Mike Quinn, (producer of Horizontes, a daily radio program dedicated to the music of Latin America on KUT-FM, Austin’s NPR affiliate), was in 1978 a lowly, but ambitious retail clerk at Discount Records across from the University of Texas campus. Mike undertook the organization of Carnaval ’78 as an outlet for his own creative interests in Brazilian music.
The music of Carnaval — SAMBA, MARCH, FREVO, TRIO ELÉTRICO, and lots of BATUCADA, or drumming — now pours out in seamless, driving, ninety-minute sets. This is the euphoria of a real Carnaval, magnified by an arena-style sound system that makes three or four drums sound like a hundred. The key to the samba sound is the heavy boom of the surdo bass drums set against the counter-rhythms and back beats for the smaller percussion. When all of this is on the mark, samba kicks ass! You can see it on the faces of the crowd as people begin to lose control and abandon themselves to the charged atmosphere.
Over the past four decades, the Stephen King movie has become a genre unto itself. The prolific writers works have spawned well over 100 adaptations for both the big and small screen, ranging from modern classics of horror (Carrie, The Shining) to Oscar-nominated fare (The Shawshank Redemption, The Green Mile) to unapologetic, B-movie schlock (the King-directed Maximum Overdrive).
Author and film critic Scott Von Doviak stops by to discuss Stephen King and how it’s many film incarnations.