Daily Archives: November 27, 2021

Black Lives Matter claims America is ‘stolen land’ in Thanksgiving tweet – Fox News

Posted: November 27, 2021 at 5:27 am

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Black Lives Matter raised eyebrows with a Thanksgiving post that characterized America as "stolen land."

"You are eating dry turkey and overcooked stuffing on stolen land," BLM's national arm wrote on Twitter Thursday. The post included a graphic repeating the "stolen land" claim.

"You are on stolen land. Colonization never ended, it just became normalized," the graphic said, instructing Americans to learn "which ancestral homeland" they are "currently occupying."

BLM DISSES KYLE RITTENHOUSE AFTER HE SAYS HE SUPPORTS MOVEMENT: I DONT F--- WITH YOU'

The tweet quickly sparked backlash on social media.

BLM, which supports defunding the police, has been a constant source of controversy.

Co-founder Patrisse Cullors announced her departure from BLM earlier this year, amid scrutiny of the group's finances. Cullors had garnered scrutiny by purchasing several homes worth millions of dollars.

BLM sparked backlash in July after releasing a statement that appeared to side with Cuba's communist regime over freedom-seeking protesters.

A Black Lives Matter banner is displayed on the building of the U.S. Embassy in Spain, on May 25, 2021 in Madrid, Spain. (Photo by Oscar Caas/Europa Press via Getty Images)

The statement originally posted on Instagram and later tweeted and retweeted blamed the U.S. embargo for the country's instability and credited the Cuban government for historically granting "Black revolutionaries" asylum.

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Cuba is being "punished by the U.S. government because the country has maintained its commitment to sovereignty and self-determination," the statement read. The group said Cuba has been an ally with "oppressed peoples of African descent" and praised the countrys effort to protect "Black revolutionaries like Assata Shakur."

Shakur, also known as JoAnne Chesimard, was convicted of being an accomplice in the 1973 slaying of New Jersey State Trooper Werner Foerster, who left behind a wife and 3-year-old son. Shakur later escaped prison and fled to Cuba, where former Cuban leader Fidel Castro granted her asylum.

Fox News' Edmund DeMarche contributed reporting

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How to Show Solidarity with Black Lives Matter this Holiday Season – YES! Magazine

Posted: at 5:27 am

Melina Abdullah of Black Lives Matter explains how the 3 core tenets of the Black Xmas campaign are building Black, buying Black, and banking Black.

The holiday season is in full swing, with Christmas carols on the radio and shopping sales luring customers to spend their cash. In spite of rising inflation,retail numbers are highand economists predict a robust Black Friday sales surge. But this year, rather than giving into the consumerist pressure of the season, theBlack Xmascampaign started by Black Lives Matter Los Angeles urges shoppers to use their dollars wisely and in service of racial justice.

In November 2013, Melina Abdullah, one of the founders of Black Xmas, wrote the following in a Facebookpost four months after the formation ofBlack Lives Matter:

Under capitalism, we are trained to compete rather than cooperate, to hoard rather than share, and to hate rather than love. Capitalism breeds a coarse, cold, cruel world. As revolutionaries, we are charged with transforming the system. Living a life of loving kindness is a good first step. #BeKind.

Abdullah is a professor in the Department of Pan-African Studies at California State University, Los Angeles. A prominent leader inBLMLA, she helped start the Black Xmas campaign to promote Black-led organizations and Black-owned businesses and banks during the holiday season.

Abdullah spoke with YES! Racial Justice Editor Sonali Kolhatkar about how the campaign was started and what it aims to do.

This interview has been edited for clarity and length.

Kolhatkar: Did the Facebook post you wrote in November 2013 express the philosophical basis for theBlack Xmascampaign?

Abdullah: Theres always been an analysis of the relationship between racism and capitalism. Malcolm X says you cannot have capitalism without racism, and thats absolutely a truism that we see emerge in this Black Lives Matter movement/moment.

When we were birthed, BLM had a critique of capitalism, and understood that capitalism necessitates harm brought on Black communities and the exploitation of Black labor, exploitation of Black consumers, exploitation of people of color. We understood that from the very beginning.

With the murder ofJohn Crawfordinside a Walmart store [in Ohio], it really brought everything home. It helped us to understand that as we confront systems of policing, as we recognize police as the descendants of slave catchers, we also have to think about them as protectors of capital and protectors of the ownership class and how that steals Black life, including the life of Crawford.

We also began to think about the role of White supremacist capitalism and the theft of Black life. And so, we birthed Black Xmas and really tried to get Black people to be conscious of the way in which we use our dollars and our resources. Are we feeding a system of White supremacy that steals Black Life, or are we using resources to really build stronger Black communities?

Remember that you dont just have to be in a frenzy and run into these stores and buy people things that they dont need. You can use your dollars to really build strong Black communities.

Over the last six years, Black Xmas has had three core tenets: Building Black, Buying Black, and Banking Black.

Take Building Black. Rather than buying people things, think about what your mother would want other than, say, a sweater. Maybe your mother is a lover of the arts, and maybe she would be grateful if you would donate in her name to theFernando Pullum Community Arts Center,which provides free arts programs for Black children.

Maybe your aunt is a survivor of domestic violence, and maybe she would appreciate a donation in her name to theJenesse Center,which provides housing and resources for survivorsespecially Black women survivorsof domestic violence.

Thats really what Black Xmas is about. Its about shaking off the chains of consumerism and confronting White capitalism but also building new traditions.

Kolhatkar: Is there a reason why its Black Xmas and not Christmas?

Abdullah: Well, Im not that Christian, but I was absolutely raised in a Christian church by a mother who still practices Christianity, by a family thats largely Christian.

And we have to remember that the largest groups of Muslimsthe plurality of Muslims in this countryare Black. We have to remember that there are a lot of Black folks who dont identify with Christianity, and even Christians who dont practice Christmas. So, we wanted it to be as inclusive as possible.

We call the holiday season a Season of Giving, and we actually have, on our Black Xmas website, cards that people can download that say, This season of giving, please donate in my name rather than buying me a gift. So Black Xmas is being used as a more inclusive term for people who practice Christmas, for people who practice Kwanzaa or any other holiday during this season, or no holiday at all, but still want to practice giving and building Black communities.

Kolhatkar: In addition to making donations to organizations, what about also supporting Black entrepreneurs and artists?

Abdullah: The second tenet of Black Xmas is Buying Black. Sometimes, your mother really does need a sweater. Rather than giving your money to Macys, you can go toNobody Jonesor other Black boutiques.

Rather than buying from Amazon, a company that we know exploits its workers, you can go to small Black-owned bookstores, likeEso Won Books orMalik Books.

Did you know that theres a Black-owned skateboard shop? If your kid really needs a skateboard for the holidays, you can go toThe Rad Black Kidsand buy a skateboard. The brother there who started Rad Black Kids has intentionally based his business in Compton and employs Compton residents to work there.

So rather than going to businesses that dont value Black people, that dont contribute to the building of Black community, we have a pretty strong list of Black organizations and businesses that youcan buy from.

Kolhatkar: What about the third tenet of Banking Black?

Abdullah: Remembering where our dollars are housed is also important. So if you bank atCitibank, you are financing our oppression. If you bank atBank of America or Wells Fargo, you need to think about how they invest in private prisons and ask, are your dollars being used for the financing of environmental degradation, like the Dakota Access Pipeline and other problematic projects? So we encourage people to move their money toBlack-owned banks.

Kolhatkar: Is engaging with Black Xmas this year a chance for non-Black people who say Black Lives Matter to prove it?

Abdullah: Put your money where your mouth isliterally. So if you want to say Black Lives Matter, make Black lives matter by investing in Black communities.

We know throughout the pandemic about 40% of Black-owned businesses permanently shuttered. This is a way of supporting those that remained and investing in those that are seeking to emerge coming back out of this pandemic.

A lot of Black folks also lost their jobs, so theyre launching new businesses. So this is a way for all people all around the world to really make Black lives matter.

Kolhatkar: How do you square your critique of capitalism by encouraging people to still engage in consumerism but just narrow it to Black-owned businesses and banks?

Abdullah: Were not seeking to create richer Black capitalists. When we say Buy Black, were really looking at small Black-owned businesses. Most Black-owned businesses have 12 employees, and oftentimes, the employees are the owners and the owners families. This is not about enriching Black capitalists. This is about building strong Black communities so that we can have a degree of autonomy and self-determination.

When we think also about what Black-owned businesses do for the Black community, theymore than any other type of businessalso create livable-wage jobs for other Black people. I think about restaurants in Los Angeles, likeSimply Wholesome, which intentionally employsreturning citizens.

So this is not about trading Black capitalism for White capitalism. This is about really thinking about what cooperative economics the principle of Ujamaa is and how we can use our dollars to begin to create those systems.

Kolhatkar: The Black Xmas website lists businesses in Southern California, including Los Angeles and Long Beach. But it also includes South Bend, Indiana, and Michigan. What is the geographic reach of the campaign?

Abdullah: Black Lives Matter is a global movement, which means many of our chapters are becoming involved in Black Xmas. The campaign originated in Black Lives Matter Los Angeles, which was the first chapter of Black Lives Matter and is still the largest one. But other BLM chapters are also engaging. All of the BLM chapters in Michigan and BLM in South Bend, Indiana, are also participating.

If businesses want to be featured, they can send an email to[emailprotected]. Were still trying to carry the bulk of the work, but if they email us, regardless of where they are, well look at their business, and if we have a chapter there, we can feature their business on our social media platforms.

Were not the only organization that does Buy Black work. There is a website calledWeBuyBlack.comthat has things like laundry detergent, batteries, and toilet paper! All of these things that you probably didnt know exist as Black-owned businesses.

Many of the businesses that we feature are online rather than solely brick-and-mortar. So you can always order online.

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No, Ahmaud Arbery’s Father Did Not Say ‘All Lives Matter’ – Newsweek

Posted: at 5:27 am

Outside a Georgia courthouse on Wednesday, the father of Ahmaud Arbery spoke to the press after three men were convicted of murdering his son.

Some outlets and reporters have misquoted Marcus Arbery Sr., however, suggesting he used a controversial slogan that is associated with criticism of the Black Lives Matter movement.

Several tweets claiming that Arbery had said "all lives matter" went viral.

What he actually said was "all life matter" as he spoke about not wanting another family to lose a child the way he had lost his son.

"We conquered that lynch mob," he said outside the Glynn County Courthouse. "We got that lynch mob letting you know that Black kid's life don't matter.

"For real, all life matter, not just Black children. We don't want to see nobody go through this. I don't want to see no daddy watch their kid get lynched or shot down like that. So, it's all our problem. It's all our problem.

"So, hey, let's keep fighting, let's keep making this place a better place for all human beings. All human beings. Everybody. Love everybody. All human beings need to be treated equally. We're going to conquer this lynching. Today is a good day."

Black Lives Matter also celebrated the verdicts. "GUILTY! We uplift the Spirit of #AhmaudArbery and send love to his family," the organization posted on Twitter.

"Deep appreciation to all who organized, protested, ran, posted, and prayed. Every effort ushered in as much justice as could be had. May this victory inspire the continued struggle for Black freedom."

Ahmaud Arbery's name became a rallying cry during the racial justice protests that erupted after the murder of George Floyd, a Black man, by a white police officer in May 2020.

Arbery's death in February 2020 had attracted limited attention at first, but video of the fatal shooting posted online sparked an outcry.

On Wednesday, after about 10 hours of deliberation, a mostly white jury convicted Greg McMichael, his son Travis McMichael and their neighbor William "Roddie" Bryan of Arbery's murder. All three face a mandatory sentence of life in prison.

The McMichaels had grabbed guns and jumped in a pickup truck to pursue the 25-year-old after seeing him running in their neighborhood outside Brunswick.

Federal authorities have also charged the men with hate crimes, alleging they chased and killed Arbery because he was Black. That case will go to trial in February.

Ben Crump, an attorney who represents Marcus Arbery Sr, and Black Lives Matter have been contacted for comment.

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Black Lives Matter ‘awoke many folks,’ says Black business organization as it marks 25 years – CBC.ca

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The COVID-19 pandemic has created major challenges for businesses across the globe, but the head of Nova Scotia's Black Business Initiative (BBI) said there has also been positive change.

The Black Lives Matter movement in the United States and Canada was unlike anything Rustum Southwellhad seen in his time with the Halifax-based business development organization, which celebrates its 25th anniversary this week.

"There was a strange set of circumstances that caused people to be at home for COVID, looking at TV and so on, to see ... the brutality that was happening in the U.S. And that awoke many folks who wanted to help," said Southwell, who has been with BBI since it launched in 1996 and serves as interim CEO.

Suddenly, in the middle of a pandemic,BBI wasswamped with calls from people looking to support Black businesses, or companies looking for advice on how to become more inclusive.

Celebrating 25 years is a significantachievement, said Southwell.BBI's original goal of making sure Black entrepreneurs are supported in life, as well as in business, remains just as vital today.

The organizationreceives funding from the federal and provincial governments to deliver a huge range of training, grants, mentorshipand other programs.

BBI also works withbusinesses and services to set up anonline presence, often for the first time. Helping people move into the digital age ensures they will also be around for decades to come.

"The systemic challenges of racism and marginalization on top of that makes it a little bit more difficult for Black-owned companies to be hugely successful but we've sustained. There's a lot of companies that have done well," Southwell said.

Tiffani Young received help from BBI when she started her natural cosmetics company, Butter Bar, last year.

Young said BBI has had a huge impact on her business, covering the cost of a pop-up kiosk at the Halifax Shopping Centre, connecting her with fellow entrepreneursand helping her navigate the loan process.

Shesaid BBI is vital because the Black experience is unique, and the organizationunderstands the challenges she might face.

"It's not just about the business ... but also, you know, helping you to build your image, helping you to navigate a world that you may not always see a reflection of yourself in," Young said.

"It's nice to have that support system."

BBI's website notes it is the longest-serving Black business development initiative in Canada.

Its 25th anniversary will be marked by a sold-out gala dinner and awards event Friday evening at a Halifax hotel. The event will also be live streamed.

For more stories about the experiences of Black Canadians from anti-Black racism to success stories within the Black community check out Being Black in Canada, a CBC project Black Canadians can be proud of. You can read more stories here.

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Black British Lives Matter edited by Lenny Henry and Marcus Ryder review – The Guardian

Posted: at 5:27 am

The killing of George Floyd by a white police officer may have taken place thousands of miles away, but his agonising cry I cant breathe reverberated in the UK, too. In fact, it became the catalyst for the largest wave of anti-racist protests in British history, taking place in more than 260 towns and cities last summer.

These protests were very much rooted in the British experience. Demonstrators carried handmade placards with the names of black Britons killed by the British police; they demanded justice for members of the Windrush generation threatened with deportation and the victims of the Grenfell Tower fire; they decried the high Covid-19 death rate among communities of colour. Statues were toppled, streets renamed and venerable British institutions such as the Bank of England were forced to reckon with their ties to the slave trade. A year later, Black British Lives Matter, edited by Lenny Henry and Marcus Ryder, takes time to reflect on this extraordinary movement.

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The book comprises essays from 19 prominent black figures, including the historian David Olusoga, the architect David Adjaye, the Labour MP Dawn Butler and Baroness Doreen Lawrence, the mother of murdered teenager Stephen. It is an effective primer for those keen to understand why Floyds death drove hundreds of thousands of people to the street. The essays offer a 360-degree portrait of the black British experience, taking in health, the criminal justice system, politics, art, journalism, business and education. They interweave the writers lived experiences with their expertise.

This is expressed most powerfully in Lawrences essay, Black British Mothers Matter. She writes about how the tragic events of 22 April 1993, when her 18-year-old son was murdered by a gang of racists, have defined her life since. She had just turned 40. I am aware that to many people I am ageless, she writes. I am ageless in the way that people in the public eye often are frozen in time by a single event I am also ageless because people dont always see me as human.

Her tireless battle to get justice for her son, and force the country to confront the reality of racism, has transformed her into a symbol, but this has also dehumanised her. And I need you to remember my essential humanness and the essential humanness of all Black mothers, she writes. This plea to recognise black Britons humanity recurs throughout the book, from Marverine Coles account of mental ill-health, which deconstructs the devastating consequences of the strong Black woman stereotype, to Ryders closing essay, which describes his own horrific encounters with the police.

So large is the political crisis to which the book is responding that some of the essays only manage to scratch the surface of their subject, while others at times feel repetitive. But what the collection occasionally lacks in depth, it makes up for in range. There is certainly enough variation in style and approach to keep the reader interested.

The essays are most effective when the authors use their experiences and expertise to address a specific problem. Butler laments the smattering of black and Asian representation in overwhelmingly white institutions such as parliament, arguing that, as a result, minorities can easily be pitted against each other. Too often there is one person of colour to argue for a policy that would deny their own parents entry into the UK versus another politician of colour arguing for policies that would benefit other people of colour. A critical mass of black politicians would avoid this.

It is clear, though, that the response to last summers Black Lives Matter protests must go beyond just representation. Protesters called for the dismantling of racism and vowed to weed it out of society. In Olusogas chapter, which is an interview conducted by Henry, the historian admits this surprised him. It never occurred to me that it was even possible. And maybe Im right and theyre wrong, or the other way around. The fact is I put limitations on what I thought was possible; I always presumed racism would always be here, that it was a given.

Perhaps that is what makes this moment critically important, and what makes the breadth of experience reflected in this collection justified: whereas we have become used to simply asking for space to breathe, our imagination has now been expanded. We see that not only is a new world possible, it is ours to win.

Black British Lives Matter is published by Faber (16.99). To support the Guardian and the Observer buy a copy at guardianbookshop.com. Delivery charges may apply.

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‘It’s difficult working on Black Lives Matter when others control the narrative’ – Civil Society Media

Posted: at 5:27 am

False narratives are making it more difficult for charities working on anti-racism agendas and social change issues, the chief executive of the Runnymede Trust has said.

Halima Begum was discussing the issue of charities and culture wars at an event organised by the law firm Bates Wells earlier this week.

The Runnymede Trust has been at the centre of some of these arguments this year, with Conservative MPs questioning the charity's motives. The Charity Commission cleared the Runnymede Trust of breaching charity law in September.

Begum said: It's been really difficult being in the charity sector, working on Black Lives Matter at a time when others are in control of that narrative.

She said that the term culture war was unhelpful and offensive to anyone who has experienced a real war.

Begum said her real concern with how they end up going from a place where we can discuss to one where it's just becoming quite dangerous.

She called for people on all sides to deescalate and focus on civilised debate, because the faux culture war narrative certainly doesn't benefit social change, and democracy.

Later in the debate she said that she had tried to resist being drawn in to culture war debates and that: I think there's something going on in British life that is about creating false narrative.

She also said that it was wrong to assume that we're in the middle of a very intense culture war because it is perpetuated by extremists on both sides.

Tessy Ojo, chief executive of the Diana Award, said changing attitudes was normal because as humans we evolve, we change, she explained.

The problem, she said, comes when one group tries to prevent others from taking part in discussions.

She added: If we have children who are the age of 21 wanting to be fed on baby food, we will have a problem, right? Why would we expect that society should stay the same as society was maybe 21 years ago?

I do agree that things have to be done with a lot of dialogue that is not about war, what we often find where perhaps this war is where there's one group much louder than another and wanting to suppress dialogue.

As a charity that champions young people she said the Diana Award manages to do this without becoming adversarial towards older people.

She said: How can we be the voice for them? How can we help pluck from the issues that they're facing without trying to suppress, for example, older people, we don't say actually, everyone keep quiet, because right now, the most important thing is a young person. No, because we can coexist.

Ojo and Begum both suggested that it is important to focus on the real issues.

Begum said: The way to fight inequality is by looking at what the data and the evidence is telling you.

Now, if the data and evidence is consistently telling you that some groups and society are left behind or the outcomes are not as equal, then it's incumbent on decision makers and the government and territories to do something about that.

Ojo described examples where young peoples expectations for their future and opportunities available to them were curtailed by their race or circumstances.

She said: What young people are asking is to have a fair chance.

She added that during the pandemic young people from middle class families saw their mental health improve, with their parents being around all day. But that for children from a minority group their mental health was 10 times worse at the end of the pandemic.

That's the kind of irony when we talk about inequality. That's what we need to be working on, she said.

Danny Kruger, Conservative MP and a junior member of the Levelling Up Department, also called for a civilised debate.

He said he would describe it as a religious conflict, because: At the heart of what we're seeing is a presence of a new religion, or a new manifestation and over culture, which I disagree with.

However, he said was quite appropriate to have public disagreement and discussion on the topic.

Elaborating on the idea of a new religion, he said it has roots in French existentialist theory from 50 years ago, which he described as: The idea that essentially, the material order matters less than people's beliefs and feelings.

In terms of how society resolves the issue, he said: In our traditions in England, we have a template which is the religious conflicts that we've had in this country. And in a nutshell, I would say that somebody needs to win this cultural disagreement.

He added that he hopes his side wins, but that the other side is accommodated, and gave an example of how Elizabeth I treated Catholic and Protestant extremists.

So I hope that a conservative victory in this culture war will then lead to a much more generous accommodation of the very valid theories and points and frankly, the freedoms of people to take a different view, he concluded.

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Black lives DID matter to Churchill whatever the Wokerati claim, says CAROLE MALONE – Daily Express

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Theres barely a week goes by when our greatest wartime leader isnt slated as a racist and a tyrant by people who have no idea what he achieved and no understanding of history or of the times in which he lived.

This was a man who defeated fascism and who had the guts to take on Hitler at a time when many in our own government wanted to appease him.

But Churchill refused and because of his courage, his steadfastness we won the war.

Poll after poll shows that, despite his flaws and yes, he had some Churchill is, and always will be, a national hero. Yet Lefties are forever trying to make us all ashamed of him because they refuse to see history in context or understand the nuances of it.

It emerged this week that the latest attack on him happened at a Remembrance Day Service at the Imperial War museum.

Yep, you read that right. A bunch of teens from a youth music group were allowed to perform a vile rap song about racism, white privilege and Churchill immediately after a two-minute silence to commemorate our war dead.

Its beyond belief that at a service to commemorate those who died for our freedoms some idiot woke boss at the museum gave the go-ahead for those teenagers to insult the man whose leadership made those freedoms possible.

How dare they! And how dare the Imperial War Museum. Of course, the museum has since apologised, but that means nothing the damage has been done.

Heads should roll over this. Many people at the service walked out in disgust and even museum staff were shocked because they had no idea what was coming.

So who allowed it? Who green-lighted this vile insult not just to Churchill but to our war dead. And why havent they had the guts to own up?

A Remembrance Day Service is not the time or the place to callChurchill a racist.

Dont these idiots who trash him and other historical figures understand that you cannot apply 21 st century values and beliefs to the behaviour of people who lived and died in different times? Churchill was born in 1874 when Queen Victoria still had 27 years left on the throne.

You cant put right the wrongs of the past by trying to erase history and by heaping abuse on the people who made it. History has to be learned from.

Yes, Churchill made comments about people of colour that wouldnt be acceptable today, but he made even more denigrating remarks about Europeans that would be equally unacceptable.

The fact is that throughout his life he fought to protect the non-white people in British territories. He considered it his duty to improve the lot of the empires native peoples. So yes, black lives DID matter to Winston Churchill.

But of course actual facts dont matter to the Wokerati. Their minds areso closed they dont understand that you cant rip historical figures out of their context and expect them to have the views and values on race that exist today. The whole point about history is that we evolve and Britain has.

Yes, there is always a debate to be had on how history has unfolded the rights and wrongs of it but a Remembrance Day service isnt the place to do it.

But of course, asking these people to rationally debate history would expose the fact they know little or nothing about it. So they take to the streets instead to deface statues and trash reputations, completely failing to understand that what people thought, and how they acted a hundred years ago, wont be erased by their violence.

And neither will Churchills courage, his heroism or our respect for what he did!

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Be reassured: the world is not as divided as we might think – The Guardian

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Todays widely accepted narrative is that we live in historically divided times. Voters are routinely described as polarised, while analysts compete to identify the essential schism of the age, whether this is metropolitan versus traditionalist, people versus democracy or anywheres versus somewheres.

For a third year running, however, the YouGov-Cambridge Globalism Project supports a different interpretation: that extreme views are given greater visibility by social media, which in turn creates an especially dynamic climate of opinion in that, for example, it can change quickly but one whose underlying forces are defined more by cohesion than division. Released annually by the Guardian, the Globalism Project is an international survey and the largest of its kind on the public relationship with globalisation, produced by YouGov in partnership with academics at Cambridge University. Its findings have consistently challenged popular stereotypes of public opinion in this so-called polarised age.

It turns out, for instance, that there is no deep divide between the mindsets of open versus closed societies. In fact, few voters support radically open or closed societies, while most tend to favour varying degrees of continued integration with the wider world. Academic theorists of authoritarian populism may perceive a new, mass disdain for liberal pluralism, but we found little evidence of this in public sentiment. Instead, majorities around the world maintain a determined belief in the superiority of democracy, with little partisan difference on the issue.

Nor has modern society been overwhelmed by demographic schisms. When we compared those who feel generally more permissive or restrictive towards net migration, for example, we found some discernible patterns on average between younger and older, metropolitan and provincial, graduates and school-leavers but hardly to the extent of rival demographic blocs, or splintering, parallel societies.

This is not to doubt that many countries have experienced an intensifying atmosphere of partisanship over the past decade. Strange as it might sound, however, partisanship and substantial division on policy can be two quite different things, as the Guardian recently reported. For example, in Britain, most respondents who described themselves as either leftwing or rightwing said they dislike others for identifying with the opposite camp (87% and 73% respectively). The same kind of partisan divide extended to other labels of political identity: a majority of leftwingers considered themselves feminist (62%) while a majority of the right did not (70%); or on the subject of Black Lives Matter, most of the left were favourable (70%) while most of the right felt the opposite (69%).

Yet when it comes to opinions on underlying issues, a different picture emerges. The same respondents were next shown a list of three jobs cleaner, nurse and politician and asked if each one was more suited to either women or men, or equally suited to all genders. This time, overwhelming portions of the left and right agreed, answering equally suited for every job (94% and 89% for cleaner; 90% and 74% for nurse; 88% and 83% for politician). Majorities on both sides also shared the view that it is unacceptable for a man to whistle at a woman he doesnt know in the street (85%, 58%), and that promoting equality for women should take some level of priority in modern society (98%, 88%). A similar pattern was evident for other progressive objectives of combating racism of all kinds and moving the economy away from carbon-intensive industries towards greener alternatives.

In other words, when we compare these groups by their attitudes to specific issues, rather than by markers of identity, we find a considerable amount of common ground, rather than polarised clusters of opinion or clashing visions of what contemporary society should look like. In political science, this is being increasingly recognised as the gap between issue-based versus affective polarisation, and supports a thesis that the latter is decidedly more prevalent than the former in numerous western publics.

Indeed, the study finds comparable patterns outside the UK, where notable levels of partisan antipathy coexist with significant overlap in views on gender and race equality and decarbonising the economy. This was found to be true among the rival voting camps of: Joe Biden versus Donald Trump in the United States; Emmanuel Macron versus Marine Le Pen in France; the Greens versus Alternative for Deutschland in Germany; the Left versus the Law and Justice party in Poland; Vox versus Podemos in Spain; and New Democracy versus Syriza in Greece.

This all hints at perhaps the most surprising but also reassuring finding of our research into populism and globalisation over recent years: that in countless areas of life, far from being poles apart, people tend to cluster somewhere in between that is, they fall on a generally moderate bell curve. In fact, this newspaper spotted a similar pattern when it first unveiled the Globalism Project in 2019, namely that the study was remarkable for how most respondents seemed so, well, normal. Large-scale studies of IQ and personality tell a similar story of a bell-curve distribution in which most of us are unexceptional, statistically speaking, and often share our strongest traits with the majority.

Social science researchers can be understandably keen to focus on what divides populations, or what marks out one type of person as being at odds with another. What is more striking is how much people tend to have in common, when you scratch beneath the surface of political labels and loyalties. Social media may be amplifying the role of identity markers in politics, but people are much more likely to agree than disagree on the underlying trends of what is acceptable behaviour, and what our priorities should be.

Stephan Shakespeare is CEO and co-founder of YouGov. Joel Rogers de Waal is academic director at YouGov

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Be reassured: the world is not as divided as we might think - The Guardian

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Vinegar Syndrome Celebrates Black Friday With Secret Title Reveals and 50% Off Most Releases! – Bloody Disgusting

Posted: at 5:25 am

Our friends over at Vinegar Syndrome always make sure Black Friday is extra special, and this years sale is now live for Thanksgiving Weekend, through Monday, November 29th.

Pretty much everything is 50% off as part of the sale, Vinegar Syndrome notes, and previously announced new titles are available alongside just-announced secret titles.

Flesh for Frankenstein, Dario Argentos Trauma, and Creature are now in stock, with other new titles including Prano Bailey-Bonds Censor (my personal favorite horror movie of 2021) as well as Ebola Syndrome, TC 2000, Tiger Claws, Satanic Horror Nite, and Steel and Lace.

Heres the full rundown of everything you need to know

In the not too distant future, the crew of the spaceship Shenandoah make an unsettling discovery after landing at an archeological dig site on the Saturn moon Titan: another craft, of German origin, has already landed but its crew appears to have vanished save for hotheaded Captain Hans Hofner, who seems to be hiding something about the mysterious disappearances aboard the craft. But its not long before the truth is revealed, in the form of a giant, prehistoric alien which intends to eat, and absorb the essences of all humans

A low-budget but very high ambition slice of mid-80s science-fiction/horror, William Malones (Scared to Death) CREATURE juxtaposes bloody alien killings with a madcap starring performance from the great Klaus Kinski (Nosferatu the Vampyre, Fitzcarraldo) alongside veteran TV actor Stan Ivar (TVs Little House on the Prairie), Wendy Schaal (Innerspace), Lyman Ward (Ferris Buellers Day Off), and Diane Salinger (Pee-wees Big Adventure). Featuring outstanding special effects work from genre legends Doug Beswick (Ticks) and Michael McCracken (Silver Bullet) and highly atmospheric cinematography by Harry Mathias (The Right Stuff), Vinegar Syndrome is proud to present the Blu-ray debut of CREATURE, newly restored in 4K from its original camera negative and presented in both its theatrical and TITAN FIND directors cut.

VS-377UPC: 814456024127directed by: William Malonestarring: Klaus Kinski, Stan Ivar, Wendy Schaal, Lyman Ward, Diane Salinger1985 / 95min & 100min / 2.35:1 / English Stereo

Additional info: Region A Blu-ray CREATURE: newly scanned & restored in 4k from its 35mm original camera negative. TITAN FIND: newly scanned and restored in 2k from a 35mm archival print. Alternate feature length TITAN FIND directors cut Finding Titan: The Making of Creature an extended making-of documentary featuring: special effects artist Doug Beswick alongside actors Stan Ivar, Lyman Ward, Diane Salinger and Marie Laurin Space on a Budget an interview with director William Malone Commentary track with The Hysteria Continues! Reversible cover artwork English SDH subtitles

After her attackers go free, Gaily Morton, the victim of a vicious assault, commits suicide. Her vengeful brother, brilliant robotics engineer and scientist, Dr. Albert Morton, decides to use his skills to exact vengeance, transplanting his sisterss brain into a humanoid cyborg. With bone-crushing strength and an array of built-in torture devices, Albert begins sending Gaily on a series of missions to violently do away with the men who wronged her

A twisted and original take on the rape and revenge genre, acclaimed effects artist Ernest Farinos feature filmmaking debut, STEEL AND LACE, is an action and bloodshed packed early 90s, direct-to-video horror treasure. Starring Clare Wren (TVs The Young Riders), Bruce Davison (Longtime Companion), along with genre film stars Stacy Haiduk (Luther the Geek) and David Naughton (An American Werewolf in London), Vinegar Syndrome is proud to present the Blu-ray debut of STEEL AND LACE, newly restored in 2K and featuring an extensive, new, making of documentary.

VS-380UPC: 814456024134directed by: Ernest Farinostarring: Clare Wren, Bruce Davison, Stacy Haiduk, David Naughton1991 / 94 min / 1.33:1 & 1.78:1 / English Stereo

Additional info: Region A Blu-ray Newly scanned & restored in 2k from its 35mm interpositive Presented in both its intended 1.33:1 aspect ratio and its improper but more commonly seen 1.78:1 ratio Commentary track with director Ernest Farino Iron, Carbon, Anger: The Elements of Steel and Lace an extended making-of documentary featuring: director Ernest Farino, producer John Schouweiler, co-writer Joseph Dougherty, co-writer Dave Edison, cinematographer Thomas Callaway, composer John Massari, casting director Ira Belgrade, editor Christopher Roth and special effects artist Roy Knyrim alongside actors Stacy Haiduk, David Naughton, John DeMita, Hank Garrett and Paul Lieber Extensive behind-the-scenes photo gallery Reversible cover artwork English SDH subtitles

Deranged scientist, Baron von Frankenstein, with the help of his bizarre assistant, Otto, is determined to create a new master race, of which he will be the leader. To achieve his objective, he constructs two perfect zombies from an assemblage of body parts, intending for them to mate. Meanwhile, complications ensue as Nicholas, a farm hand, begins an affair with the Barons sexually frustrated wife all while searching for his missing friend Sacha, whose head and brain have been used for Frankensteins male zombie!

A delectably gory and cynical social satire from acclaimed filmmaker Paul Morrissey (Mixed Blood), FLESH FOR FRANKENSTEIN is among the most original and transgressive interpretations of Mary Shelleys classic novel. With an exceptional cast, led by Udo Kier (Suspiria, Mark of the Devil), in what might be his most iconic performance, Joe Dallesandro (Cry Baby), Monique van Vooren (Sugar Cookies), and Italian child star Nicoletta Elmi (Deep Red), and featuring a lush soundtrack by Claudio Gizzi (Blood for Dracula), FLESH FOR FRANKENSTEIN became an immediate midnight and cult movie sensation. Vinegar Syndrome proudly presents this true genre classic on 4K UHD for the first time, along with its never on home video original 3-D version, newly restored from its original negative!

VS-376UPC: 814456024141directed by: Paul Morrisseystarring: Udo Kier, Joe Dallesandro, Monique van Vooren, Dalila Di Lazzaro, Srdjan Zelenovic, Nicoletta Elmi, Li Bosisio, Arno Jrging1973 / 95 min / 2.35:1 / English Mono

Additional info: Region Free 4k Ultra HD / Blu-ray 4k UHD presented in High-Dynamic-Range Three viewing options: Digital 3-D (Blu-ray only, requires a 3-D capable TV and player), Anaglyph 3-D (Blu-ray only, works on all TVs with included 3-D glasses) and regular Flat 2-D. Newly scanned & restored in 4k from its 35mm original camera negative Audio commentary with film historians and authors Samm Deighan, Heather Drain and Kat Ellinger Trans Human Flesh & Blood an archival interview with writer/director Paul Morrissey The Ecstasy of Frankenstein an interview with actor Udo Kier In the Flesh an interview with actor Joe Dallesandro Dimension in Fear an interview with Producer Andrew Braunsberg Andys Shadow an interview with film historian & author Stephen Thrower Building the World of Frankenstein an interview with art director Gianni Giovagnoni Dont Say a Word an interview with actress Li Bosisio Feed My Frankenstein an interview with assistant director Paolo Pietrangeli Original theatrical trailer Radio spots Promotional still gallery Audio Recollections with Paul Morrissey Screen Test footage with Paul Morrissey Raw Q&A footage from 2012 with Paul Morrissey Reversible cover artwork English SDH subtitles

Aura is a young Romanian who, while on the run from her parents, is rescued by journalist and recovering drug addict, David Parsons. After being returned to her home, Auras parents are murdered by a vicious serial killer known as The Headhunter, sending Aura back on the run, to David. With no one to turn to for help, the unlikely pair launch their own investigation into the killings, discovering shocking and long hidden revelations that connect the continuing murders ever closer to Aura and a terrifying secret from her past

The first US lensed film from the master of Italian horror, Dario Argento (Suspiria, Opera), TRAUMA was his return to classical form giallo filmmaking, offering a twist filled, labyrinthine plot, brutal and creative murders, stunning scope cinematography, and a haunting score by Pino Donaggio (Piranha). Headlined by an all-star cast including three-time Oscar nominee Piper Laurie (Carrie), Oscar nominees Frederic Forrest (Apocalypse Now) and Brad Dourif (One Flew Over the Cuckoos Nest), acclaimed actor James Russo (Django Unchained), and actress and director Asia Argento (The Heart is Deceitful Above All Things) in her first starring role. Vinegar Syndrome is thrilled to present TRAUMA on Blu-ray, newly restored in 4K and debut its longest and most complete version ever, with the complete English dialogue track totally intact for the very first time.

VS-378UPC: 814456024158directed by: Dario Argentostarring: Asia Argento, James Russo, Piper Laurie, Frederic Forrest, Brad Dourif1993 / 109 min / 2.35:1 / English Stereo

Additional info: Region Free Blu-ray Newly scanned & restored in 4k from its 35mm interpositive Beheaded an interview with writer/director Dario Argento Heads Above the Rest an interview with special effects artist Tom Savini Female Hamlet an interview with writer Franco Ferrini Ruby Rain an interview with composer Pino Donaggio When the Lightning Strikes an interview with cinematographer Raffaele Mertes Interview with actress Sharon Barr Interview with actor / casting director Ira Belgrade Interview with actor James Russo Interview with actress Piper Laurie Interview with first assistant director Rod Smith Audio commentary with The Hysteria Continues! Audio commentary with film historian and author Alexandra Heller-Nicholas On Set with Tom Savini an archival featurette with behind-the-scenes footage Archival electronic press kit with behind-the-scenes footage and interviews with the cast and crew Video workprint featuring several extended scenes Multiple trailers Reversible cover artwork English SDH subtitles

Kai is a violent fugitive on the run from the law. Making his way from Hong Kong to South Africa, he begins a new life working at a small Chinese restaurant. When he joins his boss on a work trip through the African savanna, he encounters a remote African tribe afflicted with the Ebola virus. After attacking a young woman from the tribe, he contracts the virus, but to his surprise, he discovers that hes immune to the deadly disease. His ruthlessness emboldened, Kai returns to Hong Kong, thus setting into motion a blood spewing and bodily fluids oozing nightmare!

One of the most shocking and notorious Category III films, Herman Yaus (The Untold Story) EBOLA SYNDROME is a delectably grotesque and darkly comedic splatter film masterwork and stars Hong Kong cult film superstar, Anthony Wong (Hard Boiled), in one of his most outrageous performances. For years almost impossible to find in its uncut form, Vinegar Syndrome is delighted to present the worldwide UHD debut of EBOLA SYNDROME, newly scanned and restored in 4K from its original 35mm camera negative and finally fully uncut for the first time on English friendly home video.

VS-379UPC: 814456024226directed by: Herman Yaustarring: Anthony Wong, Yeung-Ming Wan, Fui-On Shing, Meng Lo, Miu-Ying Chan, Tsui-Ling Wong1996 / 100 min / 1.85:1 / Cantonese Mono with English subtitles

Additional info: Region Free 4K Ultra HD / Blu-ray Set 4K UHD presented in High-Dynamic-Range Newly scanned & restored in 4k from its 35mm original camera negative Brand new introduction by director Herman Yau Brand new interview with Herman Yau Cantonese with Dr. Yau a brand new featurette with Herman Yau on the difficulties of translating Cantonese into English Archival interview with Herman Yau and actor Anthony Wong Archival commentary track with Herman Yau and Anthony Wong Brand new commentary track with film historian and author Samm Deighan Reversible cover artwork Newly translated English subtitles

Produced by actor and martial artist Jalal Merhi, the Tiger Claws series has become a staple for the straight to video martial arts movies of the 90s. Complete with gun fights, fist fights and the occasional car explosion, what sets the Tiger Claws series apart from other action films of the era, are their appreciation for the martial arts and their focus on mysticism. Featuring strong performances from the always kick-ass Cynthia Rothrock (Martial Law, China OBrien) as well as genre favorites Bolo Yeung (Bloodsport), Carter Wong (Big Trouble in Little China), and Harry Mok (The Vineyard), Vinegar Syndrome Archive is proud to present the Tiger Claws series on Blu-ray for the first time ever, scanned in 4k from their original camera negatives.

TIGER CLAWS: When the bodies of local martial arts masters keep turning up with mysterious claw marks in their skin, NYPD detective and martial arts enthusiast,Tarek Richards (Jalal Merhi) is put on the case. Tasked with trying to stop these killings, Richards is teamed up with a new partner, the no-nonsense Linda Masterson (Cynthia Rothrock) who is quite capable of defending herself in a fight. Together, they must track down this mysterious serial killer and uncover the secret behind an ancient martial arts technique known as Tiger Claws.

TIGER CLAWS II: Now a detective in San Francisco, Linda Masterson is surprised to discover a new victim with the Tiger Claws markings on his body. After contacting her old partner in NYC, Tarek Richards, Masterson soon learns that the killer they put away has escaped and more bodies have been turning up with similar markings. Richards and Masterson must team up again to stop these killings, but soon find themselves as part of an ancient underground martial arts tournament with mystical roots.

TIGER CLAWS III: When the spirits of three ancient martial arts masters are resurrected by a criminal named Stryker, its up to detectives Tarek Richards and Linda Masterson to stop them. But, when Masterson is quickly put out of commision, Richards must team up with Strykers former teacher, Master Jin (Carter Wong). Under the tutelage of Master Jin, Richards must unlock a secret ability that lives inside of him if he wants to defeat Stryker and his crew of mystical assassins.

VSA-018UPC: 814456024257directed by: Kelly Makin, J. Stephen Maunderstarring: Cynthia Rothrock, Jalal Merhi, Bolo Yeung, Harry Mok, Carter Wong1991-2000 / 275 min (combined) / 1.85:1 / English Stereo

Region Free Blu-ray Newly scanned & restored in 4K from its 35mm original camera negative Brand new commentary track with producer/actor Jalal Merhi for all three films Sharpening the Claws a making-of documentary on Tiger Claws with actress Cynthia Rothrock and Jalal Merhi Martial Art Porn a making-of documentary on Tiger Claws II with Cynthia Rothrock and Jalal Merhi Mystical Claws a making-of documentary on Tiger Claws III with Cynthia Rothrock and Jalal Merhi Original video trailers for all three films Double-sided poster Limited edition of 5,000 Reversible cover artwork English SDH subtitles

In the near future, a catastrophic environmental event has forced most people to live in underground facilities and only the poor are left to live on the surface, forming gangs in order to survive. Jason Storm (Billy Blanks) is part of an elite group of guards known as TCs (Tracker Communicators) that are tasked with protecting the underground. But, when a group of criminals led by Niki Picasso (Jalal Merhi) infiltrate the underground and attempt to kill Storms partner Zoey (Bobbie Phillips), Storm soon learns about an experimental program to turn the TCs into cyborgs. Teaming up with a freedom fighter from the surface named Master Sumai (Bolo Yeung) Storm must stop Picasso and uncover who is behind a conspiracy to wipe out all the remaining people living on the surface world.

A rare sci-fi martial arts film produced by action aficionado Jalal Merhi, TC-2000 is as impressive with its complex futuristic world building as it is with its action choreography. Featuring Billy Blanks (Bloodfist, The Last Boy Scout) in one of his early leading roles, along with strong performances and fight scenes from co-stars Bolo Yeung (Enter the Dragon), Jalal Merhi (Tiger Claws) and Matthias Hues (Dark Angel), Vinegar Syndrome Archive is proud to present this unique martial arts film for the first time on Blu-ray and scanned in 4k from its original camera negative.

VSA-019UPC: 814456024240directed by: T.J. Scottstarring: Billy Blanks, Bolo Yeung, Jalal Merhi, Harry Mok, Bobbie Phillips1993 / 95 min / 1.85:1 / English Stereo

Region Free Blu-ray Newly scanned & restored in 4K from its 35mm original camera negative Brand new commentary track with producer/actor Jalal Merhi and actor Billy Blanks An Orgy of Action an interview with Jalal Merhi Jason Takes the Underworld an interview with actor Billy Blanks Archival Electronic Press Kit Featurette Archival Electronic Press Kit Behind-the-scenes Footage Double-sided poster Limited edition of 5,000 Reversible cover artwork English SDH subtitles

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Vinegar Syndrome Celebrates Black Friday With Secret Title Reveals and 50% Off Most Releases! - Bloody Disgusting

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The Horror Movies Coming to Netflix in December Include ‘Tremors’ and the ‘Final Destination’ Films – Bloody Disgusting

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When it comes to classic horror, the Universal and Hammer monster movies come immediately to mind. Next, perhaps the Amicus anthologies or the films Val Lewton produced for RKO in the 1940s. But there is another great classic franchise worth consideration. The series of films directed by Roger Corman in the early 60s that have become known collectively as The Poe Cycle are a truly unique series of films. Though period films, absolutely dripping with gothic atmosphere, most utilize modern, experimental film techniques. Though they never explicitly reference the fall festival, these films are filled with cobwebs, coffins, and dungeons. They are preoccupied with the thin veil separating life and death, making them perfect fall viewing.

Beginning in the mid-50s, Roger Corman became a B-movie making machine, churning out as many as nine films in a single year. His primary partner in these ventures was American International Pictures (AIP) under the leadership of James H. Nicholson and Samuel Z. Arkoff. Nicholson and Arkoffs business model at the time was to make two black and white quickies, shot in ten days, and sell them together for the price of one. Corman, feeling that this method had begun to lose its luster, suggested combining the cost of the two films into one larger budget film, in color and widescreen, shot in 15 days. For the first of these, he pitched making a film based on Edgar Allan Poes short story The Fall of the House of Usher. Corman chose Poe for three main reasons. First, he had been a lifelong fan of the writer. Second, Poes material had long since fallen into the public domain and was therefore free, which greatly pleased his producers. And finally, Poes work was being taught in most American high schools and would be familiar to AIPs target audience.

Anyone who has ever had even a cursory reading of Poe will instantly recognize that these films are extremely loose adaptations of his stories. They do, however, adhere closely to the recurring themes of his work. The pain of the loss of a spouse, the mysterious nature of death, fear of being buried alive, guilt to the point of madness over wrongdoing, and more appear throughout the cycle. That said, they are a surprisingly diverse group of films. Corman was always concerned about becoming repetitive and tried multiple techniques throughout the series to make them unique from film to film while remaining unified in overall look and style.

These are also the films that cemented Vincent Price as one of the monumental figures of horror. Though known as one of the greatest of all horror icons today, Price had only made a few movies in the genre prior to signing on with AIP. He had appeared in Tower of London (1939) and The Invisible Man Returns (1940) during his Universal days, both of which only barely qualify as horror; House of Wax in 1953, The Fly (1958) and Return of the Fly (1959) as the heroic police inspector; and two William Castle films: The Tingler and House on Haunted Hill (both 1959). This may seem like a lot but keep in mind that he had racked up dozens of credits by 1960, and these seven films are the only ones that even remotely qualify as horror. The Corman films changed all of that. From then on, he made horror almost exclusively, with only a few notable exceptions, until his final feature film appearance in 1990s Edward Scissorhands.

The Fall of the House of Usher

The Fall of the House of Usher (1960) sets something of a template for the series, as well as establishing the creative personnel that would collaborate with Corman on many of the films. Richard Matheson, one of the legendary horror writers of his generation, was brought on to write the script. Floyd Crosby set the look of the films with his work as director of photography on House of Usher and would continue as cinematographer on all six films that were shot in the United States. Corman mainstay Les Baxter composed the music, some of the great unsung genre music ever written. All eight films feature production design by Daniel Haller who reused, redressed, rearranged, and built upon sets from the previous film. Because of this, the sets for The Fall of the House of Usher, though reasonably impressive considering the budget, are dwarfed by the massive, cavernous halls and passageways of the later films, particularly The Haunted Palace.

House of Usher stars Vincent Price as Roderick Usher, a man with a peculiar ailment that heightens his senses to the point of torture. In structure, it sets up many elements that would echo into other entries, coming both from Poes work and from Matheson and Corman. As with many films in the series, it begins with a character riding to a large house and ends in the conflagration of the estate. It involves the illness and apparent death of a spouse or lover and the possibility of premature burial. It is the first to feature a surreal dream or hallucinatory sequence that involves experimental film techniques and visuals. Though these themes and images return again and again, they remain engaging because of the variants in tone and character across the cycle. House of Usher was a great success, partially due to the fact that it was played on double bills throughout the summer of 1960 with Alfred Hitchcocks massive hit Psycho. Corman did not intend to make another Poe picture, but Nicholson and Arkoff were keen on capitalizing on the success of the film. As a lifelong admirer of Poe, Corman was happy to oblige, but also hoped to offer some variation to the series.

The Pit and the Pendulum

1961s The Pit and the Pendulum is the most financially successful film of the cycle. In it, Vincent Price plays the dual role of Nicholas Medina and his ancestor Sebastian, who was a ruthless inquisitor who reveled in torturing his victims during the Spanish Inquisition. The film also features Barbara Steele as Nicholass wife, whom he fears he has buried alive. Even more than House of Usher, Pendulum leans into the themes of Poe, particularly premature burial, and the death of a spouse. The film has a psychological depth rarely present in horror films of the era, and an almost Hitchcockian mystery at its heart. The final shot is disturbing and iconic and lingers on with the viewer long after the credits roll.

Tales of Terror (1962) is the one anthology film of the cycle, telling three Poe stories in one film. Again, these deal with life, death, loss, and guilt. Morella features Vincent Price as a man haunted by his dead wife. When viewed with the entirety of the cycle in mind, it plays much like a dry run from the final film of the series, The Tomb of Ligeia. The most famous segment, The Black Cat, is actually an amalgamation of three Poe stories: The Black Cat, The Cask of Amontillado, and The Tell-Tale Heart. Here, humor is infused into the cycle for the first time, most memorably in a wine-tasting face off between a drunk played by Peter Lorre and a pretentious wine connoisseur played by Vincent Price. The final story, Mr. Valdimar brings another horror icon, Basil Rathbone, into the mix along with a climax that resembles something out of Creepshow.

After some financial disputes between Corman and AIP, the director decided to make The Premature Burial (1962) independently. Path, the film lab that Corman had worked with previously, wanted to start a distribution department and agreed to partially finance the film with the rest of the money being put up by Corman himself. Because Vincent Price was under exclusive contract with AIP, Corman approached Ray Milland, the Oscar winning actor of Billy Wilders The Long Weekend (1945). On the first day of shooting, Nicholson and Arkoff showed up on the set to let Corman know that they had bought out Path and he was making the film for AIP. Fortunately, the working relationship was positive and continued to be for some time.

The Premature Burial is the first of the films to be written by Charles Beaumont, well known for some of the most memorable episodes of The Twilight Zone along with dozens of short stories, novels, and screenplays. Beaumonts sensibilities are quite different from Mathesons and the film has a more somber tone while remaining very engaging. Milland plays Guy Carrell, a man obsessed with the idea of being buried alive. British actress Hazel Court makes her first appearance in the series as his long-suffering wife. New to the series composer Ronald Stein cleverly weaves the refrain of Molly Malloy, the famous Irish folk tune, into his score as a repeated theme and harbinger of death. Filled with misty graveyards, crypts, and mystery, The Premature Burial is one of the most unique and atmospheric films of the cycle.

The Raven

Feeling that it would be nearly impossible to turn Poes poem The Raven into a serious film, Richard Matheson suggested making it into a comedy. Corman, always concerned with the series becoming too repetitive, agreed. Corman was no stranger to horror-comedy. A Bucket of Blood (1959) and Little Shop of Horrors (1960) were revolutionary in the ways they melded the two. The Raven (1963) would take it to the next level. It doesnt exactly mock the previous Poe films, nor the gothic horror subgenre, but it certainly knows just the right amount of fun to poke at it. The film expands on its star power by featuring horror greats Peter Lorre and Boris Karloff in addition to Vincent Price, all playing rival wizards and culminating in a duel to the death between Karloffs Dr. Scarabus and Prices Dr. Erasmus Craven. Rounding out the cast are Hazel Court, returning to the cycle for a second time, and a very young (and probably miscast) Jack Nicholson as the unappreciated son of Lorres Dr. Bedlo.

The Haunted Palace (1963) is an unusual entry in the series. First, it is not based on the poem by Edgar Allan Poe of its title, but on the novella The Case of Charles Dexter Ward by H.P. Lovecraft. Charles Beaumont returned to the series to write the screenplay. At Cormans suggestion, Beaumont brought in elements from other Lovecraft stories to give it more depth, in Cormans words. Beaumont delivered a good script before moving on to other work, but Corman wanted a few changes, which he handed off to his assistant at the time Francis Ford Coppola, who did an uncredited dialogue polish. Here, the horror cache in the supporting cast is supplied by Lon Chaney, Jr. as the caretaker, Simon. Additionally, Milton Parsons as Jabez, Elisha Cook, Jr., John Dierkes, and Leo Gordon are all familiar faces from 40s and 50s Hollywood.

As in The Pit and the Pendulum, Price plays a dual role as an ancestor and a descendant. In this case, Charles Dexter Ward is gradually taken over by the soul of his evil great-great grandfather, Joseph Kerwin, who was burned to death by the villagers of Arkham 110 years before. The film ultimately becomes a revenge movie as Ward, overtaken by Kerwin, dispatches the descendants of those who killed him one by one. The look of the film is darker and more realistic to match the tone of its story, making it a standout in the series. It was also the final film of the cycle to be shot in the United States.

The Masque of the Red Death

For many, The Masque of the Red Death (1964) is the apex of the series. It is certainly one of the most visually stunning horror films ever made, thanks in large part to the extraordinary cinematography by Nicolas Roeg. Originally planned as the follow up to House of Usher, Corman became concerned that it was too similar in theme and story to Ingmar Bergmans meditation on religion, plague, and death The Seventh Seal (1957), so he opted for The Pit and the Pendulum instead. As the series continued to be successful, Corman felt it was time to take on Masque, which he felt was the best of Poes stories, comparisons to Bergman be damned. After reviewing Charles Beaumonts original script, Corman felt it needed a little more complexity and asked R. Wright Campbell to do a rewrite. Corman and Campbell agreed to add elements of another Poe story, Hop Frog, to achieve this added depth. The film was shot in London in five weeks, though Corman considers it more like four as British crews tended to work much more slowly than he was used to. Still, the extra time benefits the picture greatly.

Vincent Price revels in his role as the only completely irredeemable villain of the cycle, Prince Prospero, who humiliates members of his court and terrorizes his subjects for his own entertainment. Francesca, a peasant that Prospero brings into his court in an attempt to corrupt and dissuade from her heartfelt Christian beliefs, is played by English actress Jane Asher. The strong supporting cast is led by Patrick McGee as Alfredo, a member of Prosperos court but also a rival to him, and Hazel Court, returning to the series for a third time as Juliana, a devotee of Prospero and his dark allegiances. This film holds particular relevance to today as we are again faced with plague and the indiscriminate nature of death. It is a powerful reminder of imminent mortality and the fact that death will eventually come for us all.

Though neither Masque of the Red Death nor its follow-up The Tomb of Ligeia (1964) were as financially successful as earlier entries, these remain the artistic high points of the series. Ligeia is a particularly unique entry in the series for two main reasons. First, it is the only entry not written by Matheson or Beaumont, but by Robert Towne, who would go on to write the classics The Last Detail (1973) and Chinatown (1974), among others. Second, it was photographed by Hammer mainstay Arthur Grant, who brings a naturalistic look and a fluidity of camera to the film.

Of all the Poe films, Ligeia also spends the most time outdoors, taking advantage of the sunlit English countryside where it was shot, rather than in misty graveyards and behind castle walls. The film draws more from Hitchcock than the other Poe films, particularly Rebecca (1940) in which a deceased spouse haunts her former husband and his new wife, Vertigo (1958), and even a touch of Psycho (1960). Vincent Price as Verden Fell has similarities to his role of Roderick Usher, who also has great sensitivities to light. Stephanie Shepherd beautifully and subtlety plays the dual role of Ligeia and Lady Rowena, perhaps the most complex heroine of the Poe cycle, and indeed all of horror cinema up until that time. The quotation from Poe at the end of Ligeia sums up the thematic thrust of the entire cycle perfectly: The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends and the other begins? It is a fitting ending to this remarkable series of films.

The Tomb of Ligeia

These eight films combined form one of the most consistently strong series in all of horror history. They are similar enough to hang together as a cohesive whole, but different enough to remain engaging. The series may not have changed the face of horror the way that Frankenstein, Psycho, Night of the Living Dead, The Texas Chain Saw Massacre, or Scream did, but it did influence a generation of filmmakers and writers along the way. Stephen King, Joe Dante, Martin Scorsese, John Landis, and many others all count themselves as great admirers of the cycle and saw that Corman was doing much more than meets the eye in creating them. There is an elegance, sophistication, and undercurrent of political and psychological astuteness in The Poe Cycle that is rarely found in the so-called exploitation cinema or B-pictures of the era. If you havent yet seen these classics, I humbly suggest taking a step back in time to this quiet revolution in horror cinema.

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The Horror Movies Coming to Netflix in December Include 'Tremors' and the 'Final Destination' Films - Bloody Disgusting

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