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Mar 5, 2024 · And she's now gone on to be the foremost nightclub singer in America, and she tells the truth. If you're ever in a city where she is singing in a club, you'll go there and see the musical equivalent of my films. She gets up and talks to the audience about the music, what it means to her.
May 25, 2024 · Part of that is down to the polarising reception that greeted much of his work, with opinions varying on whether he was a genius and one of American cinema’s last true mavericks or an overrated and overhyped would-be auteur who wasn’t even good at their job.
- Manchester’s Haçienda – which was founded by Tony Wilson with money made by New Order’s record sales – is where baggy was born. A new documentary, Do You Own The Dancefloor?
- The glamorous Studio 54 was the place to be seen for the great and the good of late 1970s New York – if they made it past the strict door policy. On an average night, you could find Andy Warhol, Liz Taylor, Mick Jagger, Debbie Harry, Grace Jones and Elton John dancing to decadent disco inside its hallowed walls.
- New York’s seminal Paradise Garage was open from 1977 until 1987. The club’s resident DJ, Larry Levan, is credited with inventing house music, thanks to his electronic take on disco.
- Sheffield’s Gatecrasher spawned an entire lifestyle in the late 1990s, a candy-rave hard house extravaganza with legions of spiky haired, dummy-sucking followers.
Henry David Jaglom [1] (born January 26, 1938) [2] is an English-born American actor, film director and playwright.
Maverick filmmaker Henry Jaglom deserves better than the treatment he gets in the uninspired documentary “Who Is Henry Jaglom?” Focusing for the most part on the last decade of Jaglom’s ...
Jaglom: Yes, and she’s now gone on to be the foremost nightclub singer in America. She tells the truth. If you’re ever in a city where she is singing in a club, you will go there and see the musical equivalent of my films.
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Henry Jaglom is an absolutely unique voice in contemporary American cinema. In a cinematic landscape in which most films are interchangeable, and in which few films have a distinctive style or vision, his films are utterly his own and resemble no one else's.
