DID YOU READ

Heavy Metal and Horror

Rob Zombie on stage

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Heavy metal and horror movies go together like blood and gore. Both genres revel in shocking and violent imagery. Alice Cooper, who has been doing hard rock for decades, pre-dating metal, always incorporated elements of horror – guillotines, snakes – into his act. Metallica’s lead guitarist Kirk Hammett, a longtime horror fanatic, hosted Kirk’s Crypt at Metallica’s recent Orion festival.  Rob Zombie, through his successful, sanguinary films, has become something of an Ingmar Bergman of the rocksploitation genre; he is an auteur du splatter-cinema, if you will. Zombie is a writer, director and producer of gore – and he knows his audience very well. The self-proclaimed “Hellbilly,” according to The-Numbers, has average grosses of $29 million for films under his directorship. Over the 2007 Labor Day weekend, Zombie’s update of the moribund Halloween franchise drew record crowds – earning $30.6 million – for the Weinstein Company and MGM. Zombie’s fan base was made for horror, and, being a smart businessman, he leveraged his niche market of young men into a nice nest egg.

The term “heavy metal” itself came from counterculture writer William Burroughs’ novel The Soft Machine, published in 1962. Six years later, in 1968, Steppenwolf sang the magic, incendiary lyrics, “I like smoke and lightning/ heavy metal thunder.” The rest was history. Hair bands notwithstanding, the hyper-masculinity of heavy metal – in lyrics and in imagery — lends itself perfectly to the horror genre, where life is reduced to Darwinian survival and we are all just animated meattrying to avoid the occasional ice pick.

If metal and horror go back a long way, it wasn’t really until the Presidency of Ronald Reagan that the genre achieved full-blooded – pun intended — maturity. The obligatory cameo appearances by Gene Simmons and Ozzy Osbourne, with their 80s hair, were a staple of that decade of greed. In the 1980s, the Golden Age of Metal (as well as of horror), it was almost mandatory for a slasher flic to have a heavy metal soundtrack as well as a music video drenched in blood. Excess, in everything, was the 80s. “In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock – the breed with less syncopation, less blues, more showmanship and more brute force,” John Pareles of the New York Times famously described heavy metal in 1988. One could almost say the same thing with minor alterations in language about horror films — a subspecies of the thriller, perhaps, with less attention to narrative and character, more jump cuts, more brute force.

The 80s were, in short, an age of leather, gunpowder and – how could it be otherwise? — extended guitar solos. Punk, thrash and even glam metal scores were all the rage. The legendary Return of the Living Dead, released in 1985 with a solid punk rock score, did $14 million at the box office on a measly $4 million budget. In 1986, the aforementioned Alice Cooper – arguably more “hard rock” than hard core metal – scored much of Friday the 13th VI: Jason Lives. One year later, in 1987, hair metal band Dokken, not to be left out, did the memorable theme for Nightmare on Elm Street 3: The Dream Warriors (the only thing, incidentally, memorable about that movie). And in The Gate  (also 1987; also unmemorable), the cursed LP of the band SACRIFIX played backwards opens the gates to the underworld. Under the influence of Republican Presidents some of the best horror films of all time were created.

“Heavy metal and horror have a share a storied history,” writes Lauren Wise in the Phoenix New Sun’s Metal Mondays column. “Both are extreme, the kind of platforms that appeal to the misfits and the adventurous. The dual art forms have indirectly and directly influenced each other drastically over the decades.” Both also have cathartic value, as any young man could tell you. Listening to death metal, to the darker elements of hard rock, acts as a purge to negative emotions. So much the better for our civilization that we have such release valves in place.

Finally, as the staff of Slate stated in an interesting piece titled The Greatest Horror Films of the Aughts, “That the halcyon days of horror are directly proportional to the index of actual human suffering.” One cannot fail to note, in closing, that most of the films mentioned in that post were done under the Presidency of George W. Bush, not unlike the Golden Age of Horror, which occurred under Reagan’s watch. Coincidence? Just saying.


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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.