Throughout the years, drag and horror have not paired off as much as one might like. At least, not unless the pairing springs from comedy. But that may be changing.
When they aren’t awing us with the illusion of a real woman, drag artists traditionally serve as clowns, their exaggerated attitude rooted in camp and satire. I remember watching a humble drag version of Brian de Palma’s Carrie during the late 90s in San Francisco. Hilarious. So I appreciate the clowning around. Especially when, like Lear’s fool, the queen helps us discover some profound truth about the world.
But there’s now a richer world of drag horror waiting to be unleashed. The humor hasn’t necessarily been bled from it completely, but the horror element has a more prominent role. And the drag queens themselves are taking control of the narrative, dissatisfied with being portrayed simply as victims or villains. So let’s take a look at the history of drag and horror. Continue reading →
This is a list of witch songs. That is, songs about witches. You’ll find these songs in just about every genre from jazz to rock to soul to Broadway to rap, decade after decade, proving the enduring power of the imagery. Especially as a metaphor for the enchantment of love. Often the lure is tinged with danger. Or at least mystery. I’ve selected thirteen of the best, most enchanting tunes for the first part of the list. In the second part you’ll find a compilation of additional songs. While many more songs reference witches in passing (like “Sister Janet” by Tori Amos), this list focuses on witches as the main subject of the song. And for the most part, these are the original recordings, not covers. Continue reading →
I admire horror movies that create a sense of horror with subtlety and artistry. Ten years have passed since I created my “
I’ve rarely been as enthused about a film score as I am about Bobby Krlic’s score for the horror movie Midsommar. Not since Bernard Hermann’s biting strings in Psycho has background music given me such goosebumps. Krlic, who goes by the name The Haxan Cloak on his solo projects, has composed a powerful, visceral score that blends dark dissonance, ancient folk music, and ambient sounds. And Krlic’s relationship to the film may be a unique one. Director Ari Aster wrote the screenplay while listening to The Haxan Cloak’s music.