although Meyer necessarily alternates the rhythms for different scenes, no one scene is ever edited in a precisely classical manner—shots never last too long, but they sometimes don’t last as long as we expect they might, and the Panavision frame is always subject to the intrusion of an unexpected flurry of evocative, and sometimes not entirely thematically connected imagery which keeps us laughing, but also serves to keep us slightly on edge. Perversely, however, when the movie takes us up to and over that edge during the bizarre horror-film denouement staged at Z-Man’s isolated estate, Meyer shifts into a much more rhythmically smooth and familiar style of editing, as if to say the sudden assurances of his style are no assurances at all up against the lurid, unmoored and genuinely shocking horrors that lie in wait for the characters, and for us."
But when the movie was released in the summer of 1970, though it ultimately made back its $900,000 budget ten times, audiences, who might have been expecting a more straightforward follow-up to the creaky, self-serious 1967 original, seemed confused and put off by Beyond the Valley of the Dolls. (Imagine the level of their confusion when the movie started out with a title card that spelled out, in no uncertain terms, that what they were about to see was emphatically not a sequel to Valley of the Dolls, but instead an original work connected to the first film in name only.) And though the movie did receive the occasional favorable review, the mainstream press was largely dismissive. In fact, one of the most caustic reviews Beyond the Valley of the Dolls received came from none other than Gene Siskel of the Chicago Tribune, who made a point of roasting the work of the movie’s neophyte screenwriter. In the late ‘70s and mid ‘80s, Siskel would even, on occasion, use the film’s supposed substandard quality as a club with which to bludgeon his colleague’s taste on their televised movie review program.
In settings where cellphone use is forbidden — in class, for example — it is perfect for signaling the arrival of a text message without being detected by an elder of the species.
"When I heard about it I didn't believe it at first," said Donna Lewis, a technology teacher at the Trinity School in Manhattan. "But one of the kids gave me a copy, and I sent it to a colleague. She played it for her first graders. All of them could hear it, and neither she nor I could."
...................
The cellphone ring tone that she heard was the offshoot of an invention called the Mosquito, developed last year by a Welsh security company to annoy teenagers and gratify adults, not the other way around.
It was marketed as an ultrasonic teenager repellent, an ear-splitting 17-kilohertz buzzer designed to help shopkeepers disperse young people loitering in front of their stores while leaving adults unaffected.
The principle behind it is a biological reality that hearing experts refer to as presbycusis, or aging ear. While Miss Musorofiti is not likely to have it, most adults over 40 or 50 seem to have some symptoms, scientists say.
While most human communication takes place in a frequency range between 200 and 8,000 hertz (a hertz being the scientific unit of frequency equal to one cycle per second), most adults' ability to hear frequencies higher than that begins to deteriorate in early middle age.
You Are 30% Evil |
![]() A bit of evil lurks in your heart, but you hide it well. In some ways, you are the most dangerous kind of evil. |
Won't Get Fooled Again has been listed in the UK Independent Newspaper as the number one song with - as I understand it - the political message most often misunderstood - in this case the message is said to be 'conservative', a word that may mean different things in the UK and USA.
Of course the song has no party-allied political message at all. It is not precisely a song that decries revolution - it suggests that we will indeed fight in the streets - but that revolution, like all action can have results we cannot predict. Don't expect to see what you expect to see. Expect nothing and you might gain everything.
The song was meant to let politicians and revolutionaries alike know that what lay in the centre of my life was not for sale, and could not be co-opted into any obvious cause.
Pop star-turned-doll maker MARIE OSMOND has launched a personal crusade to clean up the Internet after learning her two teenage daughters have been posting sexually explicit correspondence on their MySpace.com websites. The PAPER ROSES singer felt compelled to give a statement to US tabloid National Enquirer after the publication uncovered outrageous content on her daughters JESSICA and RACHAEL's blogs. On her site, 18-year-old Jessica, who was adopted by Osmond as an infant, claims she is a bi-sexual who craves sex "as many times as possible," while her 16-year-old sister describes herself as a "slut" and a "whore" in correspondence and opened up about her dreams of having sex with DAVID BOWIE. In her statement, shocked Marie, a devout Mormon, says, "I am saddened by some of the choices that two of our children have made. The insidious potential for harm from adolescent Internet sites like MySpace.com only exacerbates these kinds of problems."
An idiosyncratic blog dedicated to the precursors, the practioners, and the descendants of power pop. All suggestions for postings and sidebar links welcome, contact any of us.