Thirteen Covers celebrates Walt Simonson’s birthday with… 13 covers, including Beta Ray Bill, Fin Fang Foom and Frog Thor!
This site is updated Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. Carol Borden draws out the best in comics, Chris Szego dallies with romance, alex MacFadyen stares deeply into the screen and Keith Allison probes science fiction.
Contact us here.
See All Categories
By Keith Allison on September 3, 2015
By Carol Borden on August 27, 2015
By alex macfadyen on August 20, 2015
By Carol Borden on August 13, 2015
Posted January 19, 2014
The Riverbends Genealogical and Historical Society has a collection of “race movies”: “The ‘race movie’ or ‘race film’ was a film genre which existed in the United States between about 1915 and 1950. It consisted of films produced for an all-black audience, featuring black casts. In all, approximately five hundred race films were produced. Of these, fewer than one hundred remain. Because most race films were produced outside the Hollywood studio system, they have been largely forgotten by mainstream film historians. In their day, race films were very popular among African American theatergoers. Their influence continues to be felt in cinema and television marketed to African Americans.”
Search the Gutter
Support Gutterthon 2015!
Of Note Elsewhere
Rob and Mike watch Edgar Ulmer’s The Black Cat (1934) at The Projection Booth. “The first big American studio film — and last big American studio film – directed by Edgar G. Ulmer, The Black Cat is, uh, ‘inspired’ by Edgar Allan Poe’s short story and stars Bela Lugosi and Boris Karloff in a taut game of life and death.”
At Pitchfork, Barry Walters writes about Grace Jones. “One night in 1993, I finally got my chance to see Jones perform at a local gay nightclub and took my friend Brian, whose partner Mark was too sick to join us….She didn’t back away from the elephant in the room: She dedicated one song to artist and AIDS casualty Keith Haring, who had used her body for a canvas on the occasion of her legendary 1985 Paradise Garage performance. That night’s show was remarkable for the simple fact that Jones just kept on going, granting one encore request after another, waiting patiently while the sound man scoured backing tapes to find the fans’ offbeat choices. When Jones got to such minor numbers as ‘Crush,’ it became clear that she didn’t want to leave. She was giving as much of herself as she could to the beleaguered troops, knowing full well that many wouldn’t live long enough to see her again.”
At Pornokitsch, The Gutter’s own dame with a shady past Carol writes about five films noir. “Do you want to watch some film noir? I hope so, because I have five films to suggest. Films about dames gone wrong, poor doomed saps, murders, sex and modern knights errant.”
At The Alcohol Professor, The Gutter’s own Keith writes about Billie Holiday in a fantastic two-part piece. Part one traces “the history of Billie Holiday and NYC nightlife through the Harlem Renaissance to Café Society.” Part two covers “Billie Holiday, Frank Sinatra and the jazz scene in New York City clubs of a bygone era.”