#Eric Folsom

[longlistshort]

Mark Georgiades, “Ghost of the Abandoned Bride”, Metal Steel and copper

Shelly Steck Reale, “The Fate You Choose”, Ceramic, wood, moss

Spooky season has begun and Florida CraftArt’s current exhibition Ghost Stories, curated by Catherine Bergmann (Curatorial Director of Dunedin Fine Art Center), is a perfect way to start celebrating.

The following artists are featured in the exhibition: Alegrobot, Demeree Barth, Karen Brown, Wendy Bruce, Joyce Curvin, Creative Clay, Coralette Damme, Katie Deits, Ed Derkevics, LA Finfinger, Eric Folsom, Janet Folsom, Mark Georgiades, Kristina Gintautiene, Erin Griffin, Cort Hartle, Judy Heady, Emma Hobbs, Pam Jones, Polly Johnson, Tyler Jones, Janna Kennedy, Traci Kegerreis, Betsy Lester, Cindy Linville, Richard Logan, Trent Manning, Francine Michel, Elizabeth Neily, Jacqueline Philip, Nick Reale, Shelly Steck Reale, Christine Renc-Carter, Jennifer Rosseter, Addie Rodriguez, Cooky Schock, Donna Slawsky, and Brandy Stark.

On Thursday, 10/5/23, in partnership with Keep St. Pete Lit, a group of local writers will be telling ghost stories at the gallery inspired by pieces from the exhibition. The reading will take place at 6pm.

Below are a few more selections-

Work by Alegrobot, Hand sculpted paper clay, acrylic paint

Janet Folsom, “Apparitions”, Mixed media (top left); Eric Folsom, Gravestone, bronze on marble; Donna Slawsky, (top right) “The Devil’s Work”, Stained glass, beads, and Creative Clay, Stephanie,(bottom right) “Monkey Dreams”, Mixed Media

About Creative Clay, who contributed several works to the exhibition-

“Creative Clay achieves its mission by providing ongoing studio arts workshops for individuals with disabilities five days per week. Creative Clay teaching artists provide students with education and experience in artistic techniques, as well as vocational skills related to the display, promotion, and sale or their expressive work.”

Katie Deits, “Haunted by the Past”, Ceramic, cotton, pencil, acrylic paint (left) and Nick Reale, “Out of the Wood” wood sculpture

Francine Michel “Mysteries of Urraca Mesa”, Water mixable oil, collage

Ed Derkevics, “Burnt Offerings”- “3 Potions” and “Jagged”- Mixed Media, recycled found objects

Janna Kennedy, “Souls and Pharmaseuticles”, 1800s Cabinet Cards, 1902 Pharmacy Ledger & Medical Ads, 19th Century Medicine Bottles

Kristina Gintautiene, “Slava”, Birch cradle board, Tissue paper, wax, oil pigments

LA Finfinger, Ghost Ceramic work (bottom left); Alegrobot, “(For the Record) he ordered the special”, Vinyl record, paper clay; Traci Kegerreis, “The Lost Lenore”, Mixed media (center top); Demeree Barth, “Remembering Sedlec Ossuary”, Clay, bullet casings, wood display stand, found objects (bottom right)

[coping-via-clint-eastwood]

1. I say high-functioning because that's the way I'm used to referring to myself, kind like how an elder trans person would say "when I used to be this gender". And I do see myself that way, because while I'm high-functioning, I am also high support needs, so I need to make that distinction. Besides, it's a form of reclamation. For me at least.

2. For the characters pictured here who aren't explicitly depicted as neurodivergent in canon, these are all my personal headcanon, ones that I have because I see those traits in those characters, and particularly because I identify with them, and feel safe. If you disagree, that's fine, but don't you dare go being nasty about it this month, on the neurodivergent website no less.

[Image ID:

A three-by-three alignment chart meme. The headers at the top read, from left to right: "bold of you to assume", "how dare you assume" and "please assume" respectively. The headers on the left of the chart read, from top to bottom: "I'm high-functioning", "I'm low support needs" and "I'm neurotypical" respectively.

Each slot in the grid has a picture of a character from the series CSI or CSI: Vegas in it, with their canon or headcanoned neurodivergence additionally typed on the pictures themselves by the creator. However, the centre slot, the one denoted by "how dare you assume I'm low support needs" does not have any picture. Instead, it has the typed words "Me Autistic/ADHD/OCD". "Me" refers to the creator of this meme.

For the rest of the grid, we have:

Bold of you to assume I'm high-functioning - Greg Sanders, main character from CSI and CSI: Vegas, headcanoned to be ADHD

How dare you assume I'm high-functioning - Josh Folsom, main character from CSI Vegas, headcanoned to be autistic

Please assume I'm high-functioning - David Hodges, main character from CSI and CSI Vegas, headcanoned to be Autistic/ADHD

Bold of you to assume I'm low support needs - Beau Finado, main character from CSI Vegas, headcanoned to be ADHD/OCD

How dare you assume I'm low support needs - Me, who is Autistic/ADHD/OCD

Please assume I'm low support needs - Gil Grissom, main character from CSI and CSI Vegas, canonically autistic

Bold of you to assume I'm neurotypical - Aaron Pratt, character who appears in season 2 episode 7 of CSI, canonically Autistic/ OCD

How dare you assume I'm neurotypical - Randy Trachsel, character who appears in season 3 episode 8 of CSI, canonically had Down's Syndrome

Please assume I'm neurotypical - Sara Sidle, main character in CSI and CSI Vegas, headcanoned to be Autistic

/end ID]

[gregszandles]

CSI: Vegas 2x17

[ask-philgraves]

Favorite song?

Ah, there's so many honestly.

Rather Southern of me, but I like Folsom Prison Blues by mister Cash himself. Devil Went Down to Georgia is one that the Shadows typically enjoy. Although, Eric Church often gets played in PT.

[playlistjunkie]

The Story of Outlaw Country in 33 Songs

Pitchfork - October 29, 2018

“Streets of Baltimore” Bobby Bare

“Folsom Prison Blues” (Live) Johnny Cash

“Mendocino” Sir Douglas Quintet

“Sunday Mornin’ Comin’ Down” Kris Kristofferson

“Me and Paul” Willie Nelson

“Kentucky” Sammi Smith

“Pancho and Lefty” Townes Van Zandt

“Dallas” The Flatlanders

“I Been to Georgia on a Fast Train” Billy Joe Shaver

“London Homesick Blues (Home With the Armadillo)” Gary P. Nunn

“Up Against the Wall, Redneck Mother” Ray Wylie Hubbard

“L.A. Freeway” Guy Clark

“Pissin’ in the Wind” Jerry Jeff Walker

“You Never Even Called Me By My Name” David Allen Coe

“I’m Not Lisa” Jessi Colter

“Are You Sure Hank Done It This Way” Waylon Jennings

“Bluebird Wine” Emmylou Harris

“Somewhere South of Macon” Marshall Chapman

“Texas (When I Die)” Tanya Tucker

“Single Again” Gary Stewart

“I Ain’t Living Long Like This” Rodney Crowell

“Amarillo Highway (For Dave Hickey)” Terry Allen

“I Think I’ll Just Stay Here and Drink” Merle Haggard

“Guitar Town” Steve Earle

“Crescent City” Lucinda Williams

“Kerosene” Miranda Lambert

“In Color” Jamey Johnson

“KMAG YOYO” Hayes Carll

“Cover Me Up” Jason Isbell

“You Can Have the Crown” Sturgill Simpson

“The Outsiders” Eric Church

“Hands of Time” Margo Price

“Feathered Indians” Tyler Childers

[petervc88]

Cappelle Classics - Country - 9 juli 2024

Terug luisteren kan hier.

Dit was de playlist:

Johnny Cash - Folsom Prison Blues (live) David Allan Coe - She Used To Love Me A Lot Hank Williams - I'm So Lonesome I Could Cry Dolly Parton - Coat Of Many Colours Kris Kristofferson - Help Me Make It Through The Night Willie Nelson, Snoop Dogg & Kris Kristofferson - Roll Me Up Buck Owens - Act Naturally Paul McCartney & Wings - Sally G Merle Haggard - Big City Vince Gill - Don't Let Our Love Start Slippin' Away The Judds - Why Not Me? Waylon Jennings - I'm A Ramblin' Man The Highwomen - Loose Change The Chicks - There's Your Trouble Yola - Ride Out In The Country Leah Blevins - First Time Feeling Eric Church - Springsteen Glen Campbell - Rhinestone Cowboy

Volgende week dinsdagavond van 22:00 t/m 23:00 is er weer een nieuwe uitzending van Cappelle Classics op Ice Radio. De uitzending wordt op donderdag van 13:00 tot 14:00 herhaald.

[siriaeve]

This is A Lot—and then add to it the fact that elsewhere in his post about being at Folsom, Eric writes:

"The reality of this young woman, in her slavery, was jarring next to all the happy moustachioed and enleathered queens wandering around. She was doing something definitive. But it made me feel bad inside, like she was carrying this great sadness and had to be hurt physically so she could forget it. To quote Lou "Sometimes I just don't know”.

Which just automatically gives me Armand feelings, and also Daniel feelings, and also Armand/Daniel feelings.

we all know about eric going to gay bars in the seventies at this point but eric frequenting FAMED GAY BDSM SEX CLUB THE ANVIL??

[genevieveetguy]

Before I was an Avenger, I made mistakes... and a lot of enemies.

Black Widow, Cate Shortland (2021)

[strikercannon-archive]

COWBOYS & ANGELS . 

striker cannon in the 1890s .

PLAYLIST : big iron - marty robbins / i shot the sheriff - eric clapton / folsom prison blues - johnny cash / cotton eye joe - rednex / rhinestone cowboy - glen campbell / i fought the law - the bobby fuller four / 5-1-5-0 - dierks bentley / tennessee whiskey - chris stapleton / king of the road - roger miller / people who died - the jim carroll band / blood brothers - gram parsons / the outlaw josey wales - zella day / black betty - ram jam / whiskey river - willie nelson / sweet home alabama - lynyrd skynyrd / rolex on a redneck - brantley gilbert / mamas don’t let your babies grow up to be cowboys – willie nelson & waylon jennings .

@rocketfm​​

[toxicsamruby]

the lengths that this episode went to to avoid showing any kind of empathy or solidarity w prisoners despite being named folsom prison blues after a song explicitly meant to show both empathy and solidarity w prisoners. eric kripke i want you dead

[maisqueumfilme]

Cate Blanchett comenta sobre a diversão de interpretar Hela em novo featurette de Thor: Ragnarok [2017]. O diretor Taika Waititi (What We Do in the Shadows [2014]) e o elenco Chris Hemsworth também comentam sobre a personagem.

Na trama, Thor deve lutar pela sobrevivência e correr contra o tempo para evitar que a poderosa Hela destrua sua casa e a civilização Asgardiana.

Retornam ao elenco Tom Hiddleston, Idris Elba Jaimie Alexander, Mark Ruffalo e Anthony Hopkins. O filme ainda tem as adições de Karl Urban (Dredd [2012]), Tessa Thompson (Cara Gente Branca [2014]) e Jeff Goldblum (O Grande Hotel Budapeste [2014]).

Com roteiro de Eric Pearson (Agente Carter [2015 - 2016]), Christopher Yost (Thor: O Mundo Sombrio [2013]), Craig Kyle (Wolverine e os X-Men [2008 - 2009]) e a novata Stephany Folsom.

A produção estreia no Brasil em 2 de novembro.

[fitzsaint]

why would they name that episode folsom prison blues then never play johnny cash in supernatural even once. eric kripke i’m coming to your house

[theeditorandnarratorcollaborate]

#BLAThoughtOfTheDay: Thor: Ragnarok is anything but Norse

#BLAThoughtOfTheDay: Thor: Ragnarok is anything but Norse

While this is the first Thor movie I’ve actually felt compelled to see, I think my intrigue has more to do with the syncretic mix of non-Norse imagery in its advertisements: http://theeditorandnarratorcollaborate.tumblr.com/post/163831133658/new-thor-ragnarok-poster-shown-at-sdcc The above poster looks a lot like iconography for the Hindu Pantheon, complete with lots of arms and the hyper use of…

[howaminotinthestrokesyet]

Behind The Album: OK Computer

The third studio album from Radiohead was released in May 1997 by Parlophone Records. This would mark the first album that Nigel Godrich worked on as their producer. The band would self produce the entire album themselves, which they have done on every record since. In 1995, Brian Eno asked the band to contribute a song to a charity compilation for War Child entitled Help. They were scheduled to do the recording in only a day, which led to the track, “Lucky.” Godrich would say of the recording. “Those things are the most inspiring, when you do stuff really fast and there's nothing to lose. We left feeling fairly euphoric. So after establishing a bit of a rapport work-wise, I was sort of hoping I would be involved with the next album." This track would form the foundation of what would become OK Computer. In early 1996, the group took a break from touring because they found it a bit too stressful. Thoughts now turned to a new record with the mindset of distancing themselves from anything similar to The Bends. Drummer Phillip Selway would say, “There was an awful lot of soul-searching [on The Bends]. To do that again on another album would be excruciatingly boring.” The label gave the band a rather good sized budget for recording equipment for the new release. A number of producers were considered for the album, but they kept coming back to Godrich as an advisor on equipment. Eventually, the band hired him as the producer. Ed O’Brien said of the album, “Everyone said, 'You'll sell six or seven million if you bring out The Bends Pt 2,' and we're like, 'We'll kick against that and do the opposite'."

In early 1996, Radiohead began proper recording of the LP at Canned Applause Studios in Oxfordshire, England. Issues immediately came up as the band had difficulty staying focused on one song all the way to completion. Selway would talk about this later, “We're jumping from song to song, and when we started to run out of ideas, we'd move on to a new song ... The stupid thing was that we were nearly finished when we'd move on, because so much work had gone into them." Although the members of the group were considered equals, the voice of Thom Yorke always represented the loudest one in terms of musical direction. Godrich would talk about his role within the group in an interview. They “need to have another person outside their unit, especially when they're all playing together, to say when the take goes well ... I take up slack when people aren't taking responsibility—the term producing a record means taking responsibility for the record ... It's my job to ensure that they get the ideas across." His permanent role on each Radiohead album would lead to the producer being called the sixth member of Radiohead. After only recording four songs, the band left the Canned Applause Studio for a variety of reasons Including the fact that the studio had no bathrooms or dining rooms. They decided to take a break from recording in order to support Alanis Morissette on tour, which gave them a chance to try some of their new tracks live. Around the same time, Director Baz Luhrmann asked the band to contribute a song to his film, Romeo and Juliet. “Exit Music for a Film” would be played as the credits rolled during the movie, but they did not give Luhrmann permission to place the track on the movie soundtrack. Yorke would later observe that this song became very important to the album. It “was the first performance we'd ever recorded where every note of it made my head spin—something I was proud of, something I could turn up really, really loud and not wince at any moment."

In September 1996, the band began recording again at a mansion in Bath, England owned by actress Jane Seymour. Jonny Greenwood would say the environment represented a much more pleasant change for the group. It “was less like a laboratory experiment, which is what being in a studio is usually like, and more about a group of people making their first record together." One quality that the band enjoyed during the sessions came in the fact that they took full advantage of the natural environment of the mansion. “Exit Music for a Film” utilized some natural reverb courtesy of a stone stairwell. They recorded Let Down” in an empty ballroom at 3 o’clock in the morning. The group worked at its own pace as Ed O’Brien observed later. “The biggest pressure was actually completing [the recording]. We weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff." A majority of the album would be recorded live with no overdubs because Yorke hated them. The band completed the rest of the album at the studio in Saint Catherine’s towards the end of 1996. In January 1997, the strings for the album were recorded, then they spent the next two months mastering and mixing the album. Actually, the mixing of the album only took a couple of days. Nigel Godrich would later comment, “I feel like I get too into it. I start fiddling with things and I fuck it up ... I generally take about half a day to do a mix. If it's any longer than that, you lose it. The hardest thing is trying to stay fresh, to stay objective."

Several artists would influence what would become the finished product of OK Computer. First and foremost came the 1970 album Bitches Brew by jazz great, Miles Davis. Thom Yorke would tell Q what he saw in that recording that made up his vision for this album. “It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Other artists that helped to inspire the record included Elvis Costello, REM, PJ Harvey, the Beatles, Can, and composer Ennio Morricone. Jonny Greenwood would describe OK Computer as an attempt to recreate the sound on all these great records, but they missed the mark. The band would expand their instrumentation for this album to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Spin would say this about the release, “A DIY electronica album made with guitars." The lyrics to the album focused on themes much more conceptual when contrasted with The Bends. Yorke would sing about a wide variety of topics including transportation, technology, insanity, death, globalism, capitalism, and more. The singer would say, “On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He also took inspiration for some of the lyrics from a selection of books including Noam Chomsky, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS. Despite the abstract nature of the lyrics on the record, many critics have looked upon OK Computer as a concept album. They argue that there exists a singular theme running throughout the record, but the band has consistently denied any attempt at making such a release. Jonny Greenwood commented, “I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." They did pay particularly close attention to the order of the tracklist taking almost two weeks to complete it.

The album opens with “Airbag,” which highlights the drumming of Phillip Selway. The track had been inspired by the work of DJ Shadow. The band would later admit that they represented novices in this attempt to base a song on DJ Shadow due to their lack of time with programming. Yorke had actually read an article in a magazine entitled “An Airbag Saved My Life.” Another book that helped to create the basis for the song lyrics emerged in the Tibetan Book of the Dead. Yorke had always been obsessed with the idea that any time you get into a car you could possibly die at any second. The second track “Paranoid Android” stands out as one of the longest tracks in the band's entire catalog. Two songs inspired it from classic rock, “Happiness Is a Warm Gun” by the Beatles and “Bohemian Rhapsody” by Queen. The lyrics are meant to reference the alien from Douglas Adams’s A Hitchhiker’s Guide to the Galaxy. Yorke got the idea after watching a woman lose her mind after a drink spilled on her at a bar in Los Angeles. “Subterranean Homesick Alien” referenced “Subterranean Homesick Blues” by Bob Dylan. The lyrics are meant to refer a person who is abducted by aliens, then returns home to realize his life is in no way any different. The beginnings of the theme for this track actually began for the singer in private school when he had an assignment to recreate a British literary movement called Martian poetry. Romeo and Juliet by William Shakespeare inspired the lyrics to “Exit Music for a Film.” This should come as no surprise as the band had specifically created the song for a remake film. Yorke would use it as a chance to simply recap the entire narrative in the song because Zeffirelli’s version of the film greatly affected him at the age of 13. “I cried my eyes out, because I couldn't understand why, the morning after they shagged, they didn't just run away. It's a song for two people who should run away before all the bad stuff starts.” The singer had tried to replicate Johnny Cash’s Live at Folsom Prison as he sang along to his acoustic guitar. “Let Down” represented an attempt by the band to recreate the sound made famous by Phil Spector and his wall of sound. Yorke would later comment that the lyrics are “about that feeling that you get when you're in transit but you're not in control of it—you just go past thousands of places and thousands of people and you're completely removed from it.” The singer would look upon such lyrics as perfect symbolism for Generation X, which had strongly influenced the direction of it. “Karma Police” contains two major sections that alternate between piano and guitar, which originally came from “Sexy Sadie” by the Beatles. The title of the song was an inside joke between the band during the previous tour. If something bad happened to someone, they would say that the karma police were going to get them. The short Interlude “Fitter, Happier” became something that the Radiohead frontman wrote in 10 minutes while on a break. The voice came from the Macintosh Simpletext software application. He would later describe the words as a “checklist for slogans from the 1990s.”

“Electioneering” turned out to be one of the band’s heaviest rock oriented songs probably ever with lyrics that were inspired by the Poll Tax Riots. Another source of inspiration came in the book Manufacturing Consent by Noah Chomsky. “Climbing Up the Walls” has been described by Melody Maker as “monumental chaos.” The track was arranged by Johnny Greenwood for 16 instruments based on composer Krzysztof Penderecki's “Threnody to the Victims of Hiroshima.” No Surprises” would be initially inspired by “Wouldn’t It Be Nice” by the Beach Boys, but they really wanted to replicate the mood of “What a Wonderful World” by Louis Armstrong or the soul music of Marvin Gaye. Yorke would say the song’s narrator is “someone who's trying hard to keep it together but can't.” The track that started it all “Lucky” was actually inspired by the Bosnian War. Yorke wanted to illustrate the actual terror of that conflict on the charity album, Help. Another theme that he drew upon emerged in his own anxiety about transportation. Critics have likened the guitar on the song to 1970’s Pink Floyd. The final track on the album “The Tourist” was specifically arranged by Jonny Greenwood to create a bit of space on the LP. The lyrics originated from Yorke witnessing tourists in France trying to see as many sites as possible. The title of the album came from the 1978 radio series based on The Hitchhiker’s Guide to the Galaxy when character Zaphod Beeblebrox says, “Okay, computer, I want full manual control now." They had first heard the line while listening to the series on the bus for their tour in 1996. Yorke would say this about the title later. It “refers to embracing the future, it refers to being terrified of the future, of our future, of everyone else's. It's to do with standing in a room where all these appliances are going off and all these machines and computers and so on ... and the sound it makes." The artwork would be created by both Yorke and Stanley Donwood using a computer. The Radiohead singer would observe this about the art, “It's quite sad, and quite funny as well. All the artwork and so on ... It was all the things that I hadn't said in the songs."

Leading up to the release of the album, the band got very little support from Capitol Records because they did not have too much faith in the commercial potential of it. Much of the pessimism came in the fact that the record did not have any singles to put on the radio. Ed O’Brien would call it the “lack of a Van Halen factor.” The singles that were released from OK Computer included “Paranoid Android,” “Karma Police,” and “Lucky.” All of the singles charted in the top 10 in the UK, while they also did very well making the top 20 on the US charts. Their official website was created in order to promote the record, as well as some non-traditional promotional techniques by the record label. One such idea came in their decision to take out full-page ads in popular British newspapers and magazines with only the lyrics to “Fitter, Happier.” Another promotion sent out floppy disks to people in the press, which included many Radiohead screensavers. Upon its official release, OK Computer would debut at number one on the UK charts, while in the US the record made it to number 21. Please note that this was the highest American debut for the band. By September 2000, the release had sold 4.5 million copies worldwide.

Critics loved the album across the board. Writer Tim Footman would comment, “Not since 1967, with the release of Sgt. Pepper's Lonely Hearts Club Band, had so many major critics agreed immediately, not only on an album's merits, but on its long-term significance, and its ability to encapsulate a particular point in history." Many critics saw it as a very important album. Mojo wrote in their review, “Others may end up selling more, but in 20 years' time I'm betting OK Computer will be seen as the key record of 1997, the one to take rock forward instead of artfully revamping images and song-structures from an earlier era.” The New Yorker would congratulate the band on taking many more risks artistically then their contemporaries like Oasis. “Throughout the album, contrasts of mood and style are extreme ... This band has pulled off one of the great art-pop balancing acts in the history of rock." Most of the reviews that were slightly mixed seemed to focus on the fact that when compared with The Bends, this record did not contain as many catchy songs. The release would go on to win the Grammy for Best Alternative Album, but did not win Album of the Year. The praise for the album seemed to inundate the band a little too much. Also, Radiohead did not agree with the universal assessment that they had made the greatest progressive or art rock record since Dark Side of the Moon. Thom Yorke would say, “We write pop songs ... there was no intention of it being 'art'. It's a reflection of all the disparate things we were listening to when we recorded it."

The legacy of the album came to be represented in a variety of ways. First, the release of OK Computer coincided with the election of Tony Blair. Some writers have pointed to the pessimism on the record as a sign of things to come. Stephen Hayden would write, “Radiohead appeared to be ahead of the curve, forecasting the paranoia, media-driven insanity, and omnipresent sense of impending doom that's subsequently come to characterise everyday life in the 21st century." Second, the arrival of this album directly coincided with the decline of Britpop. The Oasis album Be Here Now did not attain the commercial or critical success that What’s the Story Morning Glory had received in 1995. Third, OK Computer directly influenced a new generation of artists including bands like Bloc Party and TV on the Radio. The album has landed on many lists over the subsequent years as one of the best releases of the decade and all time. Yet, not all retrospective reviews have been kind to OK Computer as it has also landed on some lists as one of the most overrated records of all time. A New Musical Express column criticized the release as the exact point when Radiohead stopped being good, but instead started to become important.

[tenaflyviper]

Black Filmmakers in Horror

Given the negative stereotypes and overall treatment of black people in horror films, the genre carries the unfortunate misconception of being seen as unwelcoming to black audiences and filmmakers. It's time to put this notion to rest. The horror community is open to everyone that loves a good fright, and more and more black filmmakers have begun dabbling in scares. During this current time, I want to promote these filmmakers and their work, and welcome others to share their own works as well.

I couldn’t have compiled such a great list without the help of “Blacula” at BlackHorrorMovies.com. His site is absolutely invaluable for those with any interest in black horror cinema, and I highly recommend paying a visit! I will be including Blacula’s “Racial Representation” rating for each film, when available (ratings are out of five stars).

Whenever possible, I have provided links to watch these films online, but only from sites/channels with the right to stream them, so as to avoid any of these creators losing revenue. Tubi TV requires signing up (on PC, anyway), but it is still 100% free (and it’s also available as an app on Android, IOS, Xbox Live, and Playstation).

Black Devil Doll from Hell (1984) – Written, produced, and directed by Chester Novell Turner ★ ★ ½

Witchdoctor of the Living Dead (1985) - Written and directed by Charles Abi Enonchong

Tales from the Quadead Zone (1987) – Written, produced, and directed by Chester Novell Turner ★ ★ ½

Def By Temptation (1990) – Written, produced, and directed by James Bond III ★ ★ ★ ★

Ax ‘Em (1993) – Written, produced, and directed by Michael Mfume ★ ★ ½

Tales from the Crypt: Demon Knight (1995) – Directed by Ernest R. Dickerson ★ ★ ★ ★

Tales from the Hood (1995) – Written and directed by Rusty Cundieff ★ ★ ★ ★

Spirit Lost (1996) – Directed by Neema Barnette, written by Shirley Pierce, and produced by The Black Entertainment Network (BET) ★ ★ ★ ½

Bugged! (1997) – Written, produced, and directed by Ronald K. Armstrong ★ ★ ★ ★

Three Sickxty (1998) – Written, produced, and directed by Natural Drye ★ ★ ★

End of the Wicked (1999) - Written, directed, and produced by Teco Benson

Cursed Part 3 (2000) – Written, produced, and directed by Rae Dawn Chong ★ ★ ½

Now Eat (2000) – Written and directed by Kerry Alan Williams ★

Scary Movie (2000) Written and produced by Marlon and Shawn Wayans, and directed by Keenan Ivory Wayans

The Black Witch Project (2001) - Written, directed, and produced by Velli ★ ★

Bones (2001) – Directed by Ernest R. Dickerson ★ ★ ½

Creepin’ (2001) – Written, produced, and directed by Tim Greene ★ ★ ½

Tara (aka Hood Rat) (2001) – Produced and directed by Leslie Small ★ ½

Scary Movie 2 (2001) - Written and produced by Marlon and Shawn Wayans, and produced and directed by Keenan Ivory Wayans

Crazy as Hell (2002) – Produced and directed by Eriq La Salle ★ ★ ★ ★

Chop Shop (2003) – Written and directed by Simuel Denell Rankins ★ ★ ½

Cutthroat Alley (2003) - Written, directed, and produced by Timothy Wayne Folsome ★ ★

Holla If I Kill You (2003) – Written and produced by Jeff Carroll ★ ★ ★

Scary Movie 3 (2003) - Written by Marlon and Shawn Wayans

Street Tales of Terror (2004) – Written and directed by J.D. Hawkins ★ ½

The Evil One (2005) – Written and directed by Parris Reaves ★ ★ ★

Damon (2006) – Written, produced, and directed by Eric Richardson-Hagans ★ ★ ½

Gold Digger Killer (2006) – Written and produced by Jeff Carroll ★ ★

Holla (2006) – Written and directed by H.M. Coakley ★ ★ ★ ½

Holla If You Hear Me (2006) – Written, produced, and directed by Mark Harris ★ ★

Office Outbreak (2006) – Written, produced, and directed by Shawn Woodard ★ ★ ★

Scary Movie 4 (2006) - Written by Marlon and Shawn Wayans

Voodoo Curse: The Giddeh (2006) - Written and directed by Glenn Plummer; produced by Glenn Plummer, Kristin Bernard, and Kira Madallo Sesay ★ ★

April Fools (2007) – Written, produced, and directed by Nancy Norman ★ ★ ½

Bleeding Rose (2007) – Written, produced, and directed by Kareem Bland ★ ★

Dead Tone (2007) - Written and directed by Brian Hooks and Deon Taylor

Insane in the Brain (2007) – Written, produced, and directed by Chad Hendricks

Somebody Help Me (2007) – Written, produced, and directed by Chris Stokes ★ ★ ★ ½

Soulful (2007) – Written and directed by Sarah Poindexter ★ ½

Hospitality (2008) – Written and directed by Tony Ducret ★ ★ ★

Nite Tales: The Movie (2008) - Written, directed, and produced by Deon Taylor ★ ★

The Figurine (2009) – Directed by Kunle Afolayan

The Inheritance (2011) – Written and directed by Robert O'Hara ★ ★ ★ ½

Bigfoot: The Lost Coast Tapes (2012) – Produced and directed by Cory Grant ★ ★ ★

Guardian of Eden (aka The Good Wifey) (2012) - Written by Huriyyah Muhammad and Ali Lillard, directed by T. A. Williams, and produced by Huriyyah Muhammad, Kande Tshibanda, Tangi Miller, and Godwin Bernard ★ ★

A Haunted House (2013) – Written and produced by Marlon Wayans ★ ½

Holla II (2013) – Written and directed by H. M. Coakley ★ ★

Ghetto Goblin (aka Blood Tikoleshe) (2013) - Written and directed by Jordan Harland

Scary Movie 5 (2013) – Written by Marlon and Shawn Wayans, and directed by Malcolm D. Lee

A Haunted House 2 (2014) - Written and produced by Marlon Wayans ★

The Night Seekers (2014) – Written, produced, and directed by Menetie T. Ejeye ★ ★

Not Another Zombie Movie (2014) – Written by Jay Davis, and directed by Jack Johnson and Don Williams

Da Sweet Blood of Jesus (2015) – Written, produced, and directed by Spike Lee (A remake of Ganja & Hess)

Ojuju (2015) – Written, produced, and directed by C.J. “Fiery” Obasi ★ ★ ★ ½

Prom Ride (2015) – Written, produced, and directed by Kazeem Molake ★ ★ ★

But Deliver Us From Evil (2017) - Written, directed, and produced by Joshua Coates ★ ★ ★ ½

Fixation (2017) - Written by Bobby Peoples and Kenya Hendricks; directed by Renee S. Warren Peoples ★ ★ ★

Get Out (2017) – Written, produced, and directed by Jordan Peele (Academy Award winner for Best Original Screenplay) ★ ★ ★ ★ ★

Paranormal Evil (2017) – Written and produced by ShaRhonda ‘Roni’ Brown, and directed by Akil Pugh

Fatima's Revenge (2018) - Produced, written, and directed by Gerald Barclay

The First Purge (2018) - Directed by Gerard McMurray ★ ★ ★ ★

Moma’s Spirit (2018) – Written, produced, and directed by Robert L. Parker III

Out of Gas (2018) – Written, produced, and directed by Michael Lemelle, and co-directed by April Marcell

Tales From the Hood 2 (2018) – Written, produced, and directed by Rusty Cundieff and Darin Scott ★ ★ ★ ½

Traffik (2018) – Written, produced, and directed by Deon Taylor ★ ★ ½

Fixation 2: Uprising (2019) - written by Bobby Peoples; directed by Bobby Peoples and Renee S. Warren Peoples

Frequent Visitors (2019) - Written by Andrea Tyler and directed by Moe McCoy

The Intruder (2019) - Directed by Deon Taylor ★ ★ ★ ★

Living in Bondage: Breaking Free (2019) – Directed by Ramsey Nouah

Saving You, Saving Me (2019) – Written, directed, and produced by Tina Jetter

Sweetheart (2019) – Written and directed by J. D. Dillard

Thriller (2019) – Written and directed by Dallas Jackson ★ ★ ★

The Tokoloshe (2019) - Written and directed by Jerome Pikwane ★ ★ ★ ★

Us (2019) – Written, directed, and produced by Jordan Peele ★ ★ ★ ★ ★

Antebellum (2020) - Co-written and co-directed by Gerard Bush ★ ★

Bad Hair (2020) - Produced, written, and directed by Justin Simien ★ ★ ★

Black Box (2020) - Written and directed by Emmanuel Osei-Kuffour ★ ★ ★ ★ ½

Body Cam (2020) - Directed by Malik Vitthal ★ ★ ★

Candyman (2020) – Written and produced by Jordan Peele; directed by Nia DaCosta

Don’t Look Back (2020) - Produced, written, and directed by Jeffrey Reddick ★ ★ ★

His House (2020) - Written and directed by Remi Weekes ★ ★ ★ ★ ★

Tales from the Hood 3 (2020) - Written and directed by Rusty Cundieff and Darin Scott ★ ★ ★

I hope anyone reading enjoyed this list as much as I enjoyed putting it together. And, again--I highly recommend paying a visit to BlackHorrorMovies.com, as there are also numerous essays to read, and lengthy lists detailing black actors and actresses that have worked in the horror genre.

Lastly, I highly recommend checking out the Shudder documentary,

Horror Noire: A History of Black Horror (2019), directed by Xavier Burgin

or the book it was based on,

Horror Noire: Blacks in American Horror Films from the 1890s to Present, by Robin R. Means Coleman.

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The Knick Is An Ugly, Atmospheric Delight

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Most early photographs look haunted. Perhaps it’s because we view these images with the knowledge that the people inside them are already ghosts. In some early photos the subject had actually already expired at the time of their capture. Photography was expensive and the first and best occasion for many families to pay for a portrait was recently after a loved one died.

But some old timey photos are just ineffably creepy beyond any easy explanation. Consider this snapshot of a surgical operating theater in 1890.

Boston City Hospital operating theater, circa 1890 | A. H. Folsom of Roxbury

The experience of seeing primitive surgeons dressed in angelic white, surrounded by seats of mustachioed men wearing their Sunday best and staring down at a lifeless body is so intensely bizarre. Photos like this are dripping with a grim atmosphere that very few documents or art can really capture. One recent entry into the prestige TV canon, however, did a shockingly good job of recreating that eerie sensation and maintaining it over two full seasons.

Both seasons of Cinemax’s The Knick are now available to stream on HBO Max. Cinemax may no longer be in the original content business, but some of its better shows are finally, thankfully making their way to the WarnerMedia streaming venture. In addition to The Knick other recent Cinemax titles arriving to HBO Max include Banshee and Warrior. All three are superb shows and worth checking out, but let us highlight The Knick in particular as one of recent television history’s most underappreciated gems.

The Knick is quite simply one of the most stylish and atmospheric TV shows ever made. Premiering in 2014, it is set in a fictionalized version of the real Knickerbocker Hospital (a.k.a “The Knick”) which was located in Harlem at the turn of the 19th century. The series begins in 1900 and follows Clive Owen’s Dr. John W. “Thack” Thackery, the chief surgeon at The Knick, as he runs the hospital while barely controlling his addiction to injecting cocaine. Other cast members include André Holland as new assistant chief surgeon Dr. Algernon Edwards, Jeremy Bobb as hospital manager Herman Barrow, and Eve Hewson as nurse Lucy Elkins.

The plotting on The Knick from creators and head writers Jack Amiel & Michael Beglerare is tight and effective. The show capably balances multiple story threads at once, from the series- long arc of Thack’s drug abuse and addiction to season-long arcs about infectious diseases spreading throughout New York to episode-long stories presenting patients simply in need of help. 

But what sets The Knick apart from fellow medical dramas (and just about everything else) is the imagery involved and the tone it invokes. Watching The Knick is like staring at the uncanny oddness of that old operating theater photo until the people within it start to move around and vacuum blood out of a patient’s open abdomen. 

Television has always been seen as a writers’ medium, with the head writer on many shows often serving as de facto “showrunner” and maintaining the visual style. The Knick, however, benefits greatly from the involvement of filmmaker Steven Soderbergh, who produces and directs every episode. Soderbergh’s cameras, era-authentic gaslamp lighting, and superb production design all conspire to create one hell of a visual mood. That’s not even to mention Cliff Martinez’s excellent, synth-heavy score, which one would be forgiven for thinking is the work of Trent Reznor and Atticus Ross. Just about every scene sounds like a tense mission leading up to a boss battle in an NES game. 

Thack and his fellow doctors Bertram “Bertie” Chickering (Michael Angarano) and Everett Gallinger (Eric Johnson) are fond of calling the Knick their “circus.” And like any circus, The Knick is only as good as its performers. Thankfully the doctors, nurses, administrators are all more than up to the task. 

Despite being only six years old now, The Knick has proven to be quite an acting talent factory. The series was Hewson’s first TV role and the Irish actress is now on her way to modest stardom thanks to roles in The Luminaries and Behind Her Eyes. Jeremy Bobb has since turned up in everything, including Russian Doll, Jessica Jones, and The Outsider. Chris Sullivan, who plays ambulance operator Tom Cleary now plays Toby on This Is Us. And Juliet Rylance portrays Della Street on Perry Mason. 

Meanwhile, Owen is a perfect fit as Thack. The actor seems to relish hiding his handsome movie star features behind sweat, matted hair, and a thin mustache. The effect makes Thack physically resemble some kind of familiar early 1900s pugilist archetype more than a Hollywood leading man. The lifelike performance flows out from there.

Holland as a talented Black surgeon extremely unwelcome in a white hospital is also superb. The actor has racked up award nominations for Selma and Moonlight, but he’s never seemed like a more capable protagonist than he does in The Knick, even if his character isn’t technically the lead. 

It does at times feel as though this is really Edwards’ story. Which makes sense, given that the most attention is frequently paid to him as a perceived trespasser in a white world. Also: it probably goes without saying, but one should know before watching that The Knick pulls absolutely no punches in its depiction of early 20th century racism. It’s admirably honest storytelling about the time period but it’s also just brutal to sit through. One season 2 plotline even involves a central character becoming a full-on eugenicist. 

Thought that understandably all sounds quite bleak, The Knick isn’t just all crushingly real depictions of racism, gore, and nifty camerawork. The show fills an important prestige TV quotient by frequently bringing something new to the table. In the absurdly crowded TV landscape, oftentimes the best thing any show can do is to present something to the audience that they’ve never seen before. The Knick has many such moments…unless you’ve somehow seen someone inject cocaine into Clive Owen’s penis before. The series also has one of the wildest series finale of all time. The finale of season 2 (which wasn’t necessarily a series finale at the time) features one moment that should take even the most veteran drama watcher by surprise. 

The show has some sturdy themes to go along with the stylish flourishes and surprising storytelling. In the series first episode, Thack describes what is simultaneously appealing and devastating about healthcare to him, saying: “God always wins. It’s the longest unbeaten streak in the history of the world.” 

There is nothing that any doctor or surgeon can do to stop death. The best they can hope to do is forestall it’s arrival. Thack and the doctors at the Knick have done the best they can in this mission. When Thack proudly announces that life expectancy has gone from 39 to 47 in the past 20 years, it’s a darkly funny moment to the modern viewer. But any small medical advancement or deeper understanding of the human body always feels like a sincere victory throughout The Knick – particularly because we see the very literal blood, swat, and tears it takes to achieve them. These drug-addicted surgeons and frightened, shivering patients are indeed ghosts from an stained old-timey photo of an operating theater. They’re also people. And that’s something that the show is able to capture in addition to capturing all the terrifying gore of 20th century medicine. 

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Back in September of 2020, Soderbergh revealed that he and producer Barry Jenkins were planning to go through with The Knick season 3, with a pilot script having been written. Given that the Hollywood landscape is particularly turbulent at the moment, who knows if that script will ever find a home. Whether or not The Knick gets a third season, its first two will fit in quite comfortably alongside the greats in its new HBO Max home for years to come. 

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