By the end of the 1960s, the vampire was no longer content to wait in the crypt, and had begun to wander into nightclubs and sun bleached strips to wear velvet and eyeliner. He began to desire openly, opting to seduce rather than simply attack. The old Count had loosened his cape, with a younger and more stranger creature taking his place. The creature that had once embodied Victorian nightmares became a vessel for the desires of the new age. In Vampyros Lesbos, Soledad Miran

Long before the word “groupie” became a label to define a specific archetype of woman associated with rock gods and promiscuous sex, there was the “vamp,” an alternative archetype of film long past. The vamp was seductive, and she was theatrical. Everything from her movements to her makeup was excessive, and irresistibly dangerous. The vamp did not fit comfortably into the traditional image femininity. She knew she was beautiful, and something to be desired, and this knowledg

Mad Dogs & Englishmen erupts in a manic blaze of colour and sound, with the screen barely able to contain the colours and sounds bursting from every shot. Musicians spill from every corner, and voices intertwine into a harmonious tapestry of song, reminiscent of the Rolling Stones’ Rock ‘N’ Roll Circus.

Easy Rider would shatter Hollywood with one decision, the film wouldn’t use independent orchestral scores but the music of close friends. The first various-artist soundtrack featuring The Byrds, The Band, Jimi Hendrix, Steppenwolf, and others