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There’s No Murder Like Show Murder
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Tasha Weaver has seen her fair share of divas come and go while working as the costume shop head at...
Connor Sheffield (293 KP) rated Riot Of The Living Dead by Lesbian Bed Death in Music
Jul 24, 2017
Awesome Rock (3 more)
Horror Movie References
Catchy Songs
Inspiring Lyrics
One of my all time favourite albums
I first found Lesbian Bed Death back in 2014 and really enjoyed what I heard. The first song I found was Halloween, and I could not get it out of my head and found myself listening to it over and over again. (Halloween was coming up and I was going to be at Whitby Goth Weekend).
When I went to book my tickets I saw that LBD were in fact going to be playing at WGW that year and I couldn't wait to hear my new found obsession live on stage in my favourite place on earth, Whitby!
After listening to the entire album (and previous albums), I found a new favourite song called Chains, which really spoke to me and in fact inspired me to write a poem called Black Candle, all about how my life throughout school etc. made me feel like I couldn't be myself but I finally broke from those chains and nowadays, I'm not afraid to be me. It was a somewhat anti-bullying themed poem, but also one about courage, and after I had finished writing it, I thought that I should let the artists that inspired me, know what their music has done for me. So I emailed them with my poem and honestly, I thought that would be that. Either they read it or they don't, but at least I went ahead and sent it.
Not long after, but drawing ever closer to the night I was going to see them live in Whitby, the manager (and guitarist), Dan Peach replied to my email, telling me he enjoyed reading the poem and that he showed the other band members and they also liked it. This was surreal to me and I was so excited to walk up to them during the meet and greet before the gig and tell them that I was the one who wrote the poem. When the night came for that opportunity I was nervous as hell, and didn't know how to talk to them. I mean, they're just people, but to me and my mind they were a band with many fans and fans can get creepy. I didn't want to be creepy. So I walked up, greeted them and told them it was so awesome to meet them, and then told them I was the one who wrote the poem and when they all told me it was awesome, I could not stop grinning like a Cheshire cat, and that's not even where the story ends.
After they played a few songs on stage, Kittie announced that the next song was for someone special in the audience. It was a little song of theirs called 'Chains' and it was dedicated to the person it inspired to write a poem about breaking free. Dan Peach nodded at me and so did Kittie and I was lost for words. I rocked so much that night and it remains the greatest night of my life.
The band themselves are awesome, and the music they create is something catchy and lyrically brilliant, with songs that'll stick in your head. I have listened to this album countless times and it remains on of my favourite albums of all time. I highly recommend the album and the band!
When I went to book my tickets I saw that LBD were in fact going to be playing at WGW that year and I couldn't wait to hear my new found obsession live on stage in my favourite place on earth, Whitby!
After listening to the entire album (and previous albums), I found a new favourite song called Chains, which really spoke to me and in fact inspired me to write a poem called Black Candle, all about how my life throughout school etc. made me feel like I couldn't be myself but I finally broke from those chains and nowadays, I'm not afraid to be me. It was a somewhat anti-bullying themed poem, but also one about courage, and after I had finished writing it, I thought that I should let the artists that inspired me, know what their music has done for me. So I emailed them with my poem and honestly, I thought that would be that. Either they read it or they don't, but at least I went ahead and sent it.
Not long after, but drawing ever closer to the night I was going to see them live in Whitby, the manager (and guitarist), Dan Peach replied to my email, telling me he enjoyed reading the poem and that he showed the other band members and they also liked it. This was surreal to me and I was so excited to walk up to them during the meet and greet before the gig and tell them that I was the one who wrote the poem. When the night came for that opportunity I was nervous as hell, and didn't know how to talk to them. I mean, they're just people, but to me and my mind they were a band with many fans and fans can get creepy. I didn't want to be creepy. So I walked up, greeted them and told them it was so awesome to meet them, and then told them I was the one who wrote the poem and when they all told me it was awesome, I could not stop grinning like a Cheshire cat, and that's not even where the story ends.
After they played a few songs on stage, Kittie announced that the next song was for someone special in the audience. It was a little song of theirs called 'Chains' and it was dedicated to the person it inspired to write a poem about breaking free. Dan Peach nodded at me and so did Kittie and I was lost for words. I rocked so much that night and it remains the greatest night of my life.
The band themselves are awesome, and the music they create is something catchy and lyrically brilliant, with songs that'll stick in your head. I have listened to this album countless times and it remains on of my favourite albums of all time. I highly recommend the album and the band!
RəX Regent (349 KP) rated Dracula (English) (1931) in Movies
Mar 7, 2019
Where it all began...
Contains spoilers, click to show
The year was 1931: Two years after the success of The Jazz Singer and the final introduction of sound movies into the mainstream, sound was still revolutionising the industry. But in 1931, a bit like 3D now, there was still much confusion over to how make films, with directors, producers and actors alike, were still moving over from the suddenly dated silent era, with varying success.
Tod Browning was a man who would unfortunately find little success in the sound era, but not necessarily because he couldn't move with the times, but because his career was derailed a couple of years later by his disturbing horror pic, Freaks.
Dracula was shot THREE times. One, this one, was the conventional sound version that we all know. An other was shot at night and in Spanish for the benefit of that audience, which the studio supposedly preferred. This was quite common at this time, but little known nowadays. And the third was a straight forward silent version for the many theatres still un-equipped to handle sound.
But the styles of the silent era are all over this film. From the long silent reactions shots and the over acting, especially by Bela Lagosi in the titular role. This was also the adaptation of the stage adaptation of Bram Stoker's chiller, and was faithfully adapted from that source, hence the lack of more complex special effects, with bats on strings and fog machines, over more cinematic effects.
The transformation scenes for example, where the Count morphs from a bat to the undead human occur off-screen, rather than some form of cross fade etc. Is this a choice driven by lack of money? Lack of cinematic ambition of a choice to stick to the stage material? To be honest, I have too little knowledge or experience of Tod Browning's work to suggest a reason, but when all's said and done, it did work.
Let's be honest, this is 80 years old and is not the least bit scary and it is hard not to laugh, but in context, I'm sure it worked well at the time and the story is well conveyed. Lagosi's undead performance is hammy by today's standards but he was somewhat likable. He was very deliberate, slow and the silent era has certainly left its scars, as the subtly of sound performing was yet to take hold.
But this is the sort of film were silent melodramatic acting still worked. This is of course a piece Gothic Horror, the home of melodrama if ever there was one. This is surly a product of its time, both as the industry went through one of it's most dramatic changes, which ended so many careers as well a created so many new ones, but it's also, let's not forget, the first direct adaptation of Bram Stoker's book, besides the 1922 German version, Nosferatu, which changes a fair few details to try to get around the copyright, failing to do so mind, resulting in failed bid to have every copy of the film destroyed.
This is the film that ingrained the image of the Dracula that we know today into popular culture. This was were the Universal horror franchise began. For whatever faults it has by today's standards, it did something right.
Tod Browning was a man who would unfortunately find little success in the sound era, but not necessarily because he couldn't move with the times, but because his career was derailed a couple of years later by his disturbing horror pic, Freaks.
Dracula was shot THREE times. One, this one, was the conventional sound version that we all know. An other was shot at night and in Spanish for the benefit of that audience, which the studio supposedly preferred. This was quite common at this time, but little known nowadays. And the third was a straight forward silent version for the many theatres still un-equipped to handle sound.
But the styles of the silent era are all over this film. From the long silent reactions shots and the over acting, especially by Bela Lagosi in the titular role. This was also the adaptation of the stage adaptation of Bram Stoker's chiller, and was faithfully adapted from that source, hence the lack of more complex special effects, with bats on strings and fog machines, over more cinematic effects.
The transformation scenes for example, where the Count morphs from a bat to the undead human occur off-screen, rather than some form of cross fade etc. Is this a choice driven by lack of money? Lack of cinematic ambition of a choice to stick to the stage material? To be honest, I have too little knowledge or experience of Tod Browning's work to suggest a reason, but when all's said and done, it did work.
Let's be honest, this is 80 years old and is not the least bit scary and it is hard not to laugh, but in context, I'm sure it worked well at the time and the story is well conveyed. Lagosi's undead performance is hammy by today's standards but he was somewhat likable. He was very deliberate, slow and the silent era has certainly left its scars, as the subtly of sound performing was yet to take hold.
But this is the sort of film were silent melodramatic acting still worked. This is of course a piece Gothic Horror, the home of melodrama if ever there was one. This is surly a product of its time, both as the industry went through one of it's most dramatic changes, which ended so many careers as well a created so many new ones, but it's also, let's not forget, the first direct adaptation of Bram Stoker's book, besides the 1922 German version, Nosferatu, which changes a fair few details to try to get around the copyright, failing to do so mind, resulting in failed bid to have every copy of the film destroyed.
This is the film that ingrained the image of the Dracula that we know today into popular culture. This was were the Universal horror franchise began. For whatever faults it has by today's standards, it did something right.
Heiner Muller After Shakespeare: Macbeth and Anatomy of Titus -- Fall of Rome
William Shakespeare, Carl Weber and Heiner Muller
Book
Heiner Muller After Shakespeare makes available for the first time Macbeth and Anatomy Titus Fall of...
DJ Muggs recommended Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan in Music (curated)
Faris Badwan recommended track Jerusalem by Sleep in Dopesmoker by Sleep in Music (curated)
BankofMarquis (1832 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Feb 12, 2021
Give Chadwick the Oscar
Pulitzer Prize winning Playwright August Wilson wrote 10 plays that he labeled his “Century Cycle” - one placed in each decade of the 20th century that depicts the Negro experience in America. Denzel Washington has pledged to produce a film for each one of these plays.
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Sarah (7800 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Jan 30, 2021
Boseman is amazing
Ma Rainey’s Black Bottom is the latest adaptation of the works of August Wilson brought to us by producer Denzel Washington, following on from the 2016 adaptation of Fences that earned Viola Davis a Best Supporting Actress Oscar. Here Washington hands over the directing reins to Tony award winner George C. Wolfe, while Viola Davis returns as the titular Ma Rainey.
Set in 1920s Chicago, the film follows a tense and fractious recording session with Ma Rainey and her backing band, old hands Toledo (Glynn Turman), Cutler (Colman Domingo) and Slow Drag (Michael Potts) alongside ambitious young horn player Levee (Chadwick Boseman). Tensions rise between Ma, Levee and the recording studio management (Jeremy Shamos as Irvin and Jonny Coyne as Sturdyvant) as each attempts to control the recording session and play songs that fit best with their own motives. Contributing to the frictions are Levee’s flirtation with Ma’s girlfriend Dussie Mae (Taylour Paige) and her Ma’s stuttering nephew Sylvester (Dusan Brown) as he attempts to introduce Ma’s signature song, Black Bottom.
Ma Rainey’s Black Bottom undoubtedly looks and sounds good. The cinematography and costumes are perfect and entirely in keeping with the 20s Chicago setting. And the blues music is captivating and beautifully made. To be quite honest I would’ve been quite happy to watch and listen to an entire film solely following the band and their music. However whilst it does look and sound good, it is so obviously a film adapted from a stage play and I’m afraid this isn’t a good thing. There’s a limited number of sets and virtually the entirety of the 90 minute run time is set within two rooms in the recording studio, which makes such a short film feel ridiculously drawn out. This isn’t helped by the huge reliance on very long scripted dialogue and conversational scenes. I can’t deny that the writing is good and is helped by strong performances from everyone involved, but there’s just too much dialogue. This might work on the stage, but on screen it doesn’t quite translate. There’s that much dialogue that the majority of scenes become too heavy and bogged down and sadly almost entirely forgettable. For me a film needs to balance dialogue with actual events and actions, and I’m afraid aside from the final act, nothing much happens here.
Fortunately this is at least boosted by some stellar performances. Viola Davis is brilliant as the spirited Ma Rainey, even if Ma herself as a character is rather unlikeable with some questionable motives for her actions and manners. The star however is the late Chadwick Boseman. While it’s very off putting to see how obviously thin and ill he was filming this, his performance is outstanding. He brings life and fun and heart to every scene he’s in and gives this film a massive boost. Even the drawn out dialogue heavy scenes become enthralling when he’s talking and the emotions on show are spectacular. Despite Viola Davis being the star as Ma, it’s Boseman that carried this film entirely on his shoulders. If he doesn’t win a posthumous Oscar for this, it’d be criminal.
Ma Rainey’s Black Bottom is a shining example of stellar performances, most notably Chadwick Boseman. It’s just a shame that the rest of the film doesn’t quite meet the high standards set by its stars.
Set in 1920s Chicago, the film follows a tense and fractious recording session with Ma Rainey and her backing band, old hands Toledo (Glynn Turman), Cutler (Colman Domingo) and Slow Drag (Michael Potts) alongside ambitious young horn player Levee (Chadwick Boseman). Tensions rise between Ma, Levee and the recording studio management (Jeremy Shamos as Irvin and Jonny Coyne as Sturdyvant) as each attempts to control the recording session and play songs that fit best with their own motives. Contributing to the frictions are Levee’s flirtation with Ma’s girlfriend Dussie Mae (Taylour Paige) and her Ma’s stuttering nephew Sylvester (Dusan Brown) as he attempts to introduce Ma’s signature song, Black Bottom.
Ma Rainey’s Black Bottom undoubtedly looks and sounds good. The cinematography and costumes are perfect and entirely in keeping with the 20s Chicago setting. And the blues music is captivating and beautifully made. To be quite honest I would’ve been quite happy to watch and listen to an entire film solely following the band and their music. However whilst it does look and sound good, it is so obviously a film adapted from a stage play and I’m afraid this isn’t a good thing. There’s a limited number of sets and virtually the entirety of the 90 minute run time is set within two rooms in the recording studio, which makes such a short film feel ridiculously drawn out. This isn’t helped by the huge reliance on very long scripted dialogue and conversational scenes. I can’t deny that the writing is good and is helped by strong performances from everyone involved, but there’s just too much dialogue. This might work on the stage, but on screen it doesn’t quite translate. There’s that much dialogue that the majority of scenes become too heavy and bogged down and sadly almost entirely forgettable. For me a film needs to balance dialogue with actual events and actions, and I’m afraid aside from the final act, nothing much happens here.
Fortunately this is at least boosted by some stellar performances. Viola Davis is brilliant as the spirited Ma Rainey, even if Ma herself as a character is rather unlikeable with some questionable motives for her actions and manners. The star however is the late Chadwick Boseman. While it’s very off putting to see how obviously thin and ill he was filming this, his performance is outstanding. He brings life and fun and heart to every scene he’s in and gives this film a massive boost. Even the drawn out dialogue heavy scenes become enthralling when he’s talking and the emotions on show are spectacular. Despite Viola Davis being the star as Ma, it’s Boseman that carried this film entirely on his shoulders. If he doesn’t win a posthumous Oscar for this, it’d be criminal.
Ma Rainey’s Black Bottom is a shining example of stellar performances, most notably Chadwick Boseman. It’s just a shame that the rest of the film doesn’t quite meet the high standards set by its stars.
Kronos Remote
Utilities and Music
App
The 'Kronos Remote' app allows you to control the famous Korg Kronos workstation from your iPad and...
