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Music to Make Horror Movies By: Billy Idol

Published June 15, 2025 by biggayhorrorfan

At 17, I really knew nothing about the gay community. I was growing up in a small farming town, surrounded by shit kicking, flannel shirt wearing earth outlaws. But somehow, I instinctively knew that the leather jockstrap sported by Billy Idol on the January ’85 cover of Rolling Stone was part and parcel of the queer male experience. I already had multiple crushes on all the smooth soap opera hunks from my favorite shows, but never before had I been quite so unabashedly titillated. 

I probably would have been even more turned on if I had been aware of Idol’s connections to the horror community in that era. 

As a fan of Texas Chainsaw Massacre and Poltergeist, he himself hired director Tobe Hooper to helm the post-apocalyptic video for Dancing with Myself. A couple years later, his music swirled out from celluloid bound speakers, accentuating the splattery action of Lamberto Bava’s Demons. Perhaps even more importantly, as the decades have flown by, many music critics have reassessed Rebel Yell, his second album, finding it to be one of the significant Gothic New Wave records of that era. This is unsurprising if you consider that the haunting Eyes Without A Face, one of that LP’s focal points, was influenced by the influential French horror movie of the same name.

Catering to that trend, in the years since, songs like Rebel Yell and White Wedding have worked their way onto the soundtracks of such projects as Bride of Chucky, Scream Queens, American Horror Story and The Chilling Adventures of Sabrina. The inclusion of that latter song in 2025’s Fear Street: Prom Night, which became the Number One film on Netflix within a day of its release, has surely introduced him to a bevy of younger terror loving fans, as well.

Who knows? Maybe some quivering twink in some remote village will even discover that long ago magazine image for the first time and find himself as transformed as I was all those years ago.

What the hell! For his sake….

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan

Riskless Revenge: Barbara in Asylum

Published April 27, 2025 by biggayhorrorfan

Any gay person who grew up with a overbearingly possessive mother knows the torture of having your every move dictated and the lack of freedom such attentions often bring with them. Such individuals may find much to relate to in the character of Barbara from the Lucy Comes to Stay segment of Asylum, the classic Amicus horror anthology film.

Recently released from a mental institution, Barbara (Charlotte Rampling) is immediately facing a different prison upon returning to her family home. Her brother George (James Villiers) has hired a softspoken yet dominating nurse (Megs Jenkins) to take care of her. Thus, she is forced into bed and given a sedative before she even has a chance to reacquaint herself with her ancestral surroundings. In a few moments, it is apparent to the audience that this is how she is going to spend most of her future days – with no sense of self-control or true freedom.

Rampling so expertly conveys the panic-feeling of her character’s entrapment that it is no real surprise when Lucy (Britt Ekland), Barbara’s seductively blonde alter-ego, appears to assist her. Playing her role with an almost gleefully sly sense of humor, Ekland’s Lucy has soon disposed of both of Barbara’s antagonists, momentarily freeing her to live fully and without apparent restraints. 

Of course, things don’t end exactly as anticipated in the quick segment, with Barbara eventually ending up in the titular establishment again. 

This short scenario ultimately encapsulates, though, why genre film is so important. It allows us, as viewers, to, voyeuristically, watch someone act out against the fictional representations of things that have harmed and/or subdued us.

This riskless revenge, in turn, ties us emotionally to the performers and films that allow us this psychological escape – proving, as always, that art of all forms is truly worth its weight in metaphoric gold.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan

Hellraiser at Leather Archives

Published October 18, 2024 by biggayhorrorfan

There Are No Limits!!! —- But ONLY for every sharp-faced Chicagoan who JOINS US this SATURDAY at the Leather Archives & Museum for the Hellraiser Double Feature!!! 

Attendees not only get to see 2 Clive Barker classics in the kinkiest body positive venue in town, but more surprises await them, as well – including a special Barker memorabilia exhibit & a between films visit from the doppelgänger of Kirsty Cotton herself! 

Intrigued? Then check out the link to the event, below!

Fetish Film Forum – Hellraiser (1987) and Hellbound: Hellraiser II (1988) Double Feature

Hope to see you there – and until the next time, SWEET love and pink GRUE,

Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan

Queer Horror: The Slumber Party Massacre (1982)

Published October 5, 2024 by biggayhorrorfan

After a 9-year publishing odyssey, Queer Horror: A Film Guide is finally a reality. For a variety of reasons, not all of my pieces made the final cut. I will share some of those unpublished essays here, from time to time. A link to purchase the book is featured, below, as well.

The Slumber Party Massacre (1982)

Writer: Rita Mae Browne, Amy Holden Jones (uncredited)

Director: Amy Holden Jones

Cast: Michelle Michaels, Robin Stille, Michael Villella, Debra De Liso, Andre Honore, Joseph Alan Johnson, Pamela Roylance, Brinke Stevens, Pamela Canzano

Beginning life as a script entitled Don’t Open the Door, director Jones heavily reconfigured writer Browne’s original work while still retaining that legendary lesbian author’s humorous, feministic intent here.

The plot, unsurprisingly, is typical ‘80s slasher fare. A notorious killer (Villella) escapes from the psycho ward, descending upon a group of momentarily parentless teens who are imbibing beer and pot while indulging in sexual antics. Yielding his drill like a phallus, the killer makes his way through the hard-partying population until the final act when the very pretty, very unpopular girl next door (Stille) puts a decisive end to his days of murderous marauding.

Low budget even by typical grindhouse standards, this film ingratiates itself by smartly emphasizing the real-life fear of losing one’s virginity with almost every death sequence and by broadening the perspectives of its feminine protagonists. Led by the subtly assured De Liso as Kim, the female teens here are more knowledgeable about sports stats than their male counterparts and gender stereotypes are subverted with all of the film’s maintenance support staff being played, nonchalantly, by women, as well.

Despite Browne’s involvement, the Sapphic action is ultimately understated here. Reversing expectations once again, the girls’ kindly coach (Roylance) is decidedly soft spoken. Only Canzano in her short scene as a carpenter gives off a decidedly gay vibe with her fun, efficient characterization.

Death Becomes…Us!

Published June 3, 2024 by biggayhorrorfan

In her 2010 documentary I Am Nancy, actress Heather Langenkamp examined why the male monsters in horror, specifically Freddy Krueger, receive the lion’s share of fandom, including merchandising, while iconic heroines, such as the character she portrayed, are often given short shrift. As a gay horror fan, who definitely feels intense kinship with the sensitive yet thrifty survivors of these bloody epics, I have often felt the same sort of dejected curiosity. It’s definitely a straight ghoul’s world. Even when there is alternative abundance, it is often tempered. As part of the writing team of McFarland’s upcoming Queer Horror: A Film Guide, I excitedly found gay characters and lavender subtext throughout decades of film, but overwhelmingly, the LGBTQIA characters were often not at the forefront of the action.

There are victories, though. 1992’s diva-licious, camp-tastic Death Becomes Her, a favorite among queer horror fans and creators, has recently been adapted into a musical, with a Broadway opening slated for the fall of 2024. It’s pre-White Way try-out in Chicago, garnered enthusiastic reviews & fueled awareness that the book writer (Marco Pennette) and the lyricists (Julia Mattison & Noel Carey) are well attuned to what crowd has kept this thirty some year old cult property in the public consciousness. From the jokes to the musicalized rhymes, this is a show for every queen who worshipped at the fabulously catty altar laid out by Goldie Hawn and Meryl Streep in the Robert Zemekis film.

Anyone who feels like they missed out by not witnessing the glories bestowed on the theatrical world by such age-old Tony winning powerhouses as Ethel Merman, Mary Martin and Pearl Bailey will find much satisfaction here, as well. From the opening moments of the show, Destiny’s Child’s Michelle Williams electrifies, bringing a Diahann Carroll meets Eartha Kitt energy to the stage. As Viola Van Horne, a more prominent take on the film’s Lisle Von Rhuman (Isabella Rossellini), she emerges from glittery cocoons and ancient sarcophagi, compelling viewers to follow her every magical move.  Megan Hilty, taking over as Streep’s self-indulgent Madeline Ashton, and Jennifer Simard, doing a crisp take on Hawn’s Helen Sharp, meanwhile, bring out all the delightful, irreverent, vengeful and awesomely (aka DIVA) fun aspects of the script. Their 11 o’ Clock duet, Alive Together, is a phenomenon – easily achieving and/or surpassing the heights reached by similar female-centric songs in shows like Wicked and Side Show.

So, yes, there may be 12 celluloid variations of Friday the 13th without a single fey gent in sight – but we do finally have this potion-perfect example of a musical to call our very own!

More information on the production and it’s upcoming run in New York City can be found at http://www.deathbecomesher.com.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan

Peek-A-Boo

Published March 1, 2023 by biggayhorrorfan

I had made up my mind that it was never going to happen.

But Channel 59 was playing a Saturday October afternoon marathon of neutered horror flicks – Halloween 2, A Nightmare on Elm Street and Carrie – all interrupted, periodically, with brightly announced ads for local car dealerships along with speaker exploding reminders about the playtimes of long cancelled network shows and newly produced syndicated sitcoms. “See Mama’s Family every Saturday night at 7:30!” and – “Go back to a simpler time every afternoon from 3 to 4 with the Ingalls Family and Little House on the Prairie! Unsurprisingly, that Little House time slot was a favorite at Eden Heights, the old folk’s home that I volunteered at every Wednesday afternoon with several other eager, socially minded classmates. One of the beleaguered yet incredibly feisty residents – she once spat at a visiting Bishop and threw the rosary that he offered her back into his mighty, quickly reddening face – was a particular fan of the show. Every time that I entered the home with my fellow ambassadors of conscientiousness, I could hear her bellowing from her bed, “1,2,3, 4! The kids are here! The kids are here! I’m gonna kiss ‘em then I’m going kill ‘em. I’m gonna kiss ‘em then I’m gonna kill ‘em. Then, 1-2-3-4, I am gonna make ‘em sit ‘n watch Little House on the Prair-r-r-ie!” She, quite simply, was my heroine. 

Her outrageousness seemed on the same Zen-like plane as Patti Smith, a squawky voiced punk priestess whose LPs I had begun discovering in cut out bins, after school, at mid-range department stores like Fisher’s Big Wheel. Most recently, I had found her 1976 recording Radio Ethiopia shoved into a tightly packed, impulse buy side rack at a grocery store checkout lane in Salamanca, New York.  I loved the incongruity of finding an LP that featured a song called Pissing in a River, which I was surprised to discover was a fairly mournful ballad about the fading embers of youth, in a supermarket that catered to grade school moms and the hopeful, soon to be tenured teachers at the nearby academy of higher learning. 

That afternoon, unsurprisingly, Lou also had his own ideas about further education- in this case, my own. Gathered together in his living room to watch the previously described, mostly bloodless terror-thon, he nestled against me, leaning his head on my shoulder, breathing words of hysterically inept seduction. 

“You can take me like Rod takes Tina, stud,” he whispered in my ear, referencing A Nightmare on Elm Street’s doomed couple.

I chuckle nervously.

“That didn’t end so well, Lou.”

“True.” Beat.  “You’re no fun,” he purrs with a cattish pout. He’s a round, bald bastardization of Ann Margret in Bye, Bye Birdie, a film that my brother and sister and I have recently watched in this very room while my parents were visiting, gossiping about church business into the long hours of a small town Saturday night. Now, on a kittenish roll, he begins rubbing at my crotch in long, incredibly cloying circles. I shift away from him, decidedly uncomfortable, a fact that he just as decidedly ignores. 

“Take me now, Brian, and I’ll buy you a flower and bring you to the prom like Tommy did with Carrie.” His eyes twinkle, a comic counterpoint to a statement that is not only desperately silly, but almost unknowingly cruel. It hits too closely upon desires that I have long harbored in secret. I would love for some handsome young athlete to proudly escort me to a school dance. Often I have longingly stared at schoolmates driving off from Homecoming mixers in cars with their college age sweethearts. How, I wonder each time, did they pull off such a seeming impossible, totally desirable coup? Even my dreams at night are filled with images of me on dinner dates with ripped n ready soap opera studs…and the fact that Lou so assuredly crowns himself as being superior to them in desirability pushes at me with a fiery force. 

“Fine,” I say. “Let’s do it!!”

“What?”

“Show me what you got!”

For the first time ever, I grab at his pants. Leering my fingers at his belt, I jerk at it with awkward revulsion…pawing at him, almost claw-like, the way my mother must do with certain objects. I have watched her make the motions I am now making 1000s of times. Her right hand withered by a childhood bout with polio, I have had to help her open cans, latch the buttons of her girdle, reach for out of place objects since the early days of my childhood. Now, I am, momentarily, afflicted like her, the physical cause of my distress not some relentless virus, but the seemingly unstoppable sexual overtures of Lou. 

For the first time, Lou seems a bit nervous, if agreeable.

“Let me do it,” he squeaks. Then, in what is probably mere seconds, but feels like a film-roll eternity, his black tweed pants are down and bunched at his thighs. I almost laugh at what their unbuttoning reveals. Lou’s underwear is luminously grandfatherly – large, white cotton briefs with majestic give. Standing there, momentarily knock-kneed, he hardly represents the “underflair” highlighted in actor-model Jack Scalia’s highly provocative ads for Eminence briefs. 

Still, pent up annoyance rallying me forth, I reach for their elastic band below Lou’s smooth, rounded gut. Maybe he has an amazing cock? It almost might make this worth it, but…

No.

It is stubby and short – a thin 4 and a half inches. But I’ve started this and, as with the other awkward encounters I’ve had with older summer stock actors, I believe I’ve begun this, so I have to see it through. I don’t want to suck it, though, so I cup my palm around it – squeeze it once, twice, three times. Lou gasps as tiny drools of ejaculate start to leak from the tip.

Suddenly, a car door slams and the sound of crunching gravel echoes closer and closer to the back entrance of the rectory. It is my father coming to pick me up. 

Lou’s eyes flare with mortified adrenaline. He hikes forward, dragging his pants up his nearly hairless legs, hitching his fingers into his underwear and pulling them towards his belly almost simultaneously. Boisterously calling out “Hello,” my father enters through the kitchen, as Lou scatters up the stairs to change. 

I wipe my thankfully clean hands down the sides of my jeans as I turn towards the television. Jamie Lee Curtis, clad only in a hospital nightgown & what I can only assume is a very bad wig, hobbles down a long & winding corridor – a dankly lit path that does not seem to end. I sigh, as my father swings his head into the room and waves at me. I nod, my thoughts elsewhere. I am concentrating on Jamie and the path she jaggedly weaves down. I think that if she can make it out alive, maybe so can I.


Note: (My first horror movie buddy was a priest named Lou Hendricks. Several years ago, Hendricks was named by the Western New York Catholic diocese as one of their most unrepentant predators in the ’70s and ’80s. Thus, I grew up watching monster movies with a monster – a man who was like an uncle to our family. Over the next few months, I will be sharing some of my stories from that period of time.)

Music to Make Horror Movies By: Nik Kershaw

Published January 4, 2023 by biggayhorrorfan

Growing up in a small town, I often had to rely on acquaintances from bigger cities to introduce me to interesting music. One of the girls I met at a theater audition was from a nearby metropolis and, while I tried to emotionally navigate around the crush she had on me – compounded by my own mild confusion as to whether I was ever going to wake up one morning and discover that I liked both girls and boys, she filled me in on some of her favorite artists. Nik Kershaw was one of them – and within a year or two, I figured out that there was a reason why I would so often longingly gaze at his profile on his second LP, The Riddle. I wasn’t ever going to like any Becky…or, as in this particular case, any Camilla, as well. 

Cheekbones aside, I also really dug Wouldn’t It Be Good, perhaps Kershaw’s biggest hit. Driving that point home, it was included on both his first and second album, and has also been featured in many film & television projects. One of the more interesting uses was in a Body Snatchers style television film called The Annihilator. Featuring Catherine Mary Stewart as a flesh and blood reporter turned into a mindless, assassinating robot, Kershaw’s tune was definitely in good company in this project. The other featured song was David Bowie’s Ashes to Ashes.

Nicely, Kershaw, who is now working some silver daddy magic, is still creating music and performing live. More information is able at https://www.nikkershaw.net.

Re-examining Prom Night 2008

Published January 16, 2016 by biggayhorrorfan

Prom_Night A number of years ago, I grabbed a huge movie theater size poster of the 2008 Prom Night remake off of the swag table at a film event. Now, I couldn’t tell you if I still have that poster, rolled away, in some corner of my ever expanding memorabilia filled closet…but I can tell you that I will never forget the look of pure surprise that came over a dear friend’s face when he saw me snatch it off that stack of terror filled goodies. There was no derision in his glance, as best as I can recall, just pure shock.

Recently, I was reminded, again, of how disdained that reimagining was upon reading Rue Morgue’s look at the Golden Age of Canadian horror, Horrorwood North. The original Prom Night, featuring Jamie Lee Curtis, filmed in 1979 in Toronto, is considered one of the original slasher classics, and, naturally, is covered, lovingly, in the volume. On the other hand, the 2008 version was mentioned at the end of that cherished terror’s profile as being “much despised”.

The original film, as many know, focused on the revenge fueled slayings of a group of high school students who had, unwittingly, killed a young girl through their cruel bullying, years before. Alongside the expected sex, drugs and…disco, the film also spent some time exploring how the young girl’s death had affected her family – particularly her extremely fragile mother and her sensitive older brother, who had actually witnessed her death throes and, eventually as the film’s dance fueled finale reveals, become’s the film’s vengeful (yet sympathetic) killer. These layers have endeared the film to horror sophisticates for decades.prom night 2

The 2008 version told the tale of Donna (a sweetly effective Brittany Snow), a teenage girl whose family had been slaughtered by her (Hollywood handsome) teacher, Richard Fenton, three years previously. Now living with her uncle and her aunt, she, hesitantly yet happily, prepares for her senior prom with her adorable boyfriend, Bobby. But, after Donna and her friends settle into their hotel rooms and begin to celebrate, Fenton emerges and begins to slaughter them. Donna is rescued by the police and taken home, but the ever resilient Fenton tracks her down and murders Bobby, who is trying to protect her. After a final battle with Donna, Fenton is finally dispatched, leaving the young woman safe but further traumatized, echoing the devastating emotional fate of Kim Hammond, Curtis’ character in the original.

Despite its critical drubbing (with extremely low ratings on Rotten Tomatoes and Metacritic), this revamped tale took in nearly $57,000,000 on its original release, ultimately making it the 16th highest grossing slasher.  Perhaps, more importantly, there are a couple of elements in its plotline that speak directly to the homosexual heart. (Well, at least, mine!)

Reflecting on the film’s appeal to me, an image popped into my mind of myself at 16 or 17 watching a popular girl, at the small Catholic school I attended, arriving with her handsome, college age boyfriend for a Homecoming Dance. I remember wishing with all my might that I could do the same. But, I definitely wasn’t of the “in crowd” and there was no way that a guy was going to ask me to a dance in mid-80s farm country. Thus, I believe a thread of appreciative sorts is formed by myself with the reimagining’s heroine, Donna, who is doing exactly what I always dreamed of doing. (The fact that her relationship is ultimately thwarted is, perhaps, even another reminder of all those young crushes and sexual dreams that never quite played out, as well.)

prom night 3Even more so, queer men (including myself) have notoriously been preyed upon by older men – whether in the form of teachers, clergymen or family friends – adding another layer of understanding and connection to this character. While, thankfully, many of the predators who shaped our younger selves were not as murderously insistent as Fenton, they have still left their mark. This bittersweet resonance is something that especially connects me (and possibly others) to the vulnerable Donna as the film fades to its jauntily strained credits.

On a purely fan boy level you, also, can’t fault the film for its cast, many of whom are besotted with genre pedigree. Firstly, we have the preternaturally attractive Jonathon Schaech who essays the evil Fenton with a black intensity in his eyes. Schaech who had, sexily, burst onto the scene with Gregg Araki’s gonzo The Doom Generation, has also made a name for himself in such spooky fare as The Forsaken, Living Hell and The Washingtonians episode of Masters of Horror. Linden Ashby, who brings a kind glow to Donna’s uncle, is familiar from such projects as Werewolf, The Perfect Bride, Night Angel and Resident Evil: Extinction, as well. Meanwhile, Jessica Stroup, who flamboyantly fills in the shoes of the film’s doomed sexpot, is most familiar to terror enthusiasts as the female lead in 2007’s The Hills Have Eyes II, but her other roles include ingénue parts in Left in Darkness, Pray for Morning and Vampire Bats (with Lucy Lawless). Most importantly, perhaps, in one of the film’s best scenes, The Blair Witch Project’s Joshua Leonard appears as a hotel bellhop who is slaughtered as part of Fenton’s vicious revenge campaign. Fun!prom night 4

But more than that, Prom Night 2008 shows that even the most reviled celluloid can resonant as art and fulfill viewers emotional needs when viewed in the right context. Or, more simply, as another friend has stated, “There are no guilty pleasures. Just pleasures!”

Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!

www.facebook.com/biggayhorrorfan