Snow has a plan, based on memory. It is in a hurry and will not be waylaid.
The temperature drops, it arrives. Before it can harden or turn to brown, it decides it wants to come again. Or perhaps, knowing the cyclical pattern it is a part of and cannot escape, it is simply trying to regulate itself, prolong its life or pattern or, at the very least, attach itself to the thoughts and memories of those observing it so that it can be relived that way. A vicarious existence. Or maybe the snow is just neurotic, fixated on itself; since it cannot reproduce, it struggles to draw attention to itself. But it knows, deep inside its frozen core, that it will dissolve. I know snow. Very, very well. I watch it as I eat my breakfast; a mashed up avocado with sea salt and ground pepper on whole wheat bread I made myself. I made myself.
I wonder if it will come again tomorrow. And if it does, will it retain the memory of falling yesterday?
I watch snow turn to sludge. Oscar sleeps. Frank Ocean “Swim Good” on my speakers. A plate with remnants of mashed green paste flecked with crumbs in the sink. Nothing new. Everything new. And Charles Mingus.
Pete Burns of Dead Or Alive (1959 – 2016)
A lifelong favourite of mine passed away yesterday, unexpectedly, after a heart attack. Pete Burns was 57 when he died October 23, 2016. He was the lead singer of 1980s band Dead or Alive, scoring top-1o hits worldwide with such ear candies as “You Spin Me Round (Like A Record),” “Lover Come Back To Me,” “Brand New Lover,” and many more.
I had the chance to interview Pete three times in the mid 1990s, the third of which was conducted in his home, along with Dead Or Alive drummer and Manager Steve Coy. I am reposting the interview here, which originally ran in FAB National magazine, a short-lived Canadian glossy of which I was the Managing Editor.
Dead or Alive and Kicking
Werner Herzog’s 1979 Nosferatu The Vampyre is not merely a remake or a reimagining of F.W. Murnau’s 1922 silent masterpiece Nosferatu: A Symphony Of Horrors. With its impeccable colour palette, cinematography and a remarkable performance by Klaus Kinski, Herzog’s Nosferatu is a hybrid homage and update in which the director sidesteps what has come to be known as genre trademarks and allows the film, performances, scenery and cinematography to instill dread in the viewer. The soundtrack, by Popul Voh (whose piece “Vinskaro” was partially incorporated into Kate Bush’s “Hello Earth” from 1985’s Hounds Of Love album), is stark, atmospheric and wraps itself around the proceedings like a loving but chilly embrace.
Blu ray (Shout Factory, Herzog: The Collection, BFI-UK), DVD
Posted in 1970s Horror, Film from the 1970s, Halloween, Horror, Horror Month, Horror Month 2016, International Horror, Robert Thomson, Vampire
Tagged 1979, adaptation, Ambient horror, Bram Stoker, classic horror films, classic horror movies, Cult Film, Dracula, Germany, Klaus Kinski, Nosferatu, Nosferatu The Vampyre, October is horror month, Popol Vuh, remake, Robert Thomson, Toronto Writer, vampire, Werner Herzog