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awigglycultist · 2 years

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Pt 3 of The Guide: Tin Can Brothers (or Tin Can Bros or TCB) the sorta sister company of Starkid, created by three of the founding SK members (who not *actually* brothers) they started off doing skits but have also made many projects. Totally worth checking put their skits too though they're great. Fun fact all of these except Ex-Vloggers and Idol Worship canonically actually take place in the same universe. You do not at all need to watch one to understand another or anything but in WWG they made references to SIS, SAF and Flop Stoppers and then in SISBIB made another reference to SAF so its just a fun neat little thing that they all take place in the same universe.

Ex-Vloggers. It isn't like any of their other projects you'll see me list. In fact I wouldn't really call it a project. Its just a short webseries. It's much simpler and lower quality, not bad I just mean that this wouldn't have cost much to do compared to the others. It's actually really good and underappreciated in my opinion. It totally gives me nostalgia for 2015 youtube era and also it points out how fake youtubers can be putting up a front for the camera.

Summary: boyfriends Kyle and Brendan run a YouTube channel together, doing different challenges and tag videos. To their audience they seem like total love birds but behind the scenes their relationship isn't doing so well.

Spies Are Forever (SAF). This is a musical all about spies. I cannot describe how great this. It's the most loved TCB project. It's one of my fave musicals over all. There's stuff I'd love to talk about more but it'd spoil it. Just know it's great. It's really good story.

Summary: after his partner dies on a mission Curt Mega finally gets back into spying after 4 years and he ends up uncovering a super villains plot to rebuild the Nazi empire. Trailer

Choose Our Destiny: Improv Adventure. It's an improv show! Every month they had a different theme and they would do it live and do polls to let the audience choose different things to happen next. This was actually originally don't a different website that is now defunct, due to this all the episodes were luckily put on youtube by some fans but unfortunately several of them have audio issues. CHALLAHBack Girl and Murder... On The Rocks are particularly bad offenders but I promise you gets better after a while and the episodes are really great.

No summary or trailer for this one

Flop Stoppers. A short film musical with 4 songs that are all complete bops. It's a very fun little short film.

Summary: Two comic nerd YouTubers talk about their opinions on comics and movies on their channel. Until one day they're tasked with making sure one of the most hated movies by comic nerds including themselves is never made. Having to go back in time and kill the man who made it. Trailer

The Solve It Squad Returns (SIS/SISR/TSISR). A one act play that does also have two songs. It's a Sooby Doo parody and it's great the characters are so fun the jokes a fun. There's a few series moments but it's overall just really super fun and funny. Also there's only 5 actors, one for each squad member and then one that plays every single other character. And it's insane. There's literally a scene where it's just him playing every character and he has do these ridiculous quick changes and it's so funny.

Summary: The Solve It Squad is a gang of kids detectives well known throughout the world. When their dog Cluebert (Scooby) dies durning a case they whole gang breaks apart. 20 years later Scrags (Shaggy) has become apart of the FBI and his boss gives him the case that ended it all. He gathers the gang back together, Keith (Fred) who's become washed up and missing his peak in life, Gwen (Daphne) who became a self centered actor but is always stuck in a box of mystery solving, and Esther (Velma) who's became a druggie, to solve the mystery of who Cluebert's killer is once and for all. Trailer

Idol Worship. A short film about how fake YouTubers are and how much fans idolized YouTubers. It's good commentary. Pretty funny. It's not my favorite but I enjoy it for sure.

Summary: famous lifestyle youtube influencer Ashley puts on a con but it is outed for being fake from production crew. Trailer

The Wayward Guide For The Untrained Eye (TWGFTUE/WWG). This is an amazing horror comedy web series and podcast. In the webseries there's two ppl making a podcast they also released the actual podcast they made so you get to see what actually happens vs what is told to the public. If you watch this let me know before you watch it because it's suggested to watch the webseries and podcast in certain order (basically alternating every other episode) and I'll send you a playlist of it in that order. Its got a really fun cast of kooky characters. It's a mystery you can try and solve along the way yourself. I love it.

Summary: Twin siblings Artemis and Paul Schue-Horyn work at the American Podcasting Network and are trying to get the spot to the host the new season of the podcast The Wayward Guide For The Untrained Eye. When a strange man from a weird small town comes in their office to pitch the story of the corrupt mining cooperation in his town the shrug him off. Until their boss doesn't like their idea the give to him for the new season, as a last stitch effort they pitch the strange man's story and their boss loves it. When they arrive in town and their lead dies and they find out about the possible existence of werewolves the suddenly have a lot more on their hands to deal with than originally. Trailer

The Solve It Squad Back In Biz (SISBIB, or Solve It Squad the Animated but no one really calls it that). Ofc you have to watch SISR first before this. This also technically isn't fully on youtube but it is currently coming out. It's four script readings of episodes for an idea of animated series of the solve it squad, none of its actually animated (the title sequence/song is an animatic tho). It's fun getting to see these characters and it's funny. Also I'll go ahead and mention they're also currently working on a Solve It Squad musical for the holidays and the plan is too perform live and also release digital tickets for it around this upcoming Xmas and then it'll come out on youtube around the Xmas after that. I'm just mentioning this so you know that the solve it squad is like an expanding series. Anyway.

Summary: Ep 1 SIS to the (Dog) Rescue. A tiger was stolen at the zoo and the squad has to find out who stole it, Scrags is still sad about Cluebert and gets a new dog, the dog is an idiot and ruins everything they do. Ep 2 SIS Takes a Chill Pill. Gwen's life is busy with the squad, acting and her family. So her and Esther take a day off to relax. Esther gets them on drugs bc that's their idea of fun and relaxing, meanwhile Keith and Scrags take care of Gwen's kids and turns out that's not very easy. Ep 3 SIS Cashes Out. There's a certain case Keith really wants to investigate, about a cool tech billionaire, but the rest of the gang doesn't want to, so he brings back a favor from when they were kids to make them investigate it and they end uncovering the truth behind the billionaire. Ep 4 SIS Says No To Drugs. Esther tries out a new drug while the Squad follows a trail to find out more about said drug leading back to a Russian Drug Cartal while Esther has to hide that they're on this drug. It's basically a total fever dream (which make sense). I'm gonna give you two trailers for this also. First one. Second one.

#tin can bros #tin can brothers

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letterboxd · 3 years

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Savage Cinema.

From anarchists and adultery to milk baths and massacres, Matthew Turner shares five of the weirdest and wildest highlights of Hollywood’s pre-Code era, as #PreCodeApril comes to a close.

Pre-Code April was directly inspired by Noirvember, a month-long celebration of noir cinema instigated by Marya Gates (Oldfilmsflicker). I did Noirvember for the first time in November 2019, really enjoyed it, and thought it would be great to do the same thing for pre-Code movies. Although I’ve watched most of the classic 1930s films, I realised there were a huge number of pre-Code films I’d never seen (of my Letterboxd list of over 900 Pre-Code films, I have only seen 200).

As a sucker for a bit of wordplay, no matter how tenuous, I picked April partly because it’s six months away from Noirvember and partly because of the shared “pr” sound in April and Pre-Code. I’ve been absolutely delighted by the response—the #PreCodeApril hashtag on Twitter is a daily treasure trove of pre-Code-related joy, but I was genuinely thrilled to see the response on Letterboxd (here is my watchlist for the month). It’s been a real pleasure to see pre-Code movies constantly popping up in my ‘new from friends’ feed. My hope is that it’ll be even bigger next year—and that maybe TCM will want to get involved, the way they do with Noirvember.

Produced between 1929 and 1934, pre-Code cinema refers to films made in a brief period between the silent era, and Hollywood beginning to enforce the Motion Picture Production Code censorship guidelines (mandatory enforcement came in from July 1934). The “Code” in question was popularly known as the Hays Code, after then MPPDA president Will H. Hays. As the depression set in and box office declined, theater owners needed fare that would drive cinema-goers to the movies. It was a wild time to be a scriptwriter; they threw everything at the page, designers added even more, and actors played out the kinds of scenes, from the suggestive to the overt, that would otherwise be banned for decades to come.

The following five films demonstrate some of Hollywood’s craziest pre-Code excesses. They’re still jaw-dropping, even by today’s standards, and notably give female characters an agency that would be later denied as the Christian morals of the Code overruled writers’ kinks.

Madam Satan (1930) Directed by Cecil B. DeMille, written by Elsie Janis, Jeanie Macpherson and Gladys Unger

A critical and commercial flop in 1930, Cecil B. DeMille’s utterly insane musical comedy stars Kay Johnson as a straight-laced wife who plots to win back her unfaithful husband (Reginald Denny) by seducing him at a costume party, disguised as a mysterious devil woman. The location of this party? Oh, nothing too fancy, just on board a giant zeppelin. (“Madam Satan or: How the Film gets Fucking Crazy on the Blimp,” as Ryan reviewed it.)

Madam Satan is not by any stretch of the imagination a good movie (the editing alone is laughably bad), but as a piece of pre-Code craziness, it really has to be seen to be believed. Co-written by a trio of women and set in just three locations, it goes from racy bedroom farce to avant-garde musical to full-on disaster movie after a bolt of lightning hits the blimp.

The film is justly celebrated (in camp classic circles, at least) for the wildly over-the-top costumes paraded in the masquerade ball sequence, but there’s weird outfit joy everywhere you look. Keep an eye out for an enterprising extra who’s come dressed as a set of triplets.

Call Her Savage (1932) Directed by John Francis Dillon, written by Tiffany Thayer and Edwin J. Burke

Adapted from a salacious novel by Tiffany Thayer, Call Her Savage was former silent star Clara Bow’s second-to-last film before her retirement at the age of 28. She plays Texas gal Nasa Springer, who’s always had a “savage” temper she can’t explain. In the space of 88 minutes she goes from wild teenager to jilted newlywed to young mother to prostitute to wealthy society girl to alcoholic before finally (it’s implied) settling down with her Native-American friend after discovering that she’s half-Native-American, something the audience has known all along.

Bow’s performance is frankly astonishing, to the point where you simply can’t believe what you’re seeing from one moment to the next. Sample scenes see her savagely whipping both a snake and her Indian friend, smashing a guitar over a musician’s head and violently wrestling her Great Dane… and that’s all in the first five minutes. She’s also frequently in a state of near undress throughout—one funny scene has her maids chasing her with a dressing gown because they’re afraid she’ll run down the street in her négligée.

The rest of the film includes alcohol, adultery, strong violence, attempted rape, murder, syphilis (not named, but heavily implied) and baby death. It’s a veritable smorgasbord of outrageous content and Bow is pure dynamite throughout. The film is also noted for being one of the first on-screen portrayals of homosexuality, when Nasa visits a gay bar in the Village frequented by “wild poets and anarchists”.

Smarty (1934) Directed by Robert Florey, written by Carl Erickson and F. Hugh Herbert

This deeply problematic sex comedy features pre-Code stars Joan Blondell and Warren William (often nicknamed ‘The King of Pre-Code’) at their absolute filthiest. Blondell plays Vicki, a capricious, happily married wife who gets an obvious kick out of taunting her husband, Tony (William). When he cracks and slaps her at a party, she divorces him and marries her lawyer, Vernon (Edward Everett Horton), whom she also goads into slapping her in a deliberate ploy to win back Tony.

Essentially, Smarty hinges on Vicki liking rough sex and it’s completely blatant about it, ending with her sighing “Hit me again” (the film’s UK title!) as they sink into a clinch on a couch, a rapturous expression on her face. It’s a controversial film because on the surface it looks like it’s condoning domestic violence, but it’s very clearly about Vicki’s openly expressed sexual desires—she wants to be punished and dominated, she just has a rather dodgy way of getting what she wants.

It might be unsophisticated, but in some ways Smarty is remarkably ahead of its time and ripe for rediscovery. To that end, it would make a fascinating double bill with Stephen Shainberg’s Secretary (2002). Oh, and it’s also chock-full of lingerie scenes (like most pre-Code films), if you like that sort of thing.

Massacre (1934) Directed by Alan Crosland, written by Sheridan Gibney, Ralph Block and Robert Gessner

Several pre-Code films (notably those made by Warner Bros) took a no-punches-pulled approach to their depiction of social issues, and star Richard Barthelmess actively sought out such projects. Here he plays Joe Thunderhorse, a Native American who’s become famous on the rodeo circuit. When he returns to his tribe to bury his father, he ends up fighting for their rights, taking on corrupt government officials and religious authorities.

Massacre is fascinating because on the one hand it’s wildly insensitive—Barthelmess and co-star Ann Dvorak are both cast as Native Americans—but on the other, it burns with a righteous fury and does more than any other Hollywood film (before or since) to champion the rights and highlight the injustices dealt out to Native Americans. That fury is encapsulated in a horrifying and rightly upsetting rape scene (it happens off-screen, but the cuts leave you in no doubt) that the film handles with surprising sensitivity.

In addition to being a passionate fight against racism and social injustice, the film also has some genuinely shocking sexual content. Most notably, Joe is seen making love to a rich white woman (Claire Dodd, who’s also in Smarty) who has an obvious sexual fetish, flaunting him in front of her friends and making a shrine in her room with Native-American paraphernalia.

The Sign of the Cross (1932) Directed by Cecil B. DeMille, written by Waldemar Young and Sidney Buchman

Yes, this is Cecil B. DeMille again, but no list of weird and wild pre-Code films would be complete without the jaw-dropping ancient Rome epic, The Sign of the Cross. Adapted from an 1895 play by Wilson Barrett, it stars Frederic March as Marcus Superbus (stop sniggering at the back there), who’s torn between his loyalty to Emperor Nero (Charles Laughton) and his love for a Christian woman (Elissa Landi), while also fending off the advances of the Emperor’s wife, Poppaea (Claudette Colbert).

The film is racy enough in its sexual content alone: highlights include the famous scene of Claudette Colbert taking a nude milk bath and an erotic “lesbian” dance sequence, where Joyzelle Joyner’s “most wicked and talented woman in Rome” does ‘The Dance of the Naked Moon’ at Frederic March’s orgy, trying to tempt Landi’s virtuous Christian, to the obvious arousal of the gathered guests.

However, it’s the climactic gladiatorial-arena sequence that will leave your jaw on the floor. Lasting around twelve minutes, it includes: someone getting eaten by a tiger, a tied-up, naked women being approached by hungry crocodiles, pygmies getting chopped up by female barbarians, elephants stomping on heads, a gorilla approaching a naked woman tied to a stake, a man getting gored by a bull, and gladiators fighting to the death, complete with blood and gory injury detail.

The whole thing is genuinely horrifying, even for 2021. Best of all, DeMille pointedly critiques the audience (ourselves included), by showing a series of reaction shots ranging from intense enjoyment to abject seen-it-all-before boredom.

Matthew Turner (FilmFan1971) is a critic, author, podcaster and lifelong film fanatic. His favorite film is ‘Vertigo’. The films in this article are also listed here: Five of the Pre-Code Era’s Most Outrageous Films.

#preCodeApril #pre code april #precode april #hays code #mppa code #cecil b demille #clara bow #matthew turner #letterboxd #1930s films #1920s films #depression films

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cowtale-utau · 4 years

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Where the names came from

aka, I’m working on more content, but this was easy and I wanted to put something out.

Alright so the names. Some of these took me a lot longer and a lot more stress to figure out than I intended, but I'm mostly happy with them. Anyway I said I'd explain my reasoning so here we are. Not gonna lie though, a good chunk of them just “fit” and stuck in my head so there is not deeper meaning or justification.

Undertale Sans – Ace. This one stumped for awhile. I'd been looking for something to call back to his lazy reputation, but everything found sounded off. Then I looked for names to suit his leadership role. I considered Boss for a second but that's a common name for UF!Papyrus and I didn't want to have that connection. Ace was a single syllable, and kinda has that top of the pile, number one connotation, so that's what I went with.

Undertale Papyrus – Lief. I chose this over the alternate spelling Lieve. Its a word I found in a cowboy slang guide, meaning “willingly/gladly”. I liked how it connected to his open and helpful nature. Even as an outlaw, he really just wants to help people and get along. He understands the life they live, and accepts it fully, but doesn't think that means he can't also be a good person.

Underfell Sans – Chisel. A friend actually recommended this. I was having a hard time choosing and sent her the bio I had, as well as the list of assorted names I was considered in general. It isn't quite a mechanical term but it does call to mind working with ones hands.

Underfell Papyrus – Spur. The one that started it all. His name came from the visual that hit me when I couldn't sleep, and refused to leave me. (He steps in all confident in his black leather and spurs only for the cutie to tug him down by his bolo tie and put him in his place)

Underswap Sans – Scout. I originally called him Bandit, which felt close, but off. Then Scout hit me and I ran with it.

Underswap Papyrus – Piper. A nod to his smoking habits. Nothing much else to it.

Swapfell(Red) Sans – Whip. This one, honestly just popped into my head and I was like, “aight”.

Swapfell(Red) Papyrus – Coyote. Wanted to stick with the canine theme for him, and I liked the way it sounded better than Jackal.

Horrortale Sans – Tender/Ten. From his “job” in the camp. He tends to any animals/plants they have.

Horrortale Papyrus – Cook. Same hat as his bro. He's camp cook, so he gets called Cook.

Swapfell(Purple) Sans – Doc. This boi. Oof. He was the last one named, and was another the friend who helped name Chisel helped with. He was also the last one to get a defined role. It came down to either Doc or Biz. There was a big ol' rant that led up to us settling on Doc. I can share that sometime if you'd like.

Swapfell(Purple) Papyrus – Flint. This one gave me some trouble too. There are a lot of slang terms for money from that era but none of them sat right to me. Then I came upon the term “skin-flint” which is used to refer to someone who is particularly stingy or frugal with their money. Cut it down to just Flint, and I was happy with it.

Fellswap Gold Sans – Haze. Another I got help with. When I sent her the list she pointed to this as a nod to the way he manipulates people. Hiding his true self. I liked it well enough so it stuck.

Fellswap Gold Papyrus – Cirrus. When we named Haze, I mentioned that their “canon” names are Wine and Coffee. She said “those are both drinks, so give them both weather names”. It came down to Cirrus or Stratus. Wispy clouds or gray clouds. Ultimately I liked the shortened Cir, better than Strat.

Underlust Sans – Mab. And Underlust Papyrus – Calico. These two were basically named together. Mab and Calico Queen are both terms used in the old west for prostitutes (according to the slang guide I was using, no promises on authenticity. I'm trusting the internet here, which is questionable at best). Considering their origin, and one of their favored covers, it fit. They were among the easiest to name.

Also ; there is now a chance Mab will be renamed to Shine. This was suggested by a wonderful Nonny, and the idea has started to run off on me. I’ll prolly post my whole thought process on that later today for everybody to weigh in on.

**After some flip-flopping Mab has been renamed and is now know as Shine henceforth.

Also Also ; idk if anyone noticed my note on “Funkify” but probably not. Now, a quick qualifier, I will not likely include any of the Outcode Skelies in this (I say that now...), despite my adoration of them, there’s already a lot happening. But. 4am thoughts did what 4am thoughts does and pointed out that Funkify is the perfectly worst best name to give CowTale Fresh. Nobody let me do this, please.

#Undertale #CowTale #UTAU #Undertale AU #UT AU #UT!AU #UTMV #Undertale MV #multiverse #sans #papyrus #AU!Sans #AU!Papyrus #also #i suck at formatting #im figuring it out #please be patient with me

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fiftytwotwenty · 4 years

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Movie Monday - June 29th, 2020

"Ode to Animation"

Today we're are taking a look at Animation - a broad form of Cinema that encompasses Stop-Motion, Computer Rendering (2D & 3D), and Hand Drawing Images which are manipulated in such a fashion they appear as moving images.

Now due to broad spectrum of storytelling and styling which can take place under Annex of Animation I am discussing my Favorite Films of Animation - a sort of Introduction to Animation.

THE DISNEY RENAISSANCE:

The Lion King (1994):

Disney, for a majority of my life and prior, was regarded as an Animation Powerhouse when they kicked off with Snow White and The Seven Dwarves in 1937 (Golden Era). Now, Disney being the main flagship wasn't always perfect they had plenty of slumps and flops - first hitting major lows in their Bronze Age (1970-1988) - Disney Studios coming off Walt's death dabbled in a lot of trail and error as they moved away from Fairytale story arcs and more into a dark plots like Fox and the Hound. Now the movies during this period are not bad per se - just different from people's previously perceived perceptions of Disney Films but they certainly lead to the Pinnacle of Disney Animation - The Renaissance (1989-1999).

The best way to describe The Disney Renaissance is it's more of New Age Fairytale Storytelling setting (ie. Stronger Female Figures) spun with a Broadway Musical vibe - Kicking off with The Little Mermaid (1989) and ending it's run with Tarzan (1999).

Now, not my personal favorite, but probably the Most Iconic with Mass Appeal of the Renaissance Piece has to be The Lion King. With a Hamlet-esque Plot and Amazing Music stlyings from Elton John & Tim Rice makes for great introduction to Disney.

THE POST RENAISSANCE ERA:

Lilo & Stitch (2002):

As you can probably deduce from the great title of "Post-Renaissance Era" Disney took another dip in its attempt to Find it's Magic in the Box Office.

Running from 2000-2009 Disney made some really basic, blah movies (Home On The Range, Chicken Little, Bolt...) while it competed with Harry Potter, Lord of the Rings and Pixar films at the Box Office. This period was seen as transitional time before Disney yielded to the CGI technology which made it Cinematic Competitors soar in their earnings.

This period did however allowed Disney to embrace the "weird"... or at least a Disney sense of weird - something we really haven't seen from Disney since Alice in Wonderland or Fantasia.

Enter Atlantis: The Lost Empire, Treasure Planet, and of course Lilo & Stitch.

Leave it to a movie about a Girl meets Alien to give us the realist portrayal of human life and interactions. The perfect mix of heartwarming and sadness on a watercolor backdrop infused with rocking tunes from The King, Elvis Presley.

This is by far one of my Favorite Movies to come out of Disney.

THE OUTSIDERS:

American Tail (1986) & The Iron Giant (1999):

When I was I kid I LOVED animation - Gimme, Gimme, Gimme...

I used to lie awake at night and try to think up the next best animated story to tell.

Again, during my youth Disney was the power house and derived most it films from source materials like Hans Christian Anderson - just remember kicking myself when they announced Hercules - "Of course!", I thought... I would read fables and old lore to help predict/imagine the next Disney Hit.

It wasn't until seeing movies like An American Tail (Amblin) and The Iron Giant (Warner Bros) that I realized you don't need the Fable/Fairytale connections - totally broke my Tunnel Vision. All you have to do is tell captivating stories.

An American Tale and The Iron Giant go above and beyond as they introduce youngsters to actual historical elements rooted in themes of Immigration/Genocide and Cold War Fear respectively.

Fun Facts:

An American Tale is the highest grossing Traditional Animated Film outside Disney Studios.

The Iron Giant was directed/helmed by Brad Bird who went onto The Incredibles and Ratatouille.

PIXAR:

Toy Story (1995):

When it comes to CGI you have to honor Toy Story, Pixar's ice breaking Original feature film that help pave the way for DreamWorks (Shrek & How to Train Your Dragon) and Illumination (Despicable Me) and Disney itself.

Toy Story is the foundation for empire that Pixar is built on. Although Best Animated Feature was not yet a category at the Oscars until 2001 but Toy Story did still receive 3 Oscar noms: Two for Best Original Song (both by Randy Newman) and Best Original Screenplay.

Since 2001 Pixar has been nominated for 13 (out 19) Oscars in the Best Animated Feature Category and brought home 10 Little Golden Dudes.

I do have some mix feelings about Pixar - mainly the group that was bringing Original stories has kind of turned into rehash machine. Out of the 22 Movie lineup (Soul will be #23 when released) Pixar contains 8 sequels (36% of its catalog).

Compared to Disney's 65 movie catalog (Theatrical Releases Only - Excludes Straight to Home Video) which only contains 3 sequels (Rescuers Down Under; Ralph Breaks the Internet; Frozen II -- 4.6%) - 4 sequels if you count Fantasia 2000.

Pixar Studios heads have stated after Toy Story 4 they plan to discontinue with rehashing of old stories... (for a while...)

STUDIO GHIBLI:

Spirited Away (2001):

From our friends from the East, Studio Ghibli & Miyazaki comes Spirited Away.

Many Cult Fans might argue that Spirited Away is not their Top film but all will agree this Coming of Age tale set in an atmosphere of Gravitas is a great launch pad for Japanese animation.

Spirited Away has been held in high regards with The Academy as it picked up an Oscar for the Best Animated Film in 2002 making it the First Foreign Film to win the award (One of only Two foreign films to receive the Best Animated Film award).

STOP MOTION:

Isle of Dogs (2018):

I am not afraid to say Stop Motion can be jarring to the eye, but no one can deny all the hardwork that goes behind a Feature length Stop Motion film.

You almost have to be insane to devote any of your time to Stop Motion - an art of physical manipulating your work in small increments between individual photographs to piece together a visual of motion.

Isle of Dogs work consisted of over 3,000 puppets and 20,000 articulated heads evoking different expressions.

Why Isle of Dogs?

Wes Anderson and his team do an impeccable job at making the film visually appealing and it's a riveting story to boot - Isle of Dogs is quite possibly one of Wes' Top films which is tough beat when up against live action flicks like Moonrise Kingdom, The Grand Budapest Hotel and Rushmore.

LIVE ACTION - ANIMATION MASHUP:

Who Framed Roger Rabbit? (1986):

1925's The Lost World was the first film to combine Live Action and Animation. Roger Rabbit simply perfected it paving the way for Space Jam and hopefully an equally, if not more amazing, Space Jam II.

Believe it or not Who Framed Roger Rabbit is a Disney film although Mickey and his gang share equal screen time with the like Warner Bros and Tex Avery's most valuable commodities.

It's Funny, Dark, and Innovative with excellent performances from Bob Hoskins, Christopher Lloyd and their inked counterparts.

JUST GOTTA WATCH:

Spider-Man: Into the Spider-Verse (2018):

This far more than a Superhero Movie...

This is a total feast for your eyes.

This 2019 Oscar Winner for Best Animated film illustrates how power of Animation can take you far beyond the limitations Live Action works.

Spider-Man: Into the Spider-Verse can easily take the mantle of Best Marvel Comic Book Movie and holds a personal spot in my All Time Favorites.

So, That's my Introductory List for the Best Animated Films... Grab some popcorn and get to watching...

HONORABLE MENTIONS:

Little More of an Adult List:

- Akira (1988)

- Grave of Fireflies (1988)

- Bébé's Kids (1992)

- Cool World (1992)

- Ghost in the Shell (1995)

- I Lost My Body (2019)

#Movie Monday #Best Animated Movies #Animated Movies #Disney #Pixar #Studio Ghibli #Lion King #Lilo and Stitch #An American Tail #The Iron Giant #Toy Story #Spirited Away #Spider-Man Into the Spider-Verse #Isle of Dogs #Who Framed Roger Rabbit #Animation #52 in 20

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introvertguide · 4 years

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Bringing Up Baby (1938); AFI #88

The current film on the AFI list is touted as the most screwball of all screwball comedies: Bringing Up Baby, (1938). It is a film that was adapted for the screen with the great Katharine Hepburn in mind. According to the writers, it fit her personality and sense of humor well and, with the addition of a lovable Cary Grant, was the perfect comedy vehicle. And audiences at the time hated it. It was a total flop during its initial box office run, director Howard Hawkes was fired from the studio, and Katharine Hepburn was labeled box office poison to the point that she had to buy out her contract because the studio would not give her any more work. Now the film is celebrated as favored comedy from the old Hollywood era. AFI listed it as the #88 greatest American film and the #14 best comedy film. So is this movie any good? Audiences in different eras disagree so I wanted to find out for myself. First I want to do the usual review of the plot (although this is a screwball comedy and it isn’t intended to make any sense) so let’s get the bold warnings out of the way...

SPOILER ALERT!!! THERE REALLY ISN’T A LOT TO SPOIL IN A SCREWBALL COMEDY BUT I DON’T WANT TO GET YELLED AT!!! PER USUAL, YOU SHOULD JUDGE A MOVIE FOR YOURSELF SO CHECK THE FILM OUT BEFORE READING FURTHER!! Alright, moving on...

The film begins with a bumbling paleontologist named David Huxley (Cary Grant). He is a man consumed by his work, yet he is somehow engaged to be married to a woman that is seemingly obsessed with taking second fiddle to his job. For the past four years, he has been trying to assemble the skeleton of a Brontosaurus but is missing one bone: the "intercostal clavicle". He is also tasked with impressing a potential patron named Elizabeth Random (May Robson), who is considering a million-dollar donation to his museum.

The day before his wedding, David meets Susan Vance (Katharine Hepburn) while attempting to solicit donations from the lawyer of Ms. Random. Susan callously plays the wrong ball which distracts David from attending to his potential patron and then she stubbornly wrecks David’s car while she tries to get to her own vehicle. Later that night, she distracts David again while he attempts to have a drink with the man from the golf course and the encounter ends up with both characters tending to ripped clothes in public. Susan seems to like to cause trouble and believes that her traits are fun. These qualities soon embroil David in several frustrating incidents.

The next day, Susan's brother Mark has sent her a tame leopard named Baby from Brazil. Its tameness is helped by hearing "I Can't Give You Anything But Love". Susan ignorantly thinks David is a zoologist and manipulates him into thinking she is being attacked by the animal. He does not call the police but goes to Susan and she bullies him into joining her in moving the leopard to her country home. Complications arise when Susan falls in love with him and tries to keep him at her house as long as possible, even hiding his clothes, to prevent his imminent marriage.

David's prized intercostal clavicle is delivered, but Susan's aunt's dog George takes it and buries it somewhere. When Susan's aunt arrives, she discovers David in a negligee. To David's dismay, she turns out to be potential donor Elizabeth Random. A second message from Mark makes clear the leopard is for Elizabeth, as she always wanted one. Baby and George run off. The zoo is called to help capture Baby. Susan and David race to find Baby before the zoo and, mistaking a dangerous leopard from a nearby circus for Baby, let it out of its cage.

David and Susan are jailed by a befuddled town policeman, Constable Slocum (Walter Catlett), for acting strangely at the house of Dr. Fritz Lehman (Fritz Feld), where they had cornered the circus leopard. When Slocum does not believe their story, Susan decides the best cover would be to tell the police that they are members of gang. This distracts the police long enough to allow her to escape to go and find Baby to prove she and David are innocent. The potential patron Ms. Random comes to the jail to free Susan and is embroiled in the plot when she talks about her leopard and is locked up. Eventually, the lawyer/golf partner shows up to verify everyone's identity. Susan thinks she found the correct leopard but unwittingly drags the highly irritated circus leopard into the jail. David saves her, using a chair to shoo the big cat into a cell.

Some time later, Susan finds David working on his dinosaur skeleton alone. He was dumped by his fiancée because of Susan and he is now single. He did not get the donation but finds that Random gave the money to Susan and now Susan wants to donate the money to the museum. David confesses that his time with Susan was the best time he has ever had and that he loves her. At this point, Susan inadvertently destroys the dinosaur that David has worked on for 4 years because she won’t listen to David’s warnings. He gives up and kisses Susan, resigned to the life that will come with loving this woman. The end.

After watching this film, I did some research and I can see why Hepburn was labeled box office poison following this movie. She apparently ruined many of the takes for this film which cost a lot of money. What is more, the director and the lead actors had overtime clauses in their contracts so everyone was paid about double what was initially agreed upon because of the actors fooling around. The film might have broken even or perhaps had a modest gain, but Hepburn caused extra costs to the production to the point of major financial loss. This was a point of lean times in America, so an actor that commanded hefty pay, caused expensive delays, and did not draw in a big audience was poison to a studio. She obviously went on to do great things for film and this work was eventually embraced by audiences, but Katharine Hepburn needed to be humbled and the reaction to this movie did just that.

I was surprised that there was a real leopard (tame of course, but still) on set with the actors. There were some shots in which the actors were filmed separately from the animal and everything was overlaid, but there were many scenes with the actors directly interacting with the leopard. Most famously, Hepburn’s character was talking on the phone while the leopard walked around her legs and the animal started to get rough with her feet. If you watch Hepburn’s face closely, she is not smiling but has darting eyes watching closely over the big cat. Apparently, the leopard lunged at Hepburn at first meeting and she did not really like the animal.

So let me get to the point of my personal feelings about the movie. I have watched it twice for this review: once straight forward and once with commentary by Peter Bogdanovich. I have looked at the reviews as well. It didn’t help. I and both my parents hated this movie. We have watched 41 movies on the AFI top 100 so far and this has been unanimously our least favorite. We do not like screwball comedies and this is famously “the most screwball of all screwball comedies.” I will not say that this film is bad because it obviously has a ton of fans, but I subjectively hated it. Let me explain before I get the hate mail.

Susan Vance is my kryptonite. She is a bullying socialite that does not care about anyone but herself and only does what she wants. She is manipulative towards a guy that just wants to build his dinosaur, and she wrecks his relationship, affects his job, ruins his car, endangers his life, and destroys his work. For some reason, in the movie world he falls in love with her for it. Susan Vance is the kind of person that has affected people negatively since forever. I guess it is funny because it is relatable? “Yeah, I have had my life ruined by human bulldozers like that. Wouldn’t it be funny if that person took a personal interest in plaguing me at every turn?” I am an introverted nerd and I have been harassed by the Susan Vances of the world. I don’t find them funny and actively avoid people like Susan Vance. I don’t want to see them in my movies, especially as the hero/love interest.

What hurt me was that Katharine Hepburn was apparently like this in her behavior at the time. She would talk off camera during filming and ruin takes. She would ad lib lines that she thought were funny and goof around with Cary Grant costing the studio hundreds of thousands and lots of lost time. It sounds like she was simply oblivious to the efforts of others. Her behavior as an actress and the character in the movie should not be rewarded. In film world, this bull in a china shop still gets her man. In the real world where a nation is recovering from a devastating financial crisis and facing a possible world war, nobody wants to see that garbage. As was appropriate, everybody got fired and the audience did not want to shell over their money. I am glad the film flopped and say it was deservedly so.

OK. I got that off my chest so let me now set aside my personal bias and answer the standard questions more objectively. Does this film belong on the AFI 100? Yes. It is maybe the best example of the screwball comedy of the 30s and, according to the Bogdanovich commentary, is a great example of the quick pace dialogue with double meaning that defined the time. I also think it is good to remember what happens when actors completely disregard their employers and their audience. Even the great Katharine Hepburn had to make a comeback when her audience turned on her. The placement of the film very low on the list seems appropriate to me as well. So then...would I recommend it? Subjectively, heck no. I found the movie frustrating to the point of being angry. Objectively, yes. A lot of people find whacky antics funny and any fan of shows like The Honeymooners or I Love Lucy and movies with The Three Stooges or The Marx Bros would likely enjoy this film. It has a 90% audience rating on Rotten Tomatoes and Roger Ebert called it one of the 102 movies to see before you die since it is a perfect example of the genre. It seems like a movie most people would enjoy. Let me back pedal slightly and note that I have full respect for people who enjoy the film and I am glad cinema brings you some laughs. However, I hate the film with a passion and never plan on watching it again.

#bringing up baby #katharine hepburn #hollywood elite #over budget #susan vance #cary grant #screwball comedy #30s #old hollywood #afi movies #introvert #introverted #leopard #howard hawks

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noctemusfic · 11 years

Text

☵ It's Not A Beginning

A Iron Man (Movies), The Avengers (Marvel Movies) Fan Fiction by Noctemus. Can be read on: @AO3

Characters/Pairing: Christine Everhart/Tony Stark Rating: PG

Disclaimer: I do not own the characters portrayed herein. This is for fan enjoyment only and no profit gained nor sought.

Note:

I like Tony paired with people outside of 'mainstream' or fanfav (Stony comes to mind). This is one.

It's unbeated so so you're bound to find some errors. All mistakes are my own. If you find something glaring please let me know. Enjoy.

Summary: He can already feel whatever good his time spent with the blond vixen had done for his state of mind is draining away as the cloak of being Tony Stark comes around him again.

☵ It's Not A Beginning- 1/1

☳ ☼ ☳

The angle was wrong for the sun to shine right into the bedroom window but the light reflected from the building in front was glaring enough that Tony grimaces as he plants his feet on the soft carpet next to the bed, the chill of the floor warded off by the thick fabric.

He idly wonders if he can get the stubborn woman to invest in some blackout curtains, but he can already imagine her list all the numerous points against it. All valid enough that it wouldn't be worth the effort it would take to convince her.

After all, it was a rare enough occurrence for him to be in her room at this time of the day.

Standing up, Tony makes quick work to slip his watch back over his wrist, pulling his socks on while keeping his pants from sliding down his legs, and put on the wife-beater he favors that has the extra thick fabric in front to obscure the light emitted by his arc-reactor.

Eyeing distastefully the shirt that had ended up on the floor earlier that day he shakes it out, trying to get rid of as much of the wrinkles as possible.

A muffled laughter makes Tony look up, meeting the amused blue eyes of his favorite reporter who has apparently just woken up. Tony watches as she puffs up the pillow and wraps her arms around it before resting her head on it, primed to watch him dress.

“You know the suit is going to cover it,” Christine points out. Tony rolls his eyes and shrugs it on and says. “I know, that’s not really the point.”

“There is a point?” Christine smirks as she shifts and rests her head in her hand. She shakes her head as she watches Tony tug at the sleeves, mild irritation tugging the edges of his mouth down. Rolling onto her back, Christine scoots back towards the headboard and remarks, “you are such a snob.”

“And you’re not?” Tony shoots back as he looks around.

“I've said it before and I’ll say it again. You can always leave a change of clothes here.”

“Right, because no one would notice if I showed up dressed differently than how I was when I went out.” It is obvious what Tony thinks of that, the mockery clear in his voice.

“It wouldn't raise any eyebrows either,” Christine points out. True, Tony concedes, and his teammates would already know if they could get their head out of each other - not finishing that thought, thankyouverymuch.

Except...

How had they thought they could keep it from him. Jarvis gives him eyes everywhere. Not to mention subtlety isn't exactly their strong suit, at least not for the behemoth of a man, or god as the case may be, and the ferocious appetite he apparently has to anything in life, or Rogers for that matter with his supposed 40’s era sensibilities that turned out to be less than archaic.

He’d been more than surprised, downright shocked really when he realized the good Captain and the God of Thunder was apparently bumping uglies together. Obviously, at all those late night sparring session more happened than what they had let everyone believe.

He can deal. Tony is a lot of things, but he tries not to be a hypocrite. If his teammates want to do the horizontal dance with each other he isn't going to begrudge, or judge, them that.

And if Rogers doesn't think he can tell him then it is his choice. See, he can be mature Pepper. That people thought he wouldn't notice what is essentially happening under his very nose rubs him the wrong way. Willful ignorance was bound to cause pain and he has permanent scars to attest to that. Accusing him of being paranoid and then not expect him to be hyper-vigilant is just downright stupid.

Watching and learning is what he does. What he has always done. It’s how he realized that the twosome, had turned into more-some. Some digging later and it turns out everyone was playing tickle the sausage with each other.

How they made it work was something he hasn't figured out yet. Thor, Rogers, Barton, Romanov, and his little science bro, Banner.

Five, an odd number, that. At this point, he wouldn't be surprised to find out that Agent is in on it too. Everyone sans him. How fucking typical is that.

What did they have that he doesn't?

“Tony?” Christine’s voice brings him out of his thoughts. Looking over his shoulder he can see the small line between her neatly plucked brows. She had tucked the sheet around her, sitting up with her legs folded underneath her, head cocked to the side.

“Yeah?”

“You OK? You went waaay away there for a minute,” she asks, waving her hand about her head. Tony purses his lips, turning his attention to his shirt, mumbling something incomprehensible even to himself.

“Come again?”

“Am I really all that unattractive?” Tony throws over his shoulder nonchalantly after a lengthy pause while he buttoned up his shirt, inwardly cringing at how pathetic that came out. Christine snorts where she is once again gone back to lying prone on the bed.

“Not really the person you should ask that,” she says as she stretches, watching him go through the motion of putting himself back together.

“They do know that nothing gets by me, right?” Who ‘they’ were, did not need any clarification. “They are living in my Tower, for fucks sake!” Christine’s mouth quirks in clear amusement and if it had been any other time, that alone would have drawn Tony back to the bed.

“Yes, and you are one paranoid fucker. It is a known fact,” she states as she settles the sheets around her provocatively unashamed of her nudity and taking delight as Tony looks her over.

Tony hums, momentarily derailed from his train of thought. The sound of his cell phone jars him back and he shakes himself and quickly tucks his shirt into his pants and does them up.

“It’s not paranoia when it’s true.” Picking up the tie he had spotted earlier on the night table he quickly loops it around his neck.

“Anyways, if they are all banging each other, either they don’t give a shit about ‘big brother’ or they're rubbing in the fact that they haven’t invited me.” He can practically see his words go through Christine’s head and the moment it clicks what he is actually saying.

It visibly perks Christine right up and she sits up, the sheet forgotten where it pools around her waist. Tony smirks and preemptively says, “And no, you’re not allowed to write about it.”

She pouts but Tony can see in her eyes the acceptance. What they had worked only as long as both adhered to the few rules they've set up and for whatever reason, he’d found out over time that Christine is very reluctant to go against them, even if it meant losing out on some really great stories. He isn't about to look a gift horse in the mouth.

Christine shrugs and leans over, grabbing a hold of his tie and tugs him down before licking into his mouth. If he wasn't already previously engaged he wouldn't mind getting back between those sheets and into her warm welcoming body but alas, responsibility calls, or has left several voice messages in the form of one formidable Pepper Potts.

“Their loss,” Christine whispers against his lips. Tony grins and pecks her before straightening up, looking for and finding his jacket before shrugging it on.

Trailing his fingers against the edge of her jaw he watches her flop back against the pillows, for all the world with no intention of leaving anytime soon.

Putting his sunglasses on he fished his earpiece and slips it into the shell of his ear before leaving the tempting and very much delectable woman behind, calling up his driver as he does and lets Jarvis know he is on his way back.

“Do you wish me to inform Ms. Potts, Sir?” his AI inquires and even through the small earpiece Tony can hear the amusement in its voice.

Shaking his head, Tony makes his way down the stairs that lead to Christine’s small but surprisingly cozy apartment while trying to tame his hair into something less of a ‘spent the last couple of hours fucking through to shear bliss’-hair and more the proper business look he knows Pepper prefers when he is on official Stark business.

The last thing he needs is for her to shit kittens because he got some ‘piece of tail’ quote and un-fucking quote.

Pushing open the emergency door that leads to the back alley of the apartment complex, Tony is not surprised to find his car waiting for him, his driver slash bodyguard holding the door open, a flick of his eyes acknowledging Tony before going back to tracking his surroundings.

Even though, these days, Happy Hogan rarely works as his chauffeur having been offered a promotion and accepting it, Tony's knee-jerk reaction was still to expect his familiar silhouette standing there. In spite of the time passed since Happy hanged up his hat, in a manner of speaking, Tony finds himself thrown for a loop seeing someone else in his place more often than he cared to admit. Apparently, some changes are harder for him to assimilate. It lasts only for a split moment, not even noticeable to anyone but Tony himself.

Between Jarvis and Happy and with Tony’s approval, Alex, last name unpronounceable, has practically been handpicked to take over most of Happy’s former duties which were harder than anyone would think. Alex is a ruthless, efficient and above all unflappable specimen of a man that had slid right into the vacant spot with barely a hiccup.

Seeing the ever-vigilant eyes of his ‘Driver’ roaming the surrounding Tony keeps the comment that wants to slip out where it belongs, in his head. Alex precautions weren't unwarranted even by Stark standards if the last couple of months had been any indication with two failed kidnapping attempts, and boy had that been a bitch to convince Happy to keep from Pepper.

His Head of Security of all things personal (and Tony just knows that he was in cahoots with Jarvis) is a stick in the mud when it came to his safety and the compromise had been Alex, a competent scary son of a bitch that can rival Captain America in size with a humor that is downright morbid and who would say fuck you right into the Boss’ face if the request Tony gave went against his main order: that of keeping Tony alive and as safe as possible, and not necessarily in a language Tony knows.

Slipping into the cool interior of his tricked up car, if the weight he could see on the wheels is any indication, Tony makes a mental note to find out what Happy and Alex has been up to and what they had done to his poor beauty as Jarvis had been surprisingly mute on the whole affair.

Fishing out his tablet as Alex rounds the hood of the car and gets behind the wheel, Tony pulls up the briefs he needs while letting Jarvis screen through the undoubtedly irate calls of his acting CEO.

He can already feel whatever good his time spent with the blond vixen had done for his state of mind is draining away as the cloak of being Tony Stark comes around him again.

The End.

#f: mcu #c: christine everhart #c: tony stark #p: christine everhart x tony stark

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kylekozmikdeluxo · 7 years

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The Beach Boys’ SUNFLOWER.

No anniversary or anything, just some continued discussion on one of The Beach Boys’ greatest studio albums. Often agreed to be, technically, the best of the post-PET SOUNDS Beach Boys long-players, SUNFLOWER is a record abundant in rich production, ace songwriting, and the quirky charm that only the Brothers’ Wilson and accomplices could bring...

SUNFLOWER sounds like a lot of work went into it, each song is produced so sumptuously, with arrangements and enough layers to put layer cake to shame. A record mostly free of the cynicism and aura of 1970, standing the test of time and sounding fresh long after its initial bow. That said, it did arrive with some little flaws, which was a byproduct of The Beach Boys machine post-WILD HONEY.

Recently, I came across album engineer Stephen Desper’s study videos on The Beach Boys, SUNFLOWER, and the various songs that didn’t make the cut. SUNFLOWER was mainly recorded from fall 1969 to the weeks before its August release date, but a handful of recordings on here actually date back to the first quarter of 1969, when The Beach Boys were about to enter a legal scuffle with their former record label, Capitol Records. Over time, some songs from these sessions were ported over to the finished album to enhance it.

It is well-known that in February 1970, The Beach Boys already had something of a finished album on hand, despite signing with Warner Bros./Reprise Records in mid-November of the previous year. An acetate was sent to WB executives and their top dog, Mo Ostin. Ostin believed in The Beach Boys and knew they were more than what the public had perceived them to be. After a chain of mishaps during the Summer of Love (1967, for anyone who may not know), The Beach Boys lost all of their popularity and respect on American soil. Americans, from buyers to critics, mostly turned their backs on Brian, Dennis, Carl, Mike, Al, and Bruce...

Despite great quality singles and albums, just about everything released from fall 1967 to the end of 1970 was a sales flop, even SUNFLOWER, which flopped the hardest of any album of theirs to date. Europe was far more enthusiastic and loving of the new-phase Beach Boys. SUNFLOWER fared far better in Europe, as did just about all their singles, and their albums SMILEY SMILE, WILD HONEY, FRIENDS, and 20/20.

Ostin knew these guys weren’t the “outdated surfing Doris Days” that the American public thought they were. Ostin was not pleased with the first acetate that was submitted, saying it lacked a potential hit single and that the men could do much better than that...

The first acetate, which Desper provided via his videos, actually wasn’t too bad. You can recreate it yourself with existing SUNFLOWER tracks and bootlegs of the others, as they would be remixed or revised for future albums... We’ll be looking at those.

SUNFLOWER’s February 1970 configuration had the following track listing.

SIDE ONE - ‘Susie Cincinnati,’ ‘Good Time,’ ‘Our Sweet Love,’ ‘Tears in the Morning,’ ‘When Girls Get Together,’ and ‘Slip On Through.’

SIDE TWO - ‘Add Some Music to Your Day,’ ‘Take a Load Off Your Feet,’ ‘This Whole World,’ ‘I Just Got My Pay,’ ‘At My Window,’ and ‘Lady’

There are plenty of great songs here, and some weaker ones. You can see why Mo would reject this one... What with songs like ‘When Girls Get Together’ present, and some less-than-PET SOUNDS ditties like ‘Take a Load Off Your Feet’ and ‘Got My Pay’...

‘Good Time’ would later be released in 1977 on the album LOVE YOU. On that album, the original recording is reworked. Its vocals are radically different, and the ending note is cut short by a fade-out. Additional vocals were added to certain sections. The original 1970 version sounds much closer to version done by Brian’s wife Marilyn Wilson and sister-in-law Diane Rovell, which uses the Beach Boys recording and backing vocals, with the ladies’ vocals on top. The duo would be known as American Spring, and would get an album out in 1972.

‘Tears in the Morning’ ended up making it to the finished SUNFLOWER, but it was produced a lot differently. ‘Tears in the Morning’ was always criticized for being a corny, lounge-lizard song... I never really got that out of the released version, the production sweetened it up and made it sound more like a traditional pop song. The original mix prepared for the February 1970 acetate is a country kilometer away... Not only is the actual Vegas/lounge aesthetic all over it, but the “teeeeeears” crooning is thankfully drowned out by brass! This is the version that should’ve been released, not what we ended up getting... But who am I to say? The Dutch sent the song - released as a single in various European territories - to the Top 10.

‘When Girls Get Together’ was later released on 1980′s KEEPIN’ THE SUMMER ALIVE, the point - in my opinion - where The Beach Boys as an entity officially checked out. I always felt this song was undone by its awful (and likely sexist) lyrics, but I became fascinated by its sound... It’s driven by a marxophone and brass, giving it a strange, stereotypically Italian-like sound. I had located an instrumental backing track for the song a year ago, which was laid down in March 1969. So much effort went into this track, why were the lyrics so insipid?

In 1976, ‘When Girls Get Together’ was dusted off and was being considered for a new album release. It is assumed that around this time, it received the mix that we hear on KEEPIN’ THE SUMMER ALIVE. The mix on KEEPIN’ completely buries what’s so neat about this song, adding a thumping drum track that drowns out all the little nuances... When hearing the instrumental backing track for the first time, I was so impressed - and puzzled. Finally, I was able to hear the original 1970 via this acetate... The lyrics still suck, but the vocals nicely match the song’s structure, so it’s a pleasant listen in this form. Why couldn’t they have simply released this version on KEEPIN’? The modifications here ruin it, which I think is something that plagues a couple other leftovers from this era.

‘Take a Load Off Your Feet’ was ported over to SUNFLOWER’s follow-up, SURF’S UP, in 1971. Al Jardine’s jokey ditty about foot care and the health craze of the era received some modifications in ‘71. An echoey effect is added to the end of the first two choruses. Not a bad addition, but was it necessary? Now, for some reason, an unrelated recording is attached to the song. Perhaps taking cues from The Beatles, who hid ‘Can You Take Me Back?’ on the final side of the self-titled album, the band attached a merry-go-round snippet called ‘Carnival.’ Beautifully recreating the experience of being on a carousel (perhaps a little too much, if were to believe the account of a WB executive concerned about the recording possibly making people feel dizzy!), it ultimately didn’t make it to the album and remains unreleased. Shame.

‘Lady’ is the closing track of this acetate, a very minimalist Dennis Wilson ballad that was essentially the prelude to his soulful, mellow work. ‘Lady’ was, for some reason, released as a solo single B-side in late 1970 in Europe only. (The A-side was another SUNFLOWER leftover, ‘Sound of Free.’) It’s credited to Dennis Wilson and Daryl Dragon (later Captain of Captain and Tennille), who goes under the pseudonym Rumbo. In the vault for years and years because of a legal issue, it low-key saw release on a Super Furry Animals collection of songs that inspired them. The Beach Boys enterprise officially released the song in 2009, a mix apparently finalized in 2005 utilizing vocals and overdubs the band added to the recording in presumably the mid-to-late 1970s.

While I did like the song a great deal, it was the original 1970 production that pleasantly surprised me. I feel the remixed version makes something a little too produced out of what’s supposed to be a more raw recording. That version of the song would’ve fit in nicely on SURF’S UP, had it not been released as the B-side of a solo single. Think of it as a sort of ‘Long and Winding Road’ situation, where it started out as something simple and to-the-point, but got a little lost in overproduction. Fun fact, the song also carried the title ‘Fallin’ in Love.’

Ostin firmly rejects the acetate. The band goes back to the drawing board and whips up several new recordings. The next acetate is compiled in June 1970, a disc that negates nearly half of the previous disc! Strangely enough, the band lightly dips their finger into the early 1969 bowl of recordings, and selects two tracks for inclusion.

SIDE ONE - ‘Loop De Loop,’ ‘Susie Cincinnati,’ ‘San Miguel,’ ‘H.E.L.P. is on the Way,’ ‘Take a Load Off Your Feet’/’Carnival,’ ‘I Just Got My Pay’

SIDE TWO - ‘Good Time,’ ‘Big Sur,’ ‘Lady,’ ‘When Girls Get Together,’ ‘Lookin’ at Tomorrow,’ and ‘’Til I Die.’

‘Loop De Loop’ was Al Jardine’s redo of a Brian song from mid-1968 called ‘Sail Plane Song,’ turning an ominous psychedelic piece into a vaudevillian carnival romp about barnstorming. ‘Loop De Loop’ wouldn’t see a release in any form until 1998, when it was included on the soundtrack to the VH1 documentary ENDLESS HARMONY. Vocals were changed up here and there, more carnival effects and a barker voice were added to strengthen the atmosphere. The modifications work, Al was happy with the completed product... But this original mix from 1969 works as well. Why they chose this out of the 1969 recordings is beyond me, though. Why they included this, and kept the jokey ‘Take a Load Off Your Feet,’ ‘H.E.L.P. is on the Way,’ ‘and ‘I Just Got My Pay.’

The acetate is a weird mix of the silly, the serene, and the devastating. (’’Til I Die,’ anyone?) Were they that upset by Ostin’s rejection? Why are the wonderful ‘Our Sweet Love,’ ‘This Whole World,’ and ‘Slip On Through’ absent? Most of the late 1969 stuff isn’t here at all.

Another early 1969 recording is here, and fits well, Dennis’ rousing ‘San Miguel.’ Unfortunately not released until 1981, this song should’ve definitely made it to the final line-up!

The disc also houses the fan favorite ‘Big Sur,’ the original, quiet, mesmerizing version of what would later become a waltz that appeared on 1973′s HOLLAND. Also on here is Brian’s dopey but oh-so-sincere health foods paean, ‘H.E.L.P. is on the Way.’

Side two ends with two songs that later ended up on SURF’S UP, and both were modified for that album. ‘Lookin’ at Tomorrow’ was given an echo effect much like ‘Take a Load Off,’ and I feel it takes away from the warm, folksy feel of the original. I know that ‘Lookin’ at Tomorrow’ is viewed as a misfire, especially amongst the SURF’S UP tracks, but I always had a soft spot for it. This more stripped down-sounding version, without the gimmicky echoing, only made me appreciate it more. ‘’Til I Die’ doesn’t have its verses, but sounds pretty much the same here.

I think both acetates capture a certain mood. The Feb 1970 one displays the enthusiasm they had once they were freeing themselves from Capitol, finding a new label, and looking at a possibly bright future. This can be heard in songs like ‘This Whole World’ and ‘Slip On Through.’ At the same time, there’s a jovial, humorous tone throughout, which doesn’t always spell hit potential. Ostin was right to reject it.

Acetate Two sounds a little moodier by contrast, despite porting over most of the fun tracks from the previous disc. An aura emphasized on SURF’S UP. ‘’Til I Die’ perhaps is the reason why, but you also have the mellowness of ‘Big Sur’ and ‘Lady,’ none of the booming productions on Acetate One or the finished product. There’s a real “try, try again” mood here. The inclusion of two older recordings is also kind of telling... As if they gave the first disc their all, got rejected, and couldn’t fill in the gaps.

SUNFLOWER ultimately had to be saved by using different puzzle pieces. Four recordings from early 1969 ended up being taken off of the shelf, and when you hear some of them... You wonder... Why did they sit on it for so long? (Possible legal issues, but that’s a whole other story, let me tell you...) Anyways, the recordings weren’t ‘San Miguel’ or ‘Loop De Loop.’ Instead... Tongue-in-cheek rocker ‘Got To Know the Woman,’ Bruce Johnston’s syrupy-sweet but charming ‘Deirdre,’ Brian and Mike’s ethereal ‘All I Wanna Do,’ and Dennis’ powerful ‘Forever’... Perhaps one of the greatest love songs ever conceived?

None of the new material from Acetate Two made it to the final cut. No ‘Big Sur,’ no ‘Lookin’ at Tomorrow,’ no ‘H.E.L.P.,’ and certainly NO ‘’Til I Die.’ Several songs from Acetate One made it: ‘Slip On Through,’ ‘This Whole World,’ ‘Add Some Music to Your Day,’ ‘Tears in the Morning,’ ‘Our Sweet Love,’ and ‘At My Window.’

For the rest... Dennis conceived a fierce rocker called ‘It’s About Time.’ They went into the archives for the closing track. WB executive Lenny Waronker was moved by a short piece called ‘Cool, Cool Water,’ which had been recorded in late 1967 during the WILD HONEY sessions. ‘Cool, Cool Water’ was a reimagining of the “water” composition of the aborted SMiLE project, and ran about a minute or so. Combining the WILD HONEY-era recording, the SMiLE water chant, and a whole new song... It became a 5-minute ‘Cool, Cool Water.’ The incredible ending to a near-perfect album.

Very rarely have The Beach Boys ever sequenced an album like this afterwards. Though beloved by fans and critics, and certainly a fairly popular album upon its release in August 1971, SURF’S UP is too short and undone by the lack of Dennis Wilson songs, out-of-place ditties and some downright embarrassing tracks, and the rather forced “hip” factor of it. HOLLAND is perhaps unbalanced by the California Saga, and some of its longer tracks. The gleefully weirdo LOVE YOU might be a candidate, though I feel it gets a little flimsy towards the end of side two.

The original mixes of some of the leftovers make me wonder why such layers were added to begin with. As if there was no sort of confidence in those original recordings, as if they felt the need to punch them up. Why that awful drum track on ‘When Girls Get Together’? Why the echoing on ‘Lookin’ at Tomorrow’? Why the sweetening done to ‘Tears in the Morning’? Why the added strings and vocals on ‘Lady’?

You could almost construct a double-album out of all the sessions that spanned a year and a half. The Beach Boys, collectively, made the truly wise decision to pick the best of the best from all the sources to make this their best post-PET SOUNDS album. While I personally think it has a few holes, it truly is a triumph, and it’s too bad that the same lightning couldn’t be harnessed for future records, and it’s too bad that history played out the way it did with this band. Can you imagine a SURF’S UP composed of the best songs from the finished album, some great SUNFLOWER leftovers, and all those Dennis songs? Can you imagine a longer, more focused CARL AND THE PASSIONS? A less murky HOLLAND? 15 BIG ONES without the covers and more originals?

So much to dive into...

#beachboys #thebeachboys #sunflower #1970s #music

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placetobenation · 5 years

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For anyone near my age range…there is a show that came out in 1993 that really affected and touched many of us and still stick with us to this day…and that show happens to be Boy Meets World.

Now I know, you must be saying to yourself, “Jason, this is a 1994 project…Boy Meets World debuted in 1993!” and to that I say…stop. Season 1 of the show is a completely different show then it ended up being. I count it, but its not the same at ALL. Season 2, which DID start in 1994, was the start of the Boy Meets World that we all came to know and love.

What can I say about this show? It gave us every range of emotion possible. Humor, sadness, joy…it brought everything. Sure, its supposed to be a lighthearted comedy about a kids adolescence and for the most part it was, but there was so much more than that. Being in that sweet spot among other 90’s gems such as Family Matters, Step by Step and Sabrina the Teenage Witch, it was the television block kids and teenagers of that era gravitated to every Friday night…and in my opinion, Boy Meets World was the bright shining light of that block. Disagree? You may, but the fact that it has endured MUCH longer than all those other shows through syndication on both the Disney Channel and ABC Family, to all the streaming services now…it’s a show that still resonates and yes, as I re-watched the entire series earlier this year, it absolutely still holds up. I mean, it even spawned a not as good spinoff for the Disney Channel with some of the original cast named “Girl Meets World”, based around the daughter of the main characters, Corey Matthews and Topanga Lawrence.

Let’s discuss the characters, starting with the titular “Boy” of Boy Meets World…Corey Matthews. Clever casting of Ben Savage in this role, kinda playing off his older brother, Fred Savage’s, character in the show the Wonder Years. Corey was a great character. A normal kid with a good heart. He always saw the best in people and he always tried to be the best person he possibly could be. We saw him, as well as everyone else in the cast, grow right before our very eyes every week. He was the lynchpin of this show and it showed. Every other main characters main connection was through him. His girlfriend/wife, his best friend, his brother…he was always the nucleus.

Now, as many people my age can tell you, Topanga Lawrence, played by the lovely Danielle Fishel, was very hache mache. Topanga would probably rank in the top 4 as far as many people’s first crush, much like a Kelly Kapowski. Her character is very, different. Season 1…she was very odd. A beatnick. An 11 year old hippy. You would of never guessed watching Boy Meets World in the beginning where it would eventually end up. They always allude to the history of Corey and Topanga being together since the very beginning but watching season 1 that wasn’t the case at all. Topanga was the smartest of the group. An overachiever and her and Corey were pretty perfect. Complimented each other very well and still hold up as one of my favorite Television couples there has been.

My personal favorite character is that of Shawn Hunter, played by Rider Strong. Shawn was Corey’s best friend, his confidant. Their friendship, their bond, is the strongest friendship on screen. Idealistic opposite people, Corey and Shawn were always there for each other no matter what. Shawn had a bit of a rough upbringing, he was somewhat a “wrong side of the tracks” kinda person. Raised in a trailer park, abandoned by his mother and periodically by his father…he always had a wonderful support system and always had people to take care of him whether it be the Matthews family or his guardian for a couple season, teacher Mr. Turner. The evolution of his character is kinda mind boggling. He was originally kind of an idiot, definite slacker, the too cool for school type…but as time went on it was revealed that Shawn is VERY smart, a poet, a writer. He changed and evolved the most out of everyone.

Most people’s favorite character is the one of Corey’s older brother, Eric Matthews, played by the charming Will Friedle. Eric started as a bit of a cool, smart, cocky ladies man. He actually devolved and its like, him and Shawn kinda flip-flopped as far as character traits go. Eric is always a fan favorite and has many of the shows most memorable moments, like “little bro, life is tough, get a helmet” and of course who can forget Plays With Squirrles.

Feeny…FEENY…FEEEE-EEEEE-EEEENY. The famous Feeny call wallowed out by Eric for the neighbor, teacher, professor, principal, mentor and friend…George Feeny played by William Daniels. Always a hard ass, always teaching, there is no more important character or presence to the show than that of Mr. Feeny. Always there to give advice, always there to guide everyone in the proper direction. There is an absolute reason that the very last scene of this show on the series finale focused on him and the classroom. The connection between him and these kids was…special. I, for one, love William Daniels and George Feeny, and I hope you do too.

There were other important characters…Corey and Eric’s parents, Amy and Alan. Their sister, Morgan. Shawn’s brother Jack. Jack and Eric’s roommate, Rachel. Shawn’s on-again, off-again girlfriend, Angela. Mr. Turner, Minkus, Griff, Harley, Frankie and Joey. So many memorable characters.

Look at the list of actors that kind of got their start on Boy Meets World. The late Brittany Murphy played Topanga’s best friend in the very beginning of the series. Adam Scott played school bully, Griff. Linda Cardellini, Hawkeye’s wife from the Avengers films, played Lauren…the girl that briefly came between Corey and Topanga. Numerous already known guest stars like members of the band The Monkees, Candice Cameron-Bure, Fred Savage, Kerri Russell. And this being Place to be Nation, I would be remised in not mention the wrestling tie-ins with the show…like the late Vader being a recurring character of Frankie’s dad…with appearances from Jake “The Snake” Roberts and later on, Mick Foley!

Some of the most memorable episodes of the show touched upon break-ups, drinking, death. The story arch of the brief break-up between Corey and Topanga was some of the best television at that, or any other time. The death of Shawn and Jack’s dad Chet, played by the ultra talented Blake Clark, was one of the saddest episodes of television I can recall seeing. The episodes with Shawn battling with alcohol were VERY intense for a TGIF teen based sitcom. One of my favorite episodes was a ‘Scream, I Know What You Did Last Summer’ spoof featuring Will Friedle’s girlfriend at the time, Jennifer Love Hewitt. The wedding episode where Corey and Topanga finally tie the knot. And of course…the series finale which if you loved the show was an absolute tear jerker. It was like, a highlight reel on the history of the show.

I actually had the opportunity to meet some of the cast members earlier this year at a convention in Orlando named Megacon. Ben Savage, Danielle Fishel, Rider Strong and Will Friedle were all there. Unfortunately, by the time I got over there…Danielle and Rider were already gone for the day but I got to meet the Boy of Boy Meets World and his brother. Both were delightful people and loved talking about the show and the time spent on the show. It was a highlight for me and I can only hope that I have the opportunity to meet Rider and Danielle at another time down the line.

This show is so important to me. Easily in my top five series’ of all time. I highly recommend it to anyone that hasn’t seen it. Can it be silly, can it be stupid? Sure, of course. Remember, it was aimed at teenagers after all. But it has a lot of heart. Its genuinely funny. It has moments of realism and can be very, VERY intense with many serious subject matters. Stream it! Give it a watch if you never have! Its on Hulu now and im assuming will stay there or move to Disney+ when that launches. Its always a show I will go back to every few years and will always be special to me. And I part with the final words from the show…I love you all…class dismissed.

#IFTTT #Place to Be Nation

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213hiphopworldnews · 6 years

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Eminem’s ‘Killshot’ Diss To MGK Has The Internet Picking Sides And Their Favorite Lines

Shady Records

The rap internet has come alive with buzzing activity after Eminem snapped on Machine Gun Kelly with his “Killshot” diss record. Since the track dropped, fans on social media have begun to divide themselves along the battle lines drawn in hip-hop’s landscape, weighing on which of the two Midwestern MCs came out on top.

While Em is naturally the frontrunner due to his longevity and sizable fan base, many users declared the salty “Killshot” to be almost too bitter in its response to MGK’s “Rap Devil,” which poked fun at Em for being out-of-touch. Those commenters believe that “Killshot” just proves MGK’s point; as one user put it, “Eminem diss records used to actually be funny and truthful. He sounds like an old hater, which is exactly what MGK called him.”

Meanwhile, Eminem’s own enthusiastic fans have already declared him the winner, meme-ing MGK into Avengers: Infinity War-inspired oblivion with obvious references to that film’s final scene. This is the man who first coined the term “Stan,” after all. It’s likely they’d give him the crown even if he refused to respond in the first place. They’ve certainly already resorted to “certain level of intelligence” tweets, which are sure to follow any lyrically-wordy rapper around in the modern era.

Even elusive rap titan Jay Electronica surfaced to issue a warning against Eminem for joking about Diddy having Tupac killed at the end of the track. The often esoteric rapper tweeted that Em was in the wrong for noting how Diddy profited in the wake of ‘Pac’s death without also mentioning how Em’s own business partners were enriched by the gap in the rap game, writing, “How dare you accuse Diddy of killing Tupac while you completely look pass Jimmy Iovine and those who profited from his death the MOST. You best tread carefully Son, before I come tear your ivory tower down like Sulaiman done the Templar Knights.” He then deleted the tweet, replacing it with one linked to an Instagram video of Minister Louis Farrakhan during the infamous 50 Cent beef with Ja Rule.

Twitter

https://t.co/u0Ep8MbDDB remember this was the very video i had to check you on before for blaspheming the Minister in the midst of him trying to bring Jarule and 50 to peace. Tread carefully @eminem

— سيف الله ℒℴѵℯ (@JayElectronica) September 14, 2018

Finally, Joe Budden, former Shady Records associate through the rap group Slaughterhouse and outspoken critic of the last few Eminem albums, chimed in after being asked why Eminem chose to verbally attack MGK but not Joe, who has taunted his former boss endlessly since the release of the widely-derided Revival. Joe’s response, simply, was to question whether Eminem might be scared of challenging a rapper who could compete with him lyrically.

I told y’all that 2 weeks ago & got called crazy…. https://t.co/ZEx8rgN1n2

— Joe Budden (@JoeBudden) September 14, 2018

The reactions are abundant, proving once again that while Jay-Z may be hip-hop’s cash king, and the genre-bending Travis Scott is the leader of the new school, no one gets the people talking like Eminem. Check out more reactions below.

So, listened a couple times to Eminem diss track:

MGK: much more listenable, addressed issues with Eminem that Eminem did NOT clarify in response (which means they must have truth behind them). Gave respect as he should’ve. Also threw better shots..

EM: addressed popularity

— M3T (3:ee) (@ThisIsMetris) September 14, 2018

Eminem diss to MGK was fucking trash. He had a few lines but the way y’all gas the so called “Rap God” I was expecting a Hit Em Up or No Vaseline type of classic.. instead I heard something weaker than Charged Up. His stans will disagree but idgaf suck my dick.

— MAKAVELI (@YungBricks187) September 14, 2018

you need a really deep understanding in hip-hop to feel the Eminem diss to machine gun Kelly. If you don't, please continue listening to Lil pump and stay in your lane. You are stupid. Don't @ me

— SOULED OUT (@sean_gowe) September 14, 2018

That Eminem diss track was pretty weak for Em. But of course everyone is spazzing like its the greatest diss of all time.

— Cristian (@cristianh907) September 14, 2018

eminem diss in a nutshell: – i’m richer than you -i sold more than you – in case you didn’t know i have more than 1 flow

— mtrnica (@MTRNICA) September 14, 2018

listening to this eminem diss and his voice is so annoying man lol. how do people hype shit like this up its comical

mgk sucks but at least he didnt rap like this

— mumbo tsuruta (@ebgteddy) September 14, 2018

How Iggy catch a stray in this Eminem MGK diss lol

— Craig Bro Dude (@CraigSJ) September 14, 2018

Diss songs shouldn’t be filled with celebrity name drops to pad out lazy bars.

— IGGY AZALEA (@IGGYAZALEA) September 14, 2018

“How you gonna name yourself after a damn gun and have a man bun?”

“My biggest flops are your greatest hits Had to give you a career to destroy it”

“Got more fans than you in your own city lil kiddie/Go play, I feel like Im babysitting Lil Tay”

Eminem on MGK diss pic.twitter.com/3zFX1LGyFC

— Current Waves (@current__waves) September 14, 2018

Eminem's KILLSHOT (MGK DISS) is Wack though

And i think he feel threatened by MGK for him to be yelling like that on the beat, 5years Ago on TimWestWood MGK gave props to Em. calling him his mentor and Legend, Now they are exchanging diss tracks, MGK takes the WIN for that

— Enekem (@EnekemGreg) September 14, 2018

Marshall – 1.5 Machine Gun – 1

— The Old Man (@oldmanebro) September 14, 2018

MGK diss > Eminem diss

Hurts me to tweet that. But I gotta keep it a stack.

— Instagram asktrillac (@AskTrillAC) September 14, 2018

Em: “This is it as big as your gonna get so enjoy it … had to give you a career so that I could destroy it”

MGK: my mumble rap don't feel good!!#KILLSHOT pic.twitter.com/VXQ5iIbEa3

— Young O.G (@nganga_jeff) September 14, 2018

MGK fans after listening to Eminem's Killshot pic.twitter.com/CcFrA53D4w

— Josiah Johnson (@KingJosiah54) September 14, 2018

MGK: Your beard is weird Eminem: yOuR BEarD iS wEiRd #KILLSHOT pic.twitter.com/I2YYNuUIOY

— forrest sai (@SaiForrest) September 14, 2018

MGK complimented Eminem a lot because THATS how to take out a legend. You mention their once upon a time greatness, you show respect & admit they inspired you, & you do those things to then show how far they've fallen from grace. #RapDevil was facts on top of facts

These bars? pic.twitter.com/Uj04ap6n19

— JayTheFakeWriter (@KimKSidePiece) September 14, 2018

Em called MGK a mumble rapper…which confirm that people use that term when they simply just don’t like someone’s music

— 1090 (@TripleKrossK1NG) September 14, 2018

MGK reflecting on his 2010 tweet about Eminem like… pic.twitter.com/7JFk3hOro1

— Mister Morris (@mistermorris55) September 14, 2018

Gotta give this round to MGK. If I’m being honest. It’s hard to punch down.

— Rob Markman (@RobMarkman) September 14, 2018

Eminem and MGK rap beef just sound like 2 Mountain Dew ridden teenagers yellin over Xbox live headsets and y’all are lookin for a ‘winner’

— Daniel Barefoot (@DanielBarefoot) September 14, 2018

source https://uproxx.com/hiphop/eminem-killshot-mgk-diss-reactions/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

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mrmichaelchadler · 6 years

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Out of the Past: Noir City: Chicago is Back for 10th Year

This year's Noir City: Chicago seemingly borrows a title from classic of the genre itself: Out of the Past.

For the 10th anniversary of the Chicago edition of their traveling festival, which runs August 17 to 23 at the Music Box Theatre, 3733 N. Southport, programmers Eddie Muller and Alan K. Rode have taken a page from the golden age of Hollywood. Each day of the weeklong event pairs two A and B titles for a double bill of maximum noir. (The term “B movie” of course was used to define films programmed as the lesser half of a double feature.)

“This year’s programming concept does seem really simple,” said Muller, founder and president of the San Francisco-based Film Noir Foundation, which presents the festival, with sponsorship from Turner Classic Movies’ weekly “Noir Alley” showcase (hosted by Muller, a.k.a. “The Czar of Noir” himself). He also will introduce films during the festival’s opening weekend at the Music Box. “The irony is that we’re doing what they were doing 70 years ago.”

Earlier this year, for the San Francisco edition of Noir City, Muller used the same concept, and “it was kind of revelatory,” he said. “It really focused my intros, and by programming this kind of double bills, we could address things that were different from year to year. By 1947-’48, noir was in full flower. It really wasn’t a movement until then. As it went forward, it changed and morphed into something different. It’s also a great way of balancing a well-known film with something more obscure that you couldn’t fit in otherwise.”

Rode, Muller’s partner in noirdom (and an FNF director-treasurer), reports the concept worked really well when they reprised it in Hollywood in April. “We had to cheat a bit to program ‘The Scarlet Hour’ (pictured below) since it’s a 1956 B-release paired with a 1952 A-title ‘The Turning Point.’” But they couldn’t resist because it’s a rarely seen noir by Hollywood heavyweight Michael Curtiz (the subject of Rode’s latest book, Michael Curtiz: A Life in Film, as well as a current retrospective at the Music Box).

“It’s exciting to show ‘The Scarlet Hour’ because it’s a real rarity,” said Rode, who will intro the second half of the Noir City lineup at the Music Box. Other than noir aficionados, “it’s sad that no one is interested in seeing films like this. We’re dealing with a generation who thinks Bill Murray in ‘Ghostbusters’ is a golden-age movie.”

In the past, all Noir City titles were shown in 35mm, but Muller and Rode have bowed to changing times. “If you want to hold out, you’re not going to be able to show certain titles,” Muller said. “‘The Scarlet Hour’ is a 35mm print from the archives. It might be the last one we ever get. In the future, we’re going to get them in digital restorations. That’s the way it is. But I would prefer to show a restored digital version of a film instead of being a stickler and insisting on a print that’s possibly worn out.”

Rode points out that Paramount quit making prints about seven years ago and other studios have followed suit. “I do have to say that some of the DCPs that Paramount has done are gorgeous,” he said. “They have that granular look, it doesn’t look artificial. If you want to see some of these films, DCP is going to be the medium of choice.”

This year’s festival kicks off with two ’90s neo-noirs directed by Carl Franklin, “One False Move” and “Devil in a Blue Dress.” “As much as I’m loyal to hard-core fans who want to see older, classic movies, I want to be able to take advantage of the moment,” Muller said. “It’s important to show that noir is not calcified. I see a natural extension from noir to current cinema. Plus, it’s interesting to see the African-American perspective on this genre.” Though he’s currently making a film in Pittsburgh, Franklin will appear opening night for post-screening discussions. “He’s willing to go the extra mile to be in Chicago for Noir City,” Muller said.

“For our 10th year in Chicago, it’s a terrific lineup and somewhat of a milestone,” Rode said. “It’s always great to come to the Music Box and continue relationships we’ve developed over the years. Even when the Cubs are playing, the Music Box is the place to be.”

Here’s the lineup of Noir City: Chicago 2018, with commentary by Muller and Rode:

“Devil in a Blue Dress” (1995), Aug. 17, 7 p.m.: Based on the first book of Walter Mosley’s Easy Rawlins series, “Devil” follows a ’40s-era detective (Denzel Washington) assigned to find a society woman hiding out in L.A.’s black neighborhoods. “Modern updates of classic noir typically don’t do well,” Muller said. “Hollywood thought ‘L.A. Confidential’ was a flop. The same with this title. However, it features Denzel at his most sexy and most movie star-ish.”

“One False Move” (1992), Aug. 17, 9:45 p.m.: Muller calls Carl Franklin’s breakthrough movie, about a hayseed cop (Bill Paxton) trying to root out a gang of killers, “one of the great crime films ever made. We’re showing it second, because it’s hard to watch. People might walk out because of the violence, the first scene is really intense. Also, it’s a good way to salute Bill Paxton”—who died last year at age 61. “His death didn’t really register. It’s one thing when it’s Tab Hunter [who died three days shy of his 87th birthday in July] but when it’s someone as young as Bill—that’s tragic. Noir City revives golden-age movies that people have missed, and now that applies to films from the ’80s and ’90s as well. Billy Bob Thornton co-wrote the script, and its race-related themes are still timely 25 years later.”

“Conflict” (1945), Aug. 18, 3 p.m.: Reverting to his heavy roles after his transformation as a romantic hero in “Casablanca” (1942), Humphrey Bogart plays a murderous husband with designs on his wife's sister. Rode regards “Conflict” as “one of Bogie's most overlooked films,” in part because the title was shelved for two years over a rights issue.

“Bogie hated making the movie, it was too close to his own life,” Muller said, referring to the actor's rocky relationship with third wife Mayo Methot. “‘Conflict’ was Jack Warner’s payback.” Instead of cashing in on the star’s new appeal, the studio chief “wanted to stick it to Bogie” to show him who still remained the boss,” Muller said. “But his plan backfired, because after “Casablanca,” “the public didn’t want Bogie to be a bad guy anymore.”

“Escape in the Fog” (1945), Aug. 18, 5 p.m.: For the watershed noir year of 1945, “we had a lot of movies to choose from,” Muller said of this thriller about an Army nurse (Nina Foch) terrified by a recurring dream in which she witnesses a murder on the Golden Gate Bridge. “But ‘Escape in the Fog”—it’s Budd Boetticher,” referring to the Chicago-born director, best known for his seminal Westerns of the ’50s. “It’s great to see something early from him. I love to show films by directors who are going on to bigger things ... and it’s from Columbia, which always supplies us gorgeous 35mm prints.”

“The Blue Dahlia” (1946), Aug. 18, 7 p.m.: This classic noir, penned by Chicago-born crime-fiction icon Raymond Chandler, gives Alan Ladd one of his signature roles as a returning soldier accused of murdering his unfaithful wife (Doris Dowling). It reteams Ladd with Veronica Lake, after their successes as Paramount’s leading romantic duo in “This Gun for Hire” (1942) and “The Glass Key” (1942).

Muller finds it mystifying that Ladd has been virtually forgotten by modern audiences, unlike fellow noir heroes Bogart and Robert Mitchum, and that Lake continues to be dismissed as a mere vamp (albeit with a stylin’ hairdo). “People had such a wrong notion of what she was on screen,” he said. “She was not a femme fatale. Lake was brainy and didn’t need the guy. ‘The Blue Dahlia’ is a classic example of that. I don’t like the idea that women were sexy dames just out to corrupt men. Plus, her films projected a very significant image during the war for American women.”

“Strange Impersonation” (1946), Aug. 18, 9:15 p.m.: Beset by blackmail, a scheming assistant, a disfiguring accident and romantic betrayal, a research scientist (Brenda Marshall) plots her revenge. “I have a soft spot for B movies that make absolutely no sense,” Muller said of this pivotal early film by director Anthony Mann. “I love the ones where there's some sort of weird science in a crime film. And this film is right in that sweet spot."

Rode calls “Strange Impersonation” “one of most bizarre movies ever made … it’s 68 minutes of real weirdness absolutely not to be missed.”

“The Unsuspected” (1947), Aug. 19, 2 p.m.: After the secretary of a radio personality (Claude Rains) turns up dead, he hints at murder. “This film marks Michael Curtiz’s first production away from Warner Bros [his longtime studio home],” Rode said. “He was trying to do something similar to ‘Laura,’ but didn’t turn out that way. Claude Rains is great and gives the perspective of the role that radio that played in pop culture back then. Plus, the camera work by Curtiz and cinematographer Woody Bredell is something to behold.”

Muller added, “I’m always on lookout for noir written by women. The Charlotte Armstrong novel [adapted by Bess Meredyth and Ranald MacDougall] is really good. ‘The Unsuspected’ is just juicy, it doesn’t make a lot of sense, but with a cast like Claude Rains and Audrey Totter, it doesn’t have to.”

“Blind Spot” (1947), Aug. 19, 4:15 p.m.: Of this fast and furiously paced B, Muller observed: “It’s a very cleverly written film about cleverly written stories … a very smart and savvy commentary on literary vs. genre fiction.” Chester Morris, best known for the “Boston Blackie” series, plays a down-on-his-luck writer who pens a murder mystery to show how easy it is, “and then he blacks out and can’t recall the ending, and he’s the prime suspect.”

Muller also applauds the performance of Constance Dowling (older sister of Doris) as a secretary/dangerous blonde. “Look her up on the internet,” he said. “She became Elia Kazan’s mistress, then her next lover committed suicide over her. She’s quite beguiling on screen.”

“I Walk Alone” (1948), Aug. 19, 6:15 p.m.: After a 14-year stretch in the slam, a Prohibition-era bootlegger (Burt Lancaster) discovers his former partner (Kirk Douglas) has no intention of sharing the profits of their previous spoils. “It’s a great cast, with Burt and Kirk in the first of the seven films they made together, along with the always amazing Lizabeth Scott—a star fest in a cool Hal Wallis production,” Muller said.

Its source elements once considered lost, “I Walk Alone” has been restored by Paramount and will be shown in DCP format. “I’m happy my relationship with studios leads to these kinds of rediscoveries,” Muller said. “The Film Noir Foundation is the impetus for a studio like Paramount to find the original elements, do a digital scan and then create a new DCP. Kino will release the film in a Blu-ray edition this fall. All of this resulted because of me being a pain in the ass all these years.”

“Bodyguard” (1948), Aug. 19, 8:30 p.m.: After getting bounced for insubordination, a homicide detective (Lawrence Tierney) takes a job in a meat-packing plant where an inspector has been ground up along with the product. “It’s one of [director] Richard Fleischer’s down and dirty noirs,” Rode said. “He didn’t truly move into the noir groove until ‘Narrow Margin,’” referring to the director’s 1952 classic noir on a train. “Plus, it stars Tierney, the meanest man in film noir. And one of the writing credits is by Robert Altman, then just 23.”

“Lawrence Tierney, what can I say?” Muller said. “‘Bodyguard' is great, terrific and so entertaining. I stay in the theater and watch it every time because Tierney is always so intriguing on the screen.”

“All My Sons” (1949), Aug. 20, 7 p.m.: Muller and Rode admit that this film version of Arthur Miller’s Tony Award-winning drama about an ethically challenged businessman (Edward G. Robinson) and the failure of the American dream is “not really noir but noir-stained.” They both believe in stretching the boundaries of noir when appropriate. “Plus, its theme about a guy profiting from war and the guilt he faces over manufacturing defective parts has resonance to this day.”

Rode observes that “All My Sons” is another completely overlooked film—it’s not on DVD, not available on streaming platforms. Robinson gives one of his great performances opposite Burt Lancaster [as one of Robinson’s sons]. They’re both so good, and the film features lots of great character actors, including Harry Morgan and Lloyd Gough.”

“The Spiritualist” (1949), Aug. 20, 9:15 p.m.: A shady medium (Turhan Bey) persuades a widow that he can communicate with her late husband in what Muller and Rode consider an underappreciated gem from master cinematographer John Alton, who virtually invented the look of film noir in the ’40s. “Again, it’s as good as B movies get,” Muller said of this Eagle-Lion programmer also known as “The Amazing Mr. X.” “John Alton’s one of my faves—it’s more his movie than the director [Bernard Vorhaus]. You can tell that Alton is calling the shots. I showed it years ago, and Bey showed up, and that’s what he said, too. He told story after story about what a genius Alton was, dictating the whole day’s shoots according to his lighting scheme.”

Rode also recalls that 2000 screening in Los Angeles of “The Spiritualist,” when Bey appeared unexpectedly: “No one knew he was. He asked, ‘Where are all the great character actors I used to work with?’ Very sweet guy. The only print we had was a bad one with splices, and the film broke three times.”

“The Man Who Cheated Himself” (1950), Aug. 21, 7 p.m.: A veteran homicide detective (Lee J. Cobb) involved with a married socialite (Jane Wyatt) covers up a murder and then discovers that his rookie brother (John Dall) has been assigned to the case. Muller claims Felix E. Feist’s crime drama has “the weirdest casting ever in a noir.”

Rode agrees: “Lee J. Cobb finally, just off his breakthrough role on Broadway in ‘Death of a Salesman,’ finally plays someone his own age, this time as a horn-dog detective, opposite Wyatt, usually the paragon of virtue.” Shot on location in San Francisco, “it’s really worthwhile.”

At the Music Box, “The Man Who Cheated Himself” will be shown in a restored 35mm print, funded by the Film Noir Foundation and the UCLA Film & Television Archive.

“I Was a Shoplifter” (1950), Aug. 21, 9 p.m.: This programmer about an undercover cop (Scott Brady) and a five-finger discount ring is a real rarity, and even more remarkable, Muller reports he has never seen it: “We realized in it was in Universal’s archives; Alan swears it’s worthwhile. There are films I consciously don’t watch because I’m saving them. When I’m 75, I want to have films to look forward to.”

Rode confirms the movie’s bona fides. “It stars Scott Brady, the good brother of Tierney family,” he said of the actor, the middle sibling of the Tierney acting clan. “They were on completely different sides of the spectrum in most movies.” Shot on location in Los Angeles and San Diego, “I Was a Shoplifter” features Rock Hudson, Peggie Castle and James Best in bit roles, and Tony Curtis as a sinister sidekick improbably named Pepe.

“The People Against O’Hara” (1951), Aug. 22, 7 p.m.: In his only film noir, Spencer Tracy plays an alcoholic attorney who comes out of retirement to defend a neighbor’s son (James Arness, later of “Gunsmoke” fame) against a homicide charge. “Tracy’s character cuts close to the bone,” Rode said of this film, directed by Oak Park native John Sturges, best known for his epic actioners such as “The Magnificent Seven” (1960) and “The Great Escape” (1963).

Muller again lauds the camerawork of John Alton: “one of the many Hungarians who transformed Hollywood. His career completely coincided with the rise of noir. After 1947, he was the go-to guy for the genre.”

“Pickup” (1951), Aug. 22, 9:15 p.m.: Of this lurid potboiler about an older man duped by a femme fatale, Rode said, “the moment this one starts, you know you’re not talking about a truck.” Beverly Michaels, the film’s deadly dame, was married to Russell Rouse, author of the classic noir “D.O.A.” (1949), in real life. Their son is Oscar-winning editor Christopher Rouse (“The Bourne Ultimatum”). “I once asked him how it was like growing up in a noir nuclear family,” Rode said. Meanwhile, “Hugo Haas spent his career making bad remakes of ‘The Postman Rings Twice,’ with an older man being tormented by a younger woman.” And in “Pickup,” Haas plays the beleaguered husband (named Jan “Hunky” Horak) himself.

Once reviled as “the foreign Ed Wood,” Haas deserves more respect. “I find his movies hugely entertaining, and fans go nuts for them,” Muller said. “I love his backstory. He was an esteemed actor in Moravia [now part of the Czech Republic]. When he came to the U.S., his compatriots were embittered by their lower status, but he wasn’t afraid to embrace the low-budget mystique. All of his films made money, and he worked with fabulous actresses. His formula was absolutely flawless. I have nothing but admiration for Hugo Haas.”

“The Turning Point” (1952), Aug. 23, 7 p.m.: When a reporter (William Holden) and a prosecutor (Edmond O’Brien) investigate a crime syndicate, they discover a family member might be on the take. “It’s a great cast, with a panoply of character actors,” Rode said. “When Ted de Corsia [known for his many villainous roles] plays a voice of reason, you know it’s serious.”

A riff on the Kefauver Commission probe into organized crime in the early ’50s, “The Turning Point” was filmed on location in Los Angeles, with scenes set at iconic spots such as Angel’s Flight and the Bunker Hill neighborhood. It was directed by German emigré William Dieterle, who notched up a few noirs in his extensive filmography. “I think he’s underrated, he was a protege of Curtiz’s,” Rode said. “It’s not just a crime expose, there’s a definite noir element.”

Muller notes that the Film Noir Foundation had pursued this Paramount release for years and finally persuaded the studio to restore the title, which be shown in the DCP format. “It’s much like ‘I Walk Alone.’ I thank Paramount for rescuing it,” he said. “How did this movie slip through the cracks? I think this film will surprise, because it’s much darker and bleak than people realize.”

“The Scarlet Hour” (1956), Aug. 23, 9 p.m.: Michael Curtiz’s thriller pits an adulterous pair (newcomers Carol Ohmart and Tom Tryon) against a possessive husband (James Gregory), with a jewel robbery as the lovers’ method of deliverance. “It’s a little over the top, but it’s perfect for what it is in this festival,” Muller said. “This crime drama has so many elements of film noir, but you can see everything changing. It’s such a rarity; I’m so proud finally able to get this film,” which will be shown in an archival 35mm print. “Paramount doesn’t do that anymore—ship an archival print from the vault.”

Rode reminds noir fans that “The Scarlet Hour” is not available on DVD or streaming platforms. “It’s terrible but somehow terrific,” he said. “It was Curtiz’s last chance. He was old and had made several bad movies. This was his opportunity to capitalize on his reputation as a star marker—but Tom Tryon and Carol Ohmart? It didn’t work out, but the movie is often compared to ‘The Postman Always Rings Twice.’ Carol comes across as a really feral fatale.”

Shot all over Los Angeles, “The Scarlet Hour” features a great supporting cast, with E.G. Marshall, Edward Binns and Elaine Stritch in her film debut. Plus, there’s a scene with Nat King Cole singing at Crystal Ballroom at the Beverly Hills Hotel. “Curtiz might have been an SOB, but he was ‘Casablanca,’” Rode said. “We always have that.”

Festival passes are $85 apiece ($75 for Music Box members). Opening-night tickets, $12 ($9 for members). Single-feature tickets, $11 ($7, members). Double-feature tickets, $15 ($12, members). For more information about Noir City: Chicago, click here

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