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Eucalpytus P. Millstone

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Posts posted by Eucalpytus P. Millstone

  1. 2 hours ago, NoShear said:

      There's a humorous statement that goes to the influence of the Velvet Underground and goes something like this: 

     "Only about 1,500 people originally purchased THE VELVET UNDERGROUND & NICO, but all 1,500 of them became musicians."

    "I was talking to Lou Reed the other day, and he said that the first Velvet Underground record sold only 30,000 copies in its first five years. Yet, that was an enormously important record for so many people. I think everyone who bought one of those 30,000 copies started a band!” -- Brian Eno*

    * Whether or not this quote is accurate, only Brian Eno can say. The Web -- as usual, as always -- is an unreliable source of accurate and complete information.

    • Like 1
  2. On 10/15/2021 at 10:57 AM, _Broadway_ said:

    My favorite radio show! ❤️


    Thank you, _Broadway_ (any relation to the "Broadway" on The Damon Runyon Theatre?)!

    Interesting that Alan Ladd produced the radio show. Too bad the cast (except for John Brown) for Hold 'Em Yale was not credited. Runyon's characters had a very distinctive patois, elocution, and rhythm. I could not help but conjure Sheldon Leonard while listening to Hold 'Em Yale.

    "Veteran dialecticians Gerald Mohr, Herb Vigran, Sheldon Leonard, Luis Van Rooten, Alan Reed and Lionel Stander gave every program of the run an authenticity and indelible flavor that were imitated in both Radio and Television for decades to come." -- The Damon Runyon Theatre -- Single Episodes

  3. I wouldn't call myself a fan of The Velvet Underground, but I'm keen to see Haynes' documentary. I also am not a fan of "Soul" music, but I immensely enjoyed Ahmir Khalib Thompson's (Questlove's) documentary Summer of Soul. OTOH, I never dug Sparks and skipped Edgar Wright's doc.

    Being almost entirely clueless about The Velvet Underground, I sampled some of its music.

    "One of the most influential musical acts of all time"?  Meh. That's a matter of (hyperbolic) opinion.

    Of the few tracks I listened to, I dug Sunday Morning. And although I usually prefer studio recordings to live performances*, I much more prefer Lou Reed's live rendition of Sweet Jane than I do the studio version by The Velvet Underground.


    An Opposing P.O.V. from the National Review

    NPR Review

    * Because, for me, live performances lack technical polish. They don't have the same musical arrangements and don't have the benefit and contribution of a studio audio engineer.


    • Like 1
  4. 14 hours ago, cigarjoe said:

    The Noirsville review here

    Crackerjack reviewer, cigarjoe!

    That Diane Moore was Jan Murray's real-life daughter, for me, adds one more uncomfortable element of creepiness to Who Killed Teddy Bear. According to info on the Web, Moore was born in 1948, which means she was 16 (at the time of filming)! Either the report of her birthday is wrong or Moore was a "late bloomer" development-wise.

    The proliferation of screen captures in your review for me evoked the Film Classics Library books by Richard Anobile.

    Suggested Viewing

    Blogger Ken Anderson lists and describes scenes in the 94-minute uncut version of Who Killed Teddy Bear*

    Opening Credits US vs UK

    Uncensored US Scenes vs Censored UK Scenes

    * Notice no question mark at the end of the title. I'm wondering if killer Who is the same Who who was on first base.

    • Like 1
  5. 1 hour ago, jameselliot said:

    When I went to Bruce Lee and Sonny Chiba movies, half the audience would scream at the screen. "Look out, Bruce!" "Kill the m............!" And so on.

    A friend of mine and I went to see The Klansman at The World theatre in Hollywood, California. Located on the seedier, east end of Hollywood Boulevard near the X Theaters  porno house, it attracted, by this stage in its existence, a rough, "colorful" clientele. 

    Among the cast of The Klansman is O.J. Simpson who, during the course of the incendiary melodrama (released during the "Blaxploitation" era), takes on the Ku Klux Klan. Every time "The Juice" picked up a shotgun to open up a can of Whoop-@$$, the predominantly Black audience would whoop 'n holler and stamp their feet so enthusiastically that the entire theatre shook -- felt like an earthquake. Shouts of "Get 'em, O.J.! SHOOT that mutha****** KILL THOSE HONKIES!!!" reverberated throughout the auditorium, drowning out the soundtrack. My friend and I -- who weren't black -- slunk down in our seats, trying to keep a very low profile.

    On a not entirely dissimilar note, several years earlier, I went to see a 3D revival of House of Wax at the historic Grauman's Chinese movie theatre. Among the audience was a raucous, boisterous, and very chatty group of African-American lads who took to calling Professor Henry Jarrod (Vincent Price) "Pops." Whenever Jarrod's hideous  "alter ego" appeared, the "Peanut Gallery" would let everyone in the audience know, "Here come Pops!"

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  6. 11 hours ago, _Broadway_ said:

    I really enjoy this person's YouTube channel. They put together absolutely wonderful mixes of music from the 1910's-1940's, usually accompanied by classic film magazine covers.

    This is the one I have been listening to a lot lately:


    The music in that collection by Pax41 Music Time Machine, IMO, is timeless "Music for the Ages" -- unlike the popular Music of Its Time that defines my g-g-g-generation.  To me, old folks (by which I mean "Boomers") creakily "rockin' out" to groovy hits they (okay, we) grew up on is just . . . sad and not a little bit pathetic. By contrast, my parents and grandparents could "trip the light fantastic" to  the music from their youth -- music from The Jazz Age and Big Band era -- and retain and maintain their . . . well, dignity*.

    For me, the selections in this YouTube clip  -- their lyrics, arrangements, performances, and romanticism -- connote elegance, sophistication, urbanity,  suavity, maturity, a cultivated poise and soignée -- Fred and Ginger smartly and gracefully gliding across a dance room floor to immortal classics penned by the crème de la crème of American composers: The Gershwins, Kern, Porter, Berlin . . . in a word: class. I esteem the orchestral "dance band" selections in the Pax41 Music Time Machine and consider them classy.

    . . . which also describes your taste in music, _Broadway_. Thank you for sharing!

    * Somebody busting my chops about vintage novelty songs in 3-2-1 . . .

  7. 17 hours ago, LuckyDan said:

    Linda Ronstadt singing the Lowell George song,"Willin'" with Waddy Wachtel on acoustic guitar behind her - probably also serving as musical director -,  Andrew Gold picking the Strat, and Dan Dugmore on pedal steel. I always liked the line about Alice in this one. I'm not sure what "whites" are in this context. Probably speed. (Maybe quaaludes? They were big then.)

    Sorry for the hokey-looking info graphics on the video but l like this performance best of those I found on YT.

    A favorite Linda Ronstadt tune . . .



    • Like 1
  8. 2 hours ago, Allhallowsday said:

    HANS CONRIED and ALICE PEARCE did a wonderful album Monster Rally ... this one is my favorite from that



    Love it! L-O-V-E it! Especially the cover art by the great Jack Davis!

    Another track on Monster Rally, "(I'm in Love with) The Creature from the Black Lagoon," prefigures The Shape of Water. Why didn't Guillermo Del Toro use it in his fantasy flick -- a lamentable missed opportunity!

    Hans Conreid's inimitable, bravura rendition of "Do Mi Do Duds" in The 5,000 Fingers of Dr. T is, for me, an eagerly anticipated highlight in that subversive Suessical. His effervescent elocution of Ted Geisel's loony lyrics --  such as "undulating undies" and "cutie chamois booties" -- is supremely skillful, splendiferous, and sublime.


  9. 4 hours ago, LornaHansonForbes said:

    The final verdict of the loooooooong article I posted the link to a few posts ago is:

    that a full NIGHT OF DARK SHADOWS with the restored footage would in all likelihood not be a better film, there would just be more of it.

    Thank you for your sacrifice (reading the entire epic so others won't have to). I bailed when the script-writing party began (although I did notice that one participant also made a reference to Manos: The Hands of Fate).

    Man. I hope that I'm never trapped in an elevator with any of those fanatics.

    Yeah, Night of Dark Shadows is a disappointment following on the heels of House of Dark Shadows. After reading Mr. Horn's (the blogger's) history of the production, seems to me NoDS was doomed right from Jump Street. Nonetheless, it's in my movie library, and I regard it with an unabashed fondness. For me, composer Robert Cobert's opening and closing music and the Tarrytown location make Dan Curtis' sequel not merely tolerable but ineffably enjoyable.

    • Like 1
  10. 18 hours ago, Allhallowsday said:

    Here's the one I know I have, the other I can't remember the cover! 


    Thank you for posting those YouTube clips.

    One of the "Tales of the Frightened" is an extended version of W. Somerset Maugham's The Appointment in Samarra.

    In what should have been his cinematic valedictory performance in Targets, Boris Karloff memorably performs Maugham's short story.


    • Like 1
  11. Here's another spoken word record that I also still have. It was released on Decca Records in 1967, about one year or slightly more before Boris Karloff's death. I acquired the lp several years after its initial release -- another mail order via Famous Monsters of Filmland and Captain Company. According to a photo in (if I correctly remember) FMoF, the album was promoted with a relatively lavish storefront display in Wallich's Music City in Hollywood, California.

    A newer version with different music is available. The original recording was taken off the market because of a lawsuit filed by Bela Lugosi, Jr.


  12. 31 minutes ago, Allhallowsday said:

    I own a copy on vinyl... I still have all of my "Halloween" records, most are sound effects or "spoken word" like Famous Monsters Speak.   I have music too like ZACHERLE's albums and 45s.  I've got an orange vinyl record shaped like a pumpkin... it has 4 obscure tracks on it. 

    I also still have my vinyl record of Famous Monster Speak, ordered from Famous Monsters of Filmland (probably from its mail-order offshoot Captain Company).

    From rival monster mag Castle of Frankenstein, I ordered (and had a devil of a time receiving*) Dracula, an lp (which I also still own) recorded by Christopher Lee. The images accompanying Lee's narration in this YouTube clip are from a 1966 paperback produced by editor Russ Jones, adapted by Otto Binder and Craig Tennis, and exquisitely illustrated by Alden McWilliams.

    * A common experience I subsequently learned. CoF publisher and editor Calvin T. Beck's mail-order business was precarious and unreliable.


    • Like 1
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