Podcasts about countess bathory

Girls just wanna shoot down. Según un estudio del año 2008, una de cada seis serial killers norteamericano es mujer. Las Troncas que Matan en Serie (TMS) son un mundo aparte, en modus operandi, motivos y víctimas. En este podcast live para el festival barcelonés BCNegra, y en una sala repleta hasta la proverbial bandera, Pop y Muerte ahondaron en las diversas tipologías de señoras ejecutoras. El elenco abarcó la Condesa Criminal (Erzsébet Báthory), la Mamá Matricida (Mary Ann Cotton o Belle Gunness), la Asesina de Ancianitos (Amy Archer-Gilligan) y la Hooker From Hell (Eileen Wournos). Kiko Amat interpretó una versión Google Translator del "Countess Bathory" de Venom, y Benja Villegas puso el colofón con un jocundo repóker de asesinas menores.

According to the Guinness Book of World Records, 16th Century Hungarian Countess Elizabeth Bathory has the distinction of being the most prolific serial killer in the world with a suspected 650 murders of young women to her name. In her time, Countess Bathory was accused of vicious atrocities, most notably bathing in the blood of her victims to gain immortality. She seems to have earned the title of the Blood Countess, but she really a mass murderer? Tonight, Kent, Adrianna and Tracy discuss the Blood Countess and explore the possibility that not only was she not a sadistic killer, but was instead a religious subversive and reformer who spirited noble women away to save their lives. Also, apologies to our listeners for the fact that no one on the show can pronounce Hungarian, but we try our best! Welcome to Episode 157 of "What In The...? Podcast!"

This week, we discuss two vampire films. The first is Daughters of Darkness (1971), an erotic horror film co-written and directed by Harry Kümel and starring Delphine Seyrig, John Karlen, Andrea Rau and Danielle Ouimet. A newlywed couple's honeymoon at a deserted seaside hotel takes a sinister turn when they encounter the enigmatic Countess Bathory, whose seductive and vampiric nature threatens to consume them. The second is Near Dark (1987), a neo-Western horror film co-written and directed by Kathryn Bigelow. A young man is reluctantly drawn into a nomadic gang of vampires after falling for a mysterious drifter, forcing him to choose between his humanity and his newfound bloodthirsty family.   Timestamps What we've been watching (00:01:05) –  The Brutalist, Companion, The Fury, The Collapse, Thief  Daughters of Darkness (00:27:21) Near Dark (00:47:50) Coin toss (01:14:15)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

Legend has it that at the turn of the 17th century, in a small corner of the then-Kingdom of Hungary, a noblewoman preyed on her peasant tenants, torturing and murdering them for her own sadistic pleasure high up in her castle in the Little Carpathian Mountains. Countess Elizabeth Bathory (Erzsebet Bathori, or Alzbeta Batoriova, in Hungarian and Slovakian, respectively) has been described as history's most prolific female serial killer - her death toll was said to be as high as 650 - until she was finally stopped on the order of the King of Hungary. But the story is more complicated than the tale that's been passed down. The daughter of an extremely powerful and wealthy family, Elizabeth and her husband had loaned the crown significant sums to keep it afloat during a long war with the Ottoman Empire. She herself was a Calvinist in a time when Lutherans were agitating for greater authority in post-Reformation Europe, and one Lutheran minister in particular seems to have been diligent in spreading rumors of Elizabeth's bad conduct. After Elizabeth became a widow - thus a rich and powerful independent noblewoman who was owed a large sum of money from the King - the rumors intensified significantly. Is this because Elizabeth's murder spree picked up steam, or because, for reasons ranging from sexism and sectarianism to simple power politics and repayment avoidance, it was convenient to destroy Countess Bathory's reputation for all of history? Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

 We return with another powerhouse Ingrid Pitt performance in 1971's Countess Dracula, which is not about Dracula or a vampire of any kind but an adaptation of the story of Countess Bathory. Plus musical guest MUDSHOW appears courtesy of Horror Pain Gore Death Productions (HorrorPainGoreDeath.com)

Let's venture into the birth of black metal now, shall we. Specifically The Mighty Decibel celebrates the birth of the sub-genre by revisiting the first five classic albums of the Venom discography when Cronos was at the mic. Too loud for the crowd ... but not for the sons of Satan!!! Side One Welcome To Hell (1981) (0:00) Sons of Satan (3:40) Welcome To Hell (6:55) Live Like An Angel (10:55) Witching Hour Black Metal (1982) (15:40) Black Metal (19:22) Leave Me In Hell (22:55) Countess Bathory (26:40) Don't Burn the Witch At War With Satan (1984) (29:57) Rip Ride Side 2 Possessed (1985) (33:07) Satanachist (35:51) Too Loud For the Crowd Calm Before the Storm (1987) (38:53) Metal Punk

In Carmilla, Joseph Sheridan Le Fanu created one of the great Gothic tales that has haunted readers for almost two hundred years. One of a series of stories about the vampire Countess Bathory and her companion Reides, this chilling tale tells how a young girl falls under the spell of another girl who turns out...

THIS WEEK WE WATCHED DISNEYS ONLY HORROR FILM STAY ALIVE! .... Sorry J 4/10 M 4/10 For daily horror movie content follow the podcast on Twitter / Instagram @darkroastcult Each week we choose a movie from one of the horror genre to discuss the following week. Follow along each week by keeping up with the movies we are watching to stay in the loop with the movie club! Check out other podcasts, coffee and pins at www.darkroastcult.com ! THANKS TO ANDREW FOR MAKING THE INTRO SONG. (soundcloud.com / andoryukesuta)@andoryukesuta Stay Alive is a 2006 American supernatural horror film directed by William Brent Bell, who co-wrote it with Matthew Peterman. The film was produced by Joseph McGinty Nichol, and released on March 24, 2006 in the United States. It was the first film released by Hollywood Pictures after five years of inactivity. After playing a video game titled Stay Alive, Loomis Crowley, his roommate Rex, and Rex's girlfriend Sarah are killed the same way as their characters were killed in the game. At Loomis' funeral, his friend Hutch meets Abigail – a friend of Sarah – and receives some of Loomis' possessions, including Stay Alive. Hutch, his girlfriend October, and her brother Phineus decide to play the game as a group. They are joined by Abigail and another friend, Swink, while Hutch's boss Miller plays online from his office. The game is set in a derelict mansion on Gerouge Plantation, but it only starts when the six players recite "The Prayer of Elizabeth," a request for "all who resist" to perish so that their blood can keep the Countess Elizabeth Bathory young. The players fight through a cemetery of evil ghost children, heading toward a mausoleum and tower. Miller is directed by the game to pick up a rose. October, a reader of occult literature, explains that undead spirits cannot move across wild roses. Separated from the others, Miller throws the rose to dispel the spirits of undead girls. Since he is now out of roses, a woman in a red dress, the Countess, kills Miller's character. Minutes later, the Countess appears in Miller's office and kills him by stabbing him with conjoined scissor blades like the ones in the game. Two detectives, Thibodeaux and King, question Hutch about the homicides. Hutch realizes that Loomis and Miller played Stay Alive right before they died, and that they died the same way as their game characters did. October researches Bathory and learns she would drain young women of blood, bathing in it to maintain her youth. Her weakness was mirrors because she could not stand to see herself growing old. Phineus decides to play alone, and despite quitting the game before his character can die, he is killed in real life when he is run over by a horse-drawn carriage. The survivors agree to stop playing Stay Alive. However, Detective King ignores Swink's warning and plays until his character dies. King is then killed in his car. Hutch and Abigail search Loomis' house and learn of the game developer's location: the real Gerouge Plantation. October has discovered that the real Countess Bathory was locked in the tower of her estate as punishment for her gruesome acts and vowed to return one day for revenge, which she is now able to do, as The Prayer of Elizabeth has resurrected her. The Countess can only be killed by driving three nails into her body to trap her soul. October sees the Countess in real life and tries to kill her but realizes that she is a ghost. She has her throat slit by the Countess. The three survivors realize that once the game has begun, it can play by itself. Swink stays in a van and plays the game on his laptop to distract Bathory, while Hutch and Abigail search Gerouge Plantation.

Burning Witches vocalist Laura Guldemond is our guest this week on The MetalSucks Podcast! We discuss the writing process for their latest record The Dark Tower, the lyrical inspiration that Countess Bathory played, the importance of the comic book style cover art the band strives for with each release, touring on a cruise, getting sea sick and still performing, the importance of social media for bands in modern times, the craziest time she had at a metal show as a fan, and if she gets more energy from the audience singing or moshing during live shows. Petar and Brandon breakdown the video of Crazy Town singers getting into an ugly fight, Hed(P.E.) kicking them off the tour because of the video, and Bam Margera threatening to kill his family before turning himself into the police. Song: Burning Witches “The Dark Tower” Song: Blood Ceremony “Ipsissimus” Song: Dave Lombardo “Inner Sanctum” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joining me today is Professor Kimberly Craft- attorney and legal historian- to explore the life of the 16th-century "Blood Countess" of Hungary, Erzsebet Bathory. Reputed to be both a vampire and the world's worst female serial killer, she allegedly bathed in the blood of her 650 victims. Much has been written about the so-called Infamous Lady, Tiger of Csejthe, and Blood Countess, by the 21st century, the accounts of her life have becomeso fictionalised that the Countess is little more than a caricature. History has painted the Countess as an insane murderess; yet original letters, trial transcripts, and depositions indicate a far more complicated figure- the wife of a national war hero, a mother, generous benefactor, and socialite who routinely attended court and even the King's coronation, just months before her arrest. For English readers, unfortunately, much of the primary source material about the Countess has remained inaccessible with European researchers having translated it primarily into German or Slovak. Professor Kimberly Craft, has spent years researching facts on the Countess and over a year translating these original European sources into English.  Much of the material -the complete trial transcripts, depositions of 306 testifying witnesses, private letters, and the Last Will and Testament-have now been fully translated into English and are available, for the first time, to the general public. Based on this newly-found and translated source material, translated into English for the first time, we were able to dive into the actual life and trial of Countess Bathory and explore the woman, the myth and legend as well as the complexities to her nature. Links to all Haunted History Chronicles Social Media Pages, Website, Published Materials and Ways to Support the Podcast: ⁠https://linktr.ee/hauntedhistorychronicles⁠ Guest information: Website: https://www.infamouslady.com Facebook: https://www.facebook.com/kim.craft.520/ Instagram: https://www.instagram.com/kimcraft71 --- Send in a voice message: https://podcasters.spotify.com/pod/show/hauntedchronicles/message

VENOM foi uma banda que causou uma forte influência no mundo do heavy metal com o álbum BLACK METAL, lançado no ano de 1982. As faixas contidas no disco são: "Black Metal", "To Hell and Back", "Buried Alive", "Raise the Dead", "Teacher's Pet", "Leave Me in Hell", "Sacrifice", "Heaven's on Fire", "Countess Bathory", "Don't Burn the Witch" e "At War with Satan (Preview)". A banda era formada por: Cronos (Conrad Lant) (vocal, baixo e arte da capa), Mantas (Jeffrey Dunn) (guitarra) e Abaddon (Anthony Bray) (bateria). Para celebrar os 40 anos de seu lançamento, convidamos Cristiano Moura, "A Reserva Moral", para tomar uma e falar sobre todas as faixas do "BLACK METAL", do VENOM! ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

Welcome back metal heads to another episode of The Great Metal Debate podcast. I'm Xander and today we are going to be talking about the brand new death metal band called Castrator from New York City. This is the band's debut album titled Defiled In Oblivion. Just like Introtyl from Mexico City, this is yet another all female band and they kick just as much ass! The bassist of this band – R.M. – is also the bassist of the band known as Derkéta, which is also another death metal band that features all females in the lineup. Personally, I think that women in metal fucking rule and there is no better example than the ladies in Castrator. They've released two demos – one in 2014 and one in 2015, and the band has been around since 2013. With a band name like Castrator, it's no surprise that the lyrical themes involve feminism and non-rape – which is a good message. Now this band might be based in New York City, but the members are from Norway, Mexico, and Sweden, along with Columbia and the USA. . Castrator might be a great new death metal band with that old school sound but there isn't all that much more I can really say about this album other than it is enough to get people moshing and head banging. I'm not going to sit here and say that every song sounds the same but there are some very similar riffs and the vocals hardly change up. Which is common for most death metal bands so that isn't necessarily a bad thing or any kind of major critique. In fact, I think that the only reason they chose "Tormented by Atrosities" for their music video is because that particular song has a breakdown that sounds very much like "Liege of Inverasity" by Suffocation. And, of course, everyone knows what that breakdown is – that is the breakdown that started the subgenre called Slam. To help save a little time I'm not going to name every single song on this record but I will point out some of the other songs that I think are major highlights. Another really good track on this album was "Inquisition Sins". It had a nice riff with very audible lyrics. Directly after the song was another kick ass track titled "Voices of Evirato" that begins the same way an old Bloodtruth song would from the Obedience album. In other words, you hear chanting monks in a church choir. If this band decides to make any other music videos, they should for those songs I just mentioned, along with a few others. This album concludes with a cover of the song "Countess Bathory" by Venom which I actually think is pretty good. Although I don't understand why a lot of modern death metal bands feel the need to make their own re-recording or cover of an old-school metal song. For those of you metal heads out there looking for something very unique and different, you'll most likely be disappointed if you look for it here. With everything that I've said so far about this album, I'd rate this debut with a 7.5 out of 10. This has been yet another solid release from their record label Dark Descent Records, and it is where you can find their music.

"Hi Sandman, If you need inspiration then talking about Countess Bathory might open a Pandora box on female nature. Please take my suggestion seriously. Thank You." Well, MR. Anonymous I am going to take your suggestion seriously and do a video about her. This is a topic I've been wanting to cover for a while now and hopefully this will be the first part in a series of videos called female serial killers. Countess Bathory was known as Countess Dracula or the Blood Countess because she had apparently killed up to six hundred and fifty girls in her castle and according to legends she bathed in their blood. She would hire local servant girls from the towns around her, bring them to her castle for work and then punish them in treacherous and murderous ways. Her subjects were scared of her were scared of standing up to her. There's more to this story then we know. And bathing in blood was nothing compared to what she was doing to these women. She kept the girls would be in cages and she would pierce them with a lance and blood would rain down onto her from the cages above. And she almost got away with treating her subjects in this way because they were Slovaks and not Hungarians. The Hungarians looked down on the Slovaks as being sub-human so other Hungarians didn't care how she treated her servant girls. Also back then torch-er and cruelty were accepted as part of the normal way the wealthy aristocrats against the peasants. She controlled the peasants and dished out cruelty. But being cruel wasn't considered anything special. When Countess Barthory was eventually put on trial she was charged with excessive and extra-ordinary cruelty. Many of the stories about her don't really talk about the fact that these ethnic tensions existed in the country at that time. And the more I research about her the more I notice that her lashing out at these servant girls has a lot to do with the death of her husband and the loss of her land and power. She took out the fear and anxiety of aging and losing her prestige on these poor Slovak girls. And her husband, before he died taught her the star kicking. This is a procedure where you take a servant girl and little pieces of paper soaked in oil, put them between the servant girls toes and then and you set the paper of fire and the servant kicks and sees stars from the pain. Countess Bathory came from a culture that was more Klingon then human. And I'm not defending her cruelty. I'm just saying it's not as cut and dry as we'd like to think. But what's shocking is that even with the rumors of her killing servant girls people still wanted to work for her. That's how desperate times were in Hungary because most of the young men were dying in on the front lines with the Turks so parents often sold their own daughters into slavery to her as a way to survive.Elizabeth Bathory -The Blood Countess-Part 1/3https://www.youtube.com/watch?v=jU98g...Support this podcast at — https://redcircle.com/mgtow/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's a historic day at the podcast with HRH Matt Luton, royal expert and our first ever guest! We dish on jubilees, mandatory pantyhose, countesses bathing in virgins' blood, Canadian money and much more. Patreon -> https://www.patreon.com/twocentsplustax Transcripts -> https://twocentsplustaxpodcast.com/podcast-transcripts/

As promised just a few weeks late a podcast about the life of Elisabeth Bathory, her story has resonated through the centuries, sex, death, murder, sadism, intrigue, witchcraft, it has all the components of a story we would click on in a heartbeat today, but what is fact and fiction? Did she really kill over 600 women making her the greatest female serial killer of them all? did she really bathe in the blood of young women? did she really have a troupe of sadistic henchwomen who did her cruel and brutal bidding in ending young womens lives in the torture dungeons of the castle? Find out in Episode 96!! Support this show http://supporter.acast.com/agitators-anonymous-the-alan-averill-podcast. See acast.com/privacy for privacy and opt-out information.

NWOBHM is the “New Wave of British Heavy Metal” that followed the “The Unholy Trinity of British Heavy Metal” (TUTOBHM? Wait, that can't be right…) comprised of Black Sabbath, Deep Purple and Led Zeppelin. As stated on a previous episode, the blues were to Zeppelin as NWOBHM is to Metallica, and if you're even remotely familiar with Metallica (especially those first four albums), then you're already familiar with NWOBHM. It's time to discuss one of the most important acronyms in heavy metal history while ruling out the difference between a black “metal” album and a “black metal” album. What we're trying to say is that we're “running out of time” and we really need to get to the “all-you-can-eat-steak-buffet” before you JOIN US for a strange, yet enlightening trip through the brief era in metal known as “THE NWOBHM”. Visit www.metalnerdery.com/podcast for more on this episode Leave us a Voicemail to be played on a future episode: 980-666-8182 Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast app Listen on iTunes, Spotify, Podbean, Google Podcasts or wherever you get your Podcasts. Follow us on the Socials: Facebook - Instagram - Twitter Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Show Notes: (00:01):  #welcometopornphone #deepinsideASMR  #gettingthirsty #recordscratch ***WELCOME BACK TO THE METAL NERDERY PODCAST!!!*** #theuncorking #thisepisodesclinkyoftheepisode #variant #originalvariant #ooooh with a #complimentary #harmonyooooh #likePriest #pinkish #markthetime #DillardGA  #RMRoseCompany #fireonthemountainvariantASMR #GoodNeighbor #PeachAndLemonWhisky #TRexArmsUnite #cheers #evilspiritsbegone / #segue into #thisepisodesbeeroftheepisode #thisone #thisepisodes #TheBrewingProjeKt and #pufftartmonth here at #33rdFloorInvertedUndergroundBunkerPoonStudios / #fuckfruit #previousmodel #pinkish #mangopassionfruitandplum #marshmallow or #marshmellow #onpar #sourell #eightpointsixabv #passionfuckfruitASMR #asignfromtheuniverse #wellendorseforbooze / The #SuperBowl #ValentinesDay #WrapUp and #RussellsVacationBliss ***How many bands can you think of that utilize the term “CRUISE”?*** #poopdeck #offthebow #plague #bathingsuit (***can you imagine seeing the plague in a #bikini?  I mean…#justsayin***) / #NOTthrowawaysASMR #loads and #NOTDecaprioASMR #dancemonkey #russellWTFiswrongwithyou #takesomeadderallandSTFUASMR #KISS #whoahyayEEE / #KipWinger and the #ShipRocked #cruise and #misunderstandings   (12:34):  #alotofrelaxers and deciphering #russellsrants without #antirelaxers or #ADDMedication (EDIT:  #MonstersOfRockCruise) / #TheVoiceMailSegment ***GIVE US A CALL AND LEAVE US A VOICEMAIL AT 980-666-8182!!!*** #recordscratch #monsters #pissingpostASMR and a #ForbiddenTestimonialASMR #untilthenext #successstory #onemore #relaxervisionASMR #noworkingfilter #untilthenext #leanintoit #emeraldtriangleASMR #fortherecord (to clarify a recently previously made statement along with the band itinerary, as read by our very own #Russell.  / #whatyousaid #stuntminister #fastervaginacat #thatone #shittyJimFlorentineASMR #genre #mystyle #NWOAM   (18:56):  the #scenery of the #genre #allaccess #imgood #steakbuffet / ***How did y'all let us get this far without asking a single question regarding #NWOBHM (aka:  The #NewWaveOfBritishHeavyMetal) /  The connecting tissue between the late 70's heavy rock scene and the literal next wave of British Heavy Metal…think #PostSabbath #PostZeppelin and #PostPurple aka #PostTheUnholyTrinityOfMetal (at least those were the roots).  #Teenbone and the #wronglittlebluepill #markthetime) / a brief rundown of some various #NWOBHM bands as displayed by #AI / #Scandinavia and/or #Danish is not #British #geographyASMR #DanishIsDelicious #ismorist #GFY #Nein #calltoconfirm #9806668182   (25:30):  #blatantlywrong / These names are fucking AWESOME!!! (Obviously, you have to include #Rainbow!). #Stanssister  ***Who began the #campaigntowardsNWOBHM!?*** / #TygersOfPanTang (not #TygersOfPoonTang) / Other defining factors for the #NWOBHM #genre. ***Late 70's to early 80's (it's #veryspecific) *** / #AngelWitch ***#unt*** #greatPeterImpression ANGEL WITCH (on Angel Witch!!! #excitermoment) / #UppityPriesty / #PrayingMantis and a quick #ReinventingTheMetal #shamelessplug #killeropener CHEATED and #jinglemetal and #Damone and the #FastTimes feel (oh, it's a #KinksCover…) #itsgonnakickin #superprogmetal #Maidenish #TopGunASMR / #allmygoods and that #interimperiodofmetal between the late 70's and early 80's #talkinafan #NWOAHM #Saxon (Judges:  #Raven also counts as #NWOBHM).  #whitehair #WheelsOfMetal #WheelsOfSteel MOTORCYCLE MAN (#powermetalbonscott) and the #titlee WHEELS OF STEEL (very #badboyboogieish. The note here is that it sounds like Bad Boy Boogie #kindasortalike #LetThereBeRock).    (43:12):  How about some #DiamondHead? #onmicburpASMR (“Lightning For Nations”) LIGHTNING FOR NATIONS (Diamond Head's “almost” #ExciterMoment) #oneorsomethin HELPLESS #fuzz #earlystonermetal #bubblesthewalrus / #DefLeppard #markthetime #ohmydamn #slidingglassdoor / #anotherwaytolookat #selfmurder (“On Through The Night”) #noearwormsplease HELLO AMERICA #ThatsAmericaAsFuck #thefirstnewalbum / NOT #PoonTang (It's the #TygersOfPanTang) #panpoon or #poonpan #spicy #nowwithextracrazy #hotterthanhellmisheardintro DO IT GOOD #backthentheywereyounger    (54:44):  #WitchfinderGeneral (#aftertaste #thatsgonnasmell) / #boobies WITCHFINDER GENERAL #fuzzy #stoner #Swordstyle #heavydoom #moderndaystonermetal #wayaheadoftheirtime #productiontits / #Samson (Bruce Dickinson's #fitness #fitnesscrickets T&Y) band prior to #IronMaiden) #noteven #alotofmembers #markthetime BICEPS OF STEEL #WelcomeToTheMetalNerderyConcierge / #recordskip #familiarsounding #perfectonmicburp #djburpgenius #wheresthevocals #BruceMeatloafInson or #MeatloafDickinson    (1:05:00):  #Venom (***see also Black Metal***) #productionquality COUNTESS BATHORY #ultraspooky BLACK METAL #earlythrashmetal / Daemon or Demon? Which one is #eviler? #cannotconnect / #Holocaust THE NIGHTCOMERS #consolidation #sevenincher #soloartist and the joy of 45's #bbqwolfsteakyeah / #maybenot / #GrimReaper ROCK YOU TO HELL #HeadbangersBallFlashbackASMR #powermetal    (1:15:47):  #SweetSavage KILLING TIME (see also #garageload) #oddmix and a brief #tangentional moment of upcoming #backshadowing / #Satan THE DEVIL'S INFANTRY (***a tad outside the “date range” …Yes, that was in fact Satan…but it wasn't necessarily from the NWOBHM period). LEGIONS HELLBOUND (again, not in the “acceptable” #daterange for NWOBHM scholars, but we digest). BLADES OF STEEL (that's #metal!). #Pissfilledballs time to #emptyout ***THANK YOU FOR JOINING US AND PLEASE CONTINUE TO SPREAD THE GLOBAL WORDERY ABOUT THE METAL NERDERY!!!*** and #untilthenext #thelastword #hahaha #Istillgotthelastword #wait #waitforit #waitalittlemore #wearealmostthere #okay #what?  

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Bathory se formó el 16 de marzo de 1983 cuando tres jóvenes: Tomas Forsberg, Jonas Åkerlund y Freddan Hereafter se reunieron en Musikbörsen (una tienda de música ubicada al oeste de Estocolmo), tras responder a un anuncio que Forsberg había pegado en los tableros de tiendas de música y estudios de grabación de Estocolmo. Tomas Forsberg ponía en el anuncio que quería formar una banda al estilo de Exploited, GBH, Black Sabbath y Motörhead. Los tres jóvenes completarían la primera formación de Bathory, el vocalista y guitarrista Tomas Forsberg cambió su nombre a Quorthon (primero se hacía llamar Black Spade), el batería Jonas Åkerlund pasó a llamarse Vans McBurger y el bajista Freddan Hereafter se llamaba Fredrick Hanoi. Quorthon era el más joven de los tres, tenía 17 años y vivía en Västerort; mientras que McBurguer y Hanoi tenían 18 años y residían en Nockeby, al oeste de Estocolmo. Tras unirse, buscaron un nombre para la recién formada banda. Tras probar varias opciones, (Nosferatu, Natas, Mephisto, Grevinnan Báthory, Elizabeth Báthory y Countess Báthory) finalmente sus integrantes decidieron llamarse simplemente Bathory, en honor a la condesa húngara Erzsébet Báthory, que según algunas leyendas solía bañarse en la sangre de algunas jóvenes aldeanas que eran sacrificadas, con lo que pretendía adquirir la juventud eterna. La decisión final de tomar Bathory como el nombre definitivo para la banda se le ocurrió a Quorthon mientras se encontraba de visita en el museo del terror The London Dungeon donde encontró una figura de la Condesa Báthory tomando uno de sus baños de sangre. Durante el verano de 1983 Vans y Hanoi aprovecharon para irse de vacaciones a Londres, pero Quorthon no quiso desaprovechar la oportunidad de trabajar con Bathory y decidió llamar a unos amigos con los que había tocado en una banda de punk llamada Stridskuk para que le ayudaran, suponiendo que éstos le podrían ayudar con el toque brutal que quería para la banda. En aquel momento comenzaron a grabar temas como «Sacrifice», «Live in Sin», «Die In Fire» y «You Don't Move Me (I Don't Give a Fuck)», en una sala de ensayo alquilada, utilizando el mejor equipo que Quorthon pudo conseguir.Tras sus vacaciones veraniegas, Vans y Hanoi regresaron para continuar su trabajo con Bathory. En esta época la banda decidió contratar a un cuarto miembro y realizaron una audición para añadir un segundo guitarrista o un vocalista. Se presentaron varias personas, pero ninguno de ellos se sintió cómodo con el estilo y las ideas que tenía la banda. Después de la búsqueda fallida de una segunda guitarra, Vans y Hanoi llevaron a los ensayos de la banda a un músico llamado The Animal para que formara parte de la formación. Estuvo apenas medio año como vocalista, pero a Quorthon nunca le gusto su voz y en enero del 84, éste decidió echarlo y volver a encargarse de las voces. A comienzo de 1984 Quorthon comenzó a trabajar en la compañía Tyfon Records con la idea de empezar a conocer un poco más sobre el mundo de la música. Börje Forsberg (conocido como The Boss) había contratado a varias bandas para que hicieran un recopilatorio de bandas suecas, pero una de ellas no pudo participar. Al enterarse de esto, Quorthon le pidió a The Boss la oportunidad de que Bathory reemplazara a la otra banda. The Boss le preguntó a Quorthon si habían grabado alguna demo y el vocalista decidió mostrarle el material de ensayo que habían grabado. Con ocho temas propios escritos durante los diez meses de vida de la banda: «Satan My Master», «Witchcraft», «Live in Sin», «Dirty Woman», «Sacrifice», «The Return of the Darkness and Evil», «You Don't Move Me» y «Die in Fire», la banda se decidió por «Sacrifice» y "The Return of the Darkness and Evil" para la grabación del recopilatorio, llamado Scandinavian Metal Attack. A pesar de que fue la suerte quien les permitió hacer parte de este trabajo, éste se convirtió en el principal culpable de que Bathory surgiera del anonimato, además fue la única de las cinco bandas que participaron, que recibió correo de personas que se declararon sus nuevos seguidores. Poco después de la grabación de los temas para el recopilatorio la banda se separó, debido a que uno de ellos decidió irse a vivir a Londres y porque dejaron de llamarse y de reunirse para ensayar. Tyfon Records publicó el LP en marzo de 1984 con una edición de 3000 copias que se vendieron en un semana, por lo que se realizaron una segunda, una tercera e incluso una cuarta edición. En 1996 la discográfica Black Mark lo remasterizó y relanzó en el CD Scandinavian Metal Classics.Después del relativo éxito de Scandinavian Metal Attack, Quorthon recibió una propuesta de un estudio para comenzar la grabación de un álbum de larga duración. En aquellos momentos la banda ya no existía, pero para Quorthon esto no significó un problema, debido a que pensaba que tenía tiempo suficiente para encontrar músicos que trabajaran junto a él antes de junio, fecha para la cual se había planeado la grabación. Quorthon comenzó a planear la sesión de grabación con material sobrante de la sesión de Scandinavian Metal Attack y temas nuevos. Nuevamente Quorthon decidió llamar a sus ex compañeros de Stridskuk, el bajista Rickard «Ribban» Bergman y el batería Johan «Jolle» Elvén para que lo ayudaran con la grabación de los temas. Esta vez Jolle no pudo ayudarle porque a mediados de junio comenzaría a preparase para ingresar en la Marina. Debido a este inconveniente, Quorthon se puso en contacto con Stefan Larsson, que había tocado en la banda Obsklass. En mayo se reunieron en el centro cultural de Estocolmo, para hacer algunas pruebas de sonido con los dos nuevos integrantes. El lugar tenía algunos recursos para la grabación, que aprovecharon para hacer una rápida grabación de los temas «Witchcraft» inspirado en el tema «Overkill» de Motörhead y «Satan My master», la temática en cuestión fue sacada de un libro de rituales satanistas del siglo XV. Después de esta grabación, concretaron reunirse tres semanas después en Heavenshore, para comenzar a trabajar seriamente. A pesar de que Ribban estaba decidido a ayudar a Quorthon en la grabación, le hizo saber que no quería ser un miembro de Bathory de forma permanente, por lo que el vocalista decidió no incluir nombres o fotos de los integrantes de la banda en sus trabajos, sin embargo, poniendo en su lugar los nombre de tres demonios: Quorthon, Vvonrth y Kothaar. La fecha elegida para la grabación del primer trabajo de Bathory que se convertiría en su carta de presentación fue el sábado 14 de junio, con material escrito para llenar las dos caras de un LP. Aunque algunos de los temas como «Hades» y «Necromancy», aún estaban sin terminar. Sin mucho dinero y ajustando un poco el presupuesto decidieron bajar un poco la calidad de la grabación y haciendo un esfuerzo para grabar la mayor cantidad de material posible, finalizando la grabación de todo el material en 56 horas. Cuando se terminó la mezcla, el material grabado fue ecualizado en los estudios Elektra pocos días después. Todavía faltaban varios detalles; el nombre que se eligió fue Pentagrammaton pero Quorthon se dio cuenta de que muchos lo llamaban simplemente Pentagon, así que un poco presionado por el poco tiempo que le quedaba para terminar el trabajo, decidió dejarlo sin título, pasar el pentagrama a la contraportada y como primer intento para la portada, eligió el color negro de fondo y sobre él pegó una combinación de ojos, nariz y boca cortados de varios cómics con la idea de crear la figura de una cabra. Una buena cantidad de tinta se encargó de enmascararlo y darle pequeños detalles como el cuerpo, el pelo, alargarle las orejas y los cuernos. Quorthon decidió utilizar este macho cabrío en la portada y convertirlo en el símbolo de Bathory. En la contraportada, para imprimir los título de las canciones utilizó el mismo tipo de letra inglesa que había comprado para el nombre de la banda. Tras crear la carátula, una noche después de ser enviada a imprimir, descubrió que había cometido un error ortográfico en el tema «Necromancy», debido a que nadie le había dicho que se pronunciaba con una s, pero se escribía con una c. El álbum de ocho canciones (sin contar con el intro y el outro), fue publicado como LP el 2 de octubre de 1984. De este primer trabajo existen varias versiones, que se distinguen por las diferentes portadas con las que se imprimieron: Quorthon había leído que el color dorado es un color mágico. El plateado era el color del bien y la luz (por lo del mito de las balas de plata), pero que el color dorado podía ser usado tanto por la luz como por la oscuridad en los rituales. Fue por ello que intentó hacerlo en color negro y dorado pero esto haría que se incrementara el precio de las impresiones, así que decidió pedirle a la empresa responsable, que lo hiciera con un color que fuera menos costoso y que se acercara tanto como fuera posible al dorado. Una semana y media después, Quorthon decidió ir a ver como estaban quedando las carátulas y se dio cuenta de que las estaban imprimiendo con el macho cabrío en color amarillo, e inmediatamente paró su producción pues le pareció un resultado horrible. Sólo 1000 copias con esta portada fueron producidos, que ahora es popularmente conocido como The Yellow Goat («La Cabra Amarilla»), su precio actualmente es de 100 dólares si se encuentra en buen estado y si está autografiado puede llegar a costar entre 400 y 500 dólares. Finalmente decidió imprimirlo en blanco y negro, para poder tener un costo razonable y que así siguiera conservando su imagen oscura. Cuando Bathory firmo con Black Mark fue remasterizado en CD variando la carátula un poco, al hacer el macho cabrío más grande y con ojos rojos En el año 1997 con esta misma carátula fue publicada una versión PD (picture disc) de este trabajo impreso en vinilo, con un límite de producción de 666 copias. El coste de la producción del álbum debut de la banda fue aproximadamente de 500 dólares y 60 horas de grabación, incluyendo prueba de sonido y mezcla. Nadie se podría imaginar que lo que empezó siendo un desfogue experimental, terminó como semilla de un trabajo y género a seguir para toda una generación. Hoy en día sigue siendo el trabajo más vendido de Bathory y sigue posicionado en el punto más alto de todos los trabajos de Black Mark. En esta época y debido a que Venom contaba con una gran popularidad por esos momentos, Bathory se ganó la reputación de ser simplemente unos imitadores, ya que los ingleses habían editado el año anterior su álbum Black Metal que incluía temas como «Raise the Dead», «Hades», el ya mencionado «Sacrifice» o «Countess Bathory» y que casualmente hasta las portadas de ambos trabajos fueran parecidas. Esta comparación se dio más por la imagen y por simples conexión en los nombres, pero realmente si Bathory quiso imitar a alguien fue a Black Sabbath por sus letras y a Mothörhead por su intensa música y en ningún momento a Venom, sin embargo demostró lo contrario a través de los años y reunió una buena masa de fieles seguidores, gracias sobre todo a esa imagen tan influenciada por la mística y la mitología nórdica. El 10 de noviembre, cerca del momento en que el LP debut comenzó a llegar otros países de Europa, Quorthon regresa nuevamente a Heavenshore junto a Ribban y Stefan. La tarea era tratar de trabajar en terminar todo lo que no se había podido completar en la sesión del LP debut y tomar provecho de que Heavenshore estaría vacía durante una semana o más. El objetivo principal para reunirse nuevamente en esta fecha era para grabar cuatro temas, tratando de representar una versión de un grabado medieval, y rápidamente lanzarlo en navidad como un EP 45", un formato muy popular en los 80's. El trabajo tenía como nombre Necronomicon o Maleficarum (Quorthon no recuerda bien cual de los dos). Los temas claramente mostraban la evidencia de la creciente importancia por los temas oscuros en las letras de la banda. El material grabado durante esta sesión fue «Children of the Beast», «Crown of Thorns one the Golden Throne», «Crucifix» y «Necronomicon». Sin embargo decidieron posponerlo, debido a que los temas, no tenían nada que ver con los del LP debut, otra de las razones por las que fue cancelado, fue que la fecha límite para producirlo era el 20 de noviembre si querían que saliera para la época decembrina. Simplemente no había tiempo para producir el EP, luego enviarlo a los distribuidores en Suecia, para que finalmente pudiera estar en las tiendas antes de diciembre. Por tales motivos el EP Necronomicon/Maleficarum terminó archivado (lastimosamente Quorthon aún no sabe dónde). Ningún material de esta sesión fue regrabado para el segundo trabajo. Según cuentan, el material para este EP, no tenía ningún tipo de relación con el material del LP debut y claramente marcaba una evolución que eventualmente llevaba a la banda hacia The Return of the Darkness and Evil.El segundo trabajo The Return que se complementa con otra línea en la contraportada of Darkness and Evil, fue más tarde editado en 1985, para su grabación firmaron por primera y última vez con los Estudios Electra. El bajo fue grabado usando un pedazo de tubería de aluminio para obtener un sonido diferente, mientras que la batería y las guitarras fueron grabadas en un gran recinto para que sonaran con mayor poderío. En la grabación del punteo del tema «The Return of the Darkness and Evil» debido a que no estaba saliendo muy bien Quorthon se disgusto y rompió una guitarra, todo esto quedo registrado y al final del punteo se puede escuchar. Como en su primera obra, en la contraportada no aparecía nadie mas en los créditos que su cantante y guitarrista Quorthon, de lo que podemos deducir: que se alquilaron músicos de sesión para terminar la obra, que el mismo toco todos los instrumentos, o quería mantener en secreto los integrantes; solo se conoce algo sobre un bajista que fue despedido de la banda a mitad de las grabaciones porque era un drogadicto empedernido. En la contraportada del LP en vez de traer la lista normal de temas, trae una especie de poema en el cual Quorthon utiliza los nombres de cada uno de ellos en alguna de su parte. El tema «Born for Burning» fue dedicado a la bruja Marrigje Ariens que nació en 1521 y fue quemada en 1591 en Schoonhoven Holanda, y el tema "Bestial Lust" fue dedicado a una mujer con la que Quorthon tuvo sexo en el piso del baño de mujeres del Rock Club. El primer título que inscribieron para su tercer trabajo fue Nocturnal Obeisance (como lo es actualmente su intro), pero finalmente decidieron llamarlo Under The Sign Of The Black Mark (Bajo el Signo de la Marca Negra), el cual fue editado en 1987. Parte de este trabajo había sido planeado grabarlo en una iglesia acompañado de un coro de niñas e instrumentos medievales; al igual que en los dos trabajos anteriores, este estaba caracterizado por un sonido constantemente caótico y unas letras profundamente enraizadas con el satanismo, podríamos decir que es el responsable del moderno black metal Nórdico, este trabajo al igual que los demás fue producido por Quorthon, que editaba sus trabajos en La Península Escandinava bajo su propio sello discográfico Tyfon Gramoffon. Durante esta época Quorthon solo escuchaba música clásica, lo cual hacia que se interesara mas en adaptar música y escribir largas canciones, un buen ejemplo de esto es «Enter the Eternal Fire». La carátula de este trabajo es una foto y no una pintura como muchos creen, fue tomada en la Opera de Estocolmo con las cortinas abajo, mientras las personas esperaban para el segundo acto de «Carmen», el hombre que aparece con la mascara es Leif Ehrnborg, un campeón de levantamiento de pesas del equipo Sueco, quien en la foto original, en la parte de abajo de la montaña fue acompañado por fuego, humo y algunas mujeres desnudas, pero sólo fue utilizada la mitad que todos conocemos y la parte de abajo fue desechada (sólo en la versión en LP se puede constatar esto, si se despegan las solapas de la portada, donde se pueden ver claramente las cabezas de algunas de estas mujeres). Se corre el gran rumor de que existe un CD-Doble, el cual solo se publicó para Suecia. Para esa misma época Quorthon empezó a planear un espectacular vídeo mostrando a la banda tocando en vivo pero desafortunadamente nunca se realizó, consistía en alquilar un campo militar y levantar en el un gran escenario al aire libre, tan grande que se demorara varios minutos recorrerlo de un lado a otro y que estuviera acompañado por un juego de batería de 18 tones de piso que serían envueltos en fuego, juegos pirotécnicos y humo.En 1988 fue editado el Blood Fire Death (Sangre Fuego Muerte), época en que ingresaron a la banda Vvornth como baterista y Kotthar como bajista para acompañar a Quorthon, así por primera vez se pudo conocer una alineación estable, donde aparecían estos tres dioses en la contraportada. Los temas eran complicados, lo que le iba mucho mejor a Bathory, en contraposición con sus primeros temas más rápidos, su música se acercaba cada vez más al death y viking metal; sus letras también habían cambiado, ahora hablaban mas sobre mitos y leyendas, guerras, batallas, y la era vikinga, donde Quorthon exprimía su fuente inspiradora de la mitología nórdica. La música incluso sonaba más suntuosa que en sus primeros trabajos, había un uso frecuente de coros y teclados que le añadían una nueva dimensión de sonido. Por primera vez también se publicó una foto de la banda, lo malo es que a Quorthon no le gusto mucho la idea y decidió no volver a hacerlo en trabajos futuros. El quinto trabajo, Hammerheart, aparece en 1990, donde hallamos a Quorthon en la misma dirección de su anterior trabajo; se vieron aún más los cambios musicales, con una gran influencia por los teclados, punteos de la guitarra y letras que hablan sobre la vida de los vikingos; tanto la imagen como el sonido parecían cada vez más cercanos al Viking Metal de Manowar, la velocidad se había perdido y todos los temas eran largos y muy ligeros, excepto por la balada «Song to Hall Up High» que no es larga pero sí muy ligera. El final del tema «Shores in Flames» está acompañado de una replica del sonido producido por los cuernos de bronce que eran utilizados en la Era Vikinga y no con un simple cuerno de Alce como lo afirma la revista Metal Hammer, fueron grabados en los Estudios Heaveshore por un empleado del Museo Nacional de Antigüedades de Estocolmo. En esta ocasión firmaron con la Noise, pero según Quorthon resultó ser una gran equivocación, en todo caso cuando se pasaron para la Black Mark fue remasterizado y publicado en CD, donde se incluyó en el interior del libro una foto completa de la carátula, una imagen titulada «Nightfall by the Shore» con un escrito en latín y también se puede ver un pequeño cambio en el logo y colores más vivos en la portada. En esta misma época y a petición de sus seguidores, Bathory decide hacer su primer y único vídeo del tema «One Rode to Asa Bay», pero las cosas no salieron muy bien. En el año de 1991 la banda hace el lanzamiento de su sexto trabajo Twilight of the Gods, sin dejar a un lado la evolución musical con la que han venido últimamente y como su título lo deja entrever le siguen cantando a los Dioses Nórdicos; su vocal es normal y su música se ve grandemente influenciada por el sonido de los teclados y punteos de la guitarra, su estilo sigue siendo el viking metal (lento, depresivo y ligero) pero esta vez con un poco de influencias clásicas, obviamente por el interés de Quorthon en ese estilo de música. Uno de sus temas, mas explícitamente "Hammerheart" hace parte de un concierto de música clásica por Gustav Holst, en el que Quorthon escribió la letra. También se encuentra disponible en el mercado un sencillo con los temas «Twilight of the Gods» (versión editada), «Under the Runes» y «Hammerheart». En la contraportada aparece la imagen de un monumento que hizo Quorthon y representa a Yggdrasil (el árbol del mundo en la vieja mitología nórdica), mide alrededor de 10 metros de alto y 5 de ancho, y como en su trabajo anterior podemos encontrar un escrito que la acompaña. Uno de los acontecimientos más trascendentales en este trabajo fue cuando Quorthon dio la noticia de que esta sería la última creación de la banda, por tal motivo no fue incluido el «Outro» que finalizó sus primeros cinco trabajos y que tiene como significado Bathory esta arrastrándose bajo las rocas pero regresará. Afortunadamente todo esto no fue cierto. Para 1992 y 1993 lanzan dos trabajos recopilatorios de temas anteriores entre 1983 y 1991, exceptuando siete nuevos o al menos no escuchados anteriormente. En el Jubileum Volume I "Ride at the Gate of Dawn" que es un intro, "Crawl to your Cross", "Sacrifice" tomado del LP Scandinavian Metal Attack y «You Don't Move Me (I Don't Give a Fuck)» tomado del demo de 1983, y en el Jubileum Volume II «Burning Leather», «The Return of the Darkness and Evil» tomado del LP Scandinavian Metal Attack y «Die in Fire» tomado del demo de 1983. Aunque no eran temas nuevos, Bathory demostró que todavía tenía mucho camino por recorrer y que su final no sería pronto, como lo había anunciado Quorthon en el trabajo anterior. Una de las pausas más grandes que sufrió Bathory fue cuando Quorthon decidió lanzarse en solitario como Quorthon con álbum, pero la necesidad de regresar a escribir y tocar Metal nuevamente, impulsó el nuevo ataque de la banda, confirmando su verdadero regreso. En 1994 lanzaron Requiem, tres años después de su última producción, donde regresaron con el estilo caótico, brutal y rápido característico de sus primeros trabajos, con un mejoramiento musical más notable pero totalmente diferente al de los dos trabajos anteriores, su música fue escrita en dos semanas y sus letras hablaban sobre materias ocultas y terrenales, las cuales fueron censuradas y por tal motivo fue producido y publicado sin ellas. Igual que en sus primeros días, volvemos a encontrarnos con la sorpresa de ver a Quorthon como único integrante de la banda, pero nunca había sucedido un cambio tan notable con el logo, ahora era menos tradicionalista y más desafiante. Durante el periodo de grabación el tema «Apocalypse» fue llamado «Calypso» como un chiste. En una versión de este trabajo de 1989, se supone que hay tres temas mas llamados «Descend to Hell», «Cry», «Marching Off to War» y «Nine Lakes of Fire». Octagon (Octógono) su trabajo número ocho, fue lanzado en el año de 1995, fue escrito y grabado en medio año, luego de lanzar Requiem y en los créditos solo aparece registrado Quorthon, sin contar los Jubileum´s es el único que no fue publicado en pasta o vinilo; la tendencia al Thrash se hace más presente siguiendo el estilo de Slayer y el de su trabajo anterior, aunque con un ligero toque industrial (algo que no gustó mucho), la vocal es normal pero sin embargo brutal y las letras tocan el tema social (guerra, violencia, intolerancia y religión). Cuando iba a ser producido, dos temas fueron censurados a causa de sus letras, por este motivo se incluye por primera vez un cover, "Deuce" de Kiss que finaliza el trabajo, muchas personas opinan que eso fue un gran error y que ayudo a que el trabajo se ganara el repudio de varios de sus seguidores. En 1996 lanzaron Blood On Ice (Sangre Sobre Hielo) un trabajo temático que resultó ser todo un reto, se caracterizo por ser una especie de recopilación de temas inéditos de años anteriores (algunos de siete años atrás), donde Quorthon nos deleita con nuevas leyendas e historias. Su estilo es lento con una combinación heavy/viking metal, algo así como una fusión entre el Hammerheart y Twilight of the Gods. Las letras fueron escritas en formato de Saga y hablan sobre un joven que sobrevive a un feroz ataque en su villa y todo lo que hace en búsqueda de la venganza, fueron inspiradas por Conan y Richard Wagner´s "Götterdämmerung". Incluye la Historia de Bathory escrita por Quorthon hasta el lanzamiento de este trabajo, el cual fue grabado durante tres sesiones entre 1988 y 1989, pero no fue terminado debido a que Quorthon sintió que no era el momento preciso para publicar un trabajo de esta clase; cuando acabó el proceso de producción y lanzamiento del Octagon, varios de sus seguidores le escribieron preguntando cuando sería publicado y lo tendrían en sus manos, así que gracias a la motivación que le dieron se tomó el tiempo de terminarlo. Antes de su lanzamiento fue publicada una versión promocional en Mini-CD donde encontramos un logo muy formal y completamente diferente a todos los anteriores, sin embargo para la versión final decidieron usar el mismo que en el Requiem y el Octagon, encontrando que en el CD fue impreso en la contraportada, mientras que para el LP en la portada. La docena de trabajos se completan con Jubileum III en 1998, no hay mucho que decir de él, como los anteriores Jubileum's se trata de un trabajo recopilatorio que contiene los mejores temas de hasta cinco años atrás y seis temas inéditos: "Resolution Greed" y "Genocide" tomados de la sesión del Octagon (supuestamente estos son los dos temas que fueron censurados), "Satan My Master" y "Witchcraft" tomados del demo de 1983, el quinto es "In Nomine Satanás" la versión original del tema "Bond of Blood" del trabajo Twilight of the Gods que fue terminado más tarde en una nueva versión donde decidieron cambiarle el contenido de las letras, el sexto realmente no es un tema inédito, se trata de una versión especial de los coros del tema "Valhalla" del trabajo Hammerheart. Rompiendo el esquema de llamar a todos sus trabajos recopilatorios Jubileum, a finales de agosto del año 2001 lanzaron Katalog (Catálogo), sin embargo actualmente es tomado más como un catálogo (como su nombre lo indica) o CD promocional que como un trabajo, la diferencia con las demás recopilaciones, es que contiene sólo un tema de cada trabajo oficial, comenzando con un tema del Destroyer Of Worlds que aún no había sido lanzado, seguido por temas desde su primera creación Bathory hasta el Blood On Ice (lógicamente sin contar los Jubileum) y anteriormente incluían desde temas inéditos hasta varios temas de un solo trabajo. La Black Mark pretende con su lanzamiento dar una idea a los nuevos seguidores de lo que es y fue Bathory, algo bastante sorprendente es que haya sido producido antes que el trabajo en estudio, el cual había sido mencionado desde hace varios meses atrás, sin embargo sirvió como preludio de lanzamiento del tan esperado... Destroyer Of Worlds (Destructor de Mundos), en más de 6 años Bathory no entraba en estudio a grabar un nuevo trabajo, sin contar con el Blood on Ice como nuevo, ya que fue una recopilación de temas anteriores. El primer nombre que habían pensado fue Nemesis pero en el transcurso de su larga y dura grabación decidieron cambiarlo, fue dedicado a todos los seguidores de Bathory, finalizando con la frase You are the Best! (¡Ustedes son los mejores!). Contiene diferentes estilos musicales, debido a que Quorthon decidió complacer en un sólo trabajo a todos sus seguidores, que se habían dividido en dos (a los que les gustaba la era black/death metal y a los que les gusta la era Vikinga), así que pensó que no seria justo hacerlo sólo con el estilo de sus primeros trabajos como inicialmente lo había pensado, sus letras hablan sobre materias como la sociedad, muerte, motos y hasta hockey sobre hielo. Como siempre, es un trabajo totalmente diferente a cualquier otro que Bathory haya grabado anteriormente. Creó una gran expectativa ya que se especuló mucho sobre su fecha de salida al mercado (finalmente 8 de octubre, para el resto de Europa el 23 de octubre), casi más de 1 año por parte de la Black Mark y Quorthon. Nordland I (Tierra del Norte I), en el 2002 lanza su trabajo número once en estudio, el cual fue para casi todos una sorpresa, debido a que solo se conocieron algunas noticias semanas antes de su lanzamiento. Da comienzo a la saga Nordland (Tierra del Norte), un trabajo temático donde Quorthon nos deleita hablando sobre la Tierra Nórdica. Su estilo es semejante los trabajos Hammerheart, Twilight of the Gods y su anterior saga Blood On Ice. Nordland II (Tierra del Norte II), completa la docena de trabajos de Bathory en estudio y fue lanzado al mercado en marzo de 2003, mes en el que la banda celebro sus 20 años de vida remasterizando digitalmente y lanzando al mercado sus seis primeros trabajos. Nordland II es la continuación de la saga escandinava y todo parece indicar que es su punto final, aunque Quorthon no descarta la posibilidad de que la historia continúe en un futuro (no muy cercano), no se muestra muy animado en hacerlo argumentando que toda historia tiene su final y esta ya lo tuvo. Hay partes de algunos temas en ambos Nordland en los que se incluyen aproximadamente tres guitarras rítmicas, hasta ocho guitarras líderes haciendo melodías y armonías, incontables pistas de coros y en algunas ocasiones flautas, cuernos, acordeones y órganos. Sin mencionar la presencia de truenos, viento, olas, caballos y el sonido de la batalla detallando la historia y enriqueciendo la experiencia. No sólo hubo derroche histórico, artístico y musical sino también de mercadeo, además de ser lanzado en CD, también salió al mercado en LP y por primera vez para Bathory en DP (DigiPack) versión limitada. Como si no fuera poco, días después del lanzamiento del Nordland II salió al mercado una LP-Doble en versión limitada llamado Nordland I & II, que contiene la saga Escandinava completa y para la que no midieron en gastos a la hora de su realización, hasta la presentación y letras del interior vienen completamente en color y cada LP fue producido en Ice Clear Disk (Vinilo Transparente) para darle un toque más nórdico.El 7 de junio de 2004 el mundo del metal se lamenta por la muerte de Quorthon, el cual fue encontrado sin vida en su apartamento a causa de un paro cardiaco.6? Para esta época Quorthon estaba grabando un nuevo trabajo titulado Dra Ballen i Gruset Grabbar y se estaban publicando la historia de Bathory en su página web oficial, que llevaba poco tiempo activa.7? Ambas tareas se encuentran incompletas por el momento y todavía no hay ningún comunicado por parte de Black Mark sobre el tema. Se han recopilado varios álbumes tributo a Bathory realizados por diversos artistas del género black metal (algunos de ellos lanzados incluso antes de la muerte de Quorthon), entre ellos Conspiracy with Satan: A Tribute to Bathory (1998) y Voices from Valhalla - A Tribute to Bathory(2012).

Oggi parliamo di "una delle pietre miliari del Black Metal" (????). Restano le grandi domande esistenziali di sempre: "Davvero David Bowie non veniva da Marte?", "Cosa sarà il Black Metal? E il Thrash? E lo Speed?" e soprattutto: "Voi ascoltat* del podcast che non siete amic* di Marco, sapete chi sono i Venom?". Fatecelo sapere nel sondaggio su Spotify! *Questa puntata è dedicata a Gigi* --- Send in a voice message: https://anchor.fm/lecoseincomune/message

Countess Bathory has been referenced in countless books, movies, and lyrics! Her story is a bloody one with a lot of gruesome details. Did the Countess actually bathe in blood? Was she as ruthless as the stories say? We get to the bottom of it all in this bloody good episode!Linktr.ee/thecousinsweirdSources: Infamous Lady: The True Story of Erzsabet Bathory by: Kimberly CraftThe Private Letters of Countess Erzsabet Bathory by Kimberly Craft https://www.google.com/amp/s/www.history.com/.amp/this-day-in-history/bathorys-torturous-escapades-are-exposedhttps://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/bathory-elizabeth-1560-1614Music from Upbeat (free for Creators!):https://uppbeat.io/t/danijel-zambo/friendly-ghostLicense code: LZ5ZUHQLWV7IN6XH

Jay and Nik talk about the West Virginia fish monster and the infamous Countess Bathory.

Countess Elizabeth Bathory has often been called the original vampire. Born in Transylvania in 1560, Countess Bathory has been called the most prolific female murderer in history. Bathory is most famous for allegedly bathing in the blood of virgins to preserve her beauty. Brew a cup of tea, light some candles and draw a bath. (Water preferred) We talk about Countess Elizabeth Bathory on this episode of Horrific Heartland.

What's up, Strangers? We're back and better than ever, drinking a 2018 Cabernet Sauvignon by 19 Crimes. Join us as we chat about the Countess Bathory, her strange beauty practices, and Friends (the TV show, of course).

Debra, Diana, and Jesi talk about a young woman caught red-handed in an insurance scam, the Countess Bathory, and a fly swatter explosion...and the Bridegroom Tree. Tell us what sparks your interest on twitter, facebook, and instagram! Email a crazy story or interesting article to sparkmyinterestpodcast@gmail.com and we might just discuss it on the show! Articles covered on the show: https://www.bbc.com/news/world-europe-54125770 https://en.wikipedia.org/wiki/Elizabeth_B%C3%A1thory https://www.instagram.com/tv/CDzLxwbpQma/?hl=en https://news.sky.com/story/man-blows-up-part-of-house-in-france-while-trying-to-swat-fly-12065583 --- Support this podcast: https://anchor.fm/sparkmyinterest/support

3D Audio Binaural Horror Based on the True Story of Countess Bathory, Mass Murderer Blood and Stone is a 3D binaural horror audio play from Marty Ross based on the true story of Countess Elizabeth Bathory. Bathory was perhaps one of the most prolific mass murderers of all time. She was a woman who tortured and killed over 600 young women for their blood. Too noble to be executed, in 1610 the ‘Bloody Lady of Cachtice' was bricked up in a set of rooms in her own castle in Slovakia. Why then should the young and beautiful Katya be at the castle door attracting the close attention of the gaoler and wanting a job looking after Countess Bathory? Is it revenge or some more ghostly visit from Bathory's past? And if she should help her escape…. Countess Bathory Audio Drama Blood and Stone Binaural Horror – Listen through head phones and experience the ultra vivid world the 3D Audio recording technique creates inside your mind. Starring: Josephine Arden, Mike Garnell, Fiz Marcus and Andrew Ward Written by Marty Ross, Directed by Mariele Runacre Temple Produced by Andrew Ward and Nick Hewson, Edited by Ben Sturgess OTHER AUDIO DRAMAS BY MARTY ROSS: MEDUSA ON THE BEACH, CROOKER'S KINGDOM, Night of the Orchid AND REDDER THAN ROSES

We are back this Wednesday, April 1, 2020! We have a special about the Blood Countess of Hungary, Elizabeth Bathory.   Be sure to check out our website for updates or follow us on social media! https://www.hotmessheroes.com INSTAGRAM // TWITTER // 

:: Please note that this episode touches on topics that may be triggering for some, including suicide, trafficking, and murder :: Welcome to THE PUBLICIST SPEAKS! Jessica speaks with Gayle Brandies about the notorious serial killer Countess Ezrabet Bathory and the hundreds of women and girls she killed in the late 16th century. Gayle's new book MANY RESTLESS CONCERNS: THE VICTIMS OF COUNTESS BATHORY SPEAK IN CHORUS, gives voices to the victims of Countess Bathory. This novel in poems, gives insight to the lives of these women and girls as they moved from their homes (whether by choice or by force) into the glorious castle, never to be seen again. To learn more about Gayle Brandeis and her work, visit http://gaylebrandeis.com/ Gayle and Jessica talk in depth about the horrors she wrote about in this novel, and how these same horrors still exist 500 years later in 2020. Listen now to hear more about this incredible book and the importance of giving voices to those who have been silenced.

Today we have two very  interesting ladies who I've been wanting to cover for a while now. Our murderess of the day is known as the Female Dracula, none other than the Countess Elizabeth Bathory. Our mythology is a woman who's considered to be just as bloody, the legend of Bloody Mary. Yes, I did pair them up for the sake of that pun. Let me have my fun!

Today we bring you stories from beyond the grave. Bring your garlic and your crosses, keep a stake in hand. Hear about the dark beginnings of vampires in history, and how they still exist today. Then Eric rehearses the tale of Countess Bathory, BLOODY BATHORY.

Countess Bathory as presented Fort Fritz: Campfire Tales

It seemed a fairly ordinary night when Stefan and his wife Valerie, two young, normal, healthy kids on their honeymoon. They stop in Belgium on their alleged way to England where they check into a nearly abandoned hotel. There they encounter the mysterious Countess Bathory and her assistant Ilona. From there, some strange things start to happen in Harry Kumel's Daughters of Darkness (1971).Learn more about your ad choices. Visit megaphone.fm/adchoices

It seemed a fairly ordinary night when Stefan and his wife Valerie, two young, normal, healthy kids on their honeymoon. They stop in Belgium on their alleged way to England where they check into a nearly abandoned hotel. There they encounter the mysterious Countess Bathory and her assistant Ilona. From there, some strange things start to happen in Harry Kumel’s Daughters of Darkness (1971).

It seemed a fairly ordinary night when Stefan and his wife Valerie, two young, normal, healthy kids on their honeymoon. They stop in Belgium on their alleged way to England where they check into a nearly abandoned hotel. There they encounter the mysterious Countess Bathory and her assistant Ilona. From there, some strange things start to happen in Harry Kumel’s Daughters of Darkness (1971).

This bitch's thirst for blood and sex was unreal. Experience the horrors of Countess Bathory, one of the world's most sinister serial killers. Her "alleged" body count was unreal.

I want you to s*** blood in my a**

GRAVEDIGGING by Sarah Goldman   When I woke up, I noticed first that Clarissa was there, because she was always the first thing I noticed. I noticed three things immediately after that: it was dark, I could feel dirt under my fingers, and my mouth tasted disgusting, like charcoal and rubbing alcohol and cotton. "What the fuck?" is what I tried to say, except I don't think the words came out quite right. I started coughing and I couldn't stop. "Just give it a second," Clarissa said, rubbing my back. I got a good look at her once the coughing subsided and my eyes stopped watering, and she looked like she'd been run over by a truck a few times: dark circles, greasy hair, unwashed skin. Clarissa always tried to look as put together as people expected her to be. I'd seen her look this messed up once or twice before, and it never meant anything good.     [Full story after the cut.]   Hello! Welcome to GlitterShip Episode 63! This is your host, Keffy, and I’m super excited to share this story with you. Today we have a reprint of “Gravedigging" by Sarah Goldman. This story is part of the (late) Spring 2018 issue of GlitterShip is available for purchase at glittership.com/buy and on Kindle, Nook, and Kobo. If you’re a Patreon supporter, you should have access to this issue waiting for you when you log in. We also have GlitterShip Year Two available in both ebook and paperback formats to add to your queer science fiction collection. GlitterShip is also a part of the Audible Trial Program. This means that just by listening to GlitterShip, you are eligible for a free 30 day membership on Audible, and a free audiobook to keep. If you’re looking for an excellent queer book to listen to, check out Autonomous by Annalee Newitz. This book has a ton of cool concepts and really intriguing characters. If you're a fan of patent-fighting drug pirates or AI characters working out their identities, this is the book for you. To download Autonomous for free today, go to www.audibletrial.com/glittership — or choose another book if you’re in the mood for something else.     Sarah Goldman grew up near Kansas City and studied sociology at Bryn Mawr College. She is a First Reader at Strange Horizons, and her short fiction has appeared in Cicada and Escape Pod. You can find her online at sarahmgoldman.com, or on Twitter @sarahwhowrites. "Gravedigging" is narrated by A.J. Fitzwater. A.J. Fitzwater is a dragon wearing a human meat suit from Christchurch, New Zealand. A graduate of Clarion 2014, she’s had stories published in Shimmer Magazine, Andromeda Spaceways Magazine, and in Paper Road Press’s At The Edge anthology. She also has stories coming soon at Kaleidotrope and PodCastle. As a narrator, her voice has been heard across the Escape Artists Network, on Redstone SF, and Interzone. She tweets under her penname as @AJFitzwater.       GRAVEDIGGING by Sarah Goldman   When I woke up, I noticed first that Clarissa was there, because she was always the first thing I noticed. I noticed three things immediately after that: it was dark, I could feel dirt under my fingers, and my mouth tasted disgusting, like charcoal and rubbing alcohol and cotton. "What the fuck?" is what I tried to say, except I don't think the words came out quite right. I started coughing and I couldn't stop. "Just give it a second," Clarissa said, rubbing my back. I got a good look at her once the coughing subsided and my eyes stopped watering, and she looked like she'd been run over by a truck a few times: dark circles, greasy hair, unwashed skin. Clarissa always tried to look as put together as people expected her to be. I'd seen her look this messed up once or twice before, and it never meant anything good. "Are you okay?" I asked. I had a little more luck with pronunciation this time. "You look kind of like death warmed over. No offense." Clarissa started to laugh, loud and wild enough that it was more scary than comforting. When she stopped, I only had time to open my mouth to ask a question before her eyes rolled back into her head and she slumped over next to me in the dirt. We were lying on dirt. It was dark. I looked up, and up, and up, and when I saw the edges of the hole we were in, I understood what Clarissa had done. I clambered up the sides of the grave to get a good look at the headstone. I knew what it would say, but I had to see it. It told me that May Tenenbaum had died at nineteen years old. If I'd lived another three weeks, I would have been twenty. I sat back down next to Clarissa, passed out in my grave in the wedge of space she'd carved out next to my coffin. A crowbar lay beside us, where she'd used it to pry off the lid, next to the pile of small stones she'd brought for the spell. I looked down at my fingernails, which were neat and manicured like they'd never been while I was alive, and I wondered if I should try to wake Clarissa up. I'd seen her do this before, after she overexerted herself on a spell, and she'd always been all right afterwards. Her pulse, when I checked, was steady, so I stole her phone out of her pocket instead. The last day I remembered had been the fifth of June. My tombstone told me I'd died on the sixth. Today was the seventeenth. I must have been buried for at least a week or so, then. I know my father would've wanted me buried quickly, a Jewish funeral. A good thing, too. No embalming fluid for Clarissa to deal with. Performing necromancy on humans was a felony, and it was horrendously, skin-crawlingly terrifying besides. The idea had made me queasy when it happened in books or movies, when TV pundits went on rants. But from this side of things, it wasn't so bad. My hands were distressingly pale when I looked at them, and my head was in bad shape, but when I checked my face in Clarissa's phone camera, I honestly looked okay. Like I'd been at a fancy party, had too much champagne, fell down in the dirt outside. Messed up, but not a zombie. I didn't feel dead at all. What I should feel was furious. I should be demanding that Clarissa take it back. But I wasn't betrayed that someone I loved would do such an awful thing, like the girl in that modern day Frankenstein blockbuster we'd seen last month. I wasn't thinking about the greater good. I was selfishly and vainly glad, because the girl I would do anything for had done this for me. I'd seen the faces Clarissa made during that stupid movie, and yet: here we both were. Her passed out in a grave she must have spent all night digging up, and me alive when I should be dead. I ran my fingers through her hair, and after fourteen minutes by the clock on her phone, Clarissa woke up. She stared at me, and then she sat up too fast and almost fell right back down afterwards. I grabbed her shoulders to steady her. "It worked," she said, watching me with wide eyes. "It did," I said. "You still look terrible." "Shut up," she said automatically, with no heat behind it. She put her hands against the sides of my face. I wondered, distantly, if my cheeks felt cold, or if my blood had already started to warm them up again. Very suddenly, Clarissa yanked me into a hug, almost overbalancing the both of us. I hugged her back, and politely ignored the fact that she was crying into the shoulder of my nice dress. "I'm okay," I said, because Clarissa probably needed to hear it. "If anyone isn't okay, I think it's probably you. Were you supposed to pass out?" Clarissa snorted, and then shrugged without removing her face from the crook of my neck. "Occupational hazard," she said, muffled into my shoulder. After a moment, she raised her face, eyes puffy and red. "It happens sometimes, with larger—with anything more substantial." She'd probably been about to say ‘animals.’ I guess she didn't think I'd find the comparison flattering. I felt a little sick. Clarissa wiped her face on her sleeve and shook out her hair, visibly trying to pull herself together. "We need to get out of here. The sun is supposed to rise in—" she fumbled for her phone before I handed it back to her, "—about ten minutes." I immediately felt better. Following Clarissa's plans was something I was used to. Together, we gathered up her things and climbed out of my grave, using her shovel to push the soil back as best we could, and we walked out of the cemetery together, the sun rising at our backs.   Clarissa had always known how to make loud and spectacular mistakes. Even as a kid, she made spellwork look easy. When we were ten, I watched her bring back our class's pet guinea pig. We all huddled around Clarissa, crouched in the dirt. She held a chunk of gravel in her hands and closed her eyes for a moment, and we were all sure that she was faking, that nothing would happen. Then the guinea pig got up, and we had to race to catch it. Afterwards, the other kids ran to show our teacher. I stayed behind with Clarissa. She was on her back, staring up at the sky, tossing the piece of playground gravel that tethered the guinea pig's life up and down in her hand. "That was amazing," I told her. She shrugged, and coughed. "I missed him. What else was I supposed to do?" Then she looked at me and grinned, smile so bright I could feel it in my own stomach. "It was cool, wasn't it?" Clarissa wore that little piece of playground gravel she'd used for the spell on a chain around her wrist, humming with warmth for as long as that guinea pig was still alive. She kept adding to the chain, too, doing stupid things like bringing back songbirds in the park, using chunks of gemstones she kept in her pockets to store their life. They all went out, eventually—necromancy wasn't a ticket to eternal life—but she did it often enough that there was always something warm on her bracelet, always a little piece of life hanging around her wrist. When we were nineteen, nine years after she brought that guinea pig back to life and two weeks before I woke up with her in my grave, Clarissa asked me to go with her to a protest. Necromancy unsettled people, but it wasn't really as uncommon as everyone thought it was. Clarissa had explained it to me once. It was just healing, in the end, and there were plenty of people who could do that. Except putting enough force behind the spell to draw someone back from death required more ability than almost anyone had. Back when she was ten, people laughed, and told her that soon, she would know better than to do frivolous things like resurrect dead class pets. Telling Clarissa she couldn’t do something was never a good idea; I could have told them that. When we got older, no one thought it was cute anymore. She scared people. Historically, necromancers didn't turn out well, if you looked at Rasputin or van Hohenheim or Countess Bathory. Healers were dicey enough, if you asked the kind of people who campaigned against them working in hospitals or making vaccines. The day I died, I was with Clarissa at a protest against a local bill that would prevent the teaching of magic in schools. I wasn't really into politics, honestly, but Clarissa was spitting mad. "What do they think is going to happen?" she'd said, pacing back in forth in my apartment kitchen. "Magic is so dangerous, right? Well, if they don't teach kids anything then of course they're going to screw up, of course there's going to be accidents—you know my cousin, the one who can light fires? Can you imagine if he had no formal training?" I sat at the kitchen table and nodded. "There's a protest on 39th and Blackwood tomorrow night. Think of it as an early birthday present for me?" She didn't have to ask me if I would go with her, and I didn't have to tell her that I was coming. It was understood. That was who I was: I did what Clarissa asked. My dad didn't want me to go, but I was nineteen, so I didn't have to sneak out my window, the way I always used to whenever Clarissa had a bad idea. "Be careful, May," was all my father said as I left, right after I gave him instructions on reheating his dinner. And once we got there, I was careful, up until some asshole from the other side of the picket pushed Clarissa, and she pushed him back, teeth bared. Then, suddenly I wasn't anymore. Clarissa was dangerous when she got mad, and she shrugged me off when I tried to drag her back. She started yelling at the man who'd pushed her, and there were people all around us, and Clarissa wasn't listening to anything that I was saying in her ear. "I know you," the man said to Clarissa. That wasn't very surprising; most people around here knew about Clarissa. He pushed her a second time, harder, and she would have fallen if I wasn't in her way. "Clarissa, leave it." I steadied the both of us and rubbed at the bruises forming on my arm where she'd run into me. She ignored me. "You got something to say?" she asked the man. He didn't. What he did have was a mean right hook but terrible aim, and what I had was no self-preservation: I shoved my way in front of Clarissa, and I went down hard. He was a bit like Clarissa, I think—he didn't know when to stop. The last thing I remember was his boot in my face, and a sudden, terrible fear that he was going to break my nose. Touching it now, I didn't think he did. I could feel the place in the back of my skull, under my hair, where he'd got me instead.   We got some odd looks at the diner Clarissa took us to. That made sense—we both had dirt in our hair and smudged on our faces, and beyond that we didn't look much like we belonged together. I was wearing what I thought of as my synagogue dress, complete with pearls around my neck, but also a beanie I'd pulled from Clarissa's bag. Clarissa was dressed like she expected to be going grave-digging, in baggy jeans and boots, her hair pulled back into a bun. She still looked like she might pass out at any moment. It was obvious she'd been crying. It was six in the morning at a twenty-four hour diner, though, so mostly everyone just ignored us. Clarissa ordered coffee and eggs. I ordered tea, matzah ball soup, and a slice of banana cream pie. Even exhausted, Clarissa raised an eyebrow at me. I ignored her. We had more important things to worry about. "Clarissa, what the hell are we going to do? I can't exactly go home." If my dad had any sense, which I happened to know that he did, he would call the cops in two seconds. Clarissa's family would certainly do the same. We didn't have anywhere to go. An awful feeling crept into my stomach. There was no way this was going to work. When my food came, the soup gave me pause: matzah ball soup was my dad's favorite. But I couldn't go home. I would never make it for him again. When I looked up, Clarissa was watching me. "It's better when you make it, right?" she asked. I laughed and went back to eating. Clarissa picked at her eggs, and I ended up finishing half of them for her. "Do we have somewhere to sleep, at least?" I asked. Clarissa looked like she was about to fall over again. "I'm fine," she said, swaying a bit, which was so very her that I couldn't help but smile. "Of course you are. I could use a nap, though." She sighed. "Alright. There's a motel nearby. We can rest there and then we can do whatever you want." "Me?" I'm not exactly the planning type. "What, there's nothing you want to do? No last requests?" I stared at my hands, clutched tight around my tea. I didn't want to get caught, or for Clarissa to go to jail, or to never see my father again. I wanted things to go back to the way they had always been. I wanted to be alive again, and what Clarissa had done was close to that. But not quite. "I just want to spend time with you," was what I settled on. She put her hands over mine, and tilted her head until I had to look her in the eyes. "Okay," she said, reassuring, like she'd heard all the things I hadn't said. "It's gonna be fine, May." Her voice was certain and steady like the stones wrapped around her wrist, and just then, I believed her.   Clarissa took the first shower, and was out like a light the minute her head hit the pillow. I grinned, and wasn't even bothered when I discovered that she'd used up all the hot water. At least that was normal. After I dried my hair, I lay back on the other bed, not particularly tired. I couldn't help but think that if I fell asleep, the spell would snap, like a wire drawn too taut, and I'd never wake up again. That wasn't how this worked: anything Clarissa brought back would live out its natural lifespan. That guinea pig had lived to a very respectable age. I still couldn't bring myself to close my eyes. So I sat cross-legged on the scratchy motel comforter and turned on the news, volume off and closed captioning on. Clarissa slept like a log once she was out, but if she woke up she'd probably refuse to sleep again. I knew what I was going to see on the TV screen, but I still couldn't help but wince, seeing my grainy prom photo on display. Somebody had noticed that the dirt on my grave wasn't quite how they'd left it, or that Clarissa had broken the lock on the gate, or maybe they'd just checked the damn CCTV, and so of course it was all over the news. Necromancy scandals were rare, because most necromancers didn't have enough power to do what Clarissa had done, and all the ones that did had enough sense not to. I flipped through the channels for a while. There was coverage about the protest where I'd died, suddenly relevant again two weeks later. The police were looking for us, of course. There wasn't any doubt in anybody's mind what had happened—Clarissa was locally well known. We were on the national news, too. I watched Megyn Kelly's mouth move silently as the subtitles talked about how this was just another example of the need for greater laws monitoring necromancers—scratch that, all magic. I turned the TV off before she could start talking about Jesus and I put my head in my hands. After a while, Clarissa sat down beside me on the bed and put her hand on my back. She was very warm. Her hand was shaking a little, and I wondered if she was crying. I wanted to turn and hug her, bury my face in her neck, tell her what a goddamn idiot she was being. Still, I couldn't help but treasure the thought that she was doing all these stupid, ridiculous things for me, just like I'd always wanted her to. "May?" she asked, hesitantly, when I didn't move. "Is everything okay?" I looked up at her and smiled as brightly as I could. "Of course," I said, as if the answer was obvious. She wasn't crying like I'd thought. Her hands just weren’t very steady. "Let's go. We really shouldn't stay here, Clarissa." Clarissa stood. I helped her pack up our stuff. Her stuff, mostly. Everything fit into a single backpack, which I shouldered, glaring at Clarissa when she tried to take it. I followed her out the door.   We checked out of the motel, but we didn't make it to the train station, although it was only a few blocks away. There were two problems: people kept looking at us, speculatively, as if they were sure they'd seen our faces somewhere, and after about five minutes of walking Clarissa nearly collapsed, because between one step and the next it seemed that her legs couldn't hold her. I grabbed her just before she went down, so we both stumbled but didn't quite fall. "Clarissa?" I tried to get my arm under hers so that I could hold her up. "I'm fine," she said, and it was less endearing this time around. "No, you're not." I dragged her into the nearest store, an ice cream shop. I dumped Clarissa in a booth in the corner, grabbed her wallet out of her pocket, and went to buy something, both because it would look suspicious not to, and also because we could probably use it. When the girl at the counter handed me my cup of ice cream, she also handed me a wad of napkins. "For your friend," she said, sympathetic. I looked back at Clarissa, confused. She had her fingers pressed above her mouth, and her nose was bleeding. I winced. "There's a free clinic a couple blocks over," the girl at the counter offered. "I think they have a few healers around at this time of day." I thanked her, and took the ice cream and napkins back to the table. I handed Clarissa the napkins and sat down across from her as she pressed them to her face where her fingers had been. "Thanks," she said, a little bit muffled. "Are you going to tell me what's going on now?" She closed her eyes and tipped her head back against the vinyl seat, napkins still pressed to her nose. "It's just a reaction to the spell," she said. "I'll be okay in a little while." "A reaction is you sick with a cold for a week," I said, a little harsher than I intended. Clarissa opened her eyes. "This is different. I'm not stupid. It's never been this bad before." "Well, why do you think that is, May?" Clarissa snapped. "I've never done something like this before. I knew this might happen, so don't worry about it, okay? I have it under control." A thin stream of blood was leaking out from under the napkins. I grabbed another one off the table and leaned in to wipe it off for her. "Clearly," I said, and she glared at me. "You're going back to bed," I decided, and Clarissa sat forward so fast she probably made her nosebleed worse. "Absolutely not," she said. "You were right. We have to leave." I looked at her, sitting across the table and trembling. I didn't think she noticed she was doing it. I wanted to reach out to her and hold her. "We can stay for another night," I said. "There's something I need to get before we go, anyway. I can sneak into my apartment and grab it tonight, and you can rest, and we can leave in the morning. Okay?" She nodded, and didn't even ask what it was I needed so badly. It felt like there was a stone sinking in my gut. Clarissa was always asking questions, demanding answers. I wasn't used to being the one who had to protect her and I wasn't sure I liked it. I took her arm and led her out of the shop, so we could find another place to stay for the night, and Clarissa let herself be led.   I left Clarissa at the new motel and I walked home. The apartment wasn't far, but it was hot, and I was still wearing Clarissa's beanie and my velvet dress. When I got there, I went up the fire escape and climbed in my window, like I'd done so many times when I was younger. I hadn't seen my dad's car in the lot, and it was the middle of the day, so I had to hope that he wasn't home. My bedroom hadn't been touched. I grabbed some clothes and some money, shoving them into my backpack, and I didn't let myself spend too much time looking around. I'd left the book that I'd come for on the bookcase in the living room, although I had no way of knowing if it was still there. It was supposed to be my birthday present for Clarissa. She was always complaining about the lack of materials on necromancy, because almost all of them were rare or illegal or both, so I'd stalked eBay for a few months to get an old book for her. I didn't understand half of the information in it, but surely there was something in there that could help her. I had to at least look. When I walked into the living room, I heard a crash from the kitchen before I'd taken two steps. For a moment I thought my heart had stopped again, but it kept beating, much faster and louder than I liked. I pressed back against the wall the living room shared with the kitchen and prayed that whoever was home didn't walk in here. God, I shouldn't have come. Of all the stupid things I'd ever done for Clarissa, the one she didn't even ask for was what was finally going to screw us over. There was another clang from the kitchen. This one was the telltale sound of my father knocking over a pan while he was cooking. By reflex, I almost offered to help him, but I clamped my hand over my mouth and kept quiet. I shouldn't have bothered. I knew exactly what was going to happen next: my dad would curse, and throw the pan in the sink, and go to find a hand towel from the linen closet. Which was in the living room, of course, where I stood. I tried to step back into my bedroom before my father walked in, but there wasn't any time. I dropped my hand and bit my lip and desperately tried to think of what in the world I was going to tell him. The moment my father caught sight of me, I knew. The change in his face was immediate. I wanted to speak first, head off whatever he was going to say, but the words stuck in my throat like dirt. I choked and I said nothing. It felt like I'd been here before, and it took me a moment to realize why. My frozen feet and the sick feeling in my stomach and the words trapped in my throat, the thought that if I moved or spoke or did anything that he would hate me—I had done this before. I'd been thirteen when I'd come out. But back then, I'd known, deep down, that he wouldn't care. This time I knew that he would. "So it's true," he said. He folded and unfolded his arms, uncomfortable as I'd ever seen him. I wondered if he would stop me if I tried to leave. I couldn't make my legs move. "Dad." He took off his glasses and rubbed at his nose, and I closed my eyes against the tears fighting to escape. I didn't think I'd ever see him do that again. When I was thirteen, my father had opened his arms wide and hugged me, letting me hide my face in his chest. Now we stood apart, the few feet between us impassable. There was nothing stopping me from stepping forward and closing the gap. But I couldn't do it. If I did, he might step back. "I knew that girl was trouble," he said, looking not quite at me but at the space above my left shoulder. It was a trick he'd taught me for public speaking, a long time ago. I looked him in the eyes. "She's not," I said, and at least this conversation was familiar. We'd spoken this way about Clarissa hundreds of times. It’s awful, to have to admit that your parents were right. It didn't matter that Clarissa was trouble. It didn't matter that she'd made a mistake, was always making mistakes. She was still my friend. "I miss you," he said, and on the last word his voice broke. I wondered what it was like to have something you loved in front of you, wanting it with all your heart, and still knowing that you couldn't keep it. Then again, maybe I didn't have to wonder. "I'm right here, Dad," I said. "I'm the same as I was two weeks ago." He shook his head. "You're not. If you are, I'm going to have to bury you twice." I couldn't help it. I was stung. Who was I, if I wasn't me? I turned my face away, looking at the book sitting where I had left it on the mantle, and I said, "I miss you too." Dad looked at the book when I picked it up. "For Clarissa," he said, barely a question. I nodded. "Please don't call anyone," I said. "Clarissa was just—she's my friend. They'll never let her go." His jaw worked. "And you?" I did my best to smile. "I'll be fine. She'll take care of me." In the end, he nodded, and the last thing my father said to me was, "Goodbye." And I suppose that's more than most people get. I left the way I'd come, book clutched close to my chest.   I went back to the motel and settled on the rickety chair in the corner. Clarissa was still asleep, and I looked down at her present, sitting in my lap. The book was old and faded, pages falling out of its leather cover. I flipped through it. I'd spent a lot of time imagining the face Clarissa would make when I gave it to her. I tried to imagine Clarissa's expression if I told her that I'd gone home just to get a book on the off-chance that it might be able to help her, and I had to stop myself from laughing. I wished I hadn't seen my father. I'd known that I couldn't go back, but seeing him threw everything into sharp relief: my father would never hug me again, never smile at me, never tell me that everything would be all right. Clarissa had brought me back, and I meant what I'd said to him. I was still me. But except for her, my life was gone. Once, I would have thought that Clarissa would be enough. But now, I couldn't stop thinking of my father's face, of all the things he'd never say again. I looked down the book, opened it to the first page, and started to read.   Clarissa was still asleep when I finished. I curled up next to her on the blanket and closed my eyes and listened to her breathe. Her breathing wasn't very steady. She was shaking a little, even in her sleep, and her skin was so pale you'd think that she was the dead one. I was so stupid, thinking for even a minute that this could work, and so was Clarissa. I lay there for hours, fighting off sleep and watching her shake, until her eyes fluttered open and she looked straight at me. "Hey," she said, a little muzzily. I couldn't decide if I wanted to kiss her or hit her, so I asked her how she was feeling instead. "Fine," Clarissa said, struggling to sit up. I sat up too and put my face in my hands. "Did you find what you wanted?" she asked, sliding an arm around my shoulders, like I was the one who needed comforting. But she was warm, and I couldn't bring myself to shake her off. "Not really," I said, thinking of what I'd found in that book of hers. "Clarissa, what exactly are you hoping to get out of this, really?" We hadn't spoken about it, exactly, but it hung suspended between us: my existence was an abomination and a disgrace, and Clarissa was the same for making it happen. There was no place for us anywhere anymore. And there was another thing we hadn't talked about. I took a deep breath, and forced the words out: "Clarissa, this is killing you." She didn't seem surprised, which was the worst part of it, really. She'd known all along what she was doing to herself, and she did it anyway. It was just the stupid sort of thing Clarissa would do, knowing the consequences and not caring. Clarissa never knew when to stop. I loved her so much. She didn't say anything. I tipped my head back to stare at the ceiling. "I can't believe you," I said thickly. "I don't want you to die for me." "Well, I didn't want you to die," Clarissa said. "And you did anyway, and it was because of me. You can't expect me to just let that happen, not when I could—what's the point of all this, of all this shit I can do, if I couldn't help you? What was I supposed to do?" Her eyes were bloodshot and watery and she was trembling still, her hair falling in her face, and she was so, so beautiful. "Clarissa," I said. "Look. I just don't see how you think this is going to end." She looked at me, brow furrowed. "We'll figure something out," she said. "We'll catch a train tomorrow, and we'll keep running, and they'll have to stop looking eventually, and as long as we stay together, we'll be fine." She believed it, too. She wouldn't have said it if she didn't. We wouldn't be fine. Even if we never got caught, Clarissa's hands wouldn't stop shaking, her nose wouldn't stop bleeding, her teeth wouldn't stop chattering. I was killing her every minute I was alive. And no matter what, neither of us could ever go home. Clarissa hated being told she couldn't do something--the fact that I was here at all was proof of that. Sometimes, she just needed someone to stop her, if she wouldn't stop herself. I took her face in both my hands and I kissed her. It was funny. Since I'd met her, I could never remember a time when I didn't love Clarissa. I don't know why it never occurred to me, before all this, that she might be as hopeless for me as I was for her. She kissed me back. Of course she did. She kissed me back, because she'd broken every law of magic, was working herself literally to death, just to keep me with her. I sat beside her on the crappy motel bed, her hands in my hair, and felt her breath against my cheek. I closed my eyes against it and willed myself not to cry. She settled back on the bed, and I curled up beside her, so we were lying face to face. Clarissa breathed in deep, tucked her nose against the crook of my neck. "I thought I lost you," she said quietly. "I couldn't do nothing, May, you know I couldn't." I pushed her hair out of her face and kissed her forehead and held her hand, the one that had her bracelet, and I didn't say anything at all. Maybe it had all been worth it, for the chance to have this with Clarissa. Even for just a moment. She fell asleep with my hand running through hair, and I stole her bracelet. Some of the stones on it were cool, inert, and some were faintly warm, and the uneven chunk of amethyst that I knew had to be me was hot to the touch. The stone was rough; I could see the places on her wrist where it had cut into her skin. I untied the knot on the cord and pulled the amethyst off. I rummaged through the pile of our things in the corner until I found the crowbar from my grave. At the rickety table, I took out the book and opened it to the right section. I tucked the train ticket I'd bought for Clarissa between the pages and I left the other things I'd taken from my home for her: hair dye, a hat, baggy clothes, sunglasses, five hundred dollars from the emergency fund in my closet. Not much, but it might be enough to keep her free. And maybe Clarissa could have what I couldn't. I looked at the book again. I guess I should have known that reversing the spell would be so simple. All I had to do was break the stone, and the connection would sever. Clarissa would be fine. The crowbar was heavy in my hands. I turned it over a few times before I raised it over my head. I thought about my father, about all the years of kissing Clarissa I'd missed out on, about how angry and hurt she would be when she woke up. I thought of how Clarissa wanted so badly to protect everyone else, how desperately I wanted to be the one to save her, how she refused to let me, even when I'd died. Clarissa wanted me to live badly enough to destroy her entire life, and I was so used to wanting what Clarissa wanted. I'd tried to want what she wanted this time. I couldn't. I didn't want this. Mostly, though, I thought of the scratches the stone that tethered my soul had made on Clarissa's wrist, of her dying to keep me here. I looked at the amethyst and smiled, and I brought the crowbar down. END   “Gravedigging” was originally published in Cicada and is © Copyright Sarah Goldman 2017. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. You can also pick up a free audio book by going to www.audibletrial.com/glittership or buy your own copy of the Spring 2018 issue at www.glittership.com/buy Thanks for listening, and we’ll be back soon with a GlitterShip original, “Sabuyashi Flies" by Sebastian Strange.

Hear ye! Hear ye! It's an Unsung Sluts Podcast Royalty Episode. In today's episode, Tabitha tells us the bloody good tale of Countess Bathory and Stacie tells you the romantic and true story of Jadwiga of Poland.   Countess Elizabeth Báthory de Ecsed (1560 - 1614) https://en.wikipedia.org/wiki/Elizabeth_B%C3%A1thory https://www.cnn.com/travel/article/blood-countess-slovakia/index.html https://www.mnn.com/lifestyle/arts-culture/stories/the-blood-countess-historys-most-prolific-female-serial-killer       Jadwiga of Poland (1383 - 1399) https://en.wikipedia.org/wiki/Jadwiga_of_Poland https://crazypolishguy.com/2015/10/25/jadwiga-the-woman-who-became-polands-king/ https://www.inyourpocket.com/krakow/st-jadwiga_74306f Jadwiga with her axe! William the Courteous, Duke of Austria.   Please send us an email about the Unsung Sluts (Amazing Women doing Amazing Things) in your lives at: Email - unsungslutspodcast@gmail.com   Follow Unsung Sluts Podcast on: Instagram: @unsung_sluts_podcast Twitter: @unsungsluts Facebook - Unsung Sluts Podcast Website - www.unsungslutspodcast.com    Please leave us a review on Apple Podcasts. It really helps us out.       (Theme song "Liverpool Sluts by Sigmund Droid)

In their eleventh episode Jessie, Allison, and Shandi talk about all things Blood, Blush, and how menstruation is beautiful and flying tampons!! With Jessie tackling Blood with the bone crushing and bone chilling Chicken Coop Murders, Shandi heads Blush with the gory tale of Countess Bathory and the iron smell of Vampire Facials, and Allison leads us into open waters with her recounting of the spooky shipwreck of the SS Valencia! They also discuss their opinions on the Zoni's, Jessie's (now tainted) vulgarity record, and much more!! Please rate, review and subscribe. Oh, and share :)

Today is a story of horror and gore! Elizabeth Bathory was once accused of killing over 600 young girls and literally bathing in their blood. How much of this story is true and how much of this is simply legend? Let’s find out!

The crew find a strange man trying to record a podcast in Fort Fritz's studio. After discovering Chester Charleston, a private investigator, has been scoping out the Fort for almost a day, the troupe grow anxious when they learn Fritz has been reported missing. Stories on Palazzo Dario, The Curse of the Hope Diamond, Countess Bathory. Featuring Chester Charleston! Be sure to check out The Ultra Survivalist Kiosk in Downtown Apopka for more information and pricing!

Heavy Metal Historian Episode 10: From a wealth of privilege, the killer who would become known as the Countess of Blood, Elizabeth Bathory, would have a dark influence on literature, film, and in the music of heavy metal. But who is Countess Bathory, why is she viewed as the most prolific serial killer, and how […]

The Hermetic Hour for October 20th, 2011, with host Poke Runyon, will present a discussion on Vampires, then and now. We will look at the vampire legend from ancient times up to the 18th century when it took on its present form: somewhere between a ghost, a monster, and a seductive incubus. We'll look at the magick of the blood and its power,  from ancient human sacrifice to the mass animal sacrifices in today's religions. We'll discuss vampire-like personages in the past: Gilles d' Reis, Countess Bathory and Vlad Dracul. Victorian age fascination with vampires, and the present vampire craze among the gothteens. We'll discuss those unfortunates who really do have a disease that mimics some vampire symptoms. The spiritual aspects of the vampire mythos: a very dark immortality. We will carefully mention a modern form of  vampirism we suspect is going on today -- so join us for an hour with the undead.