#shut up giallos

[kinard-buckley]

"abc is going to send lou a C&D over a hashtag campaign he's not involved in" is really funny cope ngl

[talentforlying]

the way i got held up after class for over an hour trying to ask my professor one question because a single douchey fucking film bro would not stop talking about himself in the guise of asking questions that he talked over every single answer to. hitting things very hard in my mind with a very large rock.

[neon-green-reagent]

Buyer Beware: Cushing Curiosities

I don't normally do this. My aim is to keep things positive in this space, as much as possible. But I need to talk about the new Severin Films box set dedicated to Peter Cushing and basically beg anyone who loves Peter Cushing to not waste their money on this. When I saw they were, after multiple Christopher Lee sets, finally doing one for Cushing, I admit I got too excited and impulsively pre-ordered it. I have regretted it ever since. Okay, that's too strong. It was way too much money and time wasted on something that's about one-third good. One third is not enough, and even then I'm probably being too generous. 

The box art and presentation are beautiful. If that's all that matters to you, then you'll be delighted. The GIANT book that comes with it is also really awesome. It's informative and thorough with a lot of really cool images. I can't deny that they really went above and beyond, turning a booklet into an actual book that is well worth owning. These are a couple of the highest points you're going to experience with this set. Let's dig into the movies. 

Cone of Silence. Jesus, what a waste of fucking time. This thing was a slog. An absolute bore. If you care a whole lot about planes... Fuck, even then, you probably won't be able to sit through this, because it's so old-fashioned and drags its feet. Is this what thrillers used to be? I shudder to think. Cushing's role is small and that of a misguided villain character. He shows up to accuse a pilot of being bad at his job, gets put in his place at the end, and that's really it. I'll go ahead and make a blanket statement now that he's always good, always worth watching, but that doesn't make most of these movies worth sitting through. 

Suspect. Here's a movie that goes around and around, struggling to get to the point, trying to imitate Hitchcock but without any of the style that goes along with that. Just stationary middle shots of people talking. But don't you worry, it's not just boring! Multiple characters make cracks about how women shouldn't be working in science (Cushing's character included, which makes this an utter loser of a movie to watch for his role). The "villain" is a man with a disability who eventually kills himself, and that's treated like a GOOD OUTCOME. Some movies are old. This movie is old-minded, and it brought what was already not very engaging down to a pile of shit for me. And again, a theme you'll notice, Cushing is a side character who isn't given hardly anything to do and little screen time. Oh, and Donald Pleasence shows up and makes this face: O.O

The Man Who Finally Died. So this was at least engaging. Maybe by this point the bar was just VERY low for me, but I actually enjoyed this. It had lots of twists and turns. Despite being pre-giallo, it had a lot of those storytelling conventions, so I found myself, you know... actually watching the movie instead of struggling to stay awake. The rewatch value feels low, because once you've experienced those twists and turns, they won't shock you next time. But at least it wasn't a total wash. AND ONCE MORE CUSHING WAS BARELY IN IT, SO REGARDLESS OF THE QUALITY OF THE FILM IT WASN'T REALLY A CUSHING FILM, WAS IT? 

Sherlock Holmes. Ohhhhh God. This was not good. I managed one and a half episodes before shutting it off. I couldn't believe how shoddy everything about this was. It's a BBC Sherlock Holmes show! What happened!? I mean, I'm still not clear, but after some googling I did find out that Cushing was a fast replacement for another actor who was leaving in a huff. And the reason he left in a huff was because everything about the production truly sucked ass. It shows. And it didn't improve when Cushing came on. Everything was so clearly rushed. You can feel how everyone's just trying to remember their lines and where to stand, because they were given zero time to rehearse and prepare. I thought this would be a highlight of the set, but it's probably one of the worst aspects. At least Cushing is the main character? 

Bloodsuckers. This was great. I can finally say something was GREAT. What a relief. Cushing is still barely in it, but at least it was entertaining. It's your standard, early seventies, vampire romp. With some psychedelic weirdness thrown in toward the beginning and lots of overly sexual shenanigans. In particular, Johnny Sekka gives a great performance, and in a more modern movie, they would have made the character gay as he should have been. Also, Edward Woodward shows up for a single scene and steals the entire movie. Definitely worth watching, regardless of Cushing's ten minutes of screen time. Even though I thought the point was for it to be a CUSHING box set... 

Tender Dracula. Last but actually the best. This is an absolute ride of a movie. I loved it. My problem is this is such a crazy film, with tonal shifts galore and an unsensible plot, that I could actually see people hating it. It's a movie that is not for everyone, not by a long shot. It breaks the fourth wall, plays with stereotypes and tropes, throws out humor that sometimes lands and sometimes doesn't, and leaves your head spinning. Plenty of viewers might find the experience frustrating and not rewarding. I happened to love it and got a lot out of it, but it feels very poor for a movie like this to be probably the best thing about a shoddy box set. That's not exactly promising your customers the best they could get. BUT CUSHING IS THE STAR! Finally! One (arguably) good movie where he's the main attraction. Christ, that took long enough. 

So what do we have after all that? A set of movies that, for the most part, only tangentially involve Cushing, with his name slapped on the side of the box. Trotting out a beloved actor who isn't here to approve of what's being done for a quick buck feels pretty damn gross. Severin has made a multitude of mistakes over the years in how they've conducted their business, but this is by far the worst of them. Even with the compliments I've given this set, do not buy it. It isn't even close to being worth the price point. The fact that I spent as much as I did on this leaves me shamefaced. 

[little-goose]

OoooooooooOOOOOooo I cannot recommend enough that yall take an edible and watch Immaculate

This movie is absolutely unhinged and I’m in love with it.

It’s the perfect scary movie, it has literally everything:

Well earned jumpscares

Fake out modern time period

Boldly rehashes the question “man but wouldn’t it actually be a horror story from mother Mary’s perspective?”

It’s a Christmas movie

OhhhhHHHHHhhh god no why—sorry they’re using their holy relic in a bad creative way

It’s a good for her movie!! A perfect pair to Ready or Not

Makes you feel like you’re more on drugs than you are thanks to the trippy eyes wide shut visions in the first half, so that’s something

Ever expanding confessionals

A growling baby

“You’ve heard of Chekhov’s gun? This is Chekhov’s rosary and we’re very proud”

Toxic yuri

Terrifying religious imagery

Terrifyingly beautiful religious imagery with gaudy outfits that fuck a lil too hard

Perfect sound design like DAMN they know to to build tension

A perfectly framed shot of a single tear running down from someone’s eye as seen through an old keyhole

Is it a critique of Christianity as a cult? Unethical science? The horror of forced birth as performance art thru film in the modern age?

Sidney Sweeney has set the new standard in “gothic white nightgown woman running away in the middle of the night”

A couple of men who are just genuinely so upset that they aren’t the next Mother Mary

Rosemary’s baby in Giallo font (complimentary)

Ok so apparently a lot of critical reviews hate it and say it’s not giallo but it is?? Like this movie is all about being just as unnecessarily horny as it is gory

This movie feels like the film equivalent of what Lana del Rey thinks she did with the Heavenly Bodies met gala look

If you are like me and have a PHOBIA of pregnancy, you will particularly hate this movie but you are absolutely going to be the ones who pick up on the just subtle dread and horror so it’s fantastic but I think a lot of people forget that every movie doesn’t have to be for them

Yes, I may have actually screamed at a horror film for the first time in ages

When you think about it, this should’ve had the evangelicals SO MAD I’m shocked I didn’t even hear about people being mad about it???

Ends with what I assume Fox News thinks “pro choice” means which is funny when you remember art isn’t made in a vacuum bc it’s arguably definitely trying to hold a mirror up to the religious zealouts after repealing roe to be like “yeah forced birth is fucking horrifying even if you think you can scientifically create Jesus 2.0 isn’t it!?” And I respect it

This got off track, but it’s also got smoking nuns

This movie can’t scare you, kids, nuns aren’t real

Will make you hide behind your fingers like you’re 13 and watching a scary movie at a sleepover as you whisper “This shit would’ve never happened on Sister Michael’s watch.” To calm yourself through the torture scenes

Sidney Sweeney, the woman that she is

I’m sitting here thinking I’m in for like the nun or the first omen again, and they really went oh noooooo we’re not that kind of horror film break that girls leg in the first two minutes to let them know what we’re about

8/10, I love it but I don’t think I can watch it again for a while. I run half marathons and this shit was more exhausting

They really said “this movie has 89 minutes and you will feel every. single. One.”

[harmoniasdissonance]

Ghetsis’ Memoir: Donna and Cletus (Grunts 125 and 132)

“These two when I met them were fanatical and were ready to be devoted to Team Plasma’s cause when they were 16 and 18…

When Team Plasma’s liberation plan started five years ago, they liberated the very first Pokémon, a Purrloin designated ‘Albert Wesker’, They were commended for the start of Team Plasma’s plans and I even commended them.

Wesker was obnoxious and he was such a pest, I wish they never took that fucking Purrloin and I wish I never knew Wesker.

But their bragging and high praises of themselves over it started to get extremely annoying, It was just a fucking Purrloin, a common, everyday Purrloin, Giallo, Their sage was more disappointed that they didn’t get the Trapinch.

I noticed Abby (Grunt 627), one of the medical grunts got way more physically violent with them, I speculated it was something to do with Wesker, She knew his trainer.

June of next year, They stole a grunt, Mark (Grunt 196)’s twin Eeveelutions, a Flareon that evolved from a Fire Stone he got as a birthday gift and a Glaceon, they took them and signed the documents necessary to have them released, it was against the rules in Team Plasma to do that to your fellow grunts for pragmatic reasons.

Mark almost died from takotsubo cardiomyopathy when he had a panic attack, a doctor had to come here, When I and Giallo asked why they did that, their response was with cheerful smiling:

“Because now they can liberate Pokémon all over Unova without those rare Pokémon that they shouldn’t have!”

I remember grabbing my hair to try and calm myself down, then again when I was told Mark could have died.

I felt sick to my stomach knowing they had put a grunt in danger and they act like they were in the right for it, I couldn’t sleep right when I was told that Mark could have died from a heart attack,

I fucking hate these two yet they’re still here because they have a warrant out for their arrest for Wesker’s theft but also because of what they did to Mark, his mother, Lady Choi Eun-min reported them to the authorities.

No matter how many liberations they did, nothing would change my mind about them, Rood and Gorm were devastated and angry, Me, Bronius, Giallo, Ryoku and especially Zinzolin couldn’t even look at Mark or his mother out of shame and Donna and Cletus out of fury.

They were just lowlife grunts from that point forward from the start of plans to my first plans being stopped by those fucking brats.

In Neo Plasma, they just stuck to me because Old Plasma told them to ‘fuck off’ (In the most polite terms, Rood and Gorm told me they’re no longer welcome at the safehouse and they’ll be turned away from the door because Hugh is there sometimes and because of what happened to Mark) and the fact Interpol is after them

I later found out about Wesker’s trainer, Hanako, I didn’t care if she got Wesker back or not, I fucking hated it when both of those grunts bragged about it just as much as I hated Hugh not shutting up about it.”

[inapat17]

A subjective collection of film score composers (1/4): Pino Donaggio's Italian lyrism

This article is the first of four dealing with film music composers. It will be a personal cinema journey through composers I love, with the desire to introduce you to their work and also the films they composed for. Each time I will first deal with a short biography of the composer and then I will propose some focus on films and collaborations with directors.

So, for the opening I wanted to write about Pino Donaggio.

Born in Burano, in Italy, he started a career as a singer-songwriter after classical studies and is mainly known for "Io che non vivo (senza te)". Traduced "You Don't Have to Say You Love Me" it was sung by Dusty Springfield and Elvis Presley. I started to compose for cinema with Nicolas Roeg’s Don’t Look Now, which took place in Venice, where he is from. His work renders accurately Venice's magnificence aura but also its atmosphere in winter, foggy and labyrinthine (as opposed to David Lean's showing of Venice in Summertime). But more than anything, it plays a part in inscribing the film in the Giallo genre, which designates a type of film, mostly Italian, mixing thriller, horror and eroticism in their plots.

Don't Look Now, Nicolas Roeg (1973)

I discovered him through his collaboration with Brian De Palma on two films: Carrie and Blow Out.

Released in 1976, Carrie adapts to the screen Stephen King's eponymous first novel from 1974. It comes with Carrie White, a teen who is a scapegoat at her high school. A day after a gym class, she discovers she is bleeding: her mother, a religious extremist, never told her about it. She is mocked by her classmates, who humiliate her violently. From then, a series of events follows, Carrie slowly discovering she has telekinesis powers. But De Palma's treatment of King's novel is rather more focused on Carrie's tragedy of existence than horror. Therefore Pino Donaggio's theme for the opening credits - which is also Carrie's theme, is delicate and smooth, as the camera goes through a cloakroom in slow motion. The prom scene is the very climax of the film. The music "Bucket of Blood" accompanies the suspense, a very Hitchcockian notion: the spectator sees the bucket on a joist and Carrie's joy, waiting for the moment it will be reversed. The scene image is in slow motion until what had to happen happens. This deed triggers Carrie's anger and her telekinetic powers: through a split screen, we see her eyes controlling the shutting of doors and opening of the fire hoses. Inspired by Bernard Hermann's work for Hitchcock, each action is underlined by a similar use of strings as in Psycho.

Carrie, Brian de Palma (1976)

After Carrie, Donaggio collaborated with De Palma on Pulsions, Blow Out and Body Double. Blow Out, released in 1981, is in between two films marked by a new aspect in De Palma's cinematography: eroticism. It tells the story of Jack, a sound technician who, while recording sound effects in a park, witnesses an accident which, through his recording, might be an assassination. Like most of De Palma's films from the eighties, there is a strong referential. Here, it is mostly a tribute to the film Blow Up, directed by Michelangelo Antonioni in 1966. Indeed, it is almost the same plot, except that the protagonist is a photographer (among other differences). Blow Out is both a drama and a thriller, and the themes composed by Donaggio render these two tenses. The main theme resumes strings and piano to create a gentle soundtrack, suggesting Jack’s love for Sally.

Blow Out, Brian de Palma (1981)

Thus we can say it is an interesting collaboration, since Donaggio, through its music, really complements De Palma’s mannerist and formalist cinematography as well as self-reflective and transtextual way of making films at that time, referring to his compositions but also Bernard Herrman’s soundtracks.

Playlist

[markwatkinsconsumerguide]

Consumer Guide / No.126 / MONDO TRASHO - a 5 piece psych, garage band hailing from Liverpool - with Mark Watkins.

MW: When did the band form and why the name MONDO TRASHO?

Jay Muat: We love obscure films and counterculture and weird things. Russ Meyer and John Waters were big influences when starting off. We got the name from John Waters, his first film from 1969. We were inspired by the Mondo movement of the 1960's. We wanted the word Mondo in the name of the band and so ended up with Mondo Trasho. 

Chris 'Moz' Green: I like to to say, although this is not a true translation, that the world is full of rubbish. Me and Jay got the band together years ago. Its been an ongoing project. Losing a few drummers along the way. I feel now being 5 piece and the way the band sounds / feels is what I've always wanted it to be.

Dan Myers: I joined about 2 years ago. I knew the guys were looking for a guitarist through my old band mate Jack Birch, from The Heavy North. I got to listen to a lot of live recordings and demos. 'Strangers' really stood out to me; it made me want to join the band. 

MW: What are the band's influences and describe your sound...

Chris 'Moz' Green: Inspired by the grandiose of 60's Scott Walker, the growl of like, The Doors, and weirdness of Frank Zappa, and The B52's, and the obscurity of the Flamin' Groovies. We started out being inspired by The Flat Duo Jets, The Cramps, The Doors and the sound has grown from there. We've added more of a garage punk sound and it has grown and evolved from there.

Jay Muat: I'm really into Love, old film soundtracks, Giallo (lounge type music), The La's,  Pale Fountains, Ennio Morricone. 

Dan Myers: I got into a lot of blues stuff when I was younger like Peter Green, and also early Black Keys, Queens of the Stone Age and Black Rebel Motorcycle Club too. Over time that's broadened into more cinematic stuff.  

MW:  Who does what in the band, and who supports Liverpool, Everton, maybe even Tranmere Rovers?!

Chris 'Moz' Green: I’m Chris 'Moz' Green I play Hammond organ & electric piano backing vocals sometimes play the Theremin. Not a football fan, I was raised a Liverpool Fan. 

Then you’ve got Jay Muat - vocals & guitar, but he’s not really into football at all. 

There's Dan Myers - guitar & backing vocals. He’s a Red. I reckon he cried when the news about Klopp broke but wouldn’t admit it to us haha. 

Luke Hamilton plays bass and does backing vocals. He's not really a football fan, says he's a blue nose (he goes the game). 

Finally, Greg Mitchell on drums. He is just a normal Everton fan.  

MW: What do you like best about Liverpool? The least? What do you think are some common misconceptions about its citizens and the city itself?

Chris 'Moz' Green: It's a weird place because it's in a constant flux. There's always new buildings or things shutting down (mainly good live music venues). You get used to places being there and one day it's gone ("There are places I remember"...as the Beatles song goes).

It is a music city. There's loads of bands doing different music, getting signed, doing tours and that. Not everyone is a Beatles mop top fanatic. It's a boss place. Some of the people are boss. Liverpool has become a city break / Hen and staff party and University city. Worst thing is football match traffic - the whole of north Liverpool goes nuts on match day.

MW: Top 5. What are your favourite surf records of all time?

Chris 'Moz' Green: Of course we all love: Link Wray, Dick Dale,The Lively Ones, The Centurions, The Jokers, Freckles, The B52's and The Del Roswells. Top 5 are hard, but;

5. Anything by the Razorbills. More people should listen to this band. They are just a great band. Everything they do sounds amazing to me. Wish I could see them live. 

4. The Impacts - 'Wipe Out'. Always sounds great, my go to for decent surf.

3. 'Unleashed' by The Eliminators. When I first heard the album I was like woah! how did I miss these from the 60's. Amazing instrumental surf boss horns. 

2. Guantanamo Baywatch albums are boss. Modern surf bands who are solid. We were lucky to play with Night Beats last year and he was touring with Chris Scott the drummer from GB - my jaw was on the floor watching him.  

1. 'Lolita Ya Ya' - The Ventures. I never get bored of this track, the harpsichord is boss. Fits into any playlists.

MW: Top 5. What are your favourite psych records of all time? 

Jay Muat: Honourable mentions: The Animals, (some) Pink Floyd, Grateful Dead, The Kinks, (loads of) Frank Zappa, 'Abbey Road' and more modern stuff like Triptides or Levitation Room. 

5. The Seeds / 13th Floor Elevators debut albums. Just  really good albums I remember finding both of these when I was 16 and thinking I'd unearthed rare gems.

4. Nuggets compilation - it's just boss. Got loads of amazing tracks on it from bands who deserved to be massive. 'Don't Look Back' by The Remains is such a good tune; it introduced us to so many great bands. When writing songs it's always worth at looking for references. 

3. Love's 'Forever Changes' (1967) - just perfect. 

2. The Doors' first 3 albums taught us so much. When we first started we didn't have a bass player and 'Moz' just played bass on the Hammond. It's the blueprint for us. 

1. 'Freak Out' by The Mothers of Invention (1966). I know it is a parody by Frank Zappa of the bands of the time, but it's the best. It's an album that has everything. It stays with you after the first time you hear it. Goes from absolute scary freak outs to Blues Psych. 'Help I'm A Rock' is an go to always. Love putting that on when with unsuspecting company...

MW: What did you think of the recent Brit Awards?

Chris 'Moz' Green: I didn't really watch it. You knew that Raye was going to win loads which is boss for her. But award shows are just the big music labels just pushing shoehorning their artist in. It's just a big advert now. It's too big, too monoculture for me. It's not what it used to be: I mean seeing Jarvis with Michael Jackson. That would never happen again, everyone is too well behaved at the award shows. 

Dan Myers: I didn't even know it was on, in all honesty.

MW: Do any of you enjoy playing darts and, if so, to what degree / ability?!

Chris 'Moz' Green: Me and Luke are darts players. Luke is the better player, but I played a lot when I was a teenager, having a dart board in the house. Playing round the clock for years getting ready for the pub tournaments.  

We played a lot when we used to work with each other. We worked with a fella who made his own darts out of m10 bolts and nuts, because modern darts were too light for him. It was funny to watch until he wrecked every dart board he used, and we got kicked out of pubs.  

Luke's really good under pressure. I'm better after 4 pints. 

MW:  Who usually gets the beers in and what tend to be your tipples?

Dan Myers: We're pretty good at getting round in. Think it's Greg's next!

Chris 'Moz' Green: Dan's a Guinness drinker. Luke likes a heavy stout, Jays drinks cider, Greggs into Lager and 'Moz' is into red ale and Belgian bevys.

MW: What are MONDO TRASHO's plans for the rest of 2024?

Chris 'Moz' Green: We have a lot of tracks recorded that need mixing. We were very lucky to get sessions in the George Martin studio at LIPA with our mate Jamie Lindberg. It was a good experience but because life gets in the way its taken a long time to get each song ready. 

Jay Muat: Release more songs, reach more people.

Mondo Trasho | Twitter, Instagram | Linktree

(c) Mark Watkins / March 2024.

[theharpermovieblog]

#HARPERSMOVIECOLLECTION

2023

https://www.tumblr.com/theharpermovieblog?source=share

I watched Don't Torture A Duckling (1972)

A Giallo horror from the master of gore, Lucio Fulci.

A rural town experiences a series of child murders.

Director Lucio Fulci is best known for his Zombie films and Mystical gore-fests. If you don't know who he is, look up the Fulci Zombie and you might recognize the image.

This film is an earlier work of Fulci's. Rather than any magic or monsters, Don't Torture A Duckling is a Giallo murder mystery film with a human killer on the loose.

Despite the overdub in both the Italian and English versions, something I don't love outside of B-Horror, this movie still manages to pull off a sense of tension, mystery and horror.

Fulci's shots are often well chosen and at one point he gives us a shot of the town that feels ominous before the sting of music even begins.

The actors are capable of working past the dub. In fact, if you shut the sound off, the film might be even more effective.

The special effects aren't always perfect, but they work well enough, despite one of them making me laugh.

The reactions from the townsfolk, which we either see or hear about, give a sense of reality to the town as a whole, and to the disruption and fear brought on by the heinous crime of killing children.

This film isn't exactly the most original, but it's engaging due to a well written script and Lucio Fulci's abilities behind the camera. Wherever it falls short is more minor than many other Giallo films. I'd take this over an Argento Giallo for sure.

Fulci's later movies aren't as intricately written, and those films seem to focus much more on the gore and shock value. Which is fun and I love a lot of Fulci's later work, but when looking for a good story, this film is where he shines.

It's a mystery and it largely plays out like a procedural thriller. Cops doing leg work, a reporter asking all the right questions and suspects popping up throughout. But, it's also the story of several different characters throughout the town.

I particularly loved the scene where cops with dogs are chasing a female suspect through the woods. It was chaotic and very well done. A scene which could be replicated today without changing a shot or edit.

In fact, that particular woman's entire story in the film is all very well done and is probably my favorite part of any Giallo film I've seen.

Ahead of it's time.

Overall, I enjoyed this one a lot more than I expected to. I'm not a huge Giallo film fan, but if I were to choose a favorite, this would be in the running.

[kinard-buckley]

just once again thinking of the ppl who were calling lou homophobic because he was the one who suggested the gentler first kiss and hoping theyre miserable after last night's hospital mauling :))

[michaun]

remember the 2019 met gala when the theme was camp and karlie kloss tweeted a picture of her eye in a mirror with the caption “looking camp right in the eye” and then she showed up in an ugly boring dress clearly not knowing what camp meant but that made it the campiest thing she could’ve done? 

malignant is the film version of that

[princesith]

my god people actually enjoyed the malignant movie i 😶 that’s so embarrassing on their behalf

[polyghostfacehours]

IMAGINE GOING ON A NATURE WALK WITH BILLY AND TAKING SPOOKY PICTURES (+ Stu dressing up as a cryptid for added spooks in some of them)

OKAY INSPO TIME. I modified this a lil tho, hope you dont mind!

This can be read as either platonic or romantic

TW: Unhealthy friendship/relationship dynamics. Dark implications. Blood. The term "ladies first" is mentioned but can be interpreted as jokingly/condescendingly if male or GN!Reader. Su!cide Joke.

Halloween - poly!Ghostface x Reader:

---

CLICK

The sound of Billy's camera echoed along the trees of the foggy forest, it's lens pointing at the murky gray depths of the lake you three usually frequented during the summer time.

You rest your face in your hands from your spot on the log, a towel draped on rotting wood in hopes of preventing your costume soaking in the moisture. You're lost in thought, buzz of cicadas in the air lulling you as you stare out at the waters. A groan rattles you from your reverie, and you blink towards the blond standing not too far from you.

"Billy, come oooon man." Stu whines as he traces patterns into the dirt with the stick he's holding "We've been here like, an hour. If we don't leave soon I'm gonna fuckin -Ccckkk - off myself." The blond sticks his tongue out dramatically as he performs a slicing motion with his thumb across his throat.

"Shut up Stu." Billy says, adjusting some setting on his camera, lifting it up again to take another series of pictures, not even bothering to look up and acknowledge the faux-offended gasp leaving Stu's mouth.

You smirk. "Do it. A corpse would just add to the atmosphere." The dark joke leaves your mouth teasingly, and you stick your tongue out at Stu as he flips you off with a grin before turning back to Billy, waving his stick like a wizard as he speaks.

"Look, man. I'm a growing boy. This right here?" He taps his temple. "Needs stimulation. Prefrontal Cortex development and aaaall that good stuff. You don't want me to grow up a stunted adult, right?"

Billy finally turns around to give him an unimpressed look before allowing a small smirk to grave his features. "Too late. That happened when mom and pops stopped hugging you."

You snicker and Stu pouts.

"Damn man. Is it Ouch-o-ween or what?" He grumbles before something catches your eye.

"Hey Stu, what's that?"

Stu's blue eyes look down to where yours are trained, and he squints before crouching down and poking the bumpy, rather moist looking thing with his stick. He moves the moss and a sharp grin pulls at his lips, mirth dancing in his eyes as he turns his head to you.

"Dead frog."

You blink. "You didn't kill it did you?"

"What? Noooo, I'm not some kind of monster Y/n." Something dark flashes in his eyes as he says those words, something that make an uncomfortable feeling pit in your stomach. It disappears almost as quickly as it comes, and Stu shrugs. "It was already dead. Probs starvation, since this place is also DEAD." Stu shouts that last word with an emphasis, startling both you and Billy as his voice reverberates along the trees. Stu chuckles at your reactions. Another poke and the stick almost breaks the rough skin of the frogs back.

"Let me see. Hey - don't fuck it up, stop poking it." Billy's speaks as he begins walking to where Stu stands with his camera in tow, not at all bothered by the mud tracking the boots of his Michael Myers costume.

An idea strikes you as you too make your way over to the two boys.

"Hey Stu, gimme that stick for a second!"

He hands it to you, and you get to work, the patterns and symbols etched in your mind being transferred onto the dirt as you encircle the frog with macabre sketches. Stu's eyes brim with mischievousness and curiosity in equal measure, and Billy's eyes mirror them.

"Aaaaand." You poke your tongue out the side of your mouth as you put the finishing touches "There! Pretty cool huh? Saw it in some cheap giallo film." You puff up your chest proudly as the two boys take in the pentagram and demonic symbols that now had the dead, rotting frog within it's center.

"Doooope. Looks like you got it, heh, dead-on." Stu cackles with his tongue out as you roll your eyes playfully. Billy gives you an impressed look as he tilts his head at different angles. He lifts his camera up, but hesitates and brings it down before locking eyes with you both.

"it's good. But...missing something." He says, and a shadow flickers in his eyes, one that had you hold back a shudder.

"What?"

Your breath hitches, and you hear Stu's does too, as Billy reaches into his pocket and pulls out his Buck 120. He unsheathes it, and his eyes dart between you and Stu's faces.

"Blood. For a little, hmm. Ambiance." He pauses. "You two in?"

You and Stu look at one another and you notice the excitement in his blues, pupil almost obscuring the sky-like color. You know immediately what his answer will be, and you pass your tongue over your drying lips as Billy looks at you both expectantly.

You nod at the same time that Stu confirms his participation with a loud quip that you don't register. All you can focus on is the steel that flashes with every subtle movement of Billy's hand. Something catches in your breath, tight and uncomfortable, as Billy opens his free hand towards you with a smirk.

"Ladies first."

You swallow the lump and nod, eyes squeezing closed as Billy's warm hand wraps around your wrist. He notices this and, in an almost soothing, very-not-Billy way, he gently runs his thumb against your wrist's pulse soothingly before bringing the knife to your arm.

As the sharp blade nicks your skin, you feel warm, and a brief fire lights in your veins as blood drips out of you slowly like water. it dribbles onto the frog, it's body as silent as the air around you as all your eyes train on your blood with bated breath. After a few large drops, you pull your arm away, putting pressure on the cut and hissing as it stings.

A grin that looks jagged stretches Billy's lips, and he lifts his eyebrows playfully as he now looks at Stu. Stu gives a nervous grin back, and it almost seemed like he was scared of Billy having a knife, but any trepidation seemingly disappears as he holds out his arm with an almost childlike enthusiasm.

"My turn!"

Billy chuckles, and does the same to Stu that he did to you, earning a hiss from the taller man as life leaves his veins in a thin stream. The two lock eyes as Stu clenches his jaw and Billy's eyes brim in excitement. They break this contact when Stu pulls away, gripping his own wound as best as he can, using the apron from his Bubba Sawyer costume to stall the blood flow further.

Billy sheathes the knife as you and Stu grip at your arms, placing it away as his hands once again grab his camera and lifting it to his face.

"Wait. What about you?" You ask, confusion marring your features, and Stu raises his eyes from his still bleeding arm to also give Billy a questioning glance.

Billy lowers the camera briefly, and a blank expression paints his face as he stares down at the frog and gives a nonchalant shrug.

"There's already enough blood."

You both look down and see that he's right. Red dribbled down green-gray skin and seeped into the dirt around it, trailing outwards in a way that looked like it was reaching for something.

You and Stu's blood painted the perfect picture for Billy.

He brings the camera to his face once more and the shudder sounds louder than it is as he takes a myriad of pictures. Come to think of it...this forest seems a lot more spacious than you remember it was back in the summer. The opposite of claustrophobia encases your heart.

Stu gives a shaky smile to the both of you, and you and Billy return it with varying levels of steadiness. Your mouth moves before you can stop it, earning a chuckle from Billy and a loud cackle from Stu.

"Happy Halloween."

[frostytherobot]

this is MY blog and i’ll choose what i post on it. so i’m gonna talk about my oc giallo for a bit

so giallo maroni is a guy i made up for the batman 2022 universe because it’s fun and i like having a gritty little guy to navigate that universe with. he’d be in his early 40s by the time the events of the batman take place

giallo is, you guessed it, a part of the maroni crime family. his uncle is salvatore maroni (giallo calls him uncle sal) and before the maroni drug bust giallo kind of acted as hired muscle for his uncle. he basically stayed in the room and made sure nobody made any moves to hurt or kill his uncle sal

when giallo was really young he was constantly sick, always looking yellow in the face, and his cousins gave him the nickname “giallo” because of this. (giallo in italian means yellow if you didn’t know this) (originally i chose the name giallo because i liked the ties to italian crime thrillers but came up with a canonical reason why a character would be named “yellow”) giallo has gone by that name so long almost nobody remembers what his birth name was and his parents aren’t around anymore to remind anyone

he might also be a little autistic but if that’s what it is nobody has told him. he doesn’t speak a lot and has a flat affectation and doesn’t really emote and he fidgets a lot with his butterfly knife and never looks anyone in the eye but most of the time people just think it’s because he’s Contemplating Something

giallo is trans and kinda knew he was a guy from a really young age. he would insist to his mom and dad that he was a boy but the weird thing is that they were fine with it HOWEVER his dad insisted that “if you’re gonna be a man you gotta act like one” so he taught him to shoot guns and count money and to pay attention and keep his mouth shut. he didn’t talk much anyways but that’s beside the point. he thinks it’s because his dad didn’t know what he was gonna do with a daughter and having two sons was easier for him

speaking of sons giallo has an older brother named enzo but he got carted off to blackgate when the drug bust happened. they weren’t ever close and enzo is a bit older than giallo is so he wasn’t around a lot when giallo was growing up, but if giallo could ever get over the feeling of guilt he has over being the only one of the maronis to not end up in the clink he’d write him.

the reason why giallo isn’t in blackgate? falcone, mostly. this is a complicated backstory but falcone blackmailed giallo into killing thomas and martha wayne after realizing giallo had been skimming some money off the top of his uncle sal’s deals (mostly just to keep a place he could go for himself that they didn’t know about). falcone also found out giallo had been spending a liiiiittle too much time at the iceberg lounge with oz cobblepot and while the maronis would make deals with falcone they didn’t necessarily like the company he kept (or falcone himself, really). so in order to keep a secret, giallo had to return a favor, and in falcone’s words, “you won’t have to do a thing for me ever again”

well, that was a total lie. falcone moved in on the renewal fund and to get all the money he could locked up most of the maronis to do it. but giallo was his little fall guy, if anyone ever started making connections to the wayne murder giallo would be the first to go (and even tried hooking that connection to bruce wayne’s belt with that schpeal about sal wanting to knock thomas and martha off) and with evidence of him being around competitors? well, he could just say giallo hated his family and wanted all that money to himself, but humble falcone wouldn’t let the greedy bastard near it, right? so long as falcone kept him on his side, under his thumb, he could keep watch and make sure giallo never saw a cent of the maroni share of the renewal fund.

giallo still doesn’t know that’s why he avoided blackgate. in fact, he has a lot of guilt over being the only member of his family not in prison and the mere thought of it eats at him every day. he knows in his gut that every last member of his family must hate him for this seemingly good luck. and as years pass under falcone, his resentment and anger build that he has to work for this man to keep a secret he never wanted part of.

his only solace is that there’s someone who treats him kind of like a human being around. oz and giallo have been acquainted for years, bonding over being the “other guy” in the room whenever falcone and uncle sal made their deals. for a long while, oz was the only one to acknowledge giallo’s presence in the room, and even after time has passed and oz has upped in rank since then he still takes the time to be around giallo, even requesting him to watch the door of his office if some private business needed to be tended to (or even just to have some company during times he’d normally be alone). giallo is kind of a pretty boy and oz takes note of that pretty quickly, and even though oz isn’t much to look at (at least to other people) giallo admires how oz presents himself and always catches himself looking when oz flashes those gold teeth of his. not that either would ever say anything to the other about it, usually the thoughts the two have about each other are in passing and it would never work out they’re much better off staying strictly business but with a little down time on the side. right?

anyways this is what giallo looks like

[s8nslilgayboy]

ok i wrote some smut with my oc and oz so i’m just gonna post it here and go

tipsy beej heehee

“You okay, Gi?” Oz focused his gaze across the room at the man keeping watch at the door. It wasn’t that he needed the extra muscle, Oz could handle his own and had the scars to prove it, but he liked the particular company.

“Hm?” Giallo Maroni, arms crossed, turned his head slightly at the sudden address. “Fine.”

“You’re a lot quieter than normal.”

Giallo didn’t answer. He turned his head back to watch the doorway. Nobody was supposed to get in or out while Oz was doing inventory. Didn’t want things going missing.

“This about what Falcone said earlier?”

Giallo scowled. “He makes sure to talk loudly when it’s about my family. Like he wants me to hear.”

Life had been tough in the last decade since Giallo’s uncle Sal and a few others of his family were done in by GCPD. They had been dragged kicking and screaming to Blackgate, put away for years, but not Giallo. Miraculously, the pigs couldn’t find any dirt on him despite the years he’d been attending the meetings the Maroni family had with Carmine Falcone and his cronies. This had actually been where he’d met the man behind him. Oz Cobblepot had been one of the only people to sit at the table those years ago who would even address his presence, not that Giallo had much of one. He learned quickly growing up to shut his mouth unless spoken to, to listen close to everything going on around him, and when Uncle Sal needed the extra protection to be in the room, ready to stand in a bullet’s way. In this way he was his uncle’s favorite, the most loyal of the Maroni clan, but even then, his uncle paid him little attention.

But Oz?

When Uncle Sal and Falcone needed a moment in private, Giallo found Oz Cobblepot making little remarks outside the door. He’d wonder about the numbers, the behavior of the two men inside, what they could possibly be compromising on without him… and he’d ask why Giallo was always silent. He joked that he didn’t have a tongue, maybe he was born mute, but Giallo proved this to be wrong quickly. “I’m just a body,” he had said. “I don’t believe that,” Oz had replied.

“Come on, you can’t let that stuff get to you. You know Carmine likes to talk big.”

“Talks big about my uncle Sal. Makes him out to be some kinda halfwit.” Giallo’s voice quieted, as if Falcone would hear him otherwise, although he knew he’d be elsewhere tonight. “A man he’d worked for years with, you’d think he’d know he wouldn’t have been so careless.” Giallo paused, thinking. “I still wonder about who could’ve given up that info. Eats at me, Oz.”

Oz transferred the package of drops he’d been holding down to the table before reaching towards the bottle of bourbon sitting near him. He stood from his seat, retrieving an empty glass and filling it halfway.

“Let’s get your mind off it, huh? Get over here.”

Giallo turned to look at Oz, holding the glass out. He really wasn’t one to drink, but when Oz was offering, he wasn’t going to refuse. Giallo took one last look out the door, and slowly turned to walk further into the room, reaching out to take the glass. Oz smirked as he watched Giallo down the whole thing in one go.

***

“I haven’t stopped thinking about it once in over ten years, Oz,” Giallo said, lips a little more loose now that the second and third glasses of bourbon were making their way through his system. “Why would they take almost all my family and not me?”

Oz took a sip of his own drink before answering. “Who fuckin’ knows. You weren’t necessarily active in the business of it all, even if you had some info.” He ran a hand through his thinning hair. “You always said you were just a body, remember?”

Giallo looked down at his glass. “Yeah. I dunno.”

“You ask me, it just sounds like guilt you shouldn’t be carryin’ around.” Oz downed the last of his drink. “They didn’t get you, and you’re rollin’ with us now. Much better than spendin’ years in Blackgate. Besides all that,” Oz shifted in his seat, “I kinda like havin’ you around. One of the few people that don’t drive me fuckin’ crazy.” His arm curled around Giallo’s shoulder, and he chuckled.

“Yeah?” Giallo knew how Oz felt about most of the people he surrounded himself with, from people working downstairs, to Falcone, even Giallo himself, but hearing the warmth in his voice as he said it took him by surprise.

“Yeah.” Oz swallowed, his voice dropping just a bit. “Not bad to look at, either.”

Giallo went silent again, averting his gaze away from Oz’s, fidgeting with his glass. Another surprise.

Oz’s face fell as he watched Giallo’s nervous movement. He moved his arm away and cleared his throat. “Must’ve been all the bourbon talkin’ there.”

Oz started to get up, but before he could make it up out of his seat, Giallo’s hand shot out, wrapping around Oz’s wrist and pulling him back down. For just a second, their eyes met, and Oz could see Giallo’s flushed cheeks and something like hunger in his eyes. It was Oz’s turn to be taken by surprise.

Giallo moved quickly, grabbing Oz by the lapel of his jacket and pulling him in, lips clumsily moving to meet his. A rumble of surprise in Oz’s chest soon turned to a growl as he moved to place his hands on Giallo’s hips, situating them onto his lap.

Oz pulled his face away, breaking the kiss, his eyes roaming downwards to take in the form on top of him. “You know how long I’ve wanted this?” he mumbled. His thick fingers traced Giallo’s spine.

Giallo sighed. “How long have we known each other?”

Oz smirked before leaning back in to kiss Giallo once more. Giallo could feel the beginning edge of Oz’s scar on his lip, the one spot where the texture differed from the rest of the surprisingly soft skin. Oz’s hands creeped upward, fumbling with the buttons of Giallo’s shirt, exposing his neck just a bit more. Oz broke away from Giallo’s mouth again, trailing his lips down, kissing Giallo’s cheek, his jawline, before finding his place at his neck, sucking at the skin. Giallo audibly exhaled at the sensation. Oz’s gold teeth grazed his skin, and Giallo could feel him smile against his collarbone as he found another spot to lightly mark.

Giallo’s hand snaked its way between their bodies, past Oz’s gut and to the growing bulge between his legs. Oz moaned into the crook of Giallo’s neck, bucking his hips in response to the touch.

“Careful there, doll, you’re gonna get me goin’…” Oz rasped.

Giallo smiled crookedly as he applied more pressure to Oz’s groin with his palm. Oz growled, cock stiffening from the tease. Giallo turned his head, kissing Oz’s temple before sliding from his lap to the floor, hands working quickly to unzip Oz’s fly and slide his hand under the fabric.

“Christ, Gi…” Oz was breathing heavily now, watching as Giallo moved the fabric of his underwear to free his cock from his pants. Giallo wrapped his fingers around the base, making small movements with his wrist, slowly beginning to work Oz over. Looking up from his position, Giallo’s half-lidded hazel eyes watched Oz’s mouth fall open from the touch.

“Good?” Giallo asked, although he knew the answer.

Oz looked down, shaking his head and smirking. “You fuckin’— ah, fuck.”

Oz couldn’t finish his sentence before Giallo’s tongue was on the head of his cock, and seconds later his mouth had found its way around the circumference. Oz’s hand shot up, fingers gripping Giallo’s dark hair as his head moved to take Oz in further.

Oz wasn’t a stranger to oral, but it was very different coming from someone he’d been admiring from afar for years, thinking this would only ever be a passing thought. He was trying hard not to seem too eager, but the occasional buck of his hips as Giallo moved his head to get him off must have betrayed him. Giallo hummed in contentment at the movement, the vibration hitting the head of Oz’s cock bringing a different sensation to the mix.

“Holy God—“

As Giallo moved to take Oz as deep as he could, Oz’s cock began to twitch against his tongue, hot fluid coating the back of his throat. Giallo pulled back to a more comfortable position, not taking Oz out of his mouth but moving to make sure he wouldn’t choke too hard as Oz finished. He coughed, cum dribbling out of his mouth and down his chin, struggling a bit to catch his breath. Oz couldn’t help but think he looked gorgeous like this.

Giallo swallowed the load in his mouth and looked up at Oz, watching his face relax as the last of his orgasm dissipated. He followed the prominent scar from his lips upwards into the dark eyes gazing back down at him. Giallo gave a small smile. He couldn’t help but think Oz looked handsome like this.

Oz released his grip on Giallo’s hair and moved to wipe the rivulet of cum from his chin. “Heh. Looks like I made a mess outta you.” He chuckled, sliding his thumb back up to Giallo’s mouth for him to suck clean. Giallo complied.

“I don’t mind it,” Giallo said.

“I am gonna have to pay you back for this, though.” Oz’s fingers moved under Giallo’s chin, lifting his head from between his thighs. “Maybe even with interest, huh?”

“Fair deal,” Giallo replied, pulling himself up off the floor. “What did you have in mind?”

“You’ll see, sweetheart.” Oz smiled, almost evilly, his gold teeth showing between his lips.

[brundleflyforawhiteguy]

What makes Puppet Master so great?

I can't quite tell if this is a "wow, how is it this rad?" or "why do you never shut up about this?" or the middle-of-the-road "I don't see the appeal" type of question so I'll kind of answer each.

The reason I'm not shutting up about it, right now especially, is that I've been writing a book on the entire franchise for three years without much to show for it, a lot of starts and stops and hard work and wondering if it would ever even get finished. Now Puppet Master Complete: A Franchise History is actually coming out and there's pre-orders at Amazon, Barnes & Noble, etc. so I'm both starting to actively promote it and just overwhelmed with relief that it's finally happening. Almost as much as that, though, is the fact that NECA has released new Puppet Master toys that are stunning and are in stores like Target, something I never thought possible, which has tapped into the childhood fan in me, for whom these puppets, movies, and the original toys were my number one childhood obsession.

But to get into the deeper question, I'll tell you right now, that's a big one. It's a lot to unpack. the first three words of the introduction to the book are "Why Puppet Master?" And I think there are a lot of reasons. For me, it was love at first sight literally the first time I saw the designs of the puppets. Both the way the characters look and the stop-motion and puppetry effects by David Allen Productions are probably the biggest reason we're still talking about these little guys so many years later. But there's a lot I think that makes the franchise, and those early films, special. There aren't many, if any other, horror franchises where your iconic characters can be the heroes or villains from movie-to-movie. And as a kid, and even now, I loved that they weren't inherently bad. They were the first "monsters" I ever saw that let the protagonists go at the end of the movie and killed the larger villain. Then a few movies later, they're the full-blown heroes and they've pretty much been that ever since. The early movies are all wildly different from one another in a way they don't get enough credit for. Sometimes even different genres outright. The first is a deeply Italian influenced, almost giallo-esque movie, the second is a dyed-in-the-wool gothic Universal throwback, the third is a war movie, the fourth and fifth are fantasy/sci-fi.

Looking at a larger scale though, it is amazing that this series exists in 2021. Like, holy shit. It is the most resilient horror franchise in the world. It was designed, specifically, to cater to video stores. That was the function of the first movie, both as a film in general and as the first film from Full Moon. This franchise was specifically designed to cater to a booming video store market and it outlived video stores. In 1997, it received its own action figure series which was even wild at the time, because it was a straight-to-video horror movie series that had been around less than a decade. Getting these characters in comic shops, Suncoast, was wild enough, but then they eventually reached Spencer's and KB. And now, two decades later, there are figures again! And they're in Target! They're everywhere! That feels impossible, that should not exist. A few years ago, it got a comic series. A straight-to-video series got a comic that lasted for almost 30 issues! This is unreal stuff. And it’s a great comic, too.

Puppet Master is also, essentially, the only horror franchise that is inherently Jewish. Christian themes and iconography play into horror a lot and are still incredibly popular. And there are plenty of great horror movies that deal with Jewish themes and symbols, but I think Puppet Master is the only film series defined by those themes. Admittedly, they’re set up most prominently in the third entry with the reveal that the puppets are inhabited by the souls of Jewish victims of the Nazis, taking revenge on their oppressors. There is a deeply ingrained notion of post-war survivor’s guilt, perfectly embodied by this image of an old man who literally carries his dead friends with him wherever he goes. Even the original movie sets it up right in the opening scene, with the puppet master Toulon shooting himself and hiding his puppets away before the Nazis can get their hands on them.

And yet at the same time, it’s still just a fun and quirky B-Movie series, wildly ambitious for straight-to-video, and it’s never really lost that creative spirit even as the budgets have drastically shrank over the years. It’s been through a lot of ups and downs, and the budgetary lows are smaller than most other franchises. But there’s still so much that resonates, from the themes, to the concept and without a doubt most importantly, the puppets themselves. There is no other franchise like it. It’s been through at least three or four things that would have killed any other franchise and even though the movies are now made for pennies and shot in four days, it’s alive and (somehow) thriving, in some ways it’s stronger than it’s ever been. I really couldn’t articulate why I loved it when I started writing that book, but now it’s something I think about a lot. I am grateful it’s still here, grateful for getting to grow up with it, and so excited for all the new fans who are going to see those toys on Target shelves and fall head over heels, just like I did.

[evadingreallife]

Shut up and be quiet - Måneskin

"Zitti e buoni" as translated by me ( @evadingreallife ) /full english translation and original italian lyrics under the cut/

They don't know what I'm talking about

Mud dirty clothes, bro,

Cigarette yellow through the fingers

Me, I'm walking with a cigarette

Sorry but I really believe

That I can jump up high

Even if the road is uphill

That's what I'm training for

So good evening ladies and gentlemen

Out with the actors

Y'all better hold onto your balls (ndt: against bad luck)

Y'all better shut up and be quiet

Here people are weird like drug dealers

Too many nights I've spent locked outside

Now I'm kicking all these doors open

Gaze up high like climbers do

So, sorry mom if I'm always out

but

I'm crazy out of my mind but different from them

And you girl are crazy out of your mind but different from them

We are crazy out of our minds but different from them

We are crazy out of our minds but different from them, no

I've written pages and pages

I've seen salt and then teardrops

All these men in their cars

Not rising up through the rapids

On a headstone there's written

There's no God in my home

But of you find the meaning of time

You will rise up from your void

From the right point of view

You can feel the high of the wind

With wax wings on my back

I will search again for that high

If you want to stop me try again

Try to cut off my head because

I'm out of my mind crazy but different from them

And you girl are out of your mind crazy but different from them

We are out of our minds but different from them

We are out of our minds but different from them

Talk, all people do is talk

They don't even know what they're talking about

Bring me where I can stay afloat please

Because here I can't breathe

Talk, all people do is talk

They don't even know what they're talking about

Bring me where I can stay afloat please

Because here I can't breathe

Talk, all people do is talk

They don't even know what the fuck they're talking about

Bring me where I can stay afloat please

Because here I can't breathe

I'm crazy out of my mind but different from them

And you girl are crazy out of your mind but different from them

We are crazy out of our minds but different from them

We are crazy out of our minds but different from them

We're different from them

Zitti e Buoni - Måneskin

Loro non sanno di che parlo

Vestiti sporchi, fra', di fango

Giallo di siga fra le dita

Io con la siga camminando

Scusami ma ci credo tanto

Che posso fare questo salto

E anche se la strada è in salita

Per questo ora mi sto allenando

E buonasera signore e signori

Fuori gli attori

Vi conviene toccarvi i coglioni

Vi conviene stare zitti e buoni

Qui la gente è strana tipo spacciatori

Troppe notti stavo chiuso fuori

Mo li prendo a calci 'sti portoni

Sguardo in alto tipo scalatori

Quindi scusa mamma se sto sempre fuori ma

Sono fuori di testa ma diverso da loro

E tu sei fuori di testa ma diversa da loro

Siamo fuori di testa ma diversi da loro

Siamo fuori di testa ma diversi da loro, no

Io, ho scritto pagine e pagine

Ho visto sale poi lacrime

Questi uomini in macchina

Non scalare le rapide

Scritto sopra una lapide

In casa mia non c'è Dio

Ma se trovi il senso del tempo

Risalirai dal tuo oblio

E non c'è vento che fermi

La naturale potenza

Dal punto giusto di vista

Del vento senti l'ebrezza

Con ali in cera alla schiena

Ricercherò quell'altezza

Se vuoi fermarmi ritenta

Prova a tagliarmi la testa perché

Sono fuori di testa ma diverso da loro

E tu sei fuori di testa ma diversa da loro

Siamo fuori di testa ma diversi da loro

Siamo fuori di testa ma diversi da loro

Parla, la gente purtroppo parla

Non sa di che cosa parla

Tu portami dove sto a galla

Che qui mi manca l'aria

Parla, la gente purtroppo parla

Non sa di che cosa parla

Tu portami dove sto a galla

Che qui mi manca l'aria

Parla, la gente purtroppo parla

Non sa di che cazzo parla

Tu portami dove sto a galla

Che qui mi manca l'aria

Ma sono fuori di testa ma diverso da loro

E tu sei fuori di testa ma diversa da loro

Siamo fuori di testa ma diversi da loro

Siamo fuori di testa ma diversi da loro, ah

Noi siamo diversi da loro