#young glenn danzig

[vancruejovi]

70s Glenn Danzig ☠️

[younglenndanzig]

[transfemme-shelterdog]

To any trans dudes dysphoric over their height, keep in mind that Dani Filth(Cradle of Filth singer) is 5 ft 5, Kerry King (Slayer singer) is 5 ft 6, Lars Ulrich (Metallica) is 5 ft 6, Glenn Danzig (Danzig) is 5 ft 4, Joey Jordison (Slipknot) is 5 ft 3, Ronnie James Dio (DIO) is 5 ft 4, and all of AC/DC is 5 ft 7 or less (5 ft 2 being shortest with Angus Young).

All of these men have no problem getting women, and being seen as men.

Embrace it. There's even some women out there who actually prefer shorter men (such as myself)

[runthepockets]

32, 40, 18?

32. Opinions on stage diving?

Young man's game. I don't have health insurance or a ton of stamina these days. I'm short as fuck and always standing in the first row too, so I can't deny it gets a little obnoxious having to catch or avoid like twelve 19 year olds in a row while I'm just tryna mosh.

40. First few Metal bands you liked?

Uhhh Black Sabbath, Metallica, Lamb of God, and Dio. If we're including Alt / Nu / Metalcore, Linkin Park, Three Days Grace, Trivium, and Breaking Benjamin too.

18.Biggest Douchebag in Metal?

Seth Putnam is dead so it's gotta be a hard tie between Lars Ulrich, Glenn Danzig, and Chris Barnes.

[vegangirldiaries]

I Miss Him

The first time I met John, he was sticking up for me in high school. Being the quiet goth girl that I was, of course, I was teased often in school. John had this sort of 'metal-head' aesthetic about him so I guess he found me somewhat relatable? He was a tall dude, and kinda chubby, so no one would be brave enough to go up against him in any way. In my English class, he stood up for me when one of the guys stole my treasured book I had been reading (LOTR). After John was through with him, not only did he return my book and apologize, he actually looked like he was going to cry. Despite this, John wasn't ever a mean person, he was more like a gentle giant. This big and tall guy that almost became like my body guard. I loved darkwave music but the only punk band I loved was the misfits. He was a HUGE fan of Glenn Danzig, so we got along just fine and shared earbuds in class. What we had was platonic, almost a brotherly/sisterly love and respect for one another.

After High school, we both got REALLY into game of thrones. after season 3's 'red wedding' episode, he swore he'd read all the books so he'd no longer be surprised with heartache. We worked on a podcast together called 'game of thrones re-watch' he was so much fun to work with! I would've had him on every episode, only we never finished a full season because of scheduling issues. There were too many things in our way, so we stopped. I still have one episode recording I fondly listen to when I miss him.

In 2019, when the final season of GOT aired, John wouldn't be able to finish watching the show. In April of that year, he was hospitalized with a bad cold. It became pneumonia and he succumbed to it on April 6th, 2019. This past Saturday was the 5th anniversary of his death. It was so strange to know someone my age die at 31. It felt so unfair.

In 2018, I found out a childhood friend of mine had committed suicide. A year later, I get this news. and in 2020, I had to suffer through watching my mother pass away while in hospice. It was a strange time for me to have to grieve for three years in a row.

My husband had the pleasure of meeting John a few times. We used to host Game of Thrones watch parties at our apartment, which John was always invited to. My husband got that gentle giant vibe from him same as I had so many years prior to that.

We both shared the same thought when we got the news he passed... 'he was too nice a guy to deserve death at so young an age... if anyone had ever deserved to die... it was definitely not him. We've never met anyone as genuinely nice as him'

So, now whenever I get the chance to, I visit his grave and sit and read to him. Whatever game of thrones related book I have on hand. Since I'm always readding GRR Martin, it isn't too difficult a task for me. He never got to see the ending of GOT, which is another sad though. and as a reader, he'll never get to finish the books.... an even sadder thought. I think he would've liked the ending. I think he would've been angry at first, but in the end, the very first house he rooted for ended up with the win. and he definitely would've liked that.

RIP John, we miss you, buddy

[rainydawgradioblog]

Rainy Dawg Radio's Favorite Covers

GRACE YANG

Remi Wolf's cover of “Pink + White” by Frank Ocean

Frank Ocean's Blonde is such an important part of my life. It soundtracked my high school years. Blonde is so precious to me and I hold covers to high standards. (Anyone traumatized by Car Seat Headrest’s “Ivy” raise ur hands! Jk. It's okay at best.)  Blonde is a very hard album to cover as it's perfect as it is already. The stakes are so high. If you're covering Frank Ocean you better put your whole soul and body into it. 

Fear not, Remi Wolf brings new light into a modern classic. Remi's voice is full of energy and power. Her style and charisma is undeniable. 

One of my favorite features of Remi Wolf's cover that I think songs post 2020 severely lack is the powerhouse belting section in the last quarter of the song. Remi has the range!!!! Not many popstars can say that…MY DEAR MY DEAR MY DEAR ITS ALL DOWNHILL FROM HEREEEEEEE! 

REMI WOLF ON TOP 💋🐋

DJ EMI

“Hybrid Moments” by Misfits, covered by Helvetia

“Hybrid Moments” is a model Misfits song. Released in 1985 off the album Static Age, Hybrid Moments didn’t need a cover. It's catchy and simple, with the shallow horror of the Misfits. But, since one was made, I’m glad it was done by Helvetia. A  tangy, plucked guitar introduces the version instead of the thumping tom drums. It’s an unlikely mix, both versions are competing with each other: the muted, whiny vocals are inverse to Glenn Danzig’s dark belting, the slight reverb contrasts the heavy distortion, the slower BPM to the higher, etcetera, etcetera. Go listen for yourself. 

Soph

The Chicks’ cover of “Landslide” by Fleetwood Mac 

Everything about this cover is incredible. The harmonies, the mandolin, the bass, the slide guitar. It brings me back to when I was really young and my parents would play this song in the car. I never appreciated the cover that much then, but now I listen to it at least once a day. I don’t consider myself a country fan because I like it at times but I can only take so much at once. However, the country twang in this cover is truly so immaculate. It makes me want to ride a horse through random fields in Tennessee (Hannah Montana style), and you’ll never catch me wanting to do that any other day. I also adore the original song by Fleetwood Mac because who doesn’t love Stevie Nicks. The simplicity of the original really underscores her vocal and lyrical ability, but nothing will hit quite as hard as The Chicks’ version. 

AUDREY

“Peepin’ Tom” by Courtney Barnett, originally by Kurt Vile

Courtney Barnett and Kurt Vile collabed on their joint album Lotta Sea Lice in 2017, where the two artists took turns hopping on each other’s tracks. “Peepin’ Tom” was originally “Peeping Tomboy” written by Vile and released in 2011. Six years later, Barnett’s vocal performance adds a necessary layer of queer nuance. Lyrics like: “I came across some girl / And I admired her / I was a peeping tom / More than it seems” resonate deeply with the dyke listener. Once a tale of boyish perversion, now more closely resembling the childhood longing of a closet case. For best results: listen whilst on a camping trip with your first love.

Zola

“Across the Universe” by Fiona Apple

Originally created for the soundtrack of Pleasantville, Fiona Apple took the Beatle’s classic, and made it much dreamier. Keeping most of the same instrumental, she retains the same lyrics. It might be one of my favorite songs of all time. Fiona’s melodic voice paired with John Lennon's lyrics create the perfect song for long moody walks in the rain, while you contemplate lifes choices. A top pick of mine for late night drives, or crying in bed, or even background music while studying. Something about it just makes me reminisce on my youth, as it feels like it should be played in the background while a much younger version of myself frolics. It provides a wonderful contrast to the chaos of everyday life. In my eyes, Fiona Apple can do no wrong, but this cover further solidifies it. Bonus points for creating a version that wasnt produced by one of my least favroite humans, Phil Spector!

Sean K

Björk - “Venus As A Boy” (Kali Uchis Cover for Like A Version) 

LINK

Live on Like A Version, Kali Uchis does the impossible and performs a flawless cover of Björk’s “Venus As A Boy”. Even in the shadow of the iconic original track, Kali’s reimagined version manages to hold its own and sound even more ethereal. Kali captures the essence of Björk's playful vocals while adding her own signature inflections. On stage, Kali shines alongside her accompanying band. The clear musical chemistry between her and the band makes for a highly engaging performance that you will want to watch again and again. To this day, Kali’s performance continues to blow my mind and makes me hope more artists will take on the challenge of covering Björk.

tide2004

“Map Ref. 41°N 9°W” My Bloody Valentine, originally by Wire

One of my favorite songs by one of my favorite bands, covered by another one of my favorite bands. My Bloody Valentine changed the whole landscape of the song and I really like what they did with it. The sound and production remind me of Loveless. This was put out in 1996 on a Wire tribute album Whore: Tribute to Wire. It was also their last release until their 2013 album MBV. Awesome way to go out in my opinion. 

Gemma

Denzel Curry’s cover of “Bulls on Parade” by Rage Against the Machine 

I don’t listen to a lot of covers. Most of the time, in my opinion, the original artist is able to capture the emotions of a song far better than those who try to recreate it. For me, this song is a great exception. Curry’s vocal performance has a fullness and power to it that fully draws you into the song, whether you are jamming in your room or just grocery shopping. His gravely intense delivery and rapping ability work greatly to the song’s benefit, and the guitar is downtuned with a fuzz effect, making for a more sludge-y and aggressive sound overall. I can honestly say I would much rather listen to his version rather than the original, despite how iconic of a song it is.

k-murph

“fake plastic trees” - phoebe bridgers, arlo parks 

the love of my life, otherwise known as phoebe bridgers, has produced an insane amount of fantastic covers. her covers of “friday i’m in love,” “day after tomorrow,” “it’ll all work out,” and “you missed my heart” are just a small selection of genuinely incredible picks. however, nothing quite comes close to the deep love i have for this cover of radiohead’s “fake plastic trees.” it can be found most accesibly on youtube or soundcloud, and between phoebe’s voice and arlo parks on the piano, it’s an absolutely masterful take on the already fantastic song from an objectively iconic band. phoebe’s vocals are smooth and times powerful (petition for phoebe to PLEASEEEE belt more often. the roughly 5 seconds we get on this track is not enough), making the journey through the song a perfect course of emotions. i think that this song is so fitting for phoebe’s style, and the piano backing track takes the song in a different direction that is so beautiful and sonically satisfying. the original “fake plastic trees” is a work of art, and the fact that this cover captures and reimagines its essence so beautifully is truly impressive.

Sofia 

“Kangaroo” by This Mortal Coil (originally by Big Star), off It’ll End In Tears

One of the rare occasions that I think a cover is way better than the original…

I think that the Big Star version of this song is just okay – the cover, on the other hand, is (as put by user kateybereny in the comments under the YouTube video) “achingly beautiful”. The desperation in the singer’s voice in the cover is what makes it so much more affecting than the original, especially in the last few lines of the song, where she repeats “Oh, I want you / Oh, I want you”. The guitar (and maybe cello?) in the intro makes my stomach sink every time I hear this song. Awesome song for having a crush on someone. This song meant so much to me last spring quarter, so I think the nostalgia factor definitely contributes a lot to this being my choice (Honorable mention: “Superstar” by Sonic Youth). 

Ben

“I knew that he was gonna sound great singing and it’s so… I don’t know… there’s really not too many words for it” 

Those are words from Fiona Apple herself, said of Elvis Costello’s cover of “I Know.”  Performed at the “Decades Rock Live” event, a now defunct concert series put on by VH1, Costello was offered the song after Apple covered his song “I Want You.” What intimacy is lost via Costello’s live performance is made up for by his searching delivery, one that is offered support in more robust instrumentation. Though I remain partial to Apple’s version, the song’s bridge is improved upon by Costello, its lurching staccato chords swelling as he pleads “Baby, I can’t help you out/while he’s still around.” What I love most about the cover is that — where Apple seems resigned to her fate as simply an option to her married suitor — the strife in Costello’s voice suggests that he remains desperately in denial. I also love the giddy jumps Fiona Apple does after running on stage to hug Costello at the conclusion of his performance. 

Thanks for reading! We hope you have a great Spring Break... stay tuned for more posts!

[greatamericansatan]

♠️💀𝓢𝔀𝓮𝓮𝓽 𝓛𝓸𝓿𝓮𝓵𝔂 𝓓𝓮𝓪𝓽𝓱💀♠️

Content Warning:  Suicide.  Death stuff.  But I end on a positive note, I swear. Also this is an RB of a post I wrote for an atheist blog network, so expect to not like it if you are christian.

“Sweet lovely Death, I’m just waiting for your breath.  Come sweet Death, one last caress.”  That’s Glenn Danzig lyrics in the Misfits song “Last Caress” – at least, it’s every lyric that isn’t an admission to terrible crimes committed in pursuit of a violent end.  I’m no music expert, but there’s something exultant in the sound, the way it’s sung, that just makes me want to sing.  Is it in a major chord, contrasted with the descending punk rock ghost vocal style?  Some scholar could easily explain it, I’m sure.

But besides the music, there’s the message.  Singing of death as a thing of desire, like the central theme of Grave Pleasures / Beastmilk‘s oeuvre.  “Death is beautiful, death is the meaning of life.”  What do I find appealing in this?  I suspect it’s the blasphemy.

Blasphemy is one of my earliest passions.  Christianity got my motherfucken goat at a very young age, and when I discovered hollywood-flavored satanisms at a later age (early double digits, the Tom Hanks Dragnet movie), I fell in love with it.  To insult god and jesus, this is my highest sacrament.  See that?  I just heresied in my blasphemy.  Fantastic.

The appeal there is complex and multi-layered.  There’s iconoclasm – the joy of hating on something other people love, which is the primary appeal of Neil Cicieraga hit(job)s like Baby.  There’s taboo – violating boundaries that others have set as “sacred.”  But those are all negative and I don’t think my joy in blasphemy comes from a purely negative place.  There’s something positive in staking out a place for godlessness in the oppressive atmosphere created by ameriKKKan xtianity.  Blasphemy is absolutely as important to me as prayer is to jeezis people.  I need it.

Back to the thesis, blasphemy is to xtianity as death is to life.  There’s an obvious difference between jeezyism and life itself.  One has intrinsic value and desirability, the other is an abject waste.  So why would it feel pleasing to blaspheme against something that is actually good?  Life has its downsides and they are pretty egregious.  Danzig has another song from his solo career called “When I’m Tired of Being Alive.”  That’s a thing that can happen.  Everybody who is born will experience pain, suffering, disability, and a bitter end.  Better to have never been born in the first place, for many of us.

But antinatalism – the rejection of procreation – can rouse jumped-up fearful reactions, even from otherwise reasonable people.  It’s an ethically perfect proposition – create no humans, create no human suffering – but logic flies out the window when people are confronted with it.  For the record, I don’t agree with antinatalism, because I don’t think logic should dictate everything we do, and I have a fanciful dream of the human species living and loving its way into some kind of golden future (after the millennia of unimaginable horror capitalism has guaranteed to us).  But I can’t argue against its logic, and I understand that its most heartfelt proponents are people who have experienced far worse things than I have in life.

People have a similar reaction when somebody commits suicide.  The rejection of the gift of life is personally terrifying.  Some react with anger.  That was part of my own process when Kurt Cobain did himself in.  I was young.  Suicide is sad, but to take it as a personal offense, or some kind of harrowing existential experience for yourself, as a bystander?  It’s irrational nonsense.  It’s letting the fear of death make a fool of you.

Unlike crustyannity, life has great self-evident value, to the point one could argue it is truly sacred.  When something is sacred, part of me just wants to thumb my nose at it.  I’m not suicidal.  I love being alive.  But in a moment of embarrassment or humiliation, you may catch me dropping a “kill me fam.”  In times of prolonged stress and difficulty, I may long for some kind of annihilation of the self, perhaps through drugs, or just getting knocked into a coma.  But those are passing fancies, nothing in the face of my lust for life.  Still, there’s something in it.  A grain of a death urge.

There is a black hole at the center of the galaxy.  There is a spinning cosmic abyss promising the end of everything, dragging us with invisible arms thousands of light years long.  Step inside, lose all thought and all pain.  It is inarguably cool, like a skeleton on a motorcycle with a sword in its teeth.  Die.  It’s fun and easy.

When you see people defending morbid interests, like true crime buffs, they sometimes invoke another idea – that looking upon death unvarnished can give you a greater appreciation for life.  Maybe it’s something like that.  Howling at the moon.  I don’t know, but it does feel good.

At least until I’m looking at the real thing.  I’m not one of those murderpedia/faces of death -type motherfuckers, or even a true crime head, because this shit only works at the level of the aesthetic.  I’m an enemy of death in any way I can be, at the end of the day.  It’s rather impertinent of me – death will ultimately take away everything that ever bothered me about life, and I should be more grateful.  But I’m not.

I’ve been watching that Superman & Lois Lane TV show, and this season is about Lois Lane having cancer.  Perhaps because I’m watching it in the middle of the night when my emotional defenses are worn down, I have gotten close to tears a few times.  Why?  Last year I had stage one colon cancer.  Picked up several new abdominal scars, but never had to do chemo.  Just had the followup colonoscopy and no new polyps.  Fantastic.  But I got to look at that motorcycle skeleton, and the real thing was not so fun.

Like Michael Hutchence said in New Sensation, “there’s nothing better we can do, than live forever.”  Live forever, kids.  And in the meantime, if you wanna howl in a graveyard at midnight from time to time, I won’t tell. –

[lukaina]

Apparently the Sandor Clegane headcanon of the moment is Peter Steele. I get it. For a long time, my headcanon was young Glenn Danzig (but making him about 30 cm taller).

[butteringhercup]

'Young Glenn Danzig' had better refer to exclusively misfit era pre-nose job. Like dude was 32 when he formed Danzig.

Also you're weak if you wouldn't kiss him on his thin lips now but are lusting after a narrow window of 1990-92.

[danzigs-cat]

<i>Misfits</i>

[ronniekingofficial]

Can I say thanks for the Love the Show was Epic!! I want More!!! Look at this great evaluation of the Show. Posted @withregram • @ghoulygal It's taken me a little time to truly process the Danzig sings Elvis show I witnessed in Hollywood, at the Montalban theatre, last Friday!  I had longed to see this show from the time there was the slightest inkling of it and to my luck I was able to grab front row seats! Also, extremely lucky to have gotten one of the pink heart-shaped cupcakes handed out at the beginning of the show…! What an intimate set, Glenn Danzig's voice was liquid gold and you could tell he was really into it, he would speak a little bit about each song before singing and he joked with the audience in parts. At one point he threw his gum over the giant DANZIG sign that was the exact replica of the ELVIS 68 comeback special sign, and spoke of his new custom snakeskin jacket.  Danzig belted out all the songs from his Danzig Sings Elvis record, with a couple of bonus tracks, including Little Sister, Mystery Train/ Tiger Man and even the Jody Reynolds song Endless Sleep. Sorry, there was a couple more later Elvis ones that I didn't really know, please feel free to add in comments.  It was a powerful moment listening to Danzig sing Young and Beautiful while leaning on the piano being played by @ronniekingofficial ...wow! Also, I can't not mention that @jessedayton (who played with Johnny Cash and did scores for Rob Zombie) did an incredible job bringing that mix of vintage/twang and rock/blues to the set. All that with @stevezingsamhain 's drumming, which was impressive to hear him bring such a swinging vibe to the set, Fever specifically rocked. Also, so great to hang out with my Infernal Order of the Black Flame band mate @jimmypsycho and meet @jonnycoffin and Joaquin! Thanks for everything you guys. I also got to see my pal @tikipops there.  All in all still glowing from the night! It was pure evil magic 🔥 and i still have my cupcake. #Danzig #Elvis #Montalban #frontrow #cupcakes (at Hollywood, California) https://www.instagram.com/p/CotGazkPLae/?igshid=NGJjMDIxMWI=

[younglenndanzig]

[boricuacherry-blog]

Interview with Melissa Auf der Mauer:

I grew up in Montreal, Canada, in Quebec. My parents were independent, freewheeling, freelancers for their whole lives. Both started as journalists. They both founded two different independent presses - my mother a French one, my father an English one - and they were both radical politically. My parents never worked for one corporation in their entire lives.

My mother was a first wave feminist and decided to do everything she had never seen a woman do. My father was the child of very, very poor immigrants and really built an incredible world for himself. My mother ended up in the grand world of Quebec theater via Cbc and her own radio shows and broadcasting - she went from journalism into Quebec theater and became the leading literary translator. Her passion is bringing the voice of French Canadian theater to the world. I spent my 2nd birthday in Africa because she said being a mother wasn't going to stop her from climbing Mount Kilimanjaro, so that was the kind of woman I was raised by. She was also the first female rock disc jockey on the Montreal airwaves.

My father took his journalism into radio, then into a remarkable television show that he had from 69' through 72' which was really early wave man-on-the-street camera on film interviewing everyone. He captured a remarkable oral history of people in Montreal during a time when a huge political upheaval was happening. There was a language war between the French and the English, and both my parents fought for the underdog - the French. My father ended up becoming a politician and running downtown Montreal for years and has a street named after him. He had the biggest funeral in Montreal history. My father was larger than life in many regards. He was married to the city of Montreal. My parents weren't together for any of my life, but my father was a man of the people. My mother married my stepfather when I was ten.

I liked depressing new wave British music as a kid and wore military khaki outfits. I didn't care what I wore. None of my women role models dressed up. I dated a couple mods, we wore very straight clothes, no curves, but I was also a late bloomer. So I just really embraced that people thought I was a boy for a few years. I still have small breasts, so I've never been focused on that. Before I joined Hole at 23 I had never worn lipstick.

There was some religion in my parents' upbringing that turned them off, so they were atheist, political, intellectual, unbelievably well-read literary people. So in many ways I rebelled against that. I'm still not a big reader, but I do enjoy the structure of schooling. I was more into sound and visual. I was planning on getting my masters in photography. I enjoy school, but I'm more into mystical emotional analysis than a bunch of intellectual destroying-of-ideas stuff. In high school I had my own darkroom, and my first instrument was trumpet. Our yearbook was basically like a punk rock fanzine, and I took all the pictures, and did all the collages. I don't go into anything with any expectations or plans, and I'm not a person that strives for security. I moved out of home when I was sixteen, I've been very independent my whole life. I've never had aspirations, I just enjoy being in the moment, which is why I love music, but why I was so hesitant to join Hole. I hate the word 'rock star.' I never aspired to that. My heroes were Glenn Danzig - he was a really weird nerdy comic book guy, not your typical 'rockstar,' you know - Morrissey, Robert Smith. These people weren't your larger than life rockstar, they were just odd people. I never romanticized success, just making art and finding my people, finding my voice.

Some of this could be because I grew up in the public eye in Montreal. I was the only daughter of a very special, but slightly controversial figure. My father was a bachelor, a man about town - they call him a bon vivant - he died very young from too much smoking, too much drinking. He was like a 1950s fedora wearing silent film star. I grew up in his shadow, a very well-known girl, which I believe made me more shy, as it was hard for me to speak in public. My mother didn't like me growing up in the public eye and would accuse my father of exploiting me to make him look good. So I harbored a pretty complex idea of what outside adoration looked like. He was a very difficult and tortured person. His family were all really intense and religious people. Very spirited, but not normal at all, so his relationship with them was very fraught. My father was one of those people who needed to be adored, to have a big life on the outside, but didn't have an intimate life... I was sort of the only person who he had a responsibility to have an intimate relationship with. I was the only one who had a private life with my father, this figure who had such an immense public life, and that defined a big part of me. It's also connected to why I was such a good fit for Courtney, and later Billy [Corgan]. Because in many ways, Courtney and Billy were like these weird second-versions of my parents. I was often unknowingly used as a pawn between them. There was always so much drama with Billy and Courtney. Courtney is more like my father. He was really radical and outspoken, so he understood her.

I had a drive to find my own voice. But I compromised a lot of my own beliefs to be in a band on a major label, because I hate corporations. And my whole journey continued to be in conflict with that, as well as the part of me that just wanted to be a photographer and be in a darkroom, and not have to deal with all these people who have a bigger relationship to the outside world than they do their inner world.

I became a dj at seventeen at this dive bar and I worked as the ticket girl at a club, which is where I saw Billy Corgan for the first time. I started my first band Tinker and I played bass. Smashing Pumpkins were my favorite band because of their sonics, the oceans of sound and layers of guitars and rolling drums and bass.

When Kristen Pfaff died, Hole was on a search for a new bass player. I was in the middle of preparing for my masters at college when Billy Corgan called me and told me he wanted me to join Courtney's band Hole. I refused, but then Courtney started leaving messages on my phone and was persistent. She convinced me to come see her band, and I realized they had a hole (no pun intended) that they really needed filled.

And because I'm less of an academic and never really articulated feminism, at the time, I didn't realize the power of her lyrics. I've never been a singer/songwriter fan, you know, like Courtney loves Bob Dylan, Leonard Cohen...I love Black Sabbath and Caius...I just like witchy stuff. I like ghosts and magic. And so with Courtney, it was all very academic in a way to me. So the joke is, I probably missed a lot of the point during my time in Hole.

There are some bands that recognize that drummers and bass players nurture and create songs and are paid adequately, and then some people, quite literally and medievally, break it down to chords and lyrics. I don't think Patty or I were handled fairly in regards. Courtney's process of writing a song stems from six hours of jamming on one riff, one lyrical thing, and then carving it together. We were at every session and did everything together. But Patty and I got slivers [financially]. Eric and Courtney, who are the founders of the band [although Courtney claims she's the only founder] were more the business people. Although I'm proud of my bass playing, it was definitely my singing that brought the most to Hole. I worked harder on my backup vocals than anything. Because of my choir teacher, I had an ear for harmonies. On Celebrity Skin, for every Courtney track, there is me doubling her one to three times...and there are two to four to five part harmonies with me behind every chorus. So I had more of my voice on that record than I do on even my own solo records. They wanted a lush sound, and I was the angel to the wild screamer, so we just coated everything with my voice.

The first few weeks I was just paid $600 a week. It was a weird polished corporate record, but there were also no other female voices on mainstream rock radio besides Gwen Stefani and Alanis Morrissette. So I thought, maybe there was a point to this insanely overproduced record. But then Courtney's red carpet movie career was happening, which meant there were a lot of delays in making Celebrity Skin. Then I worried she wasn't going to be concerned about making this record if she decided to make another movie. And I had already signed a five year contract with Hole. I didn't want to be in a band that didn't work, just waiting around. We were supposed to do all these tours and Courtney just wasn't committing. So after the five years were up, I was out. At that exact time, D'arcy had left the Pumpkins, and Billy wanted me to be the bassist for Smashing Pumpkins for a year. In that one year I made more money than the five years I spent in Hole. I had photographed during Hole - I took a roll a day - so I have 30,000 photographic negatives of those years.

For Smashing Pumpkins, every setlist was different. So imagine three to five hours of music, different key changes, different versions of the songs we already knew. I had five basses tuned in all these crazy ways.

Right after I left Hole, I sent a letter to Courtney, I don't remember what she said in the letter she sent back...it was five pages. She wasn't happy about me leaving. The letter has long since disappeared or faded, but the only thing I remember was a line warning me of turning into a Nicole Kidman ice queen and warning me of becoming Billy Corgan's purse [whatever that means].

I dedicated my first solo record to my Welsh choir teacher because he believed in me when I was still so shy. My second album was a concept album about this woman who travels through time and follows the blood of a Viking's heart into bleeding trees then comes out of the other side of a car crash. I love witchy stuff - which is why I like men who make heavy metal. They don't know it, but they're tapping into their woman side. I think that's the power of bands like Black Sabbath. The real world isn't beautiful - its fantastic in its humanity but the brutality of humans coexisting is pretty profound. For me it always works best going into the realm of witches and goblins and time travel.

The first time I ever had unprotected sex was in my 30s and I got pregnant the first time. So now I'm a mother. I had a home birth because I'm afraid of needles. It only took an hour. And while I was giving birth, my daughter literally reached her hand out of my vagina to shake my husband's hand.

[dippinginthe4door]

Wait what’s on the “thanks to” section on Swan Songs I must know

Obviously there’s lots of the standard stuff, but I like how the guys added their touch to it in some lines.

Deuce:

Our fans for helping create this. Rita & Alex (Mom & Dad), Arina Erlichman, Angela Marie Young, Jeff Peters, Mike Renault, Riva, Zeda, My Grandma, Jim Milner & Ben Milner (Milner Bros.), Joel Foss, Marc Bosserman, Jeanie Ibert. Everyone in HU working hard with me. Tim from LADAY, Alex Sophli, Brian Weinberg. Everyone @ A&M/Octane Records …… and of course Merlin.

J-Dog:

Thanks to my parents, especially my Italian, ball busting Mom, my Mother Jennifer. All the band’s parents, especially Deuce’s. Science. The Phantasm. Truth & his Brother. Wes & his Brother. Everyone from JOR & EL. The whole Panther family. LA Pride Lauren. Jeff Peters, for putting up with our shit. Mike Renault. Desiree “money making, jerry maguire” Mandelbaum. Ann Murray. Steve Busch. Ben and Jim “Milner Bros”. Jimmy Iovine & James Diener, for making me rich for a hot minute. Ashlee and Asia for the awesome double dates. Glen Danzig, the real one who plays our drums. MTA workers for getting me around this city for so long. JLo and Steve from Tiny’s Bar ….and most of all of course, all our fans and everyone who likes our music and has supported it. No thanks to haters and the Glendale and Burbank pigs and MI and all it’s students, for not letting me in the building, you know who you are. Get the fuck out of my town.

Johnny 3 Tears:

Jeff Peters, the band’s manager, but more than that, my mate. Mike Renault for shutting Jeff up ….sometimes ! ! Desiree Mandelbaum. Jeff Kurtich, the Boston Brawler. My Mom for all her help. My Brother for inspiring me. Jim Milner, for all his hard work. Ben Milner, for being the light side of the darkness. Jack, J.K., Jake and Jesse Terrell. Fydor Dostoevsky. Don Gilmore. Danny Lohner. Tony Lavato, my first mate. James Diener, for that fat dollar ! ! Asia, for being so beautiful. Lauren Byrnes. Ann Murray. Steve Busch. Greg Ladanyi. “Biscuits”. Glendon Crain. The Mothers and Fathers of all the members of HU for all their support. The Mothers and Fathers of all the members of HU for all their support. ……...and much love to all our fans for the support.

Charlie Scene:

Jack Terrell, for teaching me everything I know, I love you Dad, To my Mom J.K. Terrell, don’t worry, I love you just as much. My funny Brother Jake and big ups to my Big Bro Jesse, raise yer hands if you hear me. Thanks to the rest of my family in Ohio and Florida. To all my friends. To my Managers, Jeff Peters, me mate and me manager, all together me mate-ager, and Mike Renault, both you guys are an unstoppable force. James Diener. Tom Anderson, my dick has more friends than you ever will. Ed Alexander. Don Gilmore. Danny Lohner, the porn star fucker. Shady Fizz, you know where you at dog. My 3 blonde buddies, Graham Noll, Sean Noll and Jared. Daniel “da big homie” Dingman. Jeremy Martiniano, for getting “lost” with me every Thursday. Tommy “T-head” Scribner, a.k.a Contagious. Gangster George, for always havin’ my back. Bully Shaun. Aaron Gfarm. Upright Radio. Lucas Macauley. The Milner Brothers. Nigel Smithwick, see ya at the pub. Brad Pitt, for letting me crash on the couch. The Hideaway Bar, where I go to hide away from Da Kurlzz. Debra Lee and the trigger happy. Joel Bennett. Jer Bear. Gsellman. Shadow Skillz. Sky, Glen “Biscuits” Crain , Drew Young, Jared Miller…...and to my glock, cause my glock is my hoe and my hoe go everywhere I go……..and of course, thanks to all the UNDEAD ARMY.

Funny Man:

I’d like to give a big thanks to my Madre Joanne, Paco, my Father, and my lil’ sis Mingo. To my Grandparents and the rest of my family, for the love, support and always being there for me, and being a huge impact on my life. Jeff Peters, for sticking his neck out for us and making this shit happen. If it wasn’t for you and Mike Renault, “we’d be wondering these streets so aimlessly”.

For all my homies, Big Badass T-HEAD, thanks for all the nugs bro. Snake The Coin Collecta and 3-B. Big E. SAUS MAN. Thug Life George. Felipe. Spazz Money. Gavin. Jesse. Cmar. Titts. Stanley. Shady Fizz. Dirty Jack. BULLY. Science. Big Worm. Cory The Champ, Obar and Big Luke Duke. A big shout out to everyone at A&M/Octane Records. Jimmy, thanks for the I-Pod. That lil’ monkey Dez, and that beautiful Latina Ann. The Snooge Bros. Danny “The Lone Machine” Lohner. Don G and his bitch ass crew. Glen a.k.a “Biscuits” , Lil’ Tony, Donland from Stonehurst Park, Ritchie Stites, Sleepy Brown, Bones. Thanks to G-STAR for making me look so damn good, And the Bitches with the big ol’ butts. . .and last but not least to the UNDEAD ARMY, this is for you, stay Undead, uno, dos, Ghost……..I’m Gone.

Da Kurlzz:

My Dad a.k.a. “The Frenchman”, My Mom, I thank you both for your love and support.

Jeff Peters & Mike Renault, for being there for me through all the crappy ups & downs, honestly the best managers I could ever have. My Sister and the rest of the Family, BEAR (RIP) ! ! ! Conner “CADE” Garrity, my best buddy @ Studio City Tattoo. Lemmer. Des & Ann, Glenn. Eric “FSUsXe” Curry. Erik “FSUsXe” Scandalous. BAJOS. Scott K. Tdogg. Murph. Lauren Byrnes @ LA PRIDE. Chris & PTW. BERM. Ms. Lupi. Bojesse Christopher. Ben & Jim Milner. Mark V, Sam and everyone @ Safari Sam’s. Steve Busch. All my good friends that have stuck around the past three years, who have been there and supported me (a small amount), the rest can fuck off ! ! Our fans the UNDEAD ARMY, you know this band only happened because of you. I love you. Tom Anderson, thanks for buying me smokes that one time. All the Girls that wasted their time with me. Last …...but most important of all, my five Brothers, Johnny, J, Deuce, Charles P. and Funny, for not only being my best friends, but amazingly talented fucks as well. I love you guys…...Now let’s fuckin’ party ! !

[easyface]

My Chemical Romance may be the oldest young band in America. None of the members — singer Gerard Way, his brother and bassist Mikey, drummer Bob Bryar and guitarists Ray Toro and Frank Iero — is old enough to have bought David Bowie’s Diamond Dogs on the day it came out. But The Black Parade, the New Jersey group’s third studio album, is the best mid-Seventies record of 2006, a rabid, ingenious paraphrasing of echoes and kitsch from rock’s golden age of bombast.

The opening fanfare, “The End,” blows up like an outtake from Alice Cooper’s Billion Dollar Babies, with glam-Godzilla guitars and spook-choir hurrahs. “Dead!” is a sleek, bleak bruiser, like Queen’s “Keep Yourself Alive” in widow’s weeds. And in the hyperoperatic “Mama,” Way — playing a soldier up to his neck in blood, raging against the woman who gave him life — briefly duets with Liza Minnelli, who belts her two big lines only to have Way sing back at her with vicious obscenity. It is brassy casting, as if Minnelli has been dropped into a Glenn Danzig production of Bertolt Brecht’s Mother Courage and Her Children. It also sounds like an idea Alice Cooper (the singer) might have had in 1976 while golfing with George Burns.

But this is not the Seventies, and My Chemical Romance are very much a band of their time — post-9/11. The first song Way wrote for the group (with ex-drummer Matt Pelisser) was “Skylines and Turnstiles,” based on his experience that day in New York, watching the Twin Towers fall in front of him. There is a lot of fire and rubble in these songs, too. And there are bodies all over the place — dead in the streets (“Welcome to the Black Parade”); near death in hospital beds (“Dead!” and “Cancer”); or just too numb to give a shit about morality (“House of Wolves”) or forgiveness (“I Don’t Love You”). Starting with a riff that stabs and stutters like an old Buzzcocks lick and packing a bridge that is pure Iron Maiden, “This Is How I Disappear” is an exciting, perverse goodbye, from one lost soul to the object of his suffocating affection. “And without you is how I disappear/And live my life alone/Forever now,” Way sings from the depths of obsession — and, it seems, his grave. The poetry is rickety, but the self-pity is arena-ready.

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Next to that, My Chemical Romance’s 2004 album, Three Cheers for Sweet Revenge, is orthodox buzz-saw misery. Apparently, the band — which co-produced the vacuum-packed overkill of The Black Parade with Rob Cavallo, who also worked on Green Day’s punk-suite hit, American Idiot — now believes that if you’re going to feel sorry for yourself, you might as well do it with gusto. “When I grow up, I want to be nothing at all!” Way wails in “The End,” surrounded by what sounds like ELO with a case of G n’ R. The excess comes with diminishing returns. Cavallo and the group over-rely on the avenging-army drumroll shtick, and what is deliciously vintage for most of the record — Way’s bright, breathless yelp, with harmonies stacked to eternity; the lightning bolts of Brian May and Mick Ronson cutting through Toro’s and Iero’s widescreen grind — loses luster by Tracks Twelve and Thirteen, “Disenchanted” and “Famous Last Words.” The best last words should have been Track Eleven, “Teenagers,” a tight fist of T. Rex-style crunch with a great punch-the-air chorus: “They said all/Teenagers scare/The living shit out of me..”

Teenagers are the ones who should be scared shitless. They are about to inherit a hell on this earth that is more terrifying, day by day, than anything Way imagines here. In fact, the most realistic and contemporary thing about this album’s supercharged-Seventies Armageddon is his bitter, almost jealously guarded helplessness in nearly every song. Content to be the Queen of complaint (and damn good at it), My Chemical Romance offer no answers and give no hope — except for the shot of light that comes in the second manic half of “Welcome to the Black Parade,” whenever Way hits the vocal hook. “We’ll carry on,” he sings repeatedly, at full rock-hero tilt. He doesn’t say where. But the way he says it sounds great and worth believing, no matter how old you are.

[sillycatgriddy]

hello i amback :3 took a nap in class n had a dream i got railed by young glenn danzig in the back of peter steele's pontiac and now im re-entering my danzig phase (i want his cock so bad)

me reading this pretending like i know who either of those 2 people are