High Priest

.....

I do something at least once a day, usually just bomb here and there.. altho im really not into meeting other writers, so dissapointing.

It was good.. i wouldnt say it really got any part. point across, and i didnt leave the theatre feeling amped to go paint or anything of that sort. I did however sit thru almost the entire film with out leaving to pee.. so that in and of itself says something.

.....Yea

You know what's ridiculous... You keep buying them.

Oh, apprently i owe PFFFFT an apology, my bad - my hopes go out to you never getting shot, or anything of the sort.

I hope you get shot in the face. Seriously.

Fuckity suck blah blah blah.

Fuck yes, straight out of INDO. Awesome choice.

http://www.infamythemovie.com/

Go to a KKK gathering wearing a 2live crue shirt.

It's a drastic backlash against year's of white kid's sporting thug butt.

Fantastic.

Yea, i had a chinese finger trap when i was a kid too.

Fuck Motley Crue. They recorded One semi-decent album (Cant knock shout at the devil) and since then it's all been down hill And, it really reached an all time low when that shit piece Nikki Sixx sued Thrasher over use of his "Image" to boost magazine sell's. I hope they ( Nikki and Vince) have allergic reaction's to their hair plug's and forcibly expel their brains our thru any non plugged orifices. *sorry for grey hammer

A mod needs to turn this into a Christopher Walken appreciation thread.

Hey, let's be honest here - most of you would suck regardless if you were doing graffiti or street art (What's the distinct seperation there again?). The issue isnt so much that all street art sucks, or that the medium make's it any less worth while. It's an issue of pref. I see far more shitty handstyle's and poorly painted throw's and pieces all over LA then i do poster's or stencil's and id much rather have the people that lack can control putting up things that can be easily torn down or written over. *By the way, if you walk around deaming everything you do "art" you might as well get a bowl cut and start styling that shit to the side. *Sorry for typo's, Get butthurt.

WEBSITE: Here. Movie doesnt look half bad - But for anyone interested, here's the real story of what happened. *This article explain's what actually happened. From her birth on the 21st of September, 1952, Anneliese Michel enjoyed the life of a normal, religiously nurtured young girl. Without warning, her life changed on a day in 1968 when she began shaking and found she was unable to control her body. She could not call out for her parents, Josef and Anna, or any of her 3 sisters. A neurologist at the Psychiatric Clinic Wurzburg diagnosed her with "Grand Mal" epilepsy. Because of the strength of the epileptic fits, and the severity of the depression that followed, Anneliese was admitted for treatment at the hospital. Soon after the attacks began, Anneliese started seeing devilish grimaces during her daily praying. It was the fall of 1970, and while the young people of the world were enjoying the liberal freedoms of the time, Anneliese was battling with the belief that she was possessed. It seemed there was no other explanation for the appearance of devilish visions during her prayers. Voices also began following her, saying Anneliese will "stew in hell". She mentioned the "demons" to the doctors only once, explaining that they have started to give her orders. The doctors seem unable to help, and Anneliese lost hope that medicine was going to be able to cure her. In the summer of 1973, her parents visited different pastors to request an exorcism. Their requests were rejected and they were given recommendations that the now 20 year old Anneliese should continue with medication and treatment. It was explained that the process by which the Church proves a possession (Infestatio) is strictly defined, and until all the criterium is met, a Bishop can not approve an exorcism. The requirements, to name a few, include an aversion to religious objects, speaking in a language the person has never learned, and supernatural powers. In 1974, after supervising Anneliese for some time, Pastor Ernst Alt requested a permit to perform the exorcism from the Bishop of Wurzburg. The request was rejected, and a recommendation soon followed saying that Anneliese should live even more of a religious lifestyle in order to find peace. The attacks did not diminish, and her behavior become more irratic. At her parents house in Klingenberg, she insulted, beat, and began biting the other members of her family. She refused to eat because the demons would not allow it. Anneliese slept on the stone floor, ate spiders, flies, and coal, and even began drinking her own urine. She could be heard screaming throughout the house for hours while breaking crucifixes, destroying paintings of Jesus, and pulling apart rosaries. Anneliese began committing acts of self-mutilation at this time, and the act of tearing off her clothes and urinating on the floor became commonplace. After making an exact verification of the possession in September 1975, the Bishop of Wurzburg, Josef Stangl, assigned Father Arnold Renz and Pastor Ernst Alt with the order to perform "The Great Exorcism" on Anneliese Michel. The basis for this ritual was the "Rituale Romanum", which was still, at the time, a valid Cannon Law from the 17th century. It was determined that Anneliese must be saved from the possession by several demons, including Lucifer, Judas Iscariot, Nero, Cain, Hitler, and Fleischmann, a disgraced Frankish Priest from the 16th century, and some other damned souls which had manifested through her. From September '75 until July '76, one or two exorcism sessions were held each week. Anneliese's attacks were sometimes so strong that she would have to be held down by 3 men, or even chained up. During this time, Anneliese found her life somewhat return to normal as she could again go to school, take final examinations at the Pedagogic Academy in Wurzburg, and go to church. The attacks, however, did not stop. In fact, she would more often find herself paralyzed and falling unconscious than before. The exorcism continued over many months, always with the same prayers and incantations. Sometimes family members and visitors, like one married couple that claims to have "discovered" Anneliese, would be present during the rituals. For several weeks, Anneliese denied all food. Her knees ruptured due to the 600 genuflections she performed obsessively during the daily exorcism. Over 40 audio tapes record the process, in order to preserve the details. The last day of the Exorcism Rite was on June 30th, 1976, and Anneliese was suffering at this point from Pneumonia. She was also totally emaciated, and running a high fever. Exhausted and unable to physically perform the genuflections herself, her parents stood in and helped carry her through the motions. "Beg for Absolution" is the last statement Anneliese made to the exorcists. To her mother, she said, "Mother, I'm afraid." Anna Michel recorded the death of her daughter on the following day, July 1st, 1976, and at noon, Pastor Ernst Alt informed the authorities in Aschaffenburg. The senior prosecutor began investigating immediately. A short time before these final events unfolded, William Friedkin's "The Exorcist" (1974) came to the cinemas in Germany, bringing with it a wave of paranormal hysteria that flooded the nation. Psychiatrists all over Europe reported an increase of obsessive ideas among their patients. Prosecutors took more than 2 years to to take Annaliese's case to court, using that time to sort through the bizarre facts. Anneliese's parents and the two exorcists were accused of negligent homocide. The "Klingenberg Case" would be decided upon two questions: What caused the death of Anneliese Michel, and who was responsible? According the forensic evidence, "Anneliese starved to death". Specialists claimed that if the accused would have begun with forced feeding one week before her death, Anneliese's life would have been saved. One sister told the court that Anneliese did not want to go to a mental home where she would be sedated and forced to eat. The exorcists tried to prove the presence of the demons, playing taped recordings of strange dialogues like that of two demons arguing about which one of them would have to leave Anneliese's body first. One of the demons called himself Hitler, and spoke with a Frankish accent (Hitler was born in Austria). Not one of those present during the exorcism ever had a doubt about the authenticity of the presence of these demons. The psychiatrists, whom had been ordered to testify by the court, spoke about the "Doctrinaire Induction". They said that the priests had provided Anneliese with the contents of her psychotic behavior. Consequentially, they claimed, she later accepted her behavior as a form of demonic possession. They also offered that Anneliese's unsettled sexual development, along with her diagnosed Temporal Lobe Epilepsy, had influenced the psychosis. The verdict was considered by many as not as harsh as they expected. Anneliese's parents, as well as the exorcists, were found guilty of manslaughter resulting from negligence and omitting first aid. They were sentenced to 6 months in jail and probation. The verdict included the opinion of the court that the accused should have helped by taking care of the medical treatment that the girl needed, but instead, their use of naive practices aggrivated Anneliese's already poor constitution. A commission of the German Bishop-Conference later declared that Anneliese Michel was not possessed, however, this did not keep believers from supporting her struggles, and it was because so many believed in her that Anneliese's body did not find peace with death. Her corpse was exhumed eleven and a half years after her burial, only to confirm that it had decayed as would have been expected under normal circumstances. Today, her grave remains a place of pilgrimage for rosary-praying and for those who believe that Anneliese Michel bravely fought the devil. In 1999, Cardinal Medina Estevez presented journalists in Vatican-City the new version of the "Rituale Romanum" that has been used by the Catholic Church since 1614. The updates came after more than 10 years of editing and is called "De exorcismis et supplicationibus quibusdam" otherwise known as "The exorcism for the upcoming millennium". The Pope approbated the new Exorcism Rite, which is now allowed for worldwide use. This new form of exorcism came after the German Bishop-Conference demanded to ultimately abolish the "Rituale Romun". It also came more than 20 years after Anneliese Michel had died.

I dont have a bank account. Rock on.

I'll finish the rest later when i have some time.

Mixed Up (1990) Stephen Thomas Erlewine, All Music Guide An assortment of remixes, re-recordings, old singles, and one new song ("Never Enough"). Most of the remixes are quite radical, leaving only the bare bones of the original song. There are enough oddities and rare tracks on Mixed Up to make it necessary for Cure fans, but it's too specialized for casual listeners.

The Cure -Bio Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, the Cure was one of the most enduring and popular. Led through numerous incarnations by guitarist/vocalist Robert Smith (born April 21, 1959), the band became notorious for their slow, gloomy dirges and Smith's ghoulish appearance. But the public image often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs and they slowly evolved into a more textured outfit. As one of the bands that laid the seeds for goth rock, the group created towering layers of guitars and synthesizers, but by the time goth caught on in the mid-'80s, the Cure had moved away from the genre. By the end of the '80s, the Cure had crossed over into the mainstream not only in their native England, but also in the United States and in various parts of Europe. Originally called the Easy Cure, the band was formed in 1976 by schoolmates Robert Smith (vocals, guitar), Michael Dempsey (bass), and Laurence "Lol" Tolhurst (drums). Initially, the group was playing dark, nervy guitar pop with pseudo-literary lyrics, as evidenced by the Albert Camus-inspired "Killing an Arab." A demo tape, featuring "Killing an Arab," arrived in the hands of Chris Parry, an A&R representative at Polydor Records; by the time he received the tape, the band's name had been truncated to the Cure. Parry was impressed with the song and arranged for its release on the independent label Small Wonder in December 1978. Early in 1979, Parry left Polydor to form his own record label, Fiction, and the Cure was one of the first bands he signed to the label. "Killing an Arab" was re-released in February of 1979, and the Cure set out on their first tour of England. The Cure's debut album, Three Imaginary Boys, was released in May 1979 to good reviews in the British music press. Later that year, the group released the non-LP singles "Boys Don't Cry" and "Jumping Someone Else's Train." That same year, the Cure embarked on a major tour with Siouxsie & the Banshees. During the tour, the Banshees' guitarist, John McKay, left the group and Robert Smith stepped in for the missing musician; for the next decade or so, Smith would frequently collaborate with members of the Banshees. At the end of 1979, the Cure released a single, "I'm a Cult Hero," under the name the Cult Heroes. Following the release of the single, Dempsey left the band to join the Associates. Dempsey was replaced by Simon Gallup at the beginning of 1980. At the same time, the Cure added a keyboardist, Matthieu Hartley, to their lineup. The band's second album, Seventeen Seconds, was released in the spring of 1980. The addition of a keyboardist expanded the group's sound; it was now more experimental, and frequently they would immerse themselves in slow, gloomy dirges. Nevertheless, the band still wrote pop hooks, as demonstrated by the group's first U.K. hit single, "A Forest," which peaked at number 31. After the release of Seventeen Seconds, the Cure began their first world tour. Following the Australian leg of the tour, Matthieu Hartley left the band and the group chose to continue without him. In 1981, they released their third album, Faith, which peaked at number 14 in the charts and spawned the minor hit single "Primary." The Cure's fourth album, the doom-laden, introspective Pornography, was released in 1982. Pornography expanded their cult audience even further and it cracked the U.K. Top Ten. After the Pornography tour was completed, Simon Gallup quit the band and Lol Tolhurst moved from drums to keyboards. At the end of 1982, the Cure released a new single, the dance-tinged "Let's Go to Bed." Robert Smith devoted most of the beginning of 1983 to Siouxsie & the Banshees, recording the Hyaena album with the group and appearing as the band's guitarist on the album's accompanying tour. Smith also formed a band with Banshees bassist Steve Severin called the Glove that same year. The Glove released their only album, Blue Sunshine, later in 1983. By the late summer of 1983, a new version of the Cure -- featuring Smith, Tolhurst, drummer Andy Anderson, and bassist Phil Thornalley -- was assembled and they recorded a new single, the jaunty "The Lovecats." The song was released in the fall of 1983 and became the group's biggest hit to date, peaking at number seven on the U.K. charts. The new lineup of the Cure released The Top in 1984. Despite the pop leanings the number 14 hit "The Caterpillar," The Top was a return to the bleak soundscapes of Pornography. During the world tour supporting The Top, Anderson was fired from the band. In early 1985, following the completion of the tour, Thornalley left the band. The Cure revamped their lineup after his departure, adding drummer Boris Williams, guitarist Porl Thompson, and bassist Simon Gallup. Later in 1985, the Cure released their sixth album, The Head on the Door. The album was the most concise and pop-oriented record the group had ever released, which helped send it into the U.K. Top Ten and to number 59 in the U.S., the first time the band had broken the American Hot 100. "In Between Days" and "Close to Me" -- both pulled from The Head on the Door -- became sizable U.K. hits, as well as popular underground and college radio hits in the U.S. The Cure followed the breakthrough success of The Head on the Door in 1986 with the compilation Standing on a Beach: The Singles. Standing on a Beach reached number four in the U.K., but more importantly it established the band as a major cult act in the U.S.; the album peaked at number 48 and went gold within a year. In short, Standing on a Beach set the stage for 1987's double album Kiss Me, Kiss Me, Kiss Me. The album was eclectic but it was a hit, spawning four hit singles in the U.K. ("Why Can't I Be You," "Catch," "Just Like Heaven," "Hot Hot Hot!!!") and the group's first American Top 40 hit, "Just Like Heaven." Following the supporting tour for Kiss Me, Kiss Me, Kiss Me, the Cure's activity slowed to a halt. Before the Cure began working on their new album in early 1988, the band fired Lol Tolhurst, claiming that relations between him and the rest of the band had been irrevocably damaged. Tolhurst would soon file a lawsuit, claiming that his role in the band was greater than stated in his contract and, consequently, he deserved more money. In the meantime, the Cure replaced Tolhurst with former Psychedelic Furs keyboardist Roger O'Donnell and recorded their eighth album, Disintegration. Released in the spring of 1989, the album was more melancholy than its predecessor, but it was an immediate hit, reaching number three in the U.K. and number 14 in the U.S., and spawning a series of hit singles. "Lullaby" became the group's biggest British hit in the spring of 1989, peaking at number five. In the late summer, the band had their biggest American hit with "Lovesong," which climbed to number two. On the Disintegration tour, the Cure began playing stadiums across the U.S. and the U.K. In the fall of 1990, the Cure released Mixed Up, a collection of remixes featuring a new single, "Never Enough." Following the Disintegration tour, Roger O'Donnell left the band and the Cure replaced him with their roadie, Perry Bamonte. In the spring of 1992, the band released Wish. Like Disintegration, Wish was an immediate hit, entering the British charts at number one and the American charts at number two, as well as launching the hit singles "High" and "Friday I'm in Love." The Cure embarked on another international tour after the release of Wish. One concert, performed in Detroit, was documented on a film called Show and on two albums, Show and Paris. The movie and the albums were released in 1993. Porl Thompson left the band in 1993 to join Jimmy Page and Robert Plant's band. After his departure, Roger O'Donnell rejoined the band as a keyboardist, and Perry Bamonte switched from synthesizers to guitars. During most of 1993 and early 1994, the Cure was sidelined by the then-ongoing lawsuit from Lol Tolhurst. Following the settlement in the band's favor in the fall of 1994, the group was set to record a follow-up album to Wish, but drummer Boris Williams quit just as they were about to begin the record. The Cure recruited a new drummer through advertisements in the British music papers; by the spring of 1995, Jason Cooper had replaced Williams. Throughout 1995, the Cure recorded their tenth proper studio album, pausing to perform a handful of European musical festivals in the summer. The album, titled Wild Mood Swings, was finally released in the spring of 1996. A second singles collection, 1997's Galore, yielded the new "Wrong Number," and the original album Bloodflowers followed in early 2000. An all-encompassing Cure retrospective entitled Greatest Hits, which included two brand new songs, was issued in fall 2001. The band returned with another original album, self-titled, released in 2004. ~ Stephen Thomas Erlewine, All Music Guide. Official Disco: The Cure (2004) For a long time, maybe 15 years or so, Robert Smith rumbled about the Cure's imminent retirement whenever the band had a new album ready for release. Invariably, Smith said the particular album served as a fitting epitaph, and it was now time for him to bring the Cure to an end and pursue something else, maybe a solo career, maybe a new band, maybe nothing else. This claim carried some weight when it was supporting a monumental exercise in dread, like Disintegration or Bloodflowers, but when applied to Wild Mood Swings, it seemed like no more than an empty threat, so fans played along with the game until Smith grew tired of it, abandoning it upon the 2004 release of his band's eponymous 13th album. Instead of being a minor shift in marketing, scrapping his promise to disband the Cure is a fairly significant development since it signals that Smith is comfortable being in the band, perhaps for the first time in his life. This sense of peace carries over into the modest and modestly titled The Cure, which contains the most comfortable music in the band's canon -- which is hardly the same thing as happy music, even if this glistens in contrast to the deliberate goth classicism of Bloodflowers. Where that record played as a self-conscious effort to recreate the band's gloomy heyday, this album is the sound of a band relaxing, relying on instinct to make music. The Cure was recorded and released quickly -- the liner notes state it was recorded in the spring of 2004, and it was released weeks later, at the end of June -- and while it never sounds hurried, it never seems carefully considered either, since it lacks either a thematic or musical unity that usually distinguish the band's records. It falls somewhere between these two extremes, offering both towering minor-key epics like the closing "The Promise" and light pop like "The End of the World." It's considerably more colorful than its monochromatic predecessor, and the rapid recording gives the album a warmth that's pleasing, even if it inadvertently emphasizes the familiarity of the material. Which is ultimately the record's Achilles' heel: the Cure have become journeymen, for better and worse, turning out well-crafted music that's easy to enjoy yet not all that compelling either. It's not a fatal flaw, since the album is a satisfying listen and there's also a certain charm in hearing a Cure that's so comfortable in its own skin, but it's the kind of record that sits on the shelves of die-hard fans, only occasionally making its way to the stereo. Bloodflowers (2000) The Cure edged into new territory with Wild Mood Swings, but nevertheless drew scorn from certain quarters because it eschewed goth rock for pop, both pure and twisted. For 2000's Bloodflowers, Robert Smith decided to give the people what they wanted: a classic Cure album, billed as the third part of a trilogy begun with Pornography and continued with Disintegration. That turns out to be more or less true, since Bloodflowers boasts all of the Cure's signatures: stately tempos, languid melodies, spacious arrangements, cavernous echoes, morose lyrics, keening vocals, long running times. If that's all you're looking for, Bloodflowers delivers in spades. If you want something transcendent, you're out of luck, since the album falls short of the mark, largely because it sounds too self-conscious. As one song segues into the next, it feels like Smith is striving to make a classic Cure record, putting all the sounds in place before he constructs the actual songs. That makes for a good listening experience, especially for fans of Disintegration, but it never catches hold the way that record did, for two simple reasons: there isn't enough variation between the songs for them to distinguish themselves, nor are there are enough sonic details to give individual tracks character. While Disintegration had goth monoliths, it also had pristine pop gems and elegant neo-psychedelia; with a couple of exceptions, the songs on Bloodflowers all feel like cousins of "Pictures of You." The album is certainly well made, and even enjoyable; however, its achievement is a bit hollow, since it never seems like Smith is pushing himself or the band. Nobody else can come close to capturing the Cure's graceful gloom, but it's hard to shake the suspicion that Bloodflowers could have been something grand if he had shaken up the formula slightly. Wild Mood Swings (1996) After the relatively straightforward pop of Wish, the Cure moved back toward stranger, edgier territory with Wild Mood Swings. Actually, that's only part of the truth. As the title suggests, there's a vast array of textures and emotions on Wild Mood Swings, from the woozy mariachi lounge horns of "The 13th" to the perfect pop of "Mint Car" and the monolithic dirge of "Want." In between the extremes, Robert Smith and the Cure -- which now feature a radically reworked lineup, with several key players from Wish now missing -- explore some simpler territory, from contemplative acoustic numbers tinged with strings to swooning neo-psychedelia. But what ties it all together is conviction -- Smith sounds more content than he ever has, but he sings with more passion than he has for a number of years. Of course, the Cure haven't significantly changed their sound -- tinny synthesizers and guitar effects that haven't appeared on an album since 1988 are in abundance throughout the record -- but the variety of sounds and strength of performance offers enough surprises to make Wild Mood Swings more than just another Cure record. Wish (1992) Stephen Thomas Erlewine, All Music Guide On the surface, Wish sounds happier than Disintegration, and the sunny British Invasion hooks of the hit single "Friday I'm in Love" certainly seem to indicate that the record is a brighter affair than its predecessor. Dig a little deeper and the album reveals itself to be just as tortured, and perhaps more despairing. Granted, the sound of the record, with its jangling guitars and simple arrangements, is more immediately accessible than the epic gloom of Disintegration, but nearly every song finds Robert Smith wracked with depression. Unfortunately, the even-handed production makes the record sound very similar, so it is less compelling than it might have been, but there are a handful of gems ("High," "A Letter to Elise," "Wendy Time," "Friday I'm in Love") that make the record worthwhile.

It's from the DVD "LOST REALITY", on a segment called the amazing racist. Get over it, this shit was weak.