#bdo australia

[sunburnacoustic]

Silver foxes

Matt and Dom's bold predictions for Muse's future, including a stellar moment where Matt asks a young and thoroughly confused Australian interviewer if he feels sexy, as well as Muse's predictions for how hot they're going to be aged 45. Safe to say, those predictions were absolutely true ;)

[in-death-we-fall]

Sex, Drugs and One Armed Groupies

...is gonna be the title of this since there kinda isn't one. Scans were posted by @fuckyeswednesday13 a long time ago. I really liked this article and now it's nice and easy to read (especially the columns. Ask me how much I hated the columns.) Enjoy! (drive link)

UPDATED FULL VERSION HERE

The Big Day Out. The Australian travelling musical circus that steamrolls its way around Australia and New Zealand every winter with the hottest bands on the planet flying from all over the globe to join down under’s best bands in a mayhem filled fortnight. This year’s line-up, features among others, The Foo Fighters, Queens of the Stone Age, Jane’s Addiction, Jimmy Eat World, The Hard Ons and deathglam monstrosities, the Murderdolls. So far, the Mid West (sic) based five-piece outfit have been the cream of the festival, appropriately headlining the ‘Essentials’ stage. This is the band’s first time in the Antipodes and quizzical music fans have crowded to see the much-talked about live set. With Sydney copping the biggest crowds of all the legs on the tour, the band are preparing something special. But at 3pm in the afternoon you wouldn’t know it. Most of the band are still in bed from the night before, well, actually… the week before.

The ‘Dolls have been in Sydney for five days before their Big Day Out show and not finding much to do early on in the week they’ve just been getting down to the (sic) rock’n’roll’s most popular pastime: hard drinking. Drummer ‘Big’ Ben ‘The Ghoul’ Graves and bass player Eric Griffin are recovering from last night’s binge. While singer Wednesday and guitarist Joey Jordison are recovering from the night before the night before. Acey Slade, who maintains his sobriety, but still stays out ‘til dawn, has been up since 11am and is the only one ready for the show. With the band on stage at 7:15pm, things need doing. Staggering through their beer can and ‘paraphernalia’-strewn rooms to the showers, they’re down in their van and on the way out to the Big Day Out site just after 4pm.

Situated at the same place that hosted the Sydney 2000 olympics, the festival facilities are first rate and the sell-out crowd of 52,000 festival-goers are making the most of it. The temperature’s pushing a blistering 35°C and being the middle of a drought-ridden summer in Australia, everything’s dry, dusty and cracked. It’s a good 40-minute drive from the city to the festival and the sun’s stinging in through the van windows. Not big fans of the sunlight, the Murderdolls have got their leather jackets up over their heads to avoid even the slightest hint of a tan.

In the cool, air-conditioned shade of backstage I get to sit down with Joey Jordison and singer Wednesday 13 to gind out how the band are doing after their meteoric rise over the past eight months. Joey is straight down the line, measured and professional. “This si the first Big Day Out for all of us. Slipknot have only been down here once but not that (sic) this festival. This is something I’ve really wanted to play – something I’ve wanted to do for a really long time.”

For Wednesday, this is another notch on his rise as an international rock’n’roller. “It’s awesome,” he says. “I’ve always wanted to be out on the front of a rock’n’roll band at a festival like this. After struggling doing my own band for six years I actually quit my job back in April and I’ve been touring every since. I’ve done all the things I ever dreamed about. I’ve been to Europe three times, Japan twice and here we are now in Australia and that has all been pretty much in the last six months! Holy shit we’re doing some things that some bands have never done!”

“We just checked out the videotape from the Auckland show the other day and fuck man, it was awesome!” enthuses Joey. “People are saying we are pulling the most people to that stage out of everyone. Our band has been doing really well especially since we’ve only been going for a short time. We hope that after the BDO we’ll be able to come back and do some real headlining shows down here. We are having fun though, thinking about it, we’ve never had so many days off between shows before, it’s more like the Big Day Off!”

The band wasn’t supposed to be so idle. Most overseas bands on the BDO bill play a bunch of satellite shows in various cities around the country and for a month prior, the Murderdolls had been slated to perform a Sydney show with fellow US rockers The Deftones. But with very little warning, the Murderdolls were dumped from the bill just before the show. What really pissed off Joey and the lads was a lot of the Murderdolls fans had bought tickets on the basis that the band would be playing but in the end had to watch the Deftones supported by ex-At The Drive-In chancers, Sparta.

Without much choice in the matter the Murderdolls issued a statement on their website apologising to their fans and kept trying to fly their flag with some instore appearances at local record stores. One in particular at Utopia Records, was insane. There was such a roar when the band turned up, they looked truly surprised at the number of kids who had showed up, most dressed in black and red outfits.

“Someone told us there was only going to be about 150 kids, which was supposed to be a good turn-out for Utopia records for a new band,” retells Joey. “But when we turned up there (sic) almost 500! We talked to fans and signed everything that they had. We were there for a good three and a half hours. And at the Channel V interview it was pretty much the same story. Hordes of kids that wouldn’t let us get away.”

“That’s the cool thing with our fans,” explains Wednesday. “We’re not a radio band or an MTV band with this created army of little kids which I think is more pure than being the Number One radio band or liking it because someone tells you to like it. I know that our fans are real. It is really cool to see these hordes of kids show up, they are dressed like us, they know everything about us, it is just awesome.”

Thinking further ahead fans will be please to know the band are not going to let up on the groundswell already created by the Murderdolls. “I have to go back and finish recording some Slipknot stuff,” reveals Joey. “Then we (the Murderdolls) are going to do some more touring. There’s usually a three to four month sort of break between recording and when an album comes out so we are going to tour pretty much all the way from the end of May all the way to maybe the beginning of October. Which will be good because there’ll be less sunlight at that time of year,” jokes Wednesday raising his non-existent eyebrows and throwing his arms, heavily tattooed with b-grade horror heroes, into the air.

As the hot afternoon drifts into an only slightly less simmering evening, there’s a small problem with guitarist Acey. He’s got indigestion. This amounts to a small crisis because first aid officials must follow procedure and administer the medicine. This takes two St. John’s Ambulance men on pushbikes in a five minute ride from their base at the side of the main stadium. Very un-rock’n’roll indeed.

With the gig just 45 minutes away, the boys are pacing around their trailer, having their pics taken for Hammer. Acey inside in front of the mirror still applying the last of his make-up, Ghoul is getting powdered up, Wednesday’s still with the photographer, while Joey’s nervously pacing around, in the trailer, out the trailer, back in… Eric meanwhile is ready for the stage and cracks open the obligatory bottle of Jack Daniel’s. As a Murderdolls ritual, they’re applying the slap, the band have to listen to Kiss. “Must. Have. Kiss.” stipulates Joey. “‘All American Man’! We sometimes change that to ‘All American Ghoul’,” chimes in the Ghoul.

Just 10 minutes before showtime and the long lanky frame of Ben Graves is stretched spider-like up against the dressing room wall. “I’ll be in pain afterwards,” he explains. Wednesday has by now finished his solo shots with Hamer’s photographer. The day is hot enough anyway, and under the photographers lights the heat is even more stifling. ‘Jesus, it’s fucking hot!” exclaims the frontman. “But I don’t mind… I’m a naturally dead person in front of a camera” he laughs.

More Kiss blares out from the dressing room, this time ‘Dr Love’! Then the moment comes: ground fucking zero at the Big Day Out! The band clamber into the van and head around the back way to the Essentials stage. The bottle of Jack’s being passed around as they approach the stage the band take a quick peak (sic) to see how the crow’s building up. It’s the biggest yet, taking up most of the grassy area out the back of the main stadium. Joey – who regularly suffers from pre-gig nerves as his pre-stage vomiting on Slipknot’s ‘Disasterpiece (sic)’ DVD proves in all its technicolour glory – is bricking it.

Five minutes before the band are due to hit the powerchords and the guys are milling around in the wings. Ghoul is banging on some warm-up pads and everyone is getting psyched. They’ve left the Kiss CD backstage so they have to hum ‘All American Man’ together. Then they make their way to the stage.

A couple of huge Murderdolls logos adorn the stage and in an eruption of noise and energy, the Dolls take the stage and instantly kick off with ‘Dawn of The Dead’. Jordison in black leather Gestapo hat is jumping around stage left, Acey is wailing away stage right while Eric bangs away on the bass doing his best Nikki Sixx impression, while the Ghoul wrecks the trap kit. Wednesday is the last to take the stage and screaming, “We are the dead, coming for you!” And the crowd goes fucking wild.

The kids down the front, dressed up in full glam-goth regalia, know every word and sing along fervently with the band while among the throng watching from the side of stage are some of the biggest names in the Australian music industry. Members of bands like 28 days, Machine Gun Fellatio, Cog, Jimmy Eat World, Pre-Shrunk, and Sparta all stand wide eyed and mouths agape at the outrageous rock revisionism being unleashed onstage.

By the time the band have launched into ‘I (sic) Was a Teenage Zombie’, ‘Let’s Go To War’ and ‘Slit My Wrists (sic)’, the crows know what they’re in for. Most who have showed up for curiosity (sic) sake are still hanging around, but if anything the crowd is building and everyone looks like they are right into it having fun. The intro to ‘Twist My Sister’ is a kid’s nursery rhyme ‘Old McDonald’ which gets the whole crowd singing along.

Unbelievably, some lunatic in the crowd starts throwing bangers at the stage, but the fireworks only make it as far as the front row of fans before blowing up in their faces. Wednesday tries to get the guy to quit while geeing up the rest of the crowd. “All the people down the front tell the people at the back to ‘Die Die Die… my bride!’ he yells as the band grind into the song…

Today’s set includes two new songs, and we can report that both are killer kitsch rock rippers. The first, set for legendary status is called ‘The Devil Made Me Do It… And I’ll Do It Again’ while the second is the set closer, a crowd sing along gem ‘I Love to Say Fuck’. Wednesday grabs his big black umbrella, emblazoned with the word FUCK, Eric, Acey, and Joey are going crazy, jumping up and down in unison, Ghoul is all arms and legs behind the kit while Wednesday is right down in the crowd’s face urging them to stick their fingers in the air and yell ‘Fuck!’. It looks great to watch. “It isn’t choreographed,” says Wednesday later. “Everything’s pretty much spontaneous. There are some things like we all jump on an ascent in the music or whatever but everything else is stuff that just happens on stage.”

They (sic) crowd are almost passing out from the combination of frenzied activity and the extreme heat, but still manage to scream out for more as the band leave the stage. “A lot of people don’t know that’s what drives a show,” explains Wednesday about his relationship with the audience. “You have to make fans feel part of the event and I think we do it better than anyone else.”

The band then jump back into the van for the two minute trip back to their dressing room behind the main stage. When they get back there the guys are all super hyped up. Excitedly buzzing around their dressing room, drinking beers, telling jokes. Joey is busy analysing the gig, and the BDO circus in general. He and Wednesday have got an interview to do with Australian TV scheduled for 8:45pm. It’s almost 9pm and Joey has another issue: “I want to eat! I must eat before I talk!” he exclaims. The interview is postponed for 20 minutes.

Bass player Eric is hanging around, so I grab him for a quick chat. Of all the Murderdolls, Eric seems the shyest but is probably the one most up for anything, especially if it is party related. He may only be small, (even in his Ace Frehley six-inch platforms he’s still barely average height!) but he’s a true rock’n’roller with a party attitude to match. “‘Machine Gun Fellatio’ that’s a cool fuckin’ name,” he squeaks discussing some of the other bands on the BDO bill. And he does squeak, kinda, like annoying Brit ‘comedian’ Joe Pasquale.

I bring up the fact that esteemed record producer, Nick Launey (Silverchair, INXS) was side of stage watching the show and had an interesting story to tell me about Eric. “I think I know where this is going,” smiles Eric slyly. “I met him about two years ago in LA at a party and we were all fucked up. I got dragged down three flights of stairs by my hair and he reckoned it was the biggest rock’n’roll moment of ‘00 for him. First impressions count, man.”

“It was so rock’n’roll!” Launey informs me later. “It was the launch of Orgy’s album and they had these models dressed as prostitutes lying on a bed and Eric jumps up on the bed with them, which of course you weren’t allowed to do. So the bouncers are dragging him out by his hair, kicking and screaming, down the stairs. His head was literally bouncing down each stair like a cartoon character and all the while he’s just got his middle fingers up on each hand and is yelling out ‘Fuck You!’, ‘Get Fucked!’, ‘Fuck you, mind the hair!’ Somehow he got back into the party and I asked him ‘how’s your head?’ and he just said “Whaddya mean?” - it was just so rock’n’roll!”

Eric has pre-arranged with their tour driver to take him over to the Boiler Room, where the BDO’s electronica acts are playing. He wants to see German electronic innovators Kraftwerk. “One of the bands I was in before the Murderdolls was very digital and computer based,” he reveals. “Kraftwerk don’t do a lot of live shows and I don’t think I’ll ever get the opportunity to see them again. They’re pretty important to the genre and even if I catch just 10 minutes of their set I think it will be worth coming over. A short ride through the back entrance, we arrive at the Boiler Room and manage to get in, via a bit of a labyrinth, through the backdoor and into the main arena just at the side of the stage. The Kraftwerk guys are standing robot-like in front of their computers while the huge dome-like venue is dripping with sweat from the 10.000+ strong punters who have basically been locked in the room all day listening (sic) the dance bands. We get a good vantage point but after about five minutes we’re leaving. “Jeez! That was the most boring piece of crap I’ve seen!” exclaims Eric when he gets back to the dressing room. “But it was worth going because I scored some drugs!”

Acey’s just hanging around backstage with his camera and a little doll from The Nightmare Before Christmas. He has a ritual where he takes a photograph of the doll in front of landmarks all around the world. “I have him in front of the Eiffel Tower for instance,” he says. “The other day I took a pic of him in front of the Sydney Opera House.” And with that he takes a photo of the doll sitting in front of a sign that says ‘Sleazy’. Hmmm. Odd man.

Acey and Eric are loving every minute of the Murderdolls ride. They’re both on their first trip to Australia and according to both of them it is (sic) has been “Cool as hell!” “The Gold Coast was really on,” says Eric. “It’s been kinda mellow since we got to Sydney because we’ve had four or five days off before this show so we’ve just been trying to find out what’s been going on. It’s been building gradually… and we’ve been partying a lot – maybe too much,” he adds sheepishly. Rick the tour manager – who’s passing by – agrees: “Yep, they’ve been very naughty boys – they’ve got to go to bed early tonight with no supper,” he jokes.

“He knows we’re the most dangerous band on the tour,” counters Eric. It’s a fact that seems to deter any other bands partying with the Murderdolls too. “The only band that has even reached out to us are the guys in Jane’s Addiction, in particular, Dava Navarro,” offers Acey. “He actually came out of his way to come over and introduce himself. And pretty much comes up and talks to us everyday he sees us along with the drummer, Steven [Perkins]. Everyone else is just kinda like, ‘What’s Up?’ Maybe it’s because we don’t look like we’re the most approachable band. Then again no-one has done anything to piss us off at all.”

No one may be talking to the Murderdolls but there is talk of the Murderdolls all over BDO. Most centres around their appearance with most Australian musical luminaries agreeing the band are the best dressed at the festival. One member of Aussie band the Resin Dogs even goes as far as to say, “The Murderdolls rock the wardrobe”. Acey is kinda flattered but non-plussed by the comments. “What image?” he exclaims. “This is how we are all day! Obviously we knock it up a notch for the show but this is the real thing. We don’t care if people like us as sexual deviants or not, but one thing’s for sure – they’ll fucking remember us.”

Big Ben Graves strides over to join us at the table. “Did I hear the words sexual deviant?” he announces in his deeply rounded US accent. “I’ve always been like that! Some people have a devil on one shoulder and an angel on the other – I just two devils. There is NO voice of reason!”

We ask him if he has had any interesting adventures since he’s been in Australia and then instantly regret it…

“Dude, it has been nothing but interesting adventures. For instance last night, he (indicating Eric) he almost screwed a one-armed girl!”

“She had three tits and one arm,” giggles the dimunitive (sic) bassist.

“Yeah. It was weird,” continues the Ghoul, “one of her arms was like a stump and it looked like it had a nipple on it. I must admit I almost fucked her just for the freakiness of it.”

And with that starter for 10, the Ghoul is off. He starts ranting on with these sick freak jokes that crack everyone up and inside a minute you get a window to his personality. “Our drummer is one bona fide sick fuck,” jokes Wednesday of him later. “He stills (sic) freaks us out. I’ll just look at him sometimes and say to myself, ‘holy shit, dude, what planet are you from?’”

“It was weird on the Gold Coast,” says Eric, picking up on the tour adventure thread. “The girls there were the hottest chicks I had ever seen in my life but by the same token I had never got as much shit for the way I look than I have there as well. It was like two opposite poles. At first it was, ‘hey freak, where’s the funeral?’ and the next was, ‘sit down have a drink with us.”

“As far as people looking at you weird, I found Sydney is where I got the stares,” admits the Ghoul. “Sydney sucks! Although we did have some girls staking out our hotel which was pretty funny and I did have an over-zealous fan thrown out of the bar. The guy was just touching me a little more than he should and I didn’t like it,” he says animatedly. “I was like, ‘man, don’t make me waste this perfectly good bottle of Heineken by breaking it over your head. I’ve done it before’. Eric looks at him and says, “yeah he has!” But he was on something. I remember thinking ‘I want whatever he’s on… times ten!”

“I gotta say though, the Sydney crowd today was one of the best crowds we’ve had so far,” offers Acey as he joins the throng. “It was insane. It is good for us this tour, because the kids don’t know what we are all about yet so we have to prove ourselves. By the end of the set they all had their hands in the air.”

By this time Joey and Wednesday have finished their feed and their hastily re-scheduled interview and are looking for some more mischievous fun for themselves. “First of all, I’m going to go back over to the stage we played because there are a lot of kids hanging around over there still wanting to see us,” explains Joey. “Then after that, I’m gonna go directly where ever (sic) the free drinks are at…” Suddenly, Eric’s doubled over in the doorway of the dressing room. It’s been 45 minutes since he visited Kraftwerk in the Boiler Room and the pharmaceuticals are beginning to take effect. We ask if he’s OK. “Yeah man, I just think I’m gonna spew!” he grins. The rest of the band are baiting him ceaselessly.

“C’mon chuck it up man!” they urge and all crack up laughing together.

In the middle of all the commotion Wednesday is taking a piss in the corner of the dressing room. The place is a wreck: there are empty bottles of booze, food scrapes (sic), squashed fruit, hairdryers, make-up, boots, clothes (black and red if (sic) course) and of course a giant mirror. Wednesday is actually pissing into a bottle of Corona. At the same time I am just about to pick up my freshly opened bottle of Corona from the table which is besides (sic) a now suspicious looking bottle. “Yeah I always piss in the empty bottles,” giggles Wednesday. And then I leave ‘em on the table just to piss off anyone who might want to grab some of our rider or whatever. Just be careful just to get bottles from down there in the ice box, he laughs mischievously. Suddenly the oddly warm bottle in my hand seems less than appealing…

As the clock turns 1am the only people left at the stadium are the cleaners, the roadies and the still-partying Murderdolls. Last to leave, the van is parked just outside the dressing room and all I can see through the opened door is the Ghoul chucking around a baguette, now baked hard as a rock over the course of the stifling hot day. “Look at this - it could be used as a weapon to seriously maim you!” he screams bouncing the French loaf off the wall. A post vomit Eric cracks up, as the two hold a mock baguette joust oblivious to the outside world. They eventually make off back to their hotel room in the city, but don’t hang there for too long. The weekend lights of Sydney beckon and they cruise down William street in King’s Cross, to an underground rock venue called Club 77. It’s glam night, just their crowd and they spend the wee hours of the morning hanging out with fans and getting stuck into the sauce with a vengeance. Australia has officially been Murderdolled!

Blood and Glitter

Gavin Braddeley charts the rise of shock rock

Glam is hard evidence that what goes around comes around. Long dismissed as the definitive climax of 70s bad taste, in recent years glam rock has arisen from the grave, albeit with a veil of cobwebs draped over its original dusting of glitter. Originally a violent reaction to the 60s happy fad for all things natural, worthy, meaningful and drab, glam was all about being deliberately artificial, selfish, throwaway and garish.

In the States Alice Cooper was impaling baby dolls and throwing blood bottles around the stage from ‘70 onwards culminating in the vaudeville theatrics of the ‘Welcome To My Nightmare’ album/tour of ‘76.

Back in the UK, the Glam pioneer was lame pop pixie Marc Bolan (sic), photogenic frontman with T-Rex, who caused a sensation when he took to the stage on Top of the Pops in ‘71 with glitter under his eyes, clad in what looked suspiciously like drag. Never one to miss a trick, the lizard-like David Bowie soon jumped from the hippy ship to take on his otherworldly Ziggy Stardust persona.

The older generation may have thought that smearing make-up on your face and covering your clothes in sequins made you look like a ‘pooftah’. Alice Cooper got around this by replacing Glam’s overt ‘fagginess’ with ghoulish melodrama, prompting one critic to observe that Americans were more comfortable with necrophilia than homosexuality. And then came Kiss. Gene Simmons’ monstrous blood vomiting, fire breathing ‘Demon’ persona enslaved an entire generation of US children crossing Glam’s theatricality with heavy metal machismo to create one of the most influential bands in rock music history.

W.A.S.P. and Mötley Crüe supercharged Kiss’s sleaze and violence quotient to spectacular effect in the 80s, and provide the missing link between Glam and the Murderdolls, who happily cite the back-combed bad boys as a large part of their creative DNA. The chief inheritor of the Glam tradition in the last decade, however, is cross-dressing controversialist Marilyn Manson. Bowie may have metaphorically murdered his creation Ziggy Stardust in the summer of ‘74, while Bolan (sic) died more literally in a car accident three years later, but quarter-of-a-century on, Manson used his own dark arts to conjure their spirit on ‘Mechanical Animals’, his own tribute to pop’s most decadent decade.

Dead… and loving it!

The Murderdolls’ five favourite movie death scenes of all time…

The Murderdolls are proof positive that nothing gets some folks’ creative juices flowing quite so freely as a truly delicious cinematic death scene. Joey and Wednesday have a few favourites – both carnage connoisseurs identifying the ‘74 classic power toolfest The Texas Chainsaw Massacre as the gory cream of the crop – a movie currently being remade with a certain Mr. Manson in the soundtrack composer’s chair. (As a curious aside, you never actually see the girl hung on the hook – just a shadow – but such is the film’s sordid impact that most viewers swear you do!)

Joey 1. Texas Chainsaw Massacre “The girl on the hook.”

2. Friday The 13th Part IV “When the knife comes through the bed and impales the chick.”

3. The Exorcist “When the priest is hucked out through the plate glass window.”

4. A Nightmare on Elm Street “Where the girl is getting dragged across the rooftop.”

5. Necromancy “Where a group of devils and monsters take a girl apart.”

Wednesday 1. The Texas Chainsaw Massacre “The girl on the hook.”

2. Dawn of the Dead “When the spiked ball comes down and rips the guy’s head apart.”

3. Phantasm “A silver ball hits the guy in the head and sucks out all his brains.”

4. Hellraiser “Where (sic) the end sequence where the guy is being chased by all these hooks. They attach themselves to him and rip him apart.”

5. Nightmare On Elm Street “Where Freddy rips out the guy’s veins and uses them like strings controlling a puppet.”

Schlock n’ Roll

B-movie classics that have influenced shock rockers of now and then…

Some horror movies are best watched not so much with your tongue in your cheek, as thrust firmly through it, films that by accident or design are more about fun than fear. The same could be said of numerous horror loving bands, including the Murderdolls, where an ‘everyday is Halloween’ ethos prevails. Here are a few examples of B movie blood fests which may not have won any Oscars, have been paid tribute to by schlock loving bands over the years…

Plan 9 From Outer Space (1957) It is no surprise that the mother-of-all cult movies inspired the mother-of-all cult bands, and when Glenn Danzig created a label to release early Misfits material he dubbed it ‘Plan 9’. Frequently voted the worst movie of all time with its ludicrous script, mind bogglingly bad special effects, cardboard sets, and even more cardboard artistry, Plan 9 From Outer Space is irresistibly entertaining. Directed by the cross-dressing caliph of crap Ed Wood Junior, featuring proto-goth babe Vampira and Bela Lugosi (dying of drug addiction, he was replaced mid production by a stand-in who looks nothing like him).

The Abominable Dr Phibes (1971) Featuring horror cinema’s kind of camp Vincent Price as the fiendish Phibes, avenging the death of his wife using maniacal methods borrowed from the biblical plagues, all against wonderful, strangely psychedelic sets. Also possessed of a strange psychedelic sensibility are punk pioneers the Damned, though in the 80s, lead singer Dave Vanian’s horror sensibilities took centre stage, attracting a goth following. The 80 track ‘13th Floor Vendetta’ is a classic example of the band’s game-topping which, if you listen carefully, is all about ol’ Doc Phibes.

Mars Attacks! (1996) Director Tim Burton’s tribute to the drive-in shockers of the 50s and 60s, Mars Attacks! was actually based upon a ‘62 series of bubblegum cards, discontinued because of their gruesomely graphic pictures of earthlings being exterminated by alien invaders. As such this inspiration might suggest Mars Attacks! has little by way of plot, but for anyone with a weakness for vintage schlock sci-fi it’s a true Technicolor treat. This must certainly include the Misfits and when they reformed, they did so without the blessing of founder Glenn Danzig, but with their monster movie obsessions intact – among a multitude of horror movie tributes on their ‘97 comeback album ‘American Psycho’ was ‘Mars Attacks’ (and even an instrumental coincidentally titled ‘Abominable Dr Phibes’!)

I Was A Teenage Werewolf (1957) The drive-in movies of the 50s and 60s typically featured juvenile delinquents or monsters, and this bargain-basement effort delivered both in one lurid package. Before becoming ‘Pa’ on TV’s Little House on the Prairie Michael Landon stars as a troubled teen – though when he starts growing hair in strange places, it’s more than just hormones to blame. A howl from beginning to end, Teenage inspired a number on ‘Songs the Lord Taught Us’, the ‘80 debut from drive-in movie loving ghoulish rockers The Cramps.

Murder, mayhem and a right old mess

Minging Murderdoll tales from the Big Day Out

Who is the messiest Murderdoll of them all? Wednesday: “That would be Eric and The Ghoul. They are just messy as fuck. But you know you’ve just got to get used to living with these people. We’ve been on the road since July. You live on a bus for six weeks which means you’ve got (sic) live in everyone else’s shit.”

Who is the tidy anal doll? Joey: “No-one. We’re all pretty fuckin’ messy.” Wednesday: “I just took two garbage bags of mess out of my room. And just put it in the hallway. Just full of chicken bones and beer bottles and all sorts of shit like that, it was just smelling really bad so I had to get rid of it.”

So you do that yourself? Wednesday: “I don’t let the cleaning staff come into my room and tidy up. I put the ‘Do Not Disturb’ sign for the whole week I am there.” Joey: “The housekeepers are scared shitless to come into our rooms anyway so we keep it easy for them and put the ‘Do Not Disturb” signs up the whole time. They are going to be so scared to come into our rooms and clean up after we’ve been there for a fuckin’ week!”

[fionahorne11]

Who was at 1994’s BDO ? First time my 90’s band Def FX played with The Smashing Pumpkins - going on the main stage just before them! That tour sparked a good friendship with Billy and I - we took this photo on the last show of the BDO in Auckland. Then in 1996 Def supported the Pumpkins all round Australia - best and most epic time! The Horden Pavilion show in Sydney was one of my faves of all time! So I’m stoked I get to be a fan now and see them and another of my FAVE ol’ bands, Jane's Addiction and one of my fave newbies Amyl and The Sniffers 🤘😝🖤⚡️ I’m goin’ to the Eatons Hill show… which one are you going to? Tix are almost gone for the tour so grab ‘em before you miss out! There’s cool local bands at each show too - 🤩. Can’t wait!! ⭐️⭐️⭐️⭐️⭐️ The World Is A Vampire tour!!! Hit up the link in my bio and get ya tix!! ☝️#theworldisavampiretour2023 @smashingpumpkins @janesaddiction @amylandthesniffers @1worldentertainment @def_fx (at The 90's) https://www.instagram.com/p/CqfqZHXPZiJ/?igshid=NGJjMDIxMWI=

[rlim1908]

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Metal Hammer 112, April 2003

Touring and whoring on the other side of the world, Hammer kept a diary of death with the Murderdolls through their residency at Australia’s Big Day Out festival. Shock horror: Mark Hughes. B-movie hero: Tony Mott.

(drive link)

The Big Day Out. The Australian travelling musical circus that steamrolls its way around Australia and New Zealand every winter with the hottest bands on the planet flying from all over the globe to join down under’s best bands in a mayhem filled fortnight. This year’s line-up, features among others, The Foo Fighters, Queens of the Stone Age, Jane’s Addiction, Jimmy Eat World, The Hard Ons and deathglam monstrosities, the Murderdolls. So far, the Mid West (sic) based five-piece outfit have been the cream of the festival, appropriately headlining the ‘Essentials’ stage. This is the band’s first time in the Antipodes and quizzical music fans have crowded to see the much-talked about live set. With Sydney copping the biggest crowds of all the legs on the tour, the band are preparing something special. But at 3pm in the afternoon you wouldn’t know it. Most of the band are still in bed from the night before, well, actually… the week before.

The ‘Dolls have been in Sydney for five days before their Big Day Out show and not finding much to do early on in the week they’ve just been getting down to the (sic) rock’n’roll’s most popular pastime: hard drinking. Drummer ‘Big’ Ben ‘The Ghoul’ Graves and bass player Eric Griffin are recovering from last night’s binge. While singer Wednesday and guitarist Joey Jordison are recovering from the night before the night before. Acey Slade, who maintains his sobriety, but still stays out ‘til dawn, has been up since !!am and is the only one ready for the show. With the band on stage at 7:15pm, things need doing. Staggering through their beer can and ‘paraphernalia’-strewn rooms to the showers, they’re down in their van and on the way out to the Big Day Out site just after 4pm.

Situated at the same place that hosted the Sydney 2000 olympics, the festival facilities are first rate and the sell-out crowd of 52,000 festival-goers are making the most of it. The temperature’s pushing a blistering 35°C and being the middle of a drought-ridden summer in Australia, everything’s dry, dusty and cracked. It’s a good 40-minute drive from the city to the festival and the sun’s stinging in through the van windows. Not big fans of the sunlight, the Murderdolls have got their leather jackets up over their heads to avoid even the slightest hint of a tan.

In the cool, air-conditioned shade of backstage I get to sit down with Joey Jordison and singer Wednesday 13 to gind out how the band are doing after their meteoric rise over the past eight months. Joey is straight down the line, measured and professional. “This si the first Big Day Out for all of us. Slipknot have only been down here once but not that (sic) this festival. This is something I’ve really wanted to play – something I’ve wanted to do for a really long time.”

For Wednesday, this is another notch on his rise as an international rock’n’roller. “It’s awesome,” he says. “I’ve always wanted to be out on the front of a rock’n’roll band at a festival like this. After struggling doing my own band for six years I actually quit my job back in April and I’ve been touring every since. I’ve done all the things I ever dreamed about. I’ve been to Europe three times, Japan twice and here we are now in Australia and that has all been pretty much in the last six months! Holy shit we’re doing some things that some bands have never done!”

“We just checked out the videotape from the Auckland show the other day and fuck man, it was awesome!” enthuses Joey. “People are saying we are pulling the most people to that stage out of everyone. Our band has been doing really well especially since we’ve only been going for a short time. We hope that after the BDO we’ll be able to come back and do some real headlining shows down here. We are having fun though, thinking about it, we’ve never had so many days off between shows before, it’s more like the Big Day Off!”

The band wasn’t supposed to be so idle. Most overseas bands on the BDO bill play a bunch of satellite shows in various cities around the country and for a month prior, the Murderdolls had been slated to perform a Sydney show with fellow US rockers The Deftones. But with very little warning, the Murderdolls were dumped from the bill just before the show. What really pissed off Joey and the lads was a lot of the Murderdolls fans had bought tickets on the basis that the band would be playing but in the end had to watch the Deftones supported by ex-At The Drive-In chancers, Sparta.

Without much choice in the matter the Murderdolls issued a statement on their website apologising to their fans and kept trying to fly their flag with some instore appearances at local record stores. One in particular at Utopia Records, was insane. There was such a roar when the band turned up, they looked truly surprised at the number of kids who had showed up, most dressed in black and red outfits.

“Someone told us there was only going to be about 150 kids, which was supposed to be a good turn-out for Utopia records for a new band,” retells Joey. “But when we turned up there (sic) almost 500! We talked to fans and signed everything that they had. We were there for a good three and a half hours. And at the Channel V interview it was pretty much the same story. Hordes of kids that wouldn’t let us get away.”

“That’s the cool thing with our fans,” explains Wednesday. “We’re not a radio band or an MTV band with this created army of little kids which I think is more pure than being the Number One radio band or liking it because someone tells you to like it. I know that our fans are real. It is really cool to see these hordes of kids show up, they are dressed like us, they know everything about us, it is just awesome.”

Thinking further ahead fans will be please to know the band are not going to let up on the groundswell already created by the Murderdolls. “I have to go back and finish recording some Slipknot stuff,” reveals Joey. “Then we (the Murderdolls) are going to do some more touring. There’s usually a three to four month sort of break between recording and when an album comes out so we are going to tour pretty much all the way from the end of May all the way to maybe the beginning of October. Which will be good because there’ll be less sunlight at that time of year,” jokes Wednesday raising his non-existent eyebrows and throwing his arms, heavily tattooed with b-grade horror heroes, into the air.

As the hot afternoon drifts into an only slightly less simmering evening, there’s a small problem with guitarist Acey. He’s got indigestion. This amounts to a small crisis because first aid officials must follow procedure and administer the medicine. This takes two St. John’s Ambulance men on pushbikes in a five minute ride from their base at the side of the main stadium. Very un-rock’n’roll indeed.

With the gig just 45 minutes away, the boys are pacing around their trailer, having their pics taken for Hammer. Acey inside in front of the mirror still applying the last of his make-up, Ghoul is getting powdered up, Wednesday’s still with the photographer, while Joey’s nervously pacing around, in the trailer, out the trailer, back in… Eric meanwhile is ready for the stage and cracks open the obligatory bottle of Jack Daniel’s. As a Murderdolls ritual, they’re applying the slap, the band have to listen to Kiss. “Must. Have. Kiss.” stipulates Joey. “‘All American Man’! We sometimes change that to ‘All American Ghoul’,” chimes in the Ghoul.

Just 10 minutes before showtime and the long lanky frame of Ben Graves is stretched spider-like up against the dressing room wall. “I’ll be in pain afterwards,” he explains. Wednesday has by now finished his solo shots with Hamer’s photographer. The day is hot enough anyway, and under the photographers lights the heat is even more stifling. ‘Jesus, it’s fucking hot!” exclaims the frontman. “But I don’t mind… I’m a naturally dead person in front of a camera” he laughs.

More Kiss blares out from the dressing room, this time ‘Dr Love’! Then the moment comes: ground fucking zero at the Big Day Out! The band clamber into the van and head around the back way to the Essentials stage. The bottle of Jack’s being passed around as they approach the stage the band take a quick peak (sic) to see how the crow’s building up. It’s the biggest yet, taking up most of the grassy area out the back of the main stadium. Joey – who regularly suffers from pre-gig nerves as his pre-stage vomiting on Slipknot’s ‘Disasterpiece (sic)’ DVD proves in all its technicolour glory – is bricking it.

Five minutes before the band are due to hit the powerchords and the guys are milling around in the wings. Ghoul is banging on some warm-up pads and everyone is getting psyched. They’ve left the Kiss CD backstage so they have to hum ‘All American Man’ together. Then they make their way to the stage.

A couple of huge Murderdolls logos adorn the stage and in an eruption of noise and energy, the Dolls take the stage and instantly kick off with ‘Dawn of The Dead’. Jordison in black leather Gestapo hat is jumping around stage left, Acey is wailing away stage right while Eric bangs away on the bass doing his best Nikki Sixx impression, while the Ghoul wrecks the trap kit. Wednesday is the last to take the stage and screaming, “We are the dead, coming for you!” And the crowd goes fucking wild.

The kids down the front, dressed up in full glam-goth regalia, know every word and sing along fervently with the band while among the throng watching from the side of stage are some of the biggest names in the Australian music industry. Members of bands like 28 days, Machine Gun Fellatio, Cog, Jimmy Eat World, Pre-Shrunk, and Sparta all stand wide eyed and mouths agape at the outrageous rock revisionism being unleashed onstage.

By the time the band have launched into ‘I (sic) Was a Teenage Zombie’, ‘Let’s Go To War’ and ‘Slit My Wrists (sic)’, the crows know what they’re in for. Most who have showed up for curiosity (sic) sake are still hanging around, but if anything the crowd is building and everyone looks like they are right into it having fun. The intro to ‘Twist My Sister’ is a kid’s nursery rhyme ‘Old McDonald’ which gets the whole crowd singing along.

Unbelievably, some lunatic in the crowd starts throwing bangers at the stage, but the fireworks only make it as far as the front row of fans before blowing up in their faces. Wednesday tries to get the guy to quit while geeing up the rest of the crowd. “All the people down the front tell the people at the back to ‘Die Die Die… my bride!’ he yells as the band grind into the song…

Today’s set includes two new songs, and we can report that both are killer kitsch rock rippers. The first, set for legendary status is called ‘The Devil Made Me Do It… And I’ll Do It Again’ while the second is the set closer, a crowd sing along gem ‘I Love to Say Fuck’. Wednesday grabs his big black umbrella, emblazoned with the word FUCK, Eric, Acey, and Joey are going crazy, jumping up and down in unison, Ghoul is all arms and legs behind the kit while Wednesday is right down in the crowd’s face urging them to stick their fingers in the air and yell ‘Fuck!’. It looks great to watch. “It isn’t choreographed,” says Wednesday later. “Everything’s pretty much spontaneous. There are some things like we all jump on an ascent in the music or whatever but everything else is stuff that just happens on stage.”

They (sic) crowd are almost passing out from the combination of frenzied activity and the extreme heat, but still manage to scream out for more as the band leave the stage. “A lot of people don’t know that’s what drives a show,” explains Wednesday about his relationship with the audience. “You have to make fans feel part of the event and I think we do it better than anyone else.”

The band then jump back into the van for the two minute trip back to their dressing room behind the main stage. When they get back there the guys are all super hyped up. Excitedly buzzing around their dressing room, drinking beers, telling jokes. Joey is busy analysing the gig, and the BDO circus in general. He and Wednesday have got an interview to do with Australian TV scheduled for 8:45pm. It’s almost 9pm and Joey has another issue: “I want to eat! I must eat before I talk!” he exclaims. The interview is postponed for 20 minutes.

Bass player Eric is hanging around, so I grab him for a quick chat. Of all the Murderdolls, Eric seems the shyest but is probably the one most up for anything, especially if it is party related. He may only be small, (even in his Ace Frehley six-inch platforms he’s still barely average height!) but he’s a true rock’n’roller with a party attitude to match. “‘Machine Gun Fellatio’ that’s a cool fuckin’ name,” he squeaks discussing some of the other bands on the BDO bill. And he does squeak, kinda, like annoying Brit ‘comedian’ Joe Pasquale.

I bring up the fact that esteemed record producer, Nick Launey (Silverchair, INXS) was side of stage watching the show and had an interesting story to tell me about Eric. “I think I know where this is going,” smiles Eric slyly. “I met him about two years ago in LA at a party and we were all fucked up. I got dragged down three flights of stairs by my hair and he reckoned it was the biggest rock’n’roll moment of ‘00 for him. First impressions count, man.”

“It was so rock’n’roll!” Launey informs me later. “It was the launch of Orgy’s album and they had these models dressed as prostitutes lying on a bed and Eric jumps up on the bed with them, which of course you weren’t allowed to do. So the bouncers are dragging him out by his hair, kicking and screaming, down the stairs. His head was literally bouncing down each stair like a cartoon character and all the while he’s just got his middle fingers up on each hand and is yelling out ‘Fuck You!’, ‘Get Fucked!’, ‘Fuck you, mind the hair!’ Somehow he got back into the party and I asked him ‘how’s your head?’ and he just said “Whaddya mean?” - it was just so rock’n’roll!”

Eric has pre-arranged with their tour driver to take him over to the Boiler Room, where the BDO’s electronica acts are playing. He wants to see German electronic innovators Kraftwerk. “One of the bands I was in before the Murderdolls was very digital and computer based,” he reveals. “Kraftwerk don’t do a lot of live shows and I don’t think I’ll ever get the opportunity to see them again. They’re pretty important to the genre and even if I catch just 10 minutes of their set I think it will be worth coming over. A short ride through the back entrance, we arrive at the Boiler Room and manage to get in, via a bit of a labyrinth, through the backdoor and into the main arena just at the side of the stage. The Kraftwerk guys are standing robot-like in front of their computers while the huge dome-like venue is dripping with sweat from the 10.000+ strong punters who have basically been locked in the room all day listening (sic) the dance bands. We get a good vantage point but after about five minutes we’re leaving. “Jeez! That was the most boring piece of crap I’ve seen!” exclaims Eric when he gets back to the dressing room. “But it was worth going because I scored some drugs!”

Acey’s just hanging around backstage with his camera and a little doll from The Nightmare Before Christmas. He has a ritual where he takes a photograph of the doll in front of landmarks all around the world. “I have him in front of the Eiffel Tower for instance,” he says. “The other day I took a pic of him in front of the Sydney Opera House.” And with that he takes a photo of the doll sitting in front of a sign that says ‘Sleazy’. Hmmm. Odd man.

Acey and Eric are loving every minute of the Murderdolls ride. They’re both on their first trip to Australia and according to both of them it is (sic) has been “Cool as hell!” “The Gold Coast was really on,” says Eric. “It’s been kinda mellow since we got to Sydney because we’ve had four or five days off before this show so we’ve just been trying to find out what’s been going on. It’s been building gradually… and we’ve been partying a lot – maybe too much,” he adds sheepishly. Rick the tour manager – who’s passing by – agrees: “Yep, they’ve been very naughty boys – they’ve got to go to bed early tonight with no supper,” he jokes.

“He knows we’re the most dangerous band on the tour,” counters Eric. It’s a fact that seems to deter any other bands partying with the Murderdolls too. “The only band that has even reached out to us are the guys in Jane’s Addiction, in particular, Dava Navarro,” offers Acey. “He actually came out of his way to come over and introduce himself. And pretty much comes up and talks to us everyday he sees us along with the drummer, Steven [Perkins]. Everyone else is just kinda like, ‘What’s Up?’ Maybe it’s because we don’t look like we’re the most approachable band. Then again no-one has done anything to piss us off at all.”

No one may be talking to the Murderdolls but there is talk of the Murderdolls all over BDO. Most centres around their appearance with most Australian musical luminaries agreeing the band are the best dressed at the festival. One member of Aussie band the Resin Dogs even goes as far as to say, “The Murderdolls rock the wardrobe”. Acey is kinda flattered but non-plussed by the comments. “What image?” he exclaims. “This is how we are all day! Obviously we knock it up a notch for the show but this is the real thing. We don’t care if people like us as sexual deviants or not, but one thing’s for sure – they’ll fucking remember us.”

Big Ben Graves strides over to join us at the table. “Did I hear the words sexual deviant?” he announces in his deeply rounded US accent. “I’ve always been like that! Some people have a devil on one shoulder and an angel on the other – I just two devils. There is NO voice of reason!”

We ask him if he has had any interesting adventures since he’s been in Australia and then instantly regret it…

“Dude, it has been nothing but interesting adventures. For instance last night, he (indicating Eric) he almost screwed a one-armed girl!”

“She had three tits and one arm,” giggles the dimunitive (sic) bassist.

“Yeah. It was weird,” continues the Ghoul, “one of her arms was like a stump and it looked like it had a nipple on it. I must admit I almost fucked her just for the freakiness of it.”

And with that starter for 10, the Ghoul is off. He starts ranting on with these sick freak jokes that crack everyone up and inside a minute you get a window to his personality. “Our drummer is one bona fide sick fuck,” jokes Wednesday of him later. “He stills (sic) freaks us out. I’ll just look at him sometimes and say to myself, ‘holy shit, dude, what planet are you from?’”

“It was weird on the Gold Coast,” says Eric, picking up on the tour adventure thread. “The girls there were the hottest chicks I had ever seen in my life but by the same token I had never got as much shit for the way I look than I have there as well. It was like two opposite poles. At first it was, ‘hey freak, where’s the funeral?’ and the next was, ‘sit down have a drink with us.”

“As far as people looking at you weird, I found Sydney is where I got the stares,” admits the Ghoul. “Sydney sucks! Although we did have some girls staking out our hotel which was pretty funny and I did have an over-zealous fan thrown out of the bar. The guy was just touching me a little more than he should and I didn’t like it,” he says animatedly. “I was like, ‘man, don’t make me waste this perfectly good bottle of Heineken by breaking it over your head. I’ve done it before’. Eric looks at him and says, “yeah he has!” But he was on something. I remember thinking ‘I want whatever he’s on… times ten!”

“I gotta say though, the Sydney crowd today was one of the best crowds we’ve had so far,” offers Acey as he joins the throng. “It was insane. It is good for us this tour, because the kids don’t know what we are all about yet so we have to prove ourselves. By the end of the set they all had their hands in the air.”

By this time Joey and Wednesday have finished their feed and their hastily re-scheduled interview and are looking for some more mischievous fun for themselves. “First of all, I’m going to go back over to the stage we played because there are a lot of kids hanging around over there still wanting to see us,” explains Joey. “Then after that, I’m gonna go directly where ever (sic) the free drinks are at…” Suddenly, Eric’s doubled over in the doorway of the dressing room. It’s been 45 minutes since he visited Kraftwerk in the Boiler Room and the pharmaceuticals are beginning to take effect. We ask if he’s OK. “Yeah man, I just think I’m gonna spew!” he grins. The rest of the band are baiting him ceaselessly.

“C’mon chuck it up man!” they urge and all crack up laughing together.

In the middle of all the commotion Wednesday is taking a piss in the corner of the dressing room. The place is a wreck: there are empty bottles of booze, food scrapes (sic), squashed fruit, hairdryers, make-up, boots, clothes (black and red if (sic) course) and of course a giant mirror. Wednesday is actually pissing into a bottle of Corona. At the same time I am just about to pick up my freshly opened bottle of Corona from the table which is besides (sic) a now suspicious looking bottle. “Yeah I always piss in the empty bottles,” giggles Wednesday. And then I leave ‘em on the table just to piss off anyone who might want to grab some of our rider or whatever. Just be careful just to get bottles from down there in the ice box, he laughs mischievously. Suddenly the oddly warm bottle in my hand seems less than appealing…

As the clock turns 1am the only people left at the stadium are the cleaners, the roadies and the still-partying Murderdolls. Last to leave, the van is parked just outside the dressing room and all I can see through the opened door is the Ghoul chucking around a baguette, now baked hard as a rock over the course of the stifling hot day. “Look at this - it could be used as a weapon to seriously maim you!” he screams bouncing the French loaf off the wall. A post vomit Eric cracks up, as the two hold a mock baguette joust oblivious to the outside world. They eventually make off back to their hotel room in the city, but don’t hang there for too long. The weekend lights of Sydney beckon and they cruise down William street in King’s Cross, to an underground rock venue called Club 77. It’s glam night, just their crowd and they spend the wee hours of the morning hanging out with fans and getting stuck into the sauce with a vengeance. Australia has officially been Murderdolled!

Blood and Glitter

Gavin Braddeley charts the rise of shock rock

Glam is hard evidence that what goes around comes around. Long dismissed as the definitive climax of 70s bad taste, in recent years glam rock has arisen from the grave, albeit with a veil of cobwebs draped over its original dusting of glitter. Originally a violent reaction to the 60s happy fad for all things natural, worthy, meaningful and drab, glam was all about being deliberately artificial, selfish, throwaway and garish.

In the States Alice Cooper was impaling baby dolls and throwing blood bottles around the stage from ‘70 onwards culminating in the vaudeville theatrics of the ‘Welcome To My Nightmare’ album/tour of ‘76.

Back in the UK, the Glam pioneer was lame pop pixie Marc Bolan (sic), photogenic frontman with T-Rex, who caused a sensation when he took to the stage on Top of the Pops in ‘71 with glitter under his eyes, clad in what looked suspiciously like drag. Never one to miss a trick, the lizard-like David Bowie soon jumped from the hippy ship to take on his otherworldly Ziggy Stardust persona.

The older generation may have thought that smearing make-up on your face and covering your clothes in sequins made you look like a ‘pooftah’. Alice Cooper got around this by replacing Glam’s overt ‘fagginess’ with ghoulish melodrama, prompting one critic to observe that Americans were more comfortable with necrophilia than homosexuality. And then came Kiss. Gene Simmons’ monstrous blood vomiting, fire breathing ‘Demon’ persona enslaved an entire generation of US children crossing Glam’s theatricality with heavy metal machismo to create one of the most influential bands in rock music history.

W.A.S.P. and Mötley Crüe supercharged Kiss’s sleaze and violence quotient to spectacular effect in the 80s, and provide the missing link between Glam and the Murderdolls, who happily cite the back-combed bad boys as a large part of their creative DNA. The chief inheritor of the Glam tradition in the last decade, however, is cross-dressing controversialist Marilyn Manson. Bowie may have metaphorically murdered his creation Ziggy Stardust in the summer of ‘74, while Bolan (sic) died more literally in a car accident three years later, but quarter-of-a-century on, Manson used his own dark arts to conjure their spirit on ‘Mechanical Animals’, his own tribute to pop’s most decadent decade.

Dead… and loving it!

The Murderdolls’ five favourite movie death scenes of all time…

The Murderdolls are proof positive that nothing gets some folks’ creative juices flowing quite so freely as a truly delicious cinematic death scene. Joey and Wednesday have a few favourites – both carnage connoisseurs identifying the ‘74 classic power toolfest The Texas Chainsaw Massacre as the gory cream of the crop – a movie currently being remade with a certain Mr. Manson in the soundtrack composer’s chair. (As a curious aside, you never actually see the girl hung on the hook – just a shadow – but such is the film’s sordid impact that most viewers swear you do!)

Joey 1. Texas Chainsaw Massacre “The girl on the hook.”

2. Friday The 13th Part IV “When the knife comes through the bed and impales the chick.”

3. The Exorcist “When the priest is hucked out through the plate glass window.”

4. A Nightmare on Elm Street “Where the girl is getting dragged across the rooftop.”

5. Necromancy “Where a group of devils and monsters take a girl apart.”

Wednesday 1. The Texas Chainsaw Massacre “The girl on the hook.”

2. Dawn of the Dead “When the spiked ball comes down and rips the guy’s head apart.”

3. Phantasm “A silver ball hits the guy in the head and sucks out all his brains.”

4. Hellraiser “Where (sic) the end sequence where the guy is being chased by all these hooks. They attach themselves to him and rip him apart.”

5. Nightmare On Elm Street “Where Freddy rips out the guy’s veins and uses them like strings controlling a puppet.”

Schlock n’ Roll

B-movie classics that have influenced shock rockers of now and then…

Some horror movies are best watched not so much with your tongue in your cheek, as thrust firmly through it, films that by accident or design are more about fun than fear. The same could be said of numerous horror loving bands, including the Murderdolls, where an ‘everyday is Halloween’ ethos prevails. Here are a few examples of B movie blood fests which may not have won any Oscars, have been paid tribute to by schlock loving bands over the years…

Plan 9 From Outer Space (1957) It is no surprise that the mother-of-all cult movies inspired the mother-of-all cult bands, and when Glenn Danzig created a label to release early Misfits material he dubbed it ‘Plan 9’. Frequently voted the worst movie of all time with its ludicrous script, mind bogglingly bad special effects, cardboard sets, and even more cardboard artistry, Plan 9 From Outer Space is irresistibly entertaining. Directed by the cross-dressing caliph of crap Ed Wood Junior, featuring proto-goth babe Vampira and Bela Lugosi (dying of drug addiction, he was replaced mid production by a stand-in who looks nothing like him).

The Abominable Dr Phibes (1971) Featuring horror cinema’s kind of camp Vincent Price as the fiendish Phibes, avenging the death of his wife using maniacal methods borrowed from the biblical plagues, all against wonderful, strangely psychedelic sets. Also possessed of a strange psychedelic sensibility are punk pioneers the Damned, though in the 80s, lead singer Dave Vanian’s horror sensibilities took centre stage, attracting a goth following. The 80 track ‘13th Floor Vendetta’ is a classic example of the band’s game-topping which, if you listen carefully, is all about ol’ Doc Phibes.

Mars Attacks! (1996) Director Tim Burton’s tribute to the drive-in shockers of the 50s and 60s, Mars Attacks! was actually based upon a ‘62 series of bubblegum cards, discontinued because of their gruesomely graphic pictures of earthlings being exterminated by alien invaders. As such this inspiration might suggest Mars Attacks! has little by way of plot, but for anyone with a weakness for vintage schlock sci-fi it’s a true Technicolor treat. This must certainly include the Misfits and when they reformed, they did so without the blessing of founder Glenn Danzig, but with their monster movie obsessions intact – among a multitude of horror movie tributes on their ‘97 comeback album ‘American Psycho’ was ‘Mars Attacks’ (and even an instrumental coincidentally titled ‘Abominable Dr Phibes’!)

I Was A Teenage Werewolf (1957) The drive-in movies of the 50s and 60s typically featured juvenile delinquents or monsters, and this bargain-basement effort delivered both in one lurid package. Before becoming ‘Pa’ on TV’s Little House on the Prairie Michael Landon stars as a troubled teen – though when he starts growing hair in strange places, it’s more than just hormones to blame. A howl from beginning to end, Teenage inspired a number on ‘Songs the Lord Taught Us’, the ‘80 debut from drive-in movie loving ghoulish rockers The Cramps.

Murder, mayhem and a right old mess

Minging Murderdoll tales from the Big Day Out

Who is the messiest Murderdoll of them all? Wednesday: “That would be Eric and The Ghoul. They are just messy as fuck. But you know you’ve just got to get used to living with these people. We’ve been on the road since July. You live on a bus for six weeks which means you’ve got (sic) live in everyone else’s shit.”

Who is the tidy anal doll? Joey: “No-one. We’re all pretty fuckin’ messy.” Wednesday: “I just took two garbage bags of mess out of my room. And just put it in the hallway. Just full of chicken bones and beer bottles and all sorts of shit like that, it was just smelling really bad so I had to get rid of it.”

So you do that yourself? Wednesday: “I don’t let the cleaning staff come into my room and tidy up. I put the ‘Do Not Disturb’ sign for the whole week I am there.” Joey: “The housekeepers are scared shitless to come into our rooms anyway so we keep it easy for them and put the ‘Do Not Disturb” signs up the whole time. They are going to be so scared to come into our rooms and clean up after we’ve been there for a fuckin’ week!”

[murryenglard]

Xero Beautiful Business Fund applications open for small business customers

Xero Beautiful Business Fund applications open for small business customers https://www.xero.com/blog/2023/08/xero-beautiful-business-fund-applications-open/ Today marks day one of Xerocon Sydney and I’m so excited to share more details on a global initiative called the Xero Beautiful Business Fund.  Last month on Xero Day, the anniversary of the day where it all started for us 17 years ago, we announced the Xero Beautiful Business Fund as a way to help our small business customers boost their growth plans and drive future success. The initiative offers more than NZ$750,000 in funding globally for winning Xero customers who are eager to take the next step in various aspects of their business.  Starting today, applications for the Xero Beautiful Business Fund are officially open and small businesses can apply at xerobeautifulbusinessfund.com.  The Fund is open to Xero small business customers in Australia, Canada (excluding Quebec), New Zealand, Singapore, South Africa, the US and the UK, and we can’t wait to hear from you. There will be a total of 28 regional winners, one from each country for each category (outlined below), that will be determined by regional judging panels before being put forward to the global judging panel to conclude the global winner for each of the four categories.  The global judging panel for the inaugural Xero Beautiful Business Fund includes judges who represent accounting, small business and Xero’s global partners: Laurie McCabe, Co-Founder and Partner, SMB Group; Becca McClure, Director of Transformation, BDO Global; Jeanne Grosser, Global Head of Partnerships, Stripe; John Hummelstad, Locatrix CEO; Sukhinder Singh Cassidy, Xero CEO and Nigel Piper, Xero Executive General Manager, Customer Experience. Ready to apply? Here’s how you can get started: 1. Review the funding categories  Eligible Xero small business customers – whether you’re for-profit or non-profit – will be able to apply for the following funding categories that best suit your needs. There’s no cap on how many you can enter.  Innovating for sustainability: For small businesses who want to take the next step on their sustainability journey. For example, it could be to move to sustainable packaging, implement energy-efficient equipment or carbon neutral transport. Trailblazing with technology: For small businesses seeking to innovate. This could include digitalising parts of their operations or integrating new emerging technologies. Strengthening community connection: For small businesses or non-profits who strive to give back to their communities. It could be to contribute to philanthropy, social good, or make an impact on the community in a meaningful way. Upskilling for the future: For small businesses seeking to support upskilling for themselves or their employees. This could include access to training and other professional development opportunities. 2. Put together your submission For each category you’d like to enter, create a 90 second pitch video and complete a short online application form. For video filming tips to follow, be sure to check out our guide.  Tip: It’s important to be future focused in your submission, detailing how the fund would benefit your business.  3. Enter now Submit your application online at xerobeautifulbusinessfund.com. You’ll have until 6 October to get your submission in! Our winners will be announced in November.  Where can I learn more? For full submission criteria and details, please visit xerobeautifulbusinessfund.com. More information on the Xero Beautiful Business Fund can be found on our dedicated web page.  Be sure to stay tuned for additional content covering the Xero Beautiful Business Fund!  The post Xero Beautiful Business Fund applications open for small business customers appeared first on Xero Blog. via Xero Blog https://www.xero.com/blog August 22, 2023 at 08:45PM

[rlim1908]

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Acca after 12th commerce

Talking about ACCA course ACCA (Association of Chartered Certified Accountants), also known as Global Professional Accountant it is the world’s fastest-growing accounting professional body. ACCA is world’s most forward thinking professional accounting body with more than 2,20,000 members and 5,20,000 students, ACCA has established its presence in over 180 countries across the world (such as UK, Singapore, Dubai, Australia, Canada, etc.). In India, ACCA members have great scope in various MNCs including consulting firms like PwC, EY, KPMG, Deloitte, Grant Thornton, BDO, Accenture, Credit Suisse, JP Morgan, etc.