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News Roundup 2024-11-17

Personal / Website News

Scandalous Swords: Interview with J. Manfred Weichsel

A new interview article is up here at the website!

I interviewed J. Manfred Weichsel, editor of the sword and sorcery anthology Sword & Scandal.

Check it out here!

McFarland Holiday Sale

My publisher, McFarland books, is having a Holiday sale on all of their tiles! From November 15th to December 2nd, if you use code “HOLIDAY24” during checkout, you’ll get a 35% discount.

If you want to support me, consider buying a copy of The New Peplum or Horror Literature from Gothic to Post-Modern:

The New Peplum
Cover art for The New Peplum

McFarland Purchase link

Normal price: 39.99
35% = 13.99
Price after coupon: 25.99

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

If you want to support Michele, consider buying James Bond and Popular Culture and Horror in Space: Critical Essays (I have essays in both):

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

If you’re interested in another book that I have an essay in, consider The Many Lives of the Twilight Zone and Uncovering Stranger Things:

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

McFarland Purchase Link

Normal Price: 19.99
35% = 6.99
Price after coupon: 12.99

A Hero Will Endure Paperback Relese + Discount

Vernon Press, the publisher of A Hero Will Endure: Essays at the Twentieth Anniversary of Gladiator, has just released a cheaper, paperback version of the book, just in time for Gladiator 2!

The paperback is at the much more friendly price of $57 compared to $96 for the hardcover and $107 for an electronic version. All editions of the book can be found at the Vernon Press product page.

In addition, the publisher is offering a coupon on purchases of the collection! From now until the end of January 2025, if you use code SLZM30 at check out, you’ll get 30% off the title. So, the $57 book now becomes $39.99. Nice!

ECOF 2025

In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).

Here is a flyer for the 2025 event:

I’ll share more information about the event as I find out more on my website updates. There currently is a fundraiser going on to raise funds for the ERB plaque, and details for that can be found in the QR code in the above graphic, or by checking out the donation page at the Sulphur Springs Valley Valley Historical Society. 3.8K of 5K has been raised already. 

Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. 

Publishing Recap

Below is a recap of my publishing endeavors so far in 2024.

Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.

Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.

Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.

Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.

“Wondercon 2019 Coverage: Tarzan, John Carter, and Edgar Rice Burroughs, Inc.: What’s New?” reprinted in the National Capital Panthans Journal #330.

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.

Contemporary Indigenous Horror

Deadline for Abstracts: May 30, 2025

Contact: nborwein@uwo.ca

Edited by Dr. Naomi Simone Borwein and Dr. Krista Collier-Jarvis

Building on discussions in the edited volume, Global Indigenous Horror (University Press of Mississippi, 2025), this is a call for chapter proposal submissions focused on the topic of Contemporary Indigenous Horror. Beautiful, luminous and resonant moments of horror exist in the work of writers like Shane Hawk, Kim Scott, Tiffany Morris, Waubgeshig Rice, or Ambelin Kwaymullina. But Indigenous horror tales thrive in many narrative or storying forms—from fiction, plays, and music, to graphic novels, art installations, or experimental films fortified by sonic and oral manifestations.

In response to the forthcoming inaugural essay collection, Global Indigenous Horror (2025)Judith Leggatt states, “Global Indigenous Horror is a timely and welcome addition to the growing field of Indigenous Horror studies.” Over the past decade, there has been a (re)surgence in Indigenous works focusing on tales of horror, such as Anoka: A Collection of Indigenous Horror (2011; Hawk); Ajjiit: Dark Dreams of the Ancient Arctic (2011; Tinsley and Qitsualik); Never Whistle at Night: An Indigenous Dark Anthology Collection (2023; Hawk and Van Alst Jr.); Whistle at Night and They Will Come: Indigenous Horror Stories (2023; Soop); Midnight Storm, Moonless Sky: Indigenous Horror Stories (2022; Soop); Taaqtumi: An Anthology of Arctic Horror Stories (2019), Moosebumpz: Scary Stories from the Rez, and The Land Has Spoken—Tales of Indigenous Horror (2024; Hawk and Rogers), and Zegaajimo: Indigenous Horror Fiction (2024; Akiwenzie and Adler), just to name a few.

Responding to the widening gap between Indigenous horror and academic responses to it, editors Naomi Simone Borwein and Krista Collier-Jarvis solicit contributions for Contemporary Indigenous Horror. Shane Hawk broadly defines horror as that which “prioritizes the fear factor, often using graphic depictions of violence, monstrous beings, or otherworldly threats to achieve its effect. The ultimate purpose of horror is to confront the reader with their deepest fears, creating an experience that is visceral and unsettling.” When taken up by Indigenous storytellers, horror often engages with a colonial past that has never really passed, and as such, it haunts contemporary Indigenous peoples and communities. Indigenous horror thus often blends traditional stories as well as Indigenous ways of knowing and being with contemporary issues. In many cases, Indigenous horror is about our lived experiences, not as the victim of ongoing coloniality, but as resistance. According to Elizabeth Edwards and Brenna Duperron, “Indigeneity is a resistance — in the usual sense of opposition, repudiation, and refusal to comply […but also] resistant to assimilation. Indigeneity is the lived and embodied experience of peoples who have participated in that resistance” (94). In many other cases, Indigenous horror is about what Scott Gordon calls “colonial whiplash,” where “white people who haven’t turned into zombies [or other monsters] are at the mercy of the oppressed”—their Indigenous saviours. And in other cases, what Indigenous horror is has yet to be revealed.

Chapters (6,000-8,000 words including bibliography) may examine modern, contemporary representations of Indigenous Horror from a variety of perspectives. With a focus on analysis of current horror (narrative) production by self-identifying artists, writers, and other creators, some areas of consideration include, but are not limited to:

  • the future of Indigenous Horror;
  • Indigenous futurisms;
  • Indigenous futurism in relation to Afrofuturism;
  • the post-apocalyptic;
  • after the Anthropocene (or other labels);
  • pre-contact/post-contact;
  • Indigenous “monsters”;
  • Indigenous identity/identities;
  • unsettling, activism;
  • love, reciprocity, and horror;
  • Indigenous horror and visual, digital, or textual sovereignty;
  • mixed media, experimental media;
  • virtual, embodied, extended, or augmented reality;
  • multisensory installation and the horror experience;
  • ecological discourses and horror manifestations in relation to speculative narratives;
  • interrogation of “rewilding” and alternatives;
  • decolonization of Indigenous stereotypes in mainstream Horror and their counterparts in Indigenous narratives;
  • authentic Indigenous horror images, visions, “metaphors” or “motifs”;
  • social media and h/Horror in relation to fiction marketization;
  • sonic landscapes of horror;
  • systems of Indigenous horror that move between fiction, film, music, and other media;
  • NDN and Horror media;
  • inter-tribal horror/Horror and trans-Indigeneity or pan-Indigeneity;
  • exploration of various land-based, place-based, sky-based, star-based, or water-based horrors in narratives by Indigenous creators;
  • blood, heredity, categorization, and holocaust/genocide narratives;
  • reconciliation;
  • virtue signalling, horror, media cultures and spaces;
  • metacommentary;
  • analysis of Indigenous Gothic and Horror;
  • Indigenous Horror fiction and ways of knowing;
  • reading (and teaching) Indigenous horror fiction;
  • horror systems as epistemologies;
  • Indigenous Horror fiction and scholarship;
  • and more.

This follow-up collection seeks contributions from self-identified Indigenous scholars in any stage of their academic journey. We also encourage submissions from allies to the community. To acknowledge the various ways in which Indigenous scholarship may emerge, we welcome both traditional as well as more exploratory approaches, including submissions of proposals for non-fiction works by self-identified Indigenous storytellers reflecting on the process of writing, or otherwise producing, horror.

Please send a 250-word abstract and a 100-word bio to editors Naomi Simone Borwein (nborwein@uwo.ca) and Krista Collier-Jarvis (Krista.Collier-Jarvis@msvu.ca) by May 30, 2025. Accepted chapters will be due June 30, 2026.

Miscellaneous Tidbits

Some fun things and shout outs from these past few weeks.

Gladiator 2 Cinemark Popcorn Bucket

Collectable popcorn buckets are becoming a big thing now. Gladiator 2 has one, of course. Thankfully this bucket could be ordered online instead of actually going to a Cinemark theater. So, of course I ordered a bucket:

Sword and Sandal Blu-rays

Coinciding with the release of Gladiator 2 in November, there’s been a handful of older pepla getting new releases on UHD/Blu-ray. In mid November three came in the mail: Steelbook edition of the original Gladiator (2000), a new cut of Caligula (1979), and a new edition of Hercules Returns (1993).

Rest in Peplum Tony Todd

Tony Todd, horror actor extraordinaire best known for his portrayal as Candyman, passed away. He starred in a handful of pepla: Xena (1995-2001), Hercules (1995-1999), Beastmaster 3 (1996), and Minotaur (2006).

Michele and I had the honor to meet him way back in 2008 at a horror con in SeaTac. He autographed my Criterion Collection edition of The Rock (1996):

When Candyman 2021 came out I did an article on bands that sample dialogue from the original Candyman (1992). Do check out that article to see some innovative ways that Todd lives on via textual sampling.

Art of Michele Brittany

Michele has started a Facebook Page devoted to her crafting and art. If you want to check out her projects or purchase some of her journals, give the page a like and follow!

https://www.facebook.com/profile.php?id=61565895377463

Categories
Essays

Candy Sampler: Candyman Samples In Underground Music

On August 27th, Nia DaCosta’s sequel to the original 1992 Candyman, also titled Candyman, was released to commercial and critical fanfare. Opening with $22.4 million at the box office1Candyman succeeded where many larger budgeted films could not during the COVID-19 Pandemic with its performance. Candyman also set a new milestone by becoming the first black female directed film to top the box office.2

As Candyman ‘21 continues be profitable at the box office, attention can be turned to the original Bernard Rode directed film. Fans of the original will perhaps want to revisit Candyman ‘92 or those only familiar with the new film may want to watch the original for the first time. For those lacking physical releases, Candyman ‘92 can be found on Peacock TV and other VOD services such as iTunes, Google Play, and RedBox.

Hopefully with renewed interest, Candyman ‘92 will see a flux of such revisitation and even more positive reassessment. There’s a variety of ways to take in and appreciate the original film: essays, fan art, and even homage in other media. The original Candyman no doubt left its mark in cinema canon, but it also left an impression on other content creators (writers, directors, artists, etc.). One curious example of such inspiration is the world of sampling wherein a music group takes samples of dialogue (and other sounds and noises) from a source (such as a film, TV show, radio broadcast, video game, etc.) and incorporates them into their own compositions.

Candyman ‘92 has had the honour of being sampled numerous times by various underground musical acts that hail from a variety of genres: hiphop, death metal, industrial, and so on. These bands use Candyman samples in a variety of ways. Same incorporate Candyman’s (Tony Todd) opening narration of the film into the beginning of their songs, trying to replicate an ominous introduction to set a specific tone and mood. Some instances are used as outright homage in order to broadcast the music act’s appreciation to the film. 

What follows is a list of music acts and their songs that sample dialogue from Candyman ‘92. In order to illustrate how each artist uses the sample, YouTube links are provided for each song along with (when available) a clip from the movie that contains the original dialogue. This way the song and the source text and be compared side by side. 

Aborted

Belgian death metal act Aborted pulls double duty with the Clive Barker references in their song “Cenobites” which is the last track from their 2014 album The Necrotic Manifesto.

The title is, of course, a reference to the Cenobites that populate the Hellraiser films that are adaptations of Barker’s The Hellbound Heart. In addition to the Hellraiser connection, the song is also tethered to Barker’s Candyman via usage of sample dialogue. “Cenobites” begins immediately with a quote of Candyman saying “They will say that I have shed innocent blood. What’s blood for if not for shedding?”4

These lines are also the very first lines spoken in the film.5

By beginning “Cenobites” with this sample, Aborted accomplishes two things. First, it mimics the original film by settingthe tone that something unsettling is going to happen in the narrative . Second, it takes the acts described in the sample (shedding innocent blood) and relocates it from the Candyman character to the sadistic villain in the band’s official music video who kidnaps a young woman and proceeds to mutilate her. 

Da Boy Tommy

Tommy Debie, better known as Da Boy Tommy, was a jumpstyle Belgian DJ who sadly passed away in 2013.

In 2000 he released a song called “Candyman” which appeared on its own CD-single as well as various compilation albums.6

The song begins with a sample of someone whispering “Candyman.” At the one minute mark of the song, a sample of Clara (Marianna Elliott) explaining who Candyman is to Billy (Ted Raimi) while repeating his name can be heard, interspersed with samples of Carol Anne Freeling (Heather O’Rourke) from Poltergeist saying “They’re here.” This combining of samples from two different sources and merging them together to create new textual play is a hallmark of the cut-up technique pioneered by William S. Burroughs and Brion Gysin. 

Darling Kandie

Darling Kandie is a side project of sorts of Groovie Man of My Life with the Thrill Kill Kult, a foundational industrial-disco act that long ago established themselves as auteurs of incorporating samples from exploitation and pornographic films into their music. 

“People Next Door” from Darling Kandie’s debut self titled album is a song that is made entirely of collaged samples (constructed in the same fashion as the aforementioned cut-up technique), including “We need a new unity” which is from George Lucas’ THX-1138 (the sample also makes an appearance in the Laibach song “Regime of Coincidence State of Gravity” from their seminal Kapital album) and “Open your mind to me” which is said by the stomach mutant Kuato in the 1990 film Total Recall.

At the 2:00 mark of the song a sample of Candyman saying “I came for you” can be heard.7

The line comes from the scene where Candyman confronts Helen (Virginia Madsen) in a parking garage and hypnotizes her.8

The line appears once, briefly, before being lost in the sea of other samples in the song. 

Deutsch Nepal

Deutsch Nepal is a Swedish industrial project spearheaded by Peter Andersson.

Their eighth album, ¡Comprendido!… Time Stop! …And World Ending contains the track “Gouge Free Market” which has the dialogue “I am rumor. It is a blessed condition believe me, to be whispered about in street corners, to live in other people’s dreams, but not to have to be. Do you understand?” repeated multiple times.9

The lines are spoken by Candyman inside Helen’s mind.10

This is unique usage of the sample, as the song dislocates the dialogue from its slasher-horror roots and, if going by the name of the song’s title of “Gouge Free Market,” applies it to the horrors of capitalism. Much like Candyman, rampant commercialism and capitalism can be inferred as an unseen, yet omnipresent, boogeyman. 

Freakin’ Inglish

Freakin’ Inglish was a short-lived UK hip hop group that had only one release, The Rhyme Wrecka E.P.

The cassette contains a song called “Victim” that opens with a sample of Candyman saying “Be my victim.”11

The sample is form the same scene Darling Kandie sampled (see above) and is used to compliment the rapped lyrics “Be my victim” and “Look out, I’m coming to get you.” 

Internal Error

Gabber/hardcore techno act Internal Error, operating under the alias Nyeṫ, took their homage of the Candyman movie to the next level by composing a track called “Candy Man” that appeared on their EP Party Madness as well as the compilations TrAUMa 2 (Nightmare On AUM Street) and Napalm Rave.12

The song contains multiple samples of dialogue taken from the film, such as “If you look in the mirror, and say his name five times, he’ll appear behind you, breathing down your neck,” “Be my victim,” and “Where they proceeded to saw of his right hand with a rusty blade.” As with Da Boy Tommy, Internal Error looks to be using these samples to show adoration to the original film. 

JNyce

Canadian hip hop artist J Nyce’s 2008 debut Vaults of Horror has a song called “Satanic Rites” that contains a Candyman sample.13

As with Aborted’s “Cenobites”, JNyce uses the “shed innocent blood” opening lines from Candyman as the opening to this song in order to establish a horror-film mood. The dialogue also gets dissociated from Candyman and instead applied to Satanism, which of course conjures up imagery of sacrifices.

Mortician

Deathgrind metal band Mortician wears their affection for the horror genre literally on their sleeves – album sleeves that is. Their last produced album, 2004’s Re-Animated Dead Flesh has a cover reminiscent of the Re-Animator film, and songs that reference numerous horror films, such as An American Werewolf in London, Silent Night, Deadly Night, and The Hills Have Eyes.

The final track on the album, “Be My Victim,” is, of course, an homage to Candyman.14

https://www.youtube.com/watch?v=sN4QXAw-B-4

The track begins with a sample of Candyman saying “They’ll say that I’ve shed innocent blood. What’s blood for, if not for shedding. With my hook for a hand, I’ll split you from your groin to your gullet.” which is, of course, the opening lines of the film, and seek to replicate that opening much the same way Aborted and JNyce did. The song ends with a sample of Helen calling out to Candyman who suddenly appears and kills her psychiarist. These samples, coupled with the song’s title “Be My Victim” can be taken as another horror homage to the cult classic film.

[:SITD:]

German-based industrial act [:SITD:] (which stands for Shadows in the Dark) has an EP titled Snuff that contains a track called “Mortal.”

The remix of “Mortal” by Solitary Experiments is unique in that it contains Candyman samples from the German dub of the film.15

The track opens with “Fürchtest du den Schmerz oder das, was danach kommt? Der Schmerz wird von erlesener Qualität sein. Was unseren Tod angeht, vor ihm brauchst du dich nicht zu fürchten.” which is a translation of Candyman saying “The pain, I can assure you, will be exquisite. As for our deaths, there is nothing to fear.”

Near the end of the song the sample continues with “Lass uns unserem Leben ein Ende setzen vor ihren Augen und ihnen damit etwas geben, was sie für alle Zeiten verfolgt. Werde unsterblich! Komm mit mir.” which is a continuation of the above with “We shall die together in front of their very eyes and give them something to be haunted by. Come with me and be immortal.” 

The song ends with “Man wird sagen, ich habe unschuldiges Blut vergossen” which is an interpretation of “They will say that I have shed innocent blood.”

All of these instances of bands and music projects sampling Candyman ‘92 not only solidify the original film’s legacy, but illustrate innovative instances of artists performing textual play to create a new texts with new meanings, or even pastiches in a post-modern sense. 

Endnotes

1. Anthony D’Alessandro, “‘Candyman’ Makes The Box Office Taste Good With $22M+ Opening,” Deadline, August 29, 2021, https://deadline.com/2021/08/candyman-posts-sweet-thursday-night-with-1-9m-1234823246/.

2. Anthony D’Alessandro, “‘Candyman’: Nia DaCosta Becomes First Black Female Filmmaker To Open Pic To No. 1 At Domestic B.O.,” Deadline, August 29, 2021, https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/.

3. Pratik Handore, “Where to Stream Candyman (1992)?,” TheCinemaholic, August 28, 2021,https://thecinemaholic.com/where-to-stream-candyman-1992/.

4. Century Media Records, “ABORTED – Cenobites (OFFICIAL VIDEO),” YouTube Video, 5:29, November 1, 2014,https://www.youtube.com/watch?v=iWCbLx_RL6k.

5. jopez94585, “Candyman intro…Candyman 92′,” YouTube Video, 2:59, April 18, 2007, https://www.youtube.com/watch?v=B5kJMvH1JKw.

6. OverdoZe, “Da boy tommy – Candyman,” YouTube Video, 4:08, February 17, 2012, https://www.youtube.com/watch?v=zLO-J9HA8Q0.

7. SHONK3Y, “Darling Kandie – People Next Door,” YouTube Video, 4:08, November 26, 2012, https://www.youtube.com/watch?v=C2glIBIXN3E.

8. ScreamFactoryTV, “Candyman (1992) – Clip: Be My Victim (HD),” YouTube Video, 2:30, November 5, 2018,https://www.youtube.com/watch?v=qOt3D01rCTY.

9. Chris Vermeers, “Deutsch Nepal – Gouge Free Market,” YouTube Video, 8:16, December 9, 2012,https://www.youtube.com/watch?v=aa-ByD5L2rs.

10. Brian Cowan, “Candyman – I am rumor…,” YouTube Video, 0:42, November 13, 2014, https://www.youtube.com/watch?v=H9h5KOBN53c.

11. UKStandTall, “Freakin’ Inglish – Victim,” YouTube Video, 4:10, April 25, 2014, https://www.youtube.com/watch?v=Wg57VF4nf0c.

12. eppogabber, “Internal Error – Candyman,” YouTube Video, 4:14, January 7, 2010, https://www.youtube.com/watch?v=8xqAGYaT5vg.

13. Dez Flight Underground, “Jnyce – Satanic Rites,” YouTube Video, 3:45, July 31, 2011,https://www.youtube.com/watch?v=maF7_T1w2vk.

14. Cristian Farias, “Mortician – Be My Victim,” YouTube Video, 3:47, May 31, 2012, https://www.youtube.com/watch?v=sN4QXAw-B-4.

15. Transmitte, “[:SITD:] – Mortal (RMX by Solitary Experiments),” YouTube Video, 4:54, April 30, 2011, https://www.youtube.com/watch?v=KQptI0UM-Rg.

Bibliography

Brian Cowan. “Candyman – I am rumor…” YouTube Video, 0:42. November 13, 2014. https://www.youtube.com/watch?v=H9h5KOBN53c.

Century Media Records. “ABORTED – Cenobites (OFFICIAL VIDEO).” YouTube Video, 5:29. November 1, 2014.https://www.youtube.com/watch?v=iWCbLx_RL6k.

Chris Vermeers. “Deutsch Nepal – Gouge Free Market.” YouTube Video, 8:16. December 9, 2012. https://www.youtube.com/watch?v=aa-ByD5L2rs.

Cristian Farias. “Mortician – Be My Victim.” YouTube Video, 3:47. May 31, 2012. https://www.youtube.com/watch?v=sN4QXAw-B-4.

D’Alessandro, Anthony. “‘Candyman’ Makes The Box Office Taste Good With $22M+ Opening.” Deadline. August 29, 2021. https://deadline.com/2021/08/candyman-posts-sweet-thursday-night-with-1-9m-1234823246/.

—-. “‘Candyman’: Nia DaCosta Becomes First Black Female Filmmaker To Open Pic To No. 1 At Domestic B.O.” Deadline. August 29, 2021. https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/.

Dez Flight Underground. “Jnyce – Satanic Rites.” YouTube Video, 3:45. July 31, 2011. https://www.youtube.com/watch?v=maF7_T1w2vk.

Eppogabber. “Internal Error – Candyman.” YouTube Video, 4:14. January 7, 2010. https://www.youtube.com/watch?v=8xqAGYaT5vg.

Handore, Pratik. “Where to Stream Candyman (1992)?” TheCinemaholic. August 28, 2021.https://thecinemaholic.com/where-to-stream-candyman-1992/.

Jopez94585. “Candyman intro…Candyman 92′.” YouTube Video, 2:59. April 18, 2007. https://www.youtube.com/watch?v=B5kJMvH1JKw.

OverdoZe. “Da boy tommy – Candyman,” YouTube Video, 4:08. February 17, 2012. https://www.youtube.com/watch?v=zLO-J9HA8Q0.

ScreamFactoryTV. “Candyman (1992) – Clip: Be My Victim (HD).” YouTube Video, 2:30. November 5, 2018. https://www.youtube.com/watch?v=qOt3D01rCTY.

SHONK3Y. “Darling Kandie – People Next Door.” YouTube Video, 4:08. November 26, 2012. https://www.youtube.com/watch?v=C2glIBIXN3E.

Transmitte. “[:SITD:] – Mortal (RMX by Solitary Experiments).” YouTube Video, 4:54. April 30, 2011. https://www.youtube.com/watch?v=KQptI0UM-Rg.

UKStandTall. “Freakin’ Inglish – Victim.” YouTube Video, 4:10. April 25, 2014. https://www.youtube.com/watch?v=Wg57VF4nf0c.