![]() ![]() The sparse and scattered vocals take a backseat to dub rhythms, ambient electronic sounds, and heavy dirge-like guitar work, and serve mainly to further enhance the dark mood or provide a bit of story-telling as needed. From the beginning to the end of the album, the songs on The Blood of Heroes convey the same sort of bleakness and despair that the film does, with an interesting yet coherent mix of musical styles. Not surprisingly, the album sounds very much like a movie score, no doubt owing some of that sound to the involvement of film sound designer/editor M. In addition to the life-and-death nature of these matches, if a team has continued success it may have the opportunity to compete in “The League” (sponsored by the few remaining cities which are home to any affluence and comfort), which is the sole opportunity for residents outside the cities to escape their hardscrabble existence. Originally released in Australia in 1989 under the title Salute to the Jugger, the film has a main plot which deals with the survivors of a post-apocalyptic world eking out whatever existence they can in so-called “dog towns”, where the only sport is a violent rugby-like game where armed teams from rival towns compete for tribute from their town if they win. Its name and inspiration come from the film of the same name, starring Rutger Hauer, Joan Chen, and Vincent D’Onofrio. Israel, guitarist Justin Broderick (Godflesh/Jesu), bassist Bill Laswell (Material/Praxis/Painkiller), electronic artists Enduser and Submerged, and many others. ![]() The Blood of Heroes is the end result of a year-long collaboration of artists from many different genres, including vocalist Dr. Where does The Blood of Heroes belong? Well, sometimes the answer is not so simple… Exactly where individual albums or artists belong within that classification system has long been a topic of debate for music fans, and pretty much everyone will tell you something different based upon his or her personal opinion and history with the music. From radio stations to record stores to the shelves of collectors, the music of most artists is separated into one of many genres or sub-genres, such as pop, rock, metal, alternative, hip-hop, electronic, country, and so forth. Davis's monumental triple biography of Crockett, Travis and James Bowie, "Three Roads to the Alamo," and Stephen Harrington's "The Gates of the Alamo."Īllen Barra's next book, "Mickey and Willie, The Parallel Lives of Baseball's Golden Age," is due out this fall.The music industry, like many others, loves classification and organization. ![]() Those making their entrance into Alamo lore for the first time are well advised to begin with "The Blood of Heroes." It belongs on the shelf of any enthusiast along with William C. Best of all for the true romantic, Colonel William Travis's "line in the sand" and legendary speech did, in fact, happen. "Total casualties likely comprised about 75 killed during the battle and approximately 300 wounded" and, according to the best evidence, David Crockett did, indeed, die fighting. Mexican casualties were far lower than has always been assumed. But the massacre by Santa Anna of some 400 Texians who had surrendered near Goliad was not. He contends that, given the circumstances of the rebellion and the conditions under which the battle was fought, the death of every defender at the Alamo - probably close to 200 men -and the execution of a few prisoners, was defensible. With the skill of a historical detective Donovan pieces together the most plausible account of what happened over the next 13 days, from February 23 to March 6, 1836, when the Mexican army finally stormed the walls in an all-out assault in the pre-dawn darkness, rockets and cannon fire illuminating the cold Texas night. The Alamo's defenders, eight of whom were native-born Tejanos, quickly retreated into the compound and began fortifying it the women of San Antonio wept and cried, "You will all be killed what shall we do?" After the surrender of the Alamo, "soldiers of both armies were mingling, some playing cards together," Donovan writes.įaster than any of the Texians had calculated, faster even than rebel leader Sam Houston could train an army of resistance, Mexican dictator General Antonio Lopez de Santa Anna force-marched an army of several thousand soldados, many raw recruits - "Indians, peasants, vagabonds, prisoners, and the poor of the larger cities and towns" - to San Antonio to take back the Alamo. The early Texas army was "little more than a well-intentioned mob " still, it managed to capture the Mexican garrison at San Antonio de Bexar with relatively little bloodletting. Some, Donovan writes, "were for independence some for the constitution of 1824 and some for anything, just so it was a row."Īt least the third group got their wish. The motives of the new settlers were mixed. ![]()
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