“She might have been the queen of this island, but in London half the guys you meet are queens” – Luce (Rula Lenska), Queen Kong

Frown eyed and bedraggled, Big Gay Horror Fan often looks at himself in the mirror upon waking and howls (to himself) “WHO are YOU?!?”

Likewise, in the late 70’s, American television audiences gazed at the gorgeous creature, presented as a major star, promoting V-O5 hair products and wondered “WHO is SHE?”

She was Rula Lenska, a former Polish countess who had come to a bit of public awareness through her role of “Q” in the British series Rock Follies (and it’s follow-up Rock Follies of 77). While Rock Follies (which was shown on BBC America) and it’s follow-up (which was not) was a successful blend of music, social commentary and real life comedy – in America, Lenska found herself becoming famous merely because people assumed she was famous – when she wasn’t being parodied on the Tonight Show or Saturday Night Live, that is.

With her regal presence, throbbing silken voice and admittedly luxurious head of hair, Lenska was not to be messed with, though, as she proves with her fun and aggressive performance in a 1976 parody of a different sort, Queen Kong.

Supposedly rushed into production to tie-in with Dino De Laurentiis’ major mid-70’s King Kong reboot, this UK production barely saw the light of day due to Laurentiis’ hostile legal actions. A feminist parody retelling of the original King Kong, Queen Kong finds genre regular Robin Askwith (Tower of Evil, The Flesh and Blood Show, Horror Hospital) playing the young Ray Fay (get it?!!) who is kidnapped by the besotted title character. This gigantic ape’s rampage culminates on top of Big Ben, though and she is ultimately saved when Askwith informs a group of feminists that she is being attacked not because she is a beast, but because she is a woman.

This silly monster re-imagining is very much in the style of the popular British Carry On series and Lenska excels, in the Robert Armstrong role, selling the piece’s ridiculousness with a sure wit and steely heart. It is, also fun to note that this parody (which includes takes on The Exorcist, Jaws, and – gulp – Ronald Reagan) was filmed 24 years before Scary Movie and the sequence in which it takes the piss out of the Airport series (featuring Taste the Blood of Dracula’s Linda Hayden in the Helen Reddy role) was done 4 years before Airplane! saw the light of day. Hammer honey Valerie Leon (Blood from the Mummy’s Tomb), also, makes a bikini clad appearance, here, as one of the supple jungle warriors whom drags Askwith to his initial meeting with the she-beast.

Here, is a bit of Queen Kong to nibble on: http://www.youtube.com/watch?v=AlHxg2UzCag

While some of Lenska’s wavy selling expertise can be viewed, here: http://www.youtube.com/watch?v=lqUxUC8L0aU&feature=related

Rock Follies is, also, worth tracking down. The music was composed by Andy Mackay of Roxy Music and Lenska proves herself to be the heart of the series with her gentle, understanding take on the group member whom feels the heartlessness of the professional music industry the most fervently. Interestingly, this provocative show also presented homosexuals in an understanding, multi-faceted light twenty some years before Will ever spoke the name of Grace. (Tim Curry, also, makes an entertaining appearance as an excessive UK version of Bruce Springsteen in the first episode of Rock Follies of 77.)
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Be sure to check back each Monday as Big Gay Horror Fan highlights the grand dames of the slit throat set. And keep up-to-date at his Facebook page (http://www.facebook.com/#!/BigGayHorrorFan), as well!

Until next time –

SWEET love and pink GRUE, Big Gay Horror Fan!

In 1974, a sticky yet confident Arthur Fry invented the Post-it note while, years before, glamour girl Hedy LaMarr’s scientific mind is rumored to have played a part in warfare advancement. But, today on July 23rd, 2012, Big Gay Horror Fan has made perhaps the most important discovery of all – the perfect horror film documentary: Screaming in High Heels.

Addressing the lives and careers of the premium trio of low budget terror goddesses, Michelle Bauer, Linnea Quigley and Brinke Stevens, Screaming focuses on how the three industrious beauties stumbled into the entertainment business, catapulted into unimagined heights of mid 80’s/early 90’s excessive fandom and how the bottom fell out by the mid-to-late 90’s– even when their bottoms were still looking just fine, thank you!!

Lovingly and proficiently directed by talented director/fan boy Jason Paul Collum (October Moon, November Son) whom skillfully blends clips, talking head style interviews and historical data, this quick and breezy film is also redolent with the bittersweet aftereffects of Hollywood’s ageism and the quickly shifting fancies of the public-at-large.

More than anything, though, this film is a joyous event – a celebration to the glorious lives and careers of Bauer, Quigley and Stevens, all of whom seem to still, humbly, be in shock over all they achieved in their heyday. While other talented beauties (including Deborah Dutch, Julie Strain, Debbie Rochon and Tiffany Shepis) are given their due, here, it is clear this winning trio “rocked that era” (per Bauer) with their appearances in projects such as The Tomb, Haunting Fear and Creepozoids.

Fans will, also, rejoice to the vivid memories of their frequent co-stars (Jay Richardson – Hollywood Chainsaw Hookers, Teenage Exorcist; Richard Gabai – Nightmare Sisters) and directors, such as David DeCoteau (Sorority Babes in the Slimeball Bowl-O-Rama). But, by the time the end credits roll, it’s clear to every aware viewer that this film retains its golden edge through the still disarming charms of its titular subjects and the brimming talents of Collum, who deserves plenty of attention when award season comes around.

Screaming in High Heels will be released by Breaking Glass Pictures (www.breakingglasspictures.com) via their Vicious Circle Films affiliate on August 28th, 2012.

Until then, try to track down some of these favored (occasionally obscure) films from this terror-ifically amazing trio.

Michelle Bauer:
Demonwarp (1988) – As Betsy, a free spirited camper, Bauer is stunningly eviscerated by a monstrous alien (earning her a VHS Box cover) while the rest of the picture is a bizarre delight featuring a huffy yet dedicated performance from George Kennedy and fun turns from a handful of soap opera starring, B movie frolicking twenty somethings – including an early adult role for child actor Billy Jacoby (Cujo, Nightmares, Superstition).

Puppet Master III: Toulon’s Revenge (1991) – As Lili, mistress to one of the film’s villains, Bauer provides plenty of presence and pulpy fun in this historical entry in the long running series.

Linnea Quiqley:
Pumpkinhead II: Blood Wings (1994) – As, Nadine, a small town tramp, Quigley encounters the title creature during a romp in the barn. Looking stunningly beautiful, she also gives an amazingly powerful and true performance as Nadine’s hysteria grows out of bounds.

Animals (1999) – In what appears to be one of Quigley’s first truly bargain basement appearances, this (pretty much execrable) flick has some interesting moments including Quigley’s heart filled conviction playing a mother. Further notable for its references to male on male incest and its clear Last House on the Left influence, this film’s best sequence involves Quigley running — running — running (a la Linda Blair in Grotesque) through the woods until she meets her inevitable fate.

Brinke Stevens:
Haunting Fear (1990) – One of Steven’s notable credits, this is worth mentioning again because experiencing the supreme beauty and subtle skill (switching from meek to psychotic) Stevens projects here will make you wonder, once again, why the major studios never came calling.

Vicious (2003) and Blood Reaper (2004) – Proving that the opening kill sequences are often the best part of a film, in both these projects Stevens projects a radiant athletic quality while meeting her end in gloriously vicious ways. Her presence is truly the highlight of both these films – one enjoyable and the other not so.
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Be sure to check back every Monday as Big Gay Horror Fan highlights the haunted harlots of horror — and be sure to friend his ever needy Facebook page (www.facebook.com/biggayhorrorfan), as well. And if you are feeling particularily active – stay in touch with the Screaming crew at http://www.facebook.com/#!/pages/Screaming-in-High-Heels-The-Rise-Fall-of-the-Scream-Queen-Era-2011/108629379215279, too!

SWEET love and pink GRUE!!

Containing elements of No Wave, New Wave, performance art and the glorious creative insanity of such front women as Patti Smith, Excene Cervenka, Kim Gordon and (even) Missing Person’s Dale Bozzio, The Baby Magic’s first official CD release, Whoopsy Daisy, is a propulsive wonder.

Charmingly haunted by issues of sexuality, body image and the absurdities of day-to-day existence, front woman Mary Beth Brennan, right hand man Patrick Coleman and drummer, Drummer, make every jarring sound convergence sound like pure pop magic. Meanwhile Brennan’s singular world view gathers in your eager ears before bouncing straight into your skull, where the band’s lyrics remain, leaving plenty of room for thought.

Brennan and crew do such an amazing job of exploring the powers of the body and the failures of its questioning mind that songs such as Mommy take you straight back to the days when you, tremblingly, believed that stepping on a crack could break your mother’s back. That aura of fear and expectant wonder is perfectly captured in this brilliant three minute (or so) run.

Meanwhile, aggressively exploring female sexuality and playfully tearing apart the notion that enjoying sex and all its vagaries is a societal wrong, songs such as Ass Against My Hands, Empty Sex and See Means Yes are filled with memorable melodies and lines and are seemingly placement ready for any upcoming terror rides from director/producers such as Jennifer Blanc, Danielle Harris, Amy Lynn Best and Devi Snively.

Ultimately, what is most compelling is how, with Whoopsy Daisy, the band shows not only the beauty inherent in opening one’s self up to the world, but also the scariness involved with those delicate actions, as well.

Be sure to kept off the loop with The Baby Magic at http://www.facebook.com/#!/thebabymagicmusic.

You can keep up with Big Gay Horror Fan in Facebook @ http://www.facebook.com/#!/BigGayHorrorFan, as well.

Usually Big Gay Horror Fan feels like such a pin head in public — you know, like why the f–k did I do that — but being a Pinhead was totally a cool thing on Friday, July 13th in Chicago. That was when Movieside Productions presented Terror in the Aisles 11, honoring the amazing achievements of genre visionary Clive Barker, by featuring the restored Cabal Cut of Nightbreed, Hellraiser and Candyman.

Of course, the coolest of the horror ghoulies were there – including (above) blogger/entrepeneur Kreepylady Kristin (www.chicagonow.com/chicago-creepout) and lady of many talents, Kirsten Pfeiffer (aka my one and only Apocalyptic Kitten)!

Aly Renee Amidei, Artistic Director of Wildclaw Theatre, and crew were out in seismic force to promote their upcoming show, <em>The Life of Death, based on one of Barker’s probing works. Wildclaw is one of the premium theatrical companies devoted to works of fright – give them a haunted look at www.wildclawtheatre.com.

Ah, is that a heavenly body of horror I witness above me – or is that the luscious Lix from Lix Online? Well, its both! This is a woman who can rock a mean hula hoop, bake a delicious cookie and counts a t-shirt from Italian gore cheese-fest Rats among her items for sale! Perfection? Perhaps. Find out for sure at www.lixonline.com.

Here, eclectic Nightbreed actress Anne Bobby hangs with one of the scare community’s most original and completely talented artists, the awesome Chris Kuchta. Chris’ pieces seem to breathe with a liquid intensity. Don’t believe me? Prove yourself wrong by diving into his wicked world at www.horrorartist.com.

Of course, the whole event was made all the more spectacular by the presence of Nightbreed: Cabal Cut preservationist Russell Cherrington and the already mentioned Anne Bobby. Here, a certain familiar ear tugging someone interviews these two brilliant talents on stage after the screening of this re-worked masterpiece. Brilliantly compiled from VHS sources, some admittedly weak in quality, this new version of Nightbreed features some amazing revelations: Bobby’s character fronts a rock band and has a truly psychic connection with a young member of the Nightbreed that results in a fantastic backstory for that faithful, undead crew.