universalmonstersblog:

Jack Pierce doing Boris Karloff’s makeup for The Black Cat (1934).

iconoclassic:

whatnaomiloves: (via LOOK - Tales from the Ballet - illustrated by Alice & Martin Provensen - Home - Where the Lovely Things Are)

horrorfixxx:

The Texas Chain Saw Massacre is an anomaly. It’s the only film I can think of that I’d rather see on VHS than blu-ray — I have it on both — and it’s one of the only ones that can show you absolutely nothing and make you think you’ve witnessed a bloodbath. It’s a fascinating exercise in sleight of hand, where a nearly-non-existent budget is used to maximum effect to create a veritable tour de force of horror out of thin air. It’s atypical in every way, but it works.

One of Chain Saw’s greatest successes, of which there are unquestionably many, is its use of sound. It has no real “score” to speak of, and certainly no licensed pop tunes; the film rests, instead, on a set of bizarre audio stings. They’re almost impossible to describe, but you’ll know them if you’ve heard them. And you can hear some of them here if you haven’t.

That screeching sound, whatever it is, always sends chills down my spine. To me, it’s the most effective bit of scoring in horror history. Better than Carpenter’s Halloween theme, better than Manfredini’s paranoia-inducing Ka! Ka! Ka!, better than the absolutely haunting theme from Suspiria — better, even, than Tubular Bells, horror’s finest musical moment. It beats them all, hands down, because of its uniqueness and, moreover, its effectiveness. There’s something so terrifying, so utterly otherworldly, about the hellish squeals that open Chain Saw and blare, just often enough, throughout its duration, that it feels foolish to give this to any other film.

yourmothershouldknow:

Burberry Prorsum Primavera/Verano 2013

Semana de la Moda de Londres

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Burberry Prorsum Spring/Summer 2013

London Fashion Week