Ever since its primitive beginnings as “song plugging,” radio promotion at record labels has been a virtual boy’s club, a haven for hucksters and quasi-thugs who, in the Wild West days of the music business depicted in Fredric Dannen’s 1991 book “Hit Men,” famously plied programmers with payola, drugs and worse in exchange for airplay.
Few women managed to penetrate the upper echelons of that macho sanctuary, but through the years there were exceptions, most notably the grand dames of record promotion: Atlantic Records Evp Andrea Ganis, who started at the label in 1980 as director of secondary pop promotion, and Interscope Geffen A&M president of promotion Brenda Romano, a 23-year veteran at the house Jimmy Iovine built. Other female promotion execs rose to head their own labels, from the late Epic Records president Polly Anthony to the label’s current chief Sylvia Rhone, along with current Atlantic Records chairman...
Few women managed to penetrate the upper echelons of that macho sanctuary, but through the years there were exceptions, most notably the grand dames of record promotion: Atlantic Records Evp Andrea Ganis, who started at the label in 1980 as director of secondary pop promotion, and Interscope Geffen A&M president of promotion Brenda Romano, a 23-year veteran at the house Jimmy Iovine built. Other female promotion execs rose to head their own labels, from the late Epic Records president Polly Anthony to the label’s current chief Sylvia Rhone, along with current Atlantic Records chairman...
- 6/27/2018
- by Roy Trakin
- Variety Film + TV
Crimes of the Future
Written and directed by David Cronenberg
Canada, 1970
A lot of even very excitable David Cronenberg fans have never seen his 1970 film Crimes of the Future: it seems to be seen as something of a curate’s egg and dark and imaginative, of course, like everything he does, but perhaps made too long ago now, and surely overshadowed by his later work. It was his second film, after Stereo in 1969. Stereo is a similarly short feature film dealing with telepathy, sexual exploration and, like Crimes of the Future, had its commentary added later: it also starts Ronald Mlodzik wearing black and looking terrifying. But where Stereo was both creepy and austere, Crimes of the Future gives its remarkable characters more room to breathe and, in their own weird way, to play, picking their way around a modernist compound and narrated retroactively by the main character. It is fascinating viewing,...
Written and directed by David Cronenberg
Canada, 1970
A lot of even very excitable David Cronenberg fans have never seen his 1970 film Crimes of the Future: it seems to be seen as something of a curate’s egg and dark and imaginative, of course, like everything he does, but perhaps made too long ago now, and surely overshadowed by his later work. It was his second film, after Stereo in 1969. Stereo is a similarly short feature film dealing with telepathy, sexual exploration and, like Crimes of the Future, had its commentary added later: it also starts Ronald Mlodzik wearing black and looking terrifying. But where Stereo was both creepy and austere, Crimes of the Future gives its remarkable characters more room to breathe and, in their own weird way, to play, picking their way around a modernist compound and narrated retroactively by the main character. It is fascinating viewing,...
- 4/11/2015
- by Juliette Jones
- SoundOnSight
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