Working Class Hero
"Working Class Hero" is a song by John Lennon from his 1970 album John Lennon/Plastic Ono Band, his first album after the break-up of the rock band the Beatles. A political song, the song is a commentary/criticism on the difference between social classes, it tells the story of someone growing up in the working class. According to Lennon in an interview with Jann Wenner of Rolling Stone in December 1970, it is about working class individuals being processed into the middle classes, into the "machine". Lennon said, "I think it's a revolutionary song – it's just revolutionary. I just think. I hope it's for workers and not for fags. I hope, but I don't know – on the other hand, it might just be ignored. I think it's for the people like me who are working class, who are supposed to be processed into the middle classes, or into the machinery. It's my experience, I hope it's just a warning to people, Working Class Hero." The refrain of the song is "A working class hero is something to be". The song is not Lennon's first political song.
His string of political songs began in 1968 with the Beatles' "Revolution" and further continued in 1972 with the release of Some Time in New York City. Recorded at EMI Studios on 27 September 1970, the song features only Lennon and playing an acoustic guitar as his backing; the chord progression is simple, builds on A-minor and G-major, with a short detour to D-major in one line of the chorus. Lennon's strumming technique includes a riff with a hammer-on pick of the E note on the D string and an open A string; the tone and style of the song is similar to that of "Masters of War" and "North Country Blues" by Bob Dylan, a known influence of Lennon. Both are based on Jean Ritchie's arrangement of the traditional English folk song, "Nottamun Town". Lennon recorded "Working Class Hero" over a hundred times; the recording is the composite of two different takes: the sound of the guitar and vocal changes at 1:24 prior to the verse "When they've tortured and scared you." John Lennon – vocals, acoustic guitar In 1973, US Representative Harley Orrin Staggers heard the song – which includes the lines "'Til you're so fucking crazy you can't follow their rules" and "But you're still fucking peasants as far as I can see" – on WGTB and lodged a complaint with the Federal Communications Commission.
The manager of the station, Ken Sleeman, faced a year in prison and a $10,000 fine, but defended his decision to play the song saying, "The People of Washington DC are sophisticated enough to accept the occasional four-letter word in context, not become sexually aroused, offended, or upset." The charges were dropped. Other US radio stations, like Boston's WBCN, banned the song for its use of the word "fucking". In Australia, the album was released with the expletive removed from the song and the lyrics censored on the inner sleeve. Marianne Faithfull covered the song on her 1979 album Broken English. Then-politician Marilyn Waring of New Zealand covered the song as a single in 1980. Jerry Williams covered the song in 1984 on his album Working Class Hero. Richie Havens covered the song for Dylan. Blind Melon covered the song on their last-ever tour with Shannon Hoon as their singer, in 1995. Mike Peters covered the song when with The Alarm as a backing track to their 1989 single "A New South Wales".
David Bowie's band Tin Machine recorded a version of the song on their 1989 self-titled debut album. Cyndi Lauper covered the song live on Lennon: A Tribute in 1992. Screaming Trees covered the song for the 1995 tribute album Working Class Hero: A Tribute to John Lennon. Roger Taylor covered the song on his 1998 album Electric Fire. Marilyn Manson covered the song on the B-side of the 2000 single "Disposable Teens". Noir Désir covered the song on the 2000 album Liberté de Circulation'. Pain of Salvation covered. Hilton Valentine covered the song on his 2004 album It's Folk'n' Skiffle, Mate!. Elbow covered the song for Q magazine in 2005. Ozzy Osbourne recorded a version for his 2005 collection Under Cover; the Academy Is... covered the song in 2006 on its From the Carpet EP. Tina Dickow covered. Green Day contributed a cover of the song to the Instant Karma: The Amnesty International Campaign to Save Darfur in 2007, it peaked at number 53 on the Billboard Hot 100, 6 on the Canadian Hot 100, 8 in Norway and 11 in Sweden.
It achieved notable success at rock radio, peaking at #10 on the Modern Rock Tracks chart and #18 on the Mainstream Rock Tracks chart. The ending features an excerpt of the final line of Lennon's version. In their song "21st Century Breakdown", Green Day pays homage to this song and Lennon himself with the line "I never made it as a working class hero.". Manic Street Preachers recorded a cover of the song on their 2007 album Send Away the Tigers. Racoon covered the song on their album. Corey Feldman covered the song on the second part of his album Angelic 2 the Core. Kris Kristofferson and Tom Morello covered at Imagine: John Lennon 75th birthday concert. Frazer Michell covered this song to highlight the plight of millions of women affected by the unjust changes to the State Pension Age Lyrics of this song at MetroLyrics
The Weirdos are an American punk rock band from Los Angeles, California. They formed in 1975 and broke up in 1981, were active in the 1980s, recorded new material in the 1990s. Critic Mark Deming calls them "quite one of the best and brightest American bands of punk's first wave." The band was formed in 1975 by singer John Denney and his guitarist brother Dix using the band names the Barbies and the Luxurious Adults. The Weirdos were a 1950s-inspired hard rock and roll band that, like the Ramones in New York City, predated the UK punk scene. While trying to distance themselves from the genre name "punk", created in New York the band, in the words of John Denney, "just kinda became more like this punk ROCK N ROLL type thing and we kinda went with it because the fans wanted it, they wore us down and we just said'OK, fine! We're similar to the Ramones. Whatever you say.'"In a 1990 Flipside interview, John Denney listed the Ramones, New York Dolls and Iggy Pop as fundamental musical inspirations, adding: "When we saw the Ramones in'76, we had short hair and we were playing fast music like that in late 1975 in small venues and halls but the Ramones made us decide to go for it more.
We came before the Sex Pistols and The Damned. They may have been our peers but we had a set of songs in 1975 which were sort of Ramones meets Iggy Pop's Stooges influenced punk songs. Well before any of the UK bands started cloning America's punk sound and before any of the UK albums were released. I always felt we were a true garage punk band..." Denney claimed that the band's name dated from the early part of the 1970s and referred to his countercultural short hair, at a time when long hair on men was the fashion of the day. "In 1974 according to some left over hippies, I looked like a lobotomy, hippies thought I was weird," Denney said. "A few months when we formed, the rest of the band got short cropped hair too. "We were all weird we were considered weirdos". By the beginning of 1977, the Weirdos were able to pack clubs as a headlining band. Known for their zany stage costumes and antics, the band helped shape the vigorous and experimental early Los Angeles punk scene and served as an inspiration to a crop of new bands.
John Denney recalled: "We had our own sound. It was apart from New York or London.... We were staunchly against safety pins, we tried to parody punk rock at first. We did happy faces onstage as a joke sometimes, the exact opposite of what New York was doing. We were just thumbing our noses at everything. Everything was a joke. Nonetheless, we were still serious about rocking." The Weirdos' first release was a 7-inch EP, "Destroy All Music," released in 1977 on Greg Shaw's Bomp! Records, it was followed by the 1978 single "We Got the Neutron Bomb," released on the Los Angeles punk label Dangerhouse. The band released two 12" EPs in 1979 and 1980; the band were critical of some of their recordings and shady engineers, with John Denney characterizing the 1979-80 period as "a big botch job" marked by a series of "aborted recording sessions." Their most criticized song was about their childhood friend Max Livingston. According to the song, Max Livingston was one of their best friends growing up, it was not until they found out that he had what some call "the big gay" that they decided to stop being friends with him, curse him into having no friends for his entire life.
It was not until 1991 that a first volume of early recordings would be remixed by the band for release by Frontier Records as a compilation album, Weird World - Volume One 1977-1981. More than another decade would pass before a long-planned second compilation album of early tracks would see the light of day, issued by Frontier in 2003 as We Got The Neutron Bomb - Weird World Volume Two 1977-1989; the Denney brothers were the only constant members, though guitarist/bassist Cliff Roman, bassist Dave Trout and Bruce Moreland, drummer Nickey "Beat" Alexander were long-term Weirdos. The Weirdos broke up in 1981. Cliff Martinez, who drummed for the band, went on to join Red Hot Chili Peppers, playing on the latter's first two albums. Dix Denney was close to becoming a member of the Chili Peppers. However, after many practices with Denney, things didn't work out and he was replaced by guitarist Jack Sherman. LA-based rock band Symbol Six stated that the Weirdos were one of their biggest formative influences, covered "The Hideout'" which appeared on their self-titled 2013 album on Dr. Strange Records creating a tribute video for the song that honored the Weirdos.
The Weirdos have reunited several times, beginning in 1990. The resulting first full-length studio album, issued that year by Frontier, was an effort to "re-establish ourselves as contemporary," according to John Denney. A 2004 reunion included Circle Jerks bassist Zander Schloss and the Skulls drummer Sean Antillon in the lineup. Another reformed edition of the Weirdos, featuring the Denney brothers and Devo drummer Jeff Friedl, appeared at the Punk Rock Bowling and Music Festival in Las Vegas on May 25, 2013, followed by additional 2013-2014 shows in California and Austin, as well as an appearance at the Dangerhouse Records Night concert on November 29, 2014 at the Echoplex in Los Angeles. In 2016, Bruce Moreland, the bassist from the 1978 version of the Weirdos, rejoined the band. Condor Live on Radio "Destro
Desperate But Not Serious
Desperate But Not Serious is a 1999 movie directed by Bill Fishman. It was released in the United States under the title Reckless + Wild. Out-of-towner Lily arrives in Los Angeles to attend a wedding reception with the man of her dreams, Jonathan. Aided by party-girl Frances, they embark on a night of adventure after the wedding invitation is lost, their wild romp through the streets of Hollywood in search of the reception, takes them to club after club - including the trendy "Vapor" Room and into the home of famous actor Darby Tipp. After being thrown out of parties, terrorized by a psycho bartender, chased by police it seems Lily will never find her man - or will she? Christine Taylor as Lili Paget Brewster as Frances Claudia Schiffer as Gigi Judy Greer as Molly John Corbett as Jonathan Max Perlich as Todd Joseph Lawrence as Darby Toledo Diamond as Himself Wendie Jo Sperber as Landlady Brent Bolthouse as Steve Stacy Sanches as Shauna John Fleck as Landon Liebowitz Zach Tiegan as Justin Henry Rollins as Bartender Matthew Porretta as Gene Sara Melson as Patrice Duffy Taylor as Jimmy Agnieszka Musiala as Stacy Claudia Schiffer sang all of the songs performed by her character herself.
Having had her earlobes pierced shortly beforehand for her part in Black & White, Claudia Schiffer had the cartilage in both ears pierced multiple times for her part in this movie. She had her nose and belly button pierced for this movie. Following the end of filming, she allowed them to close up again. Desperate But Not Serious on IMDb Desperate But Not Serious at Rotten Tomatoes
Repo Man (film)
Repo Man is a 1984 American science fiction comedy film written and directed by Alex Cox. It stars Harry Dean Stanton and Emilio Estevez, was produced by Jonathan Wacks and Peter McCarthy with executive producer Michael Nesmith; the plot concerns a young punk rock enthusiast in Los Angeles who finds himself partnered with a jaded repossession agent and subsequently caught up in the pursuit for a mysterious car that might be connected to extraterrestrials. The soundtrack is noted as a snapshot of the early-'80s Los Angeles hardcore punk scene of the time. Director Cox wanted the music to serve as a backdrop to the story of the life of the repo men. Repo Man received widespread acclaim, was considered one of the best films of 1984, it has achieved cult status. In the Mojave Desert, a policeman pulls over a 1964 Chevrolet Malibu driven by Dr. J. Frank Parnell; the policeman opens the trunk, sees a blinding flash of white light, is vaporized, leaving only his boots behind. Otto Maddox, a young punk rocker in L.
A. is fired from his job as a supermarket stock clerk. His girlfriend leaves him for his best friend. Depressed and broke, Otto is wandering the streets when a man named Bud drives up and offers him $25 to drive a car out of the neighborhood. Otto follows Bud in the car to the Helping Hand Acceptance Corporation, where he learns that the car he drove was being repossessed, he goes to his parents' house. He learns that his burned-out ex-hippie parents have donated the money they promised him for finishing school to a crooked televangelist, he decides to take the repo job. After repossessing a flashy red Cadillac, Otto sees a girl named Leila running down the street, he gives her a ride to the United Fruitcake Outlet. On the way, Leila shows, she claims. Meanwhile, Helping Hand is offered a $20,000 bounty notice for the Malibu. Most assume that the car is drug-related, because the bounty is so far above the actual value of the car. Parnell arrives in L. A. driving the Malibu, but he is unable to meet his waiting UFO compatriots because of a team of government agents led by a woman with a metal hand.
When Parnell pulls into a gas station, Helping Hand's competitors, the Rodriguez brothers, take the Malibu. They stop for sodas. While they are out of the car, a trio of Otto's punk friends, who are on a crime spree, steal the Malibu. After they visit a night club, Parnell appears and tricks the punks into opening the trunk, killing one of them and scaring the other two away, he picks up Otto and drives aimlessly, before collapsing and dying from radiation exposure. Otto leaves it in the lot; the car is stolen from the lot, a chase ensues. By this time, the car is glowing bright green; the Malibu reappears at the Helping Hand lot with Bud behind the wheel, but he ends up being shot. The various groups trying to acquire the car soon show up. Anyone who approaches it bursts into flames those in flame-retardant suits. Only Miller, an eccentric mechanic at Helping Hand -and who had explained earlier to Otto that aliens exists and can travel through time in their spaceships- is able to enter the car, he beckons Otto into the Malibu.
After he settles into the passenger seat, the Malibu lifts straight up into the air and flies away, first through the city's skyline and into space travelling in time. Repo Man garnered widespread praise upon its release, is considered to be one of the best films of 1984; the review aggregator Rotten Tomatoes gives the film a 98% approval rating based on 44 reviews, with an average rating of 8/10. The site's critical consensus reads, "Repo Man is many things: an alien-invasion film, a punk-rock musical, a send-up of consumerism. One thing it isn't is boring." In 2008, the film was voted by a group of Los Angeles Times writers and editors as the eighth-best film set in Los Angeles in the last 25 years. Entertainment Weekly ranked the film seventh on their list of "The Top 50 Cult Films". Roger Ebert gave the film 3 stars out of a possible 4, wrote: I saw "Repo Man" near the end of a busy stretch on the movie beat: Three days during which I saw more relentlessly bad movies than during any comparable period in memory.
Most of those bad movies were so cynically constructed out of formula ideas and "commercial" ingredients that watching them was an ordeal. "Repo Man" comes out of left field, has no big stars, didn't cost much, takes chances, dares to be unconventional, is funny, works. There is a lesson here. Academy of Science Fiction, Fantasy & Horror Films Won - Saturn Award for Best Supporting Actor – Tracey Walter Nominated - Saturn Award for Best Writing – Alex CoxBoston Society of Film Critics Awards Won - Best ScreenplayMystfest Nominated - Best FilmAmerican Film Institute Lists AFI's 100 Years...100 Laughs - Nominated AFI's 10 Top 10 - Nominated Science Fiction Film The soundtrack features songs by various punk rock bands such as The Plugz, Black Flag, the Circle Jerks, Suicidal Tendencies, Iggy Pop and others. The film score was created by Tito Larriva, Steven Hufsteter, Charlie Quintana and Tony Marsico of The Plugz. Iggy Pop volunteered to write the title song. According to the documentary A Texas Tale of Treason, Cox wrote a sequel to Repo Man which, though filming started, was never finished.
Chris Bones saw the script on Cox's website and asked, received, permission to adapt the script into a graphic novel. The book, Waldo's Hawaiian Holiday, was relea
Draco Cornelius Rosa Suárez known as Draco Rosa, Robi Draco Rosa or Draco, is a multiple-time Grammy and Latin Grammy winning American-born Puerto Rican musician, songwriter, multi-instrumentalist, record producer and entrepreneur. Rosa garnered fame as a member of boy band Menudo in the 1980s, singing lead on the band's biggest stateside hit, "Hold Me" and featuring prominently in the accompanying music video. After leaving the band he moved to Brazil where he released two albums, achieving mainstream success. Following a brief subsequent stint in California, he returned to New York and joined the band Maggie's Dream, which split after only one album, allowing him to resume his solo career; the singer and composer has released numerous albums, has composed multiple songs for Ednita Nazario, Julio Iglesias and former Menudo band-mate, Ricky Martin. He has been featured on VH1's Behind the Music. Rosa has been influenced by the works of Bob Dylan, Miles Davis, Iggy Pop, Jimi Hendrix, Johnny Cash, Luis Alberto Spinetta, The Doors, Camarón de la Isla, Horacio Quiroga, Caetano Veloso, Glenn Danzig, Edgar Allan Poe and Jim Morrison.
In 1988, at age 18, he made his motion picture debut in the film Salsa, a big hit in Puerto Rico. During the filming of the movie, he met actress Angela Alvarado who would become his wife. In 1996, he released the Latino alternative rock album Vagabundo produced by Phil Manzanera before helping launch Ricky Martin's musical career into a new global setting with Vuelve. Rosa wrote and produced various of Martin's hit singles including "María", "La Vida Loca", "La Copa de La Vida", "She Bangs" and "Shake Your Bon-Bon", among others. Rosa toured with Lenny Kravitz during the summer of 2004 to promote his concept album Mad Love. In April 2011, Rosa was diagnosed with a non-hodgkin lymphoma cancer near his liver, he underwent alternative and traditional treatment in Santa Monica. This kept Rosa in a hiatus for a year until his return in March 2012, when he started recording his latest album with Vida, gave a concert with Juan Luis Guerra and Rubén Blades at the Coliseo de Puerto Rico José Miguel Agrelot.
In December 2012, he was declared cancer-free. On December 9, 2013, Rosa's manager confirmed his cancer had relapsed and overcame cancer once again after a second bone marrow transplant, but had to remain in quarantine for four additional months. At a young age, Rosa moved with his family to Puerto Rico where he spent much of his childhood in the towns of Peñuelas and Ponce. In 1984 he joined the popular Puerto Rican boy band Menudo. During much of his tenure with the group, he would share the stage with a young Ricky Martin, which would lead to a musical partnership between the two that proved instrumental in launching Martin's solo career; as the only member of Menudo who had a native grasp of English, Rosa sang lead vocals on many of the English-language tracks released by the group, including their stateside hit, "Hold Me". However, Rosa started to grow disenchanted with the band after he was denied the opportunity to write songs for them. Rosa quit the group in 1987. After moving to Barra Beach, Rio de Janeiro, Rosa spent time with local artists, adding to his musical education.
He would go on to release two commercially successful Portuguese-language solo albums in quick succession in the late 1980s. Rosa subsequently moved to Los Angeles. During its filming, Rosa met Angela Alvarado. Like Rosa, Alvarado was born in New York to Puerto Rican parents. Rosa appeared alongside Christopher Mitchum in a German film entitled Gummibärchen küßt man nicht. Rosa wrote and performed two songs for the soundtrack of the latter film, released by RCA Records under his publishing company, Ceiba Tree Music. However, he would soon move back to his birth state of New York, where he formed the band Maggie's Dream, an alternative funk rock/metal band who released a self-titled album in 1990 and toured with Fishbone, the Black Crowes and Faith No More. A planned follow-up album, Elysium was recorded in 1992 but never released. In 1993 a solo contract with Sony Music Latin enabled Rosa to record in Spain the first of his Spanish-language solo albums, Frío. In between solo projects, Rosa worked on Ricky Martin's A Medio Vivir under the pseudonym Ian Blake by co-writing and co-producing the majority of the songs on the album, including the hit single "María", which made it to the Billboard Top 10.
The 1996 release of his second album, recorded in England and produced by Roxy Music guitarist Phil Manzanera, has been hailed as a "tour de force of introspective haunting tunes." The video for the song "Madre Tierra", directed by Angela Alvarado, won Best Rock Video in the 1997 Billboard Latin Music Awards. Entertainment Weekly named Rosa to their IT LIST of the 100 most creative people in the entertainment industry. An English-language version of Frío, entitled Songbirds and Roosters was released in 1998; as he toured with his songs from Vagabundo, Rosa wrote and recorded his fellow former Menudo bandmate, Ricky Martin's chart-topping album Vuelve, again under the pseudonym Ian Blake, which resulted in five hit singles including "The Cup of Life". Rosa formed Phantom Vox Corporation, a multimedia production company that joined Dräco Cornelius Music with other writers under Phantom Vox Publishing, the company's subdivision for licensing of original compos
Vino is a lyrical rock album released by Draco Rosa in 2008 under Phantom Vox and a followup to Vagabundo. It was first published during the summer of 2007 under the alternate title of El Teatro del Absurdo in certain territories. Draco terminated all contractual liaisons with Sony Music soon after the release of Mad Love; this freedom gave way to Vino, his first Spanish album since the release of Vagabundo in 1996. All songs by Draco Rosa, excepted. "Todo Es Vino" "Te Fumaré" "Es la Guerra" "Sueño Contigo" "Aleluya" "Todo Marcha Bien" "Desnudo" "Horizonte" "Bosque de los Números" "Hasta la Victoria" "One Too Many Mornings" "Roto por Ti" "Mensaje de Paz" "Luchar Por Ella"
Alexander B. H. Cox is an English film director, nonfiction author and sometime actor. Cox experienced success early in his career with Repo Man and Sid and Nancy, but since the release and commercial failure of Walker, he has directed his career towards independent films. Cox received a co-writer credit for the screenplay of Terry Gilliam's Fear and Loathing in Las Vegas for previous work on the script before it was rewritten by Gilliam; as of 2012, Cox has taught film production at the University of Colorado, Boulder. Cox was born in Bebington, England in 1954, he attended Worcester College and transferred to the University of Bristol where he majored in film studies. Cox secured a Fulbright Scholarship, allowing him to study at the University of California, Los Angeles, where he graduated from the School of Theater and Television with an MFA. Cox began reading law as an undergraduate at Oxford University, but left to study radio, film and TV at Bristol University, graduating in 1977. Seeing difficulties in the British film scene at the time, he first went to Los Angeles to attend film school at UCLA in 1977.
There he produced his first film, Edge City/Sleep is for Sissies, a 40-minute surreal short about an artist struggling against society. After graduation, Cox formed Edge City Productions with two friends with the intention of producing low-budget feature films, he wrote a screenplay for Repo Man, which he hoped to produce for a budget of $70,000, began seeking funding. Michael Nesmith agreed to produce Repo Man, convinced Universal Studios to back the project with a budget of over a million dollars. During the course of the film's production, the studio's management changed, the new management had far less faith in the project; the initial cinema release was limited to Chicago, followed by Los Angeles, was short-lived. After the success of the soundtrack album, there was enough interest in the film to earn a re-release in a single cinema in New York City, but only after becoming available on video and cable, it ran for 18 months, earned $4,000,000. Continuing his fascination with punk music, Cox's next film was an independent feature shot in London and Los Angeles, following the career and death of bassist Sid Vicious and his girlfriend Nancy Spungen titled Love Kills and renamed Sid and Nancy.
It was met warmly by critics and fans, though criticised by some, including Pistols' frontman John Lydon, for its inaccuracies. The production of this film sparked a relationship with Joe Strummer of the Clash, who would continue to collaborate with the director on his next two films. Cox had long been interested in Nicaragua and the Sandinistas, visited in 1984; the following year, he hoped to shoot a concert film there featuring the Clash, the Pogues and Elvis Costello. When he could not get backing, he decided instead to write a film; the film became Straight to Hell. Collaborating with Dick Rude, he imagined the film as a spoof of the Spaghetti Western genre, filmed in Almería, where many classic Italian westerns were shot. Straight to Hell was panned critically, but successful in Japan and retains a cult following. On 1 June 2012, Cox wrote an article in The New York Times about his long-standing interest in spaghetti westerns. Continuing his interest in Nicaragua, Cox took on a more overtly political project, with the intention of filming it there.
He asked Rudy Wurlitzer to pen the screenplay, which followed the life of William Walker, set against a backdrop of anachronisms that drew parallels between the story and modern American intervention in the area. The $6,000,000 production was backed by Universal, but the completed film was too political and too violent for the studio's tastes, the film went without promotion; when Walker failed to perform at the box office, it ended the director's involvement with Hollywood studios, led to a period of several years in which Cox would not direct a single film. Despite this and some critics maintain that it is his best film. Following the commercial failure of Walker, Alex Cox struggled to find feature work. Blacklisted for working on a studio project during the 1988 Writers Guild of America strike, he got financial backing for a feature from investors in Japan, where his films had been successful on video. Cox had scouted locations in Mexico during the pre-production of Walker and decided he wanted to shoot a film there, with a local cast and crew, in Spanish.
Producer Lorenzo O'Brien penned the script. Inspired by the style of Mexican directors including Arturo Ripstein, he shot most of the film in plano secuencia. El Patrullero struggled to find its way into cinemas. Shortly after this, Cox was invited to adapt a Jorge Luis Borges story of his choice for the BBC, he chose the Compass. Despite being a British production and an English language film, he convinced his producers to let him shoot in Mexico City; this film, like his previous Mexican production, made extensive use of long-takes. The completed 55-minute film aired on the BBC in 1992. Cox had hoped to expand this into a feature-length film. Japanese investors gave him $100,000 to expand the film in 1993, but the production ran over-budget, allowing no funds for post-production. To secure funds, Cox directed; the film was edited exten