The Blue Dahlia (1. Returning home after WWII, a GI (Alan Ladd) and his two buddies (William Bendix, Hugh Beaumont) get mixed up in some nefarious business.

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Alan Ladd plays Johnny Morrison, who's come home to an alcholic, two- timing wife that shows interest only in drinking, partying and her nightclub owner boyfriend Eddie. When she reveals to Johnny that it was her drunk driving that was responsible for their son's death, he leaves her to never come back. The next morning, she's found dead, and a manhunt for Johnny ensues. But who murdered his wife?

The Black Dahlia was a film that I was really looking forward to seeing. Upon its release, I saw it, and was very, very disappointed in what I saw. Trevor Noah and The Best F#@king News Team tackle the biggest stories in news, politics and pop culture. Eclectic 24 KCRW's all-music channel Eclectic24, blending the collected talents and tastes of KCRW's DJs into a single voice. Free music streaming 24/7 at KCRW.com.

Was it Eddie, the man with the dark past back east, or perhaps it was even his army buddy Buzz (Bendix), whose war wound causes him to lose his mind everytime he hears loud music? And where does Eddie's wife (Veronica Lake) fit into all this? Is she a co- conspirator or is her meeting with Johnny just a coincidence? With it's tough guy lead, bizarre affectations and lurid situations, The Blue Dahlia is just about as pulpy as it gets. The William Bendix character is quite memorable, but I feel like the Eddie Harwood character is the most understated of the lot.

He's clearly meant to be the bad guy of the film, but he's one of the least violent characters of the lot. He also seems to have gotten in over his head with the events surrounding him, and he's clearly trying to wrestle loose of them. In fact, this might be one of the only noire films where the true villain of the picture was the victim herself. The wife (Doris Dowling) is a truly unrepentant figure, even going so far as to laugh in her husband's face as she decribes the death of their son. Showtime Full Step Up All In Online Free.

The conclusion of the film and the actual reveal of the killer are a little unsatisfying for my taste, but let's not quibble over the destination when the journey was so much fun.

THE BLACK DAHLIA MURDER Nightbringers. Trevor Strnad might just be the happiest death metal dude in America - at least if you catch him on tour. As a founding member and perennial mouthpiece for long- running Michigan- based melodic death metal outfit The Black Dahlia Murder, the jocular, bespectacled Strnad often finds himself in front of screaming hordes of metal fans, punishing his vocal chords and howling out bloody tales of gore and grievous bodily harm. His lyrics - culled from a lifetime worshipping old- school horror movies and classic death metal - drip with entrails and grave mold, as his bandmates (founding guitarist Brian Eschbach, bassist Max Lavelle, drummer Alan Cassidy, and newly- recruited shredder Brandon Ellis) slice and dice their way through the band's complex, bludgeoning compositions. It's a sweaty, visceral vision of controlled chaos - and as the band's legions of fans already know (and Strnad's own perpetual grin makes clear), he loves every second of it.

He and the rest of the band have quite a lot to be happy about. Their new album, Nightbringers, has smashed the band's previous sales records and made massive waves online thanks to a powerful response from their devoted fans.

The Obituarist, Strnad's underground metal column for Metal Injection, is chugging right along, racking up about 1. Strnad is rightfully delighted about - "That's insane for some of these demo- level bands!") and providing him with a platform to tirelessly advocate for the obscure and oddball bands he loves to hunt down in his scant free time. When I crossed paths with him last month, he'd just come off a music industry panel with Metal Blade's own head honcho Brian Slagel at Brooklyn's Rough Trade. The Black Dahlia Murder are about to hit the road on yet another headlining tour, supported by one of Strnad's own picks, Bay Area death fiends Necrot. There's a lot going on in Strnad's world right now, and his band seems to have hit yet another creative peak sixteen years into their bloodthirsty existence.

All things considered, he's not doing too bad for a weird kid from Michigan who describes himself as "an alien."I wanted to pick his brain a little bit, and was pleased to have an opportunity to grill him on the darkness that lies beneath that big ol' grin. With the sound of a New York City night providing our soundtrack, Strnad and I sat down with a couple of drinks, and dug in. Q: I can't imagine that there are any questions you haven't been asked at this point!

How do you feel about doing all these interviews and press stuff around the new album? TREVOR: And getting the enthusiasm to say something for the ten thousandth time? Laughs] Right now, I'm so pumped on all this press, actually, with the excitement for the record, the pre- orders doing this record- breaking thing - it's blowing my mind, so I'm going so hard in that direction, taking everything I can, filling up my schedule at home. I'll do interviews from noon to 9pm sometimes, just bulldozing them, and I'm thankful for each one right now, trying to spread the word and maximize on whatever this is - it's exciting! Those are basically day job hours.

How long has BDM been your main gig? It's insane to call it a job, even after this time; I feel so criminal calling it a job, because it's just the really awesome thing I get to do, is how I look at it. Since around Nocturnal, the third record, that was a big jump for us in terms of a lot of things; we got on Summer Slaughter when it was brand new, and huge, we were at the top of Vader, Katakylsm, Psycroptic, just a whole crop of death metal bands, and that was so exciting for us. I think that's a lot of people's first BDM record; if it wasn't Unhallowed, it was Nocturnal. It was a big time, there was a lot of press, and it definitely led us here, for sure.

Something that caught my eye in the promo text for the new album was how you said that, when you were writing the lyrics, you were pushing yourself to find the desired level of horror and violence to the extent that you actually rewrote a few songs to make them even more brutal. What's the impetus behind that - why do you work so hard to find that darkness? Well, to me, what I like about [death metal] is the gore, violence, macabre, and horror elements, and really, our most successful songs lyrically, that the fans have latched onto the most, are the most heinous ones - necrophilia, love that transcends death, that sort of thing.

And I do mostly classic, traditional topics - 'Help, I'm stuck in a grave and can't get out!,' that was "Funeral Thirst." That's been done a million times, but I love tradition in metal; I love representing to someone new hopefully what I like about it, what still draws me in. For me, it was all about the shock value of Cannibal Corpse and Broken Hope that really stirred my death metal pot in the beginning; Suffocation was my first band, but there was something about Cannibal Corpse, in the three- minute story- song of a Tales from the Crypt style horror story, a one- off episode, that really affected me. So I try to do that in a different way; I try to talk about the psychology of the character and their motives, and make you feel for the character, but I love the classic stuff.

I have to stay the course in that way; I feel a responsibility. And now your band has become a lot of other young people's Cannibal Corpse. Thats super heavy to think about it that way, because I love them so much, but it's a huge compliment! We've gotten older, obviously; we used to be sold as a young band, you know - 'Look at these kids playing this crazy fast music!' - so now, there's kids in the crowd half my age or less sometimes, who talk to me like I'm an old wizard. It's different! But we've grown up on the road, basically, playing 2. By now, I've just accepted that pace, it's just a part of us, to be like go- go- go! I know when we're going to record the next six albums; it's the same time every year and a half, two years, like clockwork.

Coming into the internet era, and acknowledging how music became disposable to people, compared to the collector's era, and when that door opened, everyone had too much of a good thing, like a kid with ketchup, just piling it on - you realize how oversaturated things are, especially now that you can make things at home with Pro. Tools. So many bands exist right now. You could never meet the members of your band in person; you could do it over the web, and that enabled us to have Brandon, who lives out here; we have guys all over the place now, we have a bass player in Boston, and the other three are Michiganders. I remember not even dreaming, like 'How could you have a band where the members live across the nation?' but so many bands do that now, with Pro. Tools demos, text message groups, taking responsibility for your own craft - you have to upkeep it on your own, because we don't practice weekly like a normal band anymore.

Do you guys feel more pressure individually now as musicians? Yeah, for sure. We want to show up and be on the level. We'll play for a few days before we leave for a tour, we get together in Michigan, hash it out; everybody comes ready. The drummer has a huge responsibility with upkeep; it's Olympic to do what death metal drummers are doing. So Alan, our drummer, is at the practice space all the time. I go there so little now because of this [arrangement], I don't remember the door code to get in [laughs]. You mentioned Brandon, who lives out here on the East Coast; how did you guys find him after Ryan Knight left?

So Ryan Knight, our lead player was stepping down amicably; he told us a year and a half in advance, just to be the most bro possible and help us segue. That was so huge and so nice of him, and we were like, 'This is on you, man. Watch Quadrille Online Free 2016. Who do you think is the guy?' and he's like, 'Well, Brandon's my number one.' They're very much cut from that same cloth of appreciating virtuoso guitar playing, tons of vibrato, 8.