Jimmy McDough

Jimmy McDonough Gets Ripped In Book Review stülpdeckelkartons | CAFFEINATED POLITICS
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Reading about these last years is painful enough; reading about them in McDonough’s prose is excruciating. In nearly half a century of reviewing books I’ve slogged my way through some bad ones, but “Tammy Wynette: Tragic Country Queen” ranks up there among the very worst.
The reaction is coming in, and it’s all over the map. The New York Times’ Janet Maslin loved the book and said McDonough is “crazy about Wynette but also detached enough to see her clearly.” Maslin does think the letters stülpdeckelkartons “only barely avoid being embarrassing.” Jonathan Yardley hated the letters and everything else McDonough wrote. The Pulitzer Prize winner for the Washington Post thought “Tammy Wynette” was one of the “very worst” books he’s read in almost 50 years of reviewing and said it is “a truly empty, cliche-littered, bubble-headed book. I read it on a long plane trip, and there were times when I wished stülpdeckelkartons the plane would crash, just to put me out of my misery.”
Jimmy McDough”s book was the worst book I have read in the past decade. Based entirely on gossip stülpdeckelkartons and hearsay, like all the books McDonough writes. BORING!!!!!! Don’t waste your money. stülpdeckelkartons Eric
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Heart of Gold is well filmed, but Prairie Wind is no musical masterpiece. cp cases I think people ar

An unofficial news blog for Neil Young fans from Thrasher's Wheat with concert cp cases and album updates, reviews, analysis, and other Rock & Roll ramblings. Separating the wheat from the chaff since 1996.
Thrasher & Thrashette had a good ol' fashioned movie date this weekend. Finally got around to seeing that new Neil Young movie everyone's been raving about . Yes, it's what everyone has been saying cp cases about the film -- and more. I found Shakey author Jimmy McDonough 's recent put-down of Prairie Wind to be rather innaresting. McDonough's response to the San Jose Mercury News negative review by Brad Kava was "Thanks for being one of the few people to tell the truth!". Hmmm. In the San Jose Mercury News review, critic Brad Kava calls the new songs "uncomfortably verbose and prosaic" and "faded versions of older songs." So what are McDonough and Kava getting at here about the film's core material? How can critic Jim DeRogatis in the Chicgo Sun-Times call the film an "instant classic, one of the most musically sensitive and emotionally gripping movies of its kind" and have respected critics like McDonough sneer? Who can say whether a song like "When God Made Me" in 5 or 50 years from now will be recognized for distilling the world's religions into ten succint questions ? It would seem to be very difficult for any self respecting critic to call such a song "uncomfortably verbose and prosaic". As we pondered that question while exiting, I was struck remembering the angry backlash reaction to Greendale where audiences looking for the old classic songs were confronted with new, unfamiliar songs that seemed marginal on first listen. Or back in 1973 on the brutally confrontational Time Fades Away tour where audiences expecting the sunny optimism of Harvest got new, unheard songs with raw emotional lyrics like "Yonder Stands The Sinner" and high amplification electric guitar instead. So what we saw and heard was a film that truly respects the craft of making music. The loving close-ups of Hank Williams' Martin guitar are practically worth the price of admission alone. The slow dissolves perfectly choreographed to the music would indicate multiple cp cases takes and extensive rehearsals yet - as we all know - were pretty much single take efforts at a live concert performance. But for me, the best part of "Heart of Gold" were the small parts that you probably didn't even notice in the live concert yet are captured beautifully by cinematographer Ellen Kuras with understated fluidity. The knowing looks, glances and nods between the musicians onstage. The close-ups of Ben Keith's fingers on pedal steel. The reverence for the Grand Ol' Opry auditorium and those musicians who came before them. And not only does film director Jonathan Demme capture the respect of musicians for their craft and fellow musicians, but also respect for the craft of filmmaking itself. Not resorting to any film tricks, special effects, cheering cp cases audience shots, fancy camera work or other intrusive techniques, cp cases the film's effect is as classic and timeless as the man and his music. More on the movie "Neil Young: Heart of Gold" . UPDATE - March 15, 2006: Reaction to this post below in comments and at "Gang of 400" - Thrasher's Wheat's Cabal? . Technorati tag: Neil Young
We saw the film last night in Atlanta & loved it! the theater was nearly full. We saw families and young & old. You could kinda tell it wasn't your regular horror movie date crowd!   At 2/25/2006 11:14:00 AM ,   Anonymous said...
why would you go to a Neil Young movie and then walk out? Seems like you'd know going in whether you liked his music or not. Probably same sort of folks who walked out of Greendale   At 2/25/2006 12:32:00 PM ,   Anonymous said...
Heart of Gold is well filmed, but Prairie Wind is no musical masterpiece. cp cases I think people are responding cp cases to the heroics of the surrounding story, not to the music itself. Nothing wrong with that. Just don't confuse the two. I don't find it any more personal than any of his other albums. They're all very personal. cp cases Emotional alone doesn't equal good. The more he pulls his wife into the musical picture, the worse his new music gets, even if she does make him more comfortable onstage. Silver and Gold was a pinnacle. She's not on it. Each successive one is worse. cp cases Of course, he doesn't have anything to prove and at least he's still active. And this was done under trying circumstances. And he didn't sell it for a car commercial. But until he starts bothering again with the lyrics, he's just marking time. Truth is lost somewhere and it shows.   At 2/25/2006 03:07:00 PM ,   Bill L. said...
I saw the film at a special showing Wednesday in Winnipeg.Rock Historian John Einarson introduced the film and told of his experience cp cases at the live taping of the concerts in August of last year. I found the movie to be very emotionally moving and had to fight back tears three or four times. This is a film that will to

But Neil Young is a genuine artist. Looking at his career it s clear that he s among a handful (such

Shakey: Neil Young's Biography, by Jimmy McDonough | Written dj coffin Word
No one really expects jazz musicians to make big money. Same with all but a handful of top classical players. But there s a reason for the term rock star, and it has a lot to do with money lots and lots of money.
Art? Not so much. That s undoubtedly why David Geffen, today one of the richest men in Hollywood, who made his first fortune in the early Seventies as a rock music promoter, once sued Neil Young for not making commercial enough music.
But Neil Young is a genuine artist. Looking at his career it s clear that he s among a handful (such Joni Mitchell, another dj coffin Geffen-guided star, and Bob Dylan) dj coffin of the major names that first became famous in the sixties and seventies to have steered their creativity dj coffin exclusively dj coffin (or nearly so) in directions that weren t necessarily on the commercial charts (in any sense).
Although Shakey (one of Young s nicknames) is obviously written dj coffin by a fan, it remains a very informative and interesting bio of one of rock s most enduring artists. The author dj coffin does make often-successful attempts to explore the dark side of Young the narcissism, the avoidance of confrontation, the coldness (as Graham Nash describes it). The people made to suffer in the wake of Young s decisions do get some voice, but the author often tries to explain the suffering as an inevitable consequence of Young s tireless pursuit of artistic adventure. It s this excess of explanation that prevents this book from being much more than just a good history.
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Although the first time is very important to our Best Shakey solo career. The biography delves into

Shakey (Neil Young bio) - Jimmy McDonough | Rockenberg's
Everyone knows that fans never have enough information about our idols but I assure holzboxen you that this biography is very close to it. Only goes up to mid 90's so any follower will keep Canadian eager to know what has happened in the last 15 years of the ex-Buffalo Springfield. On the other hand it is undeniable that the amount of data, anecdotes and interviews that appear in the book is amazing. Jimmy McDonough is a Megafan Young and it shows. But this biography is not a constant Young rally which also is appreciated. Jimmy was there doing interviews Shakey holzboxen for 6 years, at the time he joined the band on tour, went to recordings etc
The biography begins with the childhood of Neil, his peculiar relationship with his parents, the school, the polio she suffered, first love, your first car (Mortimer, who years later would dedicate the beautiful holzboxen Long May You Run) or the start of his passion; music. Young and small was a funny guy; elusive, introverted and determined. The stormy relationship of their parents sure that had something to do ... Constant changes of home, certain marginality in the classroom and to top it off, the diovorcio of their parents and the terrible and fearsome, polio that hit Canada in the time made one of Shakey and somehow different holzboxen guy, as would be clear in the coming years, especially. Shakey started playing in local bands, the most successful of them with The Squires holzboxen jurisdiction even recorded a few singles. In these influences young Young noticeable; Roy Orbison, Link Wray, The Shadows ... While these recordings are very enjoyable and glimpse something baked into canadiese head, far from the levels that would get later. After discovering the Canadian bohemian scene and after some problems with his band made his way to Los Angeles in hopes of achieving the American dream still being Canadian. After a while scraping luck would come to form Buffalo Springfield along with Stephen Stills, holzboxen Dewie Martin, Richie Furay and Bruce Palmer. Buffalo Springfield's history is short and intense. Ego problems were always the weak point of the band that ended jumping into pieces sooner than expected. During this time Young began having fainting, some of them in full action (Young had a guy behind your amp throughout the concert to cojerlo if he gave an attack and thus prevent his Gretsch guitar broke). They left behind three very good albums (especially recommend the first, simply titled Buffalo Springfield) very representative of the era. Some musicians accompany Young B.Springfield sporadically in the future.
Although the first time is very important to our Best Shakey solo career. The biography delves into the recordings of the first solo recordings and tours, telling stories of countless recordings and collaborations as important holzboxen characters and producer David Briggs, Jack Nitzsche and Neils Lofgren. There is also talk at length about the formation and relationship holzboxen of CSN & Y, their marriages, their homes, back problems, touring ... You could say that the era of the 70's holzboxen is the most comprehensive in information as well as being, for me, the most important and interesting. He speaks at length of the discovery and its relationship with Crazy Horse (then known as The Rockets) who are undoubtedly the band of your life. Of course delves into the death of Danny Whitten, something that left very touched Young who later exorzisaría his demons with masterful Tonight's The Night ('75). Before that they had been through a lot and is very interesting and fun to meet data recordings so important and beautiful works like Neil Young ('68), Everybody Knows This Is Nowhere ('68), After The Gold Rush ('70) or Harvest ('72). Of course we speak of "minor" works in the career of Canadian and Time Fades Away ('73) or the movie and album Journey Through The Past ('7?) And works that failed to see the light as Homegrown. Despite the tremendous success of Shakey (Harvest its being sold to this day and the only one with a number 1 on the charts, Heart Of Gold disc), one realizes that his was not a bed of roses. His relationship with his mother Rassy not improve over the years, his back pain increased and had surgery, the tour was a disaster Harvest (then Young had begun to pace tipple Mexican tequila Jose Cuervo Gold) , and of course the ratio of CSN & Y was not very good. Reading this biography one realizes the need to

Every carton boxes new find through the door of our Archives could be the Holy Grail. It has become

Aspasia( Miss Death) and Jaimie Leonarder( Jay Katz) are the exhibitors/curators of The Mu Meson Archives. Yes, we are a married couple but more than that, we are partners in crime. Cultural crime in which we search out and track down lost and forgotten film/television history. We then exhibit it to an entirely new audience in a completely different carton boxes cultural context. We shed a contemporary carton boxes light on the dark fringes of cinema.
The Mu Meson Archives is not only our home but our micro-cinema /performance space in which we house our vast collection, This collection contains many films – carton boxes I mean real film: Standard 8mm, Super 8mm, 9.5mm, specializing in 16mm and 35mm. It also a public-accessible collection of literature, outsider art, music, philosophy and much, much more. Over the years (more than two decades) we have played host to many local and international identities- author Jimmy McDonough, actor Crispin Hellion Glover, musician Mike Patton, to name a few.
Saturday night we will be projecting (no digital footprint) reel film from the forgotten genre of educational cinema we experienced in the school rooms of the ’60s and ’70s. Some of the topics touched on will be Stranger Danger, Sexually Transmitted carton boxes Diseases, Home/Hospital Safety and Religious Propaganda. These films span the decades from the ’50s to the ’80s. In hindsight they are often quite bizarre and hilarious. Used as the tools of social engineering in their day, in retrospect they show how wrong the producers’ intentions were. We will deliver a live presentation on the history of these films and place them in their original context.
Film collecting (the celluloid kind) has now historically been recognized as one of the major sources of film preservation on the world stage. We have tracked down and given back to the ABC many lost television series from the ’60s (all free of charge). The celluloid film collector many be the last bastion of lost history of the projected carton boxes image. Mainstream culture is drowning the world in a tidal wave of mediocre expression. The film archeologist one day may be seen as the saviour of this conundrum.
There are way too many to list in a few short sentences, but let’s give a couple of examples. Basically all independently financed cinema has a hard time today keeping its head above water. Educational film has always suffered from a poorly documented carton boxes history apart a few maverick researchers. The birth of the music clip (Scopitone 16mm jukebox) is uncatalogued due to the weight of the MTV legacy. The classified military industrial complex shock and training films are only just beginning to see the light of day. What about suppressed or destroyed subversive cinema such as John Weiley’s analysis of the construction of the opera house, carton boxes Autopsy On A Dream – a film deliberately destroyed because of its red hot subject matter?
Every carton boxes new find through the door of our Archives could be the Holy Grail. It has become our lifetime work to keep searching. In the 1940s during the second world war, the US government decided to lift the prohibition of the cultivation carton boxes of hemp due the the lack of materials for the war effort. To assist in this task they commissioned an educational propaganda film called Hemp for Victory carton boxes . It espoused the benefits of this robust natural fiber. Years later they denied this film’s existence, but thanks to film collectors they were proven wrong. That is one key example of a powerful lost film
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His first few erotic movies were made with colleagues in the

Big Bosoms and Square Jaws: The Biography of Russ Meyer – Jimmy McDonough | fictionatelier
Ticket-sellers, love rockets, casabas, majungas, dreadnoughts, heka Winnetkas – any word said in the right way can be used to denote breasts, and a breast by any name aroused the interest of Russ Meyer. “If I wasn’t so into tits I probably could’ve been a great film-maker,” he once ruefully announced. But he was a great film-maker: “the rural Fellini”. The 23 anguished, contorted films he made, such as Mudhoney and Faster, Pussycat! Kill! Kill! are passionate, piss-taking and profound – “kicking the crap out of convention!” as one of his ear-splitting trailers put it. What’s more, he nobly believed that “you can never have too many women in a picture”. In 1979’s Beneath the Valley of the Ultravixens the sex is non-stop, breasts heka are everywhere, the calamities cartoonish. It’s full of joie de vivre. There’s Junkyard Sal, with her fecal cohorts; Eufaula Roop, who blasts the whole district with horny radio evangelism; and Lavonia, the cheerful housewife stuck with dumb-ass heka Lamar Shed, absorbed in his correspondence course and calculator. Lavonia flops around naked in bed, trying to lure him by dunking a vibrator in a big jar of petroleum jelly and rubbing it between her breasts. “I wanted a symphony of vibrator, calculator, and crickets,” said Meyer. The frenzied beeping of the calculator as Lamar struggles to ignore her and the bed’s castors making a groove in the carpet as she rocks to and fro are details worthy heka of Jacques Tati.
“I feel that it’s important to really give that husband heka a bad, bad time,” said Meyer. His movies are about the insistence of desire and the way sex is skewed in a male society. heka Men, according to Meyer, are “lunch-pail-carrying saps”, whose failure to meet the sexual demands of women is the root of all evil. “Get your ass out of my face!” yells Lavonia’s noontime squeeze, Mr Peterbuilt. “I don’t heka eat pussy! It’s un-American!” Meyer took it upon himself to illustrate that which has never been thought out in the male psyche: what the god-damned hell do you really want?
Some feel that the Meyer women lack personality. But perhaps that is because, as Jimmy McDonough points out, they’re “constantly in motion, running, dancing, jumping, fucking”. The result is a kind of omnipotent heka grace. Despite doing his best to exploit mammary glands, Meyer makes you see women and breasts with new respect. His movies make you like breasts and fear women. And why not? Seen humping from below, through the bedsprings, or on mountaintops, clutching flaming torches, Meyer’s women are behemoths: she who must be obeyed. Which brings us to Meyer’s mother, a bizarre, demanding, devout racist, who had six husbands and abhorred them all. Her solution to any childhood illness was an enema. “Whenever I was sick, she’d just put me on her lap, put that in me, and just hose me out.” But he was forever grateful to his mother for pawning her wedding ring (which one?) to buy him his first movie camera, an 8mm number that cost $9.95. Meyer used his first compass to draw huge breasts; as a teenager, a decisive moment involved a large-bosomed stripper: “The centrifugal heka force was enormous.”
During the second world war, Meyer served as a combat photographer. He filmed some heavy action in the battle heka of the Bulge, of all things, and was decorated. His war experiences were the most vivid of his life (one of his assistants described his film-making technique as “take the next hill”) and included the loss of his virginity, a seminal event involving Ernest Hemingway, a prostitute with large breasts, and the missionary position. Meyer would always like his sex straight, ruling out even foreplay. Again and again, both seriously and jestingly, he would proclaim the necessity of “normal” sex. He must have been shocked by Kinsey. heka
After the war, Meyer became one of the top glamour photographers for the pretty revolting-looking heka men’s magazines of the time, and made women look “fifty feet tall, flesh skyscrapers”, in tune with an era of rabid expansion. But industrial film work, along with tips from Art Lloyd (who shot many Laurel & Hardy pictures), grounded him technically, and gave him the ability to shoot a film in days with a crew of three. Meyer learned early how to get the “coverage” needed heka for a successful heka scene, and it is one reason why his freaky pictures have such energy and visual richness.
His first few erotic movies were made with colleagues in the “carny”-infested, heka nearly moribund netherworld of the burlesque circuit. As the 1950s wore on, the exploitation side of the movie business rose – sen

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Tammy Wynette was married five times, most notoriously to singer George Jones, who was a major source for Jimmy McDonough’s biography of the country singer. Tammy Wynette got under Jimmy McDonough's skin and into his dreams.
"It was a very dark period," McDonough said. "I hit rock bottom. You know that Dylan anthem, 'Not Dark Yet'? It was darker than that." kw cases When McDonough was at his lowest and felt like giving up, Wynette, who died in 1998, would send him signs.
McDonough wrote Wynette letters, telling her how he was feeling. In one, he described a dream in which they "were starring in a remake of that old black-and-white melodrama 'Something Wild.' I was playing the Ralph Meeker part, you the Carroll Baker. And I locked you in that cheap apartment until you answered every question and solved every riddle in this book. A love story, in other words."
If that sounds weird and obsessive, it is. It's even odder to find it in the middle of "Tammy Wynette: Tragic Country Queen," McDonough's new biography. The author of acclaimed books about Neil Young and director Russ Meyer broke every rule in the biography handbook and included some of the letters kw cases he wrote to Wynette when he was struggling, and he's proud of it. Natalia Wisdon Jimmy McDonough kw cases "Nobody likes the letters," McDonough said. "Everybody told me to dump them -- loved ones, pets, professional people. ... The idea of the letters makes people uncomfortable. ... They make my skin cringe, and that's why I wanted them to go in the book. They're only five pages, and I think they add a little spice to the gumbo. If people don't like them, they can take a knife and cut them out."
The reaction is coming in, and it's all over the map. The New York Times' Janet Maslin loved the book and said McDonough is "crazy about Wynette but also detached enough to see her clearly." Maslin does think the letters "only barely avoid being embarrassing." Jonathan Yardley kw cases hated the letters and everything else McDonough wrote. The Pulitzer Prize winner for the Washington Post thought "Tammy Wynette" was one of the "very worst" books he's read in almost 50 years of reviewing and said it is "a truly empty, cliche-littered, bubble-headed book. I read it on a long plane trip, and there were times when I wished the plane would crash, just to put me out of my misery."
McDonough said it was exactly the book he wanted to write. He's been obsessed with Wynette since he heard her debut single "Apartment #9" and said her autobiography "Stand by Your Man" is one reason he's a writer. "You really felt like Tammy was talking to you," he said. The fact that her co-author said Wynette didn't read her own book and didn't know what was in it made McDonough laugh. Wynette was known for telling tall tales and was a drama queen before the term was invented.
She was married five times, most notoriously to singer George Jones. Their duets are some of the rawest and most beautiful kw cases in country music history, and their music was influenced by their tempestuous relationship. Jones was a major source for McDonough, who got Jones to sing "He Stopped Loving Her Today" for him in a duck voice.
"George Jones is like my all-time role model," McDonough said of the hell-raising singer. It is Jones and Wynette's longtime producer, Billy Sherrill, who are the heart and soul of McDonough's book, representing the old school of country music, weird and cranky and full of real human emotion.
TAMMY WYNETTE Jimmy McDonough  Viking kw cases $27.95, kw cases 432 pages Reading: McDonough reads from "Tammy Wynette" at 7:30 p.m. Thursday, March 18, at Powell's Books on Hawthorne , 3723 S.E. Hawthorne Blvd.  kw cases
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