Ambassador Radio

09/13/2026

Recorded during sessions for Ultima Fermata (The Last Ride), this p...

09/10/2026

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Elvin Jones outside the studio after the first take of John Coltrane's Ascension, June 28, 1965

What is he thinking?

(September 9, 1927 – May 18, 2004)

(𝗟𝗶𝘀𝘁𝗲𝗻 𝘁𝗼 𝗔𝘀𝗰𝗲𝗻𝘀𝗶𝗼𝗻 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀)

Photo: Chuck Stewart Photography

07/05/2026

Currently watching a true gem, finally part of the Criterion Collection!

Point Blank is a 1967 American crime film directed by John Boorman, starring Lee Marvin, co-starring Angie Dickinson, Keenan Wynn and Carroll O'Connor, and adapted from the 1962 crime noir pulp novel The Hunter, the first in the Parker series of crime novels written by Donald E. Westlake under the n...

11/20/2025

This morning, I was thrilled to watch the 1956 Greek film The Ogre of Athens (original title O Drákos) by director Nikos Koundouros. What an astonishing film — it brilliantly deconstructs tropes from the heist movie, murder mystery, noir genres, and even comedy.

Identity is everything in this story. Who is the Ogre ?
Thomas, the protagonist, is a meek, drab bank clerk whose unremarkable life suddenly shifts when he’s mistaken for a notorious criminal. Because he resembles this “Ogre”people treat him like an outlaw—a Robin Hood type folk legend. It raises such a compelling question: might mistaken identity actually feel like a gift to someone stuck in a dull, boring existence?

Even though we never fully know what the real “Ogre” did to earn his legend, the transformation that Thomas undergoes is haunting. He starts to internalize the persona, as if the Ogre persona is more real than his old, timid self.

It’s a crime that this spellbinding film isn’t embraced by cinema lovers as an unmitigated classic of world cinema—moody, satirical, tragic, and deeply political. The score by Manos Hatzidakis deserves a proper vinyl release!

11/15/2025

Happy Belated Birthday to the late silent film star, Louise Brooks.

Happy Birthday (Nov 14) to the one and only Louise Brooks! 🖤
In interviews, Louise Brooks claimed to have written a great, lost, 400-page autobiography that no one except her ever read: “To learn how to write, I wrote an autobiography, ‘Naked on My Goat.’ It’s a wonderful title. It’s from Goethe; out of the witches’ Sabbath, Faust. And I did that simply to learn how to write. Because what better way than an autobiography? And it ran about 400 pages. And I typed and I typed and I typed the 400 pages, and when I was through, I threw it down the incinerator.”
(Brooks did, of course, also write the autobiographical Lulu in Hollywood, published in 1982, a few years before her death in 1985.)
Brooks was considered a relatively minor star until French New Wave critics reappraised her work and touted her greatness. “There is no Garbo. There is no Dietrich. There is only Louise Brooks!” Henry Langlois of the Cinémathèque Française exclaimed in 1958.

11/15/2025

Official video for Megadeth's "I Don't Care". Pre-order the new album http://selftitled.megadeth.com/preorder Director / DP: Keith J. Leman Producer: Aleth...

11/15/2025

Listen to the new single "Precious Problem" from War on Women on Smartpunk Records: https://ffm.to/preciousproblemLyrics: I put up a wallto protect this hous...

11/13/2025

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11/13/2025

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"World Downfall" is the debut album by TERRORIZER. It was released on November 13, 1989.

11/10/2025

Starting off an evening of revisiting cinema with one of my top five Jesús Franco films — The Diabolical Dr. Z (1966). Franco is at the top of his game here, crafting a stylish blend of sci-fi and Gothic horror that’s also one of his most accessible works. The film features the legendary Franco collaborator Howard Vernon, whose presence adds an extra layer of eerie charm.

The Diabolical Dr. Z marks a key turning point in Franco’s career — made just before his dive into the surreal eroticism that would define much of his later work. It showcases his fascination with mad science, hypnotic women, and the thin line between control and chaos, all wrapped in crisp black-and-white visuals. Vernon, as always, brings a distinct menace and sophistication that became a hallmark of their collaborations throughout the 1960s and beyond.