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Black Sabbath (1963)

Review

Author
Date
10-22-2007
Comments

Anthologies, movies that are composed of a series of short films, are always hard to characterize. If the film is considered as a whole, does a particularly bad sequence besmirch the merit of the others? Or does a well-shot segment bolster one that's floundering? Considering each segment individually also presents certain challenges, particularly if each segment was directed by the same person, or starred the same actors. How do you explain trends in performances or cinematography, or persistent themes and plot lines? Mario Bava's Black Sabbath is no exception to this conundrum. While each segment is a work until itself, each showcasing a particular subset of Bava's talents, together they work synergistically, showing a linear progression of time, theme and cinematography.

Black Sabbath is composed of three segments, with a wraparound hosted by Boris Karloff. In the first segment, “The Telephone,” Rosy (Michèle Mercier) has just returned home and is receiving disturbing and threatening phone calls from someone who seems to be able to see her ever move. The second segment, “The Wurdalak,” follows a young noble, Vladimire, who discovers a headless corpse stabbed through the heart with a knife. When he seeks shelter at a local farm, he discovers that the knife belongs to the patriarch of the family who has gone out hunting a ruthless murderer, rumored to be a vampiric being called a wurdalak. When the patriarch returns after midnight, something is not right. Is he, in fact, just tired and hungry, or has he been turned into the dreaded creature, here to prey upon the blood of his loved ones? The series concludes with “Drop of Water.” Helen (Jacqueline Pierreux), a nurse, is called in the late hours of the evening to tend to the body of a woman who has died while in a spiritual trance. When she arrives, a glittering ring catches her eye and she steals it before the woman's caretaker notices. Unfortunately for Helen, the dead are rarely forgiving.

From a horror standpoint, “The Telephone” is probably the least impressive of the three sequences. There is no supernatural threat, and the real threat is actually just randomly realized at the very end of the sequence, having no bearing on the actual events that have been taking place up until now. However, despite this serious flaw in spooky storytelling, “The Telephone” is still a masterful example of plot by insinuation. There are two main character relationships detailed in this segment, the one between Rosy and Mary, and the one between Rosy and Frank, the man Rosy believes to be behind the phone calls. However, as the story progresses and we discover that it is Mary behind the phone calls, using the information she has about Frank and her knowledge of Rosy's habits to create the illusion of a threatening Peeping Tom. None of this plot actually, explicitly, states any kind of backstory, but many things can be inferred from the plot and dialog. It becomes clear that Rosy once had an illicit affair with Frank, and that her testimony put him in prison. Further, as the story progresses, we learn that Mary is not only an estranged friend, but also a lesbian, and possible ex-lover, whose sexual desire for Rosy led to their estrangement. It's difficult to say how these relationships are revealed in the segment, because they are done so subtly that they simply become part of the characters. We see hints in character actions, such as how well Mary knows Rosy's habits at home and could predict her reactions, or in Rosy's stricken face when she sees that Frank had been released from prison. Using very little exposition, Bava manages to give us a complicated backstory so expertly that we are barely aware we are receiving it.

In addition to the detailed, but subtle backstory, the cinematography is also quite masterful. For the first half of “The Telephone”, the camera is limited and subjective, focusing on Rosy while actively sweeping around the room. In one particular scene, when Rosy answers the phone in nothing but her robe, the camera follows the length of her body, lingering on her exposed thigh, as the mysterious caller describes the effect her body has on him. Further, the camera's view is focused primarily on the table containing the phone, and is unable to accurately follow Rosy movements to the farther reaches of the apartment. While the obvious effect is to associate the camera with the caller's-eye-view, the limited scope of the camera also makes the scenes seem more claustrophobic; the apartment appears to be smaller than it really is. This claustrophobia increases the sense of immediate threat, causing the audience to feel like the caller's gaze is closing in. The lighting is also used to a similar effect early in the segment. When Rosy fears that the mysterious caller is able to see into her apartment, she dims the lights, obscuring the room in shadows. Contrasted to the originally clean-cut, well-lit atmosphere, this new, darker, noir-ish look is more dangerous, more sinister. While the intent is to obscure the view of the threat, the effect is to obscure the view of Rosy and the audience, making it seem as though shadows are encroaching, danger ensconced in every darkened corner.

The quality of Bava’s direction only improves with the second segment in the trio, “The Wurdalak”, which is a beautiful showcase of atmosphere and some surprisingly avant garde themes. The settings for “The Wurdalak” can be broken down into two groups – outdoor scenes and indoor scenes. Unlike the other two features, some of the footage for “The Wurdalak” was shot outside on location in Canale Monterano (see Tim Lucas’s “Mario Bava: All the Colors of the Dark”, page 502), adding an openess to the piece that the other features lack. What is impressive, however, is that not all of the outside shots were done outside – several of them were filmed on set in Cinecittà (Lucas, page 502). While the “day for night” shots generally give away which scenes were done on location, it is sometimes easy to forget which is which since, in either scenario, the scenes are heavily fogged and awash in a eerie blue light that creates a faint glow in the faces of the characters. The effect is downright creepy, and, once the threat of “The Wurdalak” is revealed, the wide sense of space, coupled with the limited visibility of the light and fog effects, makes it seem as though danger could be lurking just three steps ahead. If you're looking for the classic, creepy woodland, this is it.

The family that slays together, stays together. Mario Bava's Black Sabbath (1963).The family that slays together, stays together. Mario Bava's Black Sabbath (1963).

The outdoor scenes are strongly contrasted by the indoor shots, particularly those that take place at the farmstead at which Vladimire originally takes refuge. The family home is well-lit and rustic, which gives it a comforting air – at first. However, as the family becomes restless, waiting for Gorca to come back from th, wondering if he will return a man or a monster, the brightness almost seems mocking, drawing attention not to the warmth within, but to the cold danger without. When Gorca finally does return, and we begin to suspect that he has fallen to the wurdalak, the light becomes more sinister, as if offering another layer to his ruse. How can evil infiltrate such a bright, warm place? Like a small child clinging to a night-light in the wee hours of the morning, we too cling to light and hope, denying the obvious evidence that evil is among us.

The prevalence of evil in this segment is another of its strong suits. In this respect, “The Wurdalak” was a true innovation in its time, doing what no other film had dared to do before. When the film concludes our hero, Vladimire, who tried to escape with the girl and failed, returns to the homestead to find her. However, rather than finding her alive and well and riding off safely into the night, he finds her sitting on her bed, staring up at him with an unearthly gaze. When she beseeches him for a kiss, he complies, submitting not only to her lips, but also to her cursed bite. At the conclusion of “The Wurdalak”, there are no survivors. The entire family, including Vladimire, their newest member, has either been killed or turned. And yet, despite this atrocity, there is no judgment, no understanding that evil will eventually be thwarted and no greater theme or meaning in the failure of good to emerge triumphant. The wurdalaks, like most evils in the world, simply exist, and the lack of a happy, or at least moralistic, ending was something unheard of in 1963, predating such classics as Rosemary's Baby and Night of the Living Dead, which are noted for the same themes.

It is also important to note that the evil in “The Wurdalak” is not amusing, or stupid, or otherwise tempered. It is perverse and ruthless. The wurdalaks are known, in particular, for craving the blood of the ones they love the most, twisting what is often considered the high point of goodness into a mark of death. Further, one of the first victims to be turned into an undead creature is a small child. Evil has tainted and violated the most innocent of the story's characters, something that is considered risky in today's storytelling, let alone the stories of the 1960s.

The final segment in Black Sabbath is “Drop of Water”. This is probably the most effective, horror-wise, of the three segments. While I watched “The Telephone” and “The Wurdalak” in morbid fascination, I watch “Drop of Water” cowering in the corner of the couch. The reason for this is, simply, sound. Bava uses sound in a way that is nothing short of genius. We first realize that sound, more than any other element, will be key in this featurette when Helen first appears on screen. She is preparing dinner and, for entertainment, puts a record on the phonograph. As the lovely classical music fills the air, Helen receives a call about a job and, after some consideration, says she will take the work. She walks outside, leaving the camera lingering on her uneaten dinner, the phonograph playing in her absence, slowly winding down, distorting the once beautiful music into a grotesque mockery of itself.

Later in the sequence, when Helen steals the ring from the dead body, she is shocked to see the corpse staring at her accusingly, and accidentally knocks over a glass of water. The room fills with the loud, methodical dripping of water, slow and unrelenting. Each drip is punctuated by silence until being suddenly broken by yet another drip. During the haunting scene, this same effect is repeated as Helen's house comes alive with the sound of dripping water, the only break in the otherwise pervasive silence. The staccato, discordant nature of the water assaults the viewer’s ears, evoking a visceral reaction. It is unpredictable, leaving the ear waiting for the inevitable “plop” of water that will, again, break the quiet. The suspense of waiting for the dripping water bleeds into other aspects of the segment, including the actual appearance of the apparition. Like a break in the silence, one moment there is nothing, and the next, the old woman's spirit has returned for revenge.

This disharmony of the senses, brought on by nothing more complicated than dripping water, is complemented by a similar use of light. When Helen returns home, the lights outside are flickering through the open window, flipping on and off. It would seem natural to assume it is a storm, but the unearthly wavering is not accompanied by the usual rain and thunder that comes with lighting flashes, Whatever the cause, however, the effect is the same. The house is bathed in light, before descending into shadow and darkness. With each flash of light, we are given a momentary glimpse of the room, soaking in as much detail as our brains can hold, before everything goes dark again. Because the flashes are momentary, what we see in the room isn't actually processed until it is again dark, forcing us to analyze the shapes and images of the lighted room in shadow, with no way to verify if our memories and impressions are correct. Further, the periods of shadow hide any changes that may be taking place in the dark. Swathed in shadow, things can move without being noticed, sneak up behind you unawares, and you won't know until the next burst of light. In fact, this is exactly what happens when the apparition appears. Helen, having moved around the house, shutting off the infuriating dripping faucets, is now making her way, in shadow, back to her room. As she begins to walk through the door, the light flashes back on and the face of the dead woman is staring back at her, and at us. It almost lends credence to any irrational fear of darkness.

I've offered my thoughts on each segment of Black Sabbath in the order they appeared in the original theatrical release of the Italian edit. There is a separate American edit, which is not discussed here (nor will it be). However, when the film was originally conceived, the segments were ordered differently – “The Telephone,” “Drop of Water,” “The Wurdalak” – but were changed before final release for undetermined reasons. When the segments are reordered as mentioned, it offers a new, significant chronology to the work as a whole. For the next segment of the review, I'll be considering how the segments work in synergy, in the order they were originally written and filmed (if not released).

What is most notable about Black Sabbath is its sense of backwards chronology. The first segment, “The Telephone”, is set in the early 1960s, with modern furnishing with modern characters. The next segment, “Drop of Water”, moves backwards, stepping into the previous century, the settings darker and more gothic. Finally, “The Wurdalak”, takes us the farthest back in time, into the 1700s, the setting and mood darkening yet again to reflect the passage of time. While the chronology is not important unto itself, it sets the stage for several feature-wide themes in Black Sabbath, most notably the nature of evil.

In “The Telephone”, there isn't a real threat for the most of the segment, and, when the threat finally does appear, it is completely human in nature. Frank isn't supernatural; he's just angry. The telephone calls are threatening, not spooky. When all is said and done, everything in “The Telephone” has a rational explanation rooted in human relationships. “Drop of Water”, however, is not so clear-cut. As we move back into the past, the lines of reality become blurrier. Given that Helen strangled herself to death, it is never clear whether she did so because she was compelled by the angry spirit of the dead medium, or if she was driven crazy by her own guilt. The threat, therefore, is both human and supernatural. Finally, in “The Wurdalak”, there is no mistaking the supernatural element. In this segment, the patriarch of the family begins to prey on the household members, most of whom rise from the dead. The threat is monstrous, devoid of humanity, and completes Black Sabbath’s descent from reason to superstition. Coupled with the chronology of the three segments, Black Sabbath also offers a small, obscure opinion on the evolution of the human condition. While man once had nothing to fear but monsters in the dark, we now worry about the threat of our fellow man in our well-lit homes. Where evil was once external, it has become internalized as society has progressed. In Bava's film, the final resting place of evil is us.

Black Sabbath is not your typical anthology. While it certainly follows the basic format, showing three short-form featurettes within the frame of a single movie, Bava's work is moving towards a greater purpose, following a significant progression and chronology. Each feature showcases Bava's particular skill with light and sound and intimated backstory. However, when the segments are taken together, Black Sabbath traces back the denigration of the human condition, and makes some startling conclusions about the actual source of evil.

This review is part of Mario Bava Week, the last of four celebrations of master horror directors done for our Shocktober 2007 event.

Comments

Dear Julia,         This is

Dear Julia,

         This is my first visit to classic-horror.com and I happened upon your review of Black Sabbath. I really enjoyed the review and I am happy to find a site that treats these genre films seriously. I always thought that this, along with his role in Targets were the finest performances from Boris Karloff's later career. I will be coming back soon to read more reviews at this site.

Thanks

 Drop of Water is absolutely

 

Drop of Water is absolutely terrifying! I saw it as a kid and the image of the old woman's face has given me nightmares ever since. In fact, I have recurring nightmares that involve me walking up some stairs and into a room with a woman that looks like this lying on a bed. Damn it has left me scarred!

ROGER YOU CAP COM!HANG UP ANY

ROGER YOU CAP COM!
HANG UP ANY PHONE ON A STONE!


ANY TULL BRIDGE
GETS NINE KNOWN TRANSLATERS ALL VERSED IN MUDD FAMOUS CHILDREN
JANITOR EDITORS!

TOO GET A JANITOR!

Comin down on ya flat mick this stone OF Brian Jones!

Hey
I  gotta jail house rock train
YOU better call the police band!

clinton got dont ask dont tell!
blair harrier pathagaris

and kieth your a simple crass addict!

BECAUSE I Caught more than VACANT
Yale by the tail!

TESLA DC STATIC THUMDERBOLT  RAYETHEON ON ANY MICRO CHIP KILLS IT!

AND ALL TO STONE HINGE  BIG BENS !
You gettin the Bends?

FUROR
OF STOMACH HINGE?


AND Snowden gets any contact form!?
AND PAUL MCARTNEY
CONSPIRACT NUMBER NINE !

AND I'M Your Mother Martin!
YOUR FAVERITE MARTIAN!
GEORGE MARTIN!

MARTIN GEORGE MARTIN!

Lewinksi told on clinton !

And USE  Super man power
X RAY VISION!

THAT Got Crass Intels NIXON BUG
ANY PHONE BACKDOOR!

ALSO CAUGHT
A STONEHENGE SIMPLE SAMBO Drone Threat N.P.R. Electorate !
ALREADY GATES BACK DOOR BUSH PROTECTORATE  ELECTED!
ONLY SINCE HITLER?

AND THE COEN BUG
BOOTLEG  DRONE BROTHERS KNOW  ALEX JONES!
AND HOGWALLOPSS!

AND MANY  JACKED OVER HOLLYWOOD CRONES!

AND THATS ALL FOR GRHAMINS!
INTEL N.S.A. GATES PHONE CRONE BUG!
AND ANY HOLLYWOOD C.N.N. CRONE KNOWS !
ONLY I MAC PHONE BUGGERY ?

Any Bosch OPEL  Plant
NEEDS A BOOTLEG
BRAUN BUG REMOTE  PEEENAMUNDE BELKAN DRONE ON ITS SOLEX AND PICT PEENAMUNDE
BUGGER HEAD REMOTE  CRASS INTEL!

AND ESCAPED HITLER  I.B.M. HAWKIN BELKAN CRONES!

YOU  gotta two tone w.a.s.p. Door Man OR
A TOMMY TUTONE  Moam!

AND CONTACT FORM!
AND YOU GOT WONDER CODE ALL OVER YA~!

PRIVATE SCHOOL ON ANY HISTORY
SIMPLE TELLETUBBY BOLO CRONES!
 
AND SUPERMANS  ON TOO ALL OF YOU!

FASTER THAN A BULLET
OR TRAIN PROVEN !

AND BOOTLEGG BELKAN PEENAMUNDE REMOTE CULT OF DRONE  BELKAN INTEL AND N.S.A. BUGGERYS!
ALL EXPOSED!

AND BRED ON MUDDY AND CRASS FECAL TELLETUBBYS!

WITH NO Constitution Whatsoever A TOTAL MARTIAN  BRAIN INFARCTION ORWELLIAN  BELKANISIM  EVER KNOWN
AND YOU GOT A BLOWN FORM!

NIX NINE TEPCO BLIX  ANAHIEM
L.A.X. GOT ANY  N.S.A.
METRO GNOME
METRO EXPRESS  GOT A REGEAN BONZO CODE !
CALLED N.S.A. GENE TOO NAFFTA CRASS N.D.S.A.P.!

FOCUS ON CRASS  MONSANTO
MOJAVE REMOTE  KANNARD X CORE!

TRY BURLINGTON BOEING  NASA PEEENAMUNDE OR  BOOTLEG STANDARD BELKAN NAZI MODIFIED DRONES!

JOHN BRENNAN ROSWELL  RICHARD CLARK  CRONES!

IN ABOUT FIFTEEN MINUTES  I'M GONNA BURN UP WHEN THIS  AURORA OR BOREALIS HITS THEE MARS NEGATIVE  ATMOSPHERE!

C.S.I. GOLDEN FIAT AURORA  LAST CHANCE LINES!

WITH BELKAN CRASS JOHN HOLLY WOOD!

UBER C.S.I.  ASTRO  NAZI DRONE ROGER AND OUT
BOOTLEG JOE
PEENAMUNDE JETSON!

GEORGE BARTSOW  NASA BRAUN NAZI  FECAL CHECKMATE!

OR LANGLEY TOO EDWARDS AND YOUR COVERS ARE BLOWN !

GAME OVER!
YAHTZEE TELLETUBBY CRASS STINKIN  N.P.R.!

C.N.N. You ever got a Belkan Micro Phone TIMES
OR Drone Threat  AN GRIFF CRONE ALL RECORDED IN PRINT
Shoved up your TORTURE MEMO NEWS EDITORS
DER SPIEGLE CAMP NO !

MORE THAN
Crass OLIGARCH FUNKY GENERAL CRONEYS AND  Nasa Asses?
AND CAP COM 1!?

I GET EVERY CREDIT SINCE SINCE DEAD PIN JOE PLIMPTON
OR JOHN GLENN! 

This DEAD ARMSTRONG  Nasa belkan crass
RIECH ROSWELL Jet Lab!

PASEDENA Argentina Northrup Crone of HORTEN  Martin Skunkworks
LOCKHEED EL TORO NORTON p.d.o. Edwardss!

PLANT 42 GOTTA JACKIN FOX FIRE TUCO CUCKOO !

ANY EASTWOOD IEGER HOLLYWOOD SIGN
ON VIDEO AND ALL USED!

AND Radio lab gets this!
Nasa crass busted wide Open!

I get rolling stone almost Famous and kraftwerk gotta Model AND MORE THAN A  ROBOT !

PLANTRONICS And Peenamunde robot crones NASA JACK SETS AND HEAD PHONES UP & HEADLIGHTS OFF!

And  with belkan bug braun opel cult of bug robot  Drones!

Dont you think alex jones got this!?

YOU GOT A ROMAN INTEL CRASS BUSTED AEROSMITH
BOOTLEGGER Peenamunde!

OLIGARCH AND  FECAL INTEL PHONE BUGGERY N.S.A. DARPPA SONNEN CODE!

MICROPHONE  BLOWN AND SHOWIN !
By Snowden!?

AND I'M NOT JOHN LENNONS
SON!?

WITH OLD  BALD BRANDO
WHERES ALDO!
ON STREET CAR AND HOPPER P.B.R.!

NOT ONLY BUG INTEL SILICON CHIP  GETS MORE THAN CRASS AND KAISER FIAT OLIGARCH N.S.A.  PHONE BUGGERS!

AND THE DALLI LAMMA GETS ALL OF THIS!

AND ONLY THAT GETS
ALL THIS INFO BANNNED!

BECAUSE OF JOURNALISTS WITH NO BORDERS
AL JEEZERA!

AND PRE MADONNAS!
ON THIS ONE YOU GET THE BUGGLES CRASS DEMENTO!
CAPTAIN KIRK
AN INTEL  KAHN!

MARK SPITZ AT THEE !
FROM  DEEP SPACE
HOLLY WOOD INVENTED DICK TRACY
AND NOSE CAR BUGGERY MADONNA GOIN FIAT PAPPERATZI PATSY PIAF OR PIN POTATOE DEVO ON BUGGERY !

ALSO NIXON WATERATE  LAME ON ANY HISTORY CRONES OF TELLETUBBY ONLY PHONE BUGGERY!

THATS GETS POMP A QUEER  BILL GATES!
INTELS OLIGARCH THE  CRASSEST BOEHEEMIAN OF DARRPA AND N.S.A.!
FITS NASA LIKE A SILVERSTIEN
PEENAMUNDE  CULT DRONE BELKAN GLOVE!

AND COURTNEY LOVE GETS A HARD ON FOR THIS LIMP DICK PROZAC BALLESS  HAWKIN DROOLIN ON IT'S SPOCK!

AND ANY HOLLY WOOD STUDIO  CRASS
DRONE THREAT SAMBO CRONEY OBAMA BOEHNER BIDEN!
BLUE  PILL RED PILL BOOTLEGG REMOTE BELKAN PEENAMUNE KANNARD CRASS OLIGARCHS !

AND I GOTTA WAKE UP IN THE  MORNING AND BLUE
BLOODS ON!

AND I AM THINKIN!
PREDATOR INTEL PATHAGARIS N.S.A. EXPOSED BELKAN CULT OF BUG !

SAND FECAL RAT AHABS NAFFTA OPEC!
A CRONE IS BELKAN AND
THAT IS SCHEEMING!

BY NOW CLINTONS 2015  MOST ALL THESE CRONES
ARE  FECAL RATS!
ALL CRASS AND STEAMING!

AND I AM SCREAMING!?
ROSWELL MOJAVE
HOLLY WOOD THX  HI WAY 1138!

I GET  EVERY STARSHIP SONG CREDIT EVEN TODAY
OR WHITE RABBIT!

EVEN JOE LUCAS GRUNTS FOR A TWO WAY CREDIT ON BRANDO ONLY DOUBLE YELLOW MANNING
EXPOSED ALL THESE LEAKING
CAMP NO!

RUDDY POT HOLE ALDO  ROGER WATERS AND PIGS FLY CRASS NIXON GOT HANOI AND LOST!

AND  TONKIN  BELKAN FIAT CULT DRONE SOME MORE WITH LITTLE MORE THAN PEENAMUNDE BENZINE BOOTLEG STAZI CULT DRONES!

GOTTA BELKAN SAUCER FULL OF SECRETES?

AND INTEL SILICON !
BUNSEN BURNER CODE!?

MOTHER OF ATOM HEART?
AEROSMITH  GETS ANY CRONE!
AND  RAMMSTIEN  BELKAN BRAUN BUG NAZI REMOTE  ROBOT DRONE!

AND BOOTLEG  ROSWELL ANY ROGER KUBRICK GOT A FIAT INTEL DICK NIXON
EXPOSED !

BOEHEEMIAN GROVE AND REAGAN  GOT BONZO  NAFFTA  MONKEY
ANY CLINTON GETS ARGENTINA STAZI BELL!
ROSWELL  BELKAN
ORWELL VOLKSMARCH  CODE !
AND MODIFIED DUCK STEP PEENAMUNDE NAZI
BOOTLEGG  REMOTE DRONES!

ANY ROMAN BELKAN CODE  NEO CON GOT A BUGGERY   DUCK STEP CRASS KAISER  FILM OR VIDEO OLIVER STONE OR BLUE BOOK
NAZI!

U.F.O. OLIGARCH STAN FRIEDMAN!
TOM FRIEDMANS QUEER OLIGARCH HARVARD  BI FECAL YALE CRASS FAT DAD!

AND ANY BLUES PROJECT
GETS ELVIS AND
ALL THESE ARE  CRASS ON THE VEIL!
MOSES AND THE ROBE 
AN GUMBY & POKEY!

AND YALE REMOTE BELL ROSWELL INTEL!
THAT ALL  GOT STAZI
HISTORY !

AND NAZI BLACK ARGENTINA U.F.O. BOOTLEGGER ROBOT HELICOPTER NASA BELKAN BRAUN PEENAMUNDE DRONES!

WILL HELM  RIECH
PEGGED  A QUEER WIENER  VON BRAUN!

AND THE BEATLES JOHN DIDNT GET  DONT LET ME BLUE BLOOD CULT OF NAZI BOOTLEG AEROSMITH DRONE!

WITH A CRASS NASA!
AND THAT  KUBRICK DARK HORSE HARRISON FIRST SCENE OF BLADE RUNNER FORD!
OR A BLUE MEANIE PAUL MCARTNEY YOUR HOPHNER GETS THE LOCH NESS GORGE!

ON ROGERS AND HAMMERSTIENS  DEAD JACK COUSTEAUS SUNKEN CALYPSO!~
FOR ODEN!

AND ONLY BLUE BLOOD TONY THE 
HARRIER QUEER 
TONY BLAIR!~?

GETS BELKAN CRASS
PATHETIC  KAISER GENERAL CAMP NO TORTURE MEMOS!?

TOO DEATH CAMP!

AND BOOTLEGG REMOTE NASA BELKAN BUG  DESIGN OF CULT REMOTE CONTROL MODIFIED STAZI PEEENAMUNDE NAZI DRONES!

AND THAT FAT JOHN BRENNAN GETS BOEING NORTHRUP MARTIN HARRIER LOCKHEED MARTIN  ANY OF THOSE IN ANY BELKAN CRASS BUGGERYS AND BOEHEEMIAN GROVE!

AND INTEL GETS THE CODES OF  PEENAMUNDE  I.B.M. STAZI BELKAN BENZINE DRONE AND NAZI COPY RIGHT BOOT LEGGERS!
ON TIN CAN VOLKSWAGON  FACTORY WOLFSBERG
FRANK CAN FART  ON!

A REO SMITH BENZINE
AND RAMMSTIEN VAI GOT ANY TUCHLER BUG!

ALICE COOPER SLASH CRONES!

YOU GET AN GRIFF BELKAN DRONE THREAT SAMBO DEE JAY OF ANY  HIPPO 104 .3 HOGS BREATH OF ANY DER SPIEGLE 
NIGGERS DRONE THREAT
OF OLD CRASS OREO FORD BELKAN NIGGER HISTORY  I.B.M.~!
OR CODED INTELS FECAL BUGGER OF POOP! 

30 VOLT BELKAN PEENAMUNDE BUG ALL STAZI  REMOTE KAISER SNOT NOSES OF BELKAN  BRAUN CULT OF DRONE!
NASA ALSO
AND AC DC OLIGARCH REMOTE BELKAN TRANSMITTER NAZI BELKAN ROBOT BOOTLEGGERS OF
DUCKSTEP  DRONE CRONES!

NAZI ALL STAZI!

CRASS ON JUPITER TWO!

PEGGED REMOTE HORTEN A NUREMBERG HAUGE
GETS S.S. Peenamunde!
THEN OF ZENITH !

IENSTIEN BELKAN KAISERS OLIGARCH FECAL CULT OF REMOTE NAZI  BUG ROBOT DRONES!

AND I NAIL ANY CRASS  DUMMY AND  MUMMY ROBOT CRONE DEAD AND DANGER WILL ROBINSON !

AND A VANILLI ROMAN BOOTLEG BELKAN VATICAN
GETS THATS INTEL N.S.A. CRASS BUSHES NIGGER
OBAMA BOOTLEG NIGGER ROBOT DRONE THREAT RECORDED ON  C.N.N.

AND
THATS TREASON ON EVERY ONE!
ON THIS DAILY PLANET !

ON ANY FAG OR QUEER ROBERT PLANET ANUL HOE!

I'M GONNA RIP ANY LED
ZEPPLIN BLUE BLOODED
RAT YALE OR HARVARD COLLEGE ASS OFF!

ANY CRASS BADFINGER ASS!
AND SHOVE A MICROPHONE UP ANY CRASS DEE JAY ASS!

THAT  GOT  RIP YOUR FACE OFF !
AND A INTEL AND CRASS FECAL OLIGARCHS RADIO D.J. ASS!

BLUE PILL RED PILL!
GUILLOTEEN ALICE COOPER  AND YOU AINT EIGHTEEN NO MORE YOU FECAL INTEL BUT PHONE BUGGER DRAG QUEEN !

AND YOUR  BUGGER BOY ZUCKERBERG  BACKDOOR SUCKS ANY FACE BOOK  PIN AND CRASS INTEL N.S.A. FECAL BRAIN OF ONLY ANUL PHONE  BUGGERY!?

AND ANY INTEL OLIGARCH KAISERS HOLES !

AND SHATNER GETS A
HARRY CHAPIN
BLOWN HINDENBERG !
AND LED ZEPPLIN 2 COVER !
ALSO
BILLY GATES  CLOVEN GOAT INTEL BUGGERY PHONES ADD ANUL DISASTERS !

AND A FLAKIN N.S.A. RAT FACE ZUCKERBERG 
THE ZIET AND ZIT OF BILDERBERGS
WEB SITE  N.S.A. CRASS  PRE MADONNAS AND TELLETUBBY PIAF
JUNKY CRASS GOOGLE SMIDDT FECAL WEBSITE PATHETIC BOEHEEMAIN GROVE OR GOLDEN DAWN NEO CON FIATS!

AND NUREMBERG GETS
BUGGERY KAISER SOROS
AND  VANAGON  BUG VOLKSWAGONS!

AND FARFEGNUGEN  TED NUGENT GETS A CRASS  BUG BELKAN!
STAZI NAZI MODIFIED CULT OF CRASS PEENAMUNDE DRONES ALL BELKAN  AND
FECAL  OPEL WOLFSBERG BLITZERS!~

GETTIN ALL MIFFED ON GEFFEN!

AND BUD KEYSOR
FROM THE GRAVE!

THESE ALL GET THE DOGMA AND THE KARMA !

AND CRASS  NAZI CULT OF BERLIN PROVEN RAMMSTIEN  AND OPEL BRAUN BUG REMOTE NAZI CULT  OF I.B.M. AND BELKAN KAISER CRASS  REMOTE FUROR  BUG DRONES !

AND ALL PRE GENEVA TORTURE MEMOS!
VOLKSWAGON
AND SPLATTER FLICKEN
TUCHLERS BLITZ KRIEG DEATH PANEL
MORE THAN ONLY NAZI WOLFSBERG BUG CRASS BELKAN CHENEY KNOBS!

AND KRAFTWERK GETS
OLD STAZI AUTO BAHN BELKAN NAZI GORING  SKULL AND
BONES !

AND A GOOEBILL ALICE COOPER GESTAPO ANUL RADIO DEE JAY ON BELKAN FECAL BRAIN KAISER  CRONE OF INTEL!

ALL FECAL OPEC CRASS IN ROCK MUSIC !
AND FECAL  RATS OF  BLUE BLOOD INTEL AND KAISER  BUGGERY OF BILL GATES N.S.A. STAZI ELECTIONS ONLY SINCE JOHNSON!?
TRY ADOLPH HITLER!
 
MOENS OF BERGER
HELMUTE SPIKE KAISER   CULT DRONE THREAT BELKAN N.D.S.A.P.
ON
ANY BUSHES NAZI VOLKSMARCH BLACKWATER WATCH OR TAB !
GETS ANY CAMP NO!

AND MEDIA CRASS TAR  BABYS OF FECAL CRASS INTEL RATS!
IN OLD NAZI  FUROR
BOUND IN FECAL TUCHLER OF ANY OLD AN GRIFF    PAPER!

WITH KAISER RAT NOSE OLD BERLIN MICRO PHONE!

ADD MODIFIED BELKAN
CROSS BREEDED RAT !
DER SPIEGLE CODE OF STAZI  NASA CRASS MICRO CHIP  INTEL OLIGARCH
AND BOOTLEG ROBOT BUG CULT OF BELKAN
MIEN KAMPH RELIGION
WEAPONIZED 
CODED BUG OF REMOTE PEENAMUNDE DRONES!

AND NIMBIN GETS THIS ON
FREE RADIO!?

AND MY NAMES NOT
GOLDFINGER BOND!
OR DEAD EDISON
FOR D.C. !
AND THAT CRASS HAG  GOT  NIAGRA TESLA HI WATT  AC
GOIN COAST TOO COAST!

AND LOST ITS
EDISON CRONE BRAIN ON LOW VOLT  DC LONG AGO!

AND I AM SUPER MAN
ON INFO TRUE GOLD!

AND ANY DIZZY JUNKY  OZZY  GOES AND BLOWS ALICE COOPER SUCKIN ANUL AND BONES!

ALL ZUCKERBERGS BUGGERY OF N.S.A. INTEL CLAN OF CRONES!

PRE MADONNAS AND FECAL GOOGLE CEO'S
OF O.D. JUNKYS!
AND DIP SHIT OF SMIDDT HAS FROZEN ALL MY INFO !

FOR A SAUL DAVID  LOGANS RUN
ALL EXPOSED!

ON A FACE BOOK OF CEO FECAL RAT BREED OF WEB MASTERS AND JUNKY CODES OF  DEMO DEATH PANEL GATES CRONES
ALL OVER THIS ROBOT WEB SITE INTEL CRASS WEB MASTER  AND WEB SITE INTERNET!

AND SNOWDEN N.S.A.
GOT THE FECAL CRASS   INTEL COLLIDER PALO ALTO FACE BOOK BUGGERY CRONES  EXPOSED !?>

AND DAVID CASSIDY  GOT A KING CRIMSON !
AND SCHIZOID MAN NIXON WATERGATE
BUGGERY OF PHONES !
AND A FIAT
NIXON HALDEMANN TRICKY DICK BOEHEEMIAN
GROVE SOROS GOLDEN DAWN NEO CON APTLY NAMED ALL OF  THAT BY OLIVER STONE!
 
AND THAT HUMAN RAT FACE  GETS FECAL NEO ROMAN VULCAN NAZI BELKAN BUG OF NAZI DRONE GANTRYS & TRUNNIONS!

ALL THE STALINS  AND ONE ONION!
AND VLADIMIR PUTIN NOSE
ANY  STAZI OF OLD GERMAN BERLIN NAZI NUREMBERG BELKAN CRONES!

ON CRASS IVAN THE TERRIBLES SUN DIAL WATCH!
 
WITH AIR ON JOE NOORYS TIMEX GENERAL MOJAVE
NAZI DUCKSTEP LANGLEY  FECAL UP ASS NASA CRASS BONERS AND FECAL VULVA  GENERALS  OF CAMP NO
EXPOSED IN BUGGER BALLS !

AND TRICKY DICK WATER
GATE NIXONS PHONE OF  ANY CULT AND BELKAN ROBOT  DRONES !
AND MELVIN CROAN OF ANY BUG CULT OF ROBOT NAZI REMOTE DRONE BUGGERY!

FROM A FORBBIDEN PLANET?

GIVEN INTO MICRO CHIP IN BRAIN AND FECAL ROBBY ROBOT TELLETUBBY  ANY SEX PROFESSORS OF ANUL BUGGERY NAMES !

AND INTELS AND N.S.A. BUT  BUGGERYS OF BARBADOS NAFFTA CRASS  MALAYSIANS!

AND ONLY CLINTONS?
GOT CRASS OPEC SAND DRUDGERYS OF RAT FIAT TRIED FOR ANY
PINNOCHIO !
 WOODEN  FIAT SOROS BOEHNER IN VULVA SILICON BUGGERY OF COLON CRASS  INTEL ANY CRASS RAT OF BILL GATES CODED FECAL  ANUL NOSE 
IMPEACHMENT OF
BUGGERY  AND BOOTLEG  OPEL NASA BRAUN  DRONE THREAT  CRASS BLACK  SAMBO!


OBAMO POMP OF SIEMAN KAISER BOEHNER  BIDEN C.N.N. CRASS VULVA
OBAMA  DRONE THREAT BLACK FECAL NIGGER CRONE ON YOU TUBE UPLOADED BLACK MASS NIGGER HARVARD OR M.I.T.
O.C.S. RAISED BREED OF  TELLETUBBY PROFFESORS!

AND OPEC CLINTONS
JOHN KERRY DIDNT
KNOW!?


ANY YALE GENERAL OF O.C.S. TELETUBBY  BONER  RAT KAISER OF ANY  CAMP NO
EXPOSED!
AND BROKEN IT'S OWN BELKAN FECAL ANUL COLON CODE OF INTEL N.S.A.  DEMO DEATH PANEL CROOKED FECAL FUROR CULT BELKAN CRASS NOSES!

A BROKEN HOE DOWN ON A CULT OF SILICON CLAN I.B.M. PROVEN ALL CRASS OLIGARCH BELKAN NOW
DARPPA GETS A  REMOTE NAFFTA BUG  OF SILICON MICRO CHIP
INTEL CULT OF ROBOT  AEROSMITH BOOTLEG CULT OF BELKAN CODE !
REMOTE  DRONE LOSERS AN CRASS KAISERS  AND MICROPHONE
CRONE HOSERS !

AND ALL PROVEN
BY NOSTRADAMUS!? AND MOSES JOHN SEXTON?
AND MISTER CHRISTIAN!
AND COLUMBUS
ON THE PINTA
READING SHAKESPEARE  ALSO ~!


^REPOP^
SONG CREDITS :
MAHAT MA GHANDI
AND ALIAS ADRIAN CRONAUER!

YOU HOLLY WOOD  CRONES AND N.A.T.O. JAY  LENOS AND PRODUCERS GET TOO EAT ALL OF THIS
FOR ZARDOZ  AND THE CRASS DRONE THREAT HOLLY WOOD STUDIO
TELLETUBBY C.N.N. TURNER NIGGERS YOU ARE !
AND THEN SOME  CRASS
OZ DRONE THREAT BELKAN CRONES!
C.N.N. RECORDED  FRESH PICKED FOR ANY GALLOWS !

AND YOU ALL  DIDNT
DRONE THREAT CRASS   NIGGER  BELKAN KAISER CRASS HITLER NAZI KNOW?

PEENAMUNDE REMOTE ROBOT BELKAN CRASS  NAZI DRONES !
OF A BERLIN OLIGARCH OF NAZI BELKAN KRUESE  CULT!

SPOKEN OF  ROBOT BENZINE FUELED DRONE THREAT  NOT EVEN TOO LONG AGO!

AND MOST ALL OF THESE ARE OVER DUE TOO LEGAL COURT ORDER ON J.A.G. SHORT ORDERS!

AND BE SHOT OR  HUNG ON ANY REMOTE ROBOT KAISER CULT OF ANY GENERAL  CRONEY !
TORTURE MEMOS AND CAMP NO!
AND ALL
EXPOSED!
TOO BE HUNG ON ANY
MICROPHONE 
DRONE THREAT
SINCE THE LAST
NAZI FUROR ESCAPED
WAR CRIME
NUREMBERG GALLOWS !

AND THESE ALL FEAR
SUPERMAN  THAT THEY CREATED !

AND THATS ME !?

HENDRIX OR RAGNI !?@

YEA THATS ME!@

Written by:
HAIR  DAVID J. DERRICK
(MY YAHOO AND Microsoft EMAIL IS HACKED APART AND USER BANNED!
 
AND MY  CONTROL PANEL IS STEVEN CASES!

AND THIS> N.S.A. HAS IT ALL HACKED AND BLOCKED BY IT'S INTERNAL CRONEY STAZI CRONE WEB MASTERS  & INFERNO 9-11 OPEC INTEL RATS OF BELKAN  STAZI OLIGARCH  BOOTLEG BUG ROBOT NAZI CULT DRONE  KRONES!

AND C.3.P.0. AND  R. 2. D. 2.
AND CYLONS AND ADAMA  !
AND DARTH VADER
GOT A BLACK  ROBOT  HITLER!
AND ONLY  STEVEN SPEILBERG ON THAT E.T. LUCAS HOLLYWOOD GRHAMIN !
AND ONLY OSCAR SCRIPT! OR VYNIL RECORD PLAYHOLE
ELEKTRA!
AND TEXAS RADIO JIM MORRISON KNOWS ATCO?
OR IRON BUTTERFLY?
AND VICE VERSA
APOCALYPSE NOW!
AMERICAN PRAYER?
OR AMERIKA DINO MAURO
KNOWS AN AMERICA RECORD COVER WITH GERONIMO!
ALSO OZ AND SIR GALAHAD
THEE END!

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