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Also read my review here: http://bookbum.weebly.com/book-reviews/under-the-banner-of-heaven-a-story-of-violent-faith-by-jon-krakauer

<b>TRIGGER WARNING: rape, incest, domestic abuse, child abuse, animal abuse, child murder</b>

I’m speechless. (OK, maybe not). What the <i>heck</i> did I just read? You’re telling me this is <b><i>non-fiction?</b></i> ...How? <b>HOW?</b> This isn’t just some freak incident either, people live like what’s described in this book, I’m baffled by it. I mean I’m a little baffled by strict religious following anyway (no offence meant) but Mormonism is just on another level.

The story of Mormonism is so strange because Joseph Smith was a fucking control freak and swindler but also the way society got away with treating him and his followers was awful. You really can’t pick a right and wrong side, they’re both pretty terrible.

This book's main focus is on how people's strong faith in Mormonism makes them believe they're above the laws of the land, so they go and commit crimes they think are justified and right. For example, Dan and Ron Lafferty, who <i>truly</i> believe God has spoken to them and told them they need to kill their brothers wife and young baby. A deed done by them so brutally, the poor baby was basically beheaded. <b>Clearly this book isn’t for the faint hearted.</b>

One of the saddest moments in this book is when Krakauer meets a Mormon family and their young daughter (I think she was between 8 to 12) comes into the room with floor plans of her dream house, where she's drawn out several different rooms for the other wives of the husband she is going to share. How <i>awful</i> is that, to believe that you must share your husband with other women, because for men of the Mormon faith, women are just child bearers, nothing more. <b>Joseph Smith actually declared God said "women shall be man's handmaid".</b> For this young girl to be planning her life with a shared husband and feeling that's <i>normal</i>, even feeling <i>happy</i> about it, is a terrible, terrible thing to think about.

This took me around 3 months to finish, not only because I accidentally left this in my dad’s suitcase when I came back from Spain, but also because this was such heavy non-fiction reading. Not only did it describe, in gruesome detail, the crimes committed by those under the Mormon faith, it was also a long historical timeline of how Mormonism was created and has grown to where it currently sits today. (<i>Did you know,</i> there are currently more Mormons on this planet than Jewish people?) Not to mention the confusion it causes when trying to remind you who everyone is and how everyone is related, because they’re pretty much <i>all</i> related through marriage.

This is certainly an interesting read. I'm sure you’ve heard about Mormon’s and the Book of Mormon and polygamy, etc, but never really looked further into it. Well, for those of you that would like to look further into it, then this is the book for you! It's incredible to read all about how Joseph Smith magicked up Mormon faith and how gruesome and evil polygamy really is.

I really recommend this book for all of you who love learning about religions or just love to have some random shocking facts to dish out around the dinner table. A seriously interesting, if not disturbing read.
  
Pokémon: Detective Pikachu  (2019)
Pokémon: Detective Pikachu (2019)
2019 | Animation, Comedy, Fantasy
A Really Great Video Game Movie
Pokemon: Detective Pikachu is a 2019 video game film adaptation directed by Rob Letterman with screenplay written by Letterman, Dan Hernandez, Benji Samit and Derek Connolly from a story by Hernandez, Samit, and Nicole Perlman. The movie is produced by Warner Bros. Pictures, Legendary Pictures and The Pokemon Company, in association with Toho Co., Ltd. It's based on the Pokemon franchise created by Satoshi Tajiri and the 2016 video game Detective Pikachu. The movie stars Justice Smith, Kathryn Newton, Suki Waterhouse, Ken Watanabe, and Bill Nighy.


Tim Goodman (Justice Smith) is a 21-year-old insurance salesman who gave up on training Pokemon at a young age. While hanging out with his friend Jack, he receives a call that his father Harry died while investigating a case. He travels to Ryme City, where his father was a detective and where Pokemon fighting is outlawed. It is a metropolis that pushes the bonds of humans and Pokemon by not conforming to some of the usual Pokemon world rules, such as battles or pokeballs. Tim is there to collect his father's belongings and encounters a Pikachu that can speak and he can somehow understand it. And together they try to uncover why Tim's father was killed.


This movie was lots of fun and very enjoyable, even for people that might not know anything about Pokemon. Ryan Reynolds did a great job in portraying the coffee drinking Pikachu detective. The plot was a little weak and could have been better, but I didn't hold that against it too hard since its kind of a kids movie. The CGI was beautiful in a lot of ways, somethings like the city and the skin and texture on Pokemon were phenomenal, but kinda fell short in a few scenes. Some of the human actors were definitely better than others and it shows but doesn't kill the whole movie or vibe. I really liked seeing Ryme City though, it was just so awesome to see all the Pokemon and people interacting and the world building done to make it look real, like it could exist in real life. I think they could of used Ken Watanabe more in the movie, he's a pretty good actor I feel was under utilized. This was a really great video game movie though and I think one that breaks the stigma that video game movies aren't good or successful. I give this movie a 7.


I almost gave it an 8 but I feel that it's nostalgia and my love for the Pokemon games and cartoon movies that are behind that. But I do give it my seal of approval, that you should go see this movie in theaters, especially if you are a Pokemon fan or if you have kids who are.
  
Yeah Yeah Yeah: The Story of Modern Pop
Yeah Yeah Yeah: The Story of Modern Pop
(0 Ratings)
Book Favorite

"There is something faintly off-putting about this book’s subtitle. We live in a world where the obsession with music’s past threatens to overwhelm its present, where the only music magazines that sell in any quantity deal in heritage rock, where virtually the only TV coverage of music comes via retrospective documentaries: the story of modern pop has been told and retold until it’s been reduced to a series of tired anecdotes and over-familiar landmarks. But Yeah Yeah Yeah’s brilliance lies in the personal, idiosyncratic route Bob Stanley takes through the past: for him, the modern pop era begins not with Elvis or “Rock Around the Clock”, but the release of Johnnie Ray’s 1954 album Live at the London Palladium, the first time a screaming teenage audience had been heard on record in the UK. He devotes more space to 1970 one-hit wonders Edison Lighthouse than to Led Zeppelin, delivers a withering verdict on some surprising sacred cows – Joni Mitchell, Patti Smith, Steely Dan – and is great at unearthing a forgotten quote that challenges what you might call the authorised version of events: at the height of the 1967’s Summer of Love, he finds the Who’s Pete Townshend not boggling at the new frontiers mapped out by psychedelia, but grumpily complaining that “people aren’t jiving in the listening boxes in record shops any more like we did to a Cliff Richard ‘newie’”. Stanley has a way of tackling well-worn topics – not least the Beatles – from unlikely angles, and of talking about artists you’ve never heard of with a contagious enthusiasm that makes hearing them seem like a matter of urgency. Best of all, he makes you laugh out loud while getting directly to the heart of the matter. The lugubrious late 70s output of Pink Floyd sounds like music made by people “who hated being themselves”. The punk-era Elvis Costello sang “like he was standing in a fridge”, and the experience of listening to novelty ska revivalists Bad Manners is “like being on a waltzer when you’ve had three pints and desperately need the toilet”. If you’ve ever heard them, you’ll know exactly what he means."

Source
  
Free Birds (2013)
Free Birds (2013)
2013 | Animation, Comedy
7
5.1 (8 Ratings)
Movie Rating
A Fun Thanksgiving Flick
When asked to list films worth watching that have a Thanksgiving theme, the BankofMarquis likes to pull out a little animated gem that came and went pretty quickly in 2013 - FREE BIRDS - starring the voices of Owen Wilson and Woody Harrelson as 2 turkeys that go back in time in an egg-shaped time machine named STEVE (voiced by George Takei - more on that later) to stop the first Thanksgiving. This film succeeds more than it doesn't.

The first full length animated feature film from REEL FX (one of only 2 they have put out thus far) FREE BIRDS suffers from that kiss of death - multiple writers revising the script over time. Directed by JImmy Hayward (HORTON HEARS A WHO), who is also credited with writing this film alongside long time Kevin Smith collaborator Scott Mosier,FREE BIRDS is actually a pretty fun film, despite the disjointedness of the plot.

Credit should go to the stellar voice cast, led by Owen Wilson and Woody Harrelson. They have tremendous chemistry together and are a fun pair to watch. Joining them is the always dependable Amy Poehler (who would shine as the voice of Joy years later in Pixar's INSIDE OUT). It was fun spending an hour and a half with these 3 - and the others in this cast: Colm Meaney, David Keith and Dan Fogler.

But, for me, the star of this film is Star Trek's George Takei as the voice of S.T.E.V.E (the egg-shaped time machine device). He understands what type of film he is in and delivers just the right blend of comedy and seriousness that helps elevate the proceedings. And that is good for, as I stated above, the plot is a bit disjointed, so I would recommend you just sit back, relax and enjoy the ride.

The critics panned this film, but it made over $110 million at the box office (more than doubling it's production cost), so many, many moviegoers had the same, fun experience that I did.

And...you will, too...if you give FREE BIRDS a try.

Letter Grade: B

7 stars (out of 10) and you can take that to the Bank(ofMarquis)
  
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Paul Chesworth (3 KP) created a post

Feb 20, 2018  
OSTURA – THE ROOM

Six years is a long time between album releases. A lot can happen in that time, the biggest issue being the fan-base. In today's throwaway music era, where songs are disposed for having a 20 second intro by the ‘millennials’, but thankfully us rock fans are of a more discerning disposition and made of sterner stuff. Six years is nothing in the scale of rock bands, but I had to admit that even I was a bit worried that this album would never see the light of day. It was written immediately after the debut ‘Ashes Of The Reborn) from 2013 up and through to 2016…..and here it is (finally) in 2018! Top marks to Ostura for not losing faith and getting ‘The Room’ out there. I for one am bloody glad that they have persevered.


They probably feel like a cat with 10 lives, as it has been picked up by Universal Music MENA, when it could have literally gone south and not got released at all. There have been some Ostura casualties along the way. Gone are Tony Ghanem (vocals) and Chris Naimeh (drums), and in comes Alain Ibrahim (guitars), and Alexander Abi Chaker (drums – live, and additional percussions, and he wrote all the drum parts for The Room’). For the album, Thomas Lang is behind the kit and has quite an extensive CV; and I have to say, he IS ON FIRE here.

The 12 songs were written in chronological order and work as a score for an equally cinematic storyline about a social recluse girl who takes refuge in a room. Locked in with her thoughts, fears and ambitions, the girl’s imagination turns the room into an endless universe where she is the creator. Soon after, the creation gains the ability to create and ask the right questions. The story tackles the notions of fear, perfection, social anxiety, ambitions, rage, power, and the struggle between the creator and the creation.

'The Room' is a massive production with performers from 12 countries, alongside the City of Prague Philharmonic Orchestra and the core band. The premise has a lot to live up to. So, do Ostura live up to this high bar they have set for themselves?

Emphatically, yes! Where the debut was more ‘Metal’, and a mix between something like Avantasia and Kamelot, ‘The Room’ is a different experience entirely. The sound now is more cinematic and falls partly on the side of Ayreon. The sound (track) is like that of a film, it’s filled out and sounds huge, partly due to the involvement of The City of Prague Philharmonic Orchestra, a choir, string quartet, and an electric triangle (one of these isn't true). The whole concept has been so carefully constructed that the Orchestra and band are not overwhelming each other or jockeying for position. It’s a perfect balance of band and orchestra coming together for probably THE release of the year.

After a very long wait, I can wholeheartedly, 100% state that ‘The Room’ is worth it, and then some! Opening track ‘The Room’ starts with this pulsating and growing riff that explodes into action. The contrast in vocals between Erosion (Monsef) and The Girl (Jreissata) works a treat, you have the roughness/industrial vs. the angelic, its light vs. dark, and they also have the wonderfully melodic metal vocals of Utopia (Michael Mills, Toehider). ‘Escape’ has hall the hallmarks of symphonic metal that you could wish for. Mills proves to be the Ace in the pack as his vocals are ear-splittingly phenomenal. The Room is more than just Within Temptation with a couple of extra sets of balls, as Ostura throw everything into the mix, both vocally and musically, there is even the daddy of them all, a Hammond organ.

In case you are worried, the three-pronged (trident) vocal assault that was seen on the debut is still here. Only this time, Monsef and Jreissata have seriously upped their game, and have in Mills a singer of the highest quality. Mills is immense, his vocals are up there with early Queesnryche’s Geoff Tate. Its not just the Mills show - Monsef glides from low to high with ease, and Jreissati' vocals are just simply divine. The three together are pure perfection.

‘Beyond’ is where the cinematic soundtrack comes to the fore. Alan Ibrahim’s and Marco Sfogli’s guitar playing collides with the PSO – electric vs. an orchestra, industrial riffs dueling against violins (An orchestra is just the heavy metal of the 1600s to the present day, without a Marshall), all coming together for this huge soundscape of noise. ‘Erosion’ is one of those songs that I wish I could play through a PA. It’s a track that you just can’t play loud enough. It mixes the brutality of guitars that Dream Theater used to do so well, with a male baritone choir! Ostura have so much faith in what they are doing that the orchestra parts come to the fore and throw in a choir for good measure adding further to the already pomp-tastic sound.

‘Mourning Light’ is the first chance to catch your breath as its just The Girl, and a small accompaniment in comparison. We have just witnessed the beautiful calm and serenity of The Girl, you know there’s something sinister just around the corner. It doesn’t half deliver with ‘Deathless’. It’s the kind of intro that you would see on a film like Godzilla, or Cloverfield, dark and looming with a sense of impending danger. The final third of ‘The Room’ has two of the biggest songs in both ‘Darker Shape Of Black’ in which Ostura have roped in 'he who shall not be named!' The other being a 12-minute magnum opus ‘Duality’. 'The 'International Man of Mystery's' style is so distinctive that it is bound to draw comparisons. The song has everything – huge riffs, against a Middle Eastern backdrop, and with the orchestra adding an overall massive sound. The filling in the middle of these two monsters is ‘The Surge’ and is solely a vehicle for ‘Erosion’ and Monsef to take centre stage.

In fact I’m going to leave it right there. It would be a poor read if all I did was wax lyrical about every song in a similar manner. I blame Danny Bou-Maroun and Elia Monsef. Its their bloody fault that the ‘The Room’ is so damn good!

I simply cannot fully express in words how good ‘The Room’ is. If you’re a fan of Ayreon, and I know there are quite a few of you out there, you absolutely positively need this in your collection. There’s a lot to absorb here, as ‘The Room’ will require several listens as its like being bombarded with a wall of sound. You will pick up on things you didn't hear the first time, and so on. The end result though is seriously worth the wait. In the world of cinematic rock, Ostura stand-alone, no one can touch them. Purely as an album it is up there with Ayreon’s ‘01011001’ and possibly Dream Theater’s ‘Metropolis Pt. 2: Scenes From A Memory’. I'm not kidding.

Credit also needs to go to Jens Bogren. Ostura have a hell of a lot going on here, and to get the production so ‘right’ has taken one huge effort. To mix the sound and multiple layers are not an easy task to make it sound as good as this, and he has done a superb job, where others could easily have failed.

Honestly, very few albums hit my inbox that are this good. If anything peaks this in 2018 whether it be metal, prog, AOR and everything in between, I will be very surprised indeed. This is without doubt, awesome!

NOTE – Universal are not releasing this on CD as it’s a dying format. This is a shocking decision considering they have a potential ‘Ostura’ of an album in their possession. Criminal. Here’s hoping the band can offer up something via a Pledge campaign.

Score – Awesome!

Tracklisting –
The Room
Escape
Beyond (The New World)
Let There Be
Erosion
Mourning Light
Deathless
Darker Shade Of Black
The Surge
Duality
Exit The Room

Ostura
Youmna Jreissati – Vocals as ‘The Girl’
Elia Monsef – Vocals as ‘Erosion’ Charango, Additional Acoustic Guitar, Programming, Engineering, Media
Danny Bou-Maroun – Piano, Keyboards, Orchestration, Programming, Cubase Operation, Additional Percussions
Alain Ibrahim – Acoustic guitar, Rhythm Guitars, Guitar Co-arrangements
Alexander Abi Chaker –Additional percussions, Drums Co-arrangements on tracks (1,2,4,5,8)

Guest Musicians

Michael Mills – Vocals as ‘Utopia’
Thomas Lang – Drums
Dan Veall – Bass
Marco Sfogli – Lead Guitar on tracks (1.2.3.5.8.11)
He who shall not be named, yet!! – Lead Guitar on Track 9
Ōzgūr Abbak – Lead Guitar on Track 6
The City Of Prague Philharmonic Orchestra Conducted by Danny Bou-Maroun
The Lebanese Filmscoring Ensemble – Choirs, String Quartet
Yamane Al Hage – Violin Solo on Tracks (3,8,9)
Jokine Solban – Violin Solo on Track 2
Nobuko Miyazaki – Flutes on Tracks (9,11)
Mohannad Nassar - Oud on Tracks (5,10)
Roger Smith – Cello on Tracks (1,10,12)

Mixed, mastered and re-amped by Jens Bogren at fascination Street Studio, Sweden
Alexandre Moreira – Editing
All vocals, piano, violins, percussions, recorded at the Citadel, Dlebta, Lebanon

Twitter - @Ostruraband
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