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Killer Collectibles highlights five of the most exciting new horror products announced each and every week, from toys and apparel to artwork, records, and much more.

Here are the coolest horror collectibles unveiled this week!

Blue Velvet Vinyl from Coda

Blue Velvet’s soundtrack is available on 2xLP vinyl for $55 from Coda.

Disc one has the original score by Angelo Badalamenti plus Bobby Vinton’s “Blue Velvet,” while disc two features film cues, alternates, and outtakes collectively entitled “Lumberton Firewood.”

Two 180-gram color variants are available: blue on blue marble and metallic silver. It’s housed in a gatefold jacket with artwork by Greg Ruth inside a transparent blue o-card.

Frankenhooker Shirt from The Last Toy Store

Wanna date? The Last Toy Store brings Frankenhooker to life on a shirt designed by Suspiria Vilchez.

Three different tie-dye variants are available for $30, along with black Comfort Colors tees for $32. They’ll ship in 5-7 weeks.

Robert John, an itinerant singer-songwriter who was working in construction before scoring a Number One hit with 1979’s “Sad Eyes,” died Monday. He was 79.

Michael Pedrick, John’s son, confirmed his father’s death to Rolling Stone. There was no immediate cause of death, but Pedrick said his father was still recovering from a stroke he suffered several years ago.

John’s career in the music business spanned several decades, a journey marked by modest, intermittent successes before he finally topped the chart with “Sad Eyes.” Just like John’s career,...

Note: This story contains spoilers from “Severance” Season 2, Episode 6.

The second Christopher Walken read the script for the “Severance” episode “Attila,” he knew what to expect.

“It’s one of those family dinners that we’ve all had where things are not going well,” Walken told TheWrap, referring to the scene as “one of those slightly nightmare dinners.”

In the final moments of “Severance” Season 2, Episode 5, outie Irving (John Turturro) notices that a man is watching him. Eventually, Burt (Walken) admits he’s been following Irving since the Overtime Contingency and shares his theory that their innies were romantically involved. As a sort of peace offering, Burt invites Irving to have dinner with him and his husband, Fields (John Noble). Thus begins the tensest dinner in “Severance” history. As Irving and Burt bashfully get to know one another, Fields consistently interjects with a series of aggressive barbs.

The episode also...

While giving a press conference, the president of the United States loses control of himself, morphs into the powerful Red Hulk and proceeds to wreak destruction on Washington, D.C. No, it’s not Donald Trump’s fantasy, but rather a key sequence in the fourth standalone Captain America film, the first to spotlight Anthony Mackie in the big-screen starring role for which he’s been patiently preparing for a decade.

One wishes, then, that the results were worth the wait. Unfortunately, Captain America: Brave New World proves a lackluster Marvel entry that feels as if its complicated storyline has been painstakingly worked out without a shred of inspiration. (See the first reactions to the film.)

Except, that is, for the casting of Harrison Ford as Thadeus “Thunderbolt” Ross (originally played by the late William Hurt), who has ascended to the presidency after serving as a U.S. general and...

For all the adulation that David Lynch, who died on January 16 at the age of 78, justifiably enjoyed for his artistry, there was a side to his work that was somewhat under-heralded: its earnestness. The boy-scout character of his interviews was almost certainly shtick, but there’s a despair to his movies that grounded even his wildest impulses in a fairy-tale directness that correlates with the shrewd yet wide-eyed persona that he presented to the public.

All of Lynch’s films are about innocence and idealism corrupted, and everything else stems from that confirmation of futility. In 1977’s Eraserhead, Jack Nance’s Henry is brought to madness over the frustrations of caring for his sick, deformed child, and his hopelessness is pushed to a breaking point that redefines his view of himself and sends him spiraling into new dimensions, following a rootless path of damnation that’s strikingly similar to the...

“I love the logic of dreams… Anything can happen and it makes sense.”

—David Lynch

The first thing I thought of were the bugs.

If you’ve seen Blue Velvet, then you remember the opening — and whether you love or hate David Lynch’s 1986 masterpiece of curdled Americana, it’s not a film you’re capable of forgetting. The camera pans down on a white-picket fence, as Bobby Vinton croons his 1963-version title track. The roses dotting the bottom of the frame are so Technicolor red that it hurts your eyes to look at them.

Western movies have shaped American cinema since its earliest days, and no star looms larger over the genre than John Wayne. With a career spanning over 50 years and more than 80 Westerns, Wayne boasts a rewatchable filmography can seem daunting to modern viewers looking for a starting point. While his performances often carried similar traits including his distinctive drawl, 9-minute fist fights, and unwavering moral code each film offered something unique that helped define Wayne's career and the Western genre.

Certain films are perfect entry points for those exploring Wayne's extensive Western catalog. They combine accessible storytelling with the iconic elements that made The Duke a Hollywood legend. These movies showcase Wayne's evolution as an actor and the Western genre's ability to tackle complex themes, all while delivering compelling entertainment. From breakthrough roles to some of his most underrated, these films perfectly introduce John Wayne's Wild West.

Big Jake Wayne Adapts...

When Senegalese-American songwriter Akon released his smash-hit single "Lonely" in 2005, it topped charts all over the world, just like the original inspiration "Mr. Lonely" by Bobby Vinton more than forty years earlier in 1964. Both songs share common lyrics that underscore the ever-relevant need for human connection and companionship. Our visceral emotional reaction to loneliness is our connection to our primal need to be loved. Art, particularly cinema, has thrived on this need to seek a sense of belonging, intimacy, and emotional support. Perhaps that's the reason that some of the best films ever made have explored human intimacy, either depicting those we admire for having conquered loneliness or those that remind us of the moments we felt, or still feel, a yearning for connection. More often than not, these films take us on journeys alongside their characters, to fight for this precious longing or to reminisce on its loss. On Body and Soul,...

60s Gold (Ch. 73) wants to know: What are your favorite summer songs from the 1960s? The votes are in, so now it’s time to join us as we play your picks in order. Hear the full countdown throughout the rest of the summer in cars or on the SiriusXM app with a subscription and free trial.

’60s Satellite SurveyTop 60 Summer Hits of the ’60sListen on the App

Listen on the App

From the summer of “The Twist” to the “Summer of Love” and “3 Days of Peace and Music,” enjoy this year’s fan-voted Top 60 Summer 60s Hits countdown.

’60s Summer Hits

Here are the possible song choices for the “Top 60 Summer Hits Of The ’60s” countdown:

“(I Can’t Get No) Satisfaction” – The Rolling Stones

“A Boy Named Sue” – Johnny Cash

“A Hard Day’s Night” – The Beatles

“A Whiter Shade Of Pale” – Procol Harum

“Ahab The Arab” – Ray Stevens...

The most direct metaphor in David Lynch’s canon arrives early on in 1986’s Blue Velvet. After an opening credits sequence set against blue velvet curtains and accompanied by Angelo Badalamenti’s swooning score, Lynch offers up a montage of classic Americana, including gleaming white picket fences, a fire truck with a dog, and roses that gleam with a feverish red hue. Bobby Vinton’s version of the title song serves as the soundtrack to these images, and, with this song, Lynch signals both his yearning for and disbelief in this idyllic world—a conflict in emotions that would drive his subsequent film and television productions. In case this conflict is lost on viewers, Lynch ends his montage with a father collapsing from a malady as he waters his front yard, and the camera homes in on blades of grass, pressing further into the ground until we can see black insects festering underneath the surface.

Godzilla vs Kong soundtrack features mostly instrumental scores, with only four main lyrical songs, fitting the thematic undertones of the film. Composed by Junkie Xl, the score is used for action sequences while classic songs like Elvis Presley's "Loving Arms" enhance emotional moments. Each song in the soundtrack, like Elvis Presley's "Loving Arms," complements specific scenes, adding depth and emotion to the monster mayhem.

The Godzilla vs Kong soundtrack has only a few songs that aren't instrumental scores, infusing some popular music into the monster mayhem, with some even having thematic undertones. Adam Wingard's Godzilla vs Kong was the build up of the cinematic universe known as the MonsterVerse, with the much anticipated showdown between the two iconic beasts. It also serves as a culmination of what came before, blending the aesthetic feel from Jordan Vogt-Roberts' Kong: Skull Island as well as Gareth Edwards's Godzilla and Michael Dougherty...

If you had to name the most original filmmaker of the last half-century, what’s the first name that comes to mind? David Cronenberg? Wes Anderson? Maybe Werner Herzog or the Coen brothers? While all of them are certainly worthy contenders, it’s hard to argue against the lasting merits of David Lynch, the truly unique cinematic surrealist who has been tormenting audiences with nightmarishly vexing material since his feature film debut Eraserhead in 1977. Indeed, few filmmakers have become name brands unto themselves in the way Lynch’s name evokes a particular type of psychological moviegoing experience. And while he’s worked in many different genres in his career with varying results, no one explores the nature of dreams and the human subconscious like Lynch has repeatedly done throughout his filmography. Moreover, as seen in his tour-de-force 1986 neo-noir mystery Blue Velvet, Lynch has an uncanny knack for digging beneath the...

Most artists, if they’re lucky, invent one thing. But Kenneth Anger, who was a filmmaker, an author, a debauched aristocratic scenester and, to the day of his death at 96, a figure of puckish mystery, invented several things, each one of them epic.

In “Fireworks,” his transcendent 14-minute avant-garde film of 1947, Anger invented the very consciousness and imagery of gay liberation — not the desire to be liberated (which was buried in the hearts of gay people everywhere), but the rapturous visual reverie of what that liberation might look like, what it would feel like, why it seemed so forbidden, and why it needed to be. In “Scorpio Rising,” his homoerotic demon-biker/Top-40-orgy blast from the underground, Anger invented MTV, invented what Martin Scorsese did in “Mean Streets” and David Lynch did in “Blue Velvet,” invented a way to express how music and reality talk to each other.

In “Hollywood Babylon,...

According to a report in Variety, pioneering experimental queer filmmaker Kenneth Anger, the director of seminal shorts like "Fireworks," "Rabbit's Moon," "Inauguration of the Pleasure Dome," and "Scorpio Rising," has died at the age of 96.

The news was announced on Anger's website by Monika Sprüth and Philomene Magers, the managers of Anger's art galleries. He had passed away on May 11, 2023, and the news was only just announced today.

Anger was a firebrand, an artistic rebel who aggressively and provocatively eschewed convention to present the world a new, cohesive type of underground, ultra-queer aesthetic that informs media and culture to this day. His shorts "Fireworks" and "Scorpio Rising" in particular blended traditionally ultra-masculine imagery -- Naval officers, leather-clad bikers -- with unapologetic gay lust, revealing the desire that exists so naturally in those worlds. Anger also blended images of queerness with religious iconography, tearing down conventional Christian morality, and introducing...

As with most of Martin Scorsese's movies, the Goodfellas music soundtrack adds to the brilliance of the movie with perfectly placed songs. It features a relentless soundtrack full of Italian crooners, American standards, and several classic pop-rock songs. The featured music at once provides a sense of familiarity while underscoring thematic elements and character personalities. Released in 1990, Goodfellas is based on Nicholas Pileggi's 1985 book Wiseguy: Life in a Mafia Family, which documents the experiences of American gangster Henry Hill. It is considered one of Scorsese's best as well as one of the greatest mob movies of all time and the Goodfellas music soundtrack adds to its legacy.

In Goodfellas, Hill (Ray Liotta) recounts 25 years of working for the Lucchese crime family, working alongside mob colleagues Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci), but knows that he'll never become a "Made Man" due to his lack of pure Italian blood.

What were the biggest hit songs of the 1960s? The decade was dominated by the beginnings of rock and roll, ballads, folk, pop and R&b. Tour our gallery below as we reveal the top nine singles according to our sister Pmc company Billboard.

The decade began with “El Paso” from country music legend Marty Robbins. Diana Ross and the Supremes completed the decade with the final #1 hit song, “Someday We’ll Be Together.” Some of the longest-lasting hit tunes were from The Beatles, The Supremes, Elvis Presley, The Four Seasons, The Rolling Stones and The Monkees.

The artists with the most #1 singles were The Beatles (18), The Supremes (12), Elvis Presley (7), The Rolling Stones (5), Bobby Vinton (4) and The Four Seasons (4).

Which of those artists were the best of the decade for weeks in the #1 position? Enjoy going back 50 to 60 years in our photo gallery below. Tour our other recent decade galleries...

What were the biggest hit songs of the 1960s? The decade was dominated by the beginnings of rock and roll, ballads, folk, pop and R&b. Tour our gallery below as we reveal the top nine singles according to our sister Pmc company Billboard.

The decade began with “El Paso” from country music legend Marty Robbins. Diana Ross and the Supremes completed the decade with the final #1 hit song, “Someday We’ll Be Together.” Some of the longest-lasting hit tunes were from The Beatles, The Supremes, Elvis Presley, The Four Seasons, The Rolling Stones and The Monkees.

The artists with the most #1 singles were The Beatles (18), The Supremes (12), Elvis Presley (7), The Rolling Stones (5), Bobby Vinton (4) and The Four Seasons (4).

Which of those artists were the best of the decade for weeks in the #1 position? Enjoy going back 50 to 60 years in our photo gallery below. Tour our other recent decade galleries...

Bill Murray was such an integral part of the success of "Saturday Night Live" that many people will assert he was there for the entirety of the show's pioneering first five seasons. He was a member of the "National Lampoon Radio Hour" ensemble that included John Belushi, Gilda Radner, and Chevy Chase, and left an indelible mark on SNL as trend-chasing Nick the Lounge Singer and Todd DILAMuca, the noogie-administering boyfriend of Radner's Lisa Loopner.

Murray, however, was effectively red-shirted for the first season of SNL. Though he was clearly, abundantly talented enough to crack the first season's lineup, producer Lorne Michaels, who was overseeing NBC's late Saturday night experiment, had to kill a darling or two at the last second to appease the network's miserly budgeting. The 25-year-old Murray wound up being the odd oddball out.

Not Quite Ready For The Not Ready For Prime Time Players

According...

Songwriter, composer, producer and arranger Burt Bacharach, a dominant force in American popular music for half a century, died of natural causes in Los Angeles on Wednesday. He was 94.

Bacharach’s publicist Tina Brausam revealed the news on Thursday.

As a tunesmith, the nonpareil melodist Bacharach found fame in every medium.

His songs — many of them written with lyricist Hal David — became chart-topping successes, particularly in the hands of vocalist Dionne Warwick. Among ’60s songwriting duos, only Lennon-McCartney rivaled Bacharach-David in terms of commercial and artistic achievement. Bacharach collected six Grammys as a writer, arranger and performer from 1967-2005.

His music was ubiquitous on screens both big and small in the ’60s and ’70s, and he was recognized by the Academy Awards and Golden Globes for his work on “Butch Cassidy and the Sundance Kid” (1969) and “Arthur” (1981). He collected a 1971 Emmy for a TV recital of his work.

On Broadway,...

Composer Angelo Badalamenti has died, leaving behind a musical legacy that spanned ’80s slashers, holiday season slapstick, and, of course, his long running creative partnership with director David Lynch. In memory of the man who collaborated with a Beatle and Bowie and was responsible for so much of the unmistakable mood of the Lynch filmography, the IndieWire staff picked five of the film and TV compositions that will forever transport us to a place where the birds sing a pretty song, and there’s always music in the air.

“Blue Velvet,” “Main Title” (1986)

The first collaboration between Badalamenti and Lynch, “Blue Velvet” boasts a main title that sees the late composer wryly hinting at the devilish duplicity of Jeffrey Beaumont’s (Kyle MacLachlan) descent into a suburban underworld with characteristic brilliance.

Presented over a blue velvet curtain, with the embellished names of Isabella Rossellini, Dennis Hopper, and the rest of...

Click here to read the full article.

Angelo Badalamenti, the acclaimed David Lynch composer who went from teaching in junior high school in Brooklyn to creating haunting, ethereal music for the filmmaker’s Blue Velvet, Twin Peaks and Mulholland Drive, has died. He was 85.

Badalamenti died Sunday of natural causes surrounded by family at his home in Lincoln Park, New Jersey, his niece Frances Badalamenti told The Hollywood Reporter.

The classically trained composer also collaborated with an eclectic mix of singers in virtually every genre during his long career, from Nina Simone, Nancy Wilson, Shirley Bassey, Patti Austin, David Bowie, Paul McCartney, Marianne Faithfull, Liza Minnelli, Mel Tillis and Roberta Flack to Pet Shop Boys, Anthrax, Dolores O’Riordan, Tim Booth and LL Cool J.

Badalamenti composed the theme music for ABC’s Twin Peaks, NBC’s Profiler and Bravo’s Inside the Actors Studio, and for the 1992 Summer Games in Barcelona,...

The first James Bond film, ‘Dr. No,” starring Sean Connery, Ursula Andress, Jack Lord and Joseph Wiseman, opened in England on Oct. 2, 1962. But the 007 classic didn’t open in New York and Los Angeles until May 29, 1963. Let’s travel back almost six decades to look at the top events, movie, TV series, books and other cultural events of that year in James Bond history, which was punctuated by the tragic assassination of President John F. Kennedy in Dallas, Texas on Nov. 22.

35th Annual Academy Awards

Best Picture: “Lawrence of Arabia”

Best Director: David Lean, “Lawrence of Arabia”

Best Actor: Gregory Peck, “To Kill a Mockingbird

Best Actress: Anne Bancroft, “The Miracle Worker”

Best Supporting Actor: Ed Begley, “Sweet Bird of Youth”

Best Supporting Actress: Patty Duke, “The Miracle Worker”

Top 10 highest grossing films

“Cleopatra”

“How the West Was Won”

“It’s a Mad, Mad, Mad, Mad World”

“Tom Jones”

“Irma La Douce...

Thirty-eight minutes. That’s how long you have to wait for the good stuff in Godzilla vs. Kong. And by good stuff, I of course mean the sight of a gorilla punching a lizard so hard that the aircraft carrier beneath them buckles from the impact. It’s the image Legendary Pictures and Warner Bros. have been building toward for the better part of a decade in their four-film MonsterVerse saga. Yet now that it’s here, it arrives less like the crescendo of an epic shared universe than it does as a late night B-movie on cable TV. But B-movies starring Godzilla and King Kong have always had their charms, and this is the first one with an astronomical budget to realize them.

As the shortest of Legendary’s MosnterVerse movies, Godzilla vs. Kong is also the slightest, with a multitude of humanoids running around shouting about Hollow Earths and gravitational inversions.

For a criminal who revealed his agenda in exhaustively detailed black-and-white — via his famous essay “Industrial Society and the Future,” published in The Washington Post months ahead of his 1996 capture — Ted Kaczynski remains a somewhat unreadable figure. The domestic terrorist better known as the Unabomber killed three people and injured two dozen more in a national bombing campaign aimed at protesting man’s environmental destruction and technological dependence. Yet his manifesto shed little light on who he actually was, or how a mild-mannered math professor from Chicago grew into an eccentric, isolated survivalist and, eventually, FBI most-wanted material. That makes him a subject both fascinating and oddly resistant to dramatization, though that hasn’t stopped writers and filmmakers from trying over the years.

The latest such effort, Tony Stone’s growlingly moody “Ted K,” is a biopic that effectively honors its subject with its opaque severity. There’s little attempt...

Angel Olsen took to her Instagram on Sunday to sing a new 11-minute song, “Time Bandits.”

Sitting at the piano, she dove into the first verse while staring at the camera: “The feeling takes over at first it’s surprising/But then I surrender no longer in hiding.” Later, she repeats: “I want you I want you I need you right now/To be here and lay down and get on the ground.”

View this post on Instagram

I wrote this after I came home from St. Louis a few weeks ago…...

Angel Olsen has partnered with composer Emile Mosseri for a cover of Bobby Vinton’s “Mr. Lonely.” The rendition appears on the soundtrack to Kajillionaire, Miranda July’s upcoming film out this month.

Olsen takes the 1962 song to new heights, her velvety vocals climbing octaves while backed by Mosseri’s subtle instrumentation. “Letters, never a letter/I get no letters in the mail,” she sings. “I’ve been forgotten, yes, forgotten/Oh, how I wonder, how is it I failed.”

After Mosseri and July met and decided to collaborate on the score,...

Jo-An Anderson Fox, the Nashville-based talent, marketing and television development executive whose client list included Bobby Vinton, Perry Como, Jerry Vale, Engelbert Humperdink, Marty Raybon, Perry Danos and Johnny Mathis, died of heart failure Monday in her home. Her daughter, Jill Anderson McIntosh, confirmed the death.

Fox’s career stretched from Connecticut and Broadway to Nashville. Born Jo-An Burns in Schenectady, NY to Joseph and Ann Burns, she attended Niskayuna High School before earning her B.A. degree in Theater at Suny Plattsburgh. She went on to earn a Masters in Theater Management at Suny Albany.

For several years, she served as a marketing executive at the Oakdale Musical Theatre before forming The Anderson Group in 1985. In 1998, she relocated to Nashville, where she became VP of A&r, Marketing and Artist Development at Grand Vista Music.

In recent years, she devoted her time to scouting and developing young talent under the umbrella of her company,...

Tony Sokol Sep 6, 2019

The film Yesterday imagines a world where the Beatles never existed. But what might have filled the gap?

In Danny Boyle's film Yesterday, a struggling young musician played by Jack Malik suffers an accident at exactly the same moment a major power surge burns all evidence of former skiffle group the Beatles out of the collective memory of the masses. Only the musician remembers the songs, the stories, and the band's place in the history of popular music. The film, however, is still set in a world where the culture that was shaped by the influence of four relatively working class musicians from a port city remained curiously intact. The Rolling Stones are still around; so is Childish Gambino, thank the gods of music. But Oasis doesn't come up on Google searches when partnered with “Wonderwall.” We can assume there was no Squeeze, Electric Light Orchestra,...

Hollywood Vampires: The Birth of Midnight Movies on L.A.'s Sunset Strip is a three-part series of essays by Tim Concannon.Once Upon A Time On The Sunset STRIP1969 on the Sunset Strip was a period of dislocation, dissipation and dissolution from which the Hollywood of the Seventies emerged. A movie theatre adjoining Santa Monica Boulevard, where the Underground Cinema 12 film festival held sold-out midnight shows attended by thousands of Freaks, is an overlooked catalyst of L.A.'s underground scene, alongside Pandora's Box, the club recreated in Riot On the Sunset Strip (1967) and which was the focus of the November 1966 Sunset Strip disturbances.Quentin Tarantino's Once Upon A Time...in Hollywood—which is woven around the Manson family murders in 1969, though it isn't focused on them—is situated in the same unsettling hinterland between film stardom and savage violence that Peter Bogdanovich's Targets touches on as well.

Blue Velvet

Blu ray

Criterion

1986 / 2.35 : 1 / 120 Min.

Starring Kyle MacLachlan, Dennis Hopper, Isabella Rossellini, Laura Dern

Cinematography by Frederick Elmes

Directed by David Lynch

Voyeurs come in all shapes and sizes, from wallflowers like Russ Meyer’s Immoral Mr. Teas to the handsome but lethal pin-up artist of Michael Powell’s Peeping Tom – all of them slackers compared to Jeff Jeffries, the sleepless shutterbug played by James Stewart in Hitchcock’s Rear Window.

A house-bound photo-journalist obsessed with the strange behavior of his reclusive neighbor, Jeffries stops at nothing in his compulsive pursuit. This being a Hitchcock film, what drives Jeff’s curiosity is a mix of fear and desire that in the end implicates everyone, including the audience.

Jeffries’s boyish smile disguised his darker inclinations – a notion Mel Brooks had in mind when he christened David Lynch “Jimmy Stewart from Mars” – an apt characterization of the director as...

A horde of David Lynch devotees descended on New York venue Brooklyn Steel this weekend to drink Log Lady Lager, watch Blue Velvet with an intro by its stars and soak in some avant-garde ambiance via a stacked lineup of musical performances.

The first New York–based, Lynch-curated Festival of Disruption featured talks with Lynch-approved actorsKyle MacLachlan, Isabella Rossellini and Naomi Watts, a keynote speech by thefilmmaker himself and performances by Animal Collective (who used a psychedelic, biology-inspiredbackdrop), My Morning Jacket's Jim James, Flying Lotus (whoperformed a Lynch-themed DJ set) and Rebekah del Rio,...

This week, Chris Feil's soundtrack series covers a David Lynch classic...

David Lynch has used music to genius effect over his career, particularly drawing from 50s and 60s crooners to create a cinematic world displaced in time. But Lynch’s most definitive use of preexisting songs is in one of his most narratively focused masterpieces, Blue Velvet. This is the best example of how he distorts the wholesomeness of the sound to reveal darker tones beneath performative American culture.

Music is as much a piece of this suburban facade as any of Lynch’s hellscapes, announcing as much when it fades from Angelo Badalamenti’s operatic overture to Bobby Vinton’s title classic. A placid sky descends upon a thorny rose bush, gorgeously staining the picked fence’s rigid sterility like how Lynch poisons our relationship to the music. Vinton’s voice is tinny in its soulfulness, a swingy sanitized...

David Lynch proved himself as a master of film music in his 1986 feature.

“Every note of music has enough breath to carry you away, and as a director, all you have to do is let the right wind blow at the right time” — David Lynch

Sound and music are incredibly important in David Lynch’s films. From Eraserhead (1977) on, Lynch has shown his talent for creating creepy and dreamy soundscapes, which include music and dialogue as well as diegetic and non-diegetic sound effects. Perhaps Lynch’s most popular film, Blue Velvet (1986) perfectly blends together pop music, original score, and Lynchian sound effects. Blue Velvet is especially rich with beautiful music that both comments on and runs counter to the images onscreen. This was the first film in which Lynch focused on both original score/sound effects and pre-existing pop music.

David Lynch is never completely serious or completely joking — he is always both at the same time...

Walking Dead creator Robert Kirkman will co-produce a remake of John Landis' 1981 horror comedy, An American Werewolf in London, Deadline reports.

Landis' son, Max, is slated to write and direct the film. The younger Landis recently made his feature film directorial debut with the romantic comedy, Me Him Her, which he also wrote. Landis has also written several movies including Mr. Right, Victor Frankenstein and American Ultra.

Kirkman will produce the remake with Walking Dead executive producer David Alpert through their production company Skybound Entertainment. News of the...

[Blue Velvet] was the song that sparked the movie!—David Lynch(1)Blue velvet, red lips, sprawling, manicured neighborhood lawns; the transgressions that go on behind the closed doors of ostensibly squeaky-clean American suburbia; the mysterious melancholy behind a pop song written in the early 1950s: these were the things that inspired David Lynch to write Blue Velvet. Kyle MacLachlan plays Jeffrey Beaumont in the film, a young man who returns to his hometown of Lumberton after his father has had a stroke. Whilst walking home after visiting his father in hospital, Jeffrey comes across an ant-infested human ear in an empty lot and takes it upon himself to investigate the mystery surrounding it, resulting in his being seduced and almost destroyed by the seamy underbelly of the town. In his investigations Jeffrey is torn between two worlds, one of innocence and one of corruption, and it is a duality that is not...

Last year's surreal, star-studded musical tribute to David Lynch will be released as a double album, The Music of David Lynch, featuring performances from Karen O, the Flaming Lips' Wayne Coyne and Steven Drozd, Duran Duran, Sky Ferreira, Moby and more, Pitchfork reports.

The one-night only concert/fundraiser for the David Lynch Foundation featured a variety of musicians tackling songs from and inspired by Lynch's projects. The filmmaker's longtime composer, Angelo Badalamenti, even recreated "Laura Palmer's Theme" and "Dance of the Dream Man" from Twin Peaks, which will open the album's first and second LPs,...

To help make the wait for the new Twin Peaks ever so slightly easier, David Lynch‘s fourth feature will be returning to theaters in advance of its 30th anniversary. Blue Velvet, released on September 19th, 1986, is one of the director’s most evocative and emotionally charged films, following Kyle MacLachlan’s character as he burrows down a rabbit hole of darkness.

Today brings a new trailer and poster to highlight the anniversary release, which will first arrive at Film Forum for a week-long run, starting on March 25, before expanding elsewhere in the United States and hitting the U.K. this fall. If you have yet to see one of Lynch’s best films — also starring Isabella Rossellini, Dennis Hopper and Laura Dern — or even if you name it as one of your favorites, be sure to seek it out if it’s playing near you. Check out the trailer and poster below,...

Ann-Margret movies: From sex kitten to two-time Oscar nominee. Ann-Margret: 'Carnal Knowledge' and 'Tommy' proved that 'sex symbol' was a remarkable actress Ann-Margret, the '60s star who went from sex kitten to respected actress and two-time Oscar nominee, is Turner Classic Movies' star today, Aug. 13, '15. As part of its “Summer Under the Stars” series, TCM is showing this evening the movies that earned Ann-Margret her Academy Award nods: Mike Nichols' Carnal Knowledge (1971) and Ken Russell's Tommy (1975). Written by Jules Feiffer, and starring Jack Nicholson and Art Garfunkel, the downbeat – some have found it misogynistic; others have praised it for presenting American men as chauvinistic pigs – Carnal Knowledge is one of the precursors of “adult Hollywood moviemaking,” a rare species that, propelled by the success of disparate arthouse fare such as Vilgot Sjöman's I Am Curious (Yellow) and Costa-Gavras' Z, briefly flourished from...

Reese Witherspoon and Jean-Marc Vallée making Wild

Jean-Marc Vallée’s eighth feature film Wild is just about to begin its theatrical release in North America. The film stars Reese Witherspoon, who plays Cheryl Strayed as she goes on an incredible, though unprepared, hike across the Pacific Crest Trail to morn the death of her mother. This new release provides a great opportunity to reflect on the director’s career and survey the literature surrounding him.

Even though I’m sympathetic to Barry Hertz’s article in Maclean’s, "Jean-Marc Vallée: Film’s redemption man" (Sept. 15, 2014), for acknowledging the director’s talent and growing international reputation, it still doesn’t do Vallée justice as it concludes with vague generalizations that, instead of enlightening, overlook his actual merits. Hertz overemphasizes Vallée’s work with actors and argues that he ‘lacks’ a unique style of directing, criticizes him for his modesty, and...

Joan Rivers won't be getting the perfect funeral she wrote about ... because the famous singer she wanted to perform is too sick to make her wish come true. In her 2012 book, Joan described her perfect funeral as "a huge showbiz affair with lights, cameras, action." She wrote, "I don’t want some rabbi rambling on; I want Meryl Streep crying, in five different accents. I don’t want a eulogy; I want Bobby Vinton to...

Of course Joan had the best funeral requests ever.

As Melissa Rivers said in her final statement about her mother Joan Rivers' passing, “Although that is difficult to do right now, I know her final wish would be that we return to laughing soon."

Lucky for us, Joan is helping us do just that with the troves of amazing comedy she left behind. Even she was able to laugh about her own mortality in her 2012 book, I Hate Everyone…Starting With Me. This is what she had this to say about her funeral:

"When I die (and yes, Melissa, that day will come; and yes, Melissa, everything’s in your name), I want my funeral to be a huge showbiz affair with lights, cameras, action…I want Craft services, I want paparazzi and I want publicists making a scene! I want it to be Hollywood all the way. I don’t want some rabbi rambling on; I want...

"Are you kidding me, man?!" composer Angelo Badalamenti howls jokingly when Rolling Stone asks him what he thought of Twin Peaks, the TV series he scored in the early Nineties. "It was really off the wall. I thought it was either going to sink violently down the drain or, hopefully, capture the intrigue of enthusiastic people conversing by the office water cooler on a Monday morning."

12 Things We Learned from David Lynch's Talk at Bam

As it turned out, Twin Peaks was an instant hit when it premiered on April 8th,...

The same week Bruno Mars releases “Unorthodox Jukebox,” the first single from his sophomore set ascends to the top spot on the Billboard Hot 100. “Locked Out Of Heaven” rises one spot to end Rihanna’s “Diamonds” after three weeks at No. 1. The song is Mars’ fourth No. 1 on the Billboard Hot 100 in a 34-month span, giving him the record for the fastest accumulation of a quartet of No. 1s by any male artist in 48 years. You have to go back to Bobby Vinton, who scored the same trick in 30 months, starting in 1962 with “Roses Are...

Lana Del Rey's first TV spot for high street store H&M has emerged online. The 30-second clip, in which Del Rey models the brand's autumn/winter collection, shows the singer performing 'Blue Velvet', a song first made famous by Tony Bennett, and popularised by Bobby Vinton.

As Del Rey sings into a vintage-style microphone, the camera pans to show a line of identically clothed Lana 'clones' watching, along with a number of other emotional observers. The singer's signature (more)...

Four new Lana Del Rey tracks have made their way online, just as the deluxe edition of her early 2012 album Born To Die looms for a fall release.

Unreleased Del Rey tunes "Afraid," "Big Bad Wolf" and "Playing Dangerous" leaked online Thursday. The breathy singer croons on the tracks, once again invoking the Nancy Sintra persona that has followed her since her "Video Games" debut.

In June, Del Rey performed new track "Body Electric" for a sold-out crowd in Los Angeles' El Rey Theatre, reported NME.

Turning from wolves to jaguars, the beautiful Del Rey is now the face of luxury car brand Jaguar. Ads featuring the auburn singer promoting Jaguar's new F-Type surfaced, but an automobile is nowhere in sight, according to the Hollywood Reporter. It is just Del Rey against serene backdrops pouting her famous lips.

Choosing Del Rey as Jaguar's spokesmodel seemed natural, according to Adrian Hallmark,...

The disco ball is dimming its sparkle today. Mere moments after the sad news broke that Donna Summer tragically succumbed to her battle with cancer, her celebrity friends and admirers took to Twitter and released statements to offer their respects to the legendary Queen of Disco.

Related: Queen of Disco Donna Summer Dies

Mary J. Blige: Rip Donna Summer!!!!!!!!! You were truly a game changer!!!

Ryan Seacrest: I remember sitting in the front seat of my mom's toyota while she sang Donna Summer's "she works hard for the money" songs were just classic

Alyssa Milano: I used to do interpretative dance in my living room to Donna Summer's music when I was a little girl. Rest in peace.

Niecy Nash: Rip Donna Summer #discodiva #sadtweet Whitney. Tina Marie. Vesta. Now Donna Summer. The choir in heaven has a new member. They will be singing up a beautiful storm:)

La Toya Jackson: My condolence...

Chillerama introduced the world to a number of things, from sex-hungry ghouls to man-eating semen, but perhaps the most memorable segment in last year’s anthology hit is Tim Sullivan’s I Was A Teenage Werebear. The hybrid of Rebel Without A Cause and Beach Blanket Bingo (with a little bit of s&m) is a hilarious musical that goes over the top to a sweet tune. Now the tunes featured in Werebear are available in a limited edition soundtrack that, despite being on the market less than 24 hours at this point, is already causing waves.

Sullivan initially offered the disc on Ebay as a bulk quantity auction, but within hours, the auction giant removed his listing, citing it as, “sexually and morally offensive.” As a result, the filmmaker has had to ask interested parties to order directly from him by sending an request to newrebel2211@gmail.com with your...

David Lynch deploys music in his movies to devastating effect. Ahead of a retrospective, we pick his best statements in sound

David Lynch once said: "Sound is almost like a drug. It's so pure that when it goes in your ears, it instantly does something to you." With the exception of perhaps Quentin Tarantino, no one has repurposed music with greater effect in film than Lynch. And so, in light of his forthcoming BFI retrospective, here are some of his greatest musical moments.

Mulholland Drive – Llorando

The open-ended narrative of Mulholland Drive, coupled with Lynch's surreal technique, lends this movie a hallucinatory quality. It makes this scene even more jarring because Lynch's use of music is so beautiful. At a pivotal point in the film, lovers Betty and Rita visit the ghostly, near-empty Club Silencio. A performer announces "No hay bander": there is no band. And yet we hear one.

With the highly anticipated horror comedy anthology Chillerama finally hitting Blu-ray and DVD this week and his top-secret mockumentary about to exclusively premiere on Dread Central very soon, hot up-and-coming actor Anton Troy surely has a lot of things to talk about. As a result we're excited to present our exclusive interview with the star of Tim Sullivan’s segment of Chillerama, "I Was A Teenage Werebear".

What do we need to know about Anton Troy?

Anton Troy: Well, I’m an actor in the horror anthology film ‘Chillerama’. Which is a great deal of fun. I’m very passionate about my art. I try to bring a level of humanity to all of my portrayals.

How did you get involved with Tim’s segment of the movie?

At: I got involved through Gabby West, who’s also in the movie; she’s the winner of ‘Scream Queens 2...

Kansas City, Mo. -- Todd Haley scored major points with his Kansas City Chiefs players after he was spotted at a Lil Wayne concert at the Sprint Center on Monday night.

The 41-year-old head coach promised to attend the rapper's show after the Chiefs used one of his songs as part of a video for their pregame warm-up last season. Haley recalls saying, "If he comes to town, and I get an opportunity to give him a copy of it and thank him, I'll do it."

Haley called it "a great show," and Lil Wayne tweeted at him and Chiefs cornerback Brandon Flowers afterward: "Props to Tech 9 and the Kc Chiefs Coach Haley and (hash)24 B. Flowers for the luv!"

Several players said they appreciated Haley's taste in music, though they weren't told that Haley admitted to listening to Barbara Streisand and Bobby Vinton, too.

Kc was krrrazeeee!!! Props to...