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pogo2posterFINAL2The Last Pogo Jumps Again studies the evolution of Toronto from small town to big city and it’s pop/counter-culture lifestyle during the early and mid-70s.  It centers around the first wave of Toronto punk rock and new-wave music, from the Ramones playing the New Yorker Theatre in ’76 through the police shutting down Teenage Head and causing a riot at the Horseshoe Tavern’s infamous “The Last Pogo” concert in December 1978.

London had the Sex Pistols, New York had the Ramones, but Toronto had a punk movement all it’s own.  The Toronto landscape by the late ’70s was forever changed with the infusion of the DIY/Punk/Alternative Culture(s) movement.  Six years in the making, The Last Pogo Jumps Again successfully explores the whys and wherefores of what was arguably one of the most exciting but misunderstood movements in Toronto’s history.

The DVD contains the 204 minute documentary, plus over a 100 minutes of added material, and a snazzy 24-page booklet.  Check the Shop for details on where you can purchase it.

The Last Pogo (1978) is the documentary that chronicled the last punk rock show at the Horseshoe Tavern when it was run by legendary Toronto promoters The Garys (Topp and Cormier) featuring The Scenics, Cardboard Brains, The Secrets, The Mods, The Ugly, The Viletones and Teenage Head. The Last Pogo was released on DVD in 2008 to great reviews.  Available at the Shop.

Top Ten and then some

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Happy Hogmany, mofos.

Welcome back, and Happy New Year.  After a nice chilly black-out break, we’re back at it, and looking to line up some new dates for 2014.

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Greg looking dapper in the eighties.

Since we last left you, a couple of things have happened:  the cute and curmudgeonly Canadian critic Greg Klymkiw named The Last Pogo Jumps Again as one of the Top Ten Canadian Films of 2013.  Click on the link to read about it, and who else made Greg’s cut.  Yay us.

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Best. Calendar. Ever. (HT to Dangerous Minds dot com.)

Not so nice is the Academy of Canadian Cinema bizarro rules for applying for a nomination for the Canadian Screen Awards.  For those who don’t know, these are akin (in a very small pond sort of way) to the Emmys and Oscars in the US.

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Rod Taylor attempts to fix the Academy rules in 1960 and fails.

The bizarre part is that you have to submit your film by mid-October, which for us was impossible (unless of course we invented a time machine, which would involve science and so on and so forth) because we didn’t get our week-long run at the Big Picture Cinema until November.  We sent a note to the Academy and are awaiting a response.  We are not holding our breath, and we imagine they may let us submit next year.  Ugh.

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L – R:  Randy Tyrrell and Colin Brunton in The Mysterious Moon Men of Canada.

We’ve never been a big fan of awards and stuff, but its all about awareness, and the only reason to care about being nominated for the dubious honour of a Canadian Screen Award nomination is to simply make people know that your film exists.  We have experience with this:  in 1989 Pogo filmmaker Colin Brunton won a Genie Award (now the Canadian Screen Awards) for Best Live Action Short for the mockumentary The Mysterious Moon Men of Canada.  Within the next year, it racked up a couple of thousand dollars in rentals and purchases, far far better than it would have without the win.

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These guys liked Highway 61.  The Academy?  Not so much.

Ironically, when Brunton’s second feature film Highway 61 didn’t get the nominations he felt it deserved, he wrote a whiny (“I’m pissed-off, puzzled and perplexed…”*)  letter to the Academy protesting this, and enclosed his Genie Award.  While he didn’t direct them to shove it up their collective asses, they took the hint, and it now apparently sits in some closet with other Genies who’s filmmakers did the same.

It’s all so punk rock, right?  So we’ll forge on.  And fuck ’em if they can’t take a joke.  Stay tuned.

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*H/T to author Charles Willeford for that line, btw.

 

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