Naomi Chi’s tattoos look like mostly finished pencil drawings. The Vancouver artist-student achieves this through her sketch-like style; the guiding lines and shapes used to compose the image are left in, giving the impression that you’re looking at an open sketchbook.
“My interest in visual art was spurred by animation, so capturing movement is important to me,” Chi told Brown Paper Bag. “I also strive to implicate a kind of immediacy in my my tattoos, so there’s a lot of improvisation — It keeps the process fresh and fun for me. I’m glad my clients like it too, of course!”
Depeche Mode has sold more than 100 million records during a career that’s not had a lull over the course of three decades. Arguably the most popular and successful electronic band of all time, they still release albums that debut in the top 10 and continue to draw arena-sized crowds. Their influence can be heard in house, techno, industrial,
mainstream journalists and their stupid cliché questions, it’s a recurring problem for every musician.
Dave shocked a Journalist TV station Canal+by exclusively announcing the end of the band on the talk show Le Grand Journal what do you think of your new album, is this the final release of your band, etc..
Dave Gahan decided to play ‘cavalier soul’ announcing the end of Depeche Mode. The ‘journalist Journal. Talking of a (non) exclusive! For a few seconds her face was set on disbelief until ...
You can watch the ‘interview’ fragment below.
But first the before (when Dave says he has an exclusive), during (when he announces the end of Depeche Mode)
In related Depeche Mode news,
Depeche Mode/dɨˌpɛʃˈmoʊd/ are an English electronic band formed in 1980 in Basildon, Essex. The group's original line-up consisted of Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (keyboards, guitar, vocals, chief songwriter after 1981), Andy Fletcher (keyboards), and Vince Clarke(keyboards, chief songwriter from 1980 until 1981). Depeche Mode released their debut record in 1981, Speak & Spell, bringing the band onto the British new wave scene. Clarke left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next thirteen years.
The band's last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force on the mainstream electronic music scene. A highlight of this era was the band's concert at the Pasadena Rose Bowl, where they drew a crowd in excess of 60,000 people. In the new decade, Depeche Mode released Violator, a mainstream success. The subsequent album, Songs of Faith and Devotion, and the supporting Devotional Tour exacerbated tensions within the band to the point where Alan Wilder quit in 1995, leading to intense media and fan speculation that the band would split. Now a trio once again, the band released Ultra in 1997, recorded at the height of Gahan's near-fatal drug abuse, Gore's alcoholism and seizures and Fletcher's depression. The release of Exciter confirmed Depeche Mode's willingness to remain together, the subsequent, and very successful, Exciter Tour being their first tour in support of an original album in eight years since the Devotional Tour, although the band had toured in 1998 to support The Singles 86–98 compilation album.
Depeche Mode have had fifty songs in the UK Singles Chart and thirteen top 10 albums in the UK charts, two of which debuted at No. 1. Depeche Mode have sold over 100 million records worldwide,[1] making them one of the most commercially successful electronic bands and one of the world's best-selling bands.[2]Qmagazine calls Depeche Mode "the most popular electronic band the world has ever known"[3] and included the band in the list of the "50 Bands That Changed the World!".[4] Depeche Mode also rank number 98 on VH1's "100 Greatest Artists Of All Time
War is coming. See the trailer on November 6. (SEE TEASER BELOW)
From Legendary Pictures and Universal Pictures comes Warcraft, an epic adventure of world-colliding conflict based on Blizzard Entertainment’s global phenomenon.
The peaceful realm of Azeroth stands on the brink of war as its civilization faces a fearsome race of invaders: Orc warriors fleeing their dying home to colonize another. As a portal opens to connect the two worlds, one army faces destruction and the other faces extinction. From opposing sides, two heroes are set on a collision course that will decide the fate of their family, their people and their home.
So begins a spectacular saga of power and sacrifice in which war has many faces, and everyone fights for something.
Directed by Duncan Jones (Moon, Source Code) and written by Charles Leavitt and Jones, the film starring Travis Fimmel, Paula Patton, Ben Foster, Dominic Cooper, Toby Kebbell, Ben Schnetzer, Rob Kazinsky and Daniel Wu is a Legendary Pictures, Blizzard Entertainment and Atlas Entertainment production.
Warcraft (to be released internationally as Warcraft: The Beginning) is an upcoming 2016 American epicfantasy film. It is based on the Warcraft video game series and novels set in the world of Azeroth. The film was first announced in 2006 as a project partnership with Legendary Pictures.Filming began on January 13, 2014 and wrapped up on May 23. The film is set to be released by Universal Pictures on June 10, 2016.
The producers are Charles Roven, Thomas Tull, Jon Jashni, Alex Gartner and Stuart Fenegan. Jillian Share, Brent O’Connor, Michael Morhaime and Paul Sams serve as executive producers. Rob Pardo, Chris Metzen, Nick Carpenter and Rebecca Steel Roven co-produce. Warcraft will be released by Universal Pictures. www.warcraftmovie.com
The Ramones of the ’70s are iconic. They were at the vanguard of punk, and arguably pop punk, and created songs that are still considered classics of the genre today. You go to a sporting event, you hear “Blitzkrieg Bop.” Their look was easily recognizable, and influential. They appeared in Rock ‘N’ Roll High School. Then came 1980’s End of the Century which was, in its own way, the end of an era for the band. By 1995, when they released their final studio album Adios Amigos!, they were no longer part of the zeitgeist. They were an afterthought, and they weren’t even the same band.
The change from Tommy to Marky on the drums had happened a while back, with a brief stay from Richie in there as well, and, in truth, changing the drummer isn’t really going to rile up many people. However, by the time of Adios Amigos!, Dee Dee was also all but gone, although his presence is still felt on the album, as he is credited as the writer on many of the songs, including a handful from other projects of his. He had been replaced with C.J. Ramone, who was given a lot of credit by his bandmates for bringing some much-needed youthful energy to the band. C.J. could only do so much, though. This was a band that had been releasing music for 20 years. Nobody could blame them for being burnt out.
Adios Amigos! begins with the iconic “1, 2, 3, 4!” count off that was synonymous with the band, but after that it feels decidedly like warmed-over Ramones. Now, this could be where one would break out the old chestnut about how even bad pizza is pretty good, and how the same can be said for the Ramones. The Ramones were still making the music they’ve made for years. Charging guitars. Simple drumbeats. Although, they do slow it down a bit more than they did in the past, in part to ease the strain on Joey’s vocals. He gets to croon a bit, and he’s not half-bad at it.
The album is hit-or-miss. In addition to the songs from Dee Dee, there is a cover of Tom Waits’ “I Don’t Want to Grow Up” and Johnny Thunders’ “I Love You.” They are both fine. “Fine” is about the highest level this album achieves. “Life’s a Gas” is pretty good, but also goes on a bit too long. In the end, the songs that Joey sings on are reminiscent of the glory days of the Ramones. The issue is that on four of the tracks, C.J. takes the lead vocals. One of the song, “Scattergun,” is OK, but the others are abysmal. Of course, one of those songs is “The Crusher” from Dee Dee’s brief time as a rapper, so C.J. can’t take all of the blame. Nevertheless, it’s one of the worst things ever recorded for posterity.
Dee Dee’s impact on the album is felt in his songwriting, but his only tangible appearance is on the final song “Born to Die in Berlin,” wherein he (literally) phones it in from Germany. None of the original Ramones (Joey, Johnny, Dee Dee, and Tommy) would die in Berlin, but they have all now passed away. Three of them have been dead for over a decade now. However, those Ramones weren’t the Ramones by the time the band was winding it all down. Adios Amigos! isn’t a stain on their legacy by any means. It has its moments, and it sounds like the Ramones, which has merit. Based on their album title, obviously, they knew this was the end. They didn’t go down in a blaze of glory, but at least they said goodbye without embarrassing themselves.
Tattoo Artist Houston Patton and Creative Director Dagny Fox, collectively known as Thieves of Tower, have developed a wonderfully unique style with original and amazing black ink tattoos that are meant to take clients back to “a time of darkened beauty seen within his lines”. Particularly striking are the tattoo that tell the story over the course of two limbs, such as those pictured.
MAD MAX: FURY ROAD MY LITTLE PONY BECAUSE OF COURSE
Even if the movie wasn’t the biggest smash hit of the year, the way it should have been, Mad Max: Fury Road has certainly taken the prize for the film with the largest permeation on the internet. The number of essays and articles written about George Miller’s post-apocalyptic, people-driving-in-a-straight-line action film became a must-see for fans of cinema and discourse about gender roles, internal politics, and blind devotion. It’s also precipitated all sorts of awesome DIY projects, par exemplesome Mad Max Power Wheels.
The newest and, we admit, most absurdly awesome of these projects are custom-made (and totally unofficial, via artist Kelsey Wailes) Mad Max: Fury Road My Little Pony figurines. That’s right, two weird worlds that are even weirder together. The artist used the older variety of My Little Pony dolls, from prior to the Brony days, and Polymer clay, acrylics, leather, and faux fur to create highly-accurate equestrian representations of Max Rockatansky, Imperator Furiosa, Nux, and Immortan Joe.
They look so happy together, don’t they?
Both the Nux and the Max figures had heads that could rotate, but all four figures have the ability to drive cars (not true). I don’t know which is more impressive — Joe’s toothy face mask/breathing apparatus or Furiosa’s mechanical artificial hoof. They somehow even managed to get the look of pure chrome-fueled martyrdom in Nux’s eyes, although I seem to recall that’s just how My Little Ponies looked anyway.
The figures were available for sale at last weekend’s Awesome Con in Washington, D.C., so unfortunately that’s over, but you can still witness them in their full glory in the gallery below.
Mad Max Fury Road Ponies: Because I am a monster.
They were super fun to make and super horrifying (I’m looking at you, Immortan Joe)
Made with My Little Pony toys, Polymer clay, acrylics, leather, and faux fur.
After an early Broadway debut, the late great Vincent Price (1911-1993) toiled in Hollywood films for over 50 years and appeared on countless TV shows (including everything from The Carol Burnett Show to The Brady Bunch). But, of course, the actor will always be remembered for his horror and villainous roles by generations of monster kids (whose ranks include director Tim Burton, who cast Price in one of his last—and best—screen assignments, 1990’s Edward Scissorhands). Chiller’s latest edition of The Friday 13 salutes the career of this scream legend on the occasion of his upcoming birthday (May 27). Helping us celebrate: Price’s own daughter and official biographer, Victoria. (Titles arranged according to year of release.)
1. The Invisible Man Returns (1940)
The Invisible Man Returns Trailer
At age 28, stage-trained thespian Vincent Price joined Universal Studios’ classic monsters bullpen in this sequel to the James Whale/Claude Raines hit. Price stars as a man scheduled to hang for a murder he didn’t commit who takes an invisibility serum to apprehend the real killer. “The first ‘glimpse’ (!) of what Vincent Price could do with just his voice,” recalls daughter Victoria Price. The mellifluous actor disappeared into the role again with an amusing voiceover cameo for 1948’s hilarious Abbott & Costello Meet Frankenstein.
2. Dragonwyck (1946)
Dragonwyck scene
In one of the parts dearest to his heart, Price portrays Nicholas Van Ryn, drug-addicted/wife murdering aristocrat, who lords over a gloomy mansion. “This movie meant a great deal to my father,” Victoria recalls. “He was playing a portly priest in Keys to the Kingdom, and he approached [director] Joe Mankiewicz with his desire to play the lead in Dragonwyck. The director basically said that he was totally the wrong type for the role. So my dad lost a lot of weight and really prepared for the audition—and got the role. It was his first leading film role in a genre that would become so important to him.”
3. House of Wax (1953)
House of Wax (1953) -- Unmasked
As the hideously scarred sculptor Henry Jarrod, who uses real human bodies as his museum wax figures, the art-loving actor cemented his reputation as a monstrous screen villain in this 3-D smash. “House of Wax came at a very important juncture in my father’s life,” reveals Victoria. “He had just been cleared from one of [Red Scare instigator] Joe McCarthy’s lists and allowed to work again in Hollywood. He was offered two roles—one on Broadway and one for a film about an artist incorporating an interesting new technology [3-D]. The rest, as they say, is history!”
4. House on Haunted Hill (1958)
Vincent Price - House On Haunted Hill - Trailer
In this wickedly scary gimmick film from producer/director William Castle, Price stars as a sarcastic millionaire who offers five strangers $10,000 a piece if they survive the night in the titular ghost hangout. This hit film garnered Price even more fans in the genre he would call home. Says Victoria, “Who doesn’t love Vincent Price as the elegantly evil Frederick Loren in House on Haunted Hill?”
5. House of Usher (1960)
The House of Usher (1960). The family, explained
Price’s career continued to ascend in horror circles when he top-lined this classy Edgar Allan Poe adaptation, scripted by Richard (Twilight Zone) Matheson and directed with stylish efficiency by B-movie king Roger Corman. “Roderick Usher was one of my dad’s great roles, in my opinion,” says Victoria of the tragic, hypersensitive Usher, a man with, let’s say, family issues. “As the tortured aesthete, he was so handsome in that film!”
6. The Pit and the Pendulum (1961)
The Pit and the Pendulum (1961) - The Pendulum Swings
The popularity of House of Usher for independent studio American International Pictures spawned a whole series of Poe flicks, most starring Price as equally troubled characters and bad guys. In Corman’s Pit and the Pendulum, Price limns Nicholas Medina, beleaguered son of a notorious Spanish Inquisition torturer who dusts off Pop’s ancient playthings thanks to his scheming wife (Barbara Steele). Shudders Victoria, “Pit and the Pendulum scared me to death when we had to watch it in school!”
7. The Comedy of Terrors (1963)
The Comedy of Terrors - Vincent Price (1/1) Not Quite Dead Enough (1963) HD
The horror celebrity always enjoyed sending up his image in both film and television, and in this hoot, directed by Cat People’s Jacques Tourneau, he’s a boozy undertaker who’ll literally murder for customers. “My dad loved getting to work with his dear friend Boris Karloff and the legendary Peter Lorre, whose eulogy he gave just a few years later,” remembers Victoria. “And boy did they have fun!” And we can tell!
8. The Masque of the Red Death (1964)
Theatrical Trailer - The Masque of the Red Death (Vincent Price)
In this masterpiece of Corman/AIP’s Poe cycle, Price essays the diabolical Prince Prospero, who throws a decadent bash while plague decimates those outside his castle walls. “A few years ago,Masque of the Red Death was shown at three straight events I attended,” Victoria notes of Masque’s enduring appeal amongst cinema scholars. “The movie is so surreal and ’60s. And Nic Roeg’s saturated cinematography is iconic.”
9. The Last Man on Earth (1964)
The Last Man on Earth - Vincent Price (1/1) The Living Dead Attack (1964) HD
Tinseltown raided Richard Matheson’s excellent novel I Am Legend (about a vampire-plagued world) three times, beginning with this low-budget effort. Price’s version stands as the most faithful to Matheson, and the Rome-lensed movie also proved even more significant to Victoria. Sshe explains, “I owe my existence to Last Man on Earth! My parents moved to Italy for an extended period of time. Let’s just say that ‘La Dolce Vita’ worked its magic on 44-year-old Mary Grant Price and 50-year-old Vincent Price. When my mother started craving Chinese food in Europe, they had no idea I was the cause. But I ended up being a very happy surprise for them both…all because ofLast Man on Earth!”
10. The Tomb of Ligeia (1964)
The Tomb of Ligeia - Vincent Price (1/1) A Prophecy of Ligeia’s Return (1964) HD
With a literate script by future Chinatown scribe Robert Towne, Corman and Price ended their Poe run with a fiery finish. As the downcast Verden Fell, Price suffers at the hands—and possessed feline claws—of his jealous deceased wife, who stalks her man when he remarries. As the haunted husband, Price contributes a subdued and nuanced performance, never upstaged by the movie’s killer cat or impressive English locations. “Tomb of Ligeia was Vincent’s personal favorite Poe film,” his offspring reveals.
11. Witchfinder General (1968)
The Mark of Satan Is Upon Them - Witchfinder General (Vincent Price)
In this intense film (released in the U.S. as Conqueror Worm), St. Louis-born Price tackles real-life 17th century British witch hunter Matthew Hopkins, who traveled the English countryside persecuting innocent people for practicing witchcraft. As the despicable Hopkins, Price abandoned the flamboyance of some of his previous dastardly turns. “Working with [director] Michael Reeves was very, very difficult for my father,” admits Victoria. “He understood what Reeves wanted, but his methods and his youthful arrogance were difficult for my dad—who was about the nicest man on the planet. Ultimately, however, the malevolence which my father achieved made the part one of his most memorable.”
12. The Abominable Dr. Phibes (1971)
The flying unicorn Abominable Dr Phibes
In this art-deco tour de force, Price has a campy field day as the revenge-minded disfigured doctor who unleashes his own translation of the biblical plagues on the men who failed to save his wife’s life. Price returned as the noble madman in the equally entertaining Dr. Phibes Rises Again a year later. “Classic, stylistic and quirky, Dr. Phibes reteamed Vincent with his dear old friend of 40 years, Joseph Cotton,” says Victoria of the two actors who met while performing with Orson Welles’ Mercury Theatre. “And I am still struck by how expressive he was in that film of few words.”
13. Theater of Blood (1973)
Theatre of Blood (1973): A pound of flesh
An even blacker comedic twist on the Phibes pictures, Theater of Blood rates as Price’s cinematic triumph, and one that encapsulates his entire oeuvre. This occasion he’s failed Shakespearean actor Edward Lionheart who, believed dead, elaborately murders the stuffy British reviewers responsible for his worst notices. Victoria catalogues how much Theater of Blood meant to dear Dad: “When you get to: a) fall in love with your future wife [Coral Browne] in a graveyard; b) electrocute her while playing a gay hairdresser; c) kill off all the critics; d) work with Diana Rigg and so many other great British actors; and e) recite Shakespearean verse while doing all of the above—how could it not be one of my father’s favorite films?”
We could easily list another 13 petrifying Price pictures on this list, so if you have the desire to learn more about the man and his movies, go to www.vincentprice.com, check out Shout Factory’s definitive two volume Vincent Price Collection on disc and pick up Victoria’s wonderful book Vincent Price: A Daughter’s Biography, as well as Lucy Chase Williams’ The Complete Films of Vincent Price.
Well now, where shall i begin to tell you about my Infest 2012. I don't think anyone who was there would argue that the turn out this year was well down on usual, I don't doubt tough economic times may have played a part for some, having Resistanz early next year also may have informed some regulars decisions but I think that this years line up may have had a large part to play, hmmm to go or not to go that was the question, the one part of me wanted to go 'cos, well it's Infest and not only the event but the chance to catch up with friends I only get to see when we're there. I did want to see Suono and of course Suicide Commando, now you understand this is just my opinion and of course I don't expect you to agree but the rest of the line up didn't set me on fire and so after a degree of mming and erring booked tickets, accommodation and stuff and prepared
to party.
Friday saw us arrive at the venue at around 3pm and it's no exaggeration to say it was very quiet. Spacebouy provided synth pop with a modern twist and though noise isn't really my thing Dirty K managed to bring both rhythm and noise together, yeah it's noise but good noise. As more of our friends and aquaintances arrived we tended to get caught up in the usual drink, greet, gossip, drink scenario and so the rest of Friday past without us spending too much time in the main room.
Saturday saw another fairly quiet start and instead of needing to be down front at least 15 minutes befoe kick off there was still loads of room at 5 minutes to go. We got well up front for Suono at 5pm and in hindsight 5 was way too early for them to be on as they were the "dark horses" of Saturday if not the weekend and for me personally saved the day! Having seen them I know what people mean when they say their studio sound doesn't quite yet catch the essence of their live performance but man do those boys deliver when you do see them live !! I've heard them compared to Sam and XRX and I get that but if you have had doubts about seeing them live, my friends, doubt no more and if you missed them then you missed a treat. Their boundless infectious enthusiasm and techno dance beats soon had everyone partying along, I just wish that there had been more in the room to see them, I can see them rapidly becoming firm favourites not least for the music as I distinctly heard the comment from behind me "oohh they are cute boys too" Suono, you heard it here first !
Sunday seemed for the most part a more chilled affair during the day, I think a lot of us had partied pretty hard on Saturday and were taking things a bit steady, however as the day wore on and various "hairs of the dog" pulled everyone round an air of anticipation began to build, no surprise really as headlining - drum roll, Ladees and Gentlemen, Infest gives you for one night only, the one, the only, Suicide Commando !! cue storms of applause and rush for the front !! and rush we did as it was the only time of the weekend you had to be down front half an hour before - and we were.
Right from the first storming song, Johan pounded around the stage at once admonishing us with the famous waggy finger whilst encouraging us to "Come on and hate Me" Attention Whore had everyone pounding up and down (was it meant for all of us? of course it was ! we know what we are) along with Die Motherfucker Die and classics such as Time, but for me, the highlight was being forehead to forehead with the man himself yelling Bind, Torture and Kill an experience which will stay with me for quite some time. After two encores the set came to a sweaty, shouty, excitable end way too soon for all of us, leaving the lovely Tails (Tales) ?? sorry man, forgive me, I don't know which way to spell it our world famous M.C. to announce the raffle and the prize of prizes must surely have been the wonderful Beer Can Headpiece, for those who saw it you know what I mean, finally a big shout out to The Infamous Rubber Nun, Das TinTin and Zombie Chris - you know who you are ...........
As always Infest delivered on many levels, the Jager, the stalls, the crowd and the bands, if there is just one small comment I would make it would be that what Infest does Brilliantly is give lesser known and new artists a platform but for next year we need a few more names please, in the current crappy economic climate in this country and with Resistanz snapping at Infest's heels we need bands to pull us all in and keep Infest what it is, well Infest, let's face it if you've never been before you really need to come along next year and to everyone who always is, see you there next year motherfuckers !!!
