Join us for eldritch discussions and some of the best cinematic interpretations of the works of H. P. Lovecraft! An art show, too!

An event sure to satisfy the most haunted yearnings of the cosmically enslaved: from classic adaptations to current filmic achievements in the weird, this is the place to slake the thirst for all things unknown and unknowable…

Books, Magazines, Prints, DVDs and more will be available for purchase!

_____________________________________________________________

***DEALER SALES/EVENT TICKETS HERE***

http://blog.jasunni.com/2011/07/17/release-hplsam-lovecrafts-visions/

~~MORE INFO~~

*SEATTLE ART MUSEUM:

http://www.seattleartmuseum.org/calendar/eventDetail.asp?eventID=21934&month=9&day=7&year=2011&sxID&WHEN

*SCARECROW VIDEO BLOG:

http://www.scarecrow.com/40/9130/save-the-date-some-of-falls-film-festivals-and-movie-events.html

*FACEBOOK PAGE (SHARE/LIKE US!):

http://www.facebook.com/LovecraftsVisionsSAM

________________________________

***EVENTS***

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* ART SHOW: Curated by DAVID C. VERBA (http://davidcverba.com/index.html) and featuring works fromVerba and BRYAN K. WARD (http://www.bryankentward.com/ )!*

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*VENDORS!* (Available All Weekend)

~Sigh Co Graphics (http://sighco.com/)

~Dark Discoveries Publications (http://www.DarkDiscoveries.com/)

~JaSunni Productions, LLC (http://www.JaSunni.com/)

~H.P. Lovecraft Historical Society (http://cthulhulives.org/)

~Creepycult (http://www.etsy.com/shop/creepycult?ref=pr_shop_more)

~Artist Nick Gucker (http://www.nickthehat.com/)

~Strange Aeons Magazine (http://www.strange-aeons.com/)

~Pagan Publishing (http://www.tccorp.com/site09/tccorp_home.html)

~The Dreaming Comics & Games (http://www.thedreamingcomicsandgames.com/#)

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***SPECIAL GUESTS***

*S. T. JOSHI: THE world authority on Lovecraft and his works is your host (http://www.stjoshi.org/)

*GREG BEAR: Speculative Fiction author extraordinaire joins the fray with thought-provoking insights (http://www.gregbear.com/)

*MARC LAIDLAW: Esteemed writer of Science Fiction (http://marclaidlaw.com/)

*SEAN BRANNEY: Director of the acclaimed The Whisperer in Darkness (http://www.cthulhulives.org/)

*ANDREW LEMAN: Filmmaker (http://www.cthulhulives.org/Bios/bioAHL.html)

*DIANE O’BANNON (Tentative): Wife of film legend Dan O’Bannon (Return of the Living Dead; Alien)

*JASON V BROCK: Filmmaker and Writer with an eye for the macabre (http://www.JaSunni.com/)

*WILLIAM F. NOLAN: Genre writing legend, author of Logan’s Run, and screenwriter for Trilogy of Terror and Burnt Offerings!

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***FILM SCHEDULE***

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FRIDAY, OCTOBER 7th (Doors open at 4PM)

*4:30-6 p.m.: The Haunted Palace (AIP — 1963; 87 minutes)

*6-8 p.m.: Dinner break

*8-11 p.m.: Re-Animator (Holland Releasing — 1985; 85 minutes); Die Farbe (HPLHS — 2011; 90 minutes)

===================================================

SATURDAY, OCTOBER 8th (Doors open at 11AM)

*12 noon-1:30 p.m.: H. P. Lovecraft: Fear of the Unknown (Frank Woodward/Wyrd — 2009; 90 minutes)

**1:30-2:30 p.m.: PANEL: “H. P. Lovecraft’s Life, Work, and Influence” (FEATURING: S. T. Joshi [Moderator], Jason V Brock, David Verba, Marc Laidlaw, Greg Bear)**

*2:30-4 p.m.: The Dunwich Horror (AIP — 1970; 90 minutes)

*4-6 p.m.: The Whisperer in Darkness (HPLHS — 2010; 100 minutes)

*6-8 p.m.: Dinner break

**8-9 p.m.: PANEL: “Lovecraft in Film” (FEATURING: Sean Branney, Andrew Leman, Marc Laidlaw, William F. Nolan, Justin Giallo, Jason V Brock [Moderator])**

*9-11 p.m.: Out of Mind (CBC — 1998; 56 minutes); Cool Air (Bryan Moore — 1999; 44 minutes)

==============================

SUNDAY, OCTOBER 9th (Doors open at 11AM)

*12 noon-2 p.m.: The Music of Erich Zann (John Strysik — 1981; 17 minutes); Night of the Demon (Columbia Pictures — 1957; 95 minutes)

*2-4 p.m.: The Ancestor (Educational Screening of Director’s WORKPRINT Cut [Unscreened Previously] of Dan O’Bannon’s The Resurrected, 1992; 120 minutes); Introduced by Jason V Brock

*4-6 p.m.: The Last Wave (Janus Films — 1977; 106 minutes)

*6-8 p.m.: Dinner break

*8-11 p.m.: The Call of Cthulhu (HPLHS — 2005; 47 minutes); Curse of the Crimson Altar (MGM — 1968; 89 minutes)

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*** TICKET PRICES***

***NOTE: Individual shows WILL BE available for cash or debit/credit card purchase at SAM (near the Auditorium): $6.00/film***

~All day Friday: $10.00

~All day Saturday: $20.00

~All day Sunday: $20.00

~All weekend: $45.00

Tickets Available Here:

Venerable Seattle-area retailer SCARECROW VIDEO (Walk-in ticket sales),

At the door of the Seattle Art Museum,

OR

Online at BROWN PAPER TICKETS:

http://www.brownpapertickets.com/event/188192

================================

***Note: When purchasing tickets online at BROWN PAPER TICKETS, you may purchase single-day passes or weekend passes.***

***There will also be single-showing tickets available at the door of the Seattle Art Museum.***

***SCARECROW Video in Seattle is SELLING TICKETS NOW!***

+++++++++++++++++++++++++++++

***TO PURCHASE A VENDOR TABLE – There will be a select number of vendors: please direct queries to Jason@jasunni.com***

Sizes

Round (5 feet) $60.00 Rectangular (SOLD OUT) $0.00

 

+++++++++++++++++++++++++++++

• When: FRIDAY, Oct 07, 2011 (4:00 PM to 12:00 AM); SATURDAY, Oct 08 (11:00 AM to 12:00 AM); SUNDAY, Oct 09 (11:00 AM to 12:00 AM)
  
• Where: Seattle Art Museum, 1300 First Avenue, Seattle, WA

++++++++++++++++++++++++++++

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• Video games Inspired by H.P. Lovecraft’s Cthulhu Mythos (brighthub.com)
• Artist draws his way through Lovecraft’s creature catalog [Concept Art] (io9.com)
• Spotted Online – A Lovecraft Retrospective (battlegrip.com)
• HP Lovecraft’s commonplace book (boingboing.net)
• HP Lovecraft at the Seattle Art Museum (miskatonicbooks.wordpress.com)
• Happy Birthday H.P. Lovecraft! (ghostradio.wordpress.com)
• THE GHOST OF FEAR AND OTHERS: H. P. Lovcraft’s Favorite Horror Stories Vol I by S. T. Joshi (miskatonicbooks.wordpress.com)

I feel like celebrating a mini Halloween today. Here’s some playlists I put together for the occassion:

Best Vampire Songs Playlist:

• The Hunger – Siouxsie & The Banshees
• Moon Over Boubon Street – Sting
• Possum Kingdom – The Toadies
• Love Song for a Vampire – Annie Lennox
• Vampires of New York – Marcy Playground
• Bloodletting – Concrete Blonde
• Bela Lugosi’s Dead – Bauhaus
• Lucretia, My Reflection – Sisters of Mercy
• Nosferatu – Blue Oyster Cult
• Transylvania – Iron Maiden
• Vampira – Misfits
• Vampire (Dracula Version) – Peter Tosh
• Dracula’s Wedding – OutKast
• Bloodsucker – Deep Purple
• The Killing Moon – Echo & Bunnymen
• We Suck Young Blood – Radiohead
• We Bite – Misfits
• I Have the Moon – The Magnetic Fields
• Bleed for Me – Dead Kennedys

Best Werewolf Playlist:

• Born to Be Wild – Steppenwolf
• Howling at the Moon – The Ramones
• Clap for the Wolfman – Guess Who
• Bad Moon Rising – Creedence Clearwater Revival
• Werewolves of London – Warren Zevon/The Doves
• Curse of the Werewolf – Schoolyard Heroes
• Blue Moon – Elvis
• Hungry Like the Wolf – Duran Duran
• Lonely Wolf – Brian Setzer
• Old Devil Moon – Lena Horne
• Of Wolf and Man – Metallica
• She Wolf – Shakira
• Strolling Wolf – The Creatures
• Wolf – Veruca Salt
• Bark at the Moon – Ozzie Osbourne

Best Witch/Warlock Songs Playlist:

• I Put a Spell On You – Screamin’ Jay Hawkins
• Rhiannon – Fleetwood Mac
• Magic Man – Heart
• Witchy Woman – Eagles
• Spooky – Classics IV
• Every Little Thing She Does is Magic – The Police
• Season of the Witch – Donovan
• Magic – Olivia Newton John
• The Witch – Sonics
• Black Magic Woman – Santana
• The Witch Queen of New Orleans – Redbone
• Devil Woman – Cliff Richard
• That Old Black Magic – Frank Sinatra

The Best Zombie Songs Playlist:

• I Walked With a Zombie – Roky Erikson
• Party Time – 45 Grave
• The Gonk – Dawn of the Dead
• All Dead, All Dead – Queen
• Pretty Girls Make Graves – The Smiths
• Dawn of the Dead – Goblin
• Dead Man Walking – David Bowie
• Now You’re Dead – Fear
• Dead Man’s Party – Oingo Boingo
• Pretend We’re Dead – L
• Surfin’ Dead – The Cramps
• Dead Souls – Joy Division
• We Are The Dead – David Bowie
• Freddie’s Dead – Curtis Mayfield
• March of the Dead – Danny Elfman
• In the City of the Dead – Ultravox
• I Love the Dead – Alice Cooper

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Here are some things that I feel are important for writers (filmmakers, musicians and artists, as well) to grasp, pro and con: a lot of this is based on various writing books I’ve read, and some is personal observation. This will be updated at intervals.

Here goes:

Stories – regardless of length or medium – should always…

1. engage all of the senses (touch, smell, sight, sound, hearing)
2. involve the reader with the protagonist, mentally
3. leave room for the reader to inject some details into the narrative (not so much superfluous/cluttered/banal info that it “strangles” the reader)
4. illuminate some aspect of human nature, whether good or bad
5. have realistically believable characters (especially their reactions), even if their situation is bizarre, mundane or high-tension
6. have characters with at least some suggestion of a backstory, even if it is not developed fully
7. have fully dimensional characters, even the villains
8. adhere to these principles: Who? What? When? Where? Why? How?
9. make the reader care about the circumstance/character(s)
10. grab the reader and pique their curiosity
11. follow principles laid out in Aristotle’s Poetics
12. have triumph and tragedy in relatively equal measure, though one should predominate in the end
13. avoid neat resolutions
14. be different from one to the next
15. force the author to “murder darlings”
16. surprise and satisfy (emotionally) the reader
17. invite criticism (albeit about the impact/mechanics – how did it affect the reader? how was the plot/characterization/pacing/style and so on – only, not the author personally)
18. have an overall arc and sub-arcs for the characters
19. have exterior and interior plot threads
20. have an internal logic which is never violated
21. address some aspect/all of the concerns: What if…? If this goes on… If only…
22. engage the reader with suspense, conflict, tension and obstacles to be overcome by the protagonist
23. remember that the most important things are: character, pace, timing, logic, rationale and setting

Stories – regardless of length or medium – should never…

1. be “donut” stories – all the trappings, but no “heart”
2. be too genre-bound (such as the trite aspects of genre pertaining to the evocation of institutional association – Stoker-esque vampires, Universal Studios Frankenstein laboratories, et cetera – unless that’s the purpose, or it’s a period piece)
3. be too time-bound (via pop-culture references, slang and so on)
4. call attention to the writer’s writing
5. be “cutesy” or pedantic
6. get too “geeky”: preoccupied with minutia that only shows off the writer’s knowledge or research
7. condescend to the reader
8. have what I call “mind shoes” (long story): intractable or rote ways of conveying plot (there is more than one way to tell a story: keep it fresh)
9. favor plot/action over characterization/substance (there should be a balance, ideally)
10. divulge or communicate the outcome (unless this is on purpose, or cryptic) in advance: this is not the same as foreshadowing (in which the key elements are realized only in retrospect)
11. allow the author to avoid tough questions, even if they express no ready answer
12. preach to the reader
13. cater to well-worn cliches
14. cater to the author’s personal cliches: this is not the same as “style”; this is an affectation that the author cannot seem to shake (a “darling”) that does not add to the story
15. be monotonous, even in the guise of “story type” or “genre”: in other words, tell the same story over and over without any insight or interesting POV
16. trick the reader, or resort to gimcrackery
17. rely too much on first person
18. waste the readers time
19. fail to engage in the first paragraph (even novels)
20. take too long to get to the point; exposition can come after the reader is interested

Other Thoughts/Observations:

1. Do at least three TOTAL re-writes (more than a line here or there). (Preferably more.)
2. WRITING IS RE-WRITING.
3. Put the first draft down quickly, then leave it be; come back after an interval (at least a week, preferably more) and be scathing in your critique (others will, trust me).
4. Do not read out loud as a primary form of revision: only do this with VERY late drafts to catch run-ons and inconsistencies.
5. Don’t TRY to do something: DO IT, or don’t bother.
6. Get out of your own way. (Think about it.)
7. Avoid being too literal.
8. Open the story up; make it universal. Too limited a scope is worthless.
9. Think unconventionally: is this the correct POV? Is the character’s gender correct? Is the story mired in obscure, distracting detail? Is the plot easy to follow, even if the construction is unorthodox? Are there in-jokes that are weighing the story down?
10.  All considerations should serve the story.
11. The best never rest. (Think about it.)
12. Avoid slavish imitation. Be the best you, not a second-rate (or worse) bestseller-type. Write for yourself, not the “market”.
13. There are no original ideas/premises for the most part, but there are unique slants and perspectives. Combine multiple things to get fresh(er) ideas.
14. If one has an impulse to do something, question it; if it is obviously an overused personal trope, do the opposite.
15. Read a lot, and read widely (non-fiction, magazines, classics, poetry, textbooks, manuals, criticism, et cetera).
16. Talk to people, and listen.
17. Stop reacting. Observe the world and how things interact to it. Be open-minded.
18. Make up characters, make up stories: CAREFULLY RESEARCH supporting details from a variety of perspectives.
19. Realize that writers such as King, Koontz and Barker need good editors that are not afraid of their wrath, just like the rest of us do: when this source of blunt feedback (though it should be gentle) is lost, writers suffer (as in the names above).
20. Editors are looking for reasons to hate your work and put their friends or a well-known author’s work into their mag/anthology/fill-in-the-blank. Don’t hand them reasons to do so: have the manuscript and formatting perfect, use good grammar/punctuation and have something to say, or do everyone a favor AND QUIT BORING US ALL WITH YOUR WORK (applies to the “Old Pros” equally).

More later… in the meantime, look at this:

• Strange Horizons – Stories that are overdone…

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From the blog of Henry Covert:

ChiaroscurO was founded by Jason V Brock in 1985 as Circa. (Brock’s musical career was storied and influential; his step-father was in the seminal 13th Floor Elevators, and Brock was an intern at Reflections Studio in Charlotte, NC. He worked there with Don Dixon, Steve Albini and others. ChiaroscurO’s influence was vast: there were at least ten acts that evolved directly from interacting with Brock and company during their frenetic tenure as THE prog-rock act in the Carolinas, as determined by Fred Mills of Spin Magazine.)

By 1986, the group began rehearsing as ChiaroscurO, with Jason on guitars and vocals; Michael Lillard on drums and percussion; and Charlie Burts on vocals and bass.

Over the next 2 years, 2 demos and a short video were recorded, and one gig played (Brock was a dynamic and prolific songwriter, with over 80 compositions to his credit). Silver Oak joined for a time on keyboards and was considered for bass when Charlie announced he’d inevitably leave for college. In 1988, Thomas Woody replaced Charlie on bass, and many vocalists were considered over the next year, including yours truly, twice. Only Missy Ritchie lasted on vocals for any appreciable amount of time, in 1989.

In mid-1989, drummer Lillard invited me to sing full-time with ChiaroscurO, but the band had 2 gigs scheduled for the fall and no time to rehearse the material in-depth with anyone new. Jason recruited Charlie, back from college, to sing, but kept Thomas Woody on bass.

Shortly after the first gig, Thomas announced his upcoming departure, and Burts returned to academia for good. A college pal of mine, and of Michael’s, named Scott Terry, revealed his ability to sing, and was immediately recruited. A classmate of mine, Reggie Dennis, answered Jason’s ad in Creative Loafing, and was soon brought in as bassist to replace Thomas.

Thomas’ last gig as bassist, and Scott’s first as vocalist, was at Central Piedmont Community College in October 1989. Reggie attended, as did other future members of ChiaroscurO and related bands. I was brought in as moral support and tech, and helped Scott to learn the material, as I’d already been doing so. I ended up singing a duet with Scott on the band’s cover of Danzig’s then-recent song “Twist of Cain”.

After that, the band’s line-up congealed for a healthy period. With the Brock/Lillard/Terry/Dennis lineup in place (soon supplemented by 5th member Brian Reel on percussion, keyboards, vocals, stage production, and eventually drums – another fan and friend from college), the group played over a dozen gigs in the next year, though plans to record a new demo were continually stymied.

In January 1990, I joined up with bassist Don Miller and an ever-rotating lineup for Epitaph for Oneida. By fall 1990, EfO had evolved into my own first band, Epiphany, with Don and various EfO members and several past and future ChiaroscurO members and hangers-ons. Epiphany continued until March 1991, finally gaining a strong, solid lineup (and a decent following).

Reggie Dennis left ChiaroscurO in September 1990, and was quickly replaced by Alan Wyrick. The group did one show with Alan (a Food Not Bombs benefit) before Michael Lillard quit after over 4 years in the band to attend college out of town (after several unsuccessful entreaties from a favorite band of his asked him to join – AntiSeen), but he agreed to fill in as possible. As a result, Brian Reel was bumped up on the food chain to debut on drums at the group’s seminal spot on the Food Not Bombs all-day fest in October 1990. Though this show cemented the group’s place among its avant-punk fanbase, it was to be their last statement for some time.

Alan remained with the band for a while, periodically rehearsing with Brock and Terry, but left just as drummer Scott Rodziczak came in as an on and off replacement for Lillard. Reggie returned to “jam” with Brock, Terry, Reel, and Rodziczak a bit, but declined to commit to the band.

Rodziczak waffled on officially joining, even as bassist John Lomax (not the same Lomax from Misguided Youth), who’d tried out as Don Miller’s replacement in Epiphany, came on board. He replaced Alan, but Brock grew disillusioned with this lineup’s lack of committment to recording a new demo, playing gigs, or even writing actual new material, other than “jams”.

As Scott Rodziczak refused to join the band outright, he nonetheless became close friends with both Brock and Covert. Brock came to mentor and play part-time in Covert’s Epiphany, as a pleasurable diversion. Brock and Covert also began helping each other with finding (and often competing for) new bassists and drummers. Inevitably, Rodziczak mentioned Brock working with Covert instead of Terry, but the 2 units remained separate, Brock working with both.

Finally, Kevin Massey (drums) joined Covert and longtime sideman Matt Summer (guitar, keys) as regular drummer in Epiphany in January 1991. Lomax was out of the ChiaroscurO picture, and Jason helped Epiphany and on and off bassist Luke Plaetnik record an ill-rehearsed demo of two Covert compositions.

Luke dropped out, and Don Simmons (later AKA “Fossil”) answered Epiphany’s add for a bassist. After one rehearsal, the new quartet lineup solidified, although relations between Brock and longtime colleagues Terry and Reel became even more strained.

Finally, Scott Rodziczak agreed to give ChiaroscurO one last shot as a possible permanent gig. After a handful of rehearsals and lo-fi recordings, Epiphany had a solid, tight lineup, and Covert was moving forward as a vocalist and composer.

Jason, however, proposed a jam between he and Rodziczak and Covert and Simmons, whose playing Jason admired. Jason believed Matt, despite his newfound commitment, would lose interest as he had several times throughout his partnership with Covert. Covert reluctantly agreed to a test jam, which neither drummer could make, but which gave Covert a lengthy rehearsal of Brock’s material, actually playing beside Brock for the first time ever. This also introduced Brock to Fossil on a personal and creative level. Jason mentored Covert in his vocal and songwriting techniques, even as Terry, Reel, and Summer all, predictably, began to show further signs of musical ADD.

It was during this period of transition that the band was playing gigs on a semi-regular basis. There was a lot of activity on the part of Brock to continue ahead and write new material. Brock was also engaging in gallery art shows, writing competitions and doing a great deal of floundering about trying to comprehend the opposite sex.

Some exciting new directions came from all of this, though the band was considered somewhat atypical of the times, as their live shows were very Peter Gabriel-era Genesis (again, Spin Magazine’s rock critic Fred Mills, an early and enthusiastic proponent of the band) and Ziggy Stardust/Bowie inspired. Additionally, all of the musicians brought a multitude of differing styles/influences to bear: Progressive rock, Jazz, Classical, Noise, Pop-rock, vintage Punk– no sonic possibility was left untried…

_______________________________________

~Personnel~

ChiaroscurO/GRAFT (1989; 1991-1992):

(At differing times…)

Jason V Brock: guitars, synthesizer, vocals, recorder, percussion, FX, music, lyrics, demo production

Goblinfoot: lead vocals, music, lyrics, recorder, drums, percussion, synthesizer, electric autoharp, harmonica, FX

Scott “Flyman” Rodziczak: drums, percussion, synthesizer, vocals, FX, music

Don “Fossil” Simmons: bass, fretless bass, percussion, FX, music

Michael Lillard: drums, percussion, lyrics, music

Randy McMillan: bass guitar

Bill Buck: bass guitar

“Tone Deaf James”: saxophones, clarinet, harmonica, guitars, bad vibes

Brutus: bass

Other: numerous bassist/ keyboardist/ female vocalist auditions…

_________________________________________

GRAFT (1992-1994):

(At differing times…)

Jason V Brock: guitars, FX, vocals, percussion, recorder, synthesizer, drum machine, music, lyrics

Goblinfoot (as Zeo Epiphany): vocals, percussion, FX, lyrics, music

Rob: bass guitar

Scott Rodziczak: drums, percussion, music

Kerry: drums, percussion

Josef: keyboards, synthesizer, vocals

E-Curb Moschops: synthesizer

Brian Esposito: bass, FX, drum machine

_________________________________________

ChiaroscurO/GRAFT (1994-present, including soundtracks):

Jason V Brock: guitars, bass, FX, vocals, percussion, theramin, recorder, synthesizer, drum machine, music, lyrics, production

Others: as needed…

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