I Can See You - by Paddy Summerfield c. 1986

Saturday, February 14, 2026

‘Possession’: how the world’s most disturbing performance is perfect for Valentine’s Day by WILL HOWARD | DANGEROUS MINDS

'Possession'- how the world's most disturbing performance is perfect for Valentine's day

 by Will Howard

Sat 14 February 2026 11:40, UK
At the time of writing, Valentine’s Day is upon us.

For many couples, the key issue is how to celebrate such an event. What should you actually do to mark the most romantic day of the year in a way that still feels genuinely romantic and not like you’re stiffly acting out the whims of an advertising company like you’re under a possession?
Honestly? If you’re stuck for choice and neither of you is particularly enthused by the prospect of another jaunt through When Harry Met Sally or But I’m a Cheerleader, perhaps the best option is to go for the complete opposite option.

An intense horror film can have more or less the same effect as any romantic flick you can think of. Heightened pulse, bursting adrenaline, heavy breathing, and if you happen to jump into each other’s arms, well, then it’s bringing you closer together. What more can you want from Valentine’s Day?

Now, there are many films to choose from here. Josh Ruben’s knockabout slasher rom-com Heart Eyes is a good shout for something light-hearted. Shaun of the Dead is a classic if you’re looking for something a little harder. However, let’s be real here, Valentine’s Day can be a traumatic experience at the best of times and if you’re looking for something to truly reflect what a torturous psychodrama it can be, how about you give the ultimate torturous psychodrama a try?

Released in 1981 and directed by Andrzej Żuławski, Possession is no ordinary horror flick. There are no jump scares, ghosts or men with masks carrying blood-covered axes. There is only a couple on the brink of a divorce, two people who look disturbingly like that couple and their young son, caught in the middle of this disturbing, erotic power play. Sam Neill is sensational as Mark, the husband who suspects his wife is having an affair, yet this film belongs to his co-star.

Isabelle Adjani walks away with the entire picture, delivering arguably the most committed and disturbing performance in the history of horror cinema.
'Possession'- how the world's most disturbing performance is perfect for Valentine's day



What makes this performance in ‘Possession’ so disturbing?

So, at the risk of spoiling anything, Neill and Adjani are both multi-roling as the main characters and their doppelgängers. The horror of the picture comes from, essentially, which one did the other fall in love with? As these identities begin to crash into each other, both their lives begin to fall apart. With one scene in particular illustrating a descent into madness more harrowingly and viscerally than just about any other put to screen.

Even if you haven’t seen the movie, you know exactly the scene I’m talking about. To the point that if you merely say the words “the subway scene” to most cinephiles, they’ll know exactly what you’re talking about. I suppose maybe some of the more action oriented people will think of that bit in John Wick: Chapter 2 where Keanu Reeves and Common stroll down a New York city subway casually shooting pistols at each other with no-one else batting an eyelid, but that’d a close second.

No, I’m talking about Adjani’s Anna losing what’s left of her sanity in an extended freakout set in a Berlin subway station. One so hard to watch that you can’t turn away from it, and it provided a blueprint for the kind of intense horror performance turned out by generations of actresses in horror movies for decades since. From Heather Donahue’s tearful goodbyes in The Blair Witch Project and Toni Collette hollering “I AM YOUR MOTHER!” In Hereditary, to Lily-Rose Depp’s own descent into madness in Nosferatu, an open tribute to Adjani’s performance in Possession.

So, this Valentine’s Day, give your relationship the mother of all tests by sticking to Possession and cuddling up close to the one you love. 
Possession (1981) - Official Trailer

It is age restricted but available on YouTube - proof of age its a requirement

Reggae Lovers Rock: The 214 Greatest Lovers Rock Reggae Tracks of All Time | A ‘K’ Valentine’s Day Special from Butterboy

 K SPECIAL VA - Reggae Lovers Rock: The 214 Greatest Lovers Rock Reggae Tracks of All Time (Super Deluxe Edition) (17CD) (2026)


To celebrate Valentine's Day along with Black History Month: Sunday, February 1st, 2026 - Sunday, March 1st, 2026, here is my personal compilation of 214 (2/14 February 14th) classic Lovers Rock reggae songs.

Lovers Rock is a style of reggae music noted for its romantic sound and content. While love songs had been an important part of reggae since the late 1960s, the style was given a greater focus and a name in London in the mid-1970s.


From Butterboy a K Special 


Althea & Donna - Uptown Top Ranking: HQ STEREO #1 hit version

Saturday's child . . more Feb 14th Birthdays . . . . . Tim Buckley - Dolphins - Whistle Test (May '74)

Tim Buckley was born in Washington D.C. on Valentine's Day in 1947.

Thanks to Route for the reminder

Here promoting Sefronia in the UK with the Old Grey Whistle Test’s Bob ‘Bomber’ Harris 1974 

Charlie Whitney - Guitar

Ian Wallace on drums

Tim Hinckley- bass

Check out Tim’s 12 string electric (A Fender methinks)


Somebody who’s birthday is today
Fred Neil’s song made his own
Tim Buckley - ‘Dolphins’

As true now as it ever was . . . .for the first time I saw dolphins
“I only know that peace will come 
when all our hate is gone 
I been a searching for the dolphins
In the sea
Ah but sometimes I wonder 
do you ever think of me”


Remembering Magic Sam (February 14, 1937 – December 1, 1969) | Don's Tunes

No photo description available.

Samuel Gene Maghett was born on February 14th, 1937 in Grenada County, Mississippi. He learned to play the blues by listening to records by Chess label mates Muddy Waters and Little Walter. When he moved to Chicago at the age of 19, he was already playing well enough to get gigs in local clubs. Although his first few singles on the Cobra label didn’t chart, the influence of his music as well as that of Buddy Guy and Otis Rush, was being felt all through the blues world. The three musicians had created a new electric blues sound, that of Chicago’s West Side.
"Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune “All Your Love”, he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."
Willie Dixon
Still riding high from the success of West Side Soul, Magic Sam kept the same soulful recipe of primarily cover songs when he recorded Black Magic. Mighty Joe Young appeared on both records as did drummer Odie Payne. Mac Thompson played bass on the all the Black Magic tracks where he had only played on three West Side Soul songs. Lafayette Leake played piano on Black Magic, but the main difference between the two albums was the addition of Eddie Shaw on tenor sax.
Magic Sam was posthumously inducted into the Blues Hall of Fame in 1982, and Black Magic in 1990 in the category Classics of Blues Recordings – Albums.
Source: American Blues Scene
Photo Source: Marvels of Modern Music Auction

Magic Sam - Magic Sam's Boogie 1969 (live)

Be My Valentine!

The Weekend Starts Here!







 

Friday, February 13, 2026

Haunting Ballads & Melancholic Masterpieces (A Butterboy Compilation) | BUTTERBOY

  A great track listing from this selection . . . . well actually my default position!? 

(Who’s isn’t? ED)

This is wonderful and one of the best selections from a Butterboy compilation

Haunting Ballads & Melancholic Masterpieces 

(A Butterboy Compilation) (4 x CDs)



HAUNTING AND MELANCHOLIC

VA - Haunting Ballads & Melancholic Masterpieces (A Butterboy Compilation) (4 x CDs)

When I call this box set Haunting Ballads & Melancholic Masterpieces, I’m not reaching for drama, I’m naming the feeling that threads through every track I’ve chosen. These songs linger. They move with us, shadow us, and refuse to fade once heard. The set exists because I wanted to capture that elusive quality, music that unsettles and comforts at the same time, that makes silence feel charged after the last note dies away.

Each track here was chosen not for popularity, but for resonance. Some are rare, tucked away on forgotten labels, others are more familiar but reframed in this context. Together they form a dialogue across decades and genres, proving that “haunting” is not confined to minor keys or ghostly atmospheres, it can be found in a fragile vocal, a drifting synth line, or a lyric that cuts deeper than expected.

The title Haunting Masterpieces elevates the idea beyond mood. These aren’t just songs that sound eerie, they are works that master the art of staying with us. They haunt because they move, through memory, through motion, through the spaces we carry inside. The compilation is more a journey, a moody, evocative selection spanning genres. Each CD flows into the next, building a landscape where melancholy and beauty coexist.

I wanted listeners to explore further, to hear how these tracks converse with one another. Notice how a spectral ambient piece can sit beside a stark ballad, how a pulsing rhythm can still ache with longing. This set is my attempt to map the terrain of haunting, not as a genre, but as an emotional state. If you let it, the music will follow you long after the box is closed.  

The set follows these themes:

CD1 - Ethereal Voices & Acoustic Shadows     Whispers and fragile tones drift through this opening disc. Voices dissolve into acoustic textures, creating presence and absence at once. These tracks haunt by intimacy, lingering in silence. Ethereal Voices & Acoustic Shadows begins the journey with music that feels near yet impossibly distant, setting the box set’s spectral tone.

CD2 - Gothic Echoes & Chamber Despair     Dark chords and solemn atmospheres define this disc. Gothic echoes reverberate like candlelight in stone halls, while chamber pieces embody confinement and sorrow. Each track was chosen for its shadowed beauty, revealing haunting as grandeur in decay. Gothic Echoes & Chamber Despair deepens the mood with elegance carved from loss.

CD3 - Melancholy in Motion     Explores haunting as movement. Ambient landscapes and pulsing rhythms drift forward yet remain tethered to sadness. Each track embodies journeys that ache, motion that never escapes memory. Melancholy in Motion reminds us haunting is not static, it follows, pursues, and moves with us through time and feeling.

CD4 - Soul Wounds & Lyrical Ghosts     Closing the set, these tracks reveal haunting as vulnerability. Lyrics echo like scars, voices carry wounds that never heal. Each song lingers because it speaks from pain and beauty intertwined. Soul Wounds & Lyrical Ghosts ends the journey with music that feels deeply human, leaving listeners changed by its resonance.

I hope this set is enjoyed and opens an avenue for further exploration. (Butterboy)


Check out the track listing and download here

Haunting Ballads and Meleancholic Masterpieces here . . . .

 


Nick Drake - Way To Blue [The Making of Fire Leaves Left] | jt1674

speaking of melancholy . . . . . .way too blue


https://www.tumblr.com/jt1674/808374901976236032/nick-drake-way-to-blue

David Gilmour - No Way | jt1674

 

https://www.tumblr.com/jt1674/808360465286791168/david-gilmour-no-way

Robert Fripp - Green Music For Libraries [Exposures] | jt1674

 . . . . I like to think Brian Eno had a strong influence upon Robert Fripp and know it went the other way too 

https://www.tumblr.com/jt1674/808375460059889664/robert-fripp-green-music-for-libraries-1

Blondie - Shayla | Herberg De Kelder

 

Shayla


Blondie | “Shayla”

“Suddenly, some subtle entity, some cosmic energy, brushed her like shadows.”