On his website photographer Pat Blashill presents a lengthy slideshow from a 1985 Big Boys performance; lurking in the background of many of these pictures are the members of Samhain (who ostensibly played the same gig). Eerie Von, Steve Zing, and Pete Marshall all seem to be enjoying the Big Boys, but it is Samhain leader Glenn Danzig who appears most pleased, beaming from ear to ear and pumping his fist in several of the photos.
Danzigologists are embracing these recently unearthed Blashill photos as they further the controversial theory that Danzig can smile, suggesting the singer experiences a palette of emotions similar to most humans. Skeptics counter with the fact no exact date for this alleged concert has been offered and that certain shadows around the mouth are similar to images seen in a dental trade magazine.
Do you believe Glenn Danzig can smile? Is this just another harmful lie put forward by the Bilderberg Group and/or the Heavy Metal Trilateralists?
RELATED: Morrissey curating a Ramones best of despite once denouncing that band as “degenerate no-talents” who “fail miserably.”
A: Gorshin’s Riddler. Cartoony but unquestionably malevolent. Very strong currents of rage, madness. Possibly more intelligent than the rest of the Bat-villains, even Bookworm. A laugh that could shatter glass (too bad for Cesar Romero, whose Joker debuted later and never found a chuckle as iconic).
Thank dog the ’66 Batman series is finally coming to home video this year. There just ain’t enough classic Gorsh on that YouTube.
It’s late August. You know how I can tell? People are starting to lose their minds about pumpkin spice lattes. Like bald eagles in heat they screech: “PUMPKIN SPICE LATTES ARE COMING! PUMPKIN SPICE LATTES!”
At some point in the past five years this artificial coffee flavoring surpassed Thanksgiving and the leaves changing as the apex of the Fall season. The wonder of nature? The warmth of your family? Fuck that shit, we can make hot liquid taste like a gourd!
But I kid the industrial beverage complex and its tight stranglehold on our emotions. Living in Florida I of course welcome the arrival of PSLs, as they provide the only concrete evidence that the season is actually changing. It’s a blistering ninety-five degrees here year round. Oh sure, for a couple days in February it pretends to be cold, but generally there’s nothing in FL to counter the belief that pool season is eternal.
That can really gum up your melon, the endless summer. How can it be Columbus Day? I’m still wearing shorts and flip flops and this Orlando Magic jersey from 1996. Thankfully, the pumpkin spice latte sends important signals to my brain, saying, “Christmas is coming. You’re gonna be broke again!”
This is a good place to note that Pumpkin Spice Latte would be the perfect name for a celebrity baby. Pumpkin Spice Latte Kardashian. Pumpkin Spice Latte Theron. Pumpkin Spice Latte Ciccone Penn Ritchie Kabbalah.
How’m I doin’ on time? I can stretch this out for another five minutes.
Let us celebrate Throwback Thursday with this hot pic of me visiting the remains of the Berlin Wall in 2010. Didn’t expect to see Barry Allen (Wally West?) there, felt stoked the guy has an audience in Deutschland.
Jerry Only and Glenn Danzig in August of 1981. Photographer unknown.
Central District of California Judge Gary Klausner threw out Glenn Danzig’s lawsuit against former band mate Jerry Only on August 6th, stating that Danzig failed to specify which exact terms of a 1994 legal agreement between the Misfits Only violated when the latter began merchandising Misfits emblems under his own name in the early 2000s.
Noting that the ’94 agreement does not “address any obligation regarding trademark registration or negotiations with individual retail merchandisers as to licensing,” Klausner stated “the Court finds no alleged facts that constitute a breach of the merchandising provision…the [original paper] contemplates that [Only] has a non-exclusive right to merchandise…and otherwise exploit the designs…[and to] to retain 100% of earnings from such exploitation…the Court also finds no other terms that govern the parties’ conduct as it pertains to trademarking and licensing.”
Indeed, the original settlement clearly states “the parties shall be co-owners of [the Misfits name] and all logo(s)” with no obligation to communicate with each other concerning merchandising deals, but it also says “each party shall retain exclusive ownership of any artwork created by that party.” That’s where Danzig lost this round, it seems: by not emphasizing that he created many of the designs Only’s been licensing. Danzig’s suit merely says it’s his era of the band that’s most closely associated with that stuff. Had he stated, “I created the ‘Fiend Skull,’ I created the ‘Horror Business’ cover and all the other classic Misfits artwork Jerry’s currently selling on his website,” things would probably be moving forward.
Is Danzig afraid of coming right out and claiming to be the hand behind the Fiend Skull, a.k.a. the Crimson Ghost, now that the Crimson Ghost film serial he took it from is owned by Paramount? I’ve mentioned this previously, but Paramount is well aware of that skull’s value. They wanted an astronomical fee to let me print a still from the serial in my book. I imagine this is why every legal paper refers to the logo as the “Fiend Skull.” They’re dancing around the fact they appropriated their most beloved icon from a property that’s now in the hands of a billion dollar company.
Not that Paramount would necessarily bother going after the Misfits; they didn’t own TCG when the band began using that skull, the band has been using it so long w/o repercussion, and how much in damages could they really get? Nothing compared to their weekly budgets, surely.
It’s unclear what will happen from here. Danzig certainly receives his due for making all those album covers Only is putting on t-shirts. However, Glenn did wait a very long time to flex his legal muscles, and although he made some fine points in his lawsuit they weren’t fine enough. To be honest, I’m more concerned about his next album, the covers album. I want that yaz to drop already. My fingers are crossed that it’s close to release and Glenn will hit the road behind it on a “Tryin’ to Pay My Lawyers” tour.
The chilling climax of Assisted Living Dracula, which did not make the list.
Since I wrote a book about a horror punk band maybe people care to know my favorite horror movies. Emphasis on “maybe.” It’s understandable if you’re only here killing time until the next dumb cat video.
AMERICAN WEREWOLF IN LONDON (1981)
So close to perfection you can barely talk about it. Seems like the most accurate portrayal of what lycanthropy might be like (see: uncontrollable gore, psychological fraying, corpse humor). David Naughton and Griffin Dunne are genius together, the Hope and Crosby of onscreen bloodshed.
THE BAT (1926)
Bob Kane copped much of Bruce Wayne’s alter ego from this story, and it’s not hard to see why. Such striking imagery, thick atmosphere (particularly for a movie that takes place almost entirely in one house). The Bat is the best pre-Burton Dark Knight, though this flying rodent has no heroic intent.
THE BLACK CAT (1934)
Lugosi. Karloff. A torturous secret. Great suspense. Delicious turns from two spook masters. Should be up there with Dracula, Frankenstein, et al.
EVIL DEAD 2 (1987)
Gonzo horror at its finest. Could you breathe the first time you watched this one? Bruce Campbell delivers a career-defining performance. Makes Elm Street look like “Sesame Street,” Friday The 13th look like Nancy Drew.
Bonkers carnival movie that also succeeds at skewering our country’s sick tabloid culture. Funny, sardonic, but I can’t stand to even glance at Alex Winter in that mutant bat makeup. Also, those giant sentient eyeballs with arms and legs (that are also Jamaican for some reason) wig me out.
The ultimate power trip: harnessing the fury of the atom to capture evil spirits for profit. Only bureaucracy stands in our heroes’ way. Even when it does, they still have that boss car and an endless stream of wisecracks.
The first time we realized William Shatner’s pasty visage could be an instrument of evil. What’s more horrifying, though: the anonymous killer hunting teenagers or the fact these teens have no grasp of local history?
Frightening beyond belief because there is no supernatural element. Sharks are real, and there’s nothing fantastical about them nibbling on a human.
Max Schreck’s makeup is amazing and his movements are hypnotizing. On top of that, Murnau’s direction is wonderfully feverish. None of it seems real. Sticks in your craw like the best kind of haunting.
It’s a testament to this film’s genius that so many decades and parodies later you can still watch it and hope against hope that Anthony Perkins is innocent. The score might be the greatest in horror history. The entire score, that is, not just the “ei ei ei ei!” part.
PHANTOM OF THE OPERA (1925)
Everything is sort of romantic and intriguing until Lon Chaney’s mask comes off. Then the fur starts flying. Unlike most modern horror movies where the titular evil is allowed to escape in case of sequel, here we get to watch a zealous crowd beat their ghoulish tormenter to death. Cathartic.
“The Simpsons” made a joke out of “can’t sleep, clown will eat me,” but in Poltergeist that terror is all too real. Ground zero for the movement against all grease-painted jesters. Not that I’m downplaying the movie’s bigger theme: manufactured communities are evil, as are those who develop them.
TERMINATOR 2: JUDGMENT DAY (1991)
Not traditionally in this genre but sneaks in thanks to its bleakness. Two robots fighting over the seed of the only woman who has foreseen the apocalypse. Of course no one believes her, so they have her committed. Also, one robot is comprised of an indestructible liquid. Any way we can downgrade to evil clowns?
Please feel free to bombard me with angry comments and angrier e-mails concerning the lack of Leprechaun movies on this list.