Latest / DISGRACELAND / The Misfits: Robbing Graves, Night of the Living Dead and the Teenagers from Mars

Transcript

The Misfits: Robbing Graves, Night of the Living Dead and the Teenagers from Mars · DISGRACELAND

0:00
Speaker 1: Disgraceland is a production of Double Elvis. Happy Halloween, Everybody.
0:08
Speaker 1: This is a Halloween episode. I tried to have a
0:10
Speaker 1: sense of humor about it. If you take yourself and
0:12
Speaker 1: your punk rock too seriously, you might want to skip
0:15
Speaker 1: this episode and dive into your back issues of Maximum
0:18
Speaker 1: Rock and Roll instead. But if you like to be
0:20
Speaker 1: entertained and find Glenn Danzig to be as unintentionally hysterical
0:24
Speaker 1: as he is talented, then strap yourselves in for this
0:27
Speaker 1: special Halloween episode of Disgraceland.
0:30
Speaker 2: Now, John, the stories about the Misfits are insane.
0:42
Speaker 1: They were rumored who have been arrested for grave robbing,
0:45
Speaker 1: They were locked up abroad for attacking skinheads, incited riots
0:49
Speaker 1: at their shows here in the States. Creatively driven by
0:52
Speaker 1: front man Glenn Danzig, the Misfits invented what has come
0:56
Speaker 1: to be known as horror core, coming up in a
0:58
Speaker 1: hardcore scene that was as violent as it was inspiring.
1:02
Speaker 1: Growing up, Glen Danzig was obsessed with the weird, with
1:05
Speaker 1: the strange, with the horrific. Early comic books, heavy metal,
1:09
Speaker 1: scandal Rags and B movies helped fill the void in
1:12
Speaker 1: him created by an ever present feeling of alienation. This
1:16
Speaker 1: inspiration fueled him, filled his imagination, and helped him create
1:20
Speaker 1: one of the most enduring musical cult followings of all time.
1:24
Speaker 1: It also inspired him and his bandmates to create great music.
1:28
Speaker 1: Unlike that music I played for you at the top
1:30
Speaker 1: of the show. That wasn't great music. That was a
1:33
Speaker 1: preset loop from my melotron called robo Penetration MK one.
1:39
Speaker 1: I played you that loop because I can't afford the
1:42
Speaker 1: rights to Islands in the Stream by Kenny Rogers and
1:44
Speaker 1: Dolly Parton. And why would I play you that specific
1:48
Speaker 1: slice of Middle ear cheese? Could I afford it? Because
1:51
Speaker 1: that was the number one song in America on October
1:55
Speaker 1: thirty first, nineteen eighty three, And that was the day
1:58
Speaker 1: the Misfits played their fine show and all hell brokeus
2:03
Speaker 1: on this episode Teenagers from Mars robo Penetration Len Danzig's
2:09
Speaker 1: Night of the Living Dead in the Misfits. I'm Jake Brennan,
2:13
Speaker 1: and this this.
2:15
Speaker 3: Disgraceland because the obvious threat to untold numbers of citizens,
3:02
Speaker 3: and because of the crisis which is even now developing,
3:05
Speaker 3: this radio station will remain on the air.
3:07
Speaker 4: Day in nineteen ten, Great Torture and Murder in Chicago.
3:10
Speaker 3: His eight student nurses at the South Chicago Community Hospital
3:14
Speaker 3: have been found dead overnight.
3:15
Speaker 4: The suspect in custody is one Richards back Rude. Austen's
3:18
Speaker 4: accused of one of the most ruesome murder sprees of
3:21
Speaker 4: the twentieth century.
3:27
Speaker 1: Eleven year old Glenn ANZELONEI was barricading himself in, hammering
3:31
Speaker 1: nails into imaginary makeshift plywood barriers to keep the horror
3:35
Speaker 1: of the world out nineteen sixty six. Glenn was just
3:40
Speaker 1: a child, but he could tell the world was turning
3:43
Speaker 1: from where he stood stuck in Loda in New Jersey.
3:46
Speaker 1: He could feel it. There was a darkness on the
3:49
Speaker 1: edge of town, and that darkness compelled Glenn. He knew,
3:56
Speaker 1: his young boy that he was different. The horror seeping
3:59
Speaker 1: in through radio and television broadcasts appealed to him more
4:03
Speaker 1: than so called normal adolescent interests sports, school television, the
4:07
Speaker 1: New York Football Giants, good government, Andy Griffiths Show. What
4:11
Speaker 1: did Glen care? He found these things endlessly boring. How
4:15
Speaker 1: the rest of the world did care about these things
4:17
Speaker 1: blew his mind. The fact that he couldn't relate alienated
4:21
Speaker 1: him from nearly everyone. He came in contact with that
4:24
Speaker 1: school or in his neighborhood. That was the scary part,
4:28
Speaker 1: not the horror show on the nightly news, but the
4:31
Speaker 1: alienation who got to say what was normal? And the
4:36
Speaker 1: vicious irony was that Glenn found so called normal to
4:39
Speaker 1: be scary as fuck and to leave it. The beaver
4:41
Speaker 1: types at school, with their high and tight boys, regular haircuts,
4:45
Speaker 1: their parents with their two cars, their garage, five o'clock
4:48
Speaker 1: Martini hours and Lawrence Welk Show, the fucking hula hoop
4:51
Speaker 1: and sidewalk surfboards. Glenn could not relate to any of it,
4:55
Speaker 1: and those who could, the fact that they could scared
4:59
Speaker 1: the shit out of him. And they were mindless in
5:01
Speaker 1: their adoption of every new fad television program or a
5:04
Speaker 1: piece of pat sentimental music conform his zombies. They were
5:08
Speaker 1: downright bullish to Glenn. Whatever they were near, he'd feel
5:13
Speaker 1: his backbone tense up. He'd get that chill, the one
5:16
Speaker 1: that told them things weren't right, because everything about them,
5:20
Speaker 1: these norms, said to him, You're not right, Glenn, You're weird.
5:27
Speaker 1: Glenn buried the feeling. It made him feel alone, empty.
5:32
Speaker 1: He felt the hole inside him grow and he filled
5:34
Speaker 1: it in his young imagination with the kinds of things
5:37
Speaker 1: that seemed to only interest him at first, He barricaded
5:42
Speaker 1: himself in retreating him to the sanctity of his teenage
5:45
Speaker 1: bedroom and devoured comic books, Magneto and Tales for the
5:49
Speaker 1: crypt horror films broadcast on local New Jersey television Frankenstein
5:57
Speaker 1: Conquers the World, Dracula Versus Frankenstein, Revenge of the Zombies,
6:01
Speaker 1: and any and all nationally syndicated horror and adventure programming
6:05
Speaker 1: Glenn could get his eyes on. Also The Vampires Show
6:14
Speaker 1: Dark Shadows with Barnabas Collins. Glen didn't stopped there. He
6:18
Speaker 1: tore into the tabloids and cult rags of the day
6:20
Speaker 1: as well, The National Tattler and It's Happening with headlines
6:27
Speaker 1: emblazoned across their covers like Dad Eats Baby and sterilization
6:32
Speaker 1: may Free Kill Her Mom. Hush Magazine and Confidential gave
6:36
Speaker 1: way to admitted mainstream fascinations for Glenn with Marilyn Monroe
6:40
Speaker 1: and Elvis Presley, which Glenn justified by claiming additional knowledge
6:44
Speaker 1: of less popular versions of those nineteen fifties icons. Roy Orbison,
6:48
Speaker 1: whose darkness was overstated yet did little to curtail as
6:52
Speaker 1: mainstream success and Jane Mansfield, who died in a fiery
6:57
Speaker 1: car crash and was rumored untrue, of course, but Glenndy
7:00
Speaker 1: know to have been decapitated. Glenn took all of this
7:04
Speaker 1: in and when he dared venture out into the world
7:06
Speaker 1: that offered him little beyond his bedroom walls, it was
7:09
Speaker 1: to catch whatever b movies in fringe cinema he could
7:12
Speaker 1: find Planned nine from outer Space in George Romero's groundbreaking
7:17
Speaker 1: Night of the Living Dead. The Outside scared him. Lodie
7:23
Speaker 1: with its horrifying conformist jocks, future frap boys, with no
7:27
Speaker 1: tolerance for the weird, olive skinned Italian kid who was
7:30
Speaker 1: into all that quote unquote weird shit in the Jersey
7:33
Speaker 1: Devil lurking in the darkness somewhere outside Glenn's suburban bedroom
7:37
Speaker 1: window in the woods, the devil's own green hell, and
7:41
Speaker 1: the swamps of Jersey, the mafia's unofficial burial ground. Who
7:45
Speaker 1: killed Marilyn. Glenn didn't know, but he bet the men
7:48
Speaker 1: who utilized those swamps had an idea rotted corpse sex decay,
7:52
Speaker 1: her breasts all full of slocks. The air at night
7:57
Speaker 1: around Glenn's home had a different feel than in the day,
8:00
Speaker 1: the smell from the refineries toxins in the air mixing
8:04
Speaker 1: with the sound of the crickets, the peepers whatever they were,
8:07
Speaker 1: disgusting insects soundtracking his nighttime worldly Glenn kept to the
8:14
Speaker 1: cracked sidewalk, shuffling home. He could feel their presence, whoever
8:17
Speaker 1: they were, neighborhood bullies, older kids calling him names, heckling him,
8:22
Speaker 1: throwing rocks at him from behind, coming up fast. Glenn
8:26
Speaker 1: kept his head down and kept walking. Even if he
8:29
Speaker 1: didn't know them, he knew who they were, Ricky Nelson squares,
8:32
Speaker 1: who were lucky. They were born a couple of years
8:34
Speaker 1: before Glenn and were thus bigger. Glenn couldn't do anything
8:37
Speaker 1: about his diminutive height, but he would morph his body,
8:40
Speaker 1: eventually make him unfuck with the bolt, But back then
8:44
Speaker 1: the morphine was done by the ghoulish conformists on his tail.
8:48
Speaker 1: Glenn heard the local horror lore that the refinery toxins
8:51
Speaker 1: made their way into the topsoil. The bugs those peepers
8:55
Speaker 1: soaked the toxins up and transported the chemicals into the
8:58
Speaker 1: water supply. The result a transmutation of some locals who
9:03
Speaker 1: grew extra body parts from behind him. Glenn could hear
9:06
Speaker 1: the continued ship talk, Hey Eddie Munster, where you're going? Solely,
9:10
Speaker 1: Hey Lurch, where's the rest of the family, And they
9:12
Speaker 1: started humming the theme to the Adams Family, snapping their
9:16
Speaker 1: fingers out of time. Like the soulless automatons they were.
9:22
Speaker 1: Their voices were multiplying rapidly, a multiverse of tongue spitting
9:26
Speaker 1: vile insults, and now Glenn could feel their eyes on
9:29
Speaker 1: him and burning into the back of his neck. This
9:32
Speaker 1: is the ghoule's night out. Glenn knew it. All ghouls
9:35
Speaker 1: go to Hell, and the back of his neck burnt
9:37
Speaker 1: humans hell bent on eating flesh, the flesh of his
9:40
Speaker 1: neck bubbling under the radiation gaze of conformists bullying him
9:43
Speaker 1: back into his suburban dungeons transformed radiated mutants Ricky Nelson's
9:53
Speaker 1: no more Now. With so many eyes and overload, somehow
10:02
Speaker 1: Glenn made it home alive. He went to his little
10:05
Speaker 1: electric piano and started picking out notes, humming melodies Black Sabbath,
10:10
Speaker 1: Black Sabbath, burbling up from his subconscious. Glenn, by the
10:14
Speaker 1: time he was in high school, had become obsessed with
10:17
Speaker 1: the album. Music made him feel less alone, less of
10:20
Speaker 1: a target who was empowering, and Glenn knew it. Then
10:24
Speaker 1: no more bullying at the hands of freakish ghouls. He'd
10:27
Speaker 1: make music and make himself into something someone else, someone
10:31
Speaker 1: they couldn't fuck with. And there was a neighborhood kid
10:33
Speaker 1: with a bass guitar. He was kind of a norm himself,
10:36
Speaker 1: football player voted most popular. His old man was some
10:39
Speaker 1: kind of working class hero, but he was into the
10:43
Speaker 1: music Glenn was into, and not just sabbath In the
10:45
Speaker 1: Stooges and Elvis, but this new type of loud, fast,
10:49
Speaker 1: anti authority, nonconformist music that they were calling punk, the Ramones,
10:54
Speaker 1: Generation X and the sex Pistols. Plus this kid knew
10:57
Speaker 1: a drummer, a drummer who had a garage where the
11:00
Speaker 1: jam and perhaps the single most important qualifier was the
11:04
Speaker 1: fact that this kid, the bass player, had a van.
11:07
Speaker 1: He went by the name Jerry, Just Jerry, only Jerry,
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Speaker 1: Jerry Only.
11:42
Speaker 4: A killer clown confesses in Chicago with a Christmas time
11:45
Speaker 4: horror story. John Wayne Gacy, also known as Patches. The
11:48
Speaker 4: clown admits to raping, murdering, and burying on his property
11:51
Speaker 4: approximately thirty young men and boys, which is the latest
11:54
Speaker 4: star twist this year. With serial killer Ted Bundy finally
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Speaker 4: under arrest and facing the death penalty in Flora after
12:00
Speaker 4: murdering an assaulting fsu s Rority girls, the Hillside Strangler
12:04
Speaker 4: in Los Angeles remains at large.
12:06
Speaker 3: Just last month, the world was rattled by the Jonestown
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Speaker 3: mass suicide, and.
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Speaker 4: The month before that the brutal murder of Fancy Sponge
12:12
Speaker 4: and by rock star Sidfishes. It's the year that both
12:15
Speaker 4: let up until the very last day, it seems, prompting
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Speaker 4: many to dub it psychos.
12:23
Speaker 1: Jerry Only was making pasta for his friends, Sid Vicious,
12:26
Speaker 1: infamous bass player for the Sex Pistols who was rumored
12:30
Speaker 1: to have killed his girlfriend Nancy Sponge in Sid had
12:33
Speaker 1: just getting out of jail that day. The word was
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Speaker 1: he was going to fight the case. Mick Jagger was
12:39
Speaker 1: footing the bill for his lawyer, but Sid didn't care.
12:43
Speaker 1: All he cared about was getting high. He kicked his
12:47
Speaker 1: nasty heroin habit in Riker's, but within minutes of getting out,
12:51
Speaker 1: all he could think of was jacking something hot into
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Speaker 1: his vein. He didn't care about Jerry's pasta either. Little
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Speaker 1: did he know it would be his last meal. Jerry
13:03
Speaker 1: had befriended Sid. He was a fan, and he saw
13:05
Speaker 1: an opportunity. Sid had a hit his version of Frank
13:09
Speaker 1: Sinatra's My Way, and Jerry knew a tour was in
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Speaker 1: the works and wanted in on that action with his
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Speaker 1: new band, The Misfits. Jerry wanted the Misfits to back Sid.
13:18
Speaker 1: It's not clear where Jerry Only's singer frontman for the Misfits,
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Speaker 1: Glenn Anzeloni, who was now going by the name Glenn Danzing,
13:25
Speaker 1: fit into his plan. It didn't matter. Sid would die
13:29
Speaker 1: that night of a heroin overdose. There was no skin
13:33
Speaker 1: off Glenn Danzig's back. He never knew what to make
13:35
Speaker 1: of Sid Vicious. He understood Jerry's fascination with him, though
13:39
Speaker 1: Sid was famous and punk, a very rare combination at
13:43
Speaker 1: the time, But Glenn would never understand Jerry's fascination with
13:47
Speaker 1: Sid's mom, An Beverly Ann, was there the knight Sid
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Speaker 1: died with Jerry, and the rumors were sickening. Sid Vicious
13:55
Speaker 1: was pretty fucking far from alive after his mom left
13:58
Speaker 1: his room that night hotshot, they'd said Glenn and Jerry
14:03
Speaker 1: hung with Sid and Nancy at the Chelsea Hotel, where
14:06
Speaker 1: the couple was living. Glenn and Jerry got busted and
14:08
Speaker 1: ended up spending the night in jail, not for heroin,
14:12
Speaker 1: which was everywhere at the Chelsea, especially on the first floor,
14:15
Speaker 1: but for throwing bottles up the Viru escaped down onto
14:18
Speaker 1: West twenty third Stream. Nancy wouldn't get off that easy.
14:22
Speaker 1: The world thought Sid had been the one who put
14:24
Speaker 1: knife and Nancy. Sid was so smacked up at the
14:27
Speaker 1: time of Nancy's deadly stabbing that even he didn't know
14:30
Speaker 1: if he killed her. Glenn Dancy didn't give a fuck
14:33
Speaker 1: with Sid Vicious thought he thought he did it, or
14:36
Speaker 1: at least thought enough of the batshit crazy incident to
14:38
Speaker 1: know that it would make for one hell of a song.
14:41
Speaker 1: So he put pen to paper, wrote out the lyrics
14:43
Speaker 1: to a new tune about Nancy Spongeent's demise, called it
14:46
Speaker 1: Horror Business, and headed into the studio with the Misfits
14:49
Speaker 1: to get it on tape. Bassist Jerry, only friend of
14:54
Speaker 1: Sid Vicious at the time, had taken to shepherding Sid's
14:56
Speaker 1: mom around town after Sid's death, making sure she okay,
15:00
Speaker 1: making sure she had enough drugs, degenerate junkie that she
15:04
Speaker 1: was just like her son and in general showing her
15:07
Speaker 1: a good time, which is how Anne Beverley, he said Vicious,
15:10
Speaker 1: his mom wound up. At the recording session for Horror Business,
15:13
Speaker 1: the Misfits song written about her son murdering his girlfriend.
15:18
Speaker 1: Anne sat in the control room either wilfully ignorant or
15:21
Speaker 1: too high to care while Glenn Danzig reimagined Alfred Hitchcock's
15:25
Speaker 1: psycho through song with vivid hardcore imagery. And there's a
15:29
Speaker 1: line in Horror Business a lyric word Glenn says, my
15:33
Speaker 1: mirrors are black for you. What a fucking lyric? My
15:38
Speaker 1: mirrors are black for you. It was Glenn Danzig's worldview
15:43
Speaker 1: channeled through the murderous punk rockers Sid Vicious, a worldview
15:46
Speaker 1: that took the ghoulish conformity society offered him and reflected
15:50
Speaker 1: back the blackness that drove him to alienation. The worldview
15:54
Speaker 1: biting back this alienation, this anger, was at the core
15:58
Speaker 1: of the Misfits music. They were louder, faster, angrier, scarier
16:02
Speaker 1: than all their punk rock contemporaries, The Ramones that clashed
16:06
Speaker 1: the pistols when it came to pure nihilistic rage. None
16:09
Speaker 1: could hold a candle to the hardcore brutality. Glenn Danzig
16:13
Speaker 1: and Jerry Only were imagining and recording bullet the aforementioned
16:17
Speaker 1: horror Business, Night of the Living Dead and Halloween scorching
16:21
Speaker 1: singles that blasted with infernal ferocity off the tape, telling
16:25
Speaker 1: tales of presidential assassination, zombie apocalypse and riotous anarchy with
16:30
Speaker 1: dead cats hanging from poles, and b sides that any
16:34
Speaker 1: other band at the time would have been lucky to
16:35
Speaker 1: count as lead singles, such was their hooky, infectiousness and
16:39
Speaker 1: originality attitude. Hollywood Babylon, Teenagers from Mars, Last Caress, Ghouls
16:45
Speaker 1: Night Out in Horror Hotel. Lyrically, all were steeped in
16:49
Speaker 1: the prepubescent oohs of Glenn Danzig's childhood bedroom. You can
16:53
Speaker 1: hear the tabloid smut in Hollywood Babylon, the syndicated creature
16:57
Speaker 1: double features in Horror Hotel and Night of the Dead,
17:00
Speaker 1: the cult rag exploitation of Last Caress, and of course,
17:04
Speaker 1: the painful adolescent alienation in Teenagers from Mars, Danzigg's Broadside
17:10
Speaker 1: at the ghoulish lowd Eye Bullies and authority figures who
17:13
Speaker 1: tried unsuccessfully to bend him to the conformist ways and
17:16
Speaker 1: shut him out as a child. Gibberish lyrics to parents
17:20
Speaker 1: and mainstream rock and roll gatekeepers, but the secret serum
17:23
Speaker 1: for fifteen year old kids out on the margins trying
17:26
Speaker 1: to find their way through the perils of teenage wasteland.
17:29
Speaker 1: Hearing The Misfits for me, at the age of fifteen,
17:32
Speaker 1: literally changed the course of my life. Nothing I heard
17:35
Speaker 1: to that point sounded like the Misfits, and I would
17:38
Speaker 1: hear nothing else the same for as long as I
17:40
Speaker 1: had years. Music wasn't supposed to sound like this, broken down,
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Speaker 1: shredded lo fi at times even out of tune, messy
17:49
Speaker 1: but precise, filled with rage and an energy that I
17:52
Speaker 1: could uniquely identify with that was already coursing through my veins,
17:56
Speaker 1: but to this point untapped. It had no outlet till
18:00
Speaker 1: I heard The Misfits. And when I first heard the band,
18:03
Speaker 1: I literally wanted to break things. It moved me to violence.
18:06
Speaker 1: My friends and I donned black hooded Champion sweatshirts and
18:09
Speaker 1: took to the streets of our neighborhood. A group of
18:12
Speaker 1: ten or more of us at a time and shouted
18:14
Speaker 1: out the game vocals to Misfit songs in the dead
18:16
Speaker 1: of night. Imagine sitting down in your laisy Boy after
18:19
Speaker 1: a long, hard day of work and turning on your
18:22
Speaker 1: Magnum p I or your cheers to relax, and hearing
18:25
Speaker 1: a gang of fifteen year olds marching down your street
18:27
Speaker 1: singing in unison about hacking heads off little girls and
18:31
Speaker 1: putting them on our walls. We called ourselves the Hoods,
18:34
Speaker 1: and honor the Misfits logo the hooded Crimson Ghost go ahead,
18:39
Speaker 1: fuck with us. Misfits music was imbued with violence, rage.
18:49
Speaker 1: We'd never seen them live. They were long broken up
18:52
Speaker 1: by the time we got turned on, but the influence
18:54
Speaker 1: of their recorded output and their live shows informed every
18:57
Speaker 1: Boston and New York hardcore band we saw back then,
19:00
Speaker 1: but still as violent as the all age as Matt
19:03
Speaker 1: Maysworth that we attended. There were nothing like the shows
19:06
Speaker 1: the Misfits played, where Glenn Danzig was known not to
19:09
Speaker 1: only accost the crowd verbally from stage, but to also
19:12
Speaker 1: get into the crowd and physically a self fans for
19:15
Speaker 1: unknown tons and offenses. A growing audience of dedicated punk
19:19
Speaker 1: rockers did little to make Glenn Danzig feel less alienated.
19:22
Speaker 1: Sometimes it seemed as though it only made his problems worse.
19:26
Speaker 1: Who the fuck were these kids? Didn't they get it?
19:29
Speaker 1: Mixing it up with the crowd was no doubt seen
19:31
Speaker 1: as less of a risk, given the Glenn you lose
19:33
Speaker 1: back by his bulky bass player Jerry Only and Jerry's
19:36
Speaker 1: little brother Doyle on guitar. Both were former high school
19:40
Speaker 1: football stars, and both muscled bound jacked on stage. They
19:45
Speaker 1: aspired to look like the monsters they worshiped on television
19:48
Speaker 1: on Saturday mornings, growing up bulging biceps and packs, augmented
19:52
Speaker 1: with dyed black hair combed down over their faces into
19:55
Speaker 1: the Misfits patented devil loock, a reverse da with two
19:59
Speaker 1: mass garret peering out behind it, big platform heels, leather spikes,
20:04
Speaker 1: skeleton shirts and skulls draping their amps. Sounds silly now,
20:08
Speaker 1: but at the time, in the late seventies and early eighties,
20:11
Speaker 1: there was nothing like this in music. There was no horrorcore.
20:15
Speaker 1: The Misfits invented it, and there was hardly yet anything
20:17
Speaker 1: approaching goth. The closest thing to the Misfits was kiss,
20:21
Speaker 1: but they were more shlocked than Shock more comic than
20:24
Speaker 1: Killer Kiss were entertainers. The Misfits were nihilis, which isn't
20:31
Speaker 1: to say that they were without ambition. In the late
20:34
Speaker 1: seventies when they were starting out, Glenn and Jerry hustled
20:37
Speaker 1: their band all over Lower Manhattan, socializing inside and outside
20:41
Speaker 1: of cpgbi's Maxis, Kansas City, and Hurrahs with other punk
20:44
Speaker 1: rockers trying to make their way. It was here at Hurrahs,
20:48
Speaker 1: after a gig the Misfits shared with Britain's The dam
20:51
Speaker 1: a gig that counted Iggy Pop and Blondie's Debbie Harry
20:54
Speaker 1: amongst those in attendance, that Jerry only somehow talked The
20:57
Speaker 1: Damned into allowing the Misfits to open for them on
21:00
Speaker 1: their European tour. Jerry was stoked, he talked to his
21:03
Speaker 1: old man and financing the band's first foray across the Pond.
21:07
Speaker 1: When they arrived and hooked up with The Damn, they
21:10
Speaker 1: were surprised to learn that they weren't actually booked onto
21:13
Speaker 1: any of the Damn shows. Glenn was pissed, so was Jerry.
21:18
Speaker 1: What a fucking waste his old man was gonna put
21:21
Speaker 1: his nuts in a vice. Three grand in travel expenses
21:24
Speaker 1: down the drain, Jerry and Glenn worked it out so
21:27
Speaker 1: they could play a couple shows, opening for the opening band,
21:30
Speaker 1: but without pay. Total bullshit and they bounced after a
21:34
Speaker 1: gig or two. But before heading home, the Misfits hit
21:40
Speaker 1: up the Rainbow Club to see the jam outside. In line,
21:43
Speaker 1: trying to scam their way into the show, two skinheads
21:46
Speaker 1: started heckling them for the way they looked. Glenn, Jerry,
21:49
Speaker 1: and then guitarist Bobby Steele murdered out in all black
21:52
Speaker 1: in a pre goth London, skinheads giving them shit. Glenn
21:56
Speaker 1: couldn't believe it. Different side of the same ghoulish coin
22:00
Speaker 1: was a nonconformist skinhead shitting on him for dressing differently.
22:04
Speaker 1: Some thing's never changed. Alienation was one of them. But
22:07
Speaker 1: this wasn't like back in Lowdie. Glenn now knew how
22:10
Speaker 1: to fight and frankly didn't give a shit about the outcome.
22:14
Speaker 1: Plus Jerry had his back and Jerry was jacked. The
22:18
Speaker 1: skinhead slid into him some more, and Glenn took the
22:21
Speaker 1: bottle of soda he was drinking from, smashed the bottom
22:24
Speaker 1: of it into a makeshift jagged glass dagger, and dove
22:26
Speaker 1: straight out the skins. A melee ensued, smashing, stabbing, Doc
22:31
Speaker 1: Martin's kicking, grabbing wild and wolverine fury and then knight
22:35
Speaker 1: Stick's fists and more kicks from Unholy Living Dead cuffs
22:38
Speaker 1: back of the wagon in a free Knight's stay in
22:42
Speaker 1: a British hell.
22:45
Speaker 4: We'll be right back after this work were were.
22:52
Speaker 5: Plundering underground are Glenn and Bobby Glenn and Bobby Glen.
22:57
Speaker 5: Glenn and Bobby dame after hearing an emergency couch about
23:00
Speaker 5: a series of brutal killings, and Glenn and Bobby are
23:03
Speaker 5: securing themselves from angry Zombi even was dug in in
23:05
Speaker 5: the cellar, which they believed to be singer. Meanwhile, the
23:08
Speaker 5: Ghules are relentless and their assault dead set on the
23:10
Speaker 5: siege of Glenn and Bobby Glenn, especially in ever increasing numbers.
23:15
Speaker 1: Glenn Danzi came to to the sound of banging, a
23:19
Speaker 1: remnant from his dream, the sound of barricading himself into
23:22
Speaker 1: his room, away from his childhood fears, and the reality
23:25
Speaker 1: he awoke to was much scarier. The banging was replaced
23:31
Speaker 1: by the faint sound of wailing, moaning someone in pain.
23:34
Speaker 1: Glenn was on the ground, Bobby lay next to him.
23:37
Speaker 1: Jerry was not there. His dumb luck must have prevailed again.
23:41
Speaker 1: And there were iron bars, and Glenn and Bobby were
23:43
Speaker 1: obviously on the wrong side of them. Concrete walls that
23:46
Speaker 1: looked to have been chiseled out of a cave by
23:48
Speaker 1: disinterested slaves centuries ago. Within the walls thick iron loops.
23:53
Speaker 1: No doubt where the chains went, the ones connected to
23:56
Speaker 1: the shackles. There were no windows. The wailing grew but
24:00
Speaker 1: remained faint, as if it were there, but it wasn't.
24:04
Speaker 1: The must in the air was thick, and they were
24:06
Speaker 1: underground for sure, trapped in some sort of medieval torture
24:10
Speaker 1: chamber europe societies that were hundreds, if not thousands of
24:14
Speaker 1: years older than yours. You were bound to run into
24:16
Speaker 1: some weird shit. And it appeared that Glenn Dan's Egg
24:19
Speaker 1: and Bobby Steele had found themselves locked up for their
24:22
Speaker 1: assault on the skinheads inside of an actual dungeon, a
24:26
Speaker 1: London dungeon. Bobby knew immediately that their unfortunate circumstance would
24:31
Speaker 1: make for a great song. The two got down to
24:34
Speaker 1: it straight away, blocking out their fears and channeling them
24:37
Speaker 1: in the music. On the spot behind bars, and Bobby
24:40
Speaker 1: banged out a beat with his hands on his thighs.
24:43
Speaker 1: The slap of his palms on his greasy jeans, combined
24:46
Speaker 1: with the natural echo of the cell they were in,
24:48
Speaker 1: made for a hell of a makeshift backbeat, and the
24:51
Speaker 1: faint moaning The painful cries imagined are real weaved through
24:55
Speaker 1: Glenn's imagination into a glorious bed of ghostly feedback that
24:59
Speaker 1: lay on top of a box speed. In a fear
25:01
Speaker 1: induced blast of inspiration, Glenn's words came barreling out. The
25:06
Speaker 1: Misfits song London Dungeon, written in Jail, was recorded upon
25:10
Speaker 1: the band's return to the States and released as the
25:12
Speaker 1: A side on the band's EP three Hits from Hell
25:15
Speaker 1: in nineteen eighty one. The song makes a brief appearance
25:18
Speaker 1: on the band's masterpiece LP Walk among Us a year
25:22
Speaker 1: later as the live outro to the song Mummy, Can
25:24
Speaker 1: I Go out and Kill Tonight? The song, despite its
25:27
Speaker 1: inspired origin, played but a bit part on the band's
25:30
Speaker 1: fullest artistic statement to date. Walk among Us brought the
25:39
Speaker 1: band to a new level of underground fame. The power
25:42
Speaker 1: of the album was undeniable. The band weren't selling out
25:45
Speaker 1: Madison Square Garden or charting on the Billboard top forty.
25:49
Speaker 1: But their shows were attracting more fans, diehard committed fans
25:53
Speaker 1: as well as fly by Night fans who just wanted
25:55
Speaker 1: a gow at the Freaks on stage in black with
25:58
Speaker 1: the skulls and the eyeliner and the hair covering their faces.
26:01
Speaker 1: Glenn resented every last fucking one of them music the Misfits.
26:08
Speaker 1: It wasn't some novelty for him. Despite the imagery, the
26:11
Speaker 1: comic and horror influence, the themes alienation and nihilism. They
26:15
Speaker 1: were real. They came from a real place, and the
26:18
Speaker 1: aggression and violence they inspired. To Glenn Danzig was very real.
26:23
Speaker 1: Treating it as anything less was an affront to his
26:25
Speaker 1: creative sensibilities, not to mention an affront to him personally. Increasingly,
26:30
Speaker 1: it was obvious to Glenn that his bandmates did not
26:33
Speaker 1: share the same passion, the same motivation mutant conformist ghouls,
26:37
Speaker 1: that they were nothing illustrated this more to Glenn then
26:40
Speaker 1: seeing Jerry and his little brother Doyle show up for
26:42
Speaker 1: band practice in their father's van with Van Halen's unchained
26:46
Speaker 1: blasting from their stereo while chugging cans of beer, the
26:49
Speaker 1: two of them muscle bound and sawed off T shirts
26:52
Speaker 1: and cut off jeans, looking like nothing more than a
26:54
Speaker 1: couple of ex meat had jocks that they were. How
26:57
Speaker 1: the fuck he wondered had he wound up in a
26:59
Speaker 1: band these guys. On tour, the band's fans weren't much better.
27:06
Speaker 1: Their show, as violent as they still were, were now
27:09
Speaker 1: being populated by the smart set and college kids who'd
27:12
Speaker 1: somehow gotten hipped to the Misfits, and in general punk
27:15
Speaker 1: rocks growing popularity. Things were changing, and if Glenn Danzig
27:20
Speaker 1: wasn't careful his band, their image, his image, his art,
27:23
Speaker 1: would be co opted by the very ghouls he'd made
27:26
Speaker 1: strides his whole life to avoid. And they were everywhere,
27:30
Speaker 1: especially on tour, in strange Midwest and Southern cities, creeping
27:34
Speaker 1: around every corner, peering, leering, looking for any opportunity to pounce,
27:39
Speaker 1: to sink their flesh eating soul sucking teeth into you
27:42
Speaker 1: and bleed you of whatever it was that made you special.
27:45
Speaker 1: Glenn wouldn't allow it to happen. Jerry and Doyle could
27:48
Speaker 1: have their van Halen in football and whatever other mainstream
27:51
Speaker 1: rock star McDonald's eating crap they wanted. Glenn wanted out,
27:55
Speaker 1: and if he couldn't get out just yet, then he
27:57
Speaker 1: wanted darkness, destruction. Wanted to fill the hole growing inside
28:02
Speaker 1: of him with something he could relate to, just like
28:04
Speaker 1: when he was a kid, But now as an adult,
28:07
Speaker 1: wasn't that easy. Comic books and creature double features weren't
28:11
Speaker 1: going to cut it when the occult, the afterlife, in
28:13
Speaker 1: real darkness were all possible. The gig in New Orleans
28:20
Speaker 1: that night went okay. Glenn was inspired by the city
28:24
Speaker 1: and the voodoo magic in the air. He could feel
28:26
Speaker 1: Nola's ghosts, the living, Professor, Longhair, doctor John, and the dead,
28:30
Speaker 1: mainly Marie Levau. Marie Levau, the voodoo queen of New Orleans,
28:35
Speaker 1: the powerful priestess, died in the nineteenth century, but was
28:38
Speaker 1: rumored by locals to have continued her practice from beyond
28:41
Speaker 1: a grave. Marvel Comics based a character on her in
28:44
Speaker 1: the nineteen seventies, a fact that was not lost on
28:47
Speaker 1: Glenn Danzig. Her grave was the exact type of connection
28:51
Speaker 1: Glenn needed at the time. After the gig, Glenn and
28:55
Speaker 1: the rest of the Misfits set out to find Marie
28:57
Speaker 1: Levo's ancient tomb and to conjure up's real darkness. Saint
29:02
Speaker 1: Louis Number two Cemetery is one of New Orleans' oldest
29:05
Speaker 1: Catholic cemeteries. Its graves are above ground. Vaults, tombs, and
29:10
Speaker 1: mini mausoleums all rest on top of the ground to
29:13
Speaker 1: avoid New Orleans's high water table that rises up near
29:16
Speaker 1: the ground's surface, making subterranean burials impossible. Glenn wondered about
29:22
Speaker 1: topsoil contamination. The night air stuck to their skin. Glenn
29:27
Speaker 1: the rest of the band, Jerry Doyle and drummer Robo,
29:30
Speaker 1: were accompanied by two strippers named Poison and Venom, who
29:34
Speaker 1: Robo was very pleased to learn We're more than happy
29:37
Speaker 1: to tease him by pleasuring themselves with his drumsticks in
29:40
Speaker 1: the back of the band's van on the ride over.
29:43
Speaker 1: Glenn had no time for such bullshit. He'd just as
29:46
Speaker 1: soon make his pilgrimage on his own without having to
29:49
Speaker 1: suffer the foolishness of his bandmates and their new groupies.
29:53
Speaker 1: They made their way on foot through the maze of
29:55
Speaker 1: the dead. The air hung heavier with every footfall. Crickets
29:59
Speaker 1: peep whatever they were, they were back for Glenn and
30:02
Speaker 1: chirping out their disapproval, snaking in and around their shrieking chorus.
30:07
Speaker 1: The sound of the wind soft, near dead, but they're
30:10
Speaker 1: all the same. Heavy On top of it hung the
30:14
Speaker 1: muffled sound of g naighing. The sound rode up behind Glenn.
30:18
Speaker 1: It rode up the back of Glenn's neck where was
30:20
Speaker 1: Marie Levoe's grave. That gnine sound got louder. It swirled
30:24
Speaker 1: up from behind him, and for a moment it blanketed him,
30:27
Speaker 1: and then passed on, nighing, gnahing, gnahing. There then gone,
30:32
Speaker 1: but not fully and not fully demonic either, And there
30:36
Speaker 1: was a strange warmth to the sound of it, something inviting.
30:39
Speaker 1: It beckoned Glenn pulled him toward it. He followed it,
30:43
Speaker 1: sought it out. Now in his heart it would lead
30:45
Speaker 1: to her tomb, and once there Glenn knewie get answers
30:49
Speaker 1: the priestess would provide. He moved closer to the sound.
30:53
Speaker 1: The sound grew louder. He maneuvered over the tombs. The
30:56
Speaker 1: sound became more and more real. He heard laughing from
30:59
Speaker 1: the reard demonic ghoulish hellhounds on his tail. Up ahead.
31:03
Speaker 1: The gnawing had given the way to soft whispers, to
31:06
Speaker 1: a chorus of soft white noise, soft white noise that
31:09
Speaker 1: broke through into a vision of white flesh, beckoning. He
31:13
Speaker 1: could see it now, he could in his mind. He
31:15
Speaker 1: fought off the ghoulish normalcy following him. It was now
31:19
Speaker 1: soundtracked by a different kind of gnawing sound, more hellish, carnivorous, cannibalistic.
31:24
Speaker 1: It was poisoned, venomous. He focused, tried to block out
31:28
Speaker 1: the sensation the sound made him feel, but he could
31:31
Speaker 1: feel it burning up his back, singing the flesh of
31:33
Speaker 1: his neck. He kept stride, kept his two eyes up ahead.
31:37
Speaker 1: Followed the white noise, followed the vision of white flesh
31:40
Speaker 1: went forward into the light. It grew more intense, more real,
31:44
Speaker 1: and there were voices, real voices, actual voices. He moved
31:47
Speaker 1: faster toward them, faster, toward the light, in a way
31:50
Speaker 1: from what lay behind him, his band, his past, the poison,
31:53
Speaker 1: the venom, toward the priestess, toward his future. He rounded
31:57
Speaker 1: the mausoleum, blocking the light around the back side, toward
32:00
Speaker 1: the voices, the whispers, and ran straight into the arms
32:04
Speaker 1: of a New Orleans police officer. Where are you going?
32:08
Speaker 1: Any monster? Glenn was sunk. It was also under arrest
32:14
Speaker 1: criminal trespassing. The next day, the New Orleans Times Piggy
32:19
Speaker 1: Une ran the headline punk rock musicians arrested in cemetery.
32:23
Speaker 1: Word around the punk scene spread the misfits had been
32:27
Speaker 1: arrested for grave robbing.
32:46
Speaker 3: Because of the obvious threat to untold numbers of citizens,
32:49
Speaker 3: and because of the crisis which is even now developing,
32:52
Speaker 3: this radio station will remain on the air nineteen this
32:55
Speaker 3: hour at Epidemic of Massport, Virtual.
33:10
Speaker 4: Kind of Tank.
33:21
Speaker 1: Early eighties hardcore shows were unlike any other musical experience
33:24
Speaker 1: before or since. These shows were distinguished by their extreme violence.
33:30
Speaker 1: Hardcore came after punk had its dalliance with the mainstream
33:33
Speaker 1: in the major labels. Hardcore in its infancy, was the
33:36
Speaker 1: more extreme version of punk and its sound, its fans,
33:40
Speaker 1: its name, and its live shows. Norms could hang at
33:43
Speaker 1: punk shows. Norms could not hang at hardcore shows. They
33:47
Speaker 1: would be beaten, stabbed or worse. Hell band members performing
33:51
Speaker 1: on stage would be beaten, stabbed or worse. But the
33:55
Speaker 1: hardcore scene didn't just leave behind a legacy of brutality,
33:58
Speaker 1: marginalized teens, outcast, literal misfits who couldn't find their way
34:02
Speaker 1: through adolescents found a home in hardcore that proved to
34:05
Speaker 1: be its own island of misfit toys for wayward teens
34:08
Speaker 1: and young adults. It was a place where you could
34:11
Speaker 1: truly be yourself, where individualism was encouraged. We're going against
34:15
Speaker 1: the grain was celebrated. Your identity didn't matter. You were
34:18
Speaker 1: whatever the fuck you were, and nobody could say shit
34:21
Speaker 1: because if they did, they get beat down. Intolerance was
34:24
Speaker 1: not tolerated, and neither was tribalism. You could be who
34:27
Speaker 1: you wanted, dance, how you want to dress, how you wanted,
34:29
Speaker 1: fuck who you wanted, fight who you wanted, and none
34:32
Speaker 1: of it mattered because Ronald Reagan and Mikhail Gorbachev were
34:35
Speaker 1: going to blow the world up imminutely anyway. That spirit
34:39
Speaker 1: of individuality, nihilism, and destruction manifest on hardcore dance floors
34:44
Speaker 1: with a far more aggressive form of slam dancing than
34:47
Speaker 1: what came before in the punk scene. Bodies pummeled into
34:50
Speaker 1: one another with vicious abandon the pit not only How's
34:53
Speaker 1: fists and steel toed kicks from heavy engineer boots, but
34:57
Speaker 1: also brass knuckles, knives, and chains. The violence was legit
35:02
Speaker 1: and inspired early eighties hardcore bands black flag tsol circle jerks,
35:07
Speaker 1: bad brains, and minor threat pummeled their audiences with blasting
35:11
Speaker 1: beats and anvil swinging rifts, and their audiences were not
35:14
Speaker 1: afraid to pummel them right back. In hardcore, there was
35:17
Speaker 1: no separation between band and audience. There were no bouncers,
35:21
Speaker 1: there was no security, no protecting the sanctity of the
35:24
Speaker 1: rock star. Unlike punk, in hardcore there were no rock stars,
35:28
Speaker 1: and that shit didn't fly. These were the shows the
35:31
Speaker 1: Misfits played, and they didn't know it then, but on
35:34
Speaker 1: Halloween of nineteen eighty three, they were walking on stage
35:37
Speaker 1: to play their last show ever. By eighty three, the
35:42
Speaker 1: worm had started to turn in the hardcore scene. Tribes
35:45
Speaker 1: were taking root subsets of the larger scenes, skinheads, gang bangers,
35:49
Speaker 1: straight edged kids, college kids, horrorcore kids, goths, even rastafarians,
35:53
Speaker 1: you name it. The spirit of hardcore allowed entry for
35:56
Speaker 1: one in all, provided you had the steel in an
35:59
Speaker 1: open mind. The irony, however, was that the tribalism was
36:04
Speaker 1: demolishing the hardcore spirit, extinguishing its flame of individuality. Glenn
36:11
Speaker 1: Danzing didn't know about all that. He could just sense
36:13
Speaker 1: that things were different, and when he looked out onto
36:16
Speaker 1: the audience from the stage. Things were starting to look
36:19
Speaker 1: a lot more like high school than they were the
36:21
Speaker 1: hardcore scene. This dude didn't like that dude because that
36:25
Speaker 1: dude rocked his hair this way, and then the other
36:27
Speaker 1: dude wore the wrong colored laces in his boots, but
36:29
Speaker 1: that dude had the wrong braces holding up his leviyes.
36:32
Speaker 1: And those dudes over there from the suburbs didn't drink,
36:34
Speaker 1: but the drug dealers were owed money from the gang
36:36
Speaker 1: bangers who hated the Rastafarians were now hanging out with
36:38
Speaker 1: the Harry Krishnas, whom nobody liked, not even the goths
36:41
Speaker 1: who were disliked by nearly everyone, and blah, blah, fucking blah.
36:47
Speaker 1: They looked up at Glenn, anxious for the band to
36:49
Speaker 1: start their much anticipated annual Halloween show in Detroit at
36:53
Speaker 1: Graystone Hall. One thousand strong in the crowd, Glenn could
36:57
Speaker 1: feel their eyes, all them eyes on overload, staring him down,
37:01
Speaker 1: burning into him. Ghoules, fucking ghoules, he thought. Behind him,
37:06
Speaker 1: miss bandmates Jerry Only and his big little bro Doyle,
37:09
Speaker 1: the two of them hulking goth versions of Paul Newman's
37:12
Speaker 1: handsome brothers jacked on schnops, Eddie van Halen Riss and
37:15
Speaker 1: Gene Simmons correspondence courses, too dumb to see the irony
37:19
Speaker 1: and the comic book characters they turned themselves into, or
37:22
Speaker 1: too jacked on the crowd to care, and their new drummer,
37:25
Speaker 1: Brian Damaged Keats, drunk behind the kit for his first gig.
37:30
Speaker 1: This was now too much for Glenn. What the hell
37:33
Speaker 1: had happened? How would he ended up here? In the beginning,
37:36
Speaker 1: the Misfits were supposed to be a rallying oral assault
37:39
Speaker 1: for all the kids who, like Glenn, couldn't fit in.
37:42
Speaker 1: My mirrors are black for you. Glenn wore black and
37:45
Speaker 1: created the Misfits and his image to reflect back onto
37:48
Speaker 1: the world the alienation that the world made him feel.
37:51
Speaker 1: The Misfits as a band and Misfits fans were supposed
37:54
Speaker 1: to feel the same thing. But now this, this was
37:56
Speaker 1: something else, bigger, stranger, monstrous and obomba, a monster of
38:01
Speaker 1: his own creation, not by design, by a mistake Ghoules.
38:15
Speaker 1: From the opening riff of Knight of the Living Dead,
38:17
Speaker 1: the crowd erupted. More than just dancing bottles were thrown
38:21
Speaker 1: at the band and the audience spat up on a stage,
38:24
Speaker 1: rushed the stage, overtook the stage, slamming into Glenn, Jerry
38:28
Speaker 1: and Doyle, before diving off into the pit. On the
38:31
Speaker 1: dance floor, the audience swirled themselves into a massive cyclone
38:34
Speaker 1: of a pit fury. Glenn was outside of himself, he
38:38
Speaker 1: could taste fear, and Jerry was loving it. Doyle couldn't
38:42
Speaker 1: decide if he was more into playing and throwing shoulders
38:44
Speaker 1: into unsuspecting stage divers who had the misfortune of coming
38:47
Speaker 1: his way, and the new drummer, Brian Damage couldn't keep up.
38:50
Speaker 1: Such was the furious energy and pace of the band's set.
38:53
Speaker 1: He dropped the beat one too many times in those
38:55
Speaker 1: first few songs, and Doyle made an executive decision on
38:58
Speaker 1: the fly, dropped his guitar, rushed the drum kit, grabbed
39:01
Speaker 1: Brian and literally threw him off stage. He pointed to
39:04
Speaker 1: Necro's drummer and Fred Todd Swallow, who had opened the
39:07
Speaker 1: show and was standing on the side of the stage.
39:09
Speaker 1: You're Up swallowed up behind the kit, and the Misfits
39:12
Speaker 1: continued with a midset lineup change without missing a beat.
39:15
Speaker 1: It was the last straw for Glenn This was a circus,
39:18
Speaker 1: This wasn't nihilism. The crowd, the different sects worn amongst themselves,
39:27
Speaker 1: stupidly sheet wasted an endless parade of stage diers and
39:30
Speaker 1: slam dancers, avoiding the coming apocalypse instead of taking it
39:34
Speaker 1: head on. The song the band was playing broke down
39:37
Speaker 1: on the ceremonious say. Glenn knew it. Then he was done.
39:42
Speaker 1: He grabbed his mic and shouted, this is our last
39:44
Speaker 1: show ever. The band then launched into the next song
39:50
Speaker 1: of the set, but Glenn was gone on stage. Sure
39:54
Speaker 1: still there, yes, but purely going through the motions mechanical.
39:58
Speaker 1: The soul was good, he thought, just like the crowd.
40:03
Speaker 1: He floated. He looked down at the crowd. He could
40:05
Speaker 1: see them now morphing, changing shape, shifting into an amorphous block.
40:11
Speaker 1: The sound of the band slowed in his head to
40:13
Speaker 1: a dirt Swallow's high hat was replaced by the chirping peepers.
40:18
Speaker 1: Doyle's feedback swirled itself from the sharp hitchcocki and staccato
40:21
Speaker 1: psycho strands. Jerry's bass plotted big, thick, heavy souled frankenside
40:27
Speaker 1: steps rhythmically timed to the beat of the slow moving
40:30
Speaker 1: crowd now pushing its way on the stage, Gules, soulless
40:34
Speaker 1: conformist ghules, all wanting him to play the part of
40:37
Speaker 1: the burning punk rock front man clad in black hardcore
40:41
Speaker 1: Elvis cast a star in their own private Halloween party.
40:45
Speaker 4: Since the brain of A has been activated by the radiation.
40:49
Speaker 1: Trap, the fear flooded back. But there was no barricading
40:55
Speaker 1: himself in up there no bedroom to hide it, just
40:58
Speaker 1: an open stage that was now being flooded by ghoulish
41:01
Speaker 1: conformist zombies. The death in their eyes was evident, and
41:04
Speaker 1: they grabbed Doyle first. He swung his axe with precision,
41:08
Speaker 1: braining them back off of the stage, but they kept coming,
41:11
Speaker 1: more of them with every swing. They grabbed at his biceps,
41:14
Speaker 1: pulled at his thighs. One grabbed him by the back
41:16
Speaker 1: of his head with both hands and tore into his
41:18
Speaker 1: cheek with his teeth, ripping the flesh from the young
41:21
Speaker 1: guitar's face, consuming it on the spot with the blood
41:24
Speaker 1: dripping from the gul's mouth. And the other girls smelled
41:27
Speaker 1: the feet and pulled Doyle down off the stage into
41:29
Speaker 1: the pit and tore them limb from limb. On the
41:32
Speaker 1: other end of the stage, brother Jerry was in shock.
41:35
Speaker 1: The Ghuls took advantage of his state and pummeled him
41:37
Speaker 1: from all angles, ripping into his skin and tearing out
41:40
Speaker 1: his innards, feasting on him on all hallows Eve, right
41:42
Speaker 1: out in the open in his punk rock public square.
41:45
Speaker 1: Todd Swallow dropped his sticks and made for the exit backstage,
41:49
Speaker 1: but was tripped up immediately and dragged off into the dark.
41:52
Speaker 1: His screams could be heard throughout the entire concert hall,
41:55
Speaker 1: sheer terror. The gulls did not stop coming for the stage,
41:59
Speaker 1: coming from Glenn like entrance soldiers taking to a hill,
42:03
Speaker 1: Zombies crawling over one another, moving slow like molasses toward
42:07
Speaker 1: their feasts, fighting their way to the top of the heap.
42:10
Speaker 1: The Ghules, conformists, all marching through to once and for all, exterminated,
42:15
Speaker 1: He who shall not be conformed to this world, He
42:17
Speaker 1: who shall not be transformed by the renewing of his mind.
42:20
Speaker 1: The mind he knew it all along, the damned Conformists's
42:24
Speaker 1: what the bodies of men from Earth, that's what the
42:26
Speaker 1: faces are, the ones he loved. Glenn grabbed Doyle's axe
42:30
Speaker 1: and hacked his way through the coming Ghules to the backstage.
42:33
Speaker 1: He swung with wild violence, braining one decapitating another, and
42:40
Speaker 1: once inside the backstage alone with that familiar alienation, he
42:45
Speaker 1: began the familiar routine of barricading himself in, stacking furniture
42:49
Speaker 1: against the door, hacking nails and a ripped up plywood
42:52
Speaker 1: across the doorway, and the ghules did not stop. He
42:55
Speaker 1: could hear them outside. He could also hear sirens and
42:58
Speaker 1: the growing sound of gunfire, a blaze of bullets from outside,
43:02
Speaker 1: no doubt, authorities there to save the day, and more guns,
43:06
Speaker 1: the sound of bullets flying everywhere, and soon the sound
43:08
Speaker 1: of the nine ghouls trailed off. Now he could hear men,
43:12
Speaker 1: humans coming for him, to help, to save him. He
43:16
Speaker 1: began ripping apart the makeshift barricade, wanting would every fiver
43:20
Speaker 1: of his being to be out of that room and
43:21
Speaker 1: amongst humans to connect, to be safe. The men on
43:25
Speaker 1: the other side rattled the door and attempt to get
43:27
Speaker 1: into whatever was on the other side, making its own
43:29
Speaker 1: rattle to them, another ghoulish death rattle, and Glenn finally
43:33
Speaker 1: got the door open and there they stood the authorities, cops,
43:38
Speaker 1: riot gear, shotguns raised pointed straight at Glenn danzig dressed
43:42
Speaker 1: head to toe in black devil lock, heavy eyeliner, skin,
43:46
Speaker 1: tight shirt with a pentagram drawn on his chest, looking
43:49
Speaker 1: every part the ghoulish zombie. The authorities took one look
43:53
Speaker 1: at him, pulled their triggers and blasted him away. Evil
44:08
Speaker 1: is as evil does, and who but him could write
44:11
Speaker 1: this book of col such disgrace. I'm Jake Brennan in
44:16
Speaker 1: this Disgraceland.
44:31
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Speaker 6: partnership with Double Elvis. Credits for this episode can be
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