Photo © by John Peden
John shot this at the gig Roy did after we taped him for the Guitar Galaxy video "Roy Buchanan Telly Talk" (http://doctornoemedia.blogspot.com/), but the guitar he's playing is actually a Telecaster from John's collection, since "Nancy" was back at the shack for the photo session.
And, stay tuned for this …
Richard Smith, author of "Fender - the sound heard around the world" now works for the Fullerton Museum Center 301 N. Pomona Ave, Fullerton Ca. 92832 (714) 738-6545. He always has an exhibit on Fender but for 2008 there will be a new exhibit on the Telecaster. The gala opening of the exhibit, entitled “Solid Design: Leo Fender’s Telecaster” is scheduled for March 22, 2008 7-10 p.m., and the exhibit will run through Fall, 2010 (http://www.ci.fullerton.ca.us/depts/museum/exhibits/leo_fender_exhibit/default.asp).
From the exhibit catalog: “In early 1949 Leo Fender started seriously designing a standard guitar model for his Fine Line of Fender Electric Instruments. At first the guitar was called the Esquire, then the Broadcaster and finally the Telecaster. Sixty years later it is one of the most popular guitars in the world, an instrument built for working men and women musicians who defined the blues, country and pop styles.
“’Solid Design: Leo Fender’s Telecaster’ will showcase this instrument, the first commercially successful solidbody electric guitar, an instrument that changed music history. Numerous examples from the early years will be on display. There will also be a noticeable celebrity component in the images and presentation, including Telecasters once owned by stars. The exhibit points to players such as George Harrison, Bruce Springsteen, Tom Petty, Roy Buchanan, James Burton, Don Rich and Mike Bloomfield. These musicians—Tele players all—created some of the most potent music imaginable.”
Among the Roy B. artifacts will be his guitar called “Nancy,” which we immortalized in a special Collector’s Choice centerfold of Guitar World magazine. In a spotlight area of the exhibit will be some of the Roy Buchanan “Telly Talk” footage and there will be copies of the DVD in the bookstore gift shop. Guitar Galaxy is planning a special “Director’s Cut” documentary edition of the DVD, which will have more photos like the one at left and photographic details (not footage, ’cause that’s all he wrote) about Nancy and the photo spread we shot for Guitar World on that occasion, as well as personal testimony from some Tele players such as Jeff Beck, Robbie Robertson, Seymour Duncan and others who were touched by or intimate with Roy.
Keep on rockin’,
Noë the G
Wednesday, March 19, 2008
Wednesday, March 12, 2008
Roy Buchanan "Nancy"-Collectors Choice November 82
This was Roy's guitar. It will be on exhibit starting this weekend, at the Fender Museum in Fullerton, CA. Here’s the details:
http://www.ci.fullerton.ca.us/depts/museum/exhibits/leo_fender_exhibit/default.asp
Opening Gala at the Fullerton Museum
Saturday, March 22, 7:00 p.m. to 10:00 p.m.
Join the Fullerton Museum Center in celebrating the opening of TWO exhibits, including a NEW exhibit in the Leo Fender Gallery! Take this special opportunity to view “Solid Design: Leo Fender’s Telecaster” and “The Delta Blues Project.” It will be an evening celebrating music, art, and everything in between! $20 Admission/Free for members. Food/Entertainment by Kid Ramos. Call (714) 738-6545 for more details.
The photo is by John Peden for the Collector's Choice photo session for the magazine centerfold.
But as an added treat while we had Roy and his ax in the studio, I interviewed him and we rolled videotape. Twenty-five years later, the results of that videotape can be seen on a commercially available DVD known as "Roy Buchanan Telly Talk."
Roy Buchanan Telly Talk!
Some more details about our setup for videotaping Roy. In the video he is playing the Telecaster that he is most identified with, called "Nancy". This Tele is well known to Roy freaks. The other thing is we had him playing through a 4X10 Fender Bassman amp, model 5F6-A considered by many that know to be the BEST guitar amp ever made by any company. It can be glimpsed in a few of the shots. We also used a 1961 brown Fender outboard spring reverb unit model 6G-15. We employed two good Nakamichi microphones, one for vocal and the other on the amp. Roy definitely liked the tone of this rig (who wouldn't ?) This set up along with the relaxed vibe of the shoot and Noë the G’s knowledgeable questions contributed to a very short but successful video.
... and there's more info on it on my blog here: http://doctornoemedia.blogspot.com/2008/01/sound-on-rebound.html#links
… and here:
Monday, March 10, 2008
Sully the Impaler's byline shoutouts
Thanks, Sully, for being a fan of Noe the G. and finding that issue November 1986.
http://www.flickr.com/photos/sullyville/2316747604/in/photostream/?addedcomment=1#comment72157604087085324
Do you have the issue with this centerfold?
http://www.flickr.com/photos/sullyville/2316747604/in/photostream/?addedcomment=1#comment72157604087085324
Do you have the issue with this centerfold?
Roy Buchanan "Nancy"-Collectors Choice November 82?
The November 1982 centerfold. I have a copy but I'm looking for an original issue ... I edited the text and wrote/did the interview and accompanying article.
Sunday, March 9, 2008
Dylan with my guitar
The ax was made for me by Grover Jackson. It is a Charvel Jackson Strat with Dimarzio pickups, gold hardware and a Floyde Rose. The company he rode to glory in the '80s and '90s has recently been conglomerated into the benign despot of the guitar world, Fender Instruments. Which is a good thing for all concerned.
Noe the G
aka Doctor Noe
http://doctornoemedia.blogspot.com/
Noe the G
aka Doctor Noe
http://doctornoemedia.blogspot.com/
Saturday, January 26, 2008
Sound on the Rebound
Checked out the Fullerton museum last week, with my son Dylan, pictured here. Browsing around in all that history and monolithic iconography (see here- just click on the picture:) 
got me to thinking about my next project -- contributing something to an exhibit there coming up in March, organized by Richard Smith, author of Fender: The Sound Heard 'Round the World. The show will be about Telecasters. One particular one, belonging to the late Roy Buchanan, was photographed by John Peden, who also shot numerous other Fenders for Richard's book). The guitar was named Nancy, and in 1982 I had the honor of moderating a video interview cum master class with Mr. Buchanan as he arrived in John Peden's studio for the photo enshrinement of Nancy in Guitar World magazine's Centerfold Collector's Choice feature.
See the caption for more info on this session, which did make it to guitar freak audiences via the DVD medium.
got me to thinking about my next project -- contributing something to an exhibit there coming up in March, organized by Richard Smith, author of Fender: The Sound Heard 'Round the World. The show will be about Telecasters. One particular one, belonging to the late Roy Buchanan, was photographed by John Peden, who also shot numerous other Fenders for Richard's book). The guitar was named Nancy, and in 1982 I had the honor of moderating a video interview cum master class with Mr. Buchanan as he arrived in John Peden's studio for the photo enshrinement of Nancy in Guitar World magazine's Centerfold Collector's Choice feature.See the caption for more info on this session, which did make it to guitar freak audiences via the DVD medium.
Wednesday, January 23, 2008
Roy Buchanan's "Nancy" above the nut
Roy Buchanan was interviewed by Noe Gold
and photographed by John Peden
In June, 1982 yours truly Doctor Noe aka Noe the G was getting restless in my role as the editor of Guitar World magazine. So I hung out my Guitar Galaxy shingle, which allowed me to do some side projects of my own. I distributed guitar effects created by my partner Jimi Hendrix effects guru Roger Mayer, produced ax-related artifacts such as The Guitar World according to Frank Zappa and The Guitar World According to Steve Stevens and did a historic interview with Roy Buchanan, Master of the Telecaster.
The occasion was our photo session of Roy's beloved Telecaster, "Nancy," for the Collector's Choice centerfold feature of the magazine. While we were at it, photographer John Peden and I decided to videotape an interview with Roy in the studio, in which he would play the Telly, show off some licks and techniques and regale us with his down-home personality and philosophy of playing and guitar hardware.
We provided Roy with some bitchin' equipment for his "master class": we had him playing through a 4X10 Fender Bassman amp, model 5F6-A, considered by many that know to be the BEST guitar amp ever made by any company. It can be glimpsed in a few of the shots. We also used a 1961 brown Fender outboard spring reverb unit model 6G-15. We employed 2 good Nakamichi microphones, one for vocal and the other on the amp. Roy definitely liked the tone of this rig (who wouldn't ?) This set up along with the relaxed vibe of the shoot and Noë the G’s knowledgeable questions contributed to a fairly short but successful video.
Time passed, and unfortunately, so did Roy, may he rest in peace. The tape lived on a shelf in John Peden's studio for 25 years, until I had the bright idea to transfer it to DVD. I did a little editing and put out a DVD called Roy Buchanan Telly Talk.
Before long, I started to get some amazing response from people who had been touched by the magic of Roy's music.
"… This interview is special and should be made available," said one string-bending fan who bought the DVD. "I wish Mr. Buchanan was still with us so that I could have met him and have a conversation like you had. Just like yours it would have been an extremely special occasion.
"Roy Buchanan was the best. Unique and very missed. He gave us the gift of his music for us to experience and add to the pleasure of living. His music is truly special."
"You should post the intro of Roy on youtube," said another fan. "You would generate a lot of interest in the DVD. Plus it would give Roy some more exposure to newer players. I think this DVD with Roy is the only type of its kind."
So now we are in Phase One of the Roy project. With Telly Talk out in the marketplace and yes, a YouTube "teaser trailer" soon to come, we are gathering more material for what we are calling the Telly Talk Directors Cut. This is envisioned as a full-on documentary, adding to the 1/2 hour of video we did with Roy a bunch more photos, live footage and talking-heads interviews with Roy admirers and friends such as pickup meister Seymour Duncan, Telly practitioners Jeff Beck, Andy Summers, Will Ray, Jim Campilongo (solo and with Nora Jones on "The Little Willies") and Jerry Donahue and drawing heavily from the reminiscences and the voluminous vaults of Roy-ologist Bob Davis.
And, stay tuned for this …
Richard Smith, author of "Fender - the sound heard around the world" curator of the Fullerton Museum Center 301 N. Pomona Ave, Fullerton Ca. 92832 (714) 738-6545 will mount new exhibit on the Telecaster in March. The Roy Buchanan “Telly Talk” footage will be part of the exhibit and copies of the DVD will be available in the museum gift shop.
For updates on the exhibit and our progress with the Directors Cut, and for ordering info re the DVD take a look at the column on the right. It's easy, just send me and email requesting it and I'll send you a PayPal invoice which, when paid, will trigger immediate delivery of your DVD. It's capitalism at its best.
Cheers,
Noe G
< - - - -- - Love and blessings, - - - -- -
< - - - - -
< - - - -
< - - -- - Noe Gold
www.noemedia.net
doctornoemedia.blogspot.com
and photographed by John Peden
In June, 1982 yours truly Doctor Noe aka Noe the G was getting restless in my role as the editor of Guitar World magazine. So I hung out my Guitar Galaxy shingle, which allowed me to do some side projects of my own. I distributed guitar effects created by my partner Jimi Hendrix effects guru Roger Mayer, produced ax-related artifacts such as The Guitar World according to Frank Zappa and The Guitar World According to Steve Stevens and did a historic interview with Roy Buchanan, Master of the Telecaster.
The occasion was our photo session of Roy's beloved Telecaster, "Nancy," for the Collector's Choice centerfold feature of the magazine. While we were at it, photographer John Peden and I decided to videotape an interview with Roy in the studio, in which he would play the Telly, show off some licks and techniques and regale us with his down-home personality and philosophy of playing and guitar hardware.
We provided Roy with some bitchin' equipment for his "master class": we had him playing through a 4X10 Fender Bassman amp, model 5F6-A, considered by many that know to be the BEST guitar amp ever made by any company. It can be glimpsed in a few of the shots. We also used a 1961 brown Fender outboard spring reverb unit model 6G-15. We employed 2 good Nakamichi microphones, one for vocal and the other on the amp. Roy definitely liked the tone of this rig (who wouldn't ?) This set up along with the relaxed vibe of the shoot and Noë the G’s knowledgeable questions contributed to a fairly short but successful video.
Time passed, and unfortunately, so did Roy, may he rest in peace. The tape lived on a shelf in John Peden's studio for 25 years, until I had the bright idea to transfer it to DVD. I did a little editing and put out a DVD called Roy Buchanan Telly Talk.
Before long, I started to get some amazing response from people who had been touched by the magic of Roy's music.
"… This interview is special and should be made available," said one string-bending fan who bought the DVD. "I wish Mr. Buchanan was still with us so that I could have met him and have a conversation like you had. Just like yours it would have been an extremely special occasion.
"Roy Buchanan was the best. Unique and very missed. He gave us the gift of his music for us to experience and add to the pleasure of living. His music is truly special."
"You should post the intro of Roy on youtube," said another fan. "You would generate a lot of interest in the DVD. Plus it would give Roy some more exposure to newer players. I think this DVD with Roy is the only type of its kind."
So now we are in Phase One of the Roy project. With Telly Talk out in the marketplace and yes, a YouTube "teaser trailer" soon to come, we are gathering more material for what we are calling the Telly Talk Directors Cut. This is envisioned as a full-on documentary, adding to the 1/2 hour of video we did with Roy a bunch more photos, live footage and talking-heads interviews with Roy admirers and friends such as pickup meister Seymour Duncan, Telly practitioners Jeff Beck, Andy Summers, Will Ray, Jim Campilongo (solo and with Nora Jones on "The Little Willies") and Jerry Donahue and drawing heavily from the reminiscences and the voluminous vaults of Roy-ologist Bob Davis.
And, stay tuned for this …
Richard Smith, author of "Fender - the sound heard around the world" curator of the Fullerton Museum Center 301 N. Pomona Ave, Fullerton Ca. 92832 (714) 738-6545 will mount new exhibit on the Telecaster in March. The Roy Buchanan “Telly Talk” footage will be part of the exhibit and copies of the DVD will be available in the museum gift shop.
For updates on the exhibit and our progress with the Directors Cut, and for ordering info re the DVD take a look at the column on the right. It's easy, just send me and email requesting it and I'll send you a PayPal invoice which, when paid, will trigger immediate delivery of your DVD. It's capitalism at its best.
Cheers,
Noe G
< - - - -- - Love and blessings, - - - -- -
< - - - - -
< - - - -
< - - -- - Noe Gold
www.noemedia.net
doctornoemedia.blogspot.com
Tuesday, December 4, 2007
Girls Gone Wild ... in a Feminist, Self-Empowering Kind of Way
Allee Willis has been an avatar of social and sociable consciousness for as long as I can remember. Back in the day, associated with A&M Records and hits, like it says in her bio, she has collaborated with Bob Dylan, James Brown, Herbie Hancock and countless other music luminaries. A GRAMMY® winner for soundtrack music for 1985’s Beverly Hills Cop (a #1 album), Willis is one of contemporary music’s most prolific songwriters. Her first-ever musical -- with master arranger Stephen Bray -- the Oprah Winfrey-produced The Color Purple, opened in December ’05 on Broadway and is touring the country.
This is about her latest project, in her persona as "Bubbles the Artist" (http://www.bubblestheartist.com/) along with Gnarls Barkley voice Holly Palmer (who inhabits Cheesecake). Their combined efforts manifest as http://www.bubblesandcheesecake.com/. This is a genuine web-Youtube-cyber-phenomenon whose funky graphics in a rubadub style are moving rapidly through space and time.
The video was revealed to me by my friend and promo man extraordinaire Henry Eshelman. Its subject matter is empowerment for women, powered by a funky groove and some lovely cutout-collage animation. It has the Willis signature look and the implied message of girls gotta have fun. In the process, the Youtube notoriety brought out the comments in people and thus a controversy was born.
“This was written purely as a pop soul song; not at all political,” says Willis. “It does talk about how sometimes women have trouble standing up for themselves, but it’s really about self-esteem for everyone – about having enough of a sense of yourself to claim what’s right for you.”
Palmer commented, “I was very surprised at the anger out there directed at a couple of people having fun. In a way, it goes right to the heart of what we’re talking about with Bubbles & Cheesecake – everybody has the right to their own voice, no matter what resistance it meets.” Willis added, “It’s no wonder many women are afraid to express themselves, given some of the comments we’ve seen.
“It’s crazy being in the middle of an unintended controversy,” Willis concludes, “but the greatest thing our art can do is spotlight something that’s not working in the culture, and point to things that are more positive. It’s a hard position for us to be in, because all you want to do is make art. But we also feel we must be doing significant work if we’ve hit such a nerve with this song.”
And so, without further ado, the song ...
This is about her latest project, in her persona as "Bubbles the Artist" (http://www.bubblestheartist.com/) along with Gnarls Barkley voice Holly Palmer (who inhabits Cheesecake). Their combined efforts manifest as http://www.bubblesandcheesecake.com/. This is a genuine web-Youtube-cyber-phenomenon whose funky graphics in a rubadub style are moving rapidly through space and time.
The video was revealed to me by my friend and promo man extraordinaire Henry Eshelman. Its subject matter is empowerment for women, powered by a funky groove and some lovely cutout-collage animation. It has the Willis signature look and the implied message of girls gotta have fun. In the process, the Youtube notoriety brought out the comments in people and thus a controversy was born.
“This was written purely as a pop soul song; not at all political,” says Willis. “It does talk about how sometimes women have trouble standing up for themselves, but it’s really about self-esteem for everyone – about having enough of a sense of yourself to claim what’s right for you.”
Palmer commented, “I was very surprised at the anger out there directed at a couple of people having fun. In a way, it goes right to the heart of what we’re talking about with Bubbles & Cheesecake – everybody has the right to their own voice, no matter what resistance it meets.” Willis added, “It’s no wonder many women are afraid to express themselves, given some of the comments we’ve seen.
“It’s crazy being in the middle of an unintended controversy,” Willis concludes, “but the greatest thing our art can do is spotlight something that’s not working in the culture, and point to things that are more positive. It’s a hard position for us to be in, because all you want to do is make art. But we also feel we must be doing significant work if we’ve hit such a nerve with this song.”
And so, without further ado, the song ...
Sunday, November 25, 2007
Bugs and Buddha
This is a response to my friend Peter Clothier's seasonal musing (http://thebuddhadiaries.blogspot.com/2007/11/cockroach.html) about whether killing a cockroach is karmically correct. His blog post brought up some interest responses, such as this one from robin andrea, who said...
"When I catch bugs in the house I alway use a cup or small bowl to put over the critter. I then slide a postcard or envelope under the cup, catching the bug inside. The bug is only slightly offended by the experience, and is usually happy to crawl or fly out of the container. I've caught all kinds of citters this way, even a mouse the cat brought in.
Thus, my response took off from hers, and took in another gentleman's musing over the transcendental reincarnative implications. ...
Peter, around our house I use the Robin Andrea method as well, preserving the critters -- crickets mostly -- to carefully be served up to the reptile gods in the persons of my son's Gekko, Zeppo, and the three frogs that live in the next habitat over.
As to the reincarnation question, though you are correct in citing Mr. Kafka, I would prefer to honor the voice of an American auteur, Mr. Don Marquis:
mehitabel was once cleopatra
By Don Marquis, in "archy and mehitabel," 1927
boss i am disappointed in
some of your readers they
are always asking how does
archy work the shift so as to get a
new line or how does archy do
this or do that they
are always interested in technical
details when the main question is
whether the stuff is
literature or not
i wish you would leave
that book of george moores on
the floor
mehitabel the cat and i want to
read it i have discovered that
mehitabel s soul formerly inhabited a
human also at least that
is what mehitabel is claiming these
days it may be she got jealous of
my prestige anyhow she and
i have been talking it over in a
friendly way who were you
mehitabel i asked her i was
cleopatra once she said well i said i
suppose you lived in a palace you bet
she said and what lovely fish dinners
we used to have and licked her chops
mehitabel would sell her soul for
a plate of fish any day i told her i thought
you were going to say you were
the favorite wife of the emperor
valerian he was some cat nip eh
mehitabel but she did not get me
archy
"When I catch bugs in the house I alway use a cup or small bowl to put over the critter. I then slide a postcard or envelope under the cup, catching the bug inside. The bug is only slightly offended by the experience, and is usually happy to crawl or fly out of the container. I've caught all kinds of citters this way, even a mouse the cat brought in.
Thus, my response took off from hers, and took in another gentleman's musing over the transcendental reincarnative implications. ...
Peter, around our house I use the Robin Andrea method as well, preserving the critters -- crickets mostly -- to carefully be served up to the reptile gods in the persons of my son's Gekko, Zeppo, and the three frogs that live in the next habitat over.
As to the reincarnation question, though you are correct in citing Mr. Kafka, I would prefer to honor the voice of an American auteur, Mr. Don Marquis:
mehitabel was once cleopatra
By Don Marquis, in "archy and mehitabel," 1927
boss i am disappointed in
some of your readers they
are always asking how does
archy work the shift so as to get a
new line or how does archy do
this or do that they
are always interested in technical
details when the main question is
whether the stuff is
literature or not
i wish you would leave
that book of george moores on
the floor
mehitabel the cat and i want to
read it i have discovered that
mehitabel s soul formerly inhabited a
human also at least that
is what mehitabel is claiming these
days it may be she got jealous of
my prestige anyhow she and
i have been talking it over in a
friendly way who were you
mehitabel i asked her i was
cleopatra once she said well i said i
suppose you lived in a palace you bet
she said and what lovely fish dinners
we used to have and licked her chops
mehitabel would sell her soul for
a plate of fish any day i told her i thought
you were going to say you were
the favorite wife of the emperor
valerian he was some cat nip eh
mehitabel but she did not get me
archy
Wednesday, November 21, 2007
Thursday, October 25, 2007
From Hell and Back ...
To mangle a book title by Norman Mailer. OK, so it's just in time for
Just scroll down to the fourth entry on this blog (http://doctornoemedia.blogspot.com/2007/09/fear-of-fright-night.html) and you can read my essay on classic horror films entitled “Fear of Fright Night”. I wrote this in 2001 for an AOL site I was a regular contributor/reviewer for called Entertainment Asylum.
You can also find the page here:
http://www.angelfire.com/ma/babybrownsplace/articles/art7.html
I wrote numerous pieces for Entertainment Asylum in my tenure as an AOL correspondent/content editor, but only this one was saved for posterity. I share it with you now.
Cheers,
Noë Gold

aka Doctor Noe
> >
PS, there’s also a neato keeno compendium of creature features here on the same site:
http://www.angelfire.com/ma/babybrownsplace/articles/articles.html
PPS, check out my latest article here ...
This is my article about Zorina Kroop, Mega Lottery winner, in the Studio City Sun, 10-5-07:
http://suncomm.globat.com/~suncommu/archives/studio_city_sun_archives/2007/Oct%205/
PPS, and here’s the last one for the Sun ...
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
This is from a cover story by Noë Gold for the Sun Newspapers (Studio City, Sherman Oaks, Encino CA).
Brian Robbins, director of Eddie Murphy’s smash comedy Norbit, takes us on the set of his next Murphy vehicle, Starship Dave. (Photo by robertevans.com)
Noë Gold’s interviews with Gwyneth Paltrow, Halle Berry and Cameron Crowe are at www.noemedia.net .
Again, you might like to see how the story looks as a post on my blog
Doctor Noe’s Sexy Gadgets and Smooth Stuff
and here (Part 2)
and this about Oakwood School, where my son attends:
http://www.oakwoodschool.org/PDF/SunStory-Astman.pdf
I’d really appreciate your linking to my blog and inspiring others to ...
Subscribe! To Doctor Noe's Sexy Gadgets and Smooth Stuff, http://doctornoemedia.blogspot.com/
This is from my flickr pal Noemí Macías Vega and it was Uploaded by noemimmv (her flickr handle) on 19 Oct 07, 1.38PM MDT.
Here's what you will encounter when you go to her flickr profile (http://www.flickr.com/people/noemimmv/):
I have been interested in photography since I was 10 years old. Now I am studying photography in the Art high school of Canary Island (Spain).
I am learning new things from all sorts of people . . . I prefer portraits because I think in that form I can REALLY see the person.
The Self-portraits I do have death as a theme; I find that interesting and mysterious. If you want to see more of my photos please check out my website( which will be coming soon in English.)
Nomys Vega website: http://www.nomysvega.es.mw/
Halloween ...
and you thought you'd be seeing the usual run-o-the-mill clichéd images. Think again.Just scroll down to the fourth entry on this blog (http://doctornoemedia.blogspot.com/2007/09/fear-of-fright-night.html) and you can read my essay on classic horror films entitled “Fear of Fright Night”. I wrote this in 2001 for an AOL site I was a regular contributor/reviewer for called Entertainment Asylum.
You can also find the page here:
http://www.angelfire.com/ma/babybrownsplace/articles/art7.html
I wrote numerous pieces for Entertainment Asylum in my tenure as an AOL correspondent/content editor, but only this one was saved for posterity. I share it with you now.
Cheers,
Noë Gold

aka Doctor Noe
>
PS, there’s also a neato keeno compendium of creature features here
http://www.angelfire.com/ma/babybrownsplace/articles/articles.html
PPS, check out my latest article here ...
This is my article about Zorina Kroop, Mega Lottery winner, in the Studio City Sun, 10-5-07:
http://suncomm.globat.com/~suncommu/archives/studio_city_sun_archives/2007/Oct%205/
PPS, and here’s the last one for the Sun ...
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
This is from a cover story by Noë Gold for the Sun Newspapers (Studio City, Sherman Oaks, Encino CA).
Brian Robbins, director of Eddie Murphy’s smash comedy Norbit, takes us on the set of his next Murphy vehicle, Starship Dave. (Photo by robertevans.com)
Noë Gold’s interviews with Gwyneth Paltrow, Halle Berry and Cameron Crowe are at www.noemedia.net
Again, you might like to see how the story looks as a post on my blog
Doctor Noe’s Sexy Gadgets and Smooth Stuff
and here (Part 2)
and this about Oakwood School, where my son attends:
http://www.oakwoodschool.org/PDF/SunStory-Astman.pdf
I’d really appreciate your linking to my blog and inspiring others to ...
Subscribe! To Doctor Noe's Sexy Gadgets and Smooth Stuff, http://doctornoemedia.blogspot.com/
This is from my flickr pal Noemí Macías Vega and it was Uploaded by noemimmv (her flickr handle) on 19 Oct 07, 1.38PM MDT.
Here's what you will encounter when you go to her flickr profile (http://www.flickr.com/people/noemimmv/):
I have been interested in photography since I was 10 years old. Now I am studying photography in the Art high school of Canary Island (Spain).
I am learning new things from all sorts of people . . . I prefer portraits because I think in that form I can REALLY see the person.
The Self-portraits I do have death as a theme; I find that interesting and mysterious. If you want to see more of my photos please check out my website( which will be coming soon in English.)
Nomys Vega website: http://www.nomysvega.es.mw/
Wednesday, September 26, 2007
Tuesday, September 25, 2007
Fear of Fright Night
Just in time for
Find the page at:
http://www.angelfire.com/ma/babybrownsplace/articles/art7.html
I wrote numerous pieces for Entertainment Asylum in my tenure as an AOL correspondent/content editor, but only this one was saved for posterity. I share it with you now.
Cheers,
Noë Gold
By Noë Gold @ Entertainment Asylum
We are now in the midst of another cycle of shock films, loosely categorized by film historians as the horror genre but I'll just call 'em Scary Movies, since these film historians tend to quarrel and quibble about what exactly is a horror film. I say "cycle" because these films come in bunches, about every twenty years or so, and are extremely popular. The current crop (typified in the late nineties by Scream, Scream 2, I Know What You Did Last Summer, Disturbing Behavior, the then-current Halloween: H20 and soon to be continued with I Still Know What You Did Last Summer), have one thing in common: they're not "monster movies" like Frankenstein or The Fly or any of the creepy horror films that were popular in the fifties.
The Scary Movie of the nineties relies more on psychological terror than the obvious makeup-enhanced movies of that more innocent era. It deals with ordinary people in ordinary situations who come across a deviant like "Halloween's" Mike Myers. The suspense in H20 is more on account of the audience's expectations and the throbbing, spooky music than from any obvious monster. Mike Myers comes with a lot of baggage, and it's all hidden beneath that very ordinary white Halloween mask. The effect is much more chilling than Godzilla could ever hope to be.
Why is this Scary cycle surfacing again now? On the surface, things are fairly stable in modern-day society. Crime statistics are down, the economy is whistling along and Charles Manson is tucked away neatly in prison with no hope of escape. So why do we flock to movies that scare the gizzards out of us? Because it gives us pleasure. When there are no real things to be scared of, we go to the movies to shake things up. In a weird way, it's therapeutic.
To illustrate this point, I call forth a reference in a seminal book by an author I used to know who taught me a lot about the genre, Carlos Clarens. On the frontispiece of his Illustrated History of the Horror Films, Carlos quotes sociologist Roland Penrose from his work, Violence in Contemporary Art: "The bogey of violence is particularly horrifying and intolerable to us when we meet it in cold blood. The arts, however, avoid its brutal impact by their appeal to the emotions, they warm us to its presence, turning terror into enjoyment and cruelty into compassion. We participate in the act of violence without suffering its evil consequences. Art, in fact, allows us, as in certain rituals, to satisfy our Olympian yearning to stimulate the forces of nature. Its nonviolent power has a therapeutic and catalytic influence."
So, watching Scary Movies in the relative safety of a theater with hundreds of other people around us will not turn us into raving, bloodthirsty lunatics. On the contrary, it's a cheap alternative to seeing a shrink. For the same reason we pay money and wait in long lines to ride the shriekiest roller coaster, we go to the movies to get our hair lifted. Steve Miner, who directed H20, says it this way: "My favorite scary film of all time was Psycho, which I could not sit through. I never saw the whole movie until I was an adult. Halloween I found reminiscent in spirit of that kind of movie: unrelentingly scary and suspenseful and atmospheric. I think people like to be scared because they can go to the edge without really being there."
Kevin Williamson, the Dawson's Creek director who wrote the screenplay of H20 as well as that of Scream, credits Halloween for what he is today. "Halloween is and always has been my favorite film of all time," he says. "It wasn't just a movie, it was an experience. ... The audience participation factor was one of the most incredible parts of the movie. The way the audience jumped and screamed at the characters on screen got my blood pumping. It was this effect in Halloween that made me realize that I wanted to be a filmmaker.
Okay, what about that "every twenty years" theory? It's no coincidence that the current Halloween is subtitled H20, since the original Halloween was released in 1978. That one put its director, John Carpenter, on the map and kicked off the career of Jamie Lee Curtis as well (it was her first feature film). H20 has among its co-stars Jamie Lee's mom, Janet Leigh, who was the star victim of Alfred Hitchcock's Psycho, released 18 years before Halloween in 1960 (and later to be redone in a faithful translation by Gus Van Sant). Carpenter's stated purpose in conceiving Halloween was that he wanted to create a picture that would play like a full-length version of the shower scene in Psycho.
Go back roughly twenty years from Psycho and you have the beginning of another Scary cycle in the early forties. A series of films produced by Val Lewton has a lot in common with what the Scary cycle of the nineties is going for - psychological horror with no monsters or creatures in sight. The great director Jacques Tourneur did more with camera angles, lighting and sound to chill the audience's bones with his masterpieces the original Cat People and his follow-up I Walked With a Zombie. I command you to go out and rent these right now so you can see what I mean.
The first of these twenty-year cycles, just to round out my argument, goes back to Germany in the twenties. You won't be able to rent Paul Weggener's Student of Prague or his series of films about the Golem, a vengeful Jewish monster who haunted Czechoslovakia. But there is also The Cabinet of Dr. Caligari and F.W. Murnau's Nosferatu, the original vampire story (with Max Schreck as the Vampire). And rounding out the cycle is The Hands of Orlac, with Caligari's Conrad Veidt, about a concert pianist who has the hands of a murderer grafted on after he loses his in an accident. The fright genre moved (along with a number of German filmmakers escaping the Nazis) to America for its next cycle, and it is also no great coincidence that another one of these German exports, Peter Lorre, made his American film debut in 1935 in a remake of Orlac called Mad Love, another one that you must rent or seek out on cable TV.
Which is all to say that what comes around goes around in the world of roller coasters and Scary Movies. Now that I have given you a quick sense of its history, it's a good time to grab a ride.
PS, there’s also a neato keeno compendium of creature features here on the same site:
http://www.angelfire.com/ma/babybrownsplace/articles/articles.html
.... and in this photo gallery from The Hollywood Reporter:
Halloween ...
this here’s my essay on classic horror films entitled “Fear of Fright Night”. I wrote this in 2001 for an AOL site I was a regular contributor/reviewer for called Entertainment Asylum.Find the page at:
http://www.angelfire.com/ma/babybrownsplace/articles/art7.html
I wrote numerous pieces for Entertainment Asylum in my tenure as an AOL correspondent/content editor, but only this one was saved for posterity. I share it with you now.
Cheers,
Noë Gold
FEAR OF FRIGHT NIGHT
What's to enjoy about scary films?
We are now in the midst of another cycle of shock films, loosely categorized by film historians as the horror genre but I'll just call 'em Scary Movies, since these film historians tend to quarrel and quibble about what exactly is a horror film. I say "cycle" because these films come in bunches, about every twenty years or so, and are extremely popular. The current crop (typified in the late nineties by Scream, Scream 2, I Know What You Did Last Summer, Disturbing Behavior, the then-current Halloween: H20 and soon to be continued with I Still Know What You Did Last Summer), have one thing in common: they're not "monster movies" like Frankenstein or The Fly or any of the creepy horror films that were popular in the fifties.
The Scary Movie of the nineties relies more on psychological terror than the obvious makeup-enhanced movies of that more innocent era. It deals with ordinary people in ordinary situations who come across a deviant like "Halloween's" Mike Myers. The suspense in H20 is more on account of the audience's expectations and the throbbing, spooky music than from any obvious monster. Mike Myers comes with a lot of baggage, and it's all hidden beneath that very ordinary white Halloween mask. The effect is much more chilling than Godzilla could ever hope to be.
Why is this Scary cycle surfacing again now? On the surface, things are fairly stable in modern-day society. Crime statistics are down, the economy is whistling along and Charles Manson is tucked away neatly in prison with no hope of escape. So why do we flock to movies that scare the gizzards out of us? Because it gives us pleasure. When there are no real things to be scared of, we go to the movies to shake things up. In a weird way, it's therapeutic.
To illustrate this point, I call forth a reference in a seminal book by an author I used to know who taught me a lot about the genre, Carlos Clarens. On the frontispiece of his Illustrated History of the Horror Films, Carlos quotes sociologist Roland Penrose from his work, Violence in Contemporary Art: "The bogey of violence is particularly horrifying and intolerable to us when we meet it in cold blood. The arts, however, avoid its brutal impact by their appeal to the emotions, they warm us to its presence, turning terror into enjoyment and cruelty into compassion. We participate in the act of violence without suffering its evil consequences. Art, in fact, allows us, as in certain rituals, to satisfy our Olympian yearning to stimulate the forces of nature. Its nonviolent power has a therapeutic and catalytic influence."
So, watching Scary Movies in the relative safety of a theater with hundreds of other people around us will not turn us into raving, bloodthirsty lunatics. On the contrary, it's a cheap alternative to seeing a shrink. For the same reason we pay money and wait in long lines to ride the shriekiest roller coaster, we go to the movies to get our hair lifted. Steve Miner, who directed H20, says it this way: "My favorite scary film of all time was Psycho, which I could not sit through. I never saw the whole movie until I was an adult. Halloween I found reminiscent in spirit of that kind of movie: unrelentingly scary and suspenseful and atmospheric. I think people like to be scared because they can go to the edge without really being there."
Kevin Williamson, the Dawson's Creek director who wrote the screenplay of H20 as well as that of Scream, credits Halloween for what he is today. "Halloween is and always has been my favorite film of all time," he says. "It wasn't just a movie, it was an experience. ... The audience participation factor was one of the most incredible parts of the movie. The way the audience jumped and screamed at the characters on screen got my blood pumping. It was this effect in Halloween that made me realize that I wanted to be a filmmaker.
Okay, what about that "every twenty years" theory? It's no coincidence that the current Halloween is subtitled H20, since the original Halloween was released in 1978. That one put its director, John Carpenter, on the map and kicked off the career of Jamie Lee Curtis as well (it was her first feature film). H20 has among its co-stars Jamie Lee's mom, Janet Leigh, who was the star victim of Alfred Hitchcock's Psycho, released 18 years before Halloween in 1960 (and later to be redone in a faithful translation by Gus Van Sant). Carpenter's stated purpose in conceiving Halloween was that he wanted to create a picture that would play like a full-length version of the shower scene in Psycho.
Go back roughly twenty years from Psycho and you have the beginning of another Scary cycle in the early forties. A series of films produced by Val Lewton has a lot in common with what the Scary cycle of the nineties is going for - psychological horror with no monsters or creatures in sight. The great director Jacques Tourneur did more with camera angles, lighting and sound to chill the audience's bones with his masterpieces the original Cat People and his follow-up I Walked With a Zombie. I command you to go out and rent these right now so you can see what I mean.
The first of these twenty-year cycles, just to round out my argument, goes back to Germany in the twenties. You won't be able to rent Paul Weggener's Student of Prague or his series of films about the Golem, a vengeful Jewish monster who haunted Czechoslovakia. But there is also The Cabinet of Dr. Caligari and F.W. Murnau's Nosferatu, the original vampire story (with Max Schreck as the Vampire). And rounding out the cycle is The Hands of Orlac, with Caligari's Conrad Veidt, about a concert pianist who has the hands of a murderer grafted on after he loses his in an accident. The fright genre moved (along with a number of German filmmakers escaping the Nazis) to America for its next cycle, and it is also no great coincidence that another one of these German exports, Peter Lorre, made his American film debut in 1935 in a remake of Orlac called Mad Love, another one that you must rent or seek out on cable TV.
Which is all to say that what comes around goes around in the world of roller coasters and Scary Movies. Now that I have given you a quick sense of its history, it's a good time to grab a ride.
PS, there’s also a neato keeno compendium of creature features here on the same site:
http://www.angelfire.com/ma/babybrownsplace/articles/articles.html
.... and in this photo gallery from The Hollywood Reporter:
http://www.hollywoodreporter.com/gallery/iconic-horror-movies-32472
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
This is from a cover story by Noë Gold for the Sun Newspapers (Studio City, Sherman Oaks, Encino CA).
Brian Robbins, director of Eddie Murphy’s smash comedy Norbit, takes us on the set of his next Murphy vehicle, Starship Dave.
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
Noë Gold’s interviews with Gwyneth Paltrow, Halle Berry and Cameron Crowe are at www.noemedia.net .
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
This is from a cover story by Noë Gold for the Sun Newspapers (Studio City, Sherman Oaks, Encino CA).
Brian Robbins, director of Eddie Murphy’s smash comedy Norbit, takes us on the set of his next Murphy vehicle, Starship Dave.
Noë Gold’s most recent cover story on director Brian Robbins in all three editions of the Sun Newspapers may be found here ...
http://www.studiocitysun.com/proof/STUv5n22.pdf
Noë Gold’s interviews with Gwyneth Paltrow, Halle Berry and Cameron Crowe are at www.noemedia.net
Saturday, September 22, 2007
Lovely Antifascist
What is amazing to me about this person is that she lived in a time when everything was possible. See the three listings below. ...
"Gerda Taro, Guadalajara Front, Spain," July 1937, by an unknown photographer.
Photo: International Center of Photography
Related Article: A Wartime Photographer in Her Own Light (http://www.nytimes.com/2007/09/22/arts/design/22taro.html)
----------------
Now playing: Paul McCartney - All Things Must Pass
via FoxyTunes
"Gerda Taro, Guadalajara Front, Spain," July 1937, by an unknown photographer.
Photo: International Center of Photography
Related Article: A Wartime Photographer in Her Own Light (http://www.nytimes.com/2007/09/22/arts/design/22taro.html)
----------------
Now playing: Paul McCartney - All Things Must Pass
via FoxyTunes
GerdaTaro: Premature Anti-Fascist Icon Lady
Gerda Taro began her short, adventurous life as Gerta Pohorylle, a Jewess born in Poland.Sometime in the spring of 1936, she and her lover André Friedmann, a Hungarian Jew, who took the name Robert Capa, changed their names and, in the process, the history of photography. Ms. Pohorylle became Gerda Taro. Working at times as “Capa,” an imaginary American photographer, they began documenting the Spanish Civil War, capturing the ruined towns and devastated civilians and soldiers on the Republican side.
Gerda Taro - Republican Bugle Boy
This series of photos (see the next three blog entries) took me back to an adolescent obsession triggered by George Orwell's most amazing Homage to Catalonia, his tale of the revolutionary atmosphere that pervade Spanish Civil War-era Barcelona and its environs. The streets were teeming with anarchism and good vibrations, powered by the common struggle to off the Fascist forces of Generalissimo Francisco Franco. For this, Taro, her husband Robert Capa and the sainted Brooklyn soldiers of the Lincoln Brigade were anointed "premature antifascists" by the Hoover-led FBI and its successors in the Great American Witch Hunt, the House Unamerican Activities Committee and McCarthyism.
War Portraitist With a Cause
Gerda Taro, who died young, is only now being honored by the International Center of Photography in New York. See above and link at right for more ... (http://www.nytimes.com/2007/09/22/arts/design/22taro.html?ex=1348200000&en=3ccb5a5546f4abe1&ei=5124&partner=permalink&exprod=permalink)
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