{"id":1010,"date":"2021-10-19T14:13:37","date_gmt":"2021-10-19T14:13:37","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2021-10-18-staff-pix-1019\/"},"modified":"2021-10-19T14:13:37","modified_gmt":"2021-10-19T14:13:37","slug":"2021-10-18-staff-pix-1019","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2021-10-18-staff-pix-1019\/","title":{"rendered":"Staff Pix 10\/19"},"content":{"rendered":"
\n

The Milk Crate staff\u2019s favorite tracks of the week, presented with blurbs worthy of a promotional sticker on a jewel case. Tune in Tuesdays from 1-2 EST to the Staff Pix radio show.<\/p>\n<\/div>\n

\n

Will Ingman <\/strong><\/h1>\n

Bella Lugosi\u2019s Dead by Bauhaus<\/em><\/h2>\n

Rock critic Alexis Petridis said it best in a listicle for The Guardian: On August 6th, 1979, Bauhaus invented goth. One year before the inimitable Siouxsie Sioux would shift her band straight into black-eyeliner territory, English post-punks Bauhaus would accidentally-on-purpose invent gothic rock with their nine-minute discordant eulogy for Hungarian horror icon Bela Lugosi. Recorded during the band\u2019s first-ever studio session, \u201cBela Lugosi\u2019s Dead\u201d would set the standard for future gothic rock in both sound and appearance.<\/p>\n<\/div>\n

\n

Sara O\u2019Connell<\/strong><\/h1>\n

Helena by Misfits <\/em><\/h2>\n

The undisputed kings of Halloween, this track details the lengths that Michale Graves would go to show how much he loves his partner. Inspired by the 1993 mystery thriller-horror, Boxing Helena, <\/em>where an obsessive doctor cuts the limbs off the woman he\u2019s in love with. While the movie itself isn\u2019t very good, this song is! The song is structured in a way that tells a complex story with emotion and a heavy sound. This is a spooky track to get in touch with your inner ghoul.<\/p>\n<\/div>\n

\n

Karenna Umscheid<\/strong><\/h1>\n

Crystal by Stevie Nicks<\/em><\/h2>\n

From the seminal witchy classic that is Practical Magic, <\/em>Stevie Nicks\u2019 sweet ballad is a Halloween song for the more spiritual. She sings of a divine connection, magic in an ageless love, the safety and fear in flooding. It\u2019s perfect for cuffing season, a track to walk through the Boston Common to as the leaves fall. Halloween isn\u2019t always zany and scary, it can also be a time of solace for those who veer outside the mainstream. Crystal <\/em>is a lullaby for the witches, a shot of comfort for the innate devilish natures that emerge in October.<\/p>\n<\/div>\n

\n

Nia Tucker<\/strong><\/h1>\n

Jennifer\u2019s Body by Hole <\/em><\/h2>\n

A story of a dismembering and kidnapping, Courtney Love wrote this song allegedly in the bar after finding out that Kurt Cobain was cheating on her. What results is a track that is as hasty and distressed as you can imagine Courtney would be in the moment, and a haunting comparison to a woman discarded by someone she loved. <\/p>\n<\/div>\n

\n

Kyle Woolery<\/strong><\/h1>\n

Freak Like Me by Sugababes<\/em><\/h2>\n

\u201cFreak Like Me,\u201d the debut single from the second Sugababes lineup, is an unlikely yet totally fitting mashup of Adina Howard\u2019s smooth, sultry R&B classic \u201cFreak Like Me\u201d and Gary Numan\u2019s synthpop opus \u201cAre \u2018Friends\u2019 Electric?\u201d Lyrically, the song speaks about being a \u201cfreak\u201d in a sexual sense, but the dark, throbbing production evokes imagery of a more sinister <\/em>kind of freak\u2014a sentiment that is also echoed by the music video, where the Sugababes portray vampires warding off sleazy men in a seedy nightclub with their supernatural powers. An anthem for all the freaks (regardless of how to choose to interpret that word in the context of the song), \u201cFreak Like Me\u201d is the perfect addition to any Halloween party playlist. This is<\/em>, after all, the night when all the freaks come out to play.<\/p>\n<\/div>\n

\n

Izzy Desmarais<\/strong><\/h1>\n

Sally\u2019s Song by Danny Elfman, performed by Catherine O\u2019Hara <\/em><\/h2>\n

I recently watched The Nightmare Before Christmas<\/em> episode of The Movies That Made Us<\/em>, a Netflix series that details the process of making popular movies everyone knows and loves. Prior to watching this, I was pretty indifferent to The Nightmare Before Christmas<\/em>. It wasn\u2019t bad, but it also wasn\u2019t the greatest movie I\u2019ve ever seen. This episode absolutely changed how I think of this movie. After learning about the heart and soul everybody put in this project, specifically director Henry Selick, composer Danny Elfman, and writer Caroline Thompson, it\u2019s impossible not to love this movie. Elfman put so much of himself into the character Jack, making him an incredibly dynamic protagonist who is at a difficult crossroads in his life. Without Thompson, there would be no Sally, who is the driving force behind Jack\u2019s emotional self discovery, hence why I am making my pick \u201cSally\u2019s Song\u201d specifically. Anyways, Tim Burton sucks, and I love the absolute passion everybody had for this film despite how terribly Burton treated them.<\/p>\n<\/div>\n

\n

Diogo Fernandes Tavares<\/strong><\/h1>\n

New Guns by vamp leek<\/em><\/h2>\n

This Florida rapper is calling out the vamps. Everyday in rap\u2019s underground scene is a Halloween party paying homage and paving the way for Rock music. <\/p>\n<\/div>\n

\n

Maura Cowan<\/strong><\/h1>\n

It\u2019s Almost Halloween by Jon Walker<\/em><\/h2>\n

May the former scene kids and the eternally emo at heart rejoice. Former Panic! At The Disco bassist Jon Walker offers a fresh spin on the cult classic band\u2019s even cultier classic track, \u201cIt\u2019s Almost Halloween.\u201d The original 2008 song and its charmingly low-budget music video was a campy, upbeat tribute to the season, but Walker\u2019s rendition is a darker, more stripped-back take. When it was a young and gawky Brendon Urie commanding us to scream, the inclination was perhaps simply to scoff as we \u201cdid the trick-or-treat\u201d (whatever that means). There is something ominous in Walker\u2019s tone, though, that gives the distinct impression that the monsters he dances with are all too real.<\/p>\n<\/div>\n

\n

Sarah Fournell<\/strong><\/h1>\n

Ghostbusters – Ray Parker Jr<\/em><\/h2>\n

Ghostbusters by Ray Parker Jr. is the quintessential Halloween track. It is a year-round favorite of mine, full of jazzy, spooky, synth pop goodness. In addition, this Academy Award nominated track has one of the best music videos of all time, full of 80\u2019s cheesiness and out of pocket cameos. In terms of film in general, no theme song goes as hard as \u201cGhostbusters\u201d does. <\/p>\n<\/div>\n

\n

Andrew Johnson<\/strong><\/h1>\n

The End by The Doors<\/em><\/h2>\n

The end is a 12 minute epic by the doors, which has a truly haunting feel to it. Like most doors song it tells a complex story full of metaphors and lines that stick in your head for weeks. While not strictly a Halloween song it does have the same feeling as Halloween. <\/p>\n<\/div>\n

\n

Harry Bates<\/strong><\/h1>\n

\u201cWitchy Woman\u201d by the Eagles (2013 Remastered)<\/em><\/h2>\n

I don\u2019t think there\u2019s a better song to encapsulate the feeling of Halloween than this classic by the Eagles — sorry fellow Milk Crate staff. \u201cWitchy Woman\u201d is where banging chords meet groovy vocals to make a sound that is impossible not to get down to. It has this erie feeling that sends me northbound to Salem via South Station. It\u2019s slamming, and that vocal riff at 2:36 will send you into a haze of fog and witches\u2019 brew. It<\/em> put a spell on me!<\/p>\n<\/div>\n

\n

Lily Hartenstein<\/strong><\/h1>\n

Ghost Town by the Specials <\/em><\/h2>\n

British ska group The Specials was on the brink of dissolving when they recorded the distinctly creepy dub track \u201cGhost Town\u201d, and broke up shortly afterwards (until compiling their protest songs album in 2020), despite \u201cGhost Town\u201d winning several major accolades for its social commentary. Addressing urban decay and violence in UK cities, the song is rife with the uneasy tension of its creation, layered with sirens and ribbonned with a villainous humor. The flute, horns, and shrieking background vocals combine to create a track that is simultaneously dark and upbeat: perfect for Halloween.<\/p>\n<\/div>\n

\n

Kate Mettetal<\/strong><\/h1>\n

Venus in Furs by the Velvet Underground & Nico<\/em><\/h2>\n

Lou Reed and The Velvet Underground are prolific within the realms of art and music for a number of things. But, chief among these is the band\u2019s ability to teeter the fine line between the absurdity of innermost human desires and the tastefully acceptable. Venus in Furs<\/em>, initially released on their trailblazing self-entitled debut album in 1969, cuts directly to the core of the behavioral and psychological extremes that were integral to Lou Reed\u2019s song writing style. The bare-bones instrumentals of a screeching, distorted fiddle provides an painfully-ideal backdrop for Reed\u2019s looming, deadpan vocals, which belt out praises for sadomasochistic practices drawn directly from Leopold von Sacher-Masoch\u2019s chilling, 1870s novel Venus in Furs<\/em>.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Milk Crate staff\u2019s favorite tracks of the week, presented with blurbs worthy of a promotional sticker on a jewel case. 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