A Quote by Leon V. DePoncins
There was no opposition organized against Bela Kun. Like Lenin he surrounded himself with commissaries having absolute authority. of the 32 principle commissaries 25 were Jews, a proportion nearly similar to that in Russia. The most important of them formed a Directory of five: Bela Kun alias Kohn, Bela Vaga (Weiss), Joseph Pogany (Schwartz), Sigismond Kunfi (Kunstatter), and another. Other chiefs were Alpari and Szamuelly who directed the Red Terror, as well as the executions and tortures of the bourgeoisie.
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I'm home! Yuki-Kun, Tohru-Kun, I'm home! Oh, and let's not forget Stupid-clumsy-Kyo-Kun-who-lost-yet-another-fight!" -Shigure
In other words, learn your Scruggs's rolls before trying to play like Bela Fleck.
When I was recording 'Kun-Faaya-Kun,' I did it like I was offering Namaaz.
The time leading up to the 1996 Olympics was the most demanding and stressful of my career. The sport I had loved so much was slowly becoming a nightmare as I trained with Bela and Marta Karolyi the summer before the Olympics.
I'm 48, and I have been in love with vampires since I was six. I was born in 1962, so I've been through three or four waves of vampires. When I was growing up, we had vampire shows and movies. We were still dealing with Bela Lugosi, Boris Karloff and the old Christopher Lee vampires.
If the reader were so rash as to purchase any of Bela Bartok's compositions, he would find that they each and all consist of unmeaning bunches of notes, apparently representing the composer promenading the keyboard in his boots. Some can be played better with the elbows, others with the flat of the hand. None require fingers to perform or ears to listen too.
There was a manga boom, so I read 'Astro Boy,' 'Osomatsu-kun,' and such. But what influenced me the most were things like 'Popeye' and Disney animation.
Training with Bela and Marta Karolyi took the joy out of the Olympics for me. I look back and feel there was a lot of verbal and physical abuse. For years, I felt it was my problem.
It's funny, the power of music. I was watching 'Dracula,' the 1931 version with Bela Lugosi, and the only music you hear is at the very beginning of the credits. There's not one other piece of music; it's all silent. It's unbelievable, and it's very effective, too.
As a kid, I had a Beatles poster and a Bela Lugosi as Dracula poster, so both worlds always appealed to me. Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts.
In 2010 I had signed three big banner films with actors like Amitabh Bachchan, Tabu, Arjun Rampal. Directors like Ken Ghosh, Bela Bhansali signed me and I had got my signing amounts but those films did not take off at all.
'The Count' wasn't a real stretch. I was doing pretty generic Bela Lugosi bad vampire on purpose. It was supposed to be lame. I didn't put fangs on; it was a guy who was just going through the motions. I drew on the widow's peak with eyebrow pencil and wore a turtleneck, not a tux.
Growing up as a kid in Detroit, way back, there was a movie station that would show old kinescope reproductions of old movies, and I remember seeing Bela Lugosi for the first time and being duly frightened out of my wits.
One of my favorite L.A. movies is 'Ed Wood,' and it's about how Bela Lugosi went from being this movie star personality to living in a little bungalow with his cats in the valley where, if you walked by, you'd have no idea. He'd come out and get his paper, and you'd go, 'That guy looks familiar.'
[Miranda Hentoff] was teaching once at Lincoln Center, and the hall was full of other professionals - musicians, professors, teachers. And she was explaining how [Béla] Bartok composed his second piano concerto. And she explained how the music was interwoven with the rhythms and what he had in his mind. And I was just stunned. This is a kid who used to work - on a piano with a cracked keyboard.
When we really began executions rather than lynchings, black folks were 22% of our population in 1950, for instance, but they were 75% of the executions. Now, African-Americans are 13% of the population, but they're still almost half of death row, and over a third of the executions. 34% of the executions are black folks. So, like, I mean, things like the race of the victim is one of the biggest determinants of who gets executed.
