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  #301  
Old 07-23-2013, 06:14 PM
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I think her own story might make an interesting read though
More-so if it cribs from Xaviera Hollander's memoir and a handful of Lifetime movies.
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  #302  
Old 07-23-2013, 06:19 PM
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Originally Posted by Meli Hooker View Post
Is this not a pussy-ass coffee drink for chones, but rather your metaphor for how Spidey bamboozled a nation??
To quote a line from one of Lianne's boyfriend's best movies, "Dat's a Bingo!"
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  #303  
Old 07-23-2013, 07:19 PM
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I bet they already started promoting her and her book.
If they have, they're doing an absolutely terrible job. Haven't heard a bloody peep!
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  #304  
Old 07-24-2013, 08:19 AM
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Well, the interesting thing is not only was she a serial plagiarist, with examples going right back to the start of her writing career, but that she made more noise about being a 'writer' than any other journalist I've ever met.

I hope THOSE people feel sufficiently embarrassed in the wake of this! (But that's hoping for too much, isn't it? Who's capable of taking an honest account of anything these days? It's practically a social taboo!)
Best tweet in my feed about this yesterday: “You know who must be feeling *really* stupid right now? People who plagiarized Lianne Spiderbaby.”

Now that's classic. I didn't even consider that notion!
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  #305  
Old 07-24-2013, 11:02 AM
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Originally Posted by Kreepylady View Post
Best tweet in my feed about this yesterday: “You know who must be feeling *really* stupid right now? People who plagiarized Lianne Spiderbaby.”

Now that's classic. I didn't even consider that notion!
That's funny. I wonder if it's possible that she once lifted something, then someone lifted it from her, then she lifted it back again years later without remembering lifting it in the first place.

Would that be a plagiarism Möbius strip?
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  #306  
Old 07-24-2013, 11:10 AM
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Would that be a plagiarism Möbius strip?
Given time I'm sure her life will become one unending perpetual lie.

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  #307  
Old 07-24-2013, 11:20 AM
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Given time I'm sure her life will become one unending perpetual lie.
Perhaps Lianne MacDougall has a future in politics.
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  #308  
Old 07-24-2013, 11:26 AM
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Mike White discusses the Spidergate scandal on the new episode of The Hart Attack podcast...

http://1201beyond.com/archives/hart-...attack-011.mp3

Personally, I won't be listening to this one. I love Mike White and The Projection Booth, and I commend him for having the guts to expose this whole situation when so many others were willing to just let it die.

However, this particular podcast is hosted by a guy named Hart Fisher, whom I find to be detestable, especially after reading his incredibly vulgar and base comments about Lianne on Chris Alexander's Facebook page.
I'm listening now. Don't worry. You're not missing much.
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  #309  
Old 07-24-2013, 03:56 PM
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I can't disagree.
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  #310  
Old 07-24-2013, 04:28 PM
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Originally Posted by Funky
I can't disagree.
Nevermind. You were alright though.

Didn't learn a lot of new stuff about Spidey. But I did learn an awful lot about Hart Fisher's poetry.

Regardless, I'm looking forward to discussing this issue with you next month @ The Festival of Fear during the MISADVENTURES IN HORROR PODCASTING panel.

Thanks to Spidey, we now have a compelling line of discussion to pursue.
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  #311  
Old 07-24-2013, 07:05 PM
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Nevermind. You were alright though.

Didn't learn a lot of new stuff about Spidey. But I did learn an awful lot about Hart Fisher's poetry.

Regardless, I'm looking forward to discussing this issue with you next month @ The Festival of Fear during the MISADVENTURES IN HORROR PODCASTING panel.

Thanks to Spidey, we now have a compelling line of discussion to pursue.
Yeah, people that write poetry and talk about doing so kind of make me go a big rubbery one.

Does this mean that I don't have to box Lance Chance Last now?
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  #312  
Old 07-25-2013, 04:15 AM
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...for some reason this is still around.

Caption: "Getting crazy at Shock Stock"
Drinking white wine, listening to music on the computer, recording yourself... CRAZY!

As an old Goo Goo Dolls fan, this is offensive. She's striking the album where they hit big. Before this they were a Replacements homage, and before this they were definitely a punk band. But this is the album where they went about half Replacements and then the rest is cock rock and they struck big.

It's horrible that she's done what she's done. It's also horrible that she has no clue what "punk" means. QT should learn her on that, hopefully.
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  #313  
Old 07-25-2013, 05:55 PM
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I enjoy how her imdb page fingers her as a plagiarist.
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  #314  
Old 07-25-2013, 06:23 PM
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Given that the internet heroes have traced her plagiarism back to pieces she wrote at university It is unlikely that the book will see the light of day, if there even is one. It is one thing to cobble a couple of reviews out of other peoples work and another entirely to fashion a book in the same way.
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  #315  
Old 07-26-2013, 11:52 AM
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I wonder if a hardcore ringing endorsement from QT will be enough to erase all of this for the average genre fan. Shit storms tend to blow over so quickly these days, and that's for people who are only average looking. It's also a different animal: a print publication about a specific topic. If she does a tour via conventions, the naysayers could get overwhelmed by the "who-gives-a-fucks". Just add a cardboard cutout of QT and put his video endorsement on a loop and she's back in business.
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  #316  
Old 07-27-2013, 11:10 AM
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If she does a tour via conventions, the naysayers could get overwhelmed by the "who-gives-a-fucks". Just add a cardboard cutout of QT and put his video endorsement on a loop and she's back in business.
Sadly, I think you may have a point. That is, after learning his girlfriend is a plagiarist, that QT will still want to endorse her 'writing' endeavours.
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Old 07-27-2013, 10:57 PM
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All right my friends. Here's the introduction to Lianne's Grindhouse Girls. I have yet to start to pick it apart to see if there are lifted bits. I'm very surprised to see that she's using footnotes but not surprised to see the attention she's lavished on Tarantino, Rodriguez and Roth even in these first few paragraphs.

--------------------------------------------------------------------

GRINDHOUSE GIRLS
Cinema’s Hardest Working Women
By Lianne Spiderbaby


As a writer, I’m very attached to Grindhouse Girls. It’s my first book, and it showcases an era in cinematic history that I’ve been dedicated to, and passionate about for several years now: the 1970s, and early 1980s. Growing up, I was the only sister to three brothers; horror films were a regular weekend routine – required and vital. My father would take us to the suburban rental store to visit the creepiest in-shop horror house any of us could ever imagine. It looked like a dungeon, a terrifying little room in the middle of the rental shop, full of VHS and BETAs like Chopping Mall and The Prowler ready and waiting for our living room television screen. To be honest with you, I can’t remember whether I really loved the films at first, or if I just watched them so that my older brothers would think I was cool. Reflecting back now as an adult, I know it’s the former.

As a student enrolled in the prestigious cinema studies program at the University of Toronto, most of my fellow students were writing essays about German expressionism, Italian neo-realism, and French new wave. Alternatively, I was writing about the break down of family values in Hooper’s The Texas Chainsaw Massacre, and Nixon’s Watergate scandal in relation to Damiano’s Deep Throat. I continued to write about exploitation cinema and more prominently, the theatres where these films were shown - the grindhouses, which were low grade movie houses named after the burlesque theaters located on 42nd street in New York City, where 'bump n' grind' dancing was the main attraction.

After starting my own website, and reviewing films for several horror websites, I started writing for Fangoria, FearNet, Famous Monsters of Filmland and Video Watchdog. My first feature in Fangoria (issue #299) was an interview with Sage Stallone of Grindhouse Releasing, the undisputed leader in exploitation distribution. I also interviewed one of my favorite exploitation actresses, Lynn Lowry, and that is how Grindhouse Girls started. Lowry is one of cinema’s hardest working leading ladies, and while there are several books on actresses like Audrey Hepburn and Grace Kelly, there are very few on exploitation actresses, who are the backbone of the films they starred in. Without these women, exploitation and horror cinema would not be the same. Grindhouse Girls profiles, celebrates, and tells the story of these actresses; women that took great risks to get ahead in their career, who stripped naked, or had their hair matted with stage blood, who took chances on directors that didn’t have much money or means to create their visions. These women are outstanding, beautiful, and outrageously bold.

Extreme images of blood, sex, and violence (coined as “torture porn”) were extremely popular within horror films in the 2000s – movies that depicted nudity, torture, mutilation, and sadism. For example, Eli Roth’s Hostel, James Wan’s Saw, Greg McLean’s Wolf Creek, etc. However, torture porn was not exactly a new idea. The exploitation actresses featured in this book have seen it all before, they were the catalysts of the original torture porn movement, which is essentially a subgenre of exploitation cinema. Quentin Tarantino (Kill Bill, Pulp Fiction, Inglorious Basterds) and Robert Rodriguez (From Dusk Till Dawn, Sin City) helped to make exploitation popular again by releasing a double feature that included nostalgic movie trailers entitled Grindhouse. Additionally, grindhouse regulars I Spit On Your Grave (1978), and The Last House On The Left (1972) have seen relatively successful remakes in the last few years. If low art is becoming high art in today’s society and in our movie theatres, then there is no better time to acknowledge the actresses that gave us everything that most Hollywood actresses could not: sex, drugs, violence, shock, rock, and rebellion. This book aims to celebrate the work of seventeen different exploitation actresses as well as the films they starred in. I believe that these actresses and their work can be viewed as feminist or have empowering feminist qualities. That being said, I am not necessarily arguing that the films they starred in are feminist as well. An empowering character or actress in a film is a much different than an entire film being rendered as feminist. In exploitation filmmaking one cannot forget that these films are deemed exploitation for a reason. However, for contemporary female (and male) spectators, our understanding of exploitation actresses and the characters they played in 1970s-80s exploitation cinema can be read as positive and progressive, thus rendering them as feminist both symbols and icons. Ladies and gentlemen, without further ado, I give you – the Grindhouse Girls: Cinema’s Hardest Working Women.

Chapter One: Women And Exploitation Cinema: The Goddesses Of The Grindhouse

Exploitation films are consistently one of the most popular and, at the same time, the most disreputable of Hollywood genres. For years, critics and film theorists branded exploitation as simple trash unworthy of critical appraise, and many were swept under the rug completely, without a second glance. Exploitation films are hard to define, but generally the films involve exploiting what is often considered lurid subject matter: violence, sex, drugs, nudity, gore, and anything out of the ordinary. The films are sensationalist, and they lurk amongst the boundaries of acceptability in terms of visual style, political and cultural opinions, and sophistication. Exploitation cinema also preys on our worst nightmares and gives our biggest fears a plot line: rape, violence, excessive bloodshed, Nazism, and cannibalism, to name a few. Most exploitation films are of low production quality, in every sense. The sound is often dubbed over, you occasionally catch an extra cameraman on-screen, and although the story leaves very little to the imagination, many exploitation films focus on shock-shots rather than cohesive narratives and continuity. Despite everything that is “wrong” with exploitation cinema, these films have always found audiences, and continue to have a large fan base. Exploitation cinema embraces and appeals to the darker side of our psyches; the films never hold back, and they never deny us any pleasure, no matter the form. …. Recent work in film scholarship has made exploitation and sleaze cinema worthy of academic investigation. Film fans and cinephiles often champion obscure and low budget filmmaking as being closer to the “true” cinema. Film theorist Pauline Kael (Trash, Art, and the Movies, 1968) states that “after all the years of stale, stupid, actedout stories, with less and less for me in them, I am desperate to know something, desperate for facts, for information, for faces of non-actors and for knowledge of how people live – for revelations, not for the little bits of show-business detail worked up for us by show-business minds who got them from the same movies we’re tired of… Trash has given us an appetite for art.”1 Exploitation cinema is now enjoying a resurrection, with a new, unique, youthful, and film-loving audience demographic. It is impossible to talk about the golden age of exploitation films, and the effect these films had on spectators without referencing the theatres the films were screened in: the grindhouses. Grindhouse is a term given to theatres in North America that screened mainly exploitation features. The theatres were named after the burlesque “bump-ngrind” shows that took place on 42nd street in New York City. When motion pictures became prominent and popular than the old vaudeville stage performances, many of these entertainment houses changed over to feature movie double bills, and trailers for future releases. Thus, in the late 1960s, the bump-n-grind houses became the exploitation movie theatres that were referred to as the grindhouses.

Grindhouse exhibition allowed spectators to undergo in the theatre what they were subjected to on screen, creating an entirely different experience from that at major theatre and multiplexes today. Located within the esteemed Broadway theatre area in Times Square was America’s most notorious red-light district. Its main section was known as “The Deuce”, a tiny strip of grimy lights and theatres that spanned 42nd street during exploitation’s golden age. The Deuce had wall-to-wall grindhouses with large auditoriums, balconies, big screens, velvet curtains, and old opera style seating2. The Deuce grindhouses were showcases for the wildest and most extreme films in cinematic history, many of which will be further discussed in this book. There were several reasons to venture out to the grindhouses - to score drugs, engage in foolish one night sexual behavior, to be a part of a diverse crowd, or to view a double bill of the wildest films imaginable. However, the grindhouses had an attraction even more powerful and mesmerizing that could not been seen anywhere else: onscreen actresses who kicked ass, stripped naked, were often covered in stage blood, and weren’t afraid to get down and dirty for the sake of their acting careers - without these ladies, the films would not exist. … But what is it that makes these exploitation films so appealing to modern audiences? And what is it about exploitation films that are extraordinarily appealing to females? In the 1970s, both men and women were lined up around the block in New York City on 42nd street, vying to get into the premiere of Ginger (Don Schain, 1971) and even more exploitive and pornographic, Damiano’s Deep Throat (1972). The theme that will run through Grindhouse Girls has to do with whose fantasy is satisfied by the gender “trouble” of exploitation films and more specifically, the prominent actresses that starred in them. There is something about these strong and beautiful women in exploitation films that is very appealing to women; it is easily understood why beautiful, occasionally naked and sexual women are alluring to men, but what is it exactly about these exploitation actresses that women find so attractive?

The chapters of this book will discuss, profile, and celebrate exploitation actresses that were working and starring in films during exploitation’s golden age. Each chapter is dedicated to an actress, and many include interviews and quotes that I conducted myself between 2010-2011. These actresses are artists, and in many ways, should be more respected for going against the grain in their careers, and for making it against the odds. Many of these women are still enjoying acting careers, while others have chosen different career paths, but are quite proud of the work they did in exploitation filmmaking. Grindhouse Girls gives these actresses and their work extra meaning and love, since they were able to get past the low budgets and lurid subject matter in order to create films that are truly extraordinary. This is what makes them cinema’s hardest working women. For the love of acting and film, they were willing to do whatever it took, and whatever it took – they often did.

1 Kael, Pauline. “Trash, Art, and the Movies” Going Steady: Film Writings, 1968-1969. New York: Marion Boyars, 1994. Pg. 128-129.

2 Stevenson, Jack. Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archeologist. Headpress, 2003. Pg. 22.
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  #318  
Old 07-27-2013, 11:15 PM
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Lianne:
Exploitation films are consistently one of the most popular and, at the same time, the most disreputable of Hollywood genres.

Vs.
“The horror film has consistently been one of the most popular and at the same times most disreputable of Hollywood genres. (Robin Wood, The American Nightmare, p.13)”

Lianne:
The films are sensationalist, and they lurk amongst the boundaries of acceptability in terms of visual style, political and cultural opinions, and sophistication.

Vs.
As a necessarily imprecise and subjective concept, sleaze in the cinema has always lurked at the ambiguous bondaries of acceptability in terms of taste, style, and politics. (Sleaze Artists, Edited by Jeffrey Sconce, pg 5)
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  #319  
Old 07-27-2013, 11:35 PM
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All right my friends. Here's the introduction to Lianne's Grindhouse Girls.
How did you get access to this? And what happened to Tarantino's much-hyped intro???
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  #320  
Old 07-27-2013, 11:38 PM
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You know I can't reveal my sources.

I'm sure the Tarantino thing would/will be there if this comes to fruition.
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  #321  
Old 07-27-2013, 11:39 PM
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You know I can't reveal my sources.
Yeah, as soon as I hit enter on that, I thought "dumb question".
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  #322  
Old 07-27-2013, 11:41 PM
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Don't sweat it.
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Old 07-27-2013, 11:43 PM
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Statement about the 2012 Rondos:

We had hoped to avoid this, but since FRIGHT BYTES episodes from 2012 have been removed from the Web, and because some of the narration was shown to be lifted from other sources, we have decided to vacate the 2012 Rondo Award for Best Multi-Media Horror Site.

There will be no winner. The runners-up (Rue Morgue Podcast and Monster Channel), were very closely matched in the voting, and we think it best to just move on to next year rather than hypothesize who might have won had Fright Bytes not been in the running.

As we told Fright Bytes, we are doing this solely for the good and integrity of the Rondo Awards going forward. Thanks for everyone's input and patience. We think we ended up in the right place.

david

http://thelatarniaforums.yuku.com/re...a#reply-164671
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Old 07-28-2013, 12:03 AM
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More sleuthing from the intrepid udar55:

Her: The Deuce grindhouses were showcases for the wildest and most extreme films in cinematic history

Sleazoid Express book: The main venues were grindhouses, down-at-the heels creations left over from the Minsky's Burlesque days-and showcases for the wildest and most extreme films in cinematic history


Her: Exploitation films are consistently one of the most popular and, at the same time, the most disreputable of Hollywood genres

Steve Neale: The horror film has consistently been one of themost popular and,at the same time, the most disreputable ofHollywood genres


Her: The theatres were named after the burlesque “bump-ngrind” shows that took place on 42nd street in New York City.

Wikipedia: It is named after the defunct burlesque theaters located on 42nd Street in New York City, where 'bump n' grind' dancing and striptease were featured.
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Old 07-28-2013, 12:05 AM
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I noticed some weirdness in the writing itself. Misuse of "prays" (should be "preys") and the phrase: "unworthy of critical appraise" -- I would use "appraisal" if I were writing it.
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Old 07-28-2013, 12:37 AM
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All right my friends. Here's the introduction to Lianne's Grindhouse Girls.

--------------------------------------------------------------------

My father would take us to the suburban rental store to visit the creepiest in-shop horror house any of us could ever imagine. It looked like a dungeon, a terrifying little room in the middle of the rental shop, full of VHS and BETAs like Chopping Mall and The Prowler ready and waiting for our living room television screen.
Wow, I'm cringing already.

If Lianne is 29, then that means she was born in 1984 or 1985, the year I graduated high school. By the time she could possibly ever remember going into a video store - which would have been the early 90's - Beta was a long-forgotten format. So, that's bullshit.

Also, as someone who grew up in the hinterlands of suburban Toronto in the '70's and '80's, there were few video stores that ever had the floor space to have a dedicated room fashioned as a castle or dungeon for horror movies. I only ever saw that at a couple of Jumbo Video outlets, at Don Mills and John St. and Yonge and Steeles, and they didn't last long.

By the early '90's, the much-vaunted mom-and-pop stores barely existed. Those that still did had already adopted the store model Blockbuster made famous and didn't have 'dungeons'.

Granted, I'm not sure what Ms. Spiderbaby's version of suburbia is because I've always been under the impression she's from a small town well south of Toronto, whereas she seems to claim Toronto as her hometown.

It's getting harder than ever to discern what is truthful.

Confusion aside, her contentions don't add up.
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Old 07-28-2013, 02:33 AM
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It's good to see that she has indeed (or very likely) lifted her own biographical bits from other sources just as I had hoped she would...

So then, whose memories of Betas are these really? Next she'll describe her dreams of a unicorn. Time for the Voight-Kampff test?
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Old 07-28-2013, 04:13 AM
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I noticed some weirdness in the writing itself. Misuse of "prays" (should be "preys") and the phrase: "unworthy of critical appraise" -- I would use "appraisal" if I were writing it.
She calls her pseudonym "Spiderbaby" a pseudo name. I'm generally not one to call people out on this sort of thing unless they profess to be a professional writer which quite obviously she isn't.
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Old 07-28-2013, 08:34 AM
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It seems that Lianne may be back in the form of this:

https://twitter.com/KloeeAddams
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Old 07-28-2013, 08:40 AM
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It seems that Lianne may be back in the form of this:

https://twitter.com/KloeeAddams
If "sorry" was all it took to stop the world's conflicts and make people "forgive and forget" then the world would be just duckie, but it don't.

In cases like this, sorry just don't cut the mustard. She should have the sense to step back into the shadows for a while and reflect. If this is her, then she is just going to make things even worse for herself and Tarantino eventually. Because they may start turning their backs on him too and how long does she think he will be by her side when that starts to happen?
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  #331  
Old 07-28-2013, 08:43 AM
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Owen Garth Owen Garth is offline
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The comments on this news snippet about her book are hilarious: http://www.fangoria.com/index.php/ho...or-publication
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  #332  
Old 07-28-2013, 09:39 AM
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those who say that people cant have the exact same thoughts+ write the exact same words r merly jealous of talented people #Liannespiderbaby
Wow. Whoever this is/isn't, they need a reality button to push. Same thoughts and same exact writin'? Sure. Once is possible. Twice is a coincidence. More than three is obvious. But how many times Spiderbaby did it is plagiarism.
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  #333  
Old 07-28-2013, 12:10 PM
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Quote:
Originally Posted by impossiblefunky View Post

It seems that Lianne may be back in the form of this:

https://twitter.com/KloeeAddams
Interesting, there's a pattern. Her very first response to my slagging of her was to state that I was 'jealous'.

Holy fuck, these tweets are utterly deranged.

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  #334  
Old 07-28-2013, 12:14 PM
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Originally Posted by Satan's Favorite Son View Post
Wow. Whoever this is/isn't, they need a reality button to push. Same thoughts and same exact writin'? Sure. Once is possible. Twice is a coincidence. More than three is obvious. But how many times Spiderbaby did it is plagiarism.
http://en.wikipedia.org/wiki/Cryptomnesia

Of course, clearly Spiderbaby's "work" is not an example of Cryptomnesia, but still...
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  #335  
Old 07-28-2013, 12:57 PM
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Quote:
Originally Posted by Jesus Wept View Post
http://en.wikipedia.org/wiki/Cryptomnesia

Of course, clearly Spiderbaby's "work" is not an example of Cryptomnesia, but still...
More like Paranomia.

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  #336  
Old 07-28-2013, 01:33 PM
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Originally Posted by The Gore-met View Post
If Lianne is 29, then that means she was born in 1984 or 1985, the year I graduated high school. By the time she could possibly ever remember going into a video store - which would have been the early 90's - Beta was a long-forgotten format. So, that's bullshit.
This cracked me up. If you're going to fabricate a "back in the day" tale at least know what "day" its supposed to take place in, then again remember who we're talking about here. This reminds of the debate that came up in the thread about the Wizard Video big boxes about the idea of the "horror hipster". Manufactured nostalgia, gotta love it.

Quote:
Also, as someone who grew up in the hinterlands of suburban Toronto in the '70's and '80's, there were few video stores that ever had the floor space to have a dedicated room fashioned as a castle or dungeon for horror movies. I only ever saw that at a couple of Jumbo Video outlets, at Don Mills and John St. and Yonge and Steeles, and they didn't last long.

By the early '90's, the much-vaunted mom-and-pop stores barely existed. Those that still did had already adopted the store model Blockbuster made famous and didn't have 'dungeons'.
I can vouch for this somewhat. Although I'm not from Toronto I was lucky enough to have 5 mom and pop video stores in my town which actually did survive the 90's. Even the one with the biggest horror section never had any special decorations or anything of the sort and only 2 had enough floor space for additional stuff. The closest thing that I know of that even remotely resembles what she described is when a department store has a special display for the horror films during October next to all the other Halloween stuff.
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  #337  
Old 07-28-2013, 02:00 PM
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The horror dungeon was pretty popular, but GM is right- it would have been done by the early 90s.
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  #338  
Old 07-28-2013, 03:20 PM
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Originally Posted by Nonsense View Post

The horror dungeon was pretty popular, but GM is right- it would have been done by the early 90s.
I remember a couple of places in Scarborough that had one, too, but they weren't ubiquitous.

I started collecting tapes in the early 80's and used to go into to any old video store I could looking for that dumpbin of cheap, ex-rentals. You never knew what you might find. Needless to say, I've been in dozens of stores around the city and in cottage country.
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  #339  
Old 07-28-2013, 05:04 PM
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So then, whose memories of Betas are these really? Next she'll describe her dreams of a unicorn. Time for the Voight-Kampff test?

At this point it's futile to play devil's advocate when old scratch has long left a faint quickly vanishing odour of brimstone in his wake. However, on a trip to Lindsay Ontario in 1993 there was one lone dusty video section in the rear of a badly laid out convenience store on the outskirts of town which did have a small selection of about 10-11 Beta cassettes. They looked like they had sat there for a decade. I did manage to score a VHS of 1983's Mortuary dirt cheap there and would never have recalled it otherwise. If it wasn't for her age and the fact that Lianne's a serial plagiarizer that entry may have been plausible if she grew up in rural Ontario.

Given that entries from her manuscript are being made public to comedic effect it would be prudent for her reflect on a new career course and perhaps retain legal counsel.
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My 31 Days Of Halloween 2012

http://www.the-mortuary.com/showpost...2&postcount=73

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  #340  
Old 07-28-2013, 05:10 PM
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Quote:
Originally Posted by impossiblefunky View Post
It seems that Lianne may be back in the form of this:

https://twitter.com/KloeeAddams

It would seem so, that person has been defending her and attacking people.
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http://www.the-mortuary.com/showpost...1&postcount=29

My 31 Days Of Halloween 2012

http://www.the-mortuary.com/showpost...2&postcount=73

My 31 Days Of Halloween 2011

http://www.the-mortuary.com/showpost...2&postcount=69

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  #341  
Old 07-28-2013, 06:28 PM
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Quote:
Originally Posted by ROBERT BLACK View Post

At this point it's futile to play devil's advocate when old scratch has long left a faint quickly vanishing odour of brimstone in his wake. However, on a trip to Lindsay Ontario in 1993 there was one lone dusty video section in the rear of a badly laid out convenience store on the outskirts of town which did have a small selection of about 10-11 Beta cassettes. They looked like they had sat there for a decade.
I can't recall ever seeing more than like 30 Beta tapes in one place at the same time. She presents an idealised version of what it actually was like under the pretext of personal experience. Bullshit.
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  #342  
Old 07-28-2013, 06:55 PM
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Quote:
Originally Posted by ROBERT BLACK View Post
It would seem so, that person has been defending her and attacking people.
I can't imagine anyone advised her to do that
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  #343  
Old 07-28-2013, 07:11 PM
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That Twitter page becomes more and more hilarious the more you check it. One part of me suspects it might be a case of some seriously dedicated trolling but the other part knows there are people out there who really are that sad.
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  #344  
Old 07-28-2013, 07:56 PM
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Quote:
Originally Posted by Rat's Eyes View Post

That Twitter page becomes more and more hilarious the more you check it. One part of me suspects it might be a case of some seriously dedicated trolling but the other part knows there are people out there who really are that sad.
Rage, jealousy, paranoia, desperation - it reads as the musings of someone several days into a coke bender.

Quote:
@snarkofthebeast What Lianne did was shocking to me too but then she apologized and showed what a great person she is
Quote:
Lianne really is a cute girl with a good heart. Everybody reads other people's work for inspiration @snarkofthebeast u too #sure
Quote:
And admit it u all used her name before this incident to get closer to Q and now ur hating #liannespiderbaby
There's now little pretext to believe that this isn't her.
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  #345  
Old 07-28-2013, 09:30 PM
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Quote:
Originally Posted by Rat's Eyes View Post



That Twitter page becomes more and more hilarious the more you check it. One part of me suspects it might be a case of some seriously dedicated trolling but the other part knows there are people out there who really are that sad.
I suspect it's the beginning of an Amanda Bynes like breakdown complete with paranoia,passive aggressive behaviour,excuses,denial,and name calling. Kloee Addams ‏@KloeeAddams is comedy gold.
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My 31 Days Of Halloween 2013

http://www.the-mortuary.com/showpost...1&postcount=29

My 31 Days Of Halloween 2012

http://www.the-mortuary.com/showpost...2&postcount=73

My 31 Days Of Halloween 2011

http://www.the-mortuary.com/showpost...2&postcount=69

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  #346  
Old 07-28-2013, 11:22 PM
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There's a very interesting precedent that may shed light on whether or not Kloee Addams is indeed Spiderbaby in disguise.

A while back, in response to one of the Gore-met's appearances on the podcast, I deleted the following comment from the Rue Morgue blog (the comment was supposedly written by a listener named Jay):

Quote:
To be fair, Lianne Spiderbaby has never worn lingerie or garters or a bustier in those exploitation segments. A low cut tank top, holding bedsheets up to her shoulders, yes. I just skimmed all the episode of Fright Bytes and that never took place. There have been three exploitation segments like that and they are made to be a joke. I don't think she takes herself or those segments are seriously as you do. Just throwing that out there.

You know that she is a legitimate journalist who has not only written for three of the largest genre/horror magazines out there, but she has also been published in Sight & Sound and by the University of Toronto. Let's call a spade a spade here - she's a great writer, a smart business woman, and she's beautiful. Lucky her. If you want to criticize how she does things, you're entitled to your own opinion, but last time I checked Quentin Tarantino wasn't writing the foreword for your book and flying you to his movie set to cover for press.
And the reason I deleted that comment?

Because the IP address associated with the post was identical to the IP address attached to many of Spiderbaby's own comments on the blog (not that it wasn't obvious without the evidence.)

So this is a woman with a history of devising disguises in order to defend herself on the internet. With this in mind, I think we can safely surmise that Kloee Addams is indeed the one and only Spiderbaby herself.

The plot thickens....
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  #347  
Old 07-28-2013, 11:44 PM
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Quote:
Originally Posted by Stuart Feedback Andrews View Post
So this is a woman with a history of devising disguises in order to defend herself on the internet.
I believe that's known as a "sockpuppet."
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  #348  
Old 07-28-2013, 11:51 PM
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Quote:
Originally Posted by Adam L. View Post
I believe that's known as a "sockpuppet."


Aha!
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  #349  
Old 07-29-2013, 01:32 AM
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Quote:
Originally Posted by Stuart Feedback Andrews View Post

Because the IP address associated with the post was identical to the IP address attached to many of Spiderbaby's own comments on the blog (not that it wasn't obvious without the evidence.)

So this is a woman with a history of devising disguises in order to defend herself on the internet. With this in mind, I think we can safely surmise that Kloee Addams is indeed the one and only Spiderbaby herself.

The plot thickens....
And sickens

For a woman who purports to be so intelligent she continually proves the opposite. At this point I truly doubt any academic credentials she may have, one simply can't be this clueless and have graduated from high school. She has such an inflated sense of self she can't grasp the very concept that her scam has not only failed miserably but that any attempts at subterfuge are uncovered as quickly as they are conceived. Anyone entirely unable to utilize the use of a proxy to mask their identity in the internet age should refrain from any form of sock puppetry.
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My 31 Days Of Halloween 2013

http://www.the-mortuary.com/showpost...1&postcount=29

My 31 Days Of Halloween 2012

http://www.the-mortuary.com/showpost...2&postcount=73

My 31 Days Of Halloween 2011

http://www.the-mortuary.com/showpost...2&postcount=69

My 31 Days Of Halloween 2010

http://www.the-mortuary.com/showpost...1&postcount=32
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  #350  
Old 07-29-2013, 09:01 AM
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Satan's Favorite Son Satan's Favorite Son is offline
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Quote:
Originally Posted by ROBERT BLACK View Post
She has such an inflated sense of self she can't grasp the very concept that her scam has not only failed miserably but that any attempts at subterfuge are uncovered as quickly as they are conceived.
How about this little gem..?

Quote:
Kloee Addams ‏@KloeeAddams 12h
@snarkofthebeast If I were you I'd be glad if someone used my work. I'd be proud!
Insanity. Somebody makes money off your hard work and you should be proud? Ugh.
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