The opening party at MF Gallery went so well, there’s going to be a closing party on August 30th. There will a screening of the classic cult film. Cosplay of all your favorite Rocky Horror Picture Show characters is encouraged. Of course there’s the art. It’s a group art show, in tribute to the Rocky Horror Picture Show itself. So if you missed it the first time around, here’s your second chance!
I’m one of the artists exhibiting a painting in this fine exhibit. All art is available for purchase, including mine. (hint-hint!) There’s even RHPS tattoos available.
If you’re local in the NYC area, see you there. You’re probably ‘waiting in anticipation…’
Dr. Frank-N-Futer painting by Michele Witchipoo. On display and sale at MF Gallery. Aug. 2019.
This is extremely short notice. This Tuesday, July 30th, 2019, I will be giving a small talk about my illustrations and artwork at the monthly Trans-Cen-Der. The event runs from 7:00 pm – 8:30 pm. The location is at Brooklyn Fire Proof in Bushwick, Brooklyn NY. There will be four other artists as well, working in all mediums. Admission is free but seating is limited.
This Saturday will be a busy day. During the day I’ll have a table at the Trashland Zinefest II, located at The Footlight in Ridgewood, Queens NY. Admission is free, the event runs from 2:00 pm – 6:00 pm. I’ll be selling my comics, greeting cards and other items.
At Trashland Zinefest II, copies of my latest comic The Temptation of Squeaky will be on sale. Drop by my table and buy your own copy.
On Saturday evening, I will be attending the MF Gallery opening party for their Rocky Horror Picture Show art exhibit. Opening party is from 7:00 pm – 10:00 pm. Costumes and Rocky Horror cosplay is encouraged. There will be a screening of the classic cut film as well.
Below is the painting I did for the Rocky Horror art exhibit. It’s classic Dr. Frank-N-Futer. The mediums were acrylic paint and glitter, inside a refurbished vintage wooden frame.
If you’re local in the NYC area, then come down to at least one of these events.
Star Wars probably heard by now. British actor Peter Mayhew, who portrayed the original Chewbacca, passed away. He was just weeks away from his 75th birthday.
Besides my rambling Chewbacca post, here’s a tribute to the 7’11 man. Introducing the Psycho Bunny sketch of the week for May 6th, 2019.
So far I have two comic con appearances lined up. Cradle Con in Long Island, IncrediCon in the Hudson Valley area of Upstate NY. If you’re around those areas, drop buy, purchase one of my comics and say hello.
May The Force Be With You…Here’s Some Social Media:
A few months back, my friend informed me about some documentary about Wax Trax Records. For those who don’t know, Wax Trax Records was both a record store and label based in Chicago, Illinois. Before Grunge took over the U.S. during the ’90s, there was the Post-Punk strains of Industrial music.
The Industrial music genre dates back to the ’70s, pioneered along the way by bands like Throbbing Gristle. (Which I was fortunate enough to catch their reunion tour back in 2009, over at the Brooklyn Masonic Temple.) There’s different sub-genres of Industrial Music, which branches out to Noise and Experimental. Associated acts range from Skinny Puppy, Coil, Psychic TV, Chris & Cosey, Test Department, Einstürzende Neubauten, Clock DVA, Fad Gadget, Nurse With Wound, Foetus, Swans, etc., etc., to more Avant-Garde stuff like Merzbow and Current 93. If you want sheer noise, you can always do Whitehouse. If your goal is to piss off your neighbors, there’s always ‘Christianity Is Stupid’ by Negativeland. By the mid-’90s, Industrial hit the mainstream with acts such as Nine Inch Nails.
Prior to bands like Nine Inch Nails, Rammstein and others, there was Wax Trax. Wax Trax hit its peak during the late ’80s and early ’90s, prior to Grunge as previously noted, and before Rave culture hit the States. Wax Trax became very popular among the Alternative music set. This led to Wax Trax nights across the country. There were tours focusing on the Wax Trax label. Back when I was a teen, I remember seeing one Wax Trax event with a band called Front Line Assembly. One of my own Wax Trax favorites was Front 242.
Fast forward to 2010. By then, both the founders of Wax Trax label had passed away due to AIDS. Julia Nash, daughter of co-founder Jim Nash discovers the label’s inventory was kept in storage in an Arkansas barn. After Jim Nash’s death, his partner in both personal and business moved back to his hometown, taking the overstock with him. When Dannie Flesher passed away, Julia Nash took it upon herself to keep the Wax Trax legacy going. After a successful Kickstarter campaign, The Industrial Accident film was released in 2017, and the soundtrack in 2018.
Thus leads to my own personal events. My friend Christine had been telling me about the upcoming film showing for months. Eventually she got me hyped up to see the documentary. Nostalgia kicked in. Couldn’t help but reminisce about the days when the label “Alternative” actually meant something. Now, I owed a few favors to Christine. After all, she hooked me up with tickets to see Television and Front 242 (first time I saw then was way back in 1988 or ’89…second time was in 2017) within the past two years. She’s done other things as well. Let’s just say she’s an awesome pal. Christine was going to be in another state during Record Day. She asked me if I could pick up the exclusive Record Day release, being sold at places like Rough Trade NYC.
First things first. Lately I’ve been attending a local Queens writing workshop. It’s something I’ve fallen in love with as of late. It’s facilitated by an amazing woman. She reminded me about F. Scott Fitzgerald while introducing me to Marcel Proust. A local paper even wrote an article about the writing class. I’m in the article photo, even though I look fat. Eh. What can you do. Actually, don’t answer that.
My immediate goal was to attend the writing class, then go down to Rough Trade. It’s been a while since I’ve been in touch with vinyl culture. Within the past ten years, vinyl has been having a cult-like resurgence. I hadn’t had a turntable since 1997. Which meant I’ve been completely out of touch with record collecting culture. Access to my own huge collection of valuable vinyl was blocked, thanks to my father. Basically lost my whole entire record collection. The only vinyl I managed to rescue are my 45’s. There’s a few rarities among the 45s, like a Poison Girls single. That’s another story altogether, but I won’t dwell on that.
As I’m sitting in the writing class, I get this nagging feeling that my ass should be heading to Rough Trade ASAP. But I’m an old fart now; I’m no longer that 17 year old who once ripped down a large Skinny Puppy concert ad near NYU. The wheat paste was barely dried on the back when I tore it down a late Manhattan night. It was for the sole purpose of decorating my teenage bedroom walls back in Queens. Then there was that promise that I would get the Record Day exclusive for Christine, who’s done so much for me. As soon as I was pondering all of this, Christine texts me. Guilt kicks in. Need to learn how to be cold blooded. So I pull an ultimate douchebag move to all my writing workshop peers. Claiming it was an emergency, I pack up my junk, and walk out of class. In my haste I even left my Dunkin’ Donuts iced coffee behind. Well, it was an emergency.
As luck would have it, the bus heading towards Williamsburg took like, forever. Despite that a Lyft would’ve brought me there in max, fifteen to twenty minutes depending on traffic. Finally arrive at Rough Trade, jumping at the end of the line like Mark Spitz. A few people standing on the line give me harsh eye daggers. Like they want to cut a bitch.
“Is this the end of the line?” I inquire.
Nope. A Rough Trade employee informed gently that I was not at the end of the line. In fact, the line for Record Day exclusives continued…across the street…down the block…almost at the very end of the block.
In my embarrassed Lucille Ball moment, I excused myself. That wasn’t good enough. Slinking away, I felt the judgmental glare of the others. I knew they were silently, but yet viciously accusing me of cutting the line. When I slithered to the end of the snake trail, another employee with a megaphone approaches. He’s holding a paper. The paper contains a list of all the Record Day 2019 exclusives, now exclusively sold out. He reads the list through the megaphone.
The Wax Trax soundtrack, particularly the Record Day exclusive, was one of the first to sell out. Then came all the others. Captain Beefheart exclusive was sold out. Hmmm. I would’ve gotten Captain Beefheart. Motorhead exclusive, sold out. Would’ve brought that one as well. Madonna exclusives, sold out. Hard pass on Madonna. What else? Duran Duran exclusive sold out. Hey! I still love Duran Duran. If I was still collecting vinyl, I definitely would’ve brought that one. The sold out exclusive list was long. When it was announced that even Mutant Ninja Turtles Record Day exclusive was sold out, it was time to jump ship. Yes. Even music by fictional fighting turtles was sold out.
Even if most of the Record Day exclusives seem to be reissues, it was still discerning. On one hand, it was good to see hard copy media still selling. On the other hand, not getting the Wax Trax exclusive really meant one thing, which I have yet to explain. You see, that Wax Trax Record Day exclusive had a valuable item attached. It was a much coveted item. The Record Day Wax Trax soundtrack exclusive contained two tickets. They were VIP tickets to the Wax Trax documentary screening and the Q&A that followed. Plus a free concert by Cold Cave and Ministry who was doing strictly a late ’80s/early ’90s set, connected to the Wax Trax era. Now who wouldn’t want that? That’s what my friend Christine really wanted. That’s what I was hyped up about. Those VIP tickets.
All hope was abandoned. The consolation prize was going home to finally catch up on some much needed sleep. It was an unusually hot Spring afternoon. Global warming wasn’t kind to me, as I stood overdressed on the gentrified pavement. As I was walking towards the L subway, I hear someone call my name. Turning around, it was my friend Michael. Michael was someone I had met two years ago at a Gary Numan concert. We followed each other on Facebook. Michael and me begin a conversation. He was on his way back to Rough Trade, to get his Bauhaus Record Day exclusive signed by David J. David J’s signing wasn’t scheduled until five p.m. It’s been a long week for me, so I suggest we should sit down somewhere to continue the conversation. Michael informs me that he also had purchased the Record Day exclusives for Duran Duran, and the Wax Trax soundtrack.
We locate an OG bar, one without the stench of pretentious hipsters. It wasn’t a dive bar per say. Instead it was a well maintained watering hole, one that had been opened for decades. Only the tap was updated, featuring some IPAs, and of course, Williamsburg’s own Brooklyn Beer. Michael asked me about my birthday, which had recently passed. There were other subjects discussed. I buy him a drink because we have one thing in common. Our all time favorite band is Siouxsie and The Banshees.
As I’m fetching our drinks from the bar counter, Michael pulls a Hail Mary.
“Happy birthday” he says, giving me one half of the VIP tickets that came with the Wax Trax Record Day exclusive.
I was in shock. Asked him if he was sure, and he was. I profusely thanked him. Michael then heads over to Rough Trade for the David J signing. In pleasant disbelief, I head over to the L train. Of course I texted Christine about what happened. My assumption was she was going to be a bit miffed. Fortunately she was completely cool about the entire situation.
Monday comes around. It’s the day of the film showing, the Q&A, and the concert. I’m more psyched than ever before. Suddenly I’m 17 all over again. There was plans to meet up with Michael before heading over to the venue, which was I head over to the venue, Music Hall of Williamsburg. Gut instinct kicks in again. So I decide to hit up Williamsburg earlier than usual. Sure enough. By the time I arrive, the lines are long. There’s two lines. One for VIP tickets, one for general admission.
They let the VIPs enter the venue first. I was lucky enough to get a seat for the film showing, last seat on the left, first row. It was the only seat left. The rest was standing room only. A DJ was spinning classic Wax Trax era tunes as everyone waited for the documentary to begin. Others decide to go downstairs to the bar.
The documentary itself was quite good. It was a candid, first person look into the rise and fall of Wax Trax records. During the viewing, I got caught off guard by being a bit emotional. One thing about this film, it helped bring legitimacy to a underground phenomenon. Wax Trax and relative labels like 4AD, Play It Again Sam (later to be distributed by Wax Trax), Caroline Records, along with others, was a viable part of music during that era. The film could’ve left David Grohl out, though.
Most of the Wax Trax acts were mentioned, such as Thrill Kill Kult, Laibach, Revolting Cocks, KMFDM, Pailhead, Legendary Pink Dots (who were on Play It Again Sam) and of course, Ministry. How can one forget Ministry. Al Jourgensen and his crew played a massive part in the history of Wax Trax records. Ministry also reconstructed themselves from being a dance New Wave synth band, to the endeavor of the Twitch period, to the Industrial Metal hybrid they later became more known for. ‘Uncle Al’, as Jourgensen is now affectionately known by fans, had his fingers in many pies. As a multi-instrumentalist, he spread himself around with numerous side projects. Besides Revolting Cocks, he was involved with Lard, Acid Horse, and 1000 Homo DJs.
After the film was the Q&A.
The panel, moderated by Andy Wombell, a former employee for Wax Trax records, featured Julia Nash, her mother and former wife of Jim Nash, Jean Payne, Chris Connelly from Revolting Cocks and other bands, and Frankie Nardiello, aka Groovie from Thrill Kill Kult.
Alright, you want to hear about the concert. It was Cold Cave, then the main headliners, Ministry. Strange for me, this was my third time seeing Cold Cave live. Second time seeing Cold Cave within months. First time catching Cold Cave live in 2009, opening for NON.
Back in February or March, I saw Cold Cave live over at Brooklyn Steel. Psychic TV was supposed to open for Cold Cave, but Genesis P-Orridge hasn’t been in good health lately. Psychic TV had to cancel their slot last minute.
Cold Cave did an upbeat set. Not to be rude, but I was waiting for Ministry.
Ministry did not disappoint. Uncle Al was never,ever going to do anything before The Land of Rape and Honey era. Not anything from ‘With Sympathy’, not anything from ‘Twitch’. Probably will never touch material from those two releases for the rest of his life.
What albums he did perform: ‘The Land of Rape and Honey’, ‘Psalm 69: The Way To Succeed & The Way To Suck Eggs’, and ‘The Mind Is A Terrible Thing To Waste’.
Chris Connelly was brought on stage, performing No Devotion, a Revolting Cocks song.
The timing could’ve been more perfect. There’s a line in the song that goes “burn the temple…” Meanwhile, there was news about the fire at France’s famous Notre Dame cathedral. Afterwards they did a song from 1000 Homo DJs. Doing a cover of Black Sabbath’s ‘Supernaut’.
Overall it was a fantastic night. Christine managed to get to the show via general admission, Michael showed up later, it all worked out. Didn’t hang with either one though. I ended up being close to the front row, sans ear plugs. Not being prepared, my ears were ringing for two days after the concert. To recover, I had to forgo listening to music on my headphones during the rest of my weekly commute. Not 17 years old anymore.
During the Ministry set, some 40 years olds decided to mosh for old time’s sake. Why was I not surprised. One old fart decided to stage dive. I’m thinking “dude, how old are you?” His body almost landed on top of me. As I quickly stepped back, his body slammed onto the floor. Nobody caught him. Guess crowd surfing wasn’t in the cards. Me and another woman who was around my age, yelled “asshole” at him, but he didn’t hear. The music was too loud. He got up, shook himself off, heading back into the audience. The woman who jeered along with me started to complain about another woman. It was a younger lady, tattooed all over with pink hair, going nuts to the songs. Yet by the end of the Ministry set, both ladies ended up becoming friends. As I was leaving, the two generations of women exchanged Facebook info. If anything unites people, it’s music. There was good vibes all around that night. Such a brilliant event. Which was capped off with an acoustic version of ‘Everyday Is Halloween.’ If only everyday was like this.
My concert high continued all throughout the next day. Eventually it came crashing down Tuesday evening, while riding the R train back to Queens. Some crazy homeless man threatened to climb into everyone’s bedroom windows with the intent to kill. His reasoning was to avenge himself for not receiving any spare change on the subway. Welcome back to reality, kiddo.
You might have heard the story about Anvil. Anvil was one of those ’80s Metal bands that should’ve made it big. Despite how popular Metal was during the ’80s, Anvil never broke that barrier. They had their signature song – ‘Metal On Metal.’ Unfortunately due to a number of factors, Anvil became one of those “what if” stories. Right up there with other influential, yet overlooked Metal bands of that decade like the much heavier (Thrash/Speed Metal) Rigor Mortis.
During the ’80s I was more into Post-Punk, Goth, ’77 style Punk, Industrial, and other styles of Underground/Alternative music. However, I remember all the Metal bands. You couldn’t help but root for them after watching the 2008 documentary ‘Anvil! The Story of Anvil.’ If you ever wanted a more realistic film about a band trying to live the dream despite all the missed opportunities, near misses and heartbreak, then see this film. After viewing the movie on Netflix, I wanted to see Anvil live.
Sure enough, there was an opportunity. Anvil was having their 2018 Spring U.S. tour, stopping in NYC to play the small venue Le Poisson Rouge. Personally I thought St. Vitus would’ve been a better place, but Le Poisson Rouge wasn’t bad. Ticket prices weren’t expensive either.
Unfortunately the Anvil concert wasn’t sold out. The venue wasn’t even half full. Didn’t matter. After two decent but basic Metal bands opened up, Anvil came roaring on. The first song had Steve “Lips” Kudlow jumping into the crowd, playing guitar with all his heart and soul. The audience loved every second.
The audience consisted of both loyal, long time fans and a few scattered younger millennial dressed like 80s Metalheads. Whoever or whatever, they were, they loved every second of the show. Some of the older fans were singing along to Anvil’s songs.
I’ve been to shows that were completely sold out, but the performers hardly gave anything. Here’s Anvil, who’s been grinding the dream for how many years, and yet they still give their all. Suppose the moral of the story is, no matter what the odds are, never give up. Here’s Anvil who could’ve hung it up decades ago, but refused to. Perhaps they’re not playing arenas, but they still get to do gigs around the world. Not bad if you ask me. You can’t measure success, really. You have to do what makes you happy.
Of course, Anvil finished their set with their biggest hit, “Metal On Metal.” Afterwards, someone at the merch stand was kind enough to give me an Anvil button. It was a way of thanking me for my support. Next year, Anvil’s going to have another U.S. Spring tour. This time in 2019, they’re going to be playing at St. Vitus, in Brooklyn, NY.
Here’s a Psycho Bunny sketch in honor of those early ’80s Metal days.
The first time I heard about the film Liquid Sky, it was through the American television show Siskel and Ebert. If you don’t know, Siskel and Ebert were two film critics who reviewed movies. Originally titled Sneak Previews, it was broadcast on PBS stations until it switched to commercial syndication, and the title change. Siskel and Ebert created a new genre of television through their discussions and occasional polite arguments. It’s no big deal now, thanks to podcasts, blogs, social media, etc. It’s the internet, after all. A place where everyone and their mothers has an opinion about everything.
Anyway, back in the early ’80s, when everyone was watching The A-Team, I was more interested in watching Sneak Previews. Sneak Previews helped introduce me to art house, cult, and foreign films. So one day they reviewed this little ditty titled Liquid Sky. A few years later after entering high school, I saw the movie on VHS. Within the group of misfit friends I hung out with, Liquid Sky became our coming of age film.
When a local video store decided to go out of business during the early ’90s, it was celluloid paydirt for me. Every week I would go in, purchasing cult classics such as Andy Warhol’s Bad, Eraserhead, and yes, Liquid Sky. In fact, there was one time during my brief “Rave” phase. My parents weren’t home. After one of those Rave parties, a few of us, still tripping on some psychedelic, went back to my place to watch Liquid Sky.
In recent years, Liquid Sky has been making the promotional rounds again. Every time Liquid Sky had a theatrical showing, I had schedule conflicts. A few months ago, I opened an email saying Liquid Sky was going to have a screening right in Queens, New York. I thought to myself “Hey – that’s where I live!” Within the email it mentioned a showing at a public library in the Jamaica, Queens area. Huh. That was slightly off putting. Didn’t think the Jamaica area wasn’t the best place to show Liquid Sky. Still, I went with it.
Arriving late to the showing, my instincts were right. Most of the audience were broke locals who were happy to see a free movie. Unfortunately, the film’s plot of aliens feeding off sexual orgasms from downtown New Wave junkie club goers went right over their heads. There was a few others, similar to me. Fans of Liquid Sky who had seen the film numerous times, who decided to commute to the screening. We were either in the same age bracket or older. A group of us started reminiscing about how the East Village and Williamsburg used to be before all the super hyper-gentrification. Who would’ve thought we would’ve been so nostalgic for all those dive places years later.
During the screening, the film kept on freezing. On top of that, the film they showed was fricken’ edited! C’mon now. While this was going on, some audience members started heckling. For a brief moment I felt as if I was transported to a Times Square movie theater before the Giuliani clean up. Stranger still, there was a part of me that had missed public heckling. Like the time I saw Judge Dredd in 1995 in some East Village movie theater. Judge Dredd was so bad, the entire audience started loudly mocking the film. I digress.
After the screening, the film’s star, actress and writer Anne Carlisle along with director Slava Tsukerman showed up to do Q&A. They graciously answered questions from the audience. Even when some burn-out kept on rambling. As much as I tried to retain my cool, I eventually geeked out. After all, this was a film that was a part of my formative years. It was through the Q&A that the audience learned what had become of Paula E. Sheppard. Better known as the brutal lesbian drug dealer Adrian in Liquid Sky. Sheppard dropped out of acting soon after Liquid Sky was completed. She’s now a yoga teacher on the west coast, wanting nothing to do with the film.
Another local, an older sweet woman made the observation that the characters in Liquid Sky weren’t exactly “nice” people. That comment took me back slightly. She was right though. Many people in the underground subcultures weren’t exactly “nice.” Yet I grew up within some of those counter-cultures. Sort of made me reflect.
I’m also reminded of a time back in high school. My friend was struggling with her sexuality. She eventually came out as a lesbian. Last time I spoke to her, she volunteered describing herself as pansexual. She had really identified with the film during her teen years. So Liquid Sky also reminds me of when someone is first exploring gender, androgyny and sexuality. Particularly when Anne Carlisle plays both male and female characters. Even if her portrayal of a guy comes across like an early ’80s version of David Bowie.
Liquid Sky has plenty of illicit drug references as well. During the Q&A, both Carlisle and Tsukerman reminded the audience that Liquid Sky was originally slang for heroin. Here’s a bit of a spoiler, so if you’ve never seen the film, you might want to skip this part. The premises of the film is based on aliens who come down to earth. The aliens feed off endorphins given off the brain during sexual climax. Once a human reaches orgasm, the aliens attack. The only sign of their attack is a crystal bolt left in the victim’s head. Margaret, the bisexual promiscuous cocaine addict realizes that she can kill people by having sex with other people. Meanwhile, on the other side of town, a German scientist attempts to track down these aliens. While the German scientist tries to track down Margaret, Margaret uses sex as a way to seek revenge upon others, such as her rapist. Why Margaret has survived is because Margaret never reaches orgasm. The film ends with the scientist being killed, and Margaret doing heroin so she can go up with the aliens. Heroin has similar endorphins as a sexual orgasm.
Both Carlisle and Tsukerman dropped hints that they’re attempting to create a sequel to Liquid Sky. Liquid Sky just had a blu-ray release. So if you’ve never seen the film, you can purchase a copy here.
Capping off this blog post is a sketch I did loosely based on Liquid Sky. When the aliens come take Margaret from the roof top. While doing some online research, I discovered that Anne Carlisle also practiced psychotherapy in Miami during the 2007, thanks to her IMDb bio. Given that she co-wrote the Liquid Sky screenplay, this doesn’t surprise me.
Last month we went to check out the Stanley Kubrick photography exhibit over at the Museum of The City of New York. Stanley Kubrick has always been one of my favorite film directors. Back in high school, I made it a mission to check out every film Kubrick directed. This was way before the days of Netflix. If it wasn’t available on VHS, then I would hit up all the revival movie theaters. You millennials have it so easy nowadays!
Luckily films are now more easily obtainable. If it can’t be found on Blu Ray, DVD or through a streaming service, there always places in NYC. For example, Videology Bar and Cinema over in Williamsburg, Brooklyn.
Anyway, I sought out most of Kubrick’s films. 2001: A Space Odyssey, Lolita, the prophetic Dr. Strangelove, The Shining, Full Metal Jacket, and of course, A Clockwork Orange. Even sat through that yawn fest Barry Lyndon. Although I never managed to catch the earlier films like The Killing or Paths of Glory. Did watch Eyes Wide Shut much later on – despite my disdain for Tom Cruise.
Before Kubrick became an influential film director, he got his start as a photographer for Look Magazine. At the exhibit, open until Oct. 28th, 2018, you can see the gritty yet candid detail that would later show up in Kubrick’s films. Kubrick was just 17 years old when he sold his first photo to Look back in 1945. These photos also show how NYC was from 1946 to 1951.
New York City wasn’t just Kubrick’s subject. At the exhibit, a Kubrick photograph of a tattooed and pierced carny was not accepted by the editors of Look. Apparently the photo was thought as ‘too extreme.’ It was decades before the ‘Modern Primitive‘ movement, which led to the current acceptance of body modification.
The photo below particularly stood out. It’s of professional boxer Rocky Graziano. Graziano was trying to repair his reputation when Look did a feature on him. Boxing later helped Kubrick make the transition from photography to filmmaking.
After walking through the Kubrick exhibit we checked out the rest of the museum. Right next to the Kubrick showing was the last day of Rebel Women, which inspired this sketch done back in August.
At the other end of the floor was a retrospective of the feminist era. It showed the beginning of the women’s rights movement, ending with one of Hilary Clinton’s infamous pantsuits.
Which leads to the Psycho Bunny sketch of the week. This sketch isn’t just a sketch. This weeks shows the cover of the latest Psycho Bunny issue. If all goes well, hopefully Psycho Bunny issue 3.5 will be released at the end of October.
This may or may not be the final version of the cover. It really depends on finding the original typeface of the lettering used for the A Clockwork Orange film poster. For now you have an ideal about what the front cover looks like. Other details forthcoming. If the latest issue is completed in time, it’ll mostly likely debut at Incredicon, taking place in Upstate NY, Oct. 28th. Incredicon is a very small con, but it’s been a while since I’ve tabled at a comic book convention.
My life has been busy as of life. You however, still have time to check out these social media links:
So last night the Oscars was broadcast last night on American TV.
When I was a child, the Oscars was everything. Loved the pomp and circumstance, the red carpet gowns, the suspense, the thrill of winning an award, etc. Got so wrapped up in the Hollywood fantasy. It was a world me and you could never touch, but despite this, it symbolized that dreams do come true.
I couldn’t care less.
Perhaps it’s due to the declining quality of American mainstream releases. Don’t get me wrong. I still love the cinema. The ritual of going to the actual theater still is more appealing than catching a film a year later on Netflix. Unfortunately the cons are outweighing the pros. Ticket prices in NYC are so expensive. My latest preference is the Alamo Drafthouse in Brooklyn. If you get up at the crack of dawn, you can catch an early matinee in Times Square. With cheap matinee tickets comes the risk bringing home bed bugs. No thank you.
There’s a reason why people “Netflix and chill.”
As I’ve become much more selective in where I purchase my film tickets, something else happened to me recently. On Facebook I had posted an article relating to #metoo. Somehow a certain film director’s mother who just happened to be on my Facebook friend list became furious that I had re-posted the article. She blasted me online. A case of shooting the messenger rather than the source. When she asked me who was I, my response was something like ‘I don’t know – you were the one who had sent me the friends request a few months ago…you should know.’ Thus I was promptly blocked.
So after a few laughs, we looked up her name on IMDb. Turns out she was the mother of a famous film director. More incredibly, I was a fan of that particular director. Now every time I come across one of his films, I’m going to think about that exchange with his mom. ‘Tis a small world after all. That was some straight up TMZ shit right there.
Anyway. Here’s the Psycho Bunny sketch of The Week.
Let’s just say as long as it was better than Batman Vs Superman, I would’ve been satisfied. Whenever I mentioned this to others, the most common response was this: “Geez, that’s not setting the bar very high…”
Regardless. After settling into those reclining seats in a Manhattan theater with overpriced concessions, the film took me by surprise. It was better than expected. Normally I don’t feed many trends, but this summer is all about Wonder Woman. Better than those silly spinners. The last time I entered into trendy fandom, it was Harry Potter. Well, kinda-sorta. Never finished the book or the film series. It was more of the idea of Harry Potter being an occultist. So right now, Wonder Woman is all that and a bag of chips.
The next day I tell people I saw Wonder Woman. The response was “did she twirl?”
That was the ’70s television show with Lynda Carter. Not the 2017 film with Gal Gadot.
Growing up, I started with Archie, Harvey Comics and Marvel. From what I recall, I didn’t get DC too much. Then I had one nightmare about Silver Surfer, and my over-protecting mother took away all my Marvel comics. She meant well, but I was stuck with Archie and Harvey Comics. Thanks to the television show, Wonder Woman was allowed. One childhood memory was walking in the street with my mother wearing my Wonder Woman raincoat. Even tried twirling, just like on the show. A few years later, Wonder Woman was left in the dust due to discovering rock music. It wasn’t until a few years after that, in which I discovered Love and Rockets by Los Hernandez Brothers. That forged a path of underground and alternative comics.
In my opinion, Wonder Woman is a MUCH better character than last summer’s girl, Harley Quinn. My disdain for Harley might be explained in another post.
There’s also the backstory of Wonder Woman’s creator, Dr. William Moulton Marston. He was a psychologist, an inventor, and was involved in an extended relationship with both his wife and his domestic partner. All three lived together as both women has children by Marston. Today this would’ve been considered polyamory. This info is common knowledge now, but during his time, the arrangement was kept secret. Let’s also take a moment to acknowledge Wonder Woman’s co-creator Harry G Peter.
Enough digressing here. You probably guessed that this week’s Psycho Bunny sketch of the week is Wonder Woman related. Of course, the lasso of truth revealed only this; that Psycho Bunny is a misanthropic drunk.