The Disney Vault, by its very name, suggests a long and detailed history associated with the company name. For animation junkies and film fans, a detailed accounting of Disney’s past would be more than welcome on the company’s releases of its animated films. Having this kind of information would, perhaps, not complete the entire puzzle, but it would offer more context and insight than we have now. From a financial standpoint, driving up demand makes sense for Disney. But releasing a select group of films–particularly popular ones, at that–on a delayed schedule that the studio doesn’t even stick to anymore suggests that the Disney Vault’s initial construct no longer serves any purpose. We don’t need multiple versions of Snow White on Blu-ray, especially if each one sacrifices a bevy of supplements in the process. We don’t need the Disney Vault anymore. Bob Iger doesn’t need a literal vault in which to swim through his company’s riches, and neither do we.
Carter published The Bloody Chamber two years after translating the fairy tales of Charles Perrault into English, and many of her stories are based on his versions, although they draw from diverse sources. The collection as a whole refocuses traditional fairy tales to address the heroine's experience. In some, the heroine herself claims a voice by acting as narrator. Carter based the book's title and longest story, "The Bloody Chamber," on the legend of Bluebeard. "The Courtship of Mr. Lyon" and "The Tiger's Bride" both originate from Beauty and the Beast. " Puss-in-Boots " comes from the fairy tale of the same name, and " The Erl-King " borrows its title and title character from German and Scandinavian folktales. " The Snow Child " is based on a somewhat obscure version of Snow White , and "The Lady of the House of Love" is based loosely on Sleeping Beauty as well as vampire legends. The last three stories in the collection, "The Werewolf," "The Company of Wolves," and " Wolf-Alice " all draw on versions of Red Riding Hood. "Wolf-Alice," The Bloody Chamber's finale, also incorporates ideas from Lewis Carroll's Through the Looking Glass and What Alice Found There as well as stories of feral children. Carter collaborated on a film version of "The Company of Wolves" with director Neil Jordan, which was released in 1984. The movie reworks the story's ending, of which Carter approved because her interest was in melding her vision with Jordan's. Additionally, several of the stories in The Bloody Chamber have been made into stage plays, especially "The Bloody Chamber" and "The Tiger's Bride." Carter's canonization, though after her death, is evidence that she has fulfilled her "wish to validate [her] claim to a fair share of the future by staking [her] claim to [her] share in the past.'"
I got a nice new piano. I am giving my old one away. The piano we used a few weeks ago at 2nd Story Recording Studio has the long lost old Sorcerer piano in it, the one I recorded Dead Boy and certain songs from the last album on a few years ago!!! I was so happy to see it again. It seemed different. I tried to pretend that I recognized it. But it reminded me of the cat that changed color when it got a new owner. Norah Jones recorded her first record on that piano too. Anyway it sounded great.