Sunday, November 17, 2024

Rams second half overwhelms Greyhounds

Final Score:
VCU 83, Loyola (Maryland) 57.
Location: Siegel Center.
Updated Records: VCU 4-0, Loyola 2-2.

 

In a nutshell: A sellout crowd (7,637) witnessed two very different 20-minute periods of basketball. In the first half VCU sleepwalked its way to a 36-to-30 lead over Loyola. The Rams had actually trailed the Greyhounds for much of the half. 

In a word, it was a "lazy" effort. Lots of one-on-one offense and slow-reacting defense from an undefeated team that seemed overconfident playing against a 23-point underdog. 

The second stanza was a different story. The hustling home team's defense held the visitors to 29 percent (8-of-28) from the field. That, as Jack Clark, Joe Bamisile and Max Shulga became the first trio of Rams to score 20 or more points in a game in 14 years. 

Stats: Clark (a transfer from Clemson) with 25 points. He went on 9-of-11 shooting from the field, going 3-of-4 from 3-point distance; plus 6 boards. Bamisile with 22 pts., 5 boards, 3 steals. Shulga with an impressive complete game; 20 pts., 10 boards, 7 assists, 5 steals.


NOTES (Information provided by Chris Kowalczyk, VCU Assistant A.D.)

· Bamisile drew seven fouls, leading to nine attempts at the free throw line.

· The Rams limited the Greyhounds to just 33 percent shooting in the game. Loyola's offense was paced by Braeden Speed and Milos Ilic who each scored 10 points.

· Sparked by Shulga's steal and dunk, The Rams went on a 23-5 run in the second half that saw their lead extend to 64-38 with 7:32 remaining in the game.

· The Rams’ stout defense held the Greyhounds to only 22 points in the paint. They also forced 17 turnovers, leading directly to 21 points.

· The Black and Gold collected 12 offensive rebounds, leading to 17 second-chance points.

· The Rams’ 4-0 start is their best since the 2019-20 season, when they started 6-0.

BOXSCORE

NEXT UP: The Rams will head to Charleston, S.C. for the Shriners Children’s Hospital Charleston Classic Nov. 21-24.  VCU will open against Seton Hall on Thursday, Nov. 21 in a game to be seen on ESPN2. Tipoff at 5 p.m.


-- 30 -- 

Thursday, November 14, 2024

VCU cruises in 21-point win over Merrimack

Final Score: VCU 63, Merrimack 42.
Location: Siegel Center in Richmond. 
Updated Records: VCU 3-0, Merrimack 1-1.

In a nutshell: During the first half VCU's relentless defense overwhelmed Merrimack; the Rams went into the locker room with a 38-to-17 lead over the Warriors. In the second half VCU 's grateful bench got a lot of minutes. 

To its credit, Merrimack never quit playing hard, but it simply couldn't match VCU's impressive athleticism. Once again, guards Joe Bamisile and Phillip Russell set the Rams' offensive pace; they combined for 38 points. That, while VCU's smothering, switching team defense held Merrimack to just 28 percent shooting from the field. 

So far, Bamisile has looked like a legit candidate to be named to somebody's All-American team. And, although smooth point guard Max Shulga hasn't been scoring at his familiar clip, he has been steady at the top of the key in the role of being the orchestra's conductor. 
  
Stats: Bamisile with 20 pts., 2 boards, 4 assists, 3 steals. Russell with 18 pts, 2 boards. Jennings with 5 points, 9 boards, 4 assists, 4 steals.

NOTES: (Information provided by Chris Kowalczyk, VCU Assistant A.D.)
  • Russell knocked down 3-of-5 from beyond the arc in an 18-point effort. He also connected on 5-of-6 free throws. 
  • The Rams’ defense held Merrimack to 12-of-43 shooting, including 1-of-19 from 3-point range. 
  • VCU also forced a season-high 22 turnovers. The game was close early, but Bamisile scored eight points to lead VCU on an 18-2 run to close the half. 
  • VCU owned a 38-30 rebounding edge and outscored the Warriors 24-14 in the paint.
  • The Rams led the contest for 37 minutes and their bench outscored the Warriors' bench 14-1.
  • Merrimack’s Adam Clark led the Warriors 19 points. He was pretty much their only real threat. 
  • VCU is off to its first 3-0 start since the 2019-20 season. The Rams have won those three tilts by an average of 21.7 points.
BOX SCORE 

NEXT UP:


VCU will host Loyola (Md.) on Sat., Nov. 16. Tipoff at 7 p.m. at the Siegel Center. The game will air on MASN and ESPN+.

Saturday, November 09, 2024

VCU crushes Boston College

Final Score:
VCU 80, Boston College 55
Location: Annapolis (Alumni Hall at the Naval Academy)
Updated Records: VCU 2-0, Boston College 1-1

 

In a nutshell: Phillip Russell and Joe Bamisile were pretty much unstoppable, as VCU buried Boston College Friday night. The Rams started the contest by showing much more energy and confidence than BC. After that telling spell the Eagles were never really in the game. 

The fastest player on the squad, Zeb Jackson, missed his second game, while nursing a hand injury. His replacement in the starting lineup was Russell, who stepped up to lead all scorers. With VCU's deep bench -- 11 men saw action -- the most obvious problem going forward for head coach Ryan Odom might be that only one ball is allowed in the game. 

Stats: Russell with 20 pts., 3 boards, 2 assists. Bamisile with 18 pts,. 9 boards, 3 assists. Fermin with 12 pts., 2 blocks. Clark with 10 pts., 7 boards. Shulga with 9 pts., 10 boards, 4 assists.

Perhaps we will eventually learn that VCU's first two opponents were not really much of a threat. The season is young. However, it's easy to see how the Rams were seen in the A-10's preseason poll as the league's strongest team. 

 

NOTES: (Information provided by Chris Kowalczyk, VCU Assistant A.D.)


·      VCU smothered Boston College defensively, holding the Eagles to 29 percent (17-of-58) shooting. At times during the second half the Rams led by as many as 30 points.

·      The Rams had a 46-41 rebounding advantage and turned 17 Boston College turnovers into 24 points

·      Bamisile buried a pair of 3-pointers to spark a 15-2 first-half run that staked VCU to a 21-8 lead with 9:46 left in the period. The Eagles would trim the lead to five a short time later, but Russell scored five straight points during a 6-0 burst to keep BC at bay. The Eagles never got closer than nine points the rest of the night

·      So far in this season's 80 minutes of action, VCU has not trailed.


BOX SCORE


NEXT UP


VCU will return to the Siegel Center to host Merrimack on Wed., Nov. 13. Tipoff at 7 p.m. TV: MASN and ESPN+. 


-- 30 --

Tuesday, November 05, 2024

VCU too good for the Bellamine

Final score: VCU 84, Bellamine 65. 
Location: Siegel Center in Richmond
Records: VCU 1-0. Bellamine 0-1.

In a nutshell: VCU head coach Ryan Odom used 10 players to coast to an easy victory before a packed house (7,637). Long distance shooters connected on 15 of 29 attempts from 3-point distance.  

Stats: Max Shulga with 19 pts., 5 rebounds and 5 assists; Joe Bamisile with 18 pts, (which included a couple of crowd-pleasing monster dunks); Phillip Russell with 16 pts., 4 assists and 3 steals; Jack Clark with 11 pts., 9 rebounds and 2 blocked shots; Michael Belle with 6 pts. and 10 boards.

Best thing? No one was seriously injured.

NOTES (Information provided by Chris Kowalczyk, VCU Assistant A.D.)

·      Shulga shot a perfect 6-for-6 from the field, including 4-for-4 from beyond the arc.

·      The Rams knocked shot 53 percent (29-of-55) overall from the field in the game

·      VCU redshirt sophomore Fats Billups III knocked down a contested three with four minutes remaining in the first half to give the Rams a 13-point lead at 38-25 with 4:05 left

·      Russell buried back-to-back 3-pointers early in the second half to push the Rams to a 51-40 advantage with 18:16 showing

·      Later, Bamisile keyed a 10-0 Black and Gold blitz with a pair of thunderous baseline dunks to extend the VCU margin to 70-51 with 10:13 left in the game. VCU led for 38:29 of the game.  



NEXT UP: The Rams will travel to Annapolis for the Veterans Classic. VCU will face Boston College on Fri., Nov. 8. Tipoff at 6 p.m. TV: CBS Sports Network. 

-- 30 --

Wednesday, October 30, 2024

Rodriguez’s No. 12 VCU jersey to be retired

Joey Rodriguez and Shaka Smart. 
Photo ESPN. 
Note: From Chris Kowalczyk, VCU Assistant A.D.:

The VCU great, who helped lead the Rams to the 2011 Final Four, will have his jersey retired on Nov. 29 when the Black and Gold host Elizabeth City State, VCU Vice President and Director of Athletics Ed McLaughlin announced Tuesday.   

 

“I am so honored to go in the rafters with some of the all-time greats here at VCU,” Rodriguez said. “I have so many people that helped me through this journey, and I am excited for them to join me on this day. I want to thank my teammates and coaches. Without them this wouldn’t be possible. I also want to thank Dr. Michael Rao and Ed McLaughlin for the recognition and their leadership at a place I love and will always call home. I can’t wait to see everyone at The Stu. Go Rams!”

 

"Joey Rodriguez played a critical role in a seminal moment in VCU's history, the 2011 Final Four run. Beyond his performance during that wonderful March, he established himself as one of the best point guards ever to wear a VCU uniform. Joey's all-around numbers certainly earned him an elite place in VCU Basketball history and distinguished him to a place to have his jersey retired among the VCU greats. I'm thrilled to welcome him back home so we can raise his jersey into the Siegel Center rafters forever," said McLaughlin.

 

A four-year starter for the Rams from 2007-11, Rodriguez ranks third in program history in career assists (580), third in steals (237), fifth in 3-point field goals (211), sixth in free throw percentage (.802) and 22nd in points (1,362). In 142 career games, including 124 starts, Rodriguez averaged 9.6 points, 4.1 assists and 1.7 steals. He also owns the program record for assists in a single game with 17 on Nov. 12, 2010 against UNC Greensboro. He also scored 22 points and committed just two turnovers in that contest. 

 

But Rodriguez will be best remembered for helping spearhead VCU’s charge to the 2011 Final Four when he averaged 9.0 points, 7.7 assists and 1.7 steals in six NCAA Tournament contests. Rodriguez propelled the Rams into the Sweet 16 for the first time in school history behind a splendid 12-point, 11-assist, zero-turnover performance in a win over third-seeded Purdue. He followed up with 10 assists and three steals in an Elite Eight triumph over Florida State. Rodriguez posted an assist-to-turnover ratio of 3.8-to-1 in the NCAA Tournament that March.

 

A two-time All-Colonial Athletic Association selection, Rodriguez spurred the Rams to a pair of CAA Tournament Championships and four postseason appearances during his career. Rodriguez led the CAA in assists per game in both 2009-10 and 2010-11.

 

A native of Oviedo, Fla., Rodriguez later served as VCU’s Director of Player Development during the 2017-18 season. He is currently entering his seventh season as an assistant coach at Florida International.

 

Rodriguez’s jersey will be the eighth retired by the Rams in program history, joining Eric Maynor (No. 3), Calvin Duncan (No. 5), Bradford Burgess (No. 20), Treveon Graham (No. 21), Gerald Henderson (No. 22), Kendrick Warren (No. 23) and Charles Wilkins (No. 40).

-- 30 --

Friday, October 25, 2024

Eulogy for the Cinema that Was

The setting was the Biograph Theatre's 30th anniversary party at Poe's Pub, an event I produced and promoted in 2002. Leading up to it, as I mapped out what would go where, I was a little surprised when Page Wilson volunteered to lead off the show. Thus, the three bands performed in the order seen on the poster (as displayed on the right). 

Selected short films were presented between the bands' live performances. Naturally, "Matinee Madcap," a nine-minute romp filmed in 16mm at the Biograph in 1974, was screened. 

Page knew exactly how he wanted to start the entertainment, but he kept it to himself until he went on. First, he eulogized the long-dead repertory movie theater (1972-87), generously, for the ears of a friendly crowd that had gathered to remember it fondly. 

Then Page looked my way and said, "This one's for you, my friend." 

Page sang a slow version of "This Land is Your Land." Truth be told, when boisterous Page Wilson (who died at 56 in 2011) wanted to, yes, he could wring a lot of feeling out of a song. That night, Feb. 17, 2002, he made Woody Guthrie's great song sound like a heartfelt hymn. The packed bar was quiet as he sang, unaccompanied: 

"This Land Is Your Land" by Woody Guthrie (written in 1940)

This land is your land This land is my land
From California to the New York island;
From the red wood forest to the Gulf Stream waters
This land was made for you and Me.

As I was walking that ribbon of highway,
I saw above me that endless skyway:
I saw below me that golden valley:
This land was made for you and me.

I've roamed and rambled and I followed my footsteps
To the sparkling sands of her diamond deserts;
And all around me a voice was sounding:
This land was made for you and me.

When the sun came shining, and I was strolling,
And the wheat fields waving and the dust clouds rolling,
As the fog was lifting a voice was chanting:
This land was made for you and me.

As I went walking I saw a sign there
And on the sign it said "No Trespassing."
But on the other side it didn't say nothing,
That side was made for you and me...
Then the rowdy aspect of the night's program ensued. From there on we all did our best to live out the Biograph's sturdy old motto: "Have a Good Time." 

Making sure no one had to go thirsty for long, Chuck Wrenn, the Biograph's original assistant manager, was the bartender of record for this special occasion. No doubt, his presence helped set the right tone.

Over the years, of all the parties featuring staged entertainment that I've put together, to include those at the Biograph and various other locations, this one stands out as a gem ... it surely remains as one of the most satisfying. 

-- 30 --

Tuesday, October 22, 2024

Fresh Air and a Private Laugh

Note: This piece was written in 2002. It's about a memorable but rather inconsequential story. I was reminded of it today, when I paused to think about the special value of unexpected private laughs. 

*

Unfortunately, my work has me sitting down indoors for too much of my time. So, it’s a pleasure to take a break and walk for some of my ordinary short errands. 

Fresh air frequently improves my disposition. On such an autumnal, neighborhood walking excursion an incident provided a sudden private laugh. After picking up a sandwich to take home for lunch, I stopped off at the Fan Video. (After 31 years of doing business at 403 North Strawberry Street that video rental store closed in 2017.) 

As it unfolded, what ensued felt like a scene in a movie. Perhaps that feeling was suggested to me by the fact I was in a video store looking over the rack of current releases. Then again, truth be told, it's not all that unusual for me to lapse into thinking I'm living in a movie. Reading the film notes on the box for Scorsese’s latest blood bath, I sensed movement behind me. 

As I had been the only customer in the room, curiosity turned me toward the counter. On the other side of a wall-of-videos display rack, I caught sight of a man I recognized right away, even from the back. Having just come into the store, he purposely handed a plastic bag to one of the two female sales clerks behind the counter. 

Being obscured by the maze of video boxes was a blessing, as this was a guy I always preferred to ignore ... when he would allow for that option. So, I returned my attention to the wall of movie selections displayed in front of me. 

When I heard the little bells that meant the front door had opened, I glanced up just in time to see the aforementioned bad news character leaving the store.

As I breathed more deeply of the improved air, a woman behind the counter laughed as she dumped out the contents of that last customer’s bag. With comic exaggeration she acted as if she was troubled by the mystery of what might tumble out.

“What’s tha-at?” said the other woman, backing away and sounding playful.

My curiosity was aroused.

“Is that one ... is it wet?” asked the one holding the bag.

Naturally, I stepped closer. All I could see was regular black VHS video tape cassettes. 

Yet the two young women, who I knew only in that video rental context, were going to some trouble to avoid touching what appeared to be ordinary stock from that store. A spray bottle of Windex was produced and I wondered if their Halloween spirit was getting the best of them. Then they brought me into their conspiracy with the sparkle of eye contact. 

Both of them busied themselves spraying and wiping off the tapes. It was reminiscent of conspiratorial children removing cooties from objects touched by kids they want to mock.

Assuming there had to be something peculiar about the movies being sprayed -- like maybe they were kinky flicks, or who knows what? -- I stepped closer to see what the titles were. Both were mainstream films; one a crisp black comedy I had recently seen. 

Playing along with what seemed to be a tongue-in-cheek tone I asked, “Do you have to wipe down all the tapes like that?” They laughed, apparently happy for my joining in.

No, they assured me their procedure was especially for the customer who had just left the building. They shuddered and laughed. 

I laughed, too. Suddenly, it was clear to me the two of them were simply doing what bored service workers everywhere in the world do, to pass the time on the job. To amuse themselves, they were mocking a weird-vibes customer, a guy who they saw as deserving of ridicule.

Being in on their silly joke reminded me that the spontaneous sharing of unanticipated moments of levity are truly some of life’s treasures.

My stride for the walk home had a jaunty bounce. The pre-Halloween Fan District air seemed especially refreshing.

-- 30 --

Thursday, October 17, 2024

About Dignity


In her Wisconsin speech, today (Oct. 17th), VP Kamala Harris mentioned the word, "dignity," several times. Bull's-eye! That's been the missing word in this season's election year speeches. 

With just a couple of weeks left until the last day of voting, dignity is what Democrats on the stump need to talk about now. Dignity matters. It always has. 

And, it's evil that Trump delights in crushing the dignity of selected individuals and vulnerable groups. He relishes the crushing process. 

-- 30 --

 

Wednesday, October 09, 2024

Mathews at the Bamboo

Eddie Mathews at bat in 1954.

As much as I like Chipper Jones, and I do, my all-time favorite third baseman for the Braves is still Eddie Mathews. In some small part that's because I met Mathews in the Bamboo Café, in the late-'80s. As this week the Bamboo is celebrating its 50th anniversary, it brought this little story to mind.  

It goes back to when I was publishing a periodical called Slant. The episode took place when I was at the Bamboo to drop off its regular stack of copies of the newest issue. So it was on a Thursday, probably about 3 p.m. Maybe I was running a little ahead of schedule on a hot day, because I took the liberty to stay and have a quick, thirst-quenching beer. 

At that pre-happy hour time there weren't many customers on hand. By habit, I stood at my usual spot close to the corner of the old marble bar, facing the back of the room. Maybe I should call that particular area the "Lee Huband Elbow." 

Anyway, as I remember it, there were three or four chatting regulars there in a booth and one guy, alone, seated at the bar. He looked vaguely familiar, but I couldn’t place him. He wore glasses and had the hands of a bricklayer. There was a big-ass ring on one finger. He looked sort of like a quiet character in an Edward Hopper painting. 

Then it hit me, that's Eddie Mathews! He was one of my heroes when I was a Little Leaguer, so I had to speak to him. 

Like, this was the batter who was on the cover of the first issue of Sports Illustrated! As we talked baseball lore, no one else in the bar seemed to have have any idea who he was, which seemed almost sad to me. 

The Hall-of-Famer told me he was a roving batting instructor for the Braves, so he was in town for a couple of days. I complemented him on being able to find a cool bar in an unfamiliar town. He laughed and said he had always been pretty good at that. 

Mathews was friendly and soft-spoken. He smiled naturally and seemed happy enough to talk with a guy who remembered him as a player. No swagger or bragging stories. 

After my beer, I shook hands with Eddie and went on to my next delivery location. Never saw him again.

Happy 50th birthday, Bamboo Café. At the party a glass should be raised to Eddie Mathews and to longtime baseball fan and Bamboo regular, the late Lee Huband. 

-- 30 --

Thursday, September 19, 2024

From Midnight Shows to Cult Films

David Lynch's Eraserhead" (1977).

In the early-1970s, adventurous seekers of a good time -- in particular, college-aged baby boomers -- lined up on Friday and Saturday nights to see midnight motion picture presentations at cinemas. By the end of the decade critics had slapped the label, "cult films," onto some of the movies that had garnered loyal followings, stemming largely from their repeated midnight screenings. The midnight show experience helped shape the culture of the era.

The brand new Biograph Theatre opened in February of 1972 in Richmond's Fan District. Located adjacent to Virginia Commonwealth University's academic campus, soon the Biograph began setting the pace for the midnight show phenomenon in central Virginia.

Note: In 1972, Richmond's bars closed at midnight. Which meant, atmosphere-wise, the midnight shows then at the Biograph were somewhat like after-parties. (Cutoff time in bars was extended to 2 a.m. in 1976.)

In the first couple of years of operation the line to get into a popular midnight show at the Biograph might have started forming on Grace Street's brick sidewalk 30-to-45 minutes before show time. Occasionally, waiting for the box office to open turned into a party scene on the sidewalk. 

Such impromptu happenings naturally generated colorful stories about the experience of attending the Biograph's late fare and added to its edgy allure. It all went into the process of minting what eventually became seen as the cult film genre. Although, in that time, "underground flicks" might have been the preferred label for some of the motion pictures known for their appeal to a midnight audience. As far as I know, it happened in a similar fashion at lots of other art house cinemas in big cities and college towns. 

Ever since then, part of the charm of many of the movies seen as cult films has been that typically they were tongue-in-cheek low-budget productions. Before the '70s, if and when the term "cult film" was used, I doubt it mattered all that much. However, by the end of the decade, it had become handy marketing lingo. 

*

There's probably no midnight show/cult film from any era better known than "The Rocky Horror Picture Show." Although it was released in 1975, then promptly shelved by 20th Century Fox for being unmarketable, its story as the USA's all-time favorite midnight show began a year later at the old Waverly Theater in Greenwich Village. Spontaneously, members of the audience started cracking jokes in response to what was playing on the screen. 

Then came the costumes, dancing in the aisles, etc. In spite of what it might seem, from what I know the audience participation gimmick just happened and caught on. It was not invented by some adman/promoter. 

In 1977 the phenomenon jumped to Austin and Los Angeles and a few other cities. Yet, because of the legendary audience activity angle, most of the publicity about it over the years has focused more on its devoted following than on what happens on the screen in the movie.

During the 1980s, cable TV and video rental stores came along. Those developments impacted the so-called cult film scene, as the coolness of midnight shows steadily evaporated. Then, of course, as the 1990s faded into the 2000s, the Internet changed the cult film milieu again, but even more so. 

Nonetheless, today I won't try to pretend to know a lot about the cult films of the last 35-to-40 years. Therefore, this piece is mostly about an aspect of film history that came and went before those two home entertainment factors shuffled the cards. 

Still, as the '80s unfolded, the uncanny staying power of Rocky Horror as a midnight attraction eventually suggested to promoters there might be a growing niche market out there, hungry for more quirky flicks that could wear the cult label. Thus, today it seems we have catalogues full of them and at this point, well, I'm not so sure what the label means anymore. 

*

During my stint as manager of the Biograph, at times, successful midnight show engagements played an important role in paying our rent and electric bill. It was especially true in the initial two-and-a-half years of operation, 1972-74, and during the last couple of years of the '70s, when Rocky Horror was packing the house each Friday and Saturday night.  

Although the Rocky Horror grosses that helped to subsidize some of our risky bookings of repertory classics and first-run foreign flicks were appreciated, those of us who worked there gradually got over its charm as the years of screenings wore on. Completely. 

Consequently, unlike some devotees who saw it over a hundred times, Rocky Horror is not one of my favorite midnight shows to have filled the Biograph's screen while I managed the place (1972-'83). 

Anyway, although I'm probably forgetting a good picture or two, here are my five favorites at this writing (in alphabetical order):

"Eraserhead" (1977)

"The Harder They Come" (1972)

"Phantom of the Paradise" (1974)

"Putney Swope" (1969) 

"The T.A.M.I. Show" (1964)

*

For the record, the first midnight show at  the Biograph was a double feature of two short so-called underground 1960s films, "Chafed Elbows" (1966) and "Scorpio Rising" (1963), that ran in April of 1972. Then, by trial and error, as that first year continued, we learned from experience what it took to be a hit at midnight. In short, it needed to be an offbeat movie that lent itself to promotion. It had an easy hook. Early successes were: “Night of the Living Dead” (1968), “Yellow Submarine” (1968) and “Mad Dogs and Englishmen” (1971). 

With significant input from the theater’s promotion-savvy assistant manager, Chuck Wrenn, I designed lighthearted original ad campaigns to set the tone. Fortunately, my bosses at the Biograph in D.C. encouraged me to follow my own instincts in these matters. 

At this point they hadn't had much experience with midnight shows in Georgetown. Anyway, in Richmond there were two essential elements to our in-house-created promotional campaigns for midnight shows:

1. Wacky radio spots had to be created and placed on WGOE, an AM station that crafted its format to capture the city's hippie listening audience. And, in the early-to-mid-'70s, it thoroughly succeeded in its goal. 

Dave DeWitt, now the widely read guru of hot food, produced the radio commercials in his Southside studio. While polishing off appropriate measures of Pabst Blue Ribbon and whatnot, Dave and I frequently collaborated on the writing and recording of those spots. Some of the resulting commercials were considered to be rather humorous in their day (if I do say so myself). 

2. Distinctive handbills that tended to look more like underground comix than standard movie ads were posted on utility poles, on bulletin boards, and in shop windows in high-traffic sites throughout the Fan District, especially in the immediate VCU area.

*

Here are a dozen more titles of significant movies (in alphabetical order) that played for multiple midnight show runs at the Biograph in Richmond. It can be said that, along with the 11 other titles mentioned in this piece, they do a pretty good job of showing the range of the genre during the time it was forming.

"200 Motels" (1971)

"Animal Crackers" (1930) 

"A Clockwork Orange" (1971) 

"Deep Throat" (1972)

"Easy Rider" (1969)

"El Topo" (1970)

"The Groove Tube" (1974)

"Performance" (1970)

"Pink Flamingos" (1972)

"Reefer Madness" (1936)

"Rock 'n' Roll High School" (1979)

*

By the time we opened “Rocky Horror” at the Biograph, in June of 1978, going to a midnight show was no longer seen as an exotic thing to do in Richmond. Multiplexes in the suburbs frequently presented midnight shows. Which made the timing perfect for a kitschy spoof of -- or maybe tribute to? -- trashy rock ‘n’ roll exploitations and monster movies, to become the all-time greatest midnight show attraction. 

It's worthwhile to note that the midnight show fad that began in the late-'60/early-'70s could only have happened then, when baby boomers born in the late-'40s and '50s were in high school or college. In the '80s those same boomers were moving out of the Fan and the kids born 10 years later, who filled their shoes, were less interested in alternative cinema. Plus, in the '80s, the sort of movies that would have run at midnight a decade earlier were likely booked to play at regular show times, or they just went straight to video.

 *

In 20 years, it will be interesting to see whether the list of movies considered by most critics to be cult films will have expanded, or contracted. And, of course, maybe some new way to watch movies will come along and abruptly change the game again. 

However it does work out, the deciding factor -- cult film, or pretender -- still rightfully ought to depend on its devoted following ... or the lack thereof. So, to sum it up, in spite of what marketers might say, just being a weird movie has never been enough. Genuine cult films have always had dedicated followers who wanted to watch them, again and again.  

As the reader has probably deduced by now, rather than a scholarly research paper, this piece has merely been a collection of dust covered impressions, conjured up and presented by a geezer who used to see a lot of movies. Credential-wise, all I can say is, "Well, I was there."

John Waters' "Polyester" (1981).

-- 30 --

Friday, September 13, 2024

White nationalist group pushed Trump's pet-eating in Springfield story

Was it Donald Trump who invented the Haitians-eating-pets in Springfield story?

No, but like the neo-Nazi group, Blood Tribe, the 2024 Republican presidential candidate has been only too happy to spread the word. No doubt, Trump is happy with how much play the story has gotten in the mainstream media. And, it hasn't taken long for this absurd, cooked up story about stealing and eating citizens' pet dogs and cats to become dangerous.

So in Springfield, Ohio, the residents are already coping with bomb threats and school shutdowns. Meanwhile, I am hoping we will soon see elected Republicans calling Trump out for his nefarious role in continuing to promulgate this sick rumor created out of whole cloth.     

Here's a link to a story providing background. Brandy Zadrozny writes: 
"Southern Poverty Law Center's Jeff Tischauser said, 'Blood Tribe, like other white nationalist groups, also seeks to normalize extremist ideas and symbols. With Trump’s and the wider conservative embrace of the Haitians-eating-pets rumor, Springfield has been a success for the hate groups.

'"The GOP seems to be falling into their trap,' Tischauser said. 'Groups like Blood Tribe truly see themselves as pushing the GOP further to their position on policy, but also on r hetoric."' 
Note: Here's a link to a related story from NPR.

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Wednesday, August 28, 2024

'Audience Best Part of Show'


Note: This review of the "The Rocky Horror Picture Show" (1975), which was then playing in its 13th week as a midnight show at Richmond's Biograph Theatre, appeared in the Oct. 5, 1978 issue of the University of Richmond's newspaper -- The Collegian.  

Audience Best Part of Show by Jada Pardew, News Editor

Toast, crackers, rice and water were in the air, on the floor and stuck to clothing they wore. It was not the result of a recent food fight at the University of Richmond. It was, however, part of the aftermath of a midnight movie showing.

The movie is the "The Rocky Horror Picture Show," and the audience's reaction does not stop at throwing food. The air is also filled with playing cards, toilet paper and confetti. Moviegoers dance in the aisles, dress like characters from the film, chant lines and cue actors. With them they bring props: boxes of rice, plant misters, teddy bears, umbrellas and toast. 

The movie begins with a wedding, and the audience begins its act by throwing rice at one another. Later in the movie the actors are lost in a rain storm. The audience also experiences the storm from plant misters and squirt guns that are pulled out. Simultaneously, some members of the audience pulled out umbrellas and newspapers to cover their heads. 

There is little, if any, plot to the movie. Without the bizarre reaction of the audience, the movie would be nothing more than a second rate film about transvestites. 

In its 13th week, the show is usually sold out, according to Terry Rea, the theater's manager. Although nothing has been destroyed during the showings, The cost of a ticket has increased from $2.50 to $2.75 to offset the cost of cleaning, which takes two people three or four hours. 

Rea commented that there was little audience participation during the first two or three weeks that the movie was shown. However, after members of the audience returned again and again, the amount of spontaneous participation skyrocketed to its present level. 

"The Rocky Horror Picture Show" is playing at midnight on Fridays and Saturdays at the Biograph Theatre, 814 W. Grace St.

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Tuesday, August 20, 2024

Peanut Shells, Fish Bones And Politicos

Note: In 2001 I covered the 53rd annual Shad Planking for Richmond.com. As it happened after this one, it gradually lost its power to attract a big crowds. Here's what I wrote about the scene 23 years ago, back when it was still a bipartisan event that was still going strong. 

Peanut Shells, Fish Bones And Politicos 

by F.T. Rea

According to a 53-year-old tradition, the Shad Planking, sponsored by the Wakefield Ruritan Club, is held on the third Wednesday of April. The event's roots go back to the early '30s, when only a certain breed of cat was invited. Today it's an open-to-the-public outdoor throwdown featuring ample libation and regional taste treats aplenty. But it is politics, undiluted statewide politics, that draws the crowd each year to the Loblolly pines of Wakefield, Va., the self-proclaimed peanut capital of the world.

Although the scheduled speechmakers are always politicians, 2001 marked a Shad Planking first, in that active gubernatorial candidates were at the top of the speaker's card at the Wakefield Sportsman Club.

Thus, when they weren't perched on the flatbed dais provided for honored guests and speakers between 4 p.m. and 5 p.m., Democrat nominee-in-waiting Mark Warner and his two Republican rivals, Lt. Gov. John Hager and Attorney Gen. Mark Earley, worked the rustic soiree with their campaign-sign-holding entourages at their backs every step of the way. Wherever the trio of hopefuls wandered among the many booths and displays, the same strategy was evident: Every potential photographic vignette had to be filled to the edge of the frame with the team colors. An invisible yet pervasive aspect of the occasion was the unprecedented backdrop of the much-reported budget stalemate that has Gov. Jim Gilmore at odds with legislators of his own party, most notably Sen. John Chichester of Stafford. News of the twists and turnings of the day at the General Assembly session rippled through the crowd of 3,000-plus during the seasonally cool, partially cloudy afternoon.

Sustenance and Sauce

With the price of admission, $14 in advance or $16 at the gate, one could eat and drink to his heart's content. Peanuts in bushel baskets, flavored this way and that, were easy to find. Crab cakes were available at one booth; cups of Jack Daniels were poured from a tailgate setup. Dressed with a squirt of Dr. Nettles' Secret Shad Plank Sauce, the same peppery slather that's brushed onto to the Shad as it's smoked on oak planks, deep-fried shad roe whetted the tongue perfectly for a taste of cold beer. Open taps on beer trucks were provided by the campaigns of several candidates. For what it's worth, Forbes offered the Coors line, Kilgore made his statement with Miller brands, and Hager, Warner and Diamondstein chose Bud. In a contrast of styles, the Earley booth offered hot coffee.

Candidate Warner, the Northern Virginia venture capitalist, also provided the party with a portion of its musical fare: the Blue Grass Brothers, featuring on vocals former congressman Ben Jones, who may be best known for his television work as Cooter on "The Dukes of Hazzard."

Between tunes, one of which was a semi-rousing campaign song for Warner, Jones japed that he was an "independent Democrat." Then, with the timing of a seasoned pro, the country crooner claimed former U.S. Sen. Sam Nunn, of Georgia, liked to say "I was as independent as a hog on ice."

About 2:45 p.m., the event's staff, more than 200 volunteers participated in some way, began to dole out plates of smoked shad, fried trout, coleslaw and corn muffins to the long lines of party-goers.

Politics in the Air 

As he autographed a souvenir Shad Planking baseball cap for an admirer, John Hager mentioned he'd missed only two Shad Plankings in the last 22 years. From my vantage point, of the three men seeking to occupy the Governor's Mansion, Hager seemed the most at ease with the opportunity to chat off-the-cuff in a social setting.

Asked for his opinion on the imbroglio over tax-cut percentage points, Mark Warner was eager to offer some advice, "You don't negotiate with press releases. Everybody's got these intractable positions, and nobody can budge."

On the now-familiar 55 percent vs. 70 percent topic, Mark Earley said, "I think a lot of them [Democrats] don't want a budget because they want an issue for this fall."

However, it was U.S. Sen. George Allen who had the most interesting comment on the subject. As he dealt with my question, "How can the eventual GOP gubernatorial candidate turn the negatives of the car tax phase-out problem into a plus for him in the fall campaign?" Allen seemed to open the door to the notion that the time is nigh for Gilmore to find a way to cut a deal.

"I'm not the one negotiating and drawing lines in the sand, and all of that," Allen said, boot-scooting through the minefield carefully.

"In your mind, could there be a number other than 70 percent?" I pressed.

"There are ways it can be finessed, if people will negotiate in good faith with one another," he replied good-naturedly.

As the Shadows Lengthened
 
By 6 p.m., more than half of the attendees had had their fill and made their way to the parking area. Since I bailed out about that time, I can't say when the last of the diehards left the party.

However, it's not every day that one can have one-on-one conversations with so many active candidates, office-holders and operatives of both major parties. Also at the gathering were U.S. Sen. John Warner, former-Gov. Gerald Baliles, former-U.S. Sen. Paul Trible, Richmond Mayor Tim Kaine, and many other current and former elected officials.

I can't help but think it would be a better world if there were more happenings like the Shad Planking, where politicians of all stripes are so accessible. 

Bottom Line: In spite of the considerable difficulty of negotiating one's way around the countless tiny bones in a shad, I have to give the affair itself an enthusiastic two thumbs up. George Allen will be the speaker for the 54th Shad Planking.
 
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Thursday, August 15, 2024

It Paid to Advertise


The Bearded Brothers' front windows; panels 
were painted in Dayglo, lit up by black lights. 

When the doorway leading into show business opened for me, in the fall of 1969, I entered gladly. At the time I had a sales job that I was itching to quit. What I longed for was to first be a cartoonist/writer and eventually become a filmmaker. 

So serving sandwiches and beer in a Fan District dive seemed almost like a step in that direction. At least, more so than continuing to sell janitorial supplies.

Thus, when a friend, Fred Awad, offered me work at the restaurant he was operating my coat-and-tie job was history. My coming aboard as a bartender/manager was actually part of a larger plan Fred and I had cooked up to convert what was then a typical blue collar neighborhood beer joint/eatery into the Fan District's most happening night club. It was located on the southeast corner of Allison St. and West Broad St.

The restaurant belonged to Fred's parents. They wanted to retire. Toward that goal, they had turned it over to their sons, Fred and Howard. The brothers changed the name of the place from Marconi's to the Bearded Brothers. 

Growing beards was easy. But as it happened the Awad boys couldn’t agree on how to run the business, so the younger brother, Howard, left planning to pursue the quest of opening a place of his own.

In a series of conversations Fred and I had talked ourselves into believing the fun-loving baby boomers in the Fan District needed a place to enjoy cold beer, hot food, live music and a psychedelic light show. That, together with the edgy spectacle of go-go girls on stage -- dancing topless. At this time, such "dancing" was going on in Roanoke. But it had yet to make its way to Richmond.

And, speaking of booming babies, at this time my wife, Valerie, was six months pregnant. Fred’s wife, Mary Ann, was seven months along. So while Fred and I were brimming over with youthful confidence that the new scheme for the restaurant would pay off, in truth, it was under pressure to do so right away.

With the help of a few friends it took a couple of weeks to paint the walls of the interior flat black, build the stage for the dancers and assemble the light show apparatus. We also painted the front window panes that faced Broad Street in Dayglo colors illuminated by black lights. While I did most of the window painting, a handful of volunteers also painted a few of the panels. 

Fred booked a couple of local rock ‘n’ roll bands. They performed maybe three or four nights a week, and that went over well. As we had imagined, the live music immediately brought in a fresh nighttime crowd. A four-man group calling itself Natural Wildlife became a regular attraction. 

So with everything in place, it came time to hire the go-go dancers. A help-wanted sign went up in the restaurant. A few young women soon came in asking about the dancing job. 

Fred took charge of auditioning the applicants in the restaurant's office in the basement. Eventually, two were settled upon. One of them had some professional go-go girl experience, the other was a rookie. 

However, only the dancer who was new to the exhibitionism trade could be there for the first night, which we advertised in the two local daily newspapers. The ad art was my work; it featured a pen-and-ink rendered silhouette of a female dancer and the new Bearded Bros. logo I had designed. And, away we went.

By 8 p.m. the place was packed, wall-to-wall. We were selling beer like never before. The only problem was that our featured dancer, with her gaudy new sequined costume -- which included tasseled pasties to hide her nipples (as dictated by the Alcohol Beverage Control Board) -- was late. 

Scary late. She hadn’t called, either.

With the beer-drinking crowd clamoring for the promoted dancing on stage aspect of the show to get underway, a woman with a sculpted hairdo, wearing shades (at night), waved to get my attention. As the joint was noisy, I motioned to her to come around to the end of the bar I was stationed behind. In a what was maybe a Queens accent, she asked something like, “Any chance you need another dancer?”

Trying to hide my pure glee, I called Fred over. She told us she had noticed the Bearded Bros. ad in a discarded newspaper on the counter of the Greyhound bus station’s coffee shop. She claimed she had been dancing in a club in Baltimore. She was chewing gum confidently. 

Fred promptly offered her $50 to alternate sets with the other dancer. Seeing that transaction play out immediately gave me new faith in the power of advertising. 

The Greyhound Girl even had her own costume with her in her suitcase. Fred paid her in advance and suggested that since the other girl was running late, maybe she could go on, like, right away.

It all went over like gangbusters. Up on stage, with the lights and music, she danced like the pro she actually was. Natural Wildlife was cooking and the draft beer taps stayed open.

After the dancer’s first set was over, she put on her robe and found Fred. We were serving beer from behind the bar. She laughed good naturedly, “There ain’t no other girl, is there?”

Fred probably said, “Hey, we don’t know where she is.” If not, then I probably said it. 

“OK, I’ll need another fifty bucks to go back up there,” is approximately what she said. ... with a professional tone.

Fred put the money in her hand without hesitation. She agreed to do two more 20-minute sets. Yes, a hundred bucks was a lot of money for about an hour's worth of work, in those days, but since we were selling beer like crazy there was clearly no use in quibbling.  

After that night we never saw her again. The show went on as other women were hired, easily. None of them lasted long, but a few of them were pretty good dancers; one in particular but her name escapes me. 

It soon became my duty to paint the dancers with Dayglo paint. Don't remember who thought of than. Anyway, I painted vines curling around their arms and legs, stars and stripes on their torsos, etc. Yet, after three or four weeks of that schtick, it became apparent the regular customers didn't much care about the artsy aspects of topless dancing, such as they were. They preferred bare skin. So, the Laugh-In-style body decorating stopped.

Although painting the dancers was a pleasant enough task, hanging out after work was the best perk of the Bearded Bros. job (which wasn't always paying me as much as I needed to make each week). Frequently, friends, some of them musicians, stayed around late, jamming, smoking pot and playing pinball games. 

The most notable of the afterhours musicians who passed through was Bruce Springsteen, whose band occasionally played in Richmond then. He was a skinny, quiet guy who didn’t stand out as much then as he would later. 

When my daughter was born in January the Bearded Bros. scene was lively. Then, as the weather warmed up, the crowds gradually began to thin out. Other clubs opened up offering live music, some of which were closer to VCU. Gradually, the restaurant began to drift back toward being pretty much what it had been before all the black paint.

The restaurant's daytime crowd of regulars from the neighborhood didn't always mix well with the hippies coming in at night for the music. Then the topless angle turned out to be mostly a fad that sort of clashed with both crowds. So it was discontinued. However, I don't remember any sort of incident prompting that decision.

In the late spring I had to look for a real job again. After short runs at a couple of forgettable jobs, I landed a sales position at WRNL AM/FM. Richmond Newspapers still owned the two radio stations then. Once again, I learned it paid to advertise. And, on that job I did my first professional writing, when I began penning commercials and dreaming up promotions for my advertising clients.

Eventually, Fred's mother took the restaurant back over. About a year later Howard Awad opened up Hababa's on the 900 block of W. Grace St., where he had a lot of fun making large money (1971-84) serving cold beer and playing canned music on his popular bar’s state-of-the-art stereo.

In the years to come topless dancing morphed into a rather creepy form of entertainment aimed at an entirely different audience. A narrow audience. Truth be told, since the time of the Bearded Brothers I've never had any interest in the places that feature that form of entertainment.

Although I saved copies of the aforementioned newspaper ad, and the logo I did for the restaurant and Natural Wildlife, for their cards and handbills, etc., I haven't seen any of that stuff in a long time. The only remaining souvenirs from my initial stumble into show biz are a few black and white photographs, like the shot above of the club's distinctly 1969 front windows,.

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