As if college studies aren’t hard enough…some poor Italian lasses had to deal with a maiden slashing lycanthrope in the 1961 cult classic Werewolf in a Girls’ Dormitory.
Of course, The Fortunes’ opening credit (entirely groovy) rock ‘n roll song Ghoul in School must have eased those troubled (ever nubile) students’ bruised feelings, just a bit.
Until the next time…SWEET love and pink GRUE, Big Gay Horror Fan!
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It may have been tough for Regina, a perky ‘80s pop wonder, when her vocal style was called out for being too reminiscent of Madonna’s. The talented songstress had already fronted a popular New Wave band and had her lyrics covered by other established artists.
But this last week, Baby Love, her most notable song, proved to be far more irksome to Scream Queens’ most pompous rascal, Chad Radwell (the irreplaceable Glen Powell). As Chanel Oberline, the character’s glorious intended, marched down the aisle to the song’s sweetly unforgettable bubble gum aura , the audience soon was surprised by the plummeting lifelessness of Radwell’s body as it hit the altar, dead on impact!
The song’s innocent joyfulness was the perfect contrast to the macabre circumstances and proved, once and for all, that pop music is, indeed, killer!
Be sure to keep up with the show’s sharp awesomeness at https://www.facebook.com/ScreamQueensFOX and https://twitter.com/ScreamQueens.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
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Gossip, the (now defunct) band headed by the gloriously full voiced (and deliciously outspoken) Beth Ditto, always seemed to have its pulse on both joyous empowerment and the angst ridden underside of culture. Never was this truer than with their 2009 (major label) release Music for Men. Filled with diatribes against inadequate lovers and odes to being true to one’s self (see Men in Love), the jittery and ominous undertones of the music here seems to perfectly fit the anxious times that we are currently experiencing in this age of Clinton vs. Trump.
The dark swells that erupt beneath the track Vertical Rhythm are a perfect example of this:
A fresh bravo to such presient awareness!
Ditto, who is now concentrating on solo work and a fashion career, can be followed at https://www.facebook.com/gossipmusic/ and https://twitter.com/oBETHoDITTO.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
If I know one thing it is that country superstar Loretta Lynn is fierce. What I didn’t know, and what her 8th number one song Trouble in Paradise proves, is that this western legend is a prize winning devil hunter, as well.
In a tight Kenny O’Dell composition, the grand dame of ass kicking takes care of some demon women who are threatening to steal her man’s soul – in less than 3 minutes, a record if there ever was one!
Be sure to keep your slaying skills top notch by following Lynn at https://www.facebook.com/LorettaLynnOfficial and www.lorettalynn.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
She had one of the most distinctive speaking voices of all time and the irreplaceable Lauren Bacall also used those smoky tones to subtle singing effect in such Broadway musicals as Applause and Woman of the Year.
Best known for her alluring performances in a series of noir classics with (her beloved, first husband) Humphrey Bogart, Bacall jumped on the early ‘80s slasher bandwagon by playing a theatrical diva whose life and limb (and sequin suits) were threatened by a smooth and menacing stalker (of the self loathing variety) in the underperforming (but twisted and enjoyable) The Fan. 
Of course, here she is in complete control, singing I Wrote the Book (to a devoted Wayne Newton and others) from Woman of the Year, a role that won her a second Tony award.
…and if that doesn’t make you want to do a soft shoe, in the afterlife, with an old school diva…then nothing will.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
She added a little sophistication and dignity to cheesy, fun monster fests such as 1979’s The Dark and to 1982’s Parasite, but the glorious Vivian Blaine was best known for her take on the ditzy Adelaide in the original Broadway and movie versions of Guys and Dolls. Most importantly, perhaps, Blaine was also one of the first celebrity advocates for the AIDS crisis, providing a very visible presence in a time when most public figures shunned the realities of the disease.
Blaine, who also acted and sang in multiple movie musicals with the likes of the vivacious Carmen Miranda and smooth crooner Perry Como, reprised Adelaide’s Lament, her most famous number from Guys and Dolls, on the 1971 Tony Awards, twenty years after her debut in the role. There, she proved, beyond a doubt, that no one could portray the little quirks and eccentricities of the character quite like she could.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Cinematic psychological breakdown, anyone?!?
Suave Charles Boyer embodied one of the screen’s most smoothly evil villains driving the frightened Ingrid Bergman into morbidly dependent despair in the classic thriller Gaslight.
Years later, Boyer used his continental charm for much less devious pursuits when he talk-sang his way through the 1966 album Where Does Love Go, which was rumored to be one of Elvis Presley’s all time favorite recordings. The French man’s take on All The Things You Are is decidedly sweet, but (as all good things) could provide a sinister edge if placed in a overly attentive context.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
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Tab Hunter’s latter day career answered that eternal cinematic question: Where do smooth dream boys go, once they age? Why into deliciously low budget horror films, naturally. In fact, Hunter, who hit it big in the ‘50s with such films as Battle Cry and Damn Yankees, might have just gotten his best roles as a psychotic, momma loving beach boy and as a secretly deformed, revenge fueled doctor in such projects as 1973’s Sweet Kill (AKA The Arousers) and 1988’s Grotesque.
Hunter, who was discovered by legendary gay agent Henry Willson, also, as many teen idols before and after him, took to the recording studios and actually scored a number of hits. I Love You, Yes I Do wasn’t one of them, but it has a rockier edge than some of his more popular numbers, possibly earning it a place of honor in every eclectic garage rocker’s heart.
Meanwhile, Hunter, who has revealed how his own homosexuality altered his career in an excellent memoir and highly celebrated documentary, is always carrying a tune at www.tabhunter.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Its 2016 and there are still inherent risks to being a member of the LGBT community. Thus, it is even more admirable to look back at the openness of Sal Mineo, an Academy nominated performer and former teen heartthrob, who brought a sense of sensitivity and despair to the psycho killer genre in 1965’s gritty, underappreciated thriller Who Killed Teddy Bear?
According to many reports, Mineo, who was murdered in 1976 during a robbery attempt, never hid his attraction for men and this may have hurt his latter day career choices. Of course, director Nicholas Ray famously capitalized on Mineo’s budding sexuality in Rebel Without A Cause. As Plato, his most famous role, Mineo’s attraction for James Dean’s Jim Stark was touchingly apparent. Proof of this is definitely contained in this loving video homage which highlights Mineo, who scored several hit singles as a teen, and his take on the song Young As We Are.
Of course, others may appreciate Mineo’s more garage-y sound on Little Pigeon, a number that is sure to put certain readers in mind of his theater career, which included a couple of takes on the prison drama Fortune and Men’s Eyes.
Meanwhile, Mineo’s most ardent fans keep the love flowing for him at www.salmineo.com, a beautiful website dedicated to this renaissance man and his career.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
I imagine there are few good things about being buried alive – privacy, perhaps. Quiet…if you really need it that badly. But breathing in the same space as the electrifyingly awesome The Casket Girls is always highly recommended. Crafting songs that are vibrant and exciting and full of gothic tinges of electro-pop, these two enchantresses have recently released an acclaimed new full length, The Night Machines.
This mysterious duo is also trekking across various worthy cities in the US, until June 22nd, with the 2016 Graveface Roadshow. It’s a brilliant line-up, including such epic artists as Dott and Stardeath and White Dwarves. More info is available at: https://www.facebook.com/events/456349711222576/.
Meanwhile, you can enjoy this haunting new track…
…and then rub yourself in black pixie dust and check out
http://www.graveface.com/ and https://www.facebook.com/casketgirls/, as well!
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
Big Gay Horror Fan 