From Mulholland Drive:
RIP, Rebekah Del Rio.
From Mulholland Drive:
RIP, Rebekah Del Rio.

It’s been 23 years since the world was introduced to Danny Boyle’s genre-defining horror film 28 Days Later. The film helped reinvigorate the zombie horror genre by introducing the so-called “fast zombies” to the horror lexicon.
It was a divisive change of pace, so to speak, within the zombie genre fandom. Some welcomed the change since it brought a new type of energy to what had become a stale, oft-ridiculed zombie film trope of the slow, shambling undead. The purists saw it as separate from the rules introduced by the zombie subgenre’s godfather, George A. Romero, with his Living Dead films. Yet, it doesn’t matter which side of the debate someone was on (something even I have fallen into spending way too much time with) there was no denying the fact that Boyle made a great horror film…no, let me correct that. He made a great film.
This was followed 5 years later by 28 Weeks Later (minus the involvement of the first film’s director and screenwriter, Danny Boyle and Alex Garland) with Spanish filmmaker Juan Carlos Fresnadillo. While not on the same level as the first film, it did add something new to the world created with the first film. It even had a mid-credit sequence that gave a hint as to how the series could move forward.
The latest “Song of the Day” comes courtesy of the series film composer John Murphy. He did the soundtrack for the the first film and the sequel. The song I picked was used in the first film, but took center stage in the sequel. The piece of music is the track titled “In the House – In a Heartbeat” that becomes the main theme for 28 Weeks Later.
For today’s song of the day, we celebrate the birthday of Lucio Fulci with Fabio Frizzi’s main theme from 1979’s Zombi 2. If you’ve ever seen the film, it’s impossible to hear this piece of music without imagining hundreds of zombies walking across the Brooklyn Bridge.
For this Father’s Day, I’m dedicating today’s song of the day to my father. I miss you, Dad.
He was a hard-headed man
He was brutally handsome, and she was terminally pretty
She held him up, and he held her for ransom in the heart
of the cold, cold city
He had a nasty reputation as a cruel dude
They said he was ruthless, they said he was crude
They had one thing in common, they were good in bed
She’d say, ‘Faster, faster. The lights are turnin’ red.”
Life in the fast lane
Surely make you lose your mind, mm
Are you with me so far?
Eager for action and hot for the game
The coming attraction, the drop of a name
They knew all the right people, they took
all the right pills
They threw outrageous parties, they paid heavenly bills
There were lines on the mirror, lines on her face
She pretended not to notice, she was caught up
in the race
Out every evening, until it was light
He was too tired to make it, she was too tired
to fight about it
Life in the fast lane
Surely make you lose your mind
Life in the fast lane, everything all the time
Life in the fast lane, uh huh
Blowin’ and burnin’, blinded by thirst
They didn’t see the stop sign,
took a turn for the worse
She said, “Listen, baby. You can hear the engine
ring. We’ve been up and down this highway;
haven’t seen a goddam thing.”
He said, “Call the doctor. I think I’m gonna crash.”
“The doctor say he’s comin’, but you gotta pay him cash.”
They went rushin’ down that freeway,
messed around and got lost
They didn’t know they were just dyin’ to get off
And it was life in the fast lane
Life in the fast lane
Songwriters: Joseph Fidler Walsh / Glenn Lewis Frey / Donald Hugh Henley
Our song of the day is my favorite of Blondie song (and, believe me, there were many to choose from), Atomic! This song, which was subsequently covered for Trainspotting by Sleeper, is one that I often find myself not only quoting but also hearing in my head.
Seeing as how today is Malcolm McDowell’s birthday, it only seems right that today’s song of the day should be one that was used in his best-known film.
The Title Music For A Clockwork Orange was, of course, adapted from Music For The Funeral of Queen Mary, composed by Henry Purcell.
RIP, Douglas McCarthy.
RIP, Brian Wilson.
I may not always love you
But long as there are stars above you
You never need to doubt it
I’ll make you so sure about it
God only knows what I’d be without you
If you should ever leave me
Though life would still go on believe me
The world could show nothing to me
So what good would living do me
God only knows what I’d be without you
God only knows what I’d be without you
If you should ever leave me
Well life would still go on believe me
The world could show nothing to me
So what good would living do me
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
God only knows what I’d be without you
God only knows
God only knows what I’d be without you
Lyrics: Brian Wilson/Troy Asher
I’ve been searching YouTube for a good Andrew Stevens scene for about 90 minutes now. Unfortunately, I haven’t been able to find the one that I’m looking for.
However, I did find this one of Andrew Stevens singing in the 70s!
Here is Andrew Stevens with our song of the day, Helpless In Love.