The Extraordinary Adventures of Adèle Blanc-Sec Vol. 1

image host

Over the last few months, I’ve been trying to up my review game over at Cinema Sentries. I seem to not be writing as much strictly for the blog, so this seems like a good way to keep me in the game. As part of that, I’ve been dipping my toes into other media. CS has a relationship with Fantagraphics, a comics company that puts out a lot of independent stuff. That mostly means books by folks I’ve never heard of, and lots of kind of weird stuff.

I’m not opposed to any of that, but in the past, I’ve been a little reluctant to dive right in because I don’t write a lot of book reviews, and writing about comics is a little bit different. I actually was aware of this one, as my wife is a French nerd and she knows a lot about French books, movies, and culture. They actually made a movie about Adèle Blanc-Sec a few years ago, and I’ve seen it. So grabbing this comic was a no-brainer.

And I quite liked it, and now you can read my review.

A Man Named Rocca (1961) / La Scoumoune (1972)

image host

If you spend any time at all watching French cinema, then you will no doubt know the name Jean-Paul Belmondo. He was one of the great actors of the French New Wave and remained a popular favorite for decades.

In what seems like a very strange turn of events, he wound up starring as the same character in two different adaptations of the same book, some eleven years apart. Kino Lorber has just released them, and I watched them back to back. It is a fascinating glimpse into the adaptation process. I reviewed them both over at Cinema Sentries.

The Friday Night Horror Movie: In the Mouth of Madness (1994)

in the mouth of madness poster

The great Sam Neill passed away this week, so I knew I wanted to pay tribute to him with tonight’s horror film. It was either this or the wonderfully weird Possession, and I decided to go with this as I’ve already written about most of John Carpenter’s films on this site. I may try to write about Possession later this weekend.

Carpenter had an insane run of great films between 1976 (Assault on Precinct 13) and 1988 (They Live). But then things drop off sharply. He reminds me of Dario Argento in the way he went from making absolutely incredible genre films one moment to making largely crap for the rest of his career. Carpenter’s drop wasn’t quite as horrid as Argento’s (though Argento has recently made some decent movies, whereas Carpenter hasn’t done anything in years). I’d argue that In the Mouth of Madness was the beginning of the end. You could probably argue that Memoirs of an Invisible Man – made two years before this one was the real beginning, but I haven’t seen it since it came out, so I’ll remain silent on its quality.

This isn’t a bad film by any means, and in fact, it has some wonderful moments, but you can just start to see things falling apart. It is actually quite reminiscent of Prince of Darkness (1987) in the sense of how preposterous the plot is, but Carpenter can make that film into something utterly wonderful, whereas he can’t quite convince me on this one.

John Trent (Sam Neill) is an insurance investigator. He’s good at his job. He’s hired to find Sutter Cane (Jürgen Prochnow), a horror writer who is a bit like a cross between Stephen King and H.P. Lovecraft, but way more popular. He’s so popular that riots are starting to occur at bookstores because his promised upcoming book has yet to be released. He has always been a bit of a recluse. Only his agent knows where he lives (and his agent has gone crazy and nearly killed Trent with an axe when he was learning about the job in a cafe.) Cane went missing weeks ago, just after he sent part of his manuscript to the publishing house (ran by Charlton Heston in a small role). After reading all of Cane’s books, Trent realizes that there is a secret message in their covers – a map that indicates where Hob’s End is located (the fictional town where his books are set). Linda Styles (Julie Carmen) is assigned to go with him.

The book cover map doesn’t give them exact directions, so they drive around all night hoping to find it. They run into some weirdness, but just as dawn breaks, they find the town. It is exactly as described in the books. It seems like a picture postcard small town. But it is strange. It seems almost deserted at first. Then they see some strange kids wandering around. They are greeted kindly by the inn’s elderly shopkeeper, but there is a strange painting in the lobby. One that keeps changing. Then there is the church. In the books, it is described as an absolute evil. So, naturally, they go check it out.

They find Sutter Cane there, and he’s gone completely mad. So have the townspeople. They say his books have always had a weird effect on their readers, but this latest one is turning them into something evil. It is starting to affect Styles.

The plot is pure pulp. It doesn’t always make sense. It doesn’t always have to. Sam Neil is having so much fun. Trent is the skeptic. He’s not read Cane’s books before this assignment. He thinks the town is a put-on. Something the publishers did to sell more books. But we know how things will wind up because the film begins with Trent being institutionalized. He marks up his cell, his clothes, and his face with crosses. There is some indication that the world outside is on fire.

Carpenter handles the material well, but not amazingly well. He’s playing in the Lovecraft sandbox and loving it. I’m not super familiar with Lovecraft, but apparently, there are a lot of references to his books. He uses a lot of practical effects, which I love, and his monsters are all snake-like and Cthulhu-like in appearance.

It is a good movie. I liked it quite a bit. But I always expect more from John Carpenter, and looking at the films that were to come from him, it is difficult not to think of this as a turning point. As the beginning of the end. And that’s a little hard to take.

Alice Doesn’t Live Here Anymore Is the Pick of the Week

image host

I am going to attempt to cross-post everything here to my Substack. If you would like to subscribe to my Substack, please click here. If you like the things I do, please share. I think sharing things is easier on Substack.

Before I went on vacation last week, I rushed to write my Five Cool Things article.I usually write them on Tuesday evening, and they are published on Wednesday. But we were leaving early Tuesday morning, so Monday evening, while I was packing, I quickly wrote that article plus a comics review. I was so proud of myself. We drove back home this Monday. Somewhere on the ride, I told myself to remember to write this week’s Pick of the Week.

Then we got home, and I discovered that my keyboard was no longer working. All of the lower keys no longer worked at all. I tried unplugging it and messing with the wires, but nothing. Luckily (or so I thought), I had a spare keyboard lying around. I picked it up to discover that the cat had puked on it at some point in the past. Cleaned it off as best I could and plugged it in. Alas, it also had keys that weren’t working, but they were different keys. Luckily (or so I stupidly thought once again), I had yet another keyboard lying around. It is a wireless one. I grabbed it. No cat vomit, but the lid to the battery casing was missing.

I ordered one on Amazon (and then cancelled that order and purchased a different one – a story for another time). It arrived yesterday afternoon. I was swamped with catching up on everything I didn’t do while on vacation that I totally forgot to write my pick. Emailed the owner of Cinema Sentries about 11 last night, apologizing. We decided it would be okay to go ahead and write it today and be late with it.

So here we are. I intentionally try to not pick released from the Criterion Collection each week because that just feels like cheating. Or lazy. I like to highlight a variety of interesting releases from different companies. But this week, my favorite director, Martin Scorsese, is getting a new release, and I just had to pick it. Alice Doesn’t Live Here Anymore isn’t my favorite Scorsese, but it’s still a very good film (you can read my review of it here.)

You can read all the details of the interesting new releases at Cinema Sentries.

Should I Get A Substack?

I spent last week in Kentucky visiting my wife’s family. We had a very nice time, but whenever we go away for a few days, my mind keeps thinking about what I could be doing and how I might do it better. Inevitably, I ponder the blog. I’ve complained numerous times about not getting any visitors anymore. There are lots of reasons for this, but a big one is that WordPress and blogs in general just don’t get the traction they once did. When I started this site, blogs were popular; they were the cool thing. But that time has long since passed. People still run blogs, of course, and I suppose some of them are still popular, but the format has seen its day.

As far as I can tell, the cool new thing is newsletters. The kind of thing you get in your email inbox and read at your leisure. The most popular platform for this sort of thing seems to be Substack. Honestly, I don’t know a ton about it. I subscribe to several, and sometimes I read them. But mostly they just land in my inbox, where they sit for a while until I get tired of looking at them, and then I delete.

I do know that your posts also exist online in what really seems like a blog format. You can probably play around with those pages, but I haven’t messed with them. I know some of you receive an email whenever I post on this blog. All of which makes Substack sound not all that different than what I’m doing now. I actually started a Substack a while back just to kind of see how it worked a little. All I did was import this blog into it. It works very much like a blog.

I think the big difference is that you have better control over who sees what. Whereas WordPress allowed me to make the blog private or public, but that was for the entire site, not individual posts. With Substack, you can make one post public and another only available to subscribers. A lot of the ones I subscribe to have paid tiers. They offer certain posts for free, and others only give you a preview; then you have to be a paid subscriber to read. I don’t think I’d ever be popular enough to make anyone pay for what I’m doing, but I like that you can make certain posts private.

I’m, of course, thinking about the music. There is a possibility here that I could still write about movies and things in the free section and then share the music like I did in the old days in private mode. You might have to pay some kind of minimum subscriber fee, but I’d make that super small. But that’s a thought for much further down the road.

The reason I’m thinking about Substack now is that they do seem to be more popular now. And that could lead to more visitors. They also make it really easy to share posts. You can forward the emails to others or share them on social media, and the subscribe buttons are easy to find. In this day and age, that seems very important.

At the same time, I’ve had my old posts up on my Substack for a few months now, and I’ve gotten basically zero views. I don’t know if Substack can be found via Google searches or whatever. So this whole idea of mine may be trash.

So, here’s the thing. If I start posting to Substack, will you come? Will you subscribe? Would you prefer I move to that format, or would you rather I stay here? Do any of you have any thoughts on Substack in general?

The Friday Night Horror Movie: Lee Cronin’s The Mummy (2026)

image host

The title of this film makes no sense to me. When you think of a movie titled The Mummy, you are most likely thinking of the old Universal pictures with Boris Karloff or the Brendan Fraser films from the 1990s (or if you are a terrible person, you might be thinking of the abomination that starred Tom Cruise a while back.) But those films were all essentially connected. The later films were more or less remakes of the original. They took different slants on the story, but they are all still essentially explorers and archeologists coming across an Egyptian mummy coming to life.

This film is not that. This film is about a little American girl who gets possessed by an Egyptian demon. She is sort of mummy-like. She does get wrapped in strips of gauze or whatever, but it is nothing like those previous films. So, why call it The Mummy? I kind of get why they added Lee Cronin to the front ot the title, that helps differentiate it from the other Mummy films. I have to admit, when I first saw it, I thought, who the heck is Lee Cronin?

I don’t think he’s an incredibly well-known name. He’s probably best known for directing The Evil Dead Rise. That makes sense because this Mummy film has more in common with those new Evil Dead movies than any of the other Mummy films. Which brings me back to why they named it The Mummy in the first place. According to Wikipedia, Jason Blumhouse approached Lee Cronin with the idea of remaking The Mummy. He wasn’t too keen on it, but then sat down and wrote a much more horror-inflected film. They call that a re-imagining, but really, I’d still say this has little in common with the other films. My guess is that this is more of a marketing scheme than anything else. People have heard of The Mummy and everything, it seems, has to be connected to some earlier IP anymore.

None of this really matters, of course. What matters is whether this film is any good. My answer, sadly, is not really. It works best as a mystery and family drama, but when it moves into gore-filled horror (which is large chunks of the film, especially towards the end), I lost interest.

Charlie Cannon (Jack Reynor) is an American TV journalist living in Cairo with his pregnant wife, Larissa (Laia Costa), and their two children, Katie (Natalie Grace) and Sebastian (Shylo Molina). On the day he learns that he has been offered a job he very much wants in New York, Katie gets kidnapped. The police are no help. Despite evidence that she might have been groomed (someone was secretly giving her candy), they point the suspicion back at the family.

Fast forward eight years, and the family is living in Albuquerque, New Mexico, with Larissa’s mother, Carmen Santiago (Verónica Falcón). Katie is still missing, but Larissa did have her baby, now a young girl, Maud (Billie Roy).

A plane crashes in Aswan, Egypt. Inside is a giant sarcophagus. Inside that, they find Katie wrapped in the stuff they wrap mummies in. She’s alive and has been taken to the hospital. Despite the fact that she is either unable or refuses to speak, has clear signs of abuse and self-harm, and has had to be sedated, the doctors clear her to fly home, and there the Cannons decide to just keep her at home. They refuse to take her to a local hospital or get her any sort of mental help, even when she begins acting even more erratically and terrifyingly.

Honestly, I had a hard time getting past this stupidity. The poor girl clearly needed help, and the family continually refused to give her any. They were all a bit in shock, and certainly the parents felt guilty for losing her that day. The mom is also a nurse, so she has some medical training, but that should have made her even more aware that Katie needed help.

But this is a horror movie, and we need our jump scares. When I could push that complaint away, I was able to enjoy parts of the film. The dad starts talking to one of the Cairo detectives (May Calamawy), and they slowly piece together what happened to Katie. This part of the film was the most interesting. I mean, the actual answers are horror movie nonsense, but it kept me tuned in.

But the film is more interested in gross-out violence. There are strong hints of The Exorcist and The Evil Dead throughout the film. Katie is possessed by evil. She talks in a satanic voice. She does crazy stuff. She possesses the other kids. There is vomiting and blood, and all sorts of goo. It is all done in a way that I found uninteresting. Maybe I’m just getting too old for that stuff, or maybe it just wasn’t done all that well. I dunno.

But hey, it was still better than that Tom Cruise film.

The Movie Journal: June 2026

imgbox

I watched 36 movies in June. 16 of them were made before I was born. 30 of them were new to me. There was no theme this month.

As I’m writing this and adding links to all the reviews I’ve written, I realize I haven’t written as much as I used to. A couple of months back, I made a decision that I wanted to write more about music on this site since this was a music-only site for many years, and some of you have told me you don’t have much interest in movies. Once that decision was made, it was like a little button was pushed in my brain, turning off that demand to write about movies. 

Before that decision was made, I always felt like I needed to write something nearly every day. Movies were the easiest thing to write about since I watch a lot of them.  Having a theme each month also demanded a certain amount of writing. But I clicked that switch, and that feeling of “needing” to write about movies died. I actually do want to write more than I have, but once that button was switched, I immediately found other things to distract me with.  It’s weird.

And yet, the switch to write about music hasn’t quite been turned on either. I do my main music listening in my car, mostly when driving to and from work. I’ve been trying to write about concerts, but they last a couple of hours. My ride to work is about twenty minutes, so it takes me a couple of three days to get a full concert listened to.  Then I want to listen to it a few times before I write anything.  But also, I feel like I need to really listen, and sometimes I’ve got something on my mind.  If I find I’m not really listening, I turn it off. Or sometimes I get a phone call while driving, or something else comes up. So, my music writing takes a lot longer than my movie writing.  I’m working on a better system.

I am still writing about movies, just for Cinema Sentries. So that’s good.

I subscribe to a few different movie streaming services.  We have Prime pretty much always, but we switch back and forth between various others. I usually subscribe to the Criterion Channel, and my wife loves BritBox.  My daughter has recently gotten into anime, so now we have Crunchyroll.  But sometimes we’ll cancel one service and get another one for a month or two. Earlier this year, my daughter really wanted to watch Hamilton, so we subscribed to Disney+ for a month.

Most streaming services offer up pretty good deals on the regular, and I’ve always got my eye out. This month, I got a good deal on the Kino channel and something called Midnight Pulp. Kino is connected to Kino Lorber, a company I get a lot of review Blu-rays from. They have a very nice selection of old movies, and a lot of foreign films. They are similar to Criterion, but whereas Criterion aims for the greatest films ever made, Kino tends to get slightly more obscure films. So I got to watch films like Picpus – a pretty good Maigret film – and A Pain in the Ass – a very funny French film.  

Midnight Pulp is pretty much exactly what it sounds like. They offer up genre films. The time of movies you’d catch at some old midnight movie place, or at the back of your local video store (when there used to be video stores.) They have some terrible films, and a lot of goofy-looking erotica, but I managed to see a terrific Japanese film called Samurai Wolf and Night of the Juggler, which was just wonderful. 

We are at the halfway point of 2026, so I’ll offer up some more statistics. I’ve watched 241 movies this year. I’ve seen 13 films from this year. Dramas are my biggest watched genre, followed by Thrillers, Crime, Action, and Horror. Movies made in the USA got the most views by me followed by the UK, France, Italy, and Japan. 187 or 77 percent of the films I watched were new to me.

imgbox

The big news in the most-watched actors field is that Lino Ventura bounced up to a tie in first place with Tom Baker, Spencer Tracy, and James Stewart (who also moved up one film). Marcel Bozuffie also moved up one film to five. But pretty much everyone else stayed the same.

imgbox

As for directors, Guy Hamilton bumped up a film to three watched, making him tied with a bunch of others for second place. Chloe Zhao is now on the leaderboard, making her the only woman director to place. I should do better about that.

It has been a good year so far. I’ve watched some great movies. Here’s to another six months.

Songs My Brothers Taught Me (2015) ****1/2
Back to the Wall (1958) ****
Speaking of Murder (1957) ***1/2
Obsession (2025) ***1/2
Dead Heat (1988) ***1/2
Supergirl (1984) ***
Rings of Fear (1978) ***
Fright Night Part 2 (1988) ***1/2
Head Against the Wall (1959) ***
Suicide Club (2001) ***
A Pain in the Ass (1973) ****
Samurai Wolf (1966) ****1/2
Night of the Juggler (1980) ****1/2
Picpus (1943) ***1/2
Virtuosity (1995) ***
Doctor Who: The Awakening (1984) ***1/2
The Toxic Avenger (2023) ***
The Narrow Margin (1952) ****
The Mastermind (2025) ****
Deathstalker II: Duel of the Titans (1987) **
Solo (1970) ****
Waves of Lust (1975) **
Kiki’s Delivery Service (1989) *****
The Long Arm (1956) ****
The Intruder (1953) ***1/2
Home at Seven (1952) ***
Fright Night (1985) ***1/2
Aesthetics of a Bullet (1973) **
Deathstalker (1983) **
The Roaring Twenties (1939) ****
A View to a Kill (1985) ***1/2
The Hunchback of Notre Dame (1939) ****1/2
Project Hail Mary (2026) ****
Beyond the Door III (1989) ****
Witchboard (1986) *
Backrooms (2026) **1/2

The Friday Night Horror Movie: Fright Night, Part II (1988)

image host

Three years after the events of Fright Night, Charley Brewster (William Ragsdale) is in therapy, trying desperately to forget how his neighbor turned out to be a vampire and that he teamed up with former actor and now TV host Peter Vincent (Roddy McDowall) to destroy him. Or, if not forget, at least believe that the vampire wasn’t a vampire but rather a serial killer, and the trauma of those events caused him to imagine a supernatural evil.

Charley’s now in college, and he’s got a new girlfriend, Alex (Traci Lind.) One day after therapy, he spies several people entering his apartment complex carrying coffins. There is a similar scene in the first film. The plot of this sequel pretty much follows the same pattern as the first movie. Charley sees some spooky stuff and doesn’t believe it. Then he sees something he has to believe and tries to convince his friends. They don’t believe it until they are face to face with evil. Then they destroy the evil.

The script in this one isn’t as tight. It is a lot sillier and funnier, but the plot is a bit of a mess. There are four villains this time: two vampires, a werewolf, and a guy that eats bugs.  He might be a vampire too, or maybe something else. Mostly he eats bugs and looks menacing (he’s played by Brian Thompson, so he’s good at looking menacing).  The main vamp is Regine (Julie Carmen), and she uses her sexy vampire powers to seduce Charley. She’s ultimately going to turn him into a vamp so that she can torture him for all eternity for what he did to the vampire in the first film who was her brother.

Much like the first film, Charley mostly ignores his girlfriend while at the same time constantly begging her forgiveness. The werewolf takes advantage of this, swooping in on her when Charley has stood her up. He makes a few attempts at wooing her (and after each attempt, the eating guy tells him he was supposed to rip her throat out.)

The villains are more goofy than terrifying. There is one scene where they go bowling for some reason. It turns into a musical montage with them goofing around. One guy scoots one girl down the lanes; another one bowls with one ball in each hand. It ends with the owner’s head coming up the lane chute. It is more fun than I’m making it sound.


Eventually our heroes will have a showdown with the villains. It is pretty good, but not really all that memorable. The whole film is like that. I enjoyed myself, but it will probably be another 15 years before I have any desire to return to it.










Show Review: Bob Dylan and the Band – Oakland, CA (02/11/74)

image host

Furthering my attempts to add more music discussion at The Midnight Cafe, I thought I’d add to my reviews of officially released live music by reviewing some unofficially released tunes as well. That’s maybe slightly a falsehood in this case, as Dylan has released all of these shows in a magnificent boxed set, but he left out all The Band’s solo performances. And this review is not of the officially released discs but of a ROIO.  

Some time ago on my music blog I posted a Bob Dylan and The Band show from 1974, or maybe it was a compilation. I don’t remember.  It doesn’t matter. The point is, I posted something from their tour together at that time, and I made a comment about how it was one of the greatest tours ever.  The thing is I didn’t really know that to be true. I hadn’t really listened to much of that tour. I don’t think I’d even listened to Before the Flood all the way through. But I knew it was a big tour that played big venues to big crowds. I knew people were excited about it because this was the first tour after Bob Dylan’s long hiatus and that while The Band had toured with him in the 1960s, they were now a major rock and roll act in their own right.

Sometime after I posted my unrealized praise, I came to realize that quite a few hardcore Dylanheads weren’t really down with this tour. In fact, many downright loathe it. Turns out Dylan and at least some members of The Band felt it was a sellout tour, good for the pocketbook, but not for the soul. So I thought it would be fun for this, my first bootleg review in a long time to tackle a show from this tour.

I randomly picked this performance and this particular source. Dylan and the Band played some 40 gigs over the course of about two months (often playing two shows per day). This show was towards the end of the tour. They’d play three more gigs in Los Angeles after that, and then they were done. Lossless Bob lists some fourteen sources for this show. I have five of them. I chose LB-4455 to listen to. It is a nice sounding soundboard recording. Oddly, it contains parts of the early show and parts of the late show. The set lists were identical (or nearly so) and this bootleg basically cuts it in half. The split occurs in the middle of the Dylan solo acoustic set.

The tour changed a little bit from the early shows to the end of the tour but by this point they were playing mostly the same songs every night. It broke down like this: Dylan and The Band performed together, then The Band would play some of their songs without Dylan. The Band would leave and Dylan would do a few solo acoustic numbers. Then he’d leave again, allowing The Band to play a few more of their tunes, followed by Dylan being backed by The Band.

After listening to this performance a few times, I can definitely see where the hate is coming from, but also feel that it is overblown. This performance is a big rock and roll show. It is loud and brash, rowdy and racous. It is a big stadium rock and roll show. That’s great for bands like The Rolling Stones, but one usually expects something different from Bob Dylan. His music is suited for a more intimate setting where you can get more nuance. 

But often, it actually works. It starts with a rambunctious “Most Likely You Go Your Way (and I’ll Go Mine).” The music is played loud and fast, Dylan practically spits his words out. I dig it.  It is a powerful way to start the show. This is followed by “Lay Lady Lay”, which is a little more laid back but still rowdy. The song is meant as a seduction, but any girl listening to this would likely run for her life. Garth Hudson is playing some kind of new electric piano. It sounds like an organ here. Or maybe it is an actual organ. I’m terrible at figuring out who is playing what instrument.

I’m not going to do a song by song review. I just don’t have that much to say. I’ll try to list the highlights and maybe anything that seems weird or bad.

“Rainy Day Women” has a carnival feel which really works for the song. “It Ain’t Me, Babe” hangs onto that carnival sound. There are some droning organ chords which I kind of dig, but I can see how it might drive some folks nuts.  Then the piano kicks in and it sounds great. Ditto Robbie Robertson’s guitar playing.  The guitars get loud and rocking during “King Harvest.”

Here’s where I admit I’m not actually a huge fan of The Band. They were all incredibly talented musicians and great live performers. I freaking love The Last Waltz, but a lot of their songs just don’t do it for me. I’ve never been able to “get” Music From the Big Pink. I’ve got numerous recordings of their concerts without Bob and while the performances are often good, I can rarely get into them because of the songs.

I do love “Up on Cripple Creek” but, unfortunately, it cuts out on this recording.  “All Along The Watchtower” which brings Dylan back in with The Band cuts in. Dylan’s solo acoustic songs are fine. I love these songs and he performs them well. But this isn’t Dylan in the 1960s. The nuance and fire is gone.  

“Ballad of Hollis Brown” with The Band is terrific. It is not a favorite song of mine, but this version is fantastic. Great keyboard work, terrific guitar lines. “The Weight” is another song I do love from The Band is it is played with great enthusiasm here. Enthusiasm is a good word for the rest of the songs on this set. The last few songs are played with high energy.

So, yeah, this is good stuff.  It is a big rock and roll concert played with verve. But it does feel like maybe something is missing. It has to be weird playing in front of 20,000 people all cheering and shouting. That personal connection is going to get lost. Nuance and subtlety are hard to find in a massive arena. I look forward to listening to other shows on this tour, but I probably won’t do that for a while.  It is easy to see why Dylan completely deconstructed his concerts the next year with The Rolling Thunder group. But I’m also glad he did something like this.

You can view the entire setlist with notes about this recording here.

I’m not sure how I want to post this sort of thing. I had initally thought I’d upload all the images and text files (but not the music – if you want that send me a message and I can point you in the right direction.) But that seems like a hassle and maybe not that interesting to anyone. So, I’ll ask. Would anyone be interested in seeing that sort of thing? Would you like to have all the source information, just not the music? Is that worth it? Leave me a comment if you have thoughts on this, or anything else.