The new exhibition at the Museum of the City of New York, located along Manhattan’s “Museum Mile,” features Madonna, MTV, Run-dmc, Talking Heads, Sonic Youth, John Zorn, Liquid Liquid, Max Roach, Fort Apache Band, and much more.
“During the Eighties, there was a community-driven musical renaissance in New York City. It was an era of creativity and genre-defying performance that, in my mind, stands as one of the most influential in musical and cultural history,” says Sean Corcoran, the museum’s curator of prints and photography. “That wide range...
“During the Eighties, there was a community-driven musical renaissance in New York City. It was an era of creativity and genre-defying performance that, in my mind, stands as one of the most influential in musical and cultural history,” says Sean Corcoran, the museum’s curator of prints and photography. “That wide range...
- 7/2/2021
- by RS Editors
- Rollingstone.com
These days, Ice-t‘s résumé reads like a long biblical scroll. He’s one of the original pioneers of gangsta rap via seminal releases like “6 in the Mornin,‘” one of the greatest hip-hop songs of all time. He’s hosted and produced multiple TV shows and documentary films, including The Art of Rap and the VH1 documentary Planet Rock: The Story of Hip-Hop and the Crack Generation. That’s on top of a hefty acting filmography, which includes starring roles in films like New Jack City; his now-defunct reality TV series Ice Loves Coco,...
- 10/18/2018
- by John Ochoa
- Rollingstone.com
Though there are a handful of good documentaries that tell the story of disco and capture the genre's dancefloor exuberance, feature films looking back on its heyday often fall short – or at least miss the finer points. (54, the Ryan Phillippe-Salma Hayek flick about Studio 54, didn't even include its best-known song "I Will Survive.")
Jonathan Ullman, the director of 2011's Trouble in the Heights, is looking to change that with a new independent movie about the Paradise Garage, Studio 54's funkier, underground downtown cousin. "The Paradise Garage was more than a nightclub,...
Jonathan Ullman, the director of 2011's Trouble in the Heights, is looking to change that with a new independent movie about the Paradise Garage, Studio 54's funkier, underground downtown cousin. "The Paradise Garage was more than a nightclub,...
- 5/13/2015
- Rollingstone.com
Like wild geese in reverse, movie lovers and the press corps head to the Great White North in early September— specifically, to the Toronto International Film Festival, which ended yesterday — for any number of reasons: to catch up with some of the best movies of the previous Sundance and Cannes as the flicks make one last fest-circuit stop; to see stars in their natural habitat, i.e. on a red carpet with microphone shoved in their faces; to stumble across something weird, wild or off-the-world-cinema grid that may not be coming soon,...
- 9/15/2014
- Rollingstone.com
When Frankie Knuckles died unexpectedly yesterday, it sent reverberations throughout the dance community. Though his name may not be as familiar to some as the current rank of superstar dance names, like Avicii or Skrillex or David Guetta, make no mistake about it: Knuckles was a titan and a pioneer. Dubbed the Godfather of House Music, he helped usher in a new era of dance music through such now-iconic tracks as “Tears” and “The Whistle Song.” Hitfix’s editor, Gregory Ellwood, wrote a moving tribute to Knuckles today. I didn’t know Knuckles well, so instead I reached out to some of our mutual friends and asked them to tell me what Knuckles meant to them. Here are their stories in their own words. I kept them all in their entirety and feel like Bill Coleman’s comments give a particular insight and background into Knuckles for those not familiar...
- 4/2/2014
- Hitfix
Only three films into her career, Mia Hansen-Løve has established herself as one of the more exciting names in world cinema. Her debut, "Tout est pardonné," was named the Best First Film at the César awards when she was only 27, and her next, the excellent "The Father Of My Children," put her on the world stage, something firmed up by her most recent picture, the touching, beautiful "Goodbye, First Love." And with husband Olivier Assayas, she makes up one half of a helluva talented filmmaker marriage.
With "Goodbye, First Love" now rollling out around the world, the director's starting to reveal what her next project might be, and it sounds pretty exciting. In an interview with The Observer, Hansen-Løve tells Jason Solomons that her next film will be an epic romance set against the backdrop of the French music scene of the 1990s, which spawned artists like Daft Punk and Mr. Oizo.
With "Goodbye, First Love" now rollling out around the world, the director's starting to reveal what her next project might be, and it sounds pretty exciting. In an interview with The Observer, Hansen-Løve tells Jason Solomons that her next film will be an epic romance set against the backdrop of the French music scene of the 1990s, which spawned artists like Daft Punk and Mr. Oizo.
- 4/30/2012
- by Oliver Lyttelton
- The Playlist
The French director talks about the teenage love affair that led her to make films, and the thrill of discovering a new star actress
Your forthcoming film, Goodbye First Love, is about teenage romance. What were you like as a teenager?
Love was everything to me. My parents were both philosophy teachers, so I was brought up to value it more than money or possessions. It was all about beauty, truth, freedom and love. I did have a big, very real, very powerful relationship with someone from when I was 15 till 19. I thought he would be the only one I could ever love, and when it was gone it left a void in me. I think I've tried to turn that void into some kind of creativity ever since, using the sadness to do something poetic.
Love is universal as a topic for a film. I mean, everyone has a...
Your forthcoming film, Goodbye First Love, is about teenage romance. What were you like as a teenager?
Love was everything to me. My parents were both philosophy teachers, so I was brought up to value it more than money or possessions. It was all about beauty, truth, freedom and love. I did have a big, very real, very powerful relationship with someone from when I was 15 till 19. I thought he would be the only one I could ever love, and when it was gone it left a void in me. I think I've tried to turn that void into some kind of creativity ever since, using the sadness to do something poetic.
Love is universal as a topic for a film. I mean, everyone has a...
- 4/30/2012
- by Jason Solomons
- The Guardian - Film News
Sam Sparro has teased details about his forthcoming album. The singer described his new LP Return To Paradise - which is due out later this year - as a "heartbreak" record. Discussing the opus with Attitude Magazine, he said it was "a heartbreak album disguised as a disco album", adding: "Even the happy songs are almost about coaxing myself out of a depression." Sparro also revealed that the set was inspired by gay New York club Paradise Garage, which ran from 1976 to 1987, adding: "The cross-section of music that Larry Levan [the club's main DJ] played and selected was so special to me." He continued: "I (more)...
- 4/2/2012
- by By Robert Copsey
- Digital Spy
Hercules And Love Affair, a disco act featuring the quivering voice of art-rock star Antony, hearkens back to a mode of disco in which quivering vocals by someone as weird or weirder than Antony would hardly count as novel. The model is the kind of lithe, rapturous disco spun by epochal DJ Larry Levan at the Paradise Garage, where hi-hat beats sprayed and horn lines wobbled out of shape. Antony sings significantly on five songs, including the propulsive single "Blind," but the highlight moments wander between everything from the woozy horns of "Hercules Theme" to the mournful synth patches in the mid-tempo pop song "Iris." There's something nagging about the literalness of such a thoroughly throwback exercise, but Hercules mastermind Andrew Butler has a real knack for arrangement and emotional range. He knows when to kick disco into action and when to just kick back and listen.
- 6/24/2008
- by Andy Battaglia
- avclub.com
Artrution Prods.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
Artrution Prods.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
- 3/19/2004
- The Hollywood Reporter - Movie News
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