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!
After a traumatic miscarriage, Jean Wilson (Havoc) begins renting a country cottage, due to the insistent recommendation of her husband (Stephen Dunne), in order to recuperate. But rest is the last thing that occurs for our beleaguered heroine when the house’s former mistress begins to take over her personality. Jean is soon tracking down the dead woman’s husband (James Mason), a famous novelty pianist, and integrating herself into his life. A disastrous séance, moodily filmed by directors Roy Kellino and William Spier, a change in her hair color and bouts of sleepless, incredibly erratic behavior ultimately lead to a moodily gothic yet emotionally abrupt climax here.
Big Gay Horror Fan 