#david rea

[mywifeleftme]

220: David Rea // Maverick Child

Maverick Child David Rea 1969, Capitol

Consider today’s review a dinner bell for any sickos out there looking to hear every good country-folk-rock record released between like 1968 and 1972, as there’s a decent chance David Rea’s slipped by you. I’ll be clear up top: you don’t need to get to this one till you’ve listened to every record in that window by the Faces, Gordon Lightfoot, the Burrito Brothers, Little Feat, Jerry Jeff Walker, Delaney & Bonnie, the Dead, Gene Clark etc. etc. But if you’re a true perv for a certain sound, you’ll get to the point where you’re bringing the heavy digging machinery to the crates, becoming a real champion of three specific Garland Jeffreys songs or well-actuallying people about the post-Lou Velvets.

So, use your level of excitement about this run-down as a test for your level of contagion: American folkstyle guitarist who learned his craft from the Reverend Gary Davis and spent a good portion of his life in Canada as a sideman for Lightfoot, Ian & Sylvia, Joni Mitchell (who wrote a song about him) and the like. Had something like two weeks as replacement lead singer/guitarist for Fairport Convention. Best friend of Mountain’s Felix Pappalardi and co-wrote their hit “Mississippi Queen.” First, and by all accounts best, solo album flits between soulful country, very sincere folk, nasty corn-pone blues funk, and rockish stuff. Looks like someone shaved an Ewok to make it look like Warren Zevon.

Oof. You’ve got it that bad eh?

Rea is an undistinguished singer, but he has a likable voice and he’s wise enough not to leave himself on too many ledges that his superb guitar playing can’t scaffold him a way down from. Session guys often like to see one of their own make good, and Rea gets plenty of help from the best: Maverick Child’s credits are full of familiar names from the ranks of Music City’s finest, including guys from the Muscle Shoals Rhythm Section, Nashville A-Team, virtuoso fiddler Vassar Clemons, and even most of Mountain on the closing cover of “Hellhound on My Trail.” Pappalardi also did his buddy a favour and produced the sessions—we should also be so lucky to get such a finely crafted gift from a friend.

Like a lot of records by sidemen, Maverick Child doesn’t have a super strong identity of its own, sounding like a clearing house for vibes Rea picked up while backing up a variety of artists. It’s all over the place, from the poignant progressive country of the title track to an arrangement of Jimmie Rogers’ “Blue Yodel #9” that sounds like acoustic Deep Purple. There’s even a weird folk story song called “Cannibal Christians” that involves sorcery and ruminations on the nature of pagan souls.

The best way I can describe this record’s finest moments is like this: my girlfriend got a little teary-eyed listening to the title track and exclaimed, “It’s cheating to use those chords like that!” Part of getting deeper and deeper into a particular niche is finding that while at a certain point you’ve heard most of the original ideas that niche contains, those ideas have also impressed themselves so deeply on you that you will eventually become moved just by being reminded of them. Rea takes some well-traveled roads, but he knows the ones that will take you home. Most of the time, he gets you there like a pro, with just enough weird twists to keep you interested. I recommend the trip!

220/365

[prongsieeee]

i’ll be a rock n rollin bitch for you

[landfilloftrash]

(slams head against wall) sorry not sorry rough doodles be upon ye

[abs0luteb4stard]

W A T C H I N G

[bookhouseboy1980-blog]

The Company of Wolves (1984) (Review)

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@horrorfixxx @thecompanyofwolves

[kennedyzz]

cougocigjCOUGH sorry for not posting busy with life stuff + no motivation MY BAD YOU GUYS !!!!!!

make-up david doodle

[warhead]

[oooilovethatmovie]

V for Vendetta

“Voilà!”

“I know why you did it. You were afraid. Who wouldn’t be? War, terror, disease. They were a myriad of problems which conspired to corrupt your reason.”

Very vivid descriptive view of how the ideas of civil liberties are bullet proof. I’ve only seen it once but I should watch it again.

Remember remember the fifth of November!

[letterboxd-loggd]

Life Is Sweet (1990) Mike Leigh

December 3rd 2023

[cut-me-and-call-me-yours]

THE REAPING (2007)

I remember being in maybe grade 5 or 6 and my best friend bringing home this DVD and how to me at such a young age this movie was so wonderful and yet so scary. it's one of those movies you watch as a kid and forget about until one day a scene pops in your head, and it causes you to seek it out to rewatch. It's been over 10 years since I had last seen this 6 i was pretty reserved about how it would hold up. I'm pl3ased to report that it isn't great, but it certainly is far from what I would consider bad. There's a decent storyline, a nice and somewhat unique setting, and overall likable charcaters. Everything you would expect from a low-budget mid 2000s horror. There's nothing particularly gruesome about the film (except maybe that sawrm of locusts), but it still leaves you interested during the runtime and satisfied from the end. I really loved seeing the friendship between Ben and Katerine. You can tell that those two are platonic soulmates and that both are completely comfortable with their relationship instead of rge usual creepy guy trailing after the hot women he works with because he thinks she owes him her affection type trope. I would put this film in "baby's first horror" category.

[cantsayidont]

Moviezzz:

THE AMERICAN SOCIETY OF MAGICAL NEGROES (2024): Underdeveloped Kobi Libii satire about a down-on-his-luck Black artist (Justice Smith) who's recruited (by David Alan Grier) to become a kind of Black fairy godfather for fretful white people, only to immediately stumble when he and his first "client" (Drew Tarver) both fall for the same attractive woman (An-Li Bogan). The concept is pointed, and the scenes with Grier take some well-deserved if rather easy potshots at films like THE GREEN MILE and DRIVING MISS DAISY, but those scenes outline a thesis that the main story really doesn't pay off; you could cut all the magical stuff completely without significantly changing the plot, which is a fairly ordinary romcom about a young Black man whose artistic and romantic ambitions are undermined by his socially conditioned reluctance to assert himself. Frustratingly, the movie's most interesting twist — which actually reframes the entire story in a completely new and provocative light — comes right at the end, leaving no opportunity to actually engage with it. CONTAINS LESBIANS? Not a one. VERDICT: Like THEY CLONED TYRONE, it's a logline in search of a script, and it accomplishes less with its premise in 90+ minutes than a decent episode of THE BOONDOCKS could have managed in 20.

THE HIT (1984): Unusual but hard-to-enjoy existentialist road movie about a pair of British hitmen — a twitchy, vaguely reptillian aging pro (John Hurt) and a cocky, naive young punk (Tim Roth) — transporting an aging former hood (Terrence Stamp) from Spain to Paris, where he's to be killed for having testified against his cohorts 10 years earlier. The target is unnervingly philosophical about it all, but the same can't be said for Maggie (Laura del Sol), a young Spanish girl they abduct along the way, intending to murder her at the earliest convenient opportunity. Watching Stamp drive young Roth up the wall with his c'est la vie attitude is mildly amusing, but the way Maggie is terrorized and brutalized throughout makes the film unpleasant to watch despite its deliberately lackadaisical pace and seriocomic tone. CONTAINS LESBIANS? Nope. VERDICT: One can see what they were going for, but the results are more distasteful than satisfying.

IRISH WISH (2024): Glossy, vacuous fantasy-romance about a professional editor named Maddie Kelly (Lindsay Lohan), who's in love with bestselling author Paul Kennedy (Alexander Vlahos) despite the fact that he's about to marry her best friend Emma (Elizabeth Tan). While they're in Ireland for the wedding, Saint Brigid (Dawn Bradfield) unexpectedly grants Maddie's wish that she, not Emma, be the one to marry Paul, which soon backfires when Maddie falls for hunky photographer James Thomas (Ed Speleers) instead. Intended as inoffensive fluff that relies more on pretty Irish scenery and Speleers' square jaw than on story or characterization, it's not entirely satisfying even on its own modest terms: Maddie's willingness to essentially hijack her best friend's romantic destiny feels meaner than the script is prepared to acknowledge (a problem that the casting of Elizabeth Tan as Emma only accentuates); a subplot involving Paul's reluctance to credit Maddie's contributions to his books raises the question of why she's still willing to work with him, much less marry him; and Jane Seymour is wasted in a pointless supporting role as Maddie's mom, whose attempts to make it to Ireland for her daughter's magically convened wedding keep ending in disaster. CONTAINS LESBIANS? Nary a one. VERDICT: Isn't Lohan getting too old for this sort of thing?

IRMA VEP (1996): Overrated Olivier Assayas behind-the-scenes drama — mostly filmed in a cinéma vérité mumblecore style that makes subtitles mandatory no matter how many languages you speak — starring Maggie Cheung (playing herself, more or less) as a Hong Kong actress who flies to Paris to shoot an artsy Catwoman-inspired remake of a 1915–1916 silent movie serial, a role that requires her to be wedged into a black latex catsuit whose designer (Nathalie Richard) would also like to get into Maggie's pants. (This is only one aspect of the rambling plot, but it's also the only part that's remotely interesting.) Highly regarded by critics for its knowing jabs at French cinema and French film criticism, but if you're not impressed with its cinephile onanism (which has a very narrow appeal even among cinephiles), it's mostly pretty dull. It only really comes to life during a voyeuristic dream sequence in which Maggie imagines herself wandering through her hotel (initially to a soundtrack of Sonic Youth's "Tunic (Song for Karen)") and stealing a necklace from the room of a naked woman who's arguing with her lover on the telephone. CONTAINS LESBIANS? Zoé (the Nathalie Richard character) is expressly into Maggie, but Maggie doesn't seem to reciprocate, so, like many things in this movie, nothing comes of it. VERDICT: If you're not a Cahiers du cinéma contributor looking to see if you were mentioned, you might need an extra cup of coffee to stay awake, catsuits notwithstanding.

SALYUT-7 (2017): Cardboard Russian adventure film about the daring 1985 Soyuz T-13 mission to try to repair the titular space station, which had gone into an uncontrolled spin after the failure of its onboard automated systems. Faced with the risk of the station crashing to Earth in a populated area, two veteran cosmonauts (played here by Vladimir Vdovichenkov and Pavel Derevyanko) managed to dock with the station, thaw out its snow-covered interior, and locate the source of the original malfunction in time to avoid disaster. The film is a technically competent fictionalization of a fairly harrowing real-world adventure, inevitably embellished for dramatic and propagandistic effect (although in the latter respect, it's no worse than FOR ALL MANKIND). Unfortunately, the quality of the effects isn't matched by the script, characterization, or acting, which are all on the level of an old-school American TV movie. CONTAINS LESBIANS? Nyet! VERDICT: Only for committed space nerds.

STUCK (2007): Stomach-churning misanthropic nightmare — allegedly a black comedy, although that would imply that it was funny — about a bitchy nursing assistant (Mena Suvari with cornrows) who hits a newly unhoused man (Stephen Rea) with her car, leaving him embedded in the windshield, horribly injured. Rather than calling 911, she parks the car in her garage and takes a taxi to work in the morning, leaving the man trapped, bleeding, and struggling to summon help. Later, she and her drug dealer boyfriend (Russell Hornsby) attempt repeatedly to murder him in hopes of covering up what she's done. Fun! The story, inspired by an actual incident, hinges on the idea that nearly every single person in the film, from the patients at the nursing home where the Suvari character works to the awful people at the employment agency where Rea has tried in vain to apply, is an irredeemably cruel and selfish monster, with the few exceptions (like a sympathetic homeless man and a young Latino boy who sees the Rea character's plight) serving mostly to prove the rule. As you might expect, it's violent, kind of racist, and definitely not for the squeamish. CONTAINS LESBIANS? No, but you'll be grateful. VERDICT: If you're in a very bad mood, you might find the film's mean-spirited nastiness cathartic, but it's otherwise an unrewarding ordeal.

[ultraozzie3000]

And Now We Are Nine

Above: It took a few issues for the editors to sort out regular features and their order of appearance. The opening section of Issue No. 1 featured the famous Rea Irvin masthead that would introduce “The Talk of Town” for many issues to come. In Issue No. 1, however, “Of All Things” appeared first under the masthead, followed by “The Talk of the Town." Let us hope the magazine restores the…

[beerok23]

D: And then he came to offer you the part in Good Omens? M: Yeah, well, we became friends and we would, you know, whenever he was in town, we would meet up. And then eventually he started. He said, you know, I'm working on an adaptation of Good Omens. I remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. D: Were you involved at that point? M: No, I wasn't involved. I just happened to have met up with Neil that day. D: Right.

M: And then Terry Gilliam came along and that was the day they were talking about that or whatever. And then eventually he sent me one of the scripts for an early draft of, like, the first episode of Good Omens. And he said, we started talking about me being involved in doing it. He said, 'Would you be interested?' I was like, 'Yeah, of course I would. Oh, my God.' And he said, 'Well, I'll send you the scripts when they come.' And I would read them and we talk about them a little bit. So I sort of was involved. But it was always at that point with the idea, because he'd always said about playing Crowley in it. And as time went on, as I was reading the scripts, I was thinking, I don't think I can play Crowley. I don't think I'm going to be able to do. And I started to get a bit nervous because I thought, 'I don't want to tell Neil that I don't think I can do this'. But I just felt like, I don't think I can play Crowley. D: Of course you could play Crowley. M: Well, just on a sort of - on a gut level, you know, sometimes you have on a gut level, you go - D: Sure, sure. M: I can do this. D: Yeah. M: Or I can't do this. M: And I just thought, you know what? This is not the part for me. The other part is better for me. I think. I think I can do that. I don't think I could do that. But I was scared to tell Neil because I thought, well, he wants me to play Crowley. And then it turned out he had been feeling the same way as well, and he hadn't wanted to mention it to me. But he was like, 'I think Michael should really play Aziraphale'. And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, 'Oh, thank God you said that. Oh, I feel exactly the same way'. D: Yeah. M: And then I think within a fairly short space of time, he said, 'I think we've got David Tennant for Crowley.' D: *Chuckles* M: And we both got very excited about that. And then all these extraordinary people started to joining up. And then off we went. D: The other thing about Neil, he collects people, doesn't he? So he'll just go, oh, yeah, I phoned up Francis McDormand. She's up for it. Yeah. And you're 'What-Wait-What?' M: I emailed John Hamm. D: Yeah. M: And you realize how beloved he is and how beloved his work is. And I think we would both recognize that Good Omens is one of the most beloved of all of Neil's stuff. D: Yes. M: And had never been turned into anything. D: Yeah. M: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, oh, they better not fuck this up and this better be good. And I have that part of me, but then, of course, the other part of me is like, but I'm the one who might be fucking it up. So I feel that responsibility as well.

D: But we have Neil on site. M: Yes. Well, Neil being the showrunner - D: Yeah. M: I think it takes a massive difference. You feel like you're in safe hands. D: Well, we think. Not that the world has seen it yet. M: No, I know. D: But it's been a joy to work with you on it. M: Oh, my goodness. D: I can't wait for the world to see it. M: Well, I mean, I've done a few things where there are two people. It's a bit of a double act, like Frost-Nixon some more, and The Queen, I suppose in some ways, and I've done - Amadeus or whatever. This is the only thing I've done where I really don't think of it as my character or my performance as that character. I think of it totally as us, the two of us. D: Yes! M: What I do is defined by what you do. That was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this. And the two characters totally complement each other. And the experience of doing it was just a real joy. D: Well, I hope the world is as excited to see it as we are to talk about it, frankly.

M: You know. Having talked about T. S. Elliott earlier, there's another bit from The Waste Land where there's a line which goes, "These fragments I have shored against my ruin". And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter where you've got, what you've done, how much money you got, all that. Life's hard. It can take you down at any point. You have to find this stuff. You have to find things that will. These fragments that you hold yourself, they become like a life raft. And especially as time goes on. I think as I've got older, I've realized it is a thin line between being surviving this life and going under and the things that keep you afloat are these fragments, these things that are meaningful to you. And what's meaningful to you will be not meaningful to someone else. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid. Doesn't matter what it is. Go and find them and find some way to hold them close to you. Make it go and get it. Because those are the things that keep you afloat. They really are, like doing that with him or whatever it is. These are the fragments that have shored against my ruin. Absolutely. D: That's lovely. Michael, thank you so much. M: Thank you. D: For talking today and for being here. M: It's a pleasure. D: Thank you.

This podcast is so underrated. I heard it tonight for the first time, and it blew my mind. The episode was published back in April 2019 (recorded after a photoshoot for Good Omens season 1). Listen to these babies, starting to knowing and respecting each other *_* Of course, Michael Sheen was probably the greatest fan of Neil and Good Omens out there, but the joy and the excitement was already there to feel, from both of them!

And Michael saying "The Two of Us" 4 years before July 2023... My heart - just - can't.

[landfilloftrash]

once more i apologize to everyone in a 140 mile radius of me i am deeply unwell

[myevilmouse]

Thank you so much for the tag @kaleidoscope1967eyes

I love sharing good tunes with y'all. This is what I'm jamming to this evening most randomly:

One by Chris Cornell aka creative masterpiece of a cover

Don't Let Me Go by Billy Squier

Forever Young by Tyketto

The Boy in the Bubble by Paul Simon

End Titles from The Pink Panther (Christophe Beck)

I'm Willin', Pt. 1 by the Staple Singers

Ama by Eros Ramazzotti

Make Me Lose Control by Eric Carmen

Tonight by David Bowie & Tina Turner

The Road to Hell Pt II by Chris Rea

and a whole lot of hair metal 🤘

I no pressure tag @blackmonitor, @guestiguess @ele-millennial-weirdo, @mysticalgalaxysalad, @arizonapoppy, @goodnightmoonlightladies, @redfivebluethree, and @hauntedkingdomprincess if you wanna share!

Have a handsome Luke in thanks for the tag!

@boilmynoodles tagged me to give the 10 songs that come when i shuffle my on repeat playlist :)

the chain- fleetwood mac

eyes without a face- billy idol

mary janes last dance- tom petty and the heartbrakers

dancing queen- abba

for what its worth- buffalo springfield

off to the races- lana del rey

for no one- the beatles

fortunate son- creedence clearwater band

ultraviolence- lana del rey

be my baby- the ronettes

tagging: @sheree-says-stuff @kaleidoscope1967eyes @77darkstar @the-hole-he-dug

[agentgrange]

I saw this post and couldn't stop thinking about it, so here is the answer I gave after some consideration-- I'll tell you when I find out. Sometimes it really feels like it depends on your Agents, and what they're accustomed to. I have two groups that I play with, one is mostly serious with a handful of gallows humor quips while the other one is absolutely clown-shoes-goof-goof-times. You could lovingly craft a deeply unsettling body-horror scene or run a tried-and-true encounter straight out of an established campaign and your mileage will greatly vary depending on your audience. That's not *necessarily* a bad thing, a handlers job is to guide a narrative in a way that's first and foremost fun for the players. If they want to take it seriously and buy into the horror they will, but if they want a bit of levity then there's nothing wrong with playing to the crowd. But I do really, really empathize with struggling to convey the awesome and terrible might of some cosmic horror with nothing but your words in a group of people that (hopefully) instinctively feel at ease and jovial while fooling around playing games with their buddies. Here's a few practical pieces of advice I can give you.

Try to cultivate an unsettling environment for your players. This one seems obvious but is actually really hard to get down right, especially when people mostly play online these days. But you’d be surprised how much regularly providing good visual aids, a Discord bot playing ambient music, and a good playlist can really set the tone for your session. Don’t just provide visual aids for the money shots of alien greys and deep ones either, running a campaign based on The Conspiracy era gives you ample opportunity to post a ton of weird, liminal 90s photographs to set the vibe for everyone even during otherwise mundane scenes.

Make a point of explaining to your players the difference between what they are experiencing and what their characters are experiencing. Yes, facing off against a 8ft tall fish man with a crossbow is inherently ridiculous as a fictional abstract. Its an entirely different experiencing actually being there, face to face under an incredible amount of stress seeing something that should not exist. In a lot of ways your players aren’t their characters so much as they are mad gods guiding their characters’ fates. THEY can laugh from the safety of this higher dimension we all exist in, that’s part of the fun. Hell their characters might even have a passing thought or two about how absurd the situation might be—but that entire time they’re fighting their lizard-brained instincts just to stop from mentally imploding. Let them laugh, but then tell them how their characters' hands might be shaking, or how any clever quip they wanted to say just comes out as a mumble as their body betrays whatever thoughts their rational mind tries to convey.

Know the rules of comedy. Comedy usually needs a straight-man, so if your players are goofing around don’t be afraid to give them a straight-man NPC to react to their antics in a way that makes it feel like you’re in on the bit but keeps the narrative going. Better yet, try to get ahead of it. Set up designated low-stakes areas in your story that are designed to add a bit of levity. They say comedy comes in threes, so you should structure these segments to let your agents to do some dumb shit about three times before they get all the sillies out and are ready to move on. And the emotional highs during these side quests will just make the crushing lows in the main plot feel that much more horrifying.

Building off that last one I have one more secret, forbidden technique. Buyer beware on this one honestly, but I cannot overstress just how much. Players. Love. Silly. Characters. And as David Lynch has proven, you can have silly characters that are still deeply unsettling. Try adding a few characters in that flip the script on your players and make *them*  want to play the role of the straight-man reacting to what your NPCs are doing every once in a while. If done right, it can kind of trick them into taking things seriously or feel like the eerie out of place comedy is at their character’s expense even if the players are in on it.

I hope some of this was at least partially useful. Good luck out there.