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The Lamb Lies Down On Broadway by Genesis
The Lamb Lies Down On Broadway by Genesis
1974 | Pop, Rock
(0 Ratings)
Album Favorite

"This album is a real folly. I don't want to defend Phil Collins for a second, and when I see footage of the Slipperman [a naked lumpy monster with inflatable genitalia who emerged onto the stage by crawling out of a giant penis - Ed] I just chuckle at the thought that it just didn't make any sense to Phil Collins and it really pissed him off. He didn't like seeing Peter Gabriel in this costume. Gabriel didn't give a fuck though, he just wanted to do this piece of theatre. Just round the corner from here is the Palace Theatre, and that's where I saw them do The Lamb Lies Down On Broadway, two nights running, when I was 15. We just used to sneak into all the gigs, me and my mates. We were desperate to get into this one because we'd seen them on the Whistle Test but we couldn't get in for love nor money. We were stood outside and the guy who ran Virgin Records on Lever Street was there. I used to go to that shop three or four times a week to buy all my albums, and at about five to eight he came to the door and he recognised me from the shop because I used to ask him for advice, and he beckoned me over and put a ticket in my hand. It was sixth row from the front, and I was just blown away by it. It was one of the greatest things I've ever seen. It was presented as theatre. There were a lot of props. There was a big mesh cage that Gabriel performed in, there were a load of strobes going off. How did they represent a wall of nothingness sweeping across Times Square? Just a bit of smoke I think."

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Children of a Lesser God (1986)
Children of a Lesser God (1986)
1986 | Drama, Musical, Romance
Unfortunately doesn't come out entirely unscathed from stage to screen, a touch too long and a touch too slow for this to be consistently potent - and some segments are a bit too writerly even for me as well as the occasional Broadway banality here and there that sort of brings this to a lull in the middle. But all the same, this is surprisingly complex and fragile filmmaking on the subject for 1986. On a technical note the music and visuals are hushed rhapsody together, and I particularly admire how there's an expressive intimacy in the conversations Hurt has with deaf characters whereas there's this palpably cold distance in the ones he has with hearing ones - an aspect that seems almost intrinsic. And on that note I also have to appreciate how it confronts Hurt's fixer mentality *as well as* Matlin's resistant anger rather than making the deaf character ultimately bend to the will of the 'virtuous helper' 'for their own good'. William Hurt is sensational, and Marlee Matlin is in one of the top-tier greatest performances of the 80s - the fact that they self-gratifyingly gave her their pity award and then immediately refused to cast her in much else is evidence #18,000 on why the Oscars are rancid bullshit. On top of all of that it's packed with awesome scenes and it's just a damn good romance... though if I have one more quibble: do the hearing characters really need to repeat aloud every fucking thing the deaf characters sign to them to absolutely no one at all but themselves like they're talking to a toddler? This really couldn't have been subtitled? But I digress, I still cried multiple times so we aight.
  
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Heather Cranmer (2721 KP) created a post

May 28, 2020  
"A highly interesting read that will leave you hooked on each and every word."

Stop by my blog, and read my review for the fascinating historical fiction novel STORMS OF MALHADO BY Maria Elena Sandovici​. Enter the GIVEAWAY to win a SIGNED copy of the book!

https://alltheupsandowns.blogspot.com/2020/05/book-blog-tour-and-giveaway-storms-of.html

**BOOK SYNOPSIS**
Galveston Island, Texas, September 2008

Katie doesn’t believe in ghosts. And she certainly doesn’t believe the rumors that her family’s home is haunted, despite its tragic history: two young women who lived there in different eras died in hurricanes—one during Hurricane Carla in 1961, one during the Great Storm of 1900, the greatest natural disaster to befall the United States. But that was the past, a fact Katie reminds herself of when she returns to Galveston to await Hurricane Ike with her parents and boyfriend in her family’s Broadway mansion, hoping to rekindle her flailing relationship.

While Katie is not afraid of the ghost stories she’s heard, she is afraid of the monster storm approaching. As even die-hard Islanders evacuate, her fears grow—fear of the looming hurricane, fear that she’s talentless as a painter, fear that her relationship with her boyfriend is already over. As Katie struggles against her fears, the past whispers to her of the women who died there and the haunting similarities they share with Katie’s own life.

Through three different timelines, Storms of Malhado weaves a story of Galveston’s past, underscoring its danger and isolation, as well as its remarkable resilience, and its capacity for both nostalgia and reinvention. Full of contradictions, at once insular and open to the world, Galveston Island is as much a character of the novel as Katie, Suzanne, Betty, their lovers, and their confidantes.