The UK Horror Convention Circuit: London Film and Comic Con 2017
After hearing all of the stories of how lovely Robbi Morgan is from my American pals, I can safely say that she was so nice and chatty when I was getting my Friday the 13th poster signed by Mrs. Voorhees' first “Modern Day” victim. I still think it was
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Personnel: Red Allen (vocals, tenor, guitar); Red Allen; Frank Wakefield (vocals, tenor, mandolin); Bill Yates (vocals, tenor, double bass); Bill Emerson (vocals, baritone, banjo); Ralph (Robbie) Robinson (vocals, banjo); Pete Kuykendall (guitar, double bass); Jim Cox, Tom Morgan (double bass); Wayne Yates (vocals, baritone, bass voice, mandolin); Porter Church (banjo); Chubby Wise, Scotty Stoneman, Billy Baker (fiddle). Liner Note Authors: Jon Hartley Fox; Jon Hartley Fox. Recording information: Recordings, Inc, Baltimore, MD (04/1963-??/1965); Wynwood Studio, Falls Church, VA (04/1963-??/1965). Photographers: Wayne Yates; Gene Lowinger; Keith Russell; Paul Gerry. While it's common, and perhaps unfair, to judge new music against classics from yesteryear, the process is inevitable. It's the handful of recordings by a handful of artists that serve as touchstones for everything that follows, and remind reviewers, critics, and listeners just how far many new artists have to go. The early- to mid- '60s recordings that Red Allen made for Rebel and Melodeon fit into that rare category, qualifying as fabulous bluegrass that also serves as an acid test to post-millennium purveyors of jazzed-up mountain music. Many factors - great pickers, good material - work toward the overall effect, but the secret ingredient on Keep on Going is Allen's ability to inject everything he touches with lots of country soul. There's nothing particularly special about the lyric of I Don't Know Why, but Allen's lead, and his harmony with Wayne Yates on the chorus, turn each line into a sad refrain that reaches down deep. The cuts with brothers Billy and Wayne Yates, in particular, sound as old-timey as 1946, while the earlier material with mandolinist Frank Wakefield combines old-timey singing with cutting-edge instrumental work. Keep on Going reminds listeners that while bluegrass certainly benefits from instrumental proficiency and smoothly blended harmony, the truly great musicians fill t
Grande Dame Guignol Cinema
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
This critically analytical filmography examines 45 movies featuring “grande dames” in horror settings. Following a history of women in horror before 1962’s What Ever Happened to Baby Jane?, which launched the “Grande Dame Guignol” subgenre of older women featured as morally ambiguous leading ladies, are all such films (mostly U.S.) that came after that landmark release. The filmographic data includes cast, crew, reviews, synopses, and production notes, as well as recurring motifs and each role’s effect on the star’s career.
Robbi's M&M Cookies (baking soda, brown sugar, milk chocolate, eggs, flour, salt, shortening, vanilla extract, sugar)
Morgan's Grilled Fish (parsley, rosemary, thyme, garlic, lemon, olive oil)
Morgan's Milk (rum, baileys)
Hand Pies Recipe (apple pie filling, walnut, sauce, flour, pie crust, cranberries, sugar, apple, lemon zest, eggs)
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