#Valerie Hermans

[craft2eu]

L'Or du temps - Karine Benvenuti - Valérie Hermans:  Saint Quentin la Poterie bis 10.11.2024

Es gibt Künstler, die ihren eigenen Weg gehen, weit entfernt von den Moden und Erwartungen der Zeit, konzentriert auf eine persönliche Suche, die sowohl aus Traditionen schöpft, die sie neu interpretieren, als auch aus dem Leben um sie herum, aus ihrer inneren Welt und ihren Emotionen. Unsere beiden Keramikerinnen in der Ausstellung L’Or du temps gehören zu diesen Menschen. Karine…

[simiuna]

Valerie Herman

Hair

[1]

presets+Skin+Makeup

[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] 

[18] [19] [20] [21]

Accessories

[1] [2] [3] [4] [5] [6] [7]  (tattoo: City living)

Clothes

[1] [2] [3]

[lesser-known-composers]

Gaetano Valeri (1760/64 - 1822) - Symphony for Orchestra in D Major - B minor

Conductor: Fabrizio Ammetto

Orchestra: Hermans Consort

[lookwhathappenedtomack]

Ladies, gentlemen, and interesting people, welcome to...

The Mackolades are my personal annual film awards, awarded to my favorite (for the most part) movies, performances, and people from all the movies I watched for the first time in 2022, regardless of release year. This is more or less a companion series to Brendan’s Pink Bettes, as most of our movie watching is together. You can see the first and second Mackolades here on my tumblr, now let’s get started on the third!

FAVORITE DRAMA

WINNER: tick, tick...BOOM! (2021) dir. Lin-Manuel Miranda

FINALISTS:

Avatar: The Way of Water (2022) dir. James Cameron

Dramarama (2020) dir. Jonathan Wysocki

Everything Everywhere All At Once (2022) dir. Daniel Scheinert & Daniel Kwan

TÁR (2022) dir. Todd Field

NOMINEES:

The Batman (2022) dir. Matt Reeves

The Godfather (1972) dir. Francis Ford Coppola

Klaus (2019) dir. Sergio Pablos

Pride & Prejudice (2005) dir. Joe Wright

The Talented Mr. Ripley (1999) dir. Anthony Minghella

Three Thousand Years of Longing (2022) dir. George Miller

GREAT year for the Favorite Drama category! I knew from the first few minutes of tick, tick...BOOM! that it was winning, but two of the finalists (Dramarama and Everything Everywhere All At Once) gave it a real run for its money. And then TÁR was just impeccable in every way (CATE!!!!!!). Special shoutout to The Godfather for actually living up to the hype and The Batman for being a genuinely good superhero movie. Highly recommend Dramarama in particular to any of my theatre friends that see this.

FAVORITE HORROR

WINNER: The Menu (2022) dir. Mark Mylod

FINALISTS:

All About Evil (2010) dir. Joshua Grannell (aka Peaches Christ)

Nope (2022) dir. Jordan Peele

Pearl (2022) dir. Ti West

Scream (2022) dir. Matt Bettinelli-Olpin & Tyler Gillett

NOMINEES:

Arachnophobia (1990) dir. Frank Marshall

Barbarian (2022) dir. Zach Cregger

Fresh (2022) dir. Mimi Cave

Hellraiser (2022) dir. David Bruckner

What Keeps You Alive (2018) dir. Colin Minihan

X (2022) dir. Ti West

GREAT year for horror, too! The Menu is such a fun ride, almost more of a dark comedy than horror. I had a lot more actual scares this year than in 2021, particularly in Nope, Scream, Arachnophobia, and Barbarian.

FAVORITE COMEDY

WINNER: Barb & Star Go To Vista Del Mar (2021) dir. Josh Greenbaum

FINALISTS:

Do Revenge (2022) dir. Jennifer Kaytin Robinson

Glass Onion (2022) dir. Rian Johnson

Hello, My Name Is Doris (2015) dir. Michael Showalter

Kissing Jessica Stein (2001) dir. Charles Herman-Wurmfeld

NOMINEES:

Burn After Reading (2008) dir. Ethan Coen & Joel Coen

Fire Island (2022) dir. Andrew Ahn

Little Miss Sunshine (2006) dir. Jonathan Dayton & Valerie Faris

Mrs. Harris Goes To Paris (2022) dir. Anthony Fabian

My Big Fat Greek Wedding (2002) dir. Joel Zwick

See How They Run (2022) dir. Tom George

Hey guess what. It was a great year for comedy, too. Barb & Star is destined to join Romy & Michele and the Tragedy Girls as a pair of gal pals that live in my head for the rest of my life. They’ve had this win sewn up since I first saw the movie in August, but there was still plenty of competition. Do Revenge is probably my unofficial runner up - those twists and turn and goops and gags and outfits!

FAVORITE SERIES

WINNER: Before Trilogy (3/3)

FINALISTS:

The Godfather (3/3)

Hell House, LLC (2/3)

Wong Kar-wai’s Love Trilogy (3/3)

X/Pearl/Maxxxine (2/3)

God, what can I say that hasn’t already been said about Richard Linklater’s Before trilogy? It’s just two people talking, but it’s perfect!

THE THANKS! I HATE IT! AWARD

WINNER: Whiplash (2014) dir. Damien Chazelle

FINALIST: Fall (2022) dir. Scott Mann

This new category is for movies that are good, but I hate them anyway! And there’s no movie that quite fits that bill like Whiplash. What an incredible work that I never wanna see again. Or dwell on for long here.

BIGGEST SURPRISE

WINNER: Halloween Ends (2022) dir. David Gordon Green

FINALISTS:

Brothers (2009) dir. Jim Sheridan

The Invitation (2022) dir. Jessica M. Thompson

Nerve (2016) dir. Henry Joost & Ariel Schulman

Uncle Peckerhead (2020) dir. Matthew John Lawrence

NOMINEES:

Fall (2022) dir. Scott Mann

Hatching (2022) dir. Hanna Bergholm

Hello, My Name Is Doris (2015) dir. Michael Showalter

Kissing Jessica Stein (2001) dir. Charles Herman-Wurmfeld

The Lost City (2022) dir. Adam Nee & Aaron Nee

Valentine (2001) dir. Jamie Blanks

After Halloween Kills won Biggest Letdown at last year’s Mackolades, I went into Halloween Ends with rock bottom expectations, but was pleasantly surprised! From the opening scene it showed it was completely different from any Halloween movie that came before it, and I was mostly delighted by what followed. It’s far from the best Halloween, and has some major problems, but it’s leagues ahead of Kills, and that alone win it Biggest Surprise for me.

BIGGEST LETDOWN

WINNER: Doctor Strange In The Multiverse Of Madness (2022) dir. Sam Raimi

I’ve engaged in a fair bit of MCU hate over the last few years, but I’ve held onto the belief that I’d probably enjoy them if I gave them a chance and just didn’t think too hard about it. Well... I guess I was wrong. I really thought I’d like this, the trailers looked interesting and Sam Raimi has a pretty good track record with me. But yeah... Martin Scorsese was right, these are just flashy theme park rides. Absolutely zero substance worth engaging with. What a disappointment, for me and for general culture. Anyway, somehow this was the only movie I watched in 2022 that I went into with expectations that were significantly let down, and I figured I’d give it its own multiverse of mediocrity with the myriad of posters available.

FAVORITE LEAD ACTRESS PERFORMANCE

WINNER: Cate Blanchett, TÁR (2022)

FINALISTS:

Mia Goth, Pearl (2022)

Janelle Monae, Glass Onion (2022)

Keke Palmer, Nope (2022)

Michelle Yeoh, Everything Everywhere All At Once (2022)

NOMINEES:

Jessica Chastain, The Eyes of Tammy Faye (2021)

Sally Field, Hello, My Name Is Doris (2015)

Natasha Lyonne, All About Evil (2010)

Lesley Manville, Mrs. Harris Goes To Paris (2022)

Thandiwe Newton, God’s Country (2022)

Anya Taylor-Joy, The Menu (2022)

Okay I have to bullet point this one so I can talk about all the finalists.

Cate is THE performance of the year for me. Her take on Lydia Tár is nothing short of amazing - even from the opening scene, with that TED Talk-like scene where she just talks about music for a few minutes, had Brendan and me grabbing each other and whispering in the (otherwise empty) theater about how breathtaking her performance was. I can’t believe I’m giving her lead actress two years in a row (out of three total!) but she really does deserve it.

Brendan and I loved Mia Goth in 2020′s Emma, but she reached new heights in X and, in particular, Pearl. The monologue! The face journey! The everything else! She’s now on the We’ll See Anything She’s In list, and I can’t wait for MaXXXine.

Janelle! I don’t have as much to say for her, but damn she picks projects well! Incredible lady and fantastic performance(s) in Glass Onion.

Keke - #ReleaseTheSpinCut! What a joy.

Okay I adore Michelle Yeoh and if Cate doesn’t win the Oscar I hope it’s hers. Truly wonderful and deserves everything good that’s coming her way right now.

FAVORITE SUPPORTING ACTRESS PERFORMANCE

WINNER: Hong Chau, The Menu (2022)

FINALISTS:

Jamie Clayton, Hellraiser (2022)

Courtney Cox, Scream (2022)

Stephanie Hsu, Everything Everywhere All At Once (2022)

Brittany Snow, X (2022)

NOMINEES:

Margaret Cho, Fire Island (2022)

Tovah Feldshuh, Kissing Jessica Stein (2001)

Vanessa Hudgens, tick, tick...BOOM! (2021)

Andrea Martin, My Big Fat Greek Wedding (2002)

Alia Shawkat, Being The Ricardos (2021)

Tandi Wright, Pearl (2022)

Hong Chau is another 2022 addition to the We’ll See Anything She’s In list, and she got an Oscar nom for the other one! Yay! But this is about my favorites, not objectivity, and I prefer her in The Menu. What a treat! I don’t have much to say about the finalists and nominees that wouldn’t require this becoming far too long, so I’m just gonna move on.

FAVORITE ACTOR PERFORMANCE

WINNER: Paul Dano, Little Miss Sunshine (2006)

FINALISTS:

Marlon Brando, The Godfather (1972)

Austin Butler, Elvis (2022)

Alton Brown, Elvis (2022)

Ke Huy Quan, Everything Everywhere All At Once (2022)

NOMINEES:

Rohan Campbell, Halloween Ends (2022)

Ralph Fiennes, The Menu (2022)

Andrew Garfield, tick, tick...BOOM! (2021)

Robin de Jesús, tick, tick...BOOM! (2021)

Haley Joel Osment, Sassy Pants (2012)

Conrad Ricamora, Fire Island (2022)

I started watching Little Miss Sunshine for Toni, but I remember it for Paul, particularly the sequence pictured above. Special shoutout to Alton Brown for stealing the show for a scene or two of Elvis (a difficult task when Austin Butler’s Elvis is present!)

THE TONI “SHE HAS THE RANGE” COLLETTE AWARD FOR MULTI-GENRE EXCELLENCE

WINNER: Jim Carrey, Eternal Sunshine of the Spotless Mind (2004)/Sonic The Hedgehog (2020)

FINALISTS:

Jamie Dornan, Barb & Star Go To Vista Del Mar (2021)/Belfast (2021)

Idris Elba, The Dark Tower (2017)/Sonic The Hedgehog 2 (2022)/Three Thousand Years of Longing (2022)

Jenna Ortega, The Fallout (2021)/Scream (2022)

Tilda Swinton, Burn After Reading (2008)/Constantine (2005)/Three Thousand Years of Longing (2022)

I mean, Jim Carrey was basically born to play Dr. Robotnik, and when you contrast that with Eternal Sunshine, well, that’s basically what this category is for!

THE CARLY RAE JEPSEN “SHE MAKES MY BLOOD FEEL CARBONATED” AWARD

WINNER: Elaine Stritch, Original Cast Album: Company (1970)

During the Ladies Who Lunch sequence of the Company documentary, I must’ve turned to Brendan at least three times to say “I love being gay” - Elaine’s an icon and a queen and I hate I didn’t get into theatre soon enough to appreciate her while she was alive. (NOTE: If I’d started this category a year earlier, Carol Channing certainly would’ve gotten it for the documentary Larger Than Life, and it felt wrong to not mention that here)

HOTTEST DADDY

WINNER: Russell Crowe, The Nice Guys (2016)

FINALISTS:

George Clooney, Solaris (2002)

Guillermo Diaz, Bros (2022)

Thomas Forbes-Madison, The Lost City (2022)

David Harbour, Violent Night (2022)

NOMINEES:

Daniel Craig, Glass Onion (2022)

Idris Elba, Three Thousand Years of Longing (2022)

Ethan Hawke, The Black Phone (2022)

Martin Henderson, X (2022)

Peter Sarsgaard, The Batman (2022)

Bradley Whitford, tick, tick...BOOM! (2021)

Someone ask me what kind of guys I like. I dare you. I downloaded six entire movies to get enough usable shots of these men - definitely the most work I did for any single category.

Anyway, that’s the 2022 Mackolades! 65 movies honored (or dishonored) from an eligibility pool of 205. Now you know what I love - any recommendations of what to watch in 2023?

[docrotten]

THE REPTILE (1966) – Episode 168 – Decades Of Horror: The Classic Era

“This has become an evil place. Corrupt and evil. Ignorant fools! Peasants! … Oh. Good evening sir. Ever so sorry ma’am. Beg your pardon.” So corrupt evil, ignorant, … and polite? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they dip again into the Hammer well with The Reptile (1966)!

Decades of Horror: The Classic Era Episode 168 – The Reptile (1966)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Harry Spalding and his wife Valerie inherit a cottage in a small country village after his brother mysteriously dies. The locals are unfriendly and his neighbor Dr. Franklyn (a doctor of theology) suggests they leave. They decide to stay only to find that a mysterious evil plagues the community.

  Director: John Gilling

Writer: Anthony Hinds (screenplay) (as John Elder)

Music by: Don Banks

Cinematography by: Arthur Grant (director of photography)

Editing by: Roy Hyde

Production Design by: Bernard Robinson

Art Direction by: Don Mingaye

Makeup Department: Roy Ashton (makeup artist); Frieda Steiger (hair stylist)

Selected Cast:

Noel Willman as Dr. Franklyn

Jennifer Daniel as Valerie Spalding

Ray Barrett as Harry George Spalding

Jacqueline Pearce as Anna Franklyn

Michael Ripper as Tom Bailey

John Laurie as Mad Peter

Marne Maitland as The Malay

David Baron as Charles Edward Spalding

Charles Lloyd Pack as The Vicar

Harold Goldblatt as The Solicitor

George Woodbridge as Old Garnsey

The Classic Era podcast returns to Hammer for another monster movie gem. This is one of their far too infrequent original creations, The Reptile (1966), directed by John Gilling from an Anthony Hinds (writing as John Elder) script. The film features a stellar cast that includes Noel Willman, Jennifer Daniel, Ray Barrett, Michael Ripper, John Laurie, Marne Maitlan, and Jacqueline Pearce as the titular character. Shot at the same time as Dracula: Prince of Darkness, The Plague of the Zombies, and Rasputin the Mad Monk – all four released in 1966 – The Reptile was featured on a double bill stateside with Rasputin: The Mad Monk. Are you a fan of The Reptile and if so, do the Grue Crew agree with you?

At the time of this writing, The Reptile is available on physical media as a Blu-ray from Scream Factory.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Doc, is Konga (1961)! You knew when they covered Gorgo (1961) in episode 157, Konga wouldn’t be far behind. Written by Aben Kandel and Herman Cohen and starring the inimitable Michael Gough, this one should be fun!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[lboogie1906]

Cynthia Ann Herron (September 26, 1961) professionally known as Cindy Herron and sometimes credited as Cindy Herron–Braggs is a singer and actress. She is known as a founding member of the R&B/pop group En Vogue, one of the world’s best-selling girl groups of all time. She sang lead vocals on the group’s first single “Hold On”, which garnered mainstream success and sold over a million copies. Despite being absent from the group during certain periods, she and fellow group member Terry Ellis are the only original members to appear on all of the group’s album releases to date. In the 1980s, she began her career as an actress, making her debut appearance in Up and Coming as “Valerie”.

She would land roles in more popular TV series including Amen and Full House. She landed a supporting role in Johnnie Mae Gibson: FBI and co-starred in Wally and the Valentines as “Roxanne Valentine”. She has sold a total of over 20 million records with En Vogue. Her work has earned her several awards and nominations, including two American Music Awards, a Billboard Music Award, seven MTV Video Music Awards, four Soul Train Music Awards, and six Grammy nominations.

She was born in San Francisco to an African American father and a Swiss-German mother. She attended Balboa High School. She began her musical career in the cabaret scene in San Francisco, during the early-1980s. She worked as a background vocalist for local San Francisco Bay Area acts such as Tiggi Clay. She appeared in the original company of the Jerry Herman musical revue Showtune.

She is a classically trained soprano. Possessing a two-octave range, she sang second soprano and alternated with Dawn Robinson when she was a member of the group and even sang lower harmonies when Maxine led songs.

She married former MLB player Glenn Braggs (1993-23). They have four children. #africanhistory365 #africanexcellence

[thedreamlifeofbalsosnell]

‘Kinderscènes’ van Valery Larbaud: de duistere zijdes van de kindertijd

Voor het eerst zijn de Enfantines (1918)van Valery Larbaud (1881-1957) integraal naar het Nederlands vertaald. André Gide roemde de ‘pure tover’ van deze nostalgische jeugdherinneringen uit de belle époque, en ook Marcel Proust was een hevig bewonderaar. Kinderscènes bundelt negenmesscherpe vertellingen, die de lezer meevoert naar gene zijde van een ogenschijnlijk onschuldige kindertijd.

Sleutelfiguur en geheim agent

Bij de verschijning van Enfantines in 1918 was Larbaud al een sleutelfiguur in de vooroorlogse letterkunde. Cocteau noemde Larbaud in een hommage-editie van de Nouvelle Revue Française (1957) ‘un agent secret des lettres’. Naast de auteur van romans, novelles en verhalen was hij een begenadigd essayist, een onvermoeibaar vertaler (hij sprak 6 talen vloeiend) en de bevlogen pleitbezorger van ‘nieuwe’ schrijvers zoals Jorge Luis Borges, Comte de Lautréamont, William Faulkner, Italo Svevo en James Joyce. Zo introduceerde hij in Frankrijk middels zijn vertalingen bijvoorbeeld het werk van Samuel Butler en Walt Whitman, en begeleidde de Franse vertaling van Ulysses, in samenspraak met vriend Joyce en vertaler Auguste Morel, een vertaling die bovendien vrij lang als standaard heeft stand gehouden.

In 1908 debuteerde hij met Poèmes d’un riche amateur ou oeuvres françaises de M. Barnabooth, onder het pseudoniem Archibald Olson Barnabooth. Deze bundel in een oplage van amper 200 exemplaren bevatte een vijftigtal gedichten, een fictieve biografie van de mondaine, puissant rijke Zuid-Amerikaan Barnabooth en de novelle Le pauvre chemisier (vertaald door E. du Perron als ‘De arme hemdenmaker’). In 1913, bij het verschijnen van A.O. Barnabooth, Ses Oeuvres Complètes, een soort vervolg op de eerste publicatie, werd duidelijk dat Larbaud achter de nom de plume Barnabooth zat. Het verhaal over Barnabooth die naar de hand dingt van de dochter van de onfortuinlijke chemisier bleef bewaard, net als een ruime selectie van de gedichten. De verzonnen biografie werd vervangen door een ‘Dagboek van een miljardair’ (vertaald in 1994 door Paul de Bruin).

Perecianen zullen overigens in de ‘rijke amateur’ Bartlebooth — een centraal personage in Het leven een gebruiksaanwijzing — een mengeling  herkennen van Herman Melville’s Bartleby en Larbauds Barnabooth. De persona Barnabooth stond voor de steenrijke maar gevoelige en dichtende kosmopoliet en was gestoeld op Larbaud zelf. Op zijn achtste verloor Larbaud zijn vader en werd hij opgevoed door zijn moeder en tante. Zijn leven lang had hij een broze gezondheid, een gebrek dat deels gecompenseerd werd door het fortuin dat zijn vader had nagelaten (een apotheker die rechten op het Vichy-bronwater had weten te claimen). Larbaud heeft nooit moeten werken om in zijn onderhoud te voorzien, bezat diverse woningen en had naar verluidt een bibliotheek van vijftigduizend boeken. Als een volleerd dandy reisde Larbaud de wereld rond, van kuuroord naar mondaine badplaats tot bruisende metropolen; een uitzonderlijke mobiliteit die ook blijkt uit Enfantines, waaraan hij werkte in onder andere Montpellier, Warwick, Leamington, Londen, Valbois, Perth, Dublin, Bône en Monaco.  

Kinderscènes

In haar uitgebreid en informatief nawoord verheldert vertaalster Katrien Vandenberghe de vrij complexe publicatiegeschiedenis van de Enfantines en verantwoordt de selectie voor de vertaling. Kinderscènes bevat de acht ‘reguliere’ enfantines zoals die verschenen in 1918, aangevuld met ‘Gwenny-all-alone’, een later gepubliceerd verhaal dat in de Pléiade-editie van Larbauds verzameld werk, samen met een niet opgenomen epiloog uit 1914, onder de kop ‘Deux enfantines retrouvées’ staat. Dat ‘La paix et le salut’, de epiloog uit 1914, geschreven in Sandgate, hier niet is opgenomen, is verantwoordbaar omdat Larbaud er op meerdere momenten van zijn schrijversloopbaan afstand van heeft genomen. Desalniettemin verrasten enkele vrienden Larbaud voor zijn zestigste verjaardag met een inmiddels zeer gegeerde bibliofiele uitgave van dat specifieke, anglofiele verhaal.

De titel ‘enfantines’ (als bijvoeglijk naamwoord betekent dit ‘kinderlijk’) haalde Larbaud van de Franse editie van Modest Moessorgski’s liederencyclus De kinderkamer. Een mooie toevoeging aan de nagelnieuwe Nederlandse vertaling is dat er enkele gravures zijn opgenomen uit de prachtige vierdelige editie van Enfantines uit 1926. Ook het voor- en achterplat en de typografie van de titels zijn geïnspireerd op enkele van deze deeltjes. Bijzonder is ook dat elke enfantine is opgedragen aan een bepaalde persoon, vrienden van Larbaud. Onder anderen André Gide, Gaston Gallimard, Léon-Paul Fargue en Marcel Ray kregen een enfantine toebedeeld.

Het is tijdens een wandeling in het park met diezelfde Marcel Ray dat Larbaud op het idee komt van ‘Portrait d’Éliane à quatorze ans’. Vandenberghe noemt de oudste van de Enfantines — gepubliceerd in het tijdschrift La Phalange in 1908 — terecht de kiem van de hele verhalencyclus: het verhaal dat de originele uitgave zou gaan afsluiten, inspireerde Larbaud immers om nog meer vignettes te schrijven over de complexe gevoelswereld van meisjes, jongens en adolescenten. In 1911 had hij trouwens al naam gemaakt met een roman die gelijkaardige thema’s aansneed, Fermina Marquez (eveneens vertaald door Du Perron), waarin hij de eerste ongelukkige kalverliefde van een gevoelige scholier op prangende wijze had weten te verbeelden, zich baserend op zijn eigen ervaringen in een kostschool.  

Jeugdherinneringen en de wereld van kinderen vormen uiteraard wel vaker het centrale thema van romans of verhalen, ook en in het bijzonder in de negentiende-eeuwse literatuur. Denk maar aan het werk van gangmakers als Charles Dickens, of dat van twee Franse grootmeesters binnen het genre, Jules Vallès en Jules Renard. Met Enfantines treedt Larbaud deze traditie zeker bij, maar tegelijk zijn deze sfeervolle, doorwrochte en weinig alledaagse ‘kinderscènes’ een poging om dat genre nieuw leven in te blazen. De op het eerste gezicht eenvoudige verhalen — in een bij momenten naïeve, bijna sprookjesachtige, impressionistische stijl — onthullen aspecten van de kindertijd die voorheen genegeerd werden door een literatuur die resoluut te preuts en moralistisch was. Zo snijdt Larbaud toentertijd heikele thema’s aan, zoals seksuele ontwaking (‘Portret van Éliane op haar veertiende’), lesbische liefde (‘Rose Lourdin’), klassennijd (‘Het hakmes’) en zelfs pedofilie (‘Gwenny-all-alone’).

Innerlijke wereld

Maar wat deze Kinderscènes absoluut naar een hoger niveau tilt is de modernistische insteek. Larbaud peilt diep naar de innerlijke wereld van zijn hoofdpersonages, aan de hand van onder andere een meesterlijk gebruik van de monologue intérieur-techniek. Hij lijkt de sleutel te hebben die toegang verleent tot alle mysteriën van de kinderlijke verbeelding, zienswijzen en sentimenten. Hoe lieflijk de titel ‘enfantines’ ook klinkt, de auteur ervan benadert de kindertijd echter op een verre van conventionele manier. Larbaud focust niet zozeer op de onschuld, de goedheid of de charmes van kinderen, maar eerder op de duistere zijdes, afgronden en valkuilen van hun gevoelsuniversum, hun keerzijde, zeg maar. Hij toont onverbloemd de pijn van hoe het is een kind te zijn.

Bijna alle helden in Kinderscènes zitten dan ook in een soort existentiële malaise. Ze zijn nagenoeg allemaal letterlijk lijdende voorwerpen. Omdat Larbaud ze zo dicht op de huid zit, hun wereld zo secuur verwoordt, is hun pijn vaak meer dan invoelbaar. Sommigen groeien op in de kille omgeving van een pensionaat (‘Rose Lourdin’) anderen zitten gevangen in de gouden kooi van een luxueus hotel (het ijzingwekkende ‘Dolly’). De kinderhelden van Larbaud lijken te leven in een wereld waar volwassenen nooit toegang toe kunnen krijgen. De ouders zijn in deze verhalen de grote afwezigen of blijven steeds op de achtergrond: ‘Wie schrijft nu eens dat urgente boek over ‘Slecht opgevoede ouders’?’

Larbaud — een fanatiek aanhanger van de exuberante avonturenromans van Jules Verne en Pierre Loti — laat zijn geïsoleerde, onbegrepen of eenzame personages vluchten in de zelfgecreëerde werelden van hun verbeelding. Milou in ‘Het hakmes’, bijvoorbeeld, schrijft een fabel en trekt zich geregeld terug in een ‘onzichtbare wereld’; de jongen in ‘Vakantietaken’ waagt zich aan poëzie; tijdens de spelletjes in ‘Het Grote Tijdperk’ vloeien realiteit en verbeelding voortdurend in elkaar over; in ‘Vakantietaken’ en ‘Het uur met het Gelaat’ leeft een ‘figuur’ in de marmeraders van een schouw. In ‘Vakantietaken’ krijgt die fantasiewereld zelfs een mystiek kantje: de verteller denkt terug aan een vriend, die een bijna magische aantrekkingskracht op hem uitoefende. De stemmingswisselingen en de wispelturigheid van de vriend knagen aan zijn gemoed, terwijl de idyllische omgeving waarin hij zich bevindt zijn verheven gevoelens alleen maar versterkt (terzijde: Larbaud had zich in 1910 bekeerd tot het katholicisme, een resolutie die ook nog opduikt in ‘Gwenny-all-alone’).

Gewrongen machtsverhouding

Gezien Larbauds maatschappelijke achtergrond is het bovendien weinig verwonderlijk dat alle kinderen behoren tot de hogere klassen, gedijen binnen de beschermde bourgeoisie-cocon. Ze bevinden zich allen in een geprivilegieerde positie, die hen moeiteloos de middelen om hun verbeelding de vrije loop te laten ter beschikking stellen. Maar terzelfdertijd heerst er een gewrongen machtsverhouding tussen de rijkeluiskinderen en de kinderen van de lagere klassen.  De bourgeoiskinderen kijken vaak op naar die van de lagere klassen, alsof enkel zij bepaalde waarheden in pacht hebben. In ‘Het Grote Tijdperk’ zijn de kinderen van de fabrieksbazen bijvoorbeeld danig onder de indruk van de dochters van een arbeider en in ‘Rachel Frutiger’ kunnen de ouders van twee door de verteller bewonderde meisjes het schoolgeld niet betalen. In ‘Het grote hakmes’ verminkt de rijke erfgenaam Milou zich om in de gunst te komen bij een herderinnetje dat zich aan het snijtuig uit de titel heeft verwond. En in ‘Portret van Éliane op haar veertiende’ voelt de hoofdpersoon zich in eerste instantie aangetrokken door mannen uit de lagere klassen, omdat hun lichamen atletischer zijn door hun fysieke arbeid.

Annie Ernaux — nog zo’n herinneringsspecialiste — schreef, zoals Vandenberghe aangeeft in haar nawoord, over de klassenstrijd in Enfantines een snijdend stuk. ��Hierin benadrukt zijdat het van belang is de maatschappelijke positie van de auteur mee te nemen in de interpretatie van zijn werk ( L’enfance et la déchirure, Europe, n° 798, 1995). Ernaux’ lezing kan niet anders dan een politieke zijn, schrijft ze, omdat Larbaud wel degelijk keuzes heeft gemaakt in de beschrijving van zijn personages, en omdat, ja, die niet zo onschuldig zijn als we op het eerste gezicht zouden durven denken.

Erotines

Tot slot nog enkele woorden over het erotisme in Kinderscènes. Wie schrijft over de gevoelens van kinderen en adolescenten, kan niet omheen thema’s zoals seksueel ontwaken of nieuwsgierigheid naar het andere en zelfde geslacht. In ‘Rose Lourdin’, het openingsverhaal, wordt de vertelster verliefd op een medeleerlinge van haar kostschool. Haar gevoelens worden steeds intenser, maar in plaats van Rosa haar liefde te bekennen, koestert ze ‘het verdriet’ en zoekt het gezelschap van een andere leerlinge die haar pest. Er is een voortdurend spanningsveld tussen masochisme, lichamelijke lust en verboden liefde (er is de suggestie van een hechte band tussen Rosa en een leerkracht). Larbaud weet de gevoelens van de getormenteerde Rose perfect te verwoorden: een hoogtepunt is de buñueliaanse  fetisj-scène met het schortje. ‘Rose Lourdin’ zindert van een bevreemdende, nagenoeg bedwelmende zinlijkheid.

Een gelijkaardige nadruk op wellust komt voor in de achtste enfantine ‘Portret van Éliane op haar veertiende’. Het hoofdpersonage bevindt zich op het kantelpunt tussen een meisje en een jonge vrouw. Ze fantaseert over onkuise liefde en vindt troost bij de afbeelding van een naakte man in de geïllustreerde encyclopedie van haar vader. Vervolgens probeert ze de aandacht te trekken van enkele jonge mannen in het park, om daar meteen ook allerlei romantische liefdesverwikkelingen bij te verzinnen. De broeierigheid van de parkscène doet denken aan het prikkelende liefdesspel tussen Leopold Bloom en Gerty MacDowell in ‘Nausicaa’, het vijfde hoofdstuk van Ulysses. Hoe het zij, in deze ‘kinderscène’ toont Larbaud hoezeer hij de techniek van de monologue intérieur meester was.  

Ook in het laatste verhaal ‘Gwenny-all-alone’ is de aantrekkingspool een twaalfjarig meisje dat op de rand van de jongvolwassenheid staat. Haar ‘kinderlijke trekken’ zijn bijna allemaal verdwenen laat de verteller weten, een oudere jongeman die zich verschuilt in een Welsh vakantieoord. Het buurmeisje Gwenny, dat geregeld en al dan niet met opzet haar bal over de tuinmuur gooit,  roept bij hem vooral een verlangen op haar te ‘beschermen’. Hij heeft in het verleden nog andere ‘vriendschappen’ en ‘grote liefdes’ gehad met jonge meisjes. De volwassen wereld begrijpt hij niet, stoot hem zelfs af. Hij wil enkel de zachte aanwezigheid van meisjes ervaren. Voor veel hedendaagse lezers is de pedofilieradar al stevig in het rood gegaan, maar Larbaud geeft er een magnifieke (en beruchte) draai aan: de verteller zoekt in de meisjes niemand minder dan God, zijn ‘grote onzichtbare vriend’. Alles wat geen onschuld belichaamt, lijkt hem ‘dwaas’ en ‘zinloos’. Hij wil niet langer de volwassene ‘spelen’, maar enkel de draad van zijn kindertijd oppikken, zonder ook maar één ‘boze gedachte’ of een ‘onzuiver woord’.  

Zo idealiseert Larbaud uiteindelijk dan toch de kindertijd en bombardeert hem tot een transcendente toestand van ‘voor de originele zonde’. De verteller in ‘Gwenny-all-alone’ ontdekt de kern van zijn kindertijd door erover te schrijven, net als Larbaud. Kinderscènes biedt troost door ons in de waan te laten dat we onze kindertijd pas echt kunnen beleven eenmaal we volwassen zijn. Tegelijk confronteren deze enfantines ons met de onmetelijke tristesse dat onze kindertijd eindig is en — helaas — onomkeerbaar verloren, eenmaal de volwassenheid zijn bruuske intrede doet.

 --

Valery Larbaud: Kinderscènes, De Arbeiderspers, Amsterdam 2021, 224 p. ISBN 9789029539753. Vertaling van Enfantines door Katrien Vandenberghe. Distributie L&M Books

[nikimatita-rugini]

Artspring Artwalk 05.05.2024 - 09.06.2024 Kleingartenanlage Bornholm I & II

Teilnehmende Künstler*innen // participating artists

Kifan Alkarjousli, Ronald Anzenberger, Stella Arion, Theresia Asam, Herman Beneke, Valerie Funk, Dagmar Gester, Carolina Giovagnoli, Carlos Gutiérrez Brambila, Anne Stefanie Hilbrink, Anca Huma, Silke Kirschning, Kathrin Köster, Gunhild Kreuzer, Liz Magno, Niki Matita, Anja Nolte, Maarja Nurk + Line Wasner, Jennifer Oellerich, Viktoria Ovsepian, Eleni Papaioannou, Aisté Radzevičiūtė, Annekatrin Pischelt, Pavlina Rozsypálková, Nicole Sauerbrey, Cornelius Schaper, Anja Spitzer, Birgit Szepanski, Manuel Talarico, Elena Vlachopoulos, Annett von Wegeblau, Ulrike Wilkens, Tomoko Yanaka

[annkama]

My OCes fav books

Andy: Mark Twain "The Adventures of Tom Sawyer", Alexandre Dumas "Robin Hood"

Tanya: Arkady Gaidar "Timur and his team", Anton Chekhov "Ward No. 6"

Valerie: Lewis Carroll "Alice's Adventures in Wonderland", H. G. Wells "The War of the Worlds"

Anders: Jack London "The sea-wolf", Herman Melville "Moby-Dick, or The Whale"

[brn1029]

On this date in music….yes there is a big time Country artist at the end of this report, but wait……

April 11th

2017 - J Geils

J Geils, American guitarist, with The J. Geils Band died aged 71. With the J. Geils Band he had the 1982 US No.1 & UK No.3 single 'Centerfold', which was taken from their US No.1 1981 album Freeze Frame.

1981 - Eddie Van Halen

Eddie Van Halen married actress Valerie Bertinelli, co-star of the 1980s television hit, One Day at a Time. The two had met eight months earlier when Bertinelli's brother took her to a Van Halen concert in Shreveport, Louisiana.

1977 - Alice Cooper

Alice Cooper played to an audience of 40,000 in Sydney, Australia, the largest crowd to attend a rock concert in the country's history. After the show Cooper was placed under house arrest at his hotel until he posted a bond for $59,632. That amount was the sum that a promoter claimed to have paid Cooper for a 1975 Australia tour he never made. The two settled when it was found that the promoter did not fulfill his part of the agreement either.

1973 - Beach Boys

The Beach Boys appeared at the Omni Coliseum in Atlanta, Georgia. The Beach Boys were at a very low ebb in popularity in America and this show proved a financial disaster for the promoter, with less than 3,000 tickets sold for the 16,000 capacity venue. Opening act was Mothers Finest and middle of the bill was Bruce Springsteen who played a 60-minute set. Elvis Presley performed twice in the Omni and a plaque was placed on an interior wall to that effect after his death.

1970 - The Beatles

The Beatles started a two week run at No.1 on the US singles chart with 'Let It Be'. It became the group's 19th US No.1 in 6 years. The track was a No.2 hit in the UK.

1965 - Tom Jones

Performing at the New Musical Express poll winners concert, at London's Wembley Empire Pool, England, The Beatles, The Rolling Stones, Tom Jones, Freddie and the Dreamers, The Animals, The Kinks, Herman's Hermits, Moody Blues, Them, Cilla Black, The Seekers and Donovan.

1964 - The Beatles

The Beatles set a new chart record when they had 14 songs on the Billboard Hot 100. The songs ranged from 'Can't Buy Me Love' at No.1 to 'Love Me Do' at No. 81.

1963 - Gerry and the Pacemakers

Gerry and the Pacemakers were at No.1 on the UK singles chart with 'How Do You Do It'' The group's first of three UK No.1's.

1961 - Bob Dylan

Bob Dylan played his first live gig in New York City at Gerde's Folk City, opening for John Lee Hooker.

1956 - Elvis Presley

Travelling from Amarillo to Nashville, the plane that Elvis Presley was flying on developed engine trouble and was forced to make an emergency landing. The incident created a fear of flying for Presley.

1953 - Hank Williams

Hank Williams' 'Your Cheatin' Heart was at No.1 on the Billboard country chart. The story goes that Williams was prompted to write the song when thinking about his first wife, Audrey Williams, while driving around with his second, Billie Jean Jones who she is supposed to have written down the lyrics for him whilst sat in the passenger seat. The song was record during his last ever recording sessions, on September 23, 1952 and had been released the following year, shortly after he died.

[papermoonloveslucy]

RIP Jerry Herman

1931-2019

~ MAME ~

Although musical theatre was not Lucille Ball’s forte, her 1974 film Mame featured music and lyrics by composer Jerry Herman.

“As most ‘I Love Lucy’ fans know, the redhead couldn't sing. Her ‘Mame’ songs had to be cobbled together note by note. We all thought maybe she should be dubbed, but because it was Lucille Ball, and everybody knew what she sounds like, I knew it would be more honest not to. Actually, when she's not singing, Ball's pretty good in the film, particularly in the second half when the character Mame is a bit closer to the star's actual age.” ~ Jerry Herman  

In a 1973 episode of “Here’s Lucy” starring Steve Lawrence and Eydie Gormé,  Lucille Ball takes an opportunity to subliminally plug her upcoming movie Mame by singing a bit of “If He Walked Into My Life” while typing. 

Coincidentally, Eydie Gormé recorded the song in 1966. It won her a Grammy Award. The song was written for the 1966 Broadway musical of Mame. Steve thinks Eydie may be having an affair with a man named Herman, their musical arranger. The name ‘Herman’ was probably chosen as a tribute Jerry Herman, who wrote the music and lyrics for Mame, including “If He Walked Into My Life.”

On a 1974 publicity tour for Mame, Phil Donahue devotes an entire hour to Lucille Ball, and airs clips from the film that feature Lucy singing the Jerry Herman tunes “It’s Today” and “Mame”.  

When Lucille Ball was celebrated at “The Kennedy Center Honors” in December 1986, Valerie Harper (“Rhoda”), Beatrice Arthur (“The Golden Girls”), and Pam Dawber (“Mork and Mindy”) sang a parody of the “I Love Lucy” theme expressing their affection for Lucy. The medley featured the title song from Mame now extolling Lucy.

~ HELLO DOLLY ~

In a 1965 episode of “The Lucy Show”, Lucy Carmichael went undercover as Carol Channing, disguising herself in Channing’s most famous character, Dolly Levi from Hello Dolly, a musical by Jerry Herman. Lucille Ball gets to sing parody lyrics of the title song, the closest she’ll get to playing the iconic matchmaker.  

Lucille Ball came backstage to see Channing during Hello Dolly!

In July 1965, Lucille Ball and Carol Channing were both mystery guests on TV’s “What’s My Line?” Lucille’s good friend Ginger Rogers, who would take over for Channing as Dolly Levi on Broadway, was also a mystery guest to promote her assuming the role.  

On the October 2, 1964 “The Jack Benny Program” Benny and Lucy play Mr. and Mrs. Paul Revere. When Paul (Benny) sings a few notes of “Hello Dolly,” a jealous Rachel (Lucy) automatically assumes he’s carrying on with Dolley Madison!

Paul (Jack Benny): “It’s not Dolley Madison!  This is a song that hasn’t even been written yet!”

On a 1974 episode of “Here’s Lucy,” to welcome Lucy home after breaking her leg, the Canary Club sings “Hello Lucy” to the tune of “Hello Dolly.” Ball was about to start filming Herman’s Mame when she broke her leg skiing. 

In a 1971 “Candid Camera” themed episode of “Here’s Lucy,” featuring Allen Funt, Lucy, Harry and Kim rob a bank using a song and dance parody specially written for the episode. The medley features “Hello, Dollar!” aka “Hello, Dolly!” the title song of the 1964 musical of the same name written by Jerry Herman.

[michigandrifter]

Decision at Sundown 1957

[docrotten]

CONAN THE BARBARIAN (1982) – Episode 252 – Decades Of Horror 1980s

“What is best in life?” “To crush your enemies, see them driven before you, and to hear the lamentations of their women.” What about plunder? Does that include plunder? Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they visit Robert E. Howard’s world as visualized by John Milius in Conan the Barbarian (1982).

Decades of Horror 1980s Episode 252 – Conan the Barbarian (1982)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

As a young boy, Conan becomes a slave after his parents are killed and his tribe destroyed by a savage warlord and sorcerer, Thulsa Doom. When he grows up he becomes a fearless, invincible fighter. Set free, he plots revenge against Thulsa Doom

  Directed by: John Milius

Writing Credits: Robert E. Howard (based on the character created by); John Milius (written by), Oliver Stone (written by); Edward Summer (story) (uncredited)

Selected Cast:

Arnold Schwarzenegger as Conan

James Earl Jones as Thulsa Doom

Max von Sydow as King Osric (as Max Von Sydow)

Sandahl Bergman as Valeria

Ben Davidson as Rexor

Cassandra Gava as The Witch (as Cassandra Gaviola)

Gerry Lopez as Subotai

Mako as The Wizard / Narrator

Valérie Quennessen as The Princess (as Valerie Quennessen)

William Smith as Conan’s Father

Luis Barboo as Red Hair

Franco Columbu as Pictish Scout

Leslie Foldvary as Sacrificial Snake Girl

Gary Herman as Osric’s Guard

Erik Holmey as Turanian War Officer (as Erick Holmey)

Akio Mitamura as Mongol General

Nadiuska as Conan’s Mother

Jorge Sanz as Young Conan

Jack Taylor as Priest

Sven-Ole Thorsen as Thorgrim (as Sven Ole Thorsen)

Kiyoshi Yamazaki as Sword Master (as Kiyoshi Yamasaki)

Can anyone else step into the legendary role of Robert E. Howard’s iconic Cimmerian like the one-and-only Arnold Schwarzenegger? Add James Earl Jones, Sandahl Bergman, Max von Sydow, and William Smith as Conan’s father and you’ve got a blockbuster. John Milius (Red Dawn, 1984) directs from a script co-written with Oliver Stone, and look out! Crystal wields her own weapon of mass destruction during the Grue-Crew’s discussion of Conan the Barbarian (1982). You won’t want to miss that!

At the time of this writing, Conan the Barbarian is available to stream from Amazon Prime and various PPV sources. In terms of physical media, the film was released on January 30, 2024, as a Limited Edition, in Blu-ray or 4K Ultra HD, from Arrow Video.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be PIN (1988). It’s a plastic nightmare!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[spacetrashpile]

i just spent an hour going through the ace attorney wiki and compiling a doc of every character in the main 6 games and their heights (because hyperfixation). so if you’ve ever wondered which characters you’re the same height as, now you can find out. if a character appears in any of those 6 games and does not appear here, they either don’t have a cannon height or they weren’t on the wiki for that game and i haven’t played it so i didn’t know they existed. if a character is listed as having multiple heights, this is not a mistake on my part this is either a mistake of the guide books or they’ve gotten taller throughout the series.

8.66 in: Shah'do

4”1: Pearl Fey

4”2: Cody Hackins

4”3: Amara Sigatar Khura'in

4”6: Pearl Fey

4”7: Sister Bikini, Ahlbi Ur'gaid

4”9: Myriam Scuttlebutt

4”10: Jinxie Tenma, Rayfa Padma Khura'in

4”11: Trucy Wright, Bonny de Famme, Betty de Famme, Armie Buff

5”0: Victor Kudo, Trucy Wright, Phineas Filch

5”1: Maya Fey, Penny Nichols, Ema Skye, Dahlia Hawthorne, Viola Cadaverini, Iris Hawthorne, Juniper Woods

5”2: Maya Fey, April May, Lotta Hart, Director Hotti, Ini Miney, Mimi Miney, Robin Newman, Beh'leeb Inmee, Bucky Whet, Ellen Wyatt

5”3: Ema Skye, Maggey Byrde, Regina Berry, Bruto Cadaverini, Valerie Hawthorne, Yuri Cosmos, Sasha Buckler

5”4: Winston Payne, Misty Fey, Angel Starr, Franziska von Karma, Moe, Adrian Andrews, Lisa Basil, Athena Cykes, Geiru Toneido, Uendo Toneido, Paul Atishon

5”5: Frank Sahwit, Marvin Grossberg, Sal Manella, Dee Vasquez, Morgan Fey, Kane Bullard, Desirée DeLite, Jean Armstrong, Apollo Justice, Gaspen Payne, Norma DePlume

5”6: Mia Fey, Cindy Stone, Lana Skye, Russell Berry, Sorin Sprocket

5”7: The Judge, Bellboy (from Turnabout Sisters), Max Galactica, Luke Atmey, Ted Tonate, Aura Blackquill

5”8: Yanni Yogi, Dustin Prince, Richard Wellington, Doug Swallow, Ron DeLite, Clay Terran, Solomon Starbuck, Amara Sigatar Khura'in, Ga'ran Sigatar Khura'in

5”9: Phoenix Wright, Gregory Edgeworth, Bruce Goodman, Jake Marshall, Neil Marshall, Turner Grey, Herman Crab, Pees'lubn Andistan'dhin, Tahrust Inmee, Pierce Nichody

5”10: Larry Butz, Miles Edgeworth, Redd White, Manfred von Karma, Benjamin Woodman, Juan Corrida, Florent L'Belle, Hugh O’Conner, Roger Retinz

5”11: Acro, Klavier Gavin, Constance Courte, Marlon Rimes

6”0: Dick Gumshoe, Will Powers, Shelly de Killer, Matt Engarde, Glen Elg, Kristoph Gavin, Bobby Fulbright, Nahyuta Sahdmadhi, Dhurke Sahdmadhi

6”1: Jack Hammer, Damon Gant, Godot, Furio Tigre, Inga Karkhuul Khura'in, Datz Are'bal

6’2: Mike Meekins, Simon Blackquill

6”3: Terry Fawles

6”4: Damian Tenma

6”5: Aristotle Means

Likely less than 7”0 (which is the funniest description the wiki could’ve given): Zak Gramarye

9”10: Ora Shipley, Ora Shipley the First

[jesuisgourde]

Please please please give me more Richey book recs! Especially with suicide as a theme, but if you know of any others, I would love to hear about them too! Thank you for being a fountain of a Manic knowledge and sharing it with us <3

Here's two lists! List one is stuff Richey definitely read, as in it's something he mentioned or referenced in lyrics/interviews/album booklet or setlist quotes/etc. List two is stuff that I can extrapolate he likely read, due to the things I know he did read. Note that a fair amount of these come with various trigger warnings. Again, I've read most but not all of these, so I can answer questions about a good number of them.

Oh, also, this totally slipped my mind from the last list somehow. The Virgin Suicides by Jeffrey Eugenides was definitely a book Richey read; the Manics use a quote from the film version (which came out after Richey's death but they said in an interview they thought he'd have liked it) at the end of Doors Closing Slowly.

Definitely read: -Catcher In The Rye by JD Salinger -American Psycho by Bret Easton Ellis -The Virgin Suicides by Jeffrey Eugenides -The Dice Man by Luke Rhinehart -1984 by George Orwell -Confessions Of A Mask by Yukio Mishima -The Plague, The Stranger, and The Fall, all by Albert Camus -A Streetcar Named Desire by Tennessee Williams -Lipstick Traces by Greil Marcus -The Birth of Tragedy by Friedrich Nietzsche -The Torture Garden by Octave Mirbeau -Borstal Boy by Brendan Behan -The Divided Self by RD Laing -Notes From Underground by Fyodor Dostoevsky -Novel With Cocaine by M Ageyev -Bernice Bobs Her Hair by F. Scott Fitzgerald -Black Rain by Masuji Ibuse -Under The Volcano by Malcolm Lowry -Frisk by Dennis Cooper -Bartleby The Scrivener by Herman Melville -Homage To Catalonia by George Orwell -Heart Of Darkness by Joseph Conrad (which is what Apocalypse Now was based on, and the film was one of Richey’s major obsessions at the end of his life) -Brave New World by Aldous Huxley -Rumblefish by SE Hinton -Being And Nothingness by Jean Paul Sartre -Exquisite Corpse by Poppy Z Brite -The Atrocity Exhibition by JG Ballard -High Rise by JG Ballard -Birdy by William Wharton -The Trial by Franz Kafka -Suddenly Last Summer by Tennessee Williams -Lolita by Vladimir Nabokov -The Fire Next Time by James Baldwin -The Wretched of the Earth by Frantz Fanon -Lord of the Flies by William Golding -Less Than Zero by Bret Easton Ellis -One Flew Over The Cuckoo’s Nest by Ken Kesey -Birdy by William Wharton -Thirst For Love by Yukio Mishima -Miracle Of The Rose by Jean Genet -The Drowned And The Saved/So This Is A Man/Escape From Auschwitz, all by Primo Levi -The Diary Of A Young Girl by Anne Frank -Last Exit To Brooklyn by Hubert Selby Jr -The Loneliness of a Long-Distance Runner by Alan Sillitoe -Four Quartets by Hart Crane -The Divine Comedy by Dante Alighieri -The Pursuit Of Loneliness by Philip Slater -Society Of The Spectacle by Guy Debord -The Naked And The Dead by Norman Mailer -Man’s Search For Meaning by Viktor Frankl -Illuminations by Arthur Rimbaud -Dialectic Of Enlightenment and Minima Moralia by Theodore Adorno -The Pilgrim’s Progress by John Bunyan -One Day In The Life of Ivan Denisovich by Alexsandr Solzhenitsyn -The Hero With A Thousand Faces by Joseph Campbell -Naomi by Junchiro Tanizaki -SCUM Manifesto by Valerie Solanas -The Lives Of Michel Foucault by David Macey -Rethinking Camelot by Noam Chomsky -The Anxiety Of Influence by Harold Bloom -The Unrest Cure And Other Stories by Saki (HH Munro) -King Lear by William Shakespeare -Confessions by Saint Augustine -The Day Of The Locust by Nathaniel West -Tom Jones by Henry Fielding -Bird Man: The Many Faces Of Robert Stroud by Jolene Babyak -The Demon by Hubert Selby Jr -The Waste Land by TS Eliot -Songs Of Innocence And Experience by William Blake

Likely read: -The Outsiders by SE Hinton -Fahrenheit 451 by Ray Bradbury -Mrs Dalloway by Virginia Woolf (features a suicidal main-ish character) -Post Office by Charles Bukowski -The Prophet by Khalil Gibran -Knots by RD Laing -On The Road by Jack Keroauc -No Exit by Jean Paul Sartre -The Sickness Unto Death by Soren Kierkegaard -Junky & Naked Lunch, both by William S Burroughs -Valley Of The Dolls by Jacqueline Susanne -The Runaway Soul by Harold Brodkey -Tropic of Cancer by Henry Miller -The Tin Drum by Gunter Grass -Austerlitz by WG Sebald -Betrayal by Harold Pinter -Invitation To A Beheading by Vladimir Nabokov -The Story Of O by Anne Desclos -Lucie’s Long Voyage by Alina Reyes -120 Days of Sodom by Marquis de Sade -The Traitor by Andre Gorz -The Man Of Feeling by Henry Mackenzie -This Way To The Gas, Ladies And Gentlemen by Tadeusz Borowski -The White Rose by Inge Scholl -It Can’t Happen Here by Sinclair Lewis -On Revolution by Hannah Arendt -Being There by Jerzy Kozinski -Heliogabalus: or, the Crowned Anarchist by Antonin Artaud -Resuscitation of a Hanged Man by Denis Johnson -Mysteries by Knut Hamsun -We by Yevgeny Zamyatin -Almost Transparent Blue by Ryu Murakami -Venus In Furs by Leopold von Sacher-Masoch -How I Became One Of The Invisible by David Rattray -The Story Of The Eye by Georges Bataille -The Blue Of Noon by Georges Bataille

Also, there's a lot more of my ramblings and writings about the Manics on my other blog @meta-squash under the "manic street preachers" tag, if you're interested. (And I do love talking about them, and Richey especially.)

ETA: I went through all the (text) interviews of the Manics and wrote down every book they mentioned in interviews or lyrics and posted it up here.

[tawneybel]

Male Werewolf Characters

Note: And werecanines in general. Be free to suggest more! They’re one of my fave popular monsters. 

David Kessler from An American Werewolf in London

Ted Harrison from Bad Moon

Woodsman from The Brothers Grimm

Daniel Osborn from Buffy the Vampire Slayer

Huntsman from The Company of Wolves

Young Groom from The Company of Wolves

host from Doctor Who (“Tooth and Claw”)

Beast from Ginger Snaps 2: Unleashed

Krisztian Ajandok from Grimm (jackal)

Al from Grimm (coyote)

Anubis prisoner from Grimm (jackal)

Jed Baim from Grimm (coyote)

Boyd Baribeau from Grimm (dog)

Bart from Grimm

Doyle Baske from Grimm

Richard Berna from Grimm (jackal)

Sam Bertram from Grimm (fox)

Ray Bolton from Grimm (hellhound)

Freddy Calvert from Grimm (fox)

Lance Calvin from Grimm

Casey Darwell from Grimm

Felix Dietrich from Grimm

Nigel Edmund from Grimm (fox)

Father Eickholt from Grimm

Ian Flynn from Grimm (jackal)

Food Cart Santa from Grimm (jackal)

Sig Ganz from Grimm (jackal)

Otto Gruenwaldt from Grimm (jackal)

Ian Harmon from Grimm (fox)

Karl Herman from Grimm (jackal)

Takeshi Himura from Grimm (dog)

Richard Hooke from Grimm (jackal)

Diego Hoyos from Grimm (coyote)

Harold Johnson from Grimm (jackal)

Jarold Kampfer from Grimm (coyote)

Akira Kimura from Grimm (jackal)

Laszlo Kurlan from Grimm (coyote)

Hap Lasser from Grimm

Sam Leoni from Grimm

Lieutenant Marshall from Grimm (jackal)

Gabriel Martell from Grimm 

Monroe from Grimm

Scott Mudgett from Grimm (dog)

Richard Mulpus from Grimm (coyote)

Postman from Grimm

Cole Pritchard from Grimm

Emilio Quintana from Grimm (dog)

Max Robbins from Grimm

Charlie Riken from Grimm

Jonah Riken from Grimm

Hans Roth from Grimm (jackal)

Ryan Showalter from Grimm (fox)

Stancroft from Grimm (dog)

Weston Steward from Grimm (dog)

Oscar Vasicek from Grimm (jackal)

Hayden Walker from Grimm (coyote)

Kyle Walker from Grimm (coyote)

Todd Walker from Grimm (coyote)

Edgar Waltz from Grimm (dog)

Woden from Grimm

Adrian Zayne from Grimm (jackal)

Fenrir Greyback from Harry Potter

Remus Lupin from Harry Potter

Caleb from R.L. Stine’s The Haunting Hour (“Nightmare Inn”)

Jillian’s dad from R.L. Stine’s The Haunting Hour (“Nightmare Inn”)

Vernon Boyd from Teen Wolf

Deucalion from Teen Wolf

Garrett Douglas from Teen Wolf

Ennis from Teen Wolf

Derek Hale from Teen Wolf

Peter Hale from Teen Wolf

Kincaid from Teen Wolf

Scott McCall from Teen Wolf

Demarco Montana from Teen Wolf

Jordan Parrish from Teen Wolf (hellhound)

Theo Raeken from Teen Wolf (half-coyote)

Aiden Steiner from Teen Wolf

Ethan Steiner from Teen Wolf

Brett Talbot from Teen Wolf

Sebastien Valet from Teen Wolf

Jackson Whittemore from Teen Wolf

Taha Aki from the Twilight Saga

Quil Ateara from the Twilight Saga

Jacob Black from the Twilight Saga

Embry Call from the Twilight Saga

Jared Cameron from the Twilight Saga

Paul Lahote from the Twilight Saga

Sam Uley from the Twilight Saga

Velkan Valerious from Van Helsing