These are films, but not as we know them. Movie Barcode compresses every frame of a feature film into a single image. They may look like hair samples, but I like to think these images tell you something other about the movies they represent. Delicatessen looks strangely edible; Tron has a hint of lightning blue; Goodfellas is dark with thick crimson lines; while Speed Racer looks far more exciting than the actual film.
A full index of compressed films, can be found here; and if you fancy one of these prints on your wall, check here.
Tim LaHaye, the best-selling author of the “Left Behind” series of Bible prophecy novels, was one of many visiting the island of Maui who had to be evacuated to upper floors of the Marriott Hotel today.
He said being caught in the crossfire of the fourth largest earthquake in modern history helped prepare him for two prophecy conferences he was scheduled to address in Hawaii.
“The Bible tells us in Matthew 24 that one of the signs of the last days – one of the birth pangs to occur – is an increase in earthquake activity and intensity,” LaHaye told WND. “We’re seeing that happen here. It’s not just earthquakes, but hurricanes and all kinds of natural disasters.”
Give it a fucking break, asshole! At least for a day or two, huh?
BB Submitterator’s Speedo writes: “Audio sonification of the incredible seismic activity off the coast of Honshu, Japan - Friday March 11th. Tectonic is a realtime seismic analysis and sound synthesis system. Sound is created in realtime by earthquakes as they occur across the globe. A tightly integrated system between Max/MSP, Google Earth and Symbolic Sound’s Kyma processes earthquake data that is translated into sound synthesis parameters.”
Over 20 different NYC female keyboardists playing Tubular Bells (natch) on vintage (and new) keyboards at Joe McGinty’s Carousel Studio in Brooklyn, NY. What’s not to love about this?
Filmed and Directed by Amy Hobby. Edited by Tony Zajkowski.
Kaia Wong (Mixel Pixel)
Kelly Rae Kerwin (Private Income)
Joanna Choy (Spray Paint Star)
Amy Merril (Mia Riddle)
Greta Gertler (The Universal Thump)
Anna Copa Cabanna
Rolyn Hu (True Primes)
Sondra Sun-Odeon (Silver Summit)
Michi Turner (Crash Diet Crew)
Katia Floreska (The Tall Pines)
Natalie Weiss (Unicornicopia, Camp Wanatachi)
Kelly Vaughn-Kauffman (Winstron Troy)
Yvette Perez (H*E*R)
Hula Hoop Harlot Melissa-Anne
Alix Brown (Golden Triangle)
Leah Cary (Girl Crisis)
Caitlin Jemison (Queen Of Sibyls)
Hammond M3 Organ
Dave Smith Instruments Poly Evolver Keyboard
Steinway Upright Grand Piano
RMI Keyboard Computer
Baldwin Electric Harpsichord
Magical Musical Thing
Hohner Clavinet D6
Wurlitzer Electric Piano
Conn Electric Band
Farfisa Combo Compact
360 Systems Digital Keyboard
Moog Little Phatty
British Sea Power have been plying their trade on the UK alt-rock scene for nigh on a decade now, building a solid fan base and proving impervious to trends in fashion, press hype, and, unfortunately, mainstream success. Maybe they’re just too genuinely odd to enter the popular consciousness, or perhaps their not willing to play certain corporate games, but either way they don’t seem to care much and continue to plow their own eccentric furrow.
This Spring the band embark on their first tour of America in 3 years, in support of their new album Valhalla Dancehall, and if you can catch one of their shows I’d recommend it. I first saw them eight years ago when they decked the tiny stage with stuffed animals, bits of plants and trees, and had a look somewhere between an army of bird watchers and a deranged scout troupe. It was a great show. Times have changed (the animals and plants have gone, replaced with a kind of bizarre wrestling chic) but the music remains as rousing as ever, especially in a live setting. Arcade Fire have copped a lot from this band.
In support of the tour BSP have made a video for the Valhalla Dancehall track “Who’s In Control?”, and in keeping with the anti-authoritarian theme of the song, the video features young people fighting, demonstrating, partying, and getting naked. It’s actually better than that sounds, it’s a great video, but it’s not safe for work:
British Sea Power - “Who’s In Control?” (NSFW)
Valhalla Dancehall is available to buy here.
After the jump, British Sea Power’s North American tour schedule for March/April…
Photo: Rachel Avery, George Wendt, center, Jesse Merlin. Credit: Thomas Hargis.
Even considering the vast number of the films-turned-Broadway-musicals that have been produced in recent years, few would have imagined Stuart Gordon’s bloody 1985 cult classic, Re-Animator, would be a likely candidate to join their ranks. But if you think about it, Re-Animator’s camp-gore trappings make it a natural for the musical treatment. Gordon and his collaborators went back to the laboratory, grafted a bit of Gilbert & Sullivan and a bit of Bernard Herrmann into the proceedings and et voila, Re-Animator is born again as an all-singing, all-dancing Grand Guignol.
Re-Animator: The Musical closely follows the plotline of Gordon’s film (based on the HP Lovecraft short story “Herbert West-Reanimator,” itself a parody of Mary Shelley’s Frankenstein). The writing is witty, as sharp as a knife. The cast are wonderfully deadpan (the way camp should be played, of course) and the striking musical score can best be described (and this is a good thing) putrescent Sondheim. Couplets like “His psychosis gives me chills/He cannot love, he only kills!” cannot help but to inject life anew into Gordon’s 25-year-old grindhouse favorite.
If you recall Re-Animator the film, there was quite a lot of blood in it. The musical has even more. According to Variety, the gore effects were created by the same crew who worked on the 1985 film. I believe it. Patrons seated in the front three rows were given trashbag-like ponchos to protect their clothes, but on the night we saw the show, the first ten rows probably should have worn raincoats. And hats. And been issued umbrellas! (For the record, I sat in the middle and remained dry. Just don’t wear any couture and you’ll be fine.)
Jesse Merlin, as the villain of the piece, Dr. Carl Hill, plays the role for everything it’s worth, producing edgy comedy with a well-placed leering sideways glance or dismissive aristocratic grumble. For most of the second act Merlin’s character is in fact, headless, but it hardly seems to affect his operatic bass baritone vocals. Truly the guy is the Paul Lynde of his generation, but with a preposterously good singing voice. Who would forget this fellow with the mellow bellow having seen him perform only once (and headless)? Cheers’ George Wendt, too, gets huge laughs as the college dean who is zombie-fied when his dead body is only brought partially back to life by the reagent and Herbert West is played by Graham Skipper—who is excellent—with a touch of Rainn Wilson and Anthony Perkins thrown in to nice effect. The cast is rounded out by pretty Rachel Avery as Megan the chirpy sweet heroine and her earnest love interest (and West’s roommate) Dan Cain is played by Chris L. McKenna.
Re-Animator: The Musical is unique and terrific fun, the only thing I can think to compare it to is Little Shop of Horrors and if there is any justice in the universe, Re-Animator should enjoy a similar success. It’s not at all difficult to imagine a bigger budget production of this show pleasing audiences on Broadway for years. Re-Animator the Musical just opened last weekend at The Steve Allen Theater in Hollywood, but demand for tickets—a bargain at $25—has been so strong that the run has already been extended. Get tickets here.
Re-Animator, the Musical, Steve Allen Theater, 4773 Hollywood Blvd., Hollywood. 8 p.m. Fridays through Sundays. $25. (800) 595-4849
Below, the trailer from the original 1985 movie. Yes, this is now a musical play!