Hey, you like Monsters? So do we. Let’s talk about that shit.
The most famous and reproduced image from the Misfits/Vampira summit on April 17, 1982. It should be noted that even though Arthur Googy quit the band earlier in the week the drummer did fulfill the rest of his obligations for the Walk Among Us tour (which ended the same day Lodi’s finest met tv’s spookiest). Alas, Arthur was in no mood for Kodak moments such as this. L-R: Jerry Only, Vampira, Doyle giving the Jersey fist-pump, Glenn Danzig. Photographer unknown.
The Misfits meet Vampira, April 17, 1982, at Vinyl Fetish in Los Angeles. Touched by their musical tribute, the reclusive horror hostess stepped out of the shadows to thank the band at this meet and greet. Notably absent from these shots is Arthur Googy; the drummer quit the Misfits two days earlier following a donnybrook with Glenn Danzig over a McDonald’s cheeseburger. First photo, L-R: Doyle, Vampira, Jerry Only, Danzig; foreground head unknown. Second photo, L-R: Jerry, Vampira, Doyle, Danzig. These images were both printed in the Summer 1993 issue of Ugly Things and came from Jerry Only’s personal collection. Photographer unknown.
Here’s Malia rockin’ a pretty spooky doo. Shindig approved.
Classic shot from Vampira’s promotional hearse tour of Hollywood.
Horror Host legend Zacherley’s “Transylvanian Passport” which was available by sending two labels from Strawberry Cocoa Marsh Syrup to the manufacturer.
Don’t blame me, I voted for the Cool Ghoul.
The Horror Host has been a beloved fixture of the genre for almost 60 years now. So ingrained are they in horror culture that even their parodies have slipped into iconography.
From a time when TV had no guide, DVRs and streaming video weren’t even the stuff of the B-grade sci-fi these horror hosts peddled. TV was a living thing, existing with or without your manifesting gaze. It was there, happening somewhere behind all the black. You needed only to turn it on an tune in to whatever it was offering, lest you miss out entirely.
So you waited.
Originally, Universal Studios offered a package of horror classics and worn out titles called Shock Theater to local TV stations for broadcast. The stations had weathermen, announcers and news anchors doubling as any number of ghoulish characters to present these frightening films of yesteryear.
The movies were often the subject of ridicule, and the focus became rather on the hosts themselves, their outlandishness and their skits. These shows found almost instant success, and America of the late 50’s, 60’s and 70’s loved these local fixtures. Many spawned several incarnations and are still remembered with great fondness in their hometowns.
As the Shindig enters its 2nd quarter, we’ll take a beat or two to pay tribute to those horror hosts immortalized in song.
Watch horror movies.
Keep America strong.
Stay sick
and Goodnight, whatever you are….
Pleasant nightmares and unpleasant dreams.
Hands Off is the first musical selection of several from what I like to call 80’s Monster Comedies.
I guess in the 80’s, making silly comedies featuring werewolves, vampires and other monsters seemed like a good idea. And it was, at least I think it was, as this is perhaps my favorite sub-genre of film.
If I was ever handed the keys to a classroom at a University that didn’t particularly pride itself on their staff, I’d probably create the course “80’s Monster Comedies 101.” We’d sit around and watch these films, discuss them at length and then write needlessly analytical papers regarding their cultural context.
C’mon? You wouldn’t take that course? Fuck yeah you would. You mean I’d get college credit for writing a paper about Teen Wolf? Yes. Yes you would. But it better be a damn good paper, cause I ain’t gradin’ on no curve.
Here’s the course outline.
Week 1: Intro to Course / Full Moon High (1981)
Full Moon High bridges a gap between 70’s comedy and 80’s comedy. Discuss the elements of it’s 70’s sensibility. Does it make for a better or worse film in your opinion? Also, why is Alan Arkin so great? Oh he’s not? Please take this F with you on your way out the door.
Week 2: Teen Wolf (1985)
Week 3: Once Bitten (1985)
Week 4: My Best Friend Is A Vampire (1987)
Week 5: Teen Wolf Too (1987)
Week 6: Vampire’s Kiss (1988)
Week 7: Monster High (1989)
Week 8: My Mom’s a Werewolf (1989)
Week 9: Rockula (1990) and Final
As extra credit, I’ll accept papers on Teen Vamp (1988), Beverly Hills Vampire (1989), I Was A Teenage Zombie (1987) or any other film not featured in the course that you can convince me belongs in the sub-genre.
And make sure to join us next semester for the follow-up course 80’s Party Monsters.
At some point during the early 80’s rap started coming into its own as a musical genre, at least in terms of pop culture. However, any amount of popularity eventually begets bastardization. 
So, some yahoos thought it’d be a swell idea if everyone, and everything, began rapping. And for about 15 years or so, they did. Now, while musically and tastefully that was probably the whackest decision possible, in terms of Halloween Shindig, it’s meant gold. Solid gold.
The first Shindig incarnation had 3 rap songs on it. Not a bad showing for only 700 megs. Over the years however, that amount has more than quadrupled. Hell, you could make a whole CD of just these monster raps (note to self: make monster rap mix CD for car.)
Everything it seems was fair game for the money mill; The Ghostbuster’s are coming hard with 3 entries, Haunted Houses seem equitable and the Universal Monsters are heavily represented.
Even the fiends themselves started grabbing mics; Dracula has rapped; Elvira, The Crypt Keeper and Frankenstein’s Monster, all spittin’ lyrics. Hell, Freddy’s rapped twice, and one of those times was actually Robert England.
Now, these songs may seem corny, ridiculously conceived, goofy as fuck, or just plain terrible, and who knows, maybe they are. But, while they may not be well respected or liked amongst the general population, much love and respect is given to them from the Shindig, where they will always have a non-ironic home.
So what the hell is a Shock Monster anyway? Here’s a little back story on this fiend:
The Shock Monster was an old Topstone mask that was advertised in the rag Famous Monsters of Filmland. Essentially a generic zombie mask, it was supposedly named as such to cash in on the then popularity of Shock! Theater.
He was notorious for looking totally badass in the magazine,
and looking totally less badass when he arrived at your door.
Now, while this mask is pretty awesome and horrifying in its own right, I could imagine being pretty disappointed if I was expecting something akin to the former, particularly if I was a 10 year old and I’d been waiting for this thing for a few weeks.
Over the years many people have re-sculpted the Shock Monster to better capture the essence of its original ad, or to put their own spin on it. One of my favorite incarnation of Shock was created by a buddy of mine named Adam Dougherty. Recently, he displayed it at 2012’s Monsterpalooza convention in Burbank, CA. It’s 7 and a 1/2 feet tall, totally badass, and not at all disappointing.