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synopsis
This biker gang exploitation picture from director Roger Corman and co-writer and editor Peter Bogdanovich earned critical respect in Europe for its gritty documentary style. Peter Fonda stars as Heavenly Blues, the leader of a wild, roving band of leather-clad bikers. When his best friend Loser (Bruce Dern) is injured in the midst of an attempt to steal a police motorcycle, the boys kidnap their debilitated buddy from the hospital, raping a black nurse and trashing the place in the process. Blues and his friends believe they've set Loser free, but he dies not long after the escape. Staging a funeral and drunken orgy in a small town church, the gang flees is set upon by the enraged locals, leaving Blues alone to face the law. Nancy Sinatra and a then-pregnant Diane Ladd co-star; a number of real-life Hell's Angels were hired to appear in scenes, adding authenticity to the picture.
Roger Corman didn't invent the biker movie (The Wild One blazed the trail in 1954), but, with The Wild Angels, he gave it a new lease on life. Peter Fonda and Nancy Sinatra stand out like sore thumbs among the real-life Hell's Angels hired to give the film its grubby atmosphere, but Fonda's studied cool nicely contrasts with the aggressive surliness of the rest of the male cast -- and enough rock bands have sampled Fonda's "We wanna be free to ride our bikes and not get hassled by the man!" speech to turn it into a classic moment in sleaze-movie history. The film's beer-swilling, pot-smoking, and unfocused brawling may have become screen clichés in record time, but they were newer and more shocking in 1966, and the film's rough, unpolished visual style gives it a ring of truth missing from most of the films that followed in its wake. Add Davie Allen and the Arrows's classic theme song, which sent a generation of garage rockers scurrying for fuzz boxes, and you get perhaps the definitive 1960s biker flick. The film also offers the curiosity factor of knowing that Diane Ladd was pregnant with Laura Dern during filming.
Editors
Unaltrofestival Day 2
Circolo Magnolia Segrate Milan, Italy IT
02 september 2016
This image is copyright © Roberto Finizio. All right reserved. This photo must not be used under ANY circumstances without written consent.
for info and photos visit my website www.robertofinizio.it
Questa immagine è protetta da copyright © Roberto Finizio. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
per info e materiale fotografico visita il mio sito www.robertofinizio.it
Constant Contact has some major problems with their editing interface.
First, there is no reason for it to only be available in IE and Firefox.
But the the problem I'm having here is that it can't even parse simple text that I formatted _in_ Constant Contact. The article in the screenshot can't be saved because of a vague "unexpected error". And I can't fix the problem because the HTML view of the article is broken too.
At 25, I was promoted to managing editor of publications. I was reluctant. I was inexperienced. I was intimidated. But I was also gently pushed into this role by a new supervisor who believed I could do it.
While my supervisor was supportive, he had a hands-off approach (which I appreciated later on) and there wasn’t much coaching in my new role. I felt like I was drowning in expectations, responsibilities, and assumptions that had been packaged into this position over the years. My decisions were: sink or swim.
I faked confidence in managing and running a magazine until I felt more experienced and confident. I learned the assignment and publishing process. I worked hard to build rapport with my editors, to treat each person as an individual with different strengths. I was a tough managing editor because I wanted each person to shine in their own way. I pushed them to be better.
I’ve learned faking it can work for a while. I’ve learned expertise does come with time, with effort, and with genuine forthrightness. I’ve learned getting to know people and investing time and energy into encouraging their strengths is important.
I’ve learned challenges only make me stronger, but that doesn’t make them any easier. I still carry some residual insecurity. I still feel the need to over prepare for some things, to make sure I know my stuff, to make sure people perceive me as competent and qualified.
01 Lights
02 Blood
03 All Sparks
04 Fall
05 Bullets
06 Find Yourself A Safe Place
07 Camera
08 You Are Falling
09 Munich
10 Open Your Arms
11 The Weight Of The World
12 Fingers In The Factories
edited by Luigi-Bob Drake.
Cleveland Heights, Burning Press, (postmarked) 19 july 1989. [at least 2o copies].
4 fascicles, all 8-1/2 x 11 white xerographic bond printed black photocopy rectos only & folded in thirds, in sealed 9-1/2 x 4-1/8 white bond envelope with 2-1/4" triangular gummed flap rear (envelopes may vary): the fascicles are
a) Luigi-Bob Drake, Folks--"; broadside
b) [Miekal And], Noise & Love re: Collaboration; broadside
c) [Robin Crozier], "VITTORE BARONI PETE HOROBIN MIEKO SHIOMI"; broadside
d) bpNichol, editor, TEN SOUND POETS ON THE POETICS OF SOUND; 7-1/4 x 11, 9 sheets fastened with 1-1/4" chromed trombone paperclip top left.
19 contributors ID'd:
Miekal And, Douglas Barbour, Robin Crozier, jwcurry, Luigi-Bob Drake, Paul Dutton, Carol English, First Draft, Penny Kemp, Steve McCaffery, Andrew McClure, Susan McMaster, Colin Morton, bpNichol, Childe Roland, Gerry Shikatani, Richard Truhlar, Marilyn Westlake.
curry contributes:
i) JWCURRY, by jwcurry & bpNichol (interview, part 6 of Nichol's IMPROVISING SOUND)
ii) "STIGATION" (concrete poem, photographed by Mark Laba)
also includes:
iii) IMPROVISING SOUND: TEN SOUND POETS ON THE POETICS OF SOUND, by bpNichol (essays & interviews in 15 parts; curry referenced in parts
––2. IMPROVING IS SOUND ("...jwcurry, for instance, raises the interesting possibility of a standard approach to the reading of such marginal linguistic information as the density or colour of the type.")
––6. JWCURRY (see (i) above)
––14. A FEW BIOGRAPHICAL NOTES)
iv) JW CURRY, by Marilyn Westlake (photograph, portrait)
___________________________
a bunch of things stuffed in envelopes & mailed to participants in Drake's CoLaboration Project, primarily reprinting Nichol's IMPROVISING SOUND from Musicworks 38 (spring 1987)
Editors
Pinkpop Festival 2018 - Day 3
Landgraaf, Megaland, Netherlands NL
17th June 2018
This image is copyright © Roberto Finizio. All right reserved. This photo must not be used under ANY circumstances without written consent.
for info and photos visit my website www.robertofinizio.it
Questa immagine è protetta da copyright © Roberto Finizio. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
per info e materiale fotografico visita il mio sito www.robertofinizio.it
One of my immediate thoughts for this first redress of Darius (I refuse to call him Gus, he should never have had his name stolen) was to create a tribute to Edward Enninful, Ghanaian-British Editor-in-Chief of British Vogue. I was completely charmed by him when I heard him interviewed on Radio 4's Desert Island Discs. Edward started out as a model before becoming fashion director for the magazine i-D - he was the youngest ever fashion director for an international publication at the age of 18. He is a huge promoter and supporter of diversity both in his editorial team and between the pages of the magazine.
Unfortunately I only had an edition of Spanish Vogue to use for this photoshoot 😅 Maybe Edward is going to take it over?
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shanghai
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