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(Book). Sinister Urge is the first in-depth, career-spanning biography of heavy-metal musician and filmmaker Rob Zombie. Born Robert Cummings in 1965, Zombie is now as well known for his movies as he is for his music, which he has released and performed both as a solo artist and as part of his early band White Zombie. In both fields, he imbues his art with the vivid sense of macabre theater that has thrilled his millions of disciples since he and his band first emerged with Soul-Crusher in 1987. Although he has sold millions of albums and generated many more millions of dollars at the box office, Zombie has never taken the easy option or the predictable route. Indeed, while the music industry and many of his peers have fallen to their knees in the last decade or so, Zombie has found a new edge, his work undiluted by success or middle age. Drawing on original research and new interviews with bandmates and associates, Sinister Urge takes a detailed look at Zombie's challenging oeuvre, offering close analysis of his albums and films alongside tales of his life and work on and offstage.
Filmmaker Ed Wood was controversial and critically maligned, even labeled "the worst director of all time," yet he achieved cult status and remains of great interest today. This book frames Wood's work, such as the cross-dressing themed Glen or Glenda? and the haphazard Bride of the Monster, as reflections of the culture of their era. Wood invariably worked with infinitesimal budgets, shooting at breakneck speed, incorporating plot twists that defied all logic. Yet there was a tangible if unfocused thematic thrust to Wood's films, which meditate fitfully on gender, religion and society, revealing a "holy trinity" of fixations--sex, death and resurrection. Wood's infamous Plan 9 From Outer Space encapsulates the fixations and flaws that were his hallmarks, and with 22 other films, is explored here. A filmography and 47 photographs are included.
What if you had a secret? An irresistible urge? Delve backstage and into the private lives of popular rock band, Lilli and the Munsterz. Returning to the music world after a turbulent split from her former band, Lilli Morgan has risen like a phoenix and has the industry at her feet. "Before the split, it was: 'Lilli? Everyone always wants to know if there has ever been anything romantic between Adam and you?''No not at all. I'm quite content being young, free, and single,' was my standard reply. Now it's: 'A special man in my life? No, I'm very happy being single. No time for all that.' I've been peddling that line for years and it's never failed me.Problem is, I do have a special man in my life. A wonderful perfect man ... It's just a question of keeping it a secret. But for how long?"
Loadsa plays from Lewis Cuthbert, up and coming North-east writer. Graduate of Newcastle's Live Theatre Playwrights' Course 2013 and second place holder of the People's Play Award 2012. His work is fresh, macabre and hilarious.
Two best friends. Seven years of pining. One explosive summer… Romance is weakness, and Jasmine Allen doesn’t have time for either. Lifelong cynic Jas is the queen of one-night things—until a plumbing disaster screws everything up and leaves her temporarily homeless. Luckily, she has someone to turn to: her best friend Rahul. For seven years, Rahul Khan has followed three simple rules. Don’t touch Jasmine if you can help it. Don’t look at her arse in that skirt. And don’t ever—ever—tell her you love her. He should’ve added another rule: Do not, under any circumstances, let Jas move into your house. Now Rahul is living with the friend he can’t have, and it’s decimating his control. He knows their shared dinners aren’t dates, their late-night kisses are a mistake, and the tenderness in Jasmine’s gaze is only temporary. One wrong word could send his skittish best friend running. So why is he tempted to risk it all?
An important work offering a viable theory for the concept of "Sublime" in philosophy. This is a work of quite unusual philosophical interest, original and deeply insightful. Dr. Tsang argues on the one hand that sublimity is not a property of objects regarded as sublime, but belongs to our construal of objects, while on the other he also argues that when we so construe an object we are giving expression to some limit to our life, not an external barrier, but a limit internal to it. But what lies at the limit cannot be represented. So the sublime can be evoked by language, but not represented in it. This leads Dr. Tsang on to a philosophical analysis of evocation and of the evocative possibilities of a sublime object. What he says about evocation presupposes and requires for its completion an account of how affective elements are involved in the experience of the sublime and what he claims here is that there is no one feeling or type of feeling involved in the experience of the sublime, but that a wide range of different feelings may be involved on different occasions. The quality of the feeling is closely bound up with the character of the experience of the sublime as a limit-experience. Finally Dr. Tsang considers the cultural and social context of experiences of the sublime, both what is universally recognized as sublime, because bound up with the general conditions of human life, and what is specific to particular cultural and social contexts. He then moves to the conclusion to examine the relationship of the sublime to human willing. As a postscript there is an excellent treatment of Kant's theory of the sublime.
Thirty-five years in the making, and destined to be the last word in fanta-film references! This incredible 1,017-page resource provides vital credits on over 9,000 films (1896-1999) of horror, fantasy, mystery, science fiction, heavy melodrama, and film noir. Comprehensive cast lists include: directors, writers, cinematographers, and composers. Also includes plot synopses, critiques, re-title/translation information, running times, photographs, and several cross-referenced indexes (by artist, year, song, etc.). Paperback.
Adam Copeland on Edge is what the author describes as “a mental picture.” It's also a dream—“one of many”—that he decided to realize while at home convalescing from potential career-ending neck surgery. And it's a journey that explores not only his life but also his innermost thoughts. In the small town of Orangeville, Ontario, Copeland was raised by a loving mother who, while working multiple jobs just to pay the rent, nurtured her son's passion for Spider-Man comics and KISS albums. When a family tragedy created a void in Copeland's life, that void was soon filled by the wrestling legend Hulk Hogan, who “made me feel like I could accomplish anything.” For Copeland, “anything” meant becoming a wrestler, an ambition shared by his friend Jason Reso, who would eventually form the indie tag team Suicide Blondes with Copeland, then join him in WWE as Edge's “brother,” Christian. Winning a newspaper essay contest earned Copeland free wrestling training from independent veterans Sweet Daddy Siki and Ron Hutchinson. The author shares his vivid, often outrageous memories of wrestling throughout Canada and the midwestern United States and befriending future WWE Superstars like Terry Richards (Rhyno), Sean Morley (Val Venis), and Chris Jericho. Hard work and persistence brought Copeland to World Wrestling Entertainment. But his “inauspicious” Raw debut—during which he accidentally knocked out his opponent—supports his claim that “I had no idea” how to make the transformation to Edge. Copeland retraces the steps he took to “Edgeucate” himself, from his goth days with the Brood's Christian and Gangrel to ushering in the “E&C Dynasty,” which in turn revitalized WWE's Tag Team division (with the aid of the Hardy Boyz, the Dudley Boyz, and countless tables, ladders, and chairs). With vivid detail and sincerity, Copeland offers his thoughts about not only fulfilling his goals but also building upon them. He shares his actual surprise over winning the Intercontinental title for the first time; the anxiety he felt while splitting up with Christian; his eventual determination “to grab the damn ball out of someone's hands and take off”; the distress of almost losing his long blond hair to Kurt Angle; his wonder over enjoying a brief Tag Team title reign with the icon who first inspired him; the simultaneous pain of a broken marriage and two ruptured discs in his neck; and the nervous energy of returning to Raw in March 2004 and setting his sights on the WWE World Heavyweight Championship. You think you know Edge? Then read on....
A theory like no other and an over century long secret, revealed The Whitechapel murders during the Autumn of terror in 1888 left a city paralyzed in fear. The murderer went down in infamy as his identity has never been uncovered—until now! Many have speculated over the Ripper’s identity since then, but S. M. Cornthwaite believe to have truly uncovered the truth behind the mystery. The author takes you on a journey of discovery by piecing together the evidence by using psychology, sociology, criminology, and historical facts to reveal the truth. The theory presented in these pages is one that hasn’t been explored by anyone since the killings began. Most researchers believe the Ripper to be a Polish Jew, a lunatic, or even some other known killer, but you’ll soon understand, this couldn’t possibly be the case. how could everyone have gotten it so wrong, for so long, and not seen the horrible truth?
First came video and more recently high definition home entertainment, through to the internet with its streaming videos and not strictly legal peer-to-peer capabilities. With so many sources available, today’s fan of horror and exploitation movies isn’t necessarily educated on paths well-trodden — Universal classics, 1950s monster movies, Hammer — as once they were. They may not even be born and bred on DAWN OF THE DEAD. In fact, anyone with a bit of technical savvy (quickly becoming second nature for the born-clicking generation) may be viewing MYSTICS IN BALI and S.S. EXPERIMENT CAMP long before ever hearing of Bela Lugosi or watching a movie directed by Dario Argento. In this world, H.G. Lewis, so-called “godfather of gore,” carries the same stripes as Alfred Hitchcock, “master of suspense.” SPINEGRINDER is one man’s ambitious, exhaustive and utterly obsessive attempt to make sense of over a century of exploitation and cult cinema, of a sort that most critics won’t care to write about. One opinion; 8,000 reviews (or thereabouts.