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whatsonmedia · 2 years ago

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Thursday Thrill: Exciting Events This Week!

Nicole Newman, the event editor of WhatsOn, has once more listed some amazing events for this week. The events have already begun, so don’t wait to put on your sneakers and have some fun this week. Here are a few of the week’s best events. UKG Brunch All Rave 4 Feb A highlight for this weekend's clubbing feast takes you to London for a bottomless UKG brunch daytime rave. If you are bored out of your brains this Saturday and at a loose end and love, love, love dance music then UKG is where you need to be. With liked minded clubbers heading on out to get their rave on for this whopping 8-hour experience. Taking an alternative approach to the clubbing experience, as most know it! You can feast on gorgelicious brunch food and wash it down with delicious drinks until the 60-minute clock stops. And then hit the dance floor, working up a sweat to some of the best dam finest UK garage music that anyone could hope for. This weekend has one extensive DJ line-up and live PA sets playing for an up-for-it regular and new crowd. Expect something very special as UKG Brunch is celebrating its 5th Birthday. This only goes to show this is one clubbing experience that's made its mark and is here to stay. Bringing the party to one of London's most standout iconic venues, the Ministry of Sound which has hosted the best promoters weekly to sellout events. Hosting two mega rooms to have your best clubbing party in. Each features a DJ line-up playing non-stop garage music. In The Box is Matt Jam Lamont, MC Creed, MC Bushkin, DJ Cartier, MC Kie, Spin E.B {Birthday Set}, Twin MC's, MC Vapour, Masterstepz, Hyperactive MC, MC Rankin, RuffTuch, MR O.V and live PAs from Kele Le Roc, Babycakes In The 103 - Hosted by Platform 81 is Mike 'Ruff Cut' Lloyd, Pied Piper, Listener, Vibesey {Essence, DJ Bright & Capital - B}, CKP, MC Ultra, Sharky P, Kofi B, Wicked MC and more Do you really like this? Then best get your tickets quick before it's a sellout! For more info & tickets ukgbrunch.com Heritage 7 4 Feb The Hare & Hounds has made its mark amongst some of the biggest-known venues in Birmingham. Smaller in comparison this holds no bearing on this venue. The point is it hosts sell-out parties. Why? Because those that go there know what they're in for and that's nothing more than a spectacular night of their life which leaves them wanting more. This venue is the venue of the revival parties from some of the standout clubbing brands of an era when the people going out were loved up in the music and the DJs giving us their sounds. The ones that kept the dance floors packed with happy smiling people. Not professional dancers, but making a maximum effort in dancing to beats that could be felt in the heart. Where there were no stabbings or violence and everyone looked out for each other. The Hare & Hounds is recreating this time again. Drawing a crowd of clubbers past but open to new ones allows them into a window of a time that people only lived for their weekend. Living for the weekend is more than a saying. It is real life and was what got you through the week with an excitement that was so overflowing come Friday it was hard to contain. It was ecstasy without taking ecstasy. The saying buzzing comes to mind. Heritage 7 takes centre stage this weekend for the 7th birthday event. In Room 1 (hosted by Heritage) K Klass (DJ Set and Live P.A), Allister Whitehead, Andy Baxter B2B Alex Hammond, Neil Rushton, Sammy Dean, and Room 2 (hosted by Wobble) Justin Robertson, Lottie, Phil Gifford, Kezz For more info & tickets ukgbrunch.com Symmetry Recordings London 4 Feb The Steel Yard is a hallowed clubbing ground that has featured a vast catalogue of standout sell-out clubbing brands bringing a big capacity crowd. For February, heavy-weight bass connoisseurs will deliver a plate full of digestible D’n’B showcasing the excellence of its production. From months in the planning February event features a music intense line-up of carefully selected DJ pros including Break, Calyx, The Sauce, Kyrist, Sp: Mc, Fox Plus more to be announced. So keep your head to the ground! Causes it's gonna be a bangin' night! For more Info & tickets thesteelyard.london A Journey to “Close the Care Gap” 4 Feb Close the Care Gap will be the topic of World Cancer Day in 2022–2024. In 2022, the emphasis was on "Realizing the situation." The three-year campaign will come to an end with the theme "2024: Together, we challenge those in power," which will be followed by this year's theme, "2023: Uniting our voices and taking action." Let's fly the flag on this 4th of February. Let's use hashtags to take over social media and make it a hot issue to raise awareness. Most importantly, let's make a commitment to ourselves that we will be informed, that we will band together, and that we will be acting. For more Info www.worldcancerday.org Read the full article

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djkanda · 5 years ago

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Just a little mix session comprising of some the best house music the new generation might dig on my soundcloud page; got lots more where that came from! Did I mention I was fan of The Powerpuff Girls? =D

#powerpuff girls #blossom #bubbles #buttercup #ppg #ukg #housemusic #house music #deephouse #electronic #art #soundcloud #todd edwards #jeremy sylvester #tuff jam #eric ericksson #matt jam lamont #concinnity

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detectiverickitubbs · 6 years ago

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Things I need more of- Noogie Lamont:

1) Annoying the heck out of Tubbs

2) Getting Tubbs into trouble- the kind that is way over both their heads and especially Ricki’s paygrade

3) Tubbs having to protect Nugart from himself and others

4) Seeing Tubbs show genuine concern for their informant

#Noogie: the walking communications network in designer jeans #baby I thought we was gonna get married: Crack Tag: Noogie #Honestly Informants like Izzy / Noogie are my jam #I could also go for deeper investigation of his life. The Jail time he did with Desmond Maxwell and how he got caught #SAME GOES FOR IZZY #noogie lamont

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contentabnormal · 6 years ago

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This week on Content Abnormal, Frankentyner reviews his St. Patrick’s Day, presents an episode of The Shadow starring Bill Johnstone, and shares with y’all this painting he did of Bill Murray:

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maxwell-grant · 3 years ago

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Red of Overly Sarcastic Productions once said :"If you can imagine your Batman comforting a shared child, then congratulations, you're righting Batman. If not, you're just writing the Punisher in a funny hat". This got me wondering: could the Shadow comfort a scared child?

Could he? You forget who was there to lift young Bruce to his feet at his first brush with death (sadly far from his last).

But it's an interesting question to pose still, because children were straight up not in the pulps, not in any I've read, and I can't recall any episodes of the radio show that feature them much (there's gotta be at least a few, because they had everything in that show). The most interaction I think The Shadow's ever had with children (from comics that I can discuss here, because Marshall Rogers' "Harold Goes to Washington" is way, way too much for me to go into right now, and the less I talk about some other DC comics, the better) is in the Street & Smith comics.

There's Jerry from the Devil Kyoti arc, a kid who was traumatized by an encounter with the villain who Sayre's looking after and who ends up having some kind of hidden power that allows him to see The Shadow and defeat the villain. There was a blonde Jerry who showed up later in the Monstradamus arc, but he isn't a kid so much as he's diet Jimmy Olsen or a replacement for Harry, but he had weird eyesight-based powers and a familiarity with The Shadow, so I assume it's the same character.

There was also Donald Jordan - Shadow Jr, and okay, I may have to talk more about this weird little failed experiment some other time, but the basic gist of it is that The Shadow had a friend in Tibet named Harry Jordan (and someday I'm also gonna write about the weird prevalence and significance of the name "Harry" in The Shadow's mythos in and out of universe) who was murdered, leaving his son orphaned and with nowhere to go. And, I'll admit that I have a real weakness for The Shadow calling people "son", which he does a lot in this story.

And as you can expect, it then turns out that the kid's also learned how to cloud minds and has basically the same powers The Shadow has in these comics, and they solve the mystery of his dad's murder together, and yeah, you can absolutely tell that they are setting up this kid to be The Shadow's Robin. Although, interestingly, they don't have The Shadow actually recruit the kid, instead it's Jordan who asks The Shadow if he can go with him and join his mission, and Cranston even states he's going to have to "earn" his way

"Must I stay here, sir? It will always remind me of dad - I'd like to devote my life to your fight against evil and evil doers!

Now, "Shadow Jr's" career was incredibly short-lived, it only lasted for about two other issues, and I have no idea what happened in his final appearence called "Snake Eyes" in Shadow Comics #77, I cannot find that issue anywhere and I really want to. But the one other solo story of his I've read was...well, I think it kinda illustrates why the idea of The Shadow having a Robin was doomed from the start.

...Yeah. Even The Shadow at his most sanitized and family friendly is still The Shadow, and there's no room for children in his network, obviously he shouldn't and wouldn't have children be in those positions or make decisions expected from grown-ups who have already had encounters with death and danger, why would anyone do that-

The only instance I can think of The Shadow interacting with a child in the pulps was during The Prince of Evil, when he has to rescue a young boy from Stark's thugs.

Cranston, dazed, tried to stagger to his feet. Before he could do so, the thug had picked up the limp figure of the boy and was darting out into the street. There was a scream of horror from pedestrians.

A heavy truck was racing at top speed along the avenue. Straight into the path of the truck, the thug threw the senseless boy!

The driver of the truck jammed on the brakes. But it was too late to halt the heavy vehicle. The broad-tired wheels rolled toward the limp head of the lad on the pavement.

An instant before it could crush out his life, Lamont Cranston dived headlong into the path of destruction. His shoulder struck the boy, rolling him toward the curb. A quick wriggle, and Cranston swerved aside from the grinding death that loomed over him.

He picked up the boy. One glance and he knew there was no time to lose. The attempted killer had leaped into a waiting sedan and had already made his escape.

The boy was all Cranston could see or think about. Brass knuckles had fractured his skull. He had suffered a concussion of the brain. A glance at his bluish lips and the fixed glaze of his staring eyes told Cranston that unless the boy was operated on immediately, he would die.

A leap, Cranston was in his car. He laid the boy gently on the seat beside him, then headed the car toward the nearest hospital. Traffic lights were ignored.

The boy was taken to an emergency operating room and a skilled surgeon went to work. When it was over, Cranston asked only one question: "Will the child live?"

"Hard to say. We'll do our best."

"Spare no expense. Put him in a private room. Engage day and night nurses."

Cranston's face was pale. He knew that he himself was indirectly responsible for the boy's attack. A supercriminal had made a prompt answer to Cranston's message over Jackson's telephone. That telephone must have been tapped. The attempt to kill the boy was a vicious warning for Lamont Cranston to mind his own business about the Harmon family. It was a follow-up of the attack on Jackson's dog.

Cranston felt a surge of hot anger. He kept it under control while he answered routine police questions. He told all he knew - which was nothing.

He had only one angry thought. He intended to drive straight to the office of David Chester. He'd get the truth out of the sleek Chester, if he had to batter him with vengeful fists!

Cranston was actually halfway to Chester's office before common sense returned to him. He realized he had lost his sense of balance. He was behaving exactly as the crooks wanted. He was playing their game, not his!

He parked, and the hot rage drained slowly from him. He stopped thinking about the limp figure of a young lad on a white operating table.

This is definitely because Tinsley writes the character differently than Gibson, but I actually cannot think of another occasion where we got to read about The Shadow actively wanting to hit someone with his fists. It's very, very rare to read about The Shadow actually getting mad in the first place in such an undignified way. And I think with this passage, you'll start to notice a pattern.

The problem isn't that The Shadow cannot interact with kids or that he can't comfort them, he does it to his agents and adults he wants to help just fine, he knows how to address people in their language, or any language. The problem is, The Shadow is constantly surrounded by danger everywhere he goes, because he is The Shadow. He can be any number of things at any number of occasions, but usually, when The Shadow shows up, it's usually because people are going to die, and people are going to kill, and it's his job to address that and work the scales.

Children should not be anywhere near this, and if The Shadow's interacting with a child, it usually means that some grave danger or tragedy fell upon them, and he's here to either prevent greater tragedy or address the fall-out, and he'd be the first to agree that neither of these options should be happening at all. It doesn't mean he's not gonna do what's right and give life and limb to protect them, but, it shouldn't be up to the Boogeyman to look after them in the first place. Maybe it shouldn't be up to the Boogeyman to protect us.

But then again, as I mentioned when I talked about my own reasons for liking The Shadow so much, there are many kids who would like nothing more than to have the Boogeyman by their side to protect them. There's comfort in knowing that the scariest man in the room is unconditionally there to protect you, and that is the comfort that The Shadow gives best. Not as Cranston, not under a friendly face, but as what he is.

Due to a lack of scenes from the pulps or satisfying scenes from elsewhere, I will instead be pulling one from a fan story written by Kimberly-Murphy Smith, editor and writer of The Hot Cornerm where The Shadow rescues a child who was kidnapped for blackmail. I couldn't care less that it's fanfic, and if you do, come back in 20 or so years after The Shadow's been made public domain and it's gonna be just as official as anything licensed (on my “to write about” list: how fickle the separation between “official” and “fanfic” is, and the many times it plainly didn’t exist). There’s aspects of her writing I don’t care for, but I really like this scene and I do think The Shadow’s more gentle interactions with people are necessary to getting the character.

Annabelle.

She stopped crying for a minute. "Who's there?" she said, her voice choked.

A friend. Your mommy and daddy sent me to pick you up.

"Mommy? Mommy's here?"

Sh-h-h. Annabelle felt a gloved hand gently stroking her hair. She's waiting for you at home. So, we need to hurry up and leave.

"'kay." She looked around. "Where are you?"

It's kind of hard to see me. It's dark in here, plus you've been crying so much your eyes probably hurt.

"Yeah."

Don't be afraid. I'm here to help.

"'kay."

The implicit trust of children was simply amazing at times. Adults trembled in fear of The Shadow's wrath, but children somehow seemed to understand that he was there to help them, even if they couldn't see him.

Sit up, Annabelle. I'm going to pick you up. Be very quiet.

One hand took each of her arms and guided them around a neck she could not see. "Why are you wearin' a blanket?" she asked as the fabric of his cloak brushed against her shoulders.

Sometimes I get cold at night.

"Even in the summer?"

Even in the summer. He gently stroked her cheek and wiped away her tears. Now, you need to be very quiet so those bad men in the next room don't hear us. I'll bet you're tired.

She nodded.

He rocked her on his arms, projecting a very gentle hypnotic relaxation into her with his powers as he did. You probably didn't get your nap, either. Poor thing. Lean on my shoulder and go to sleep. And when you wake up, you'll be back with Mommy and Daddy.

She yawned, then snuggled against his shoulder and went to sleep.

The Shadow sighed with relief. Now to get past the men out front. He gently pulled the pistol out of its holster under his left arm and slipped it into the belted waist of his overcoat within easy reach, then secured his grip on Annabelle and draped his cloak over her.

She clutched the edge of his cloak in her hand like a security blanket and snuggled against his shoulder again.

(Art by Jill Thompson)

#replies tag #the shadow #pulp heroes #fanfic #I think about the -Sometimes I get cold at night- response a lot #and how superhero capes can easily be likened to oversized blankets #and The Shadow is one of the main reasons why capes became so popular among American heroes #seriously you can see how practically overnight so many heroes at the time imitating The Shadow acquired capes #and what is a hero if not a childhood fantasy manifest #they are all just wearing blankets to battle #I think my posts are turning into too much of rollercoasters

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mixtapes4you · 3 years ago

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Stream or Download a mixtape of tracks from last week that soundtracked the kick off to Summer:

01. Lamont Johnson - Calypso After Nine 02. Bunny Sigler - My Music 03. Banda Black Rio - Chega Mais (Imaginei Voce Dancando) 04. Esa - A Muto 05. Peter Tosh - Dubbing In Buk-In-Hamm 06. Vanessa Williams - Work To Do (Choice Club) 07. Les Hiboux - Vai Ser Muito Bom (Yuksek "Bloco" Remix) 08. Dave Valentin - Crotona Park 09. Firstworld - Groove is In The Heart 10. Earth, Wind, & Fire - Brazilian Rhyme 11. Julian Y Su Combo – Enyere Kumbara 12. Pleasure - Let's Dance 13. Side Effect - Always There 14. Doug Gomez & Manybeat - Mar Caribe 15. Fania All-Stars - Coro Miyare 16. Eko Roosevelt - Ndolo Embe Mulema 17. Tiago - Tiag's Jam 18. Stevie Wonder - Black Man 19. Crown Heights Affair – Dream World 20. Cedar Walton - Lowrider 21. Aiff - The Seduction 22. Fronzena Harris - Lovetime Guarantee

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aion-rsa · 3 years ago

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Todd Haynes Slowly Peels the Cover Off The Velvet Underground

https://ift.tt/eA8V8J

Todd Haynes is more of a conductor than the director of The Velvet Underground. He tells the story of the band in chronological time, but fills in the blanks by presenting a performance piece of historical art. This is Haynes’ first documentary. It is the first time he hasn’t put a fictional spin on the musicians he’s committed to celluloid. Haynes built a story for David Bowie to sit in for Velvet Goldmine, recharacterized Bob Dylan sixfold in I’m Not There, and cast a Barbie Doll as Karen Carpenter in his 2015 biopic Superstar: The Karen Carpenter Story. For his latest musical transposition, he focused on tones over reinterpretation.

Haynes had been developing the documentary for several years. Besides contemporary interviews with John Cale and drummer Maureen Tucker, there is only archival footage of conversations with Reed, guitarist Sterling Morrison and Christa Päffgen – whose stage name was Nico. The Velvet Underground only includes interviews with people who knew the band personally during the time they were together. We hear from Reed’s sister, Merrill Reed Weiner; Warhol Factory artists Mary Woronov and Amy Taubin; cult director John Waters; and Modern Lovers front man Jonathan Richman.

With John Cale as the centerpiece and Lou Reed providing a structuring absence, the underground art scene of 1960s New York City is not just a character in the film, but a member of the group. The Velvet Underground’s first album only sold 30,000 copies, but they were the right copies. Almost everyone who bought it started a band, as they say.

The Velvet Underground is dedicated to Jonas Mekas, a father of the American avant-garde-film movement, and the film captures the feel of Andy Warhol’s older films. It is not an exposé, but an exploration of the band’s music and aesthetic. Haynes is obviously a fan of the band beyond the sound. He may never have jammed with them, but is nonetheless a card-carrying member of the Velvet Underground movement. The director spoke with Den of Geek about contradictions and the contradictory musicians who made up Velvet Underground.

Den of Geek: Were you surprised at all by the pre-Velvet Underground music of Lou Reed or John Cale?

Todd Haynes: Oh, I was, absolutely. I mean, I had heard “The Ostrich” before, but I don’t think I’d really spent time with Lamont Young’s recordings before this film. I may have heard like one or two of the early rock and roll songs of Lou when he was the Jades, but not to this degree. So, all that stuff was part of the discovery process that was so fascinating.

I wanted to know more about the hum of the refrigerator being used as a pitch. I’ve read a little about the difference between 440-megahertz tuning. What was Cale hitting on with the drone of Western civilization?

I wish I could really do that justice. I have all of it that he expressed in the film, but I’m hardly an expert of the sixty cycles per second that he was using as his register. Actually, tonight in Los Angeles, John Cale will be watching the film for the first time on the screen. We showed him a cut, but he’ll be with us at the screening and I’m insanely excited and a little nervous. Of course, I know he digs the movie, and he’s just been such a generous partner in the making of the movie. But it’s still John Cale, and this is my gift to the surviving members of The Velvet Underground. So, of course, I want him to have the kind of experience, in the room, that has been exciting for a lot of other viewers of the movie.

You got the talk with Cale, but Reed comes across as a little inauthentic in the documentary, but I see him as a closeted greaser.

Because he doesn’t get to speak for himself? In all the clips of all the audio clips, we really pulled together every single thing we could find of him talking about the band over the years. It doesn’t replace the fact that he isn’t with us and that I didn’t get the chance, however risky that may have been, to sit in the room with Lou Reed and try to find ways of making him feel comfortable talking about this time and place. But I don’t feel that he’s inauthentic.

In fact, I feel like all the colors of Lou Reed, all the shades of Lou Reed are surprisingly evident from the youngest age. All of his hostility, all of his genius, all of his searching and desire to look in unexpected places for inspiration for his music and to explore sexuality, and really push back against the establishment in every conceivable way, was evident so early on. Therefore, the tough things you hear about Lou Reed are less attributable to rock and roll behavior. They’re part of his DNA. And I feel like in that way, it makes him this really intensely complicated genius from the very beginning.

You used “Satellite of Love” in Velvet Goldmine, did you get to speak with Reed back then?

I did not. I’ve never spoken to Lou Reed. But we got a very fast yes when we requested the song. I, just in my happy isolation or safe isolation from literally talking to Lou Reed, took that as some sign that maybe he knew my work or approved of what I was doing. That he wasn’t going to push back against what we’re doing in ways that he had. Like around the I Shot Andy Warhol film and other things that touched maybe more closely on depicting him.

I loved the story about the healthy hippies, but of all the West Coast bands, the Mothers of Invention really were the least healthy looking, and probably closest in tone to Velvet Underground. Reed himself made Zappa’s induction at the Rock & Roll Hall of Fame. How much of that feud was pushed because it felt good?

This comes from them. This doesn’t come from me. I listened to Zappa and the Mothers of Invention when I was in high school. I never fell in love with that music the way I did with the Velvet Underground. I think it’s quite different, even if they are both bands and artists who are experimenting and drawing from all kinds of unorthodox traditions and music, and trying to fold that into what’s possible in rock and roll. But this is entirely the history, this is well documented.

What were you surprised to learn about both the band and the scene that was going on around them?

I didn’t really learn anything radically different about the scene. I learned that my instincts about it were fairly reliable. The things about this scene, which I felt really needed to be expressed or reinstated around the Velvet Underground, who have now finally reached the level of full cultural absorption and acceptance that had been long postponed in their history. We’re still the product of a really ulterior way of seeing the world that had very much to do with a kind of queer ethos. It’s a word that we impose, a kind of revisionism, of the terms around gay identity and gay experience.

There’s never quite the right word for it. And in a way, it’s why the word “popism” or the word “camp” are put in for aesthetic ways that were being asserted by art making. But when they clashed with the West Coast, I think they realized the degree to which their genius was a form of depravity, and they knew that. But I think they couldn’t literally stand up and say, “Yeah, this is who we are, and we find the rest of the counterculture to be kind of bourgeois and uptight and sort of conformist by comparison.”

You skipped over some of the more problematic habits. Were you afraid to uncover something transcendent about heavy drug use?

No, I wasn’t afraid at all, I think when I asked everybody about drug use, which is something I asked every single person I interviewed, there was always a slight feeling of “Ok. Yeah, we did it, but look what it was serving.” Until John Cale really talks about the amphetamine use, entering that second record and what the experience of the second record really was, and starting to force conflicts within the band among the band members themselves, particularly him and Lou.

For the most part, they were talking about the use of drugs as ways of furthering their artistic drives. Yeah, they were giving them the sustenance in the speed use, they were isolating themselves from the rest of the world in the heroin use: in ways of really feeling an “us versus them” sense of what their project was going to be musically and creatively. As John says, a kind of disdain for the world without. I don’t think the music, its content and its character, is the result of the drugs. I think the drugs helped further what all of those things were trying to do.

Warhol filmed everything. Why is there not more footage of their shows?

Hmm. No idea. What you see is what was shot. There was nothing, obviously, that we got from their shows that we didn’t put in this film. And you know enough to know that’s true. But, by not showing the actual playing of music, you had to find all of these other ways of showing creative imagination. I think it maybe gives it back to the audience to connect it to what they did musically, to make all these connections yourself to the music that you’re hearing in the context of the visual language that was being produced with its own drive and diversity and volume of outcome.

I know your next documentary is on Peggy Lee, but who else from this period might you be taking on? Patti Smith?

Nobody on my list right now. Peggy will be a world that I’ve never explored before, of the jazz pop era, and a complicated, brilliant subject. I’ve done a lot of films about musicians, but most of them have been about men, and it’ll be pretty cool to talk about such a singular example of a female voice from a male dominated time, who was a writer and producer and conceiver of all of her work and such a bizarre example of the sort of agency around sexual desire on the part of the woman.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The Velvet Underground is in theaters and available to stream on Apple TV+ now.

The post Todd Haynes Slowly Peels the Cover Off The Velvet Underground appeared first on Den of Geek.

from Den of Geek https://ift.tt/3AGZLiI

#aion-rsa #Den of Geek

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vilegroove · 3 years ago

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VILE GROOVE presents a collection of reimagined favourites from my childhood remixed, mashed up and unmastered, left entirely raw and uncut. Dedicated to the memory of my good friend Michael JD Smith who always inspired those around him to pursuit their creative passions and let the music out.

released August 31, 2020

FREE DOWNLOAD

HTTP://WWW.VILEGROOVE.BANDCAMP.COM

All due respect and outright creative credit to all producers and artists sampled on this project - including those who were sampled for those original joints as well, they are as follows: James Brown (R.I.P.) / Fred Wesley / Ahmad Jamal / David Jolicoeur a.k.a. Trugoy the Dove / Vincent Mason a.k.a. DJ Maseo / Kelvin Mercer a.k.a. Plug One / James Yancey a.k.a. J.Dilla (R.I.P.) / Ray Cash / Dennis D. Coles a.k.a. Ghostface Killa / Robert F. Diggs a.k.a. The RZA / Alexander M. Fitts / Gary E. Grice / Lamont Jody Hawkins / Isaac Hayes (R.I.P.) / Jason R. Hunter a.k.a Inspectah Deck / Russell T. Jones a.k.a. Ol' Dirty Bastard (R.I.P.) / Matt Penttilla / David Porter / Clifford Smith a.k.a. Method Man / Corey Woods a.k.a. Raekwon The Chef / Kasseem Dean a.k.a. Swizz Beatz / Shatek / Earl Simmons a.k.a. DMX / Tony Iommi / Ozzy Osbourne / Terance 'Geezer' Butler / Bill Ward / Pharoahe Monch / Lee Stone / Chris Athens / Troy Hightower / Andre Romell Young / Marshall Mathers / Melvin Bradford / Olubowale Victor Akintimehin / Miguel Jontel Pimentel / Elton John / Bernie Taupin / Ray Manzarek / Jim Morrison / Robbie Krieger / John Densmore / Adam Yauch (R.I.P.) / Michael Diamond / Adam Horovitz

"Forgot About Dre"

"Bennie & The Jets"

"X Gon' Give It to Ya"

"Simon Says"

"War Pigs"

"C.R.E.A.M."

"Stakes Is High"

"Shimmy Shimmy Ya"

🙏💛😵 Thanks for listening.

#vile groove #free music #free music links #black sabbath #pharoahe monch #beastie boys #the doors #halifax music #halifax #nova scotia #canada #bandcamp #bandcamp friday

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mwolf0epsilon · 4 years ago

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Witches, vampires, demons or werewolves. Who is what in batim crew

Monster AUs are my JAM!

Joey Drew - Human Warlock with some Fae descendancy. Fascinated by demonology and ancient Fae contracts;

Henry Stein - Demon. No one would ever guess since he’s not the stereotypical kind. Any deal he makes benefits those he propositions. Joey has no idea what he is and Henry intends to keep it that way;

Sammy Lawrence - Vampire, the kind that turn into horrific bat monsters. Only happens if he doesn’t feed regularly, so you can imagine how many bottles of blood he carries on him;

Jack Fain - Gargoyle, the kind that spits water and accumulates ungodly amounts of moss. The sewers are his main perch and he knows what Henry, is but keeps it quiet since Joey seems obsessed with demons in general;

Susie Campbell - Siren. Swears there’s a bit of angel in her;

Norman Polk - Object Head/Frankenstein’s monster type being. No one knows who made him or for what purpose, but overall a nice guy unless you steal from him;

Allison Pendle - Human witch, mostly focuses on brewing helpful potions. Dabbles in minor curses once in a blue moon;

Thomas Connors - Werewolf, born and raised. Has remarkable control over his shift and is quite large and strong;

Wally Franks - Cynocephalus, he claims he’s got hellhound blood in him but Joey is pretty sure it’s a typical cursed at birth scenario since both his parents are human and prone to irritating others;

Shawn Flynn - Faoladh. Rarely shifts other than on full moons, so no one really knows what he is. Stock that doesn’t sell he donates to orphanages;

Grant Cohen - Ghost, died of a stress induced heart attack in his 30s. Is stuck to his workplace until he can resolve his unfinished business. His life and death are a waking nightmare;

Buddy Lewek - Werewolf, bitten. Has limited control and loses his senses easily during a shift. Not aggressive but very skittish;

Bertrum Piedmont - Poltergeist. If a ride doesnt run right, he possesses it to either work it manually or figure out the problem;

Lacie Benton - Sphinx, she’s not into riddles as much as sudoku and crosswords tho;

Emma LaMonte - Swan Maiden, a shapeshifter most elegant for such a proud graceful lady. Like a real swan, she can also hold a grudge;

#Bendy and the Ink Machine #BATIM #Monster AU #creepyalienghost

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