Stones & Bones: Italy Through My Eyes
These things are unusual, even after 50 years. With so-called normal symphony orchestras, sometimes I refuse to have this piece in the program, because it takes too much rehearsal. Though the piece is more about "colors" than notes, "Volumina" is made remarkably anxious thanks to its long passages of dissonance and a duration that hovers somewhere north or south of the minute mark. Clocking in at nearly 12 minutes, Jim Morrison's epic "The End" is a bad trip that builds up to an insane, surprising end. The psychedelic rock epic has widely been interpreted as a goodbye to childhood innocence, and Morrison has said as much in interviews.
It begins calmly, with the singer bidding adieu to his only friend, the end, before taking a lyrical tailspin into wilder verses, begging the listener to "ride the snake" and "ride the highway west. They were fired the next day. The psychedelia of the Sixties translated its share of horrific fantasies into swirls of ominous sound, echoes of bad trips that spelunked into the listener's wormy subconscious. At the start, Richard Wright's organ diddles and Nick Mason's cymbals flutter, with soft, distant moans foreshadowing doom.
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Then the title is whispered and before the danger it suggests has a chance to register, Roger Waters screams repeatedly with horrific derangement. David Gilmour's guitar whips up a frenzy in response, but soon the music returns to the hushed, eerie lull that proceeded the violent interlude. Something dreadful has happened, and we're left to imagine it.
One-hit wonders Bloodrock improbably scored a Top 40 hit with a gruesome, eight-and-a-half minute, first-person account of dying. The hard rockers' music resembles a British ambulance siren and the lyrics describe the gory aftermath of a plane crash as a man is tended to by an EMT. He feels "something warm flowing down [his] fingers," he tries to move his arm but when he looks he sees "there's nothing there.
No wonder gloom-rock poet laureate Nick Cave has been covering the song for more than 30 years. Shock rock's greatest act could add any number of songs to a list of truly frightening songs — "Dead Babies" about child neglect , "The Ballad of Dwight Fry" an insider's view of going mad , "Sick Things" sick things — but it's one of Alice Cooper's at least three! In a Rolling Stone interview , Alice Cooper shrugged off the tune's shock value.
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If I cut my arm off and ate it, OK, that would be shocking. But you can only do it twice. The lyrics were directly sourced and spliced from a written testament by artist Blaster Al Ackerman — who served as a medic in Vietnam, and later in a burn victim unit at a hospital, where he cared for a woman who was scorched from her waist to her face.
The song was cowritten by Cave and his then-girlfriend Anita Lane, interpolating tonal elements of American Southern Gothic into roiling, cartoonish art-rock. Although the band fell apart just a year later, the Birthday Party influenced gothic rock by incorporating disparate strands of blues and rockabilly to eerie effect.
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Just another Springsteen song about a boy and a car and a girl. Bruce had given a voice to desperate souls before, but those were usually good people fallen on hard times. Although Metallica were underground trendsetters for the early half of the Eighties, they broke into mainstream consciousness in with "One," a single about a quadriplegic solider asking to die. He eventually headbangs Morse code on his pillow, asking his doctors to kill him.
For Metallica, that story — set against machine-gun thrash riffs for nearly eight minutes — made for an unlikely Top 40 hit, an unforgettable music video using footage from the movie and a Grammy win. A tale told by a bog witch of the highest order. In the lead single from her album, To Bring You My Love , Polly Jean Harvey transforms into a beguiling, filicidal mother from a swampy underworld, beckoning her daughter back from the river she drowned in. The music video sees Harvey undulating to a sinister cha-cha rhythm and thrashing underwater in a red satin dress: She genuinely struggled to come up to the surface, she told Spin , thanks to the weight of her hefty black wig.
The low drone that opens Scott Walker's track "Farmer In The City" only hints at the plainly laid out horror that's going to come. The pop idol turned experimental miserablist has the sort of voice that can't be described using simple terms like "haunting" or "funereal" — he has a precisely calibrated moan with a vibrato, and the pitch-black music he's released in the past two decades has used his voice, and his bleak outlook, to arresting effect.
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Over a tense, spare arrangement by the Sinfonia of London, Walker wails his abstract interpretation of the Italian film director and intellectual Pier Paolo Pasolini's final thoughts he was murdered in Nearly every Nick Cave song is scary; few artists have dedicated themselves to the grim and macabre like the Australian Bad Seeds leader. In the mid Nineties he tasked himself with writing and recording the self-explanatory album Murder Ballads , whose songs claimed the lives of dozens upon dozens of hapless fictional victims. This dramatic monologue from a nosy neighbor is set to a palette of eerie sound effects — subdued metallic clangs, low-rent electronic flutters — that would be the envy of any haunted house designer.
Always a creepy dude not for nothing did Francis Ford Coppola cast him as the bug-gobbling Renfield in his take on Dracula , Tom Waits wheezes here like he's shining a flashlight underneath his chin to spook an edgy campfire scout troop. In fact, they way he repeatedly intones, "What's he building in there? At least until the unsettling coda, where we hear the whistling from the home of the eccentric builder for ourselves.
Eminem's revenge fantasia "'97 Bonnie And Clyde" was an upbeat yet horrifying track where the bleached-blonde MC detailed a father-daughter trip to the beach, with some hints that "Mama," in the trunk, wasn't exactly along for the ride willingly. This species is relatively small headed, although its neck is powerful and thick. It has a generally elongated, slender shape, sometimes appearing bulkier due to the often hunched back of these birds.
The gait on the ground is waddling and the feet are large and powerful.
The adult is mostly dark gray, rusty and whitish in color. It is grey-blue to grey-black above. The creamy-coloured forehead contrasts against a black band across the eyes and lores and bristles under the chin, which form a black beard that give the species its English name. Bearded vultures are variably orange or rust of plumage on their head, breast and leg feathers but this is actually cosmetic. This colouration may come from dust-bathing, rubbing mud on its body or from drinking in mineral-rich waters.
The tail feathers and wings are gray. The juvenile bird is dark black-brown over most of the body, with a buff-brown breast and takes five years to reach full maturity. The bearded vulture is silent, apart from shrill whistles in their breeding displays and a falcon-like cheek-acheek call made around the nest. Nestlings are covered in dark down feathers. The acid concentration of the bearded vulture stomach has been estimated to be of pH about 1. The high fat content of bone marrow makes the net energy value of bone almost as good as that of muscle, even if bone is less completely digested.
A skeleton left on a mountain will dehydrate and become protected from bacterial degradation, and the bearded vulture can return to consume the remainder of a carcass even months after the soft parts have been consumed by other animals, larvae and bacteria. Like other vultures , it is a scavenger , feeding mostly on the remains of dead animals. This is the only living bird species that specializes in feeding on marrow. After dropping the large bones, the bearded vulture spirals or glides down to inspect them and may repeat the act if the bone is not sufficiently cracked.
Less frequently, these birds have been observed to try to break bones usually of a medium size by hammering them with their bill directly into rocks while perched. They prefer limbs of sheep and other small mammals and they carry the food to the nest unlike other vultures which feed their young by regurgitation.
Live prey is sometimes attacked by the bearded vulture, with perhaps greater regularity than any other vulture. Tortoises preyed on may be nearly as heavy as the preying vulture. To kill tortoises, bearded vultures fly with them to some height and drop them to crack open the bulky reptiles' hard shells. Golden eagles have been observed to kill tortoises in the same way. This is unconfirmed, however, and if it does happen, most biologists who have studied the birds generally agree it would be accidental on the part of the vulture. The bearded vulture occupies an enormous territory year-round.
It may forage over two square kilometers each day. In a few cases, polyandry has been recorded in the species. The large birds also regularly lock feet with each other and fall some distance through the sky with each other.
The female usually lays a clutch of 1 to 2 eggs, though 3 have been recorded on rare occasions. After hatching, the young spend to days in the nest before fledging. The young may be dependent on the parents for up to 2 years, forcing the parents to nest in alternate years on a regular basis. Gypaetus barbatus aureus egg — MHNT.
Gypaetus barbatus hemachalanus egg — MHNT. The bearded vulture had a very poor reputation in early modern Europe, due in large part to tales of the birds stealing babies and livestock. The growing availability of firearms, combined with bounties offered for dead vultures, caused a sharp decline in the bearded vulture population around the Alps.
By the beginning of the 20th century, they had completely disappeared from the Alpine regions. Efforts to reintroduce the bearded vulture began in earnest in the s, in the French Alps. Zoologists Paul Geroudet and Gilbert Amigues attempted to release vultures that had been captured in Afghanistan, but this approach proved unsuccessful: it was too difficult to capture the vultures in the first place, and too many died in transport on their way to France.