A number of legendary Los Angeles punk rockers appeared on the Tuesday (May 7th) episode of the new Netflix show John Mulaney Presents Everybody’s in L.A. Members of Fear, X, Minutemen, Germs, and more were featured in an “Old Punks” focus group hosted by Fred Armisen.
The focus group included Minutemen members Mike Watt and George Hurley, Fear frontman Lee Ving, X’s Exene Cervenka and DJ Bonebreak, Germs drummer Don Bolles, Avengers leader Penelope Houston, Cramps/Gun Club guitarist Kid Congo Powers, Saccarine Trust’s Joe Baiza, the Plungers’ Trudie Arguelles-Barrett, and Johnny Ramone’s widow Linda Ramone.
The funny segment began with Armisen driving around L.A. and gathering up all the senior punks for a focus group. Once it started, Armisen asked a number of questions like, “What is the punk-est type of food?” To which Linda Ramone answered, “Pizza,” and Ving exclaimed, “Budweiser, the King of Beers!
The focus group included Minutemen members Mike Watt and George Hurley, Fear frontman Lee Ving, X’s Exene Cervenka and DJ Bonebreak, Germs drummer Don Bolles, Avengers leader Penelope Houston, Cramps/Gun Club guitarist Kid Congo Powers, Saccarine Trust’s Joe Baiza, the Plungers’ Trudie Arguelles-Barrett, and Johnny Ramone’s widow Linda Ramone.
The funny segment began with Armisen driving around L.A. and gathering up all the senior punks for a focus group. Once it started, Armisen asked a number of questions like, “What is the punk-est type of food?” To which Linda Ramone answered, “Pizza,” and Ving exclaimed, “Budweiser, the King of Beers!
- 5/8/2024
- by Spencer Kaufman
- Consequence - Music
When the Ramones first performed “Blitzkrieg Bop” at Cbgb some 44 years ago, no one could have imagined the song would be heard in virtually every stadium and in multiple TV spots for mainstream products like Coppertone, GoPro, Peloton, At&T and Taco Bell.
And punk rock, the genre of music that the Ramones and so many others ushered in, seemed destined for an equally short shelf life. Yet despite its built-to-self-destruct ethos, punk rock has not only endured, it continues to attract fans both old and young — anyone who’s read this far has probably already heard about the dust-up between Sex Pistols frontman John Lydon (aka Rotten) and former Ramones drummer Marc Bell at an onstage Q&A last week to promote the film, which is at turns hilarious, pathetic and ridiculous, and often all three at once.
Two current documentaries illustrate the genre’s remarkable durability and continued relevance:...
And punk rock, the genre of music that the Ramones and so many others ushered in, seemed destined for an equally short shelf life. Yet despite its built-to-self-destruct ethos, punk rock has not only endured, it continues to attract fans both old and young — anyone who’s read this far has probably already heard about the dust-up between Sex Pistols frontman John Lydon (aka Rotten) and former Ramones drummer Marc Bell at an onstage Q&A last week to promote the film, which is at turns hilarious, pathetic and ridiculous, and often all three at once.
Two current documentaries illustrate the genre’s remarkable durability and continued relevance:...
- 3/11/2019
- by Roy Trakin
- Variety Film + TV
One of the leading British film critics of the postwar years who went on to write crime novels
iThe writer Margaret Hinxman, who has died aged 94, was one of the influential band of female critics who did much to encourage film in postwar Britain. She enjoyed a long and productive career on numerous magazines, including the influential Picturegoer, two national newspapers, the Sunday Telegraph and Daily Mail, and as a writer of fiction.
Following the doyennes of the profession Dilys Powell and CA Lejeune, who came from a slightly earlier generation, Hinxman’s contemporaries included the Sight and Sound editor Penelope Houston, Nina Hibben of the Morning Star, the magazine contributors Isabel Quigley, Virginia Graham, Maryvonne Butcher and Freda Bruce Lockhart, and the essayist Penelope Gilliatt. However, in later years their influence was blunted by a rise in testosterone-fuelled violence and numbing special effects in popular cinema.
iThe writer Margaret Hinxman, who has died aged 94, was one of the influential band of female critics who did much to encourage film in postwar Britain. She enjoyed a long and productive career on numerous magazines, including the influential Picturegoer, two national newspapers, the Sunday Telegraph and Daily Mail, and as a writer of fiction.
Following the doyennes of the profession Dilys Powell and CA Lejeune, who came from a slightly earlier generation, Hinxman’s contemporaries included the Sight and Sound editor Penelope Houston, Nina Hibben of the Morning Star, the magazine contributors Isabel Quigley, Virginia Graham, Maryvonne Butcher and Freda Bruce Lockhart, and the essayist Penelope Gilliatt. However, in later years their influence was blunted by a rise in testosterone-fuelled violence and numbing special effects in popular cinema.
- 10/17/2018
- by Brian Baxter
- The Guardian - Film News
While some critics see the film, released 60 years ago, as proof of Hitchcock’s sexist creepiness, a closer look reveals strong women and weak men were often at the heart of his work
‘Farfetched nonsense,” said the New Yorker. “The film’s first half is too slow and too long,” said Variety. When Alfred Hitchcock’s Vertigo was released in 1958, the critics were by no means all negative – “One of the most fascinating love stories ever filmed,” said The Hollywood Reporter – but, for the most part, the response was lukewarm. “A plot structure of egg-shell thinness,” wrote Penelope Houston in Sight & Sound.
Fifty-four years later, Vertigo took over from Citizen Kane at the top of a Sight & Sound poll of the greatest films of all time and now, 60 years after its original release, the film’s status seems assured. The plot of Vertigo has more holes than a pair of fishnets,...
‘Farfetched nonsense,” said the New Yorker. “The film’s first half is too slow and too long,” said Variety. When Alfred Hitchcock’s Vertigo was released in 1958, the critics were by no means all negative – “One of the most fascinating love stories ever filmed,” said The Hollywood Reporter – but, for the most part, the response was lukewarm. “A plot structure of egg-shell thinness,” wrote Penelope Houston in Sight & Sound.
Fifty-four years later, Vertigo took over from Citizen Kane at the top of a Sight & Sound poll of the greatest films of all time and now, 60 years after its original release, the film’s status seems assured. The plot of Vertigo has more holes than a pair of fishnets,...
- 6/28/2018
- by Anne Billson
- The Guardian - Film News
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