Podcast appearances and mentions of Vincent Price

Superconnectivity Ep #368: Spider-Man - No Way Home Official Trailer, Moon Knight #5 Charlie and Phil discuss various topics including: The official Spider-Man: No Way Home Trailer New comics Elvira Meets Vincent Price #3, Amazing Spider-Man #78.BEY, Shang-Chi #6, Moon Knight #5, Kang The Conqueror #4, The Thing #1 Show notes: Superconnectivity Ep #368: Spider-Man - No Way Home Official Trailer, Moon Knight #5 Find all of our Social Media here: https://linktr.ee/capesandlunatics Follow Phil Perich on Twitter: https://twitter.com/Nightwingpdp Follow Charlie Esser on Twitter:  https://twitter.com/CharlieEsser Produced by: Capes and Lunatics Podcast Production Team: Phil Perich Support the Capes and Lunatics Podcast on Patreon www.patreon.com/capesandlunatics

Not all radio crimesolvers relied on their fists and .45s. Some solved crimes with charm and their wits, and we'll hear adventures of three of those gentlemen sleuths. First up is Vincent Price as The Saint in "The Case of the Unhappy Homicide" (originally aired on Mutual on November 6, 1949). Then, Ned Wever stars in "Murder in the Ring" from Bulldog Drummond (originally aired on Mutual on October 14, 1946). Finally, it's "Diamonds Can Be Done to Death" from The Private Files of Rex Saunders starring Rex Harrison (originally aired on NBC on May 16, 1951).

Joins us and our special guest, Silvio La Frossia, on our podcast anniversary as we discuss the life and works of the brilliant but troubled Edgar Allan Poe! Instagram: @summerreadinglistpod Twitter: @summerlistpod Facebook: summerreadinglistpod Youtube: Summer Reading List Podcast Tik Tok: @summerreadinglistpod Additonal links: Vincent Price retellings: The Tell-Tale Heart (pt. 1): https://www.youtube.com/watch?v=2LNjgv5p3Ek&ab_channel=mirkodamian The Tell-Tale Heart (pt.2): https://www.youtube.com/watch?v=TM-tAb-bM-s&ab_channel=mirkodamian The Cask of Amontillado (pt. 1): https://www.youtube.com/watch?v=-XTmWag6wfw&ab_channel=mirkodamian The Cask of Amontillado (pt. 2): https://www.youtube.com/watch?v=yi4GRpOS7NU&t=5s&ab_channel=mirkodamian The Raven: https://www.youtube.com/watch?v=T7zR3IDEHrM&t=1s&ab_channel=SunshineReading The Simpsons Treehouse of Horror- The Raven: https://www.youtube.com/watch?v=vbTt1URhwR4&ab_channel=ad0k Cask of Amontillado- Featuring John Heard and René Auberjonois: https://www.youtube.com/watch?v=6TF_sMg5pKI&ab_channel=J2013

Neste episódio, Balbi recebe um estudioso do appendix N e figura histórica do RPG Nacional, o Lucio Nöthlich Pimentel, para dar uma viajada pelas influências mais básicas do D&D, principalmente no tocante a origem de cada classe nas páginas dos livros clássicos da lista de recomendações do Gary Gygax nas páginas no Advanced Dungeons & Dragons 1e. Jack Vance, Fritz Leiber, Tolkien, Clark Ashton Smith e outros autores seminais são citados conforme Lucio destrincha as influências de cada classe do old school. Citado no episódio, o duelo final do filme The Raven, com Vincent Price, na qual podemos notar várias magias de D&D. Confiram o Medium do Lucio, onde ele analisa um material riquíssimo com obras clássicas. Música inspirada em The King of Elfland's Daughter, de Lord Dunsany   #DNDCYCLOPEDIA   ***   ***   CONSIDERE APOIAR O ROLE!!!! Torne-se um Assinante do Café,  com Dungeon, com planos a partir de R$5, e contribua para criarmos nossa série especial destrinchando a história do RPG, dos anos 70 até os dias atuais! https://bit.ly/CcDungeon   **** Aproveite nossas parcerias! *** A My Dice Factory, que faz lindíssimos dados artesanais, está em temporada de vendas e ainda há kits disponíveis! Chega lá em http://mydicefactory.lojaintegrada.com.br e use o cupom REGRADACASA5. Se você for assinante do Café com Dungeon, me consulte no telegram pelo cupom especial. *** Quer beber um Café artesanal, sem impurezas e delicioso enquanto ouve o Café com Dungeon? Vindo de pequenos produtores numa cadeia de produção racional e boa para todos, conheça a Ovelha Negra e todos os seus tipos especiais de café. Use o Cupom: DUNGEONCRAWL https://bit.ly/ovelhanegracafes   Assinantes têm cupom especiais. Consulte no grupo de Telegram! *** Muito obrigado a todos os assinantes do nível Expresso - esse apoio ajuda demais; e muitíssimo obrigado aos apoiadores Café com Creme e Café Gourmet: Abílio Júnior Adriel Lucas Balieiro Rodrigues Aline Maciel André Luiz Marcondes Pontes Brayner Silva Bruno Cobbi Bruno Tácio Cachoeira Caio Messias Cavazzana Carlos Castilho Cássio Félix Daniel Saraiva Denis Lima Diego Leite Da Cunha Diego Sestito Dm Quiral Erasmo Barros Erasmo Barros Fábio Luparelli Felipe Xavier Gonzaga Franciolli Araújo Francisco Siqueira Gabriel Stüpp George Bonfim Gersica Melchiades Gilvan Gouvêa Glauber Rocha Glebe Duarte Gustavo Baldez Oliveira Dias Gustavo Jardim De Souza Gustavo Murad Heitor Coelho Helber Del Bem Martins Jarbas Trindade Jean Paes João Rafael Coelho Cruz E Sousa Jorge Monteiro José Canesin Leandro Fiamenghi Leonardo De Andrade Castilho Leonardo Monteio De Morais Leonardo Paixão Lianker Lopes Lucas Barjud Luiz Felipe Pereira De Souza Marcelo Pires Bentes Marcos Paulo Ribeiro Marcus Komei Machado Pedroza Matheus Heleno Pedro Borges Pedro Cocola Pedro Gustavo Rodrigues Pedro Wah Rafael Caetano Mingoranci Rafael Cruz Rafael Garotti Rezende Rafael Raposo Rafael Roque Leite Ramon Bezerra Raoni Godinho Ricardo Matte Rodrigo De Lima González Roger Kober Saulo Aride Tiago Lima Barboza Willy Alencar Yuri Saiyé *** #Paracegover CAPA: à frente o logo do Café com Dungeon; ao fundo um foto de capas de livros clássicos de Jack Vance e Fritz Leiber.   *** O Café com Dungeon é um podcast oferecido pelo canal Regra da Casa. Siga nosso Instagram para um complemento visual de nosso conteúdo, além de anúncios, sorteios e atualizações.      

When a project goes wrong, it gets in your head. Sometimes there's no choice, but to leave it for dead. But they haunt you forever, driving you insane. Prepare for the horror of THE GRAVEYARD OF GAMES!!!! insert evil Vincent Price laugh here Okay, so maybe this episode isn't quite as spooky as the name implies, BUT, we sure had a lot of fun reminiscing about our dead game projects. Big thanks to Tyler Glaiel, Ninjamuffin99 and Afro-Ninja for sharing their dead games with us. DO NOT STEAL NINJAMUFFIN'S IDEAS!!! Oh and Tom Fulp for eventually popping in after much ridicule. Oh, and thanks to Lil Wayne for being here in spirit. ~~~ FOLLOW ON NEWGROUNDS | FOLLOW ON TWITTER | JOIN THE DISCORD Theme music: Gabberfly by Waterflame Support The Newgrounds Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/the-newgrounds-podcast

Justine brings her whimsical pick Edward Scissorhands (1990) as a perfect post-Halloween tale to ramp up for Christmas. She comes with the movie memorized and stocked up with behind the scenes facts. As the discussion moves to the issue that Edward is not human, the answer is (spoiler) magic. Check out Justine on Pod Appétit: Gourmet Takes, find her on Twitter @mixtapemontage & @pod_appetit, & on Instagram @mixtapemontage & @pod_appetit. An artificial man, who was incompletely constructed and has scissors for hands, leads a solitary life. Then one day, a suburban lady meets him and introduces him to her world. Stars Johnny Depp, Winona Ryder, Dianne Wiest, Anthony Michael Hall, Kathy Baker, Alan Arkin, Vincent Price, and directed by Tim Burton. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Instagram, Facebook, and all the social media platforms. Follow us on Twitter and Instagram @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

Jim and Patrick take on arguably the most boring science fiction film ever made, and a weird Shakespeare-inspired horror movie starring Vincent Price. --- Support this podcast: https://anchor.fm/revengeofthedrivein/support

In which Carla reviews and discusses 31 more horror movies without blood and gore, suitable for the squeamish viewer or beginner to horror. No spoilers.Podchaser: The 60 Best Podcasts to Discover for November, including There Might Be Cupcakes! https://www.podchaser.com/lists/the-60-best-podcasts-to-discover-for-november-pc!5OvkkR9IR4GmAv65References , sources, and recommended reading:First Boo Without Goo episode: https://www.theremightbecupcakes.com/episode-10-boo-without-goo/Letterbox list of every movie referenced in an episode: https://letterboxd.com/claradox/list/there-might-be-cupcakes/detail/Suspiria episodes:Episode 51: Elegant Nastiness: https://www.podchaser.com/podcasts/there-might-be-cupcakes-podcas-520320/episodes/elegant-nastiness-51-40843314Episode 53: Exquisite Mayhem: https://www.podchaser.com/podcasts/there-might-be-cupcakes-podcas-520320/episodes/exquisite-mayhem-53-44761006William Castle's horror movies: https://letterboxd.com/director/william-castle-1/genre/horror/Vincent Price's horror movies: https://letterboxd.com/actor/vincent-price/genre/horror/Christopher Lee's horror movies: https://letterboxd.com/actor/christopher-lee/genre/horror/Stephen King's Danse Macabre: https://bookshop.org/a/6560/9781439170984Clive Barker, the king of body horror (the opposite of Boo Without Goo, but I brought him up): his Books of Blood short stories, volumes 1-3: https://bookshop.org/a/6560/9780425165584Screaming for Pleasure: How Horror Makes You Happy And Healthy by S. A Bradley https://bookshop.org/a/6560/9780692193358The Monster Show: A Cultural History of Horror by David J. Skal https://bookshop.org/a/6560/9780571199969Doesthedogdie.comTheme song and stinger: “Comadreamers I” by Haunted Me, off their Pleasure album, used with permissionHow to Support Cupcakes:Audible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004RCare/Of Vitamins: https://takecareof.com/invites/chr4bwPatreon: https://www.patreon.com/m/theremightbecupcakesand please visit my lovely sponsors that share their ads on my episodes.Where to Find Cupcakes:Facebook Page: https://www.facebook.com/theremightbecupcakesFacebook Group: https://www.facebook.com/groups/theremightbecupcakesTwitter: @mightbecupcakesInstagram: @theremightbecupcakes and @carlahauntedReddit: https://www.reddit.com/r/theremightbecupcakes r/theremightbecupcakesGoodreads: https://www.goodreads.com/group/show/804047-there-might-be-cupcakes-podcast-groupContact: carla@theremightbecupcakes.comComplete list of ways to listen to the podcast on the sidebar at http://theremightbecupcakes.com

What's crappening in this episode: Support us on Patreon (Now with Discord)! Dune, Beetlejuice, Vincent Price stories, The Game, Shaq, Grubhub Plus, Wonderbread, Knott's Berry Farm, sauce numbers,  If you'd like to play along at home click here.

 Come with us on this episode as we ponder...what would it be like to be the last human being on Earth? How would a person cope with the loneliness, the despair? We look at a trio of films all based on a story built around this concept, Richard Matheson's classic 1954 novel, I Am Legend. Matheson's story took the classic vampire legend and gave it a modern, pseudo-scientific twist, with the vampires created by a bacterial plague, leaving one man,  immune, struggling to survive.After Bob provides some background on the novel, we dive into the first film adaptation, 1964's Last Man on Earth, starring Vincent Price. Matheson wrote the first draft of the screenplay but eventually withdrew his name from it after a number of other writers came in later and altered it. However, it is still the most faithful version to the book. It's certainly the one that retains the horror aspects the most. The black and white film gives it a ton of atmosphere, and Price provides a strong performance as the deeply depressed Robert Morgan (not Neville, as he was named in the book and the other two films). Having Morgan's former neighbors, now turned into pseudo vampires/zombies stand outside his house at night groaning, "Morgan!" is pretty chilling. By 1971, the concept turns into an action/sci fi vehicle for Charlton Heston, called The Omega Man. This version differs markedly from the original Matheson story. Heston plays Colonel Robert Neville, MD, a military man and doctor, who was working on a vaccine to a biowarfare agent unleashed in a war between China and the USSR. Unfortunately, Neville is the only one to receive the experimental vaccine before most of the world succumbs to the disease. The survivors are mutated into strange albinos who can't stand daylight, and develop a science-hating cult (The Family) led by a former newscaster, played by Anthony Zerbe. During the day, Neville goes around killing The Family where he can find them, and taking whatever food, clothes, cars, etc., he wants. This film features a love interest -Rosalind Cash as Lisa - and is notable for the obvious Christ analogy at the end of the film. It's a big ball of cheese, but entertaining.The property was moved around Hollywood for a while, with Ridley Scott and Arnold Schwarzenegger attached for a length of time. But the third version was released in 2007, titled I Am Legend, starring Will Smith. This film took many of the ideas of the book, but followed Omega Man's action packed  style. Once again, Smith's character is both a military man and a doctor, Lieutenant Colonel Robert Neville, an Army virologist. He is the only survivor of a plague that has wiped out mankind, with the few survivors turned into wild cannibalistic mutants who can only come out at night. Neville, with his dog Sam as his only companion, hunts the mutants during the day, sometimes capturing them to experiment on them, still searching for a cure. The Planet 8 crew all agrees that we had a hard time sticking with this film once the CGI creatures appeared - it's a shame such bad CGI basically ruined this film.Of course we will compare and contrast the movies, discuss what elements they have in common, how they differ, and what we thought worked best. It's fascinating to have three films, from different decades, all working from the same source material. Each is a product of its time. And what would a new adaptation look like?For our Sensor Sweep, fittingly, Karen shares her soundtrack CD for the Omega Man -it's Omega Man 2.0 Unlimited from Film Score Monthly. This version has a whopping 18 tracks, for 64 minutes of amazing music from Ron Grainer. It's a fantastic, memorable 70s score. Put it on the next time you're cruising around Los Angeles!That's it for us this time. Be sure to share your thoughts with us about the many versions of I Am Legend.Twitter: https://twitter.com/Planet8CastFacebook: www.Facebook.com/Planet8PodcastMoooor - gan!!

Paul and Erin review two animated films set in the desert: the 1992 Disney Renaissance classic ALADDIN, and Richard Williams' legendary, never-completed labour of love THE THIEF AND THE COBBLER. Plus: our quick takes on OLD, LAST NIGHT IN SOHO, THE FRENCH DISPATCH, and ARMY OF THIEVES.

On this episode of MICRO BREAK (Episode 68), we dive into the life of one of the greatest horror actors and voice talents in history, Vincent Price.Vincent Price is widely regarded as one of the most iconic and beloved horror movie actors in the world. Any fan of classic horror movies knows the name Vincent Price as synonymous with elegance, humor, talent, worldliness, and charm. Throughout his over 60-year movie career, appearing in countless classic horror movies, as well as classic films outside the horror genre, Price established himself as one of the most popular actors--beloved among both his fans and his peers.Follow the HostLinktree https://linktr.ee/MICRO_BREAKWebsite https://www.podpage.com/micro-break/ResourcesVincent Price's Website https://www.vincentprice.com/Vincent Price on Wiki https://en.wikipedia.org/wiki/Vincent_PriceIMDB https://www.imdb.com/name/nm0001637/Vincent Price & Michael Jackson's Session for "Thriller"Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

It might not be Halloween month anymore, but who cares - the spooky season train has already left the station. And in this episode we are talking two films starring the legendary Vincent Price (The Tingler & The House on Haunted Hill - both directed by William Castle). To help us make sense of it all is friend of the podcast, Mr. Brad Fuller. Enjoy! Vincent Price Links The House on Haunted Hill  The Tingler trailer Vincent Price Recites Thriller Monologue Vincent Price Joins The Brady Bunch

Did you miss us? Happy spooky season! This month we celebrate a master of horror - the iconic Vincent Price.Songs: Saint Vincent by The Kentucky VampiresThe Black Widow by Alice Cooper

In this episode, Phil and Janelle talk about open face sandwiches, Moby Dick, a forgotten fight, Helen Keller, pathos, fiction books, teen privileges, live recordings, Vincent Price, Denmark, and more.

Mike and Dustin return to the podcast to celebrate Halloween 2021 with an all-new installment of the Anthology of Horror featuring a discussion about the three major adaptations of Richard Matheson's seminal novel, I am Legend, The Last Man on Earth (1964), The Omega Man (1971), and I am Legend (2007). Music: "Monster Mash" (Bobby "Boris" Pickett and the Crypt-Kickers) "I am Legend Main Theme" (James Newton Howard) Like us on Facebook Follow us on Twitter Join our Patreon

https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr22021/StrangeTales616.mp3 This week on Strange Tales, The Creaking Door shares its episode from February 1, 1965, titled, Secret Of The Mausoleum. Download StrangeTales616 Strange Tales is made possible by the support of its listeners. If you're able to help out, visit donate.relicradio.com for more information. And, if you'd like some stories featuring Vincent Price for [...]

It's all horror for our second COVID-era Halloween special, featuring classic Universal Monsters, Wes Craven's Scream, M. Night Shyamalan's Old and Silence of the Lambs on 4k. Also, Kino's quartet of terrifying Vincent Price classics, monstrous boxed sets from Arrow, Elvira, Kolchak, Lon Chaney, Jonathan Frid and new installments of The Conjuring and Escape Room… only on The DigiGods! DigiGods Podcast, 10/26/21 (M4a) — 42.27 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss: The Amazing Mr. X (Blu-ray) The Amityville Moon (DVD) Are You Afraid of the Dark?: Curse of the Shadows (DVD) The Awakening (Blu-ray) Bad Candy (Blu-ray) Batman: The Long Halloween, Part Two (Blu-ray) Born for Hell (Blu-ray) The Brotherhood of Satan (Blu-ray) Brotherhood of the Wolf (Blu-ray) Butcher, Baker, Nightmare Maker AKA Night Warning (Special Edition) (Blu-ray) Cold War Creatures: Four Films From Sam Katzman (Blu-ray) The Comedy of Terrors (Special Edition) (Blu-ray) The Conjuring: The Devil Made Me Do It (4k UHD Blu-ray) Dark Shadows and Beyond: The Jonathan Frid Story (Blu-ray) Dark Spell (Blu-ray) Dark Stories (DVD) Day of the Animals (Blu-ray) Deadly Friend (Blu-ray) Death Screams (Blu-ray) Deep Red UHD (Limited Edition) (4k UHD Blu-ray) Demons 1 & 2 (4k UHD Blu-ray) Elvira's Haunted Hills Collector's Edition (Blu-ray) Escape Room: Tournament of Champions (Blu-ray) Exhumed: A History of Zombies (DVD) Frankenstein's Daughter (Blu-ray) The Frenchman's Garden (Blu-ray) Friday the 13th 8-Movie Collection (Blu-ray) Fried Barry (Blu-ray) Funhouse (DVD) A Ghost Waits (Blu-ray) Great White (Blu-ray) Grizzly (Blu-ray) Hitcher in the Dark (Blu-ray) Honor Killing (Blu-ray) House of Wax: Collector's Edition (Blu-ray) The Howl of the Devil (Blu-ray) Howling Village (Blu-ray) The Hunchback of Notre Dame (Kino Classics) (Blu-ray) Hunting Ground (Blu-ray) I Am Toxic (DVD) I Spit on Your Grave - 3-Disc Set (4k UHD Blu-ray) I Spit On Your Grave: Deja Vu (Blu-ray) Jungle Trap (Blu-ray) Jurassic Hunt (DVD) Kolchak: The Night Stalker (The Complete Series) (Blu-ray) Last Gasp (Blu-ray) Little Vampire (Blu-ray) The Mad Doctor (Blu-ray) The Monster Collection (Blu-ray) The Night (Blu-ray) Night of the Animated Dead (Blu-ray) Night of the Bloody Apes (Blu-ray) Nightbeast (Blu-ray) Old (4k UHD Blu-ray) The Old Ways (Blu-ray) One Dark Night (Blu-ray) Queen of Spades (Blu-ray) The Raven (Special Edition) (Blu-ray) Room 9 (DVD) Rush Week (Blu-ray) Scream UHD (4k UHD Blu-ray) Scream, Pretty Peggy (Blu-ray) The Screaming Woman (Blu-ray) The Silence of the Lambs (4k UHD Blu-ray) Skinned Deep (Blu-ray) The Stand (Blu-ray) The Stand 2-Pack (Blu-ray/DVD) Straight Outta Nowhere: Scooby-Doo Meets Courage the Cowardly Dog (DVD) Ten Minutes to Midnight (Blu-ray) Theater of Blood: Special Edition (Blu-ray) Threshold (Blu-ray) Through the Shadow (DVD) The Tomb of Ligeia: Special Edition (Blu-ray) Trick or Treats (Special Edition) (Blu-ray) Universal Classic Monsters - Icons of Horror Collection (Dracula, Frankenstein, The Invisible Man, The Wolf Man) (4k UHD Blu-ray) The Victim (Blu-ray) The Watcher / Skeleton Key Double Feature (Blu-ray) The Wiggles: Halloween Party (DVD) Please also visit CineGods.com. 

Red, Black, and Periwinkle Deaths! Digressions Galore! Upside-down crosses! David Baxter of Thank You Five Podcast joins Sarah to discuss Vincent Price film The Masque of the Red Death (1964). Celebrate Halloween with us as we get into medieval horror, plague, and the real history of Satanism. Social Media: Twitter @mediaevalpod E-mail: media.evalpod@gmail.com Find David's podcast Thank You Five on Twitter @thankyoufivepod Please rate, review, and subscribe!

For Episode 60, we're celebrating every garage rock fan's favourite high holiday: All Hallow's Eve! So we've assembled a pentagram of terrifying tunes - and ALL FIVE are about werewolves! The first bite comes from The Frantics (5:15). Their 1960 instro “Werewolf” evokes the chill of nighttime and the horror of human transformation with some Vincent Price-esque narration and many atmospheric effects. Our second stab at the topic comes from Morgus and the Daringers, released that same year (30:16). Their take (also titled “Werewolf”) might seem lighthearted, but that's only if you think lupine attacks on beatniks are something to be celebrated! The third in this unholy list of lycanthropy comes in the guise of those pesky Kingsmen (1:09:23) . The Joey Levine-penned “Wolf of Manhattan” shows what happens when the turn-skin escapes the forest for the bright lights of the city – he'll take a bite out of the Big Apple! The fiendish fourth is “Werewolf and Witchbreath” by The Troll (1:28:12). The lyrics to this one are a gurgling incantation to unseen spirits, and the song is a heavy hymn to hellish hallucinations (translation: it's psychedelic). We're back in the forest for the final howl, which comes from Michael Hurley, whose spooky, folky 1971 tune “The Werewolf” is an empathetic look at the monster we try to run away from (1:53:37). Was it … inside us the whole time?!?!?!

On this episode, a trailer for Eddie Murphy's new movie (James III), we have an evil ad sponsor (Andrew Farmer), a practical witch, Vincent Price is alive and on our podcast, Jack White lists off his least favorite treats (Arthur Meyer), Crate & Barrel's annual spooky Halloween spooky clearance sale, some really frightening thoughts, obvious mariticide, a terrifying codependent relationship, a haunted painting is going to get you, a voicemail from Guillermo del Toro (Frank Garcia-Hejl), Hannibal Lector but he isn't a foodie, the newest True-Crime podcast from WLHR, an infomercial that literally goes nowhere (James Bewley), a VO actor can't understand his copy (James III), and a song parody.Produced by Anna Rubanova and Adam BozarthInterstitial remixes by Lucas HazlettTheme by Dan WarrenStarring:James IIIAndrew FarmerArthur MeyerJames BewleyFrank Garcia-HejlAdam BozarthAnna Rubanovaand Vincent Price! http://www.lefthandedradio.com/merchLeftHandedRadio.com | patreon.com/LeftHandedRadio | http://twitch.tv/lefthandedradio | facebook.com/LeftHandedRadio | instagram.com/lefthandedradio | twitter.com/LeftHandedRadio| lefthandedradio@gmail.com | https://www.tiktok.com/@lefthandedradioSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

LNG travels through Florida, Cop26, dying Manatees, Halley's comet, a French villain to rival Chevron and much more. Bomb Trains 01:20-04:40 Cop 26- 04:40-06:55 Climate Hero #1 06:59-09:01 Earthshot winners Climate Villain #1 09:15-09:50 Total Energy Climate Hero #2 09:53-10:50 Hertz buys EVs Footsteps on the wind 11:00-11:30 Climate Villain #2 11:40-14:05 Chevron Manatees are dying 14:07-15:36 Carbon footprint apps 15:37-16:28 Edmund Halley 16:30-18:50 You can reach me at rf@richardfriedman.net You can find my books here with the links to find your favorite retailer. Climate Fiction novels: Escape to Canamith https://books2read.com/u/bWP9y1 The Two Worlds of Billy Callahan https://books2read.com/u/mvnvLX Cli/Fi short stories- A Climate Carol and Other Cli-Fi Short Stories. Available in print or audiobook. https://books2read.com/u/38roQL Danny Bloom created the phrase “cli-fi” and founder of cli-fi.net. Here's his review. Climate-themed anti-Trump short story 'A Climate Carol' will be read 100 years from now ''We must build arks,'' the Notre Dame University philosopher Roy Scranton urges, ''not just biological arks, to carry forward endangered genetic data, but also cultural arks, to carry forward endangered wisdom.'' One such cultural ark has already been built and it's a 14-page Christmas story from the pen of Richard Friedman in Cleveland, Ohio. In the title story, "A Climate Carol," based very closely on U.S. President Donald Trump's stubborn and selfish personality and his public denial of climate change, a narcissistic East Coast businessman and billionaire receives a visit on Christmas Eve from three Charles Dickens-like ghosts in a contemporary spin of that timeless classic from the 1840s "A Christmas Carol." Charles Dickens first published his now famous novella “A Christmas Carol” more than 170 years ago -- in 1843 — and that story has reverberated and resonated worldwide ever since. With the annual holiday season upon us all every November and December worldwide (Thanksgiving, Chanukah, Christmas), a new kind of holiday story titled “A Climate Carol” has been published in 2019 and stands to remain in print for the next 100 years, if not longer. It's that good, and that important. In fact, I would say that this short story is the best and most important climate-themed short story to appear so far in the 21st century and is likely to remain popular over the next 100 Christmases for sure. When I read it online a few days ago, I was blown away by both the author's storytelling skills and the environmental eco-theme of the 14-page piece. Let me tell you a few things about this modern Dickensian-style story and how it fits into the world we live in today, where runaway global warming threatens to push human civilization into a dark corner we may never get out from. However, before I go on, please know that “A Climate Carol” ends on an optimistic note, where ecumenical goodness triumphs over ''Trumpian greed'' and all ends well. In the story you will meet characters with names like Wilson Drummond (the proverbial '' Trumpian bad guy'' who later turns over a new leaf and becomes a champion of human kindness), his mother Gurtie Drummond, his limousine driver Sammie Johnson, and his employee Jericho Reese. And the star of the show, his grand-daughter Lily. You will also meet several important ghost-like characters, one who calls himself the Ghost of Climate Past, another who says they are the Ghost of the Current Climate in the world, and a third ghost who speaks in a chilling voice reminiscent of the horror movie actor Vincent Price and declares that he is the Ghost of Climate Future. In the end, we learn that the Scrooge-like Trump-like Drummond has mended his insensitive ways and become a better human being. He even later becomes President of the United States and turns out... Support this podcast

It's our favorite month here at BlerdMom and probably not for the reason you think. It's not the costumes. It's the old, terrible Halloween movies we love to watch. Vincent Price, Peter Cushing and Christopher Lee are in constant rotation around here all October. Links from today's episode: '80s Blerd Baby Journal The Entrepreneur's Diary Astrid Comics - pre-order Will's comic, Antidote #1 Movies TV Network - Over the air station where we watch our horrible old Halloween Movies  

Hey everybody, here is the final Halloween episode for this year. I saved my favorite Vincent Price film, and my favorite guest for the finale. I hope you enjoy hearing myself and Herm talk about this film, as it's near and dear to my heart since my youth. Vincent Price is nothing short of amazing in this film (as he is in just about every film), so sit back and relax, as we gush over this one! As usual, you can leave any feedback for the show via email at Magazinesandmonsters@gmail.com or to me on Twitter @Billyd_licious or on the FB page Magazines and Monsters. You can find Herm on Twitter @Darklongbox and his podcast by clicking here! 

Holmberg's Morning Sickness - Guadalupe Squares - Friday October 29, 2021

“Hell on Reels” comes to a tragic end as Jeremy Black joins us again to pit two classic Vincent Price films against one another: 1971's “The Abominable Dr. Phibes” and 1973's “Theater of Blood.”  ***  “The Abominable Dr. Phibes:” Ryan Luis Rodriguez. “Theater of Blood:” Jeremy Black. Judge: The Honorable Big Ben Haslar. Jurors: Robb Maynard, Dylan J. Schlender, Big Ben Haslar. *** Advisory: Silvana Carranza. Prologue: Kirk R. Thatcher. Original Theme: WT Golden. Prologue Theremin Theme: 18 - theremin.wav by rap2h https://freesound.org/people/rap2h/sounds/151312/

Happy Halloween! We're joined by comics scribe Daniel "D.G." Chichester to talk about the history of horror comics, Marvel's return to the genre in the early 1990s, and the macabre anti-hero Terror (whom Chichester co-created).  ----more---- Issue 18 Transcript   Mike: [00:00:00] It's small, but feisty, Mike: Welcome to Tencent Takes, the podcast where we dig up comic book characters' graves and misappropriate the bodies, one issue at a time. My name is Mike Thompson, and I am joined by my cohost, the Titan of terror herself, Jessika Frazer. Jessika: It is I. Mike: Today, we are extremely fortunate to have comics writer, Daniel, DG Chichester. Dan: Nice to see you both. Mike: Thank you so much for taking the time. You're actually our first official guest on the podcast. Dan: Wow. Okay. I'm going to take that as a good thing. That's great. Mike: Yeah. Well, if you're new to the show, the purpose of our [00:01:00] podcast as always is to look at the weirdest, silliest, coolest moments of comic books, and talk about them in ways that are fun and informative. In this case, we looking at also the spookiest moments, and how they're woven into the larger fabric of pop culture and history. Today, we're going to be talking about horror comics. We're looking at their overall history as well as their resurrection at Marvel in the early 1990s, and how it helped give birth to one of my favorite comic characters, an undead anti-hero who went by the name of Terror. Dan, before we started going down this road, could you tell us a little bit about your history in the comic book industry, and also where people can find you if they want to learn more about you and your work? Dan: Absolutely. At this point, people may not even know I had a history in comic books, but that's not true. Uh, I began at Marvel as an assistant in the mid-eighties while I was still going to film school and, semi quickly kind of graduated up, to a more official, [00:02:00] assistant editor position. Worked my way up through editorial, and then, segued into freelance writing primarily for, but also for DC and Dark Horse and worked on a lot of, semi-permanent titles, Daredevil's probably the best known of them. But I think I was right in the thick of a lot of what you're going to be talking about today in terms of horror comics, especially at Marvel, where I was fiercely interested in kind of getting that going. And I think pushed for certain things, and certainly pushed to be involved in those such as the Hellraiser and Nightbreed Clive Barker projects and Night Stalkers and, uh, and Terror Incorporated, which we're going to talk about. And wherever else I could get some spooky stuff going. And I continued on in that, heavily until about 96 / 97, when the big crash kind of happened, continued on through about 99 and then have not really been that actively involved since then. But folks can find out what I'm doing now, if they go to story maze.substack.com, where I have a weekly newsletter, which features [00:03:00] new fiction and some things that I think are pretty cool that are going on in storytelling, and also a bit of a retrospective of looking back at a lot of the work that I did. Mike: Awesome. Before we actually get started talking about horror comics, normally we talk about one cool thing that we have read or watched recently, but because this episode is going to be dropping right before Halloween, what is your favorite Halloween movie or comic book? Dan: I mean, movies are just terrific. And there's so many when I saw that question, especially in terms of horror and a lot of things immediately jumped to mind. The movie It Follows, the recent It movie, The Mist, Reanimator, are all big favorites. I like horror movies that really kind of get under your skin and horrify you, not just rack up a body count. But what I finally settled on as a favorite is probably John Carpenter's the Thing, which I just think is one of the gruesomest what is going to happen next? What the fuck is going to happen next?[00:04:00] And just utter dread. I mean, there's just so many things that combined for me on that one. And I think in terms of comics, I've recently become just a huge fan of, and I'm probably going to slaughter the name, but Junji Ito's work, the Japanese manga artist. And, Uzumaki, which is this manga, which is about just the bizarreness of this town, overwhelmed with spirals of all things. And if you have not read that, it is, it is the trippiest most unsettling thing I've read in, in a great long time. So happy Halloween with that one. Mike: So that would be mango, right? Dan: Yeah. Yeah. So you'd make sure you read it in the right order, or otherwise it's very confusing, so. Mike: Yeah, we actually, haven't talked a lot about manga on this. We probably should do a deep dive on it at some point. But, Jessika, how about you? Jessika: Well, I'm going to bring it down a little bit more silly because I've always been a fan of horror and the macabre and supernatural. So always grew up seeking creepy media as [00:05:00] a rule, but I also loves me some silliness. So the last three or so years, I've had a tradition of watching Hocus Pocus with my friend, Rob around Halloween time. And it's silly and it's not very heavy on the actual horror aspect, but it's fun. And it holds up surprisingly well. Mike: Yeah, we have all the Funkos of the Sanderson sisters in our house. Jessika: It's amazing watching it in HD, their costumes are so intricate and that really doesn't come across on, you know, old VHS or watching it on television back in the day. And it's just, it's so fun. How much, just time and effort it looks like they put into it, even though some of those details really weren't going to translate. Dan: How very cool. Mike: Yeah. Jessika: Yeah. So, but I also really like actual horror, so I'm also in the next couple of days is going to be a visiting the 1963 Haunting of Hill House because that's one of my favorites. Yeah. It's so good. And used to own the book that the movie was based on also. And seen all the [00:06:00] iterations and it's the same storyline the recent Haunting of Hill house is based on, which is great. That plot line has been reworked so many times, but it's such a great story, I'm just not shocked in the least that it would run through so many iterations and still be accepted by the public in each of its forms. Mike: Yeah. I really liked that Netflix interpretation of it, it was really good. Dan: They really creeped everything out. Mike: Yeah. There's a YouTuber called Lady Night, The Brave, and she does a really great summary breakdown explaining a lot of the themes and it's like almost two hours I think, of YouTube video, but she does these really lovely retrospectives. So, highly recommend you check that out. If you want to just think about that the Haunting of Hill House more. Jessika: Oh, I do. Yes. Mike: I'm going to split the difference between you two. When I was growing up, I was this very timid kid and the idea of horror just creeped me out. And so I avoided it like the plague. And then when I was in high [00:07:00] school, I had some friends show me some movies and I was like, these are great, why was I afraid of this stuff? And so I kind of dove all the way in. But my preferred genre is horror comedy. That is the one that you can always get me in on. And, I really love this movie from the mid-nineties called the Frighteners, which is a horror comedy starring Michael J. Fox, and it's directed by Peter Jackson. And it was written by Peter Jackson and his partner, Fran Walsh. And it was a few years before they, you know, went on to make a couple of movies based on this little known franchise called Lord of the Rings. But it's really wild. It's weird, and it's funny, and it has some genuine jump scare moments. And there's this really great ghost story at the core of it. And the special effects at the time were considered amazing and groundbreaking, but now they're kind of, you look at, and you're like, oh, that's, high-end CG, high-end in the mid-nineties. Okay. But [00:08:00] yeah, like I said, or comedies are my absolute favorite things to watch. That's why Cabin in the Woods always shows up in our horror rotation as well. Same with Tucker and Dale vs Evil. That's my bread and butter. With comic books, I go a little bit creepier. I think I talked about the Nice House on the Lake, that's the current series that I'm reading from DC that's genuinely creepy and really thoughtful and fun. And it's by James Tynion who also wrote Something That's Killing the Children. So those are excellent things to read if you're in the mood for a good horror comic. Dan: Great choice on the Frighteners. That's I think an unsung classic, that I'm going to think probably came out 10 years too early. Mike: Yeah. Dan: It's such a mashup of different, weird vibes, that it would probably do really, really well today. But at that point in time, it was just, what is this? You know? Cause it's, it's just cause the horrifying thing in it are really horrifying. And, uh, Gary Busey's son, right, plays the evil ghost and he is just trippy, off the wall, you know, horrifying. [00:09:00] Mike: Yeah. And it starts so silly, and then it kind of just continues to go creepier and creepier, and by the time that they do some of the twists revealing his, you know, his agent in the real world, it's a genuine twist. Like, I was really surprised the first time I saw it and I - Dan: Yeah. Mike: was so creeped out, but yeah. Dan: Plus it's got R. Lee Ermey as the army ghost, which is just incredible. So, Mike: Yeah. And, Chi McBride is in it, and, Jeffrey Combs. Dan: Oh, oh that's right, right. right. Mike: Yeah. So yeah, it's a lot of fun. Mike: All right. So, I suppose we should saunter into the graveyard, as it were, and start talking about the history of horror comics. So, Dan, obviously I know that you're familiar with horror comics, Dan: A little bit. Mike: Yeah. What about you, Jess? You familiar with horror comics other than what we've talked about in the show? Jessika: I started getting into it once you and I started, you know, talking more on the [00:10:00] show. And so I grabbed a few things. I haven't looked through all of them yet, but I picked up some older ones. I did just recently pick up, it'll be more of a, kind of a funny horror one, but they did a recent Elvira and Vincent Price. So, yeah, so I picked that up, but issue one of that. So it's sitting on my counter ready for me to read right now. Mike: Well, and that's funny, cause Elvira actually has a really long, storied history in comic books. Like she first appeared in kind of like the revival of House of Mystery that DC did. And then she had an eighties series that had over a hundred issues that had a bunch of now major names involved. And she's continued to have series like, you can go to our website and get autographed copies of her recent series from, I think Dynamite. Jessika: That's cool. Mike: Yeah. Jessika: Nice. Mike: Speaking of horror comedy Elvira is great. Jessika: Yes. Mike: I recently showed Sarah the Elvira Mistress of the Dark movie and she was, I think really sad that I hadn't showed it to her sooner. Jessika: [00:11:00] That's another one I need to go watch this week. Wow. Don't- nobody call me. I'm just watching movies all week. Dan: Exactly. Mike: It's on a bunch of different streaming services, I think right now. Well it turns out that horror comics, have pretty much been a part of the industry since it really became a proven medium. You know, it wasn't long after comics became a legit medium in their own, right that horror elements started showing up in superhero books, which like, I mean, it isn't too surprising. Like the 1930's was when we got the Universal classic movie monsters, so it makes a lot of sense that those kinds of characters would start crossing over into comic books, just to take advantage of that popularity. Jerry Siegel and Joel Schuster, the guys who created Superman, actually created the supernatural investigator called Dr. Occult in New Fun Comics three years before they brought Superman to life. And Dr. Occult still shows up in DC books. Like, he was a major character in the Books of Magic with Neil Gaiman. I think he may show up in Sandman later on. I can't remember. Jessika: Oh, okay. Dan: I wouldn't be surprised. Neil would find ways to mine that. [00:12:00] Mike: Yeah. I mean, that was a lot of what the Sandman was about, was taking advantage of kind of long forgotten characters that DC had had and weaving them into his narratives. And, if you're interested in that, we talk about that in our book club episodes, which we're currently going through every other episode. So the next episode after this is going to be the third episode of our book club, where we cover volumes five and six. So, horror comics though really started to pick up in the 1940s. There's multiple comic historians who say that the first ongoing horror series was Prized Comics, New Adventures of Frankenstein, which featured this updated take on the original story by Mary Shelley. It took place in America. The monster was named Frankenstein. He was immediately a terror. It's not great, but it's acknowledged as being really kind of the first ongoing horror story. And it's really not even that much of a horror story other than it featured Frankenstein's monster. But after that, a number of publishers started to put out adaptations of classic horror stories for awhile. So you had [00:13:00] Avon Publications making it official in 1946 with the comic Erie, which is based on the first real dedicated horror comic. Yeah. This is the original cover to Erie Comics. Number one, if you could paint us a word picture. Dan: Wow. This is high end stuff as it's coming through. Well it looks a lot like a Zine or something, you know it's got a very, Mac paint logo from 1990, you know, it's, it's your, your typical sort of like, ooh, I'm shaky kind of logo. That's Eerie Comics. There's a Nosferatu looking character. Who's coming down some stairs with the pale moon behind him. It, he's got a knife in his hand, so, you know, he's up to no good. And there is a femme fatale at the base of the stairs. She may have moved off of some train tracks to get here. And, uh, she's got a, uh, a low, cut dress, a lot of leg and the arms and the wrists are bound, but all this for only 10. cents. So, I think there's a, there's a bargain there.[00:14:00] Mike: That is an excellent description. Thank you. So, what's funny is that Erie at the time was the first, you know, official horror comic, really, but it only had one issue that came out and then it sort of vanished from sight. It came back with a new series that started with a new number one in the 1950s, but this was the proverbial, the shot that started the war. You know, we started seeing a ton of anthology series focusing on horror, like Adventures into the Unknown, which ran into the 1960s and then Amazing Mysteries and Marvel Tales were repurposed series for Marvel that they basically changed the name of existing series into these. And they started doing kind of macabre, weird stories. And then, we hit the 1950s. And the early part of the 1950s was when horror comics really seemed to take off and experienced this insane success. We've talked about how in the post-WWII America, superhero comics were kind of declining in [00:15:00] popularity. By the mid 1950s, only three heroes actually had their own books and that was Superman, Batman, and Wonder Woman. Which, I didn't realize that until I was doing research. I didn't, I just assumed that there were other superhero comics at the time. But we started seeing comics about horror and crime and romance really starting to get larger shares of the market. And then EC Comics was one of those doing gangbuster business during this whole era. Like, this was when we saw those iconic series, the Haunt of Fear, the Vault of Horror, the Crypt of Terror, which was eventually rebranded to Tales from the Crypt. Those all launched and they found major success. And then the bigger publishers were also getting in on this boom. During the first half of the 1950s Atlas, which eventually became Marvel, released almost 400 issues across 18 horror titles. And then American Comics Group released almost 125 issues between five different horror titles. Ace comics did almost a hundred issues between five titles. I'm curious. I'm gonna ask both of you, what [00:16:00] do you think the market share of horror comics was at the time? Dan: In terms of comics or in terms of just like newsstand, magazine, distribution. Mike: I'm going to say in terms of distribution. Dan: I mean, I know they were phenomenally successful. I would, be surprised if it was over 60%. Mike: Okay. How about. Jessika: Oh, goodness. Let's throw a number out. I'm going to say 65 just because I want to get close enough, but maybe bump it up just a little bit. This is a contest now. Dan: The precision now, like the 65. Jessika: Yes. Mike: Okay. Well, obviously we don't have like a hard definite number, but there was a 2009 article from reason magazine saying that horror books made up a quarter of all comics by 1953. So, so you guys were overestimating it, but it was still pretty substantial. At the same time, we were also seeing a surge in horror films. Like, the 1950s are known as the atomic age and media reflected [00:17:00] societal anxiety, at the possibility of nuclear war and to a lesser extent, white anxiety about societal changes. So this was the decade that gave us Invasion of the Body Snatchers The Thing from Another World, which led to John Carpenter's The Thing eventually. Um, and the Creature from the Black Lagoon. Hammer horror films also started to get really huge during this time. So we saw the beginning of stuff like Christopher Lee's, Dracula series of films. So the fifties were like a really good decade for horror, I feel. But at the same time, violent crime in America started to pick up around this period. And people really started focusing on juvenile criminals and what was driving them. So, there were a lot of theories about why this was going on and no one's ever really come up with a definite answer, but there was the psychiatrist named Frederick Wortham who Dan, I yeah. Dan: Oh yeah, psychiatrist in big air quotes, yeah. Mike: In quotes. Yeah. [00:18:00] Yeah. And he was convinced that the rise in crime was due to comics, and he spent years writing and speaking against them. He almost turned it into a cottage industry for himself. And this culminated in 1954, when he published a book called Seduction of the Innocent, that blamed comic books for the rise in juvenile delinquency, and his arguments are laughable. Like, I mean, there's just no way around it. Like you read this stuff and you can't help, but roll your eyes and chuckle. But, at the time comics were a relatively new medium, you know, and people really only associated them with kids. And his arguments were saying, oh, well, Wonder Woman was a lesbian because of her strength and independence, which these days, I feel like that actually has a little bit of credibility, but, like, I don't know. But I don't really feel like that's contributing to the delinquency of the youth. You know, and then he also said that Batman and Robin were in a homosexual relationship. And then my favorite was that Superman comics were [00:19:00] un-American and fascist. Dan: Well. Mike: All right. Dan: There's people who would argue that today. Mike: I mean, but yeah, and then he actually, he got attention because there were televised hearings with the Senate subcommittee on juvenile delinquency. I mean, honestly, every time I think about Seduction of the Innocent and how it led to the Comics Code Authority. I see the parallels with Tipper Gore's Parent Music Resource Center, and how they got the Parental Advisory sticker on certain music albums, or Joe Lieberman's hearings on video games in the 1990's and how that led to the Electronic Systems Reading Board system, you know, where you provide almost like movie ratings to video games. And Wortham also reminds me a lot of this guy named Jack Thompson, who was a lawyer in the nineties and aughts. And he was hell bent on proving a link between violent video games and school shootings. And he got a lot of media attention at the time until he was finally disbarred for his antics. But there was this [00:20:00] definite period where people were trying to link video games and violence. And, even though the statistics didn't back that up. And, I mean, I think about this a lot because I used to work in video games. I spent almost a decade working in the industry, but you know, it's that parallel of anytime there is a new form of media that is aimed at kids, it feels like there is a moral panic. Dan: Well, I think it goes back to what you were saying before about, you know, even as, as things change in society, you know, when people in society get at-risk, you know, you went to Invasion of the Body Snatchers, Right. Which is classically thought to be a response to communism, you know, and the feelings of communist oppression and you know, the different, you know, the other, and it's the same thing. I think every single one of these is just a proof point of if you want to become, suddenly well-known like Lieberman or Wortham or anything, you know, pick the other that the older generation doesn't really understand, right? Maybe now there are more adults playing video games, but it's probably still perceived as a more juvenile [00:21:00] thing or comics or juvenile thing, or certain types of movies are a juvenile thing, you know, pick the other pick on it, hold it up as the weaponized, you know, piece, and suddenly you're popular. And you've got a great flashpoint that other people can rally around and blame, as if one single thing is almost ever the cause of everything. And I always think it's interesting, you know, the EC Comics, you know, issues in terms of, um, Wortham's witch hunt, you know, the interesting thing about those is yet they were gruesome and they are gruesome in there, but they're also by and large, I don't know the other ones as well, but I know the EC Comics by and large are basically morality plays, you know, they're straight up morality plays in the sense that the bad guys get it in the end, almost every time, like they do something, they do some horrific thing, but then the corpse comes back to life and gets them, you know, so there's, there's always a comeuppance where the scales balance. But that was of course never going to be [00:22:00] an argument when somebody can hold up a picture of, you know, a skull, you know, lurching around, you know, chewing on the end trails of something. And then that became all that was talked about. Mike: Yeah, exactly. Well, I mean, spring boarding off of that, you know, worth them and the subcommittee hearings and all that, they led to the comics magazine association of America creating the Comics Code Authority. And this was basically in order to avoid government regulation. They said, no, no, no, we'll police ourselves so that you don't have to worry about this stuff. Which, I mean, again, that's what we did with the SRB. It was a response to that. We could avoid government censorship. So the code had a ton of requirements that each book had to meet in order to receive the Comics Code Seal of Approval on the cover. And one of the things you couldn't do was have quote, scenes dealing with, or instruments associated with walking dead or torture, which I mean,[00:23:00] okay. So the latter half of the 1950's saw a lot of these dedicated horror series, you know, basically being shut down or they drastically changed. This is, you know, the major publishers really freaked out. So Marvel and DC rebranded their major horror titles. They were more focused on suspense or mystery or Sci-Fi or superheroes in a couple of cases, independent publishers, didn't really have to worry about the seal for different reasons. Like, some of them were able to rely on the rep for publishing wholesome stuff like Dell or Gold Key. I think Gold Key at the time was doing a lot of the Disney books. So they just, they were like, whatever. Dan: Right, then EC, but, but EC had to shut down the whole line and then just became mad. Right? I mean, that's that was the transition at which William, you know, Gains - Mike: Yeah. Dan: basically couldn't contest what was going on. Couldn't survive the spotlight. You know, he testified famously at that hearing. But had to give up all of [00:24:00] that work that was phenomenally profitable for them. And then had to fall back to Mad Magazine, which of course worked out pretty well. Mike: Yeah, exactly. By the end of the 1960s, though, publishers started to kind of gently push back a little bit like, Warren publishing, and Erie publications, like really, they didn't give a shit. Like Warren launched a number of horror titles in the sixties, including Vampirilla, which is like, kind of, I feel it's sort of extreme in terms of both sex and horror, because I mean, we, we all know what Vampirilla his costume is. It hasn't changed in the 50, approximately 50 years that it's been out like. Dan: It's like, what can you do with dental floss, Right. When you were a vampire? I mean, that's basically like, she doesn't wear much. Mike: No, I mean, she never has. And then by the end of the sixties, Marvel and DC started to like kind of steer some of their books back towards the horror genre. Like how some Mystery was one of them where it, I think with issue 1 75, that was when they [00:25:00] took away, took it away from John Jones and dial H for Hero. And they were like, no, no, no, no. We're going to, we're going to bring, Cain back as the host and start telling horror morality plays again, which is what they were always doing. And this meant that the Comics Code Authority needed to update their code. So in 1971, they revised it to be a little bit more horror friendly. Jessika: Scenes dealing with, or instruments associated with, walking dead or torture shall not be used. Vampires, ghouls and werewolves shall be permitted to be used when handled in the classic traditions, such as Frankenstein, Dracula, and other high caliber literary works written by Edgar Allen Poe, Saki, Conan Doyle, and other respected authors whose works are read in schools around the world. Mike: But at this point, Marvel and DC really jumped back into the horror genre. This was when we started getting books, like the tomb of Dracula, Ghost Rider, where will finite and son of Satan, and then DC had a [00:26:00] bunch of their series like they had, what was it? So it was originally The Dark Mansion of Forbidden Love, and then it eventually got retitled to Forbidden Tales of the Dark Mansion. Like, just chef's kiss on that title. Dan: You can take that old Erie comic and throw, you know, the Dark Mansion of Forbidden Love as the title on that. And it would work, you know. Mike: I know. Right. So Dan, I'm curious, what is your favorite horror comic or comic character from this era? Dan: I would say, it was son of Satan, because it felt so trippy and forbidden, and I think comics have always, especially mainstream comics you know, I've always responded also to what's out there. Right. I don't think it's just a loosening the restrictions at that point, but in that error, what's going on, you're getting a lot of, I think the films of Race with the Devil and you're getting the Exorcist and you're getting, uh, the Omen, you know, Rosemary's baby. right. Satanism, [00:27:00] the devil, right. It's, it's high in pop culture. So true to form. You know, I think Son of Satan is in some ways, like a response of Marvel, you know, to that saying, let's glom onto this. And for a kid brought up in the Catholic church, there was a certain eeriness to this, ooh, we're reading about this. It's like, is it really going to be Satanism? And cause I was very nervous that we were not allowed even watch the Exorcist in our home, ever. You know, I didn't see the Exorcist until I was like out of high school. And I think also the character as he looks is just this really trippy look, right. At that point, if you're not familiar with the character, he's this buff dude, his hair flares up into horns, he just wears a Cape and he carries a giant trident, he's got a massive pentacle, I think a flaming pentacle, you know, etched in his chest. Um, he's ready to do business, ya know, in some strange form there. So for me, he was the one I glommed on to the most. [00:28:00] Mike: Yeah. Well, I mean, it was that whole era, it was just, it was Gothic horror brought back and Satanism and witchcraft is definitely a part of that genre. Dan: Sure. Mike: So, that said, kind of like any trend horror comics, you know, they have their rise and then they started to kind of fall out of popularity by the end of the seventies or the early eighties. I feel like it was a definite end of the era when both House of Mystery and Ghost Writer ended in 1983. But you know, there were still some individual books that were having success, but it just, it doesn't feel like Marvel did a lot with horror comics during the eighties. DC definitely had some luck with Alan Moore's run of the Swamp Thing. And then there was stuff like Hellblazer and Sandman. Which, as I mentioned, we're doing our book club episodes for, but also gave rise to Vertigo Comics, you know, in the early nineties. Not to say that horror comics still weren't a thing during this time, but it seems like the majority of them were coming from indie publishers. Off the top of my head, one example I think of still is Dead World, which basically created a zombie apocalypse [00:29:00] universe. And it started with Aero comics. It was created in the late eighties, and it's still going today. I think it's coming out from IDW now. But at the same time, it's not like American stopped enjoying horror stuff. Like this was the decade where we got Friday the 13th, Nightmare on Elm street, Evil Dead, Hellraiser, Poltergeist, Child's Play, just to name a few of the franchises that we were introduced to. And, I mentioned Hellraiser. I love Hellraiser, and Dan, I know that you have a pretty special connection to that brand. Dan: I do. I put pins in my face every night just to kind of keep my complexion, you know? Mike: So, let's transition over to the nineties and Marvel and let's start that off with Epic Comics. Epic started in the eighties, and it was basically a label that would print, create our own comics. And they eventually started to use label to produce, you know, in quotes, mature comics. So Wikipedia says that this was your first editorial job at Marvel was with the [00:30:00] Epic Line. Is that correct? Dan: Well, I'll go back and maybe do just a little correction on Epic's mission if you don't mind. Mike: Yeah, yeah. Dan: You know, first, which is it was always creator owned, and it did start as crude. And, but I don't think that ever then transitioned into more mature comics, sometimes that just was what creator-owned comics were. Right. That was just part of the mission. And so as a creator-owned imprint, it could be anything, it could be the silliest thing, it could be the most mature thing. So it was always, you know, part of what it was doing, and part of the mission of doing creator-owned comics, and Archie Goodwin was the editor in chief of that line, was really to give creators and in to Marvel. If we gave them a nice place to play with their properties, maybe they would want to go play in the mainstream Marvel. So you might get a creator who would never want to work for Marvel, for whatever reason, they would have a great Epic experience doing a range of things, and then they would go into this. So there was always levels of maturity and we always looked at it as very eclectic and challenging, you know, sometimes in a good [00:31:00] way. So I'll have to go back to Wikipedia and maybe correct them. My first job was actually, I was on the Marvel side and it was as the assistant to the assistant, to the editor in chief. So I would do all of the grunt work and the running around that the assistant to the editor in chief didn't want to do. And she would turn to me and say, Dan, you're going to go run around the city and find this thing for Jim Shooter. Now, then I did that for about five or six months, I was still in film school, and then left, which everyone was aghast, you don't leave Marvel comics, by choice. And, but I had, I was still in school. I had a summer job already sort of set up, and I left to go take that exciting summer job. And then I was called over the summer because there was an opening in the Epic line. And they want to know if I'd be interested in taking on this assistant editor's job. And I said, it would have to be part-time cause I still had a semester to finish in school, but they were intrigued and I was figuring, oh, well this is just kind of guaranteed job. [00:32:00] Never knowing it was going to become career-like, and so that was then sort of my second job. Mike: Awesome. So this is going to bring us to the character of Terror. So he was introduced as a character in the Shadow Line Saga, which was one of those mature comics, it was like a mature superhero universe. That took place in a few different series under the Epic imprint. There was Dr. Zero, there was St. George, and then there was Power Line. Right. Dan: That's correct, yep. Mike: And so the Shadow Line Saga took his name from the idea that there were these beings called Shadows, they were basically super powered immortal beings. And then Terror himself first appeared as Shrek. He's this weird looking enforcer for a crime family in St. George. And he becomes kind of a recurring nemesis for the main character. He's kind of like the street-level boss while it's hinting that there's going to be a eventual confrontation between the main character of St. George and Dr. Zero, who is kind of [00:33:00] a Superman character, but it turns out he has been manipulating humanity for, you know, millennia at this point. Dan: I think you've encapsulated it quite well. Mike: Well, thank you. So the Shadow Line Saga, that only lasted for about what a year or two? Dan: Probably a couple of years, maybe a little over. There was about, I believe, eight to nine issues of each of the, the main comics, the ones you just cited. And then we segued those over to, sort of, uh, an omni series we call Critical Mass, which brought together all three characters or storylines. And then try to tell this, excuse the pun, epic, you know story, which will advance them all. And so wrapped up a lot of loose ends and, um, you know, became quite involved now. Mike: Okay. Dan: It ran about seven or eight issues. Mike: Okay. Now a couple of years after Terror was introduced under the Epic label, Marvel introduced a new Ghost Rider series in 1990 that hit that sweet spot of like nineties extreme with a capital X and, and, you know, [00:34:00] it also gave us a spooky anti heroes like that Venn diagram, where it was like spooky and extreme and rides a motorcycle and right in the middle, you had Ghost Rider, but from what I understand the series did really well, commercially for Marvel. Comichron, which is the, the comic sales tracking site, notes that early issues were often in the top 10 books sold each month for 91. Like there are eight issues of Ghost Rider, books that are in the top 100 books for that year. So it's not really surprising that Marvel decided to go in really hard with supernatural characters. And in 1992, we had this whole batch of horror hero books launch. We had Spirits of Vengeance, which was a spinoff from Ghost Rider, which saw a Ghost Rider teaming up with Johnny Blaze, and it was the original Ghost Writer. And he didn't have a hellfire motorcycle this time, but he had a shotgun that would fire hell fire, you know, and he had a ponytail, it was magnificent. And then there was also the Night Stalkers, [00:35:00] which was a trio of supernatural investigators. There was Hannibal King and Blade and oh, I'm blanking on the third one. Dan: Frank Drake. Mike: Yeah. And Frank Drake was a vampire, right? Dan: And he was a descendant of Dracula, but also was a vampire who had sort of been cured. Um, he didn't have a hunger for human blood, but he still had a necessity for some type of blood and possessed all the attributes, you know, of a vampire, you know, you could do all the powers, couldn't go out in the daylight, that sort of thing. So, the best and worst of both worlds. Mike: Right. And then on top of that, we had the Dark Hold, which it's kind of like the Marvel equivalent of the Necronomicon is the best way I can describe it. Dan: Absolutely. Yup. Mike: And that's showed up in Agents of Shield since then. And they just recently brought it into the MCU. That was a thing that showed up in Wanda Vision towards the end. So that's gonna clearly reappear. And then we also got Morbius who is the living vampire from [00:36:00] Spider-Man and it's great. He shows up in this series and he's got this very goth rock outfit, is just it's great. Dan: Which looked a lot like how Len Kaminsky dressed in those days in all honesty. Mike: Yeah, okay. Dan: So Len will now kill me for that, but. Mike: Oh, well, but yeah, so these guys were all introduced via a crossover event called Rise of the Midnight Sons, which saw all of these heroes, you know, getting their own books. And then they also teamed up with Dr. Strange to fight against Lilith the mother of demons. And she was basically trying to unleash her monstrous spawn across the world. And this was at the same time the Terror wound up invading the Marvel Universe. So if you were going to give an elevator pitch for Terror in the Marvel Universe, how would you describe him? Dan: I actually wrote one down, I'll read it to you, cause you, you know, you put that there and was like, oh gosh, I got to like now pitch this. A mythic manifestation of fear exists in our times, a top dollar mercenary for hire using a supernatural [00:37:00] ability to attach stolen body parts to himself in order to activate the inherit ability of the original owner. A locksmith's hand or a marksman, his eye or a kickboxer his legs, his gruesome talent gives him the edge to take on the jobs no one else can, he accomplishes with Savage, restyle, scorn, snark, and impeccable business acumen. So. Mike: That's so good. It's so good. I just, I have to tell you the twelve-year-old Mike is like giddy to be able to talk to you about this. Dan: I was pretty giddy when I was writing this stuff. So that's good. Mike: So how did Terror wind up crossing into the Marvel Universe? Like, because he just showed shows up in a couple of cameos in some Daredevil issues that you also wrote. I believe. Dan: Yeah, I don't know if he'd showed up before the book itself launched that might've, I mean, the timing was all around the same time. But everybody who was involved with Terror, love that Terror and Terror Incorporated, which was really actual title. Love the hell out of [00:38:00] the book, right. And myself, the editors, Carl Potts, who was the editor in chief, we all knew it was weird and unique. And, at one point when I, you know, said to Carl afterwards, well I'm just gonna take this whole concept and go somewhere else with it, he said, you can't, you made up something that, you know, can't really be replicated without people knowing exactly what you're doing. It's not just another guy with claws or a big muscle guy. How many people grab other people's body parts? So I said, you know, fie on me, but we all loved it. So when, the Shadowline stuff kind of went away, uh, and he was sort of kicking out there is still, uh, Carl came to me one day and, and said, listen, we love this character. We're thinking of doing something with horror in Marvel. This was before the Rise of the Midnight Sons. So it kind of came a little bit ahead of that. I think this eventually would become exactly the Rise of the Midnight Sons, but we want to bring together a lot of these unused horror characters, like Werewolf by Night, Man Thing, or whatever, but we want a central kind of [00:39:00] character who, navigates them or maybe introduces them. Wasn't quite clear what, and they thought Terror, or Shrek as he still was at that point, could be that character. He could almost be a Crypt Keeper, maybe, it wasn't quite fully baked. And, so we started to bounce this around a little bit, and then I got a call from Carl and said, yeah, that's off. We're going to do something else with these horror characters, which again would eventually become probably the Midnight Sons stuff. But he said, but we still want to do something with it. You know? So my disappointment went to, oh, what do you mean? How could we do anything? He said, what if you just bring him into the Marvel Universe? We won't say anything about what he did before, and just use him as a character and start over with him operating as this high-end mercenary, you know, what's he going to do? What is Terror Incorporated, and how does he do business within the Marvel world? And so I said, yes, of course, I'm not going to say that, you know, any quicker and just jumped into [00:40:00] it. And I didn't really worry about the transition, you know, I wasn't thinking too much about, okay. How does he get from Shadow Line world, to earth 616 or whatever, Marcus McLaurin, who was the editor. God bless him, for years would resist any discussion or no, no, it's not the same character. Marcus, it's the same character I'm using the same lines. I'm having him referenced the same fact that he's had different versions of the word terrors, his name at one point, he makes a joke about the Saint George complex. I mean, it's the same character. Mike: Yeah. Dan: But , you know, Marcus was a very good soldier to the Marvel hierarchy. So we just really brought him over and we just went all in on him in terms of, okay, what could a character like this play in the Marvel world? And he played really well in certain instances, but he certainly was very different than probably anything else that was going on at the time. Mike: Yeah. I mean, there certainly wasn't a character like him before. So all the Wikias, like [00:41:00] Wikipedia, all the Marvel fan sites, they all list Daredevil 305 as Terror's first official appearance in. Dan: Could be. Mike: Yeah, but I want to talk about that for a second, because that is, I think the greatest villain that I've ever seen in a Marvel comic, which was the Surgeon General, who is this woman who is commanding an army of like, I mean, basically it's like a full-scale operation of that urban myth of - Dan: Yeah. Mike: -the dude goes home with an attractive woman that he meets at the club. And then he wakes up in a bathtub full of ice and he's missing organs. Dan: Yeah. You know, sometimes, you know, that was certainly urban myth territory, and I was a big student of urban myths and that was the sort of thing that I think would show up in the headlines every three to six months, but always one of those probably friend of a friend stories that. Mike: Oh yeah. Dan: Like a razor an apple or something like that, that never actually sort of tracks back. Mike: Well, I mean, the thing now is it's all edibles in candy and they're like, all the news outlets are showing officially [00:42:00] branded edibles. Which, what daddy Warbucks mother fucker. Jessika: Mike knows my stand on this. Like, no, no, nobody is buying expensive edibles. And then putting them in your child's candy. Like, No, no, that's stupid. Dan: No, it's the, it's the, easier version of putting the LSD tab or wasting your pins on children in Snickers bars. Jessika: Right. Dan: Um, but but I think, that, that storyline is interesting, Mike, cause it's the, it's one of the few times I had a plotline utterly just completely rejected by an editor because I think I was doing so much horror stuff at the time. Cause I was also concurrently doing the Hellraiser work, the Night Breed work. It would have been the beginning of the Night Stalkers work, cause I was heavily involved with the whole Midnight Sons work. And I went so far on the first plot and it was so grizzly and so gruesome that, Ralph Macchio who was the editor, called me up and said, yeah, this title is Daredevil. It's not Hellraiser. So I had to kind of back off [00:43:00] and realize, uh, yeah, I put a little too much emphasis on the grisliness there. So. Mike: That's amazing. Dan: She was an interesting, exploration of a character type. Mike: I'm really sad that she hasn't showed back up, especially cause it feels like it'd be kind of relevant these days with, you know, how broken the medical system is here in America. Dan: Yeah. It's, it's funny. And I never played with her again, which is, I think one of my many Achilles heels, you know, as I would sometimes introduce characters and then I would just not go back to them for some reason, I was always trying to kind of go forward onto something new. Mike: Yeah. Jessika: Is there anything about Terror's character that you related to at the time, or now even. Dan: Um, probably being very imperious, very complicated, having a thing for long coats. Uh, I think all of those probably, you know, work then and now, I've kind of become convinced weirdly enough over time, that Terror was a character who [00:44:00] and I, you know, I co-created him with Margaret Clark and, and Klaus Janson, but I probably did the most work with him over the years, you know? So I feel maybe a little bit more ownership, but I've sort of become convinced that he was just his own thing, and he just existed out there in the ether, and all I was ultimately was a conduit that I was, I was just channeling this thing into our existence because he came so fully formed and whenever I would write him, he would just kind of take over the page and take over the instance. That's always how I've viewed him, which is different than many of the other things that I've written. Mike: He's certainly a larger than life personality, and in every sense of that expression. Jessika: Yes. Mike: I'm sorry for the terrible pun. Okay. So we've actually talked a bit about Terror, but I [00:45:00] feel like we need to have Jessika provide us with an overall summary of his brief series. Jessika: So the series is based on the titular character, of course, Terror, who is unable to die and has the ability to replace body parts and gains the skill and memory of that limb. So he might use the eye of a sharpshooter to improve his aim or the arm of an artist for a correct rendering. And because of the inability for his body to die, the dude looks gnarly. His face is a sick green color. He has spike whiskers coming out of the sides of his face, and he mostly lacks lips, sometimes he has lips, but he mostly lacks lips. So we always has this grim smile to his face. And he also has a metal arm, which is awesome. I love that. And he interchanges all of the rest of his body parts constantly. So in one scene he'll have a female arm and in another one it'll sport, an other worldly tentacle. [00:46:00] He states that his business is fear, but he is basically a paid mercenary, very much a dirty deeds, although not dirt cheap; Terror charges, quite a hefty sum for his services, but he is willing to do almost anything to get the job done. His first job is ending someone who has likewise immortal, air quotes, which involves finding an activating a half demon in order to open a portal and then trick a demon daddy to hand over the contract of immortality, you know, casual. He also has run-ins with Wolverine, Dr. Strange Punisher, Silver Sable, and Luke Cage. It's action packed, and you legitimately have no idea what new body part he is going to lose or gain in the moment, or what memory is going to pop up for him from the donor. And it keeps the reader guessing because Terror has no limitations. Mike: Yeah. Dan: was, I was so looking forward to hearing what your recap was going to be. I love that, so I just [00:47:00] want to say that. Jessika: Thank you. I had a lot of fun reading this. Not only was the plot and just the narrative itself, just rolling, but the art was fantastic. I mean, the things you can do with a character like that, there truly aren't any limits. And so it was really interesting to see how everything fell together and what he was doing each moment to kind of get out of whatever wacky situation he was in at the time.So. And his, and his quips, I just, the quips were just, they give me life. Mike: They're so good. Like there was one moment where he was sitting there and playing with the Lament Configuration, and the first issue, which I, I never noticed that before, as long as we ready this time and I was like, oh, that's great. And then he also made a St. George reference towards the end of the series where he was talking about, oh, I knew another guy who had a St. George complex. Dan: Right, right. Right, Mike: Like I love those little Easter eggs. Speaking of Easter eggs, there are a lot of Clive Barker Easter eggs throughout that whole series. Dan: [00:48:00] Well, That's it. That was so parallel at the time, you know. Mike: So around that time was when you were editing and then writing for the HellRaiser series and the Night Breed series, right? Dan: Yes. Certainly writing for them. Yeah. I mean, I did some consulting editing on the HellRaiser and other Barker books, after our lift staff, but, primarily writing at that point. Mike: Okay. Cause I have Hellraiser number one, and I think you're listed as an editor on it. Dan: I was, I started the whole Hellraiser anthology with other folks, you know, but I was the main driver, and I think that was one of the early instigators of kind of the rebirth of horror at that time. And, you know, going back to something you said earlier, you know, for many years, I was always, pressing Archie Goodwin, who worked at Warren, and worked on Erie, and worked on all those titles. You know, why can't we do a new horror anthology and he was quite sage like and saying, yeah. It'd be great to do it, but it's not going to sell there's no hook, right? There's no connection, you know, just horror for her sake. And it was when Clive Barker [00:49:00] came into our offices, and so I want to do something with Archie Goodwin. And then the two of them said, Hellraiser can be the hook. Right. Hellraiser can be the way in to sort of create an anthology series, have an identifiable icon, and then we developed out from there with Clive, with a couple of other folks Erik Saltzgaber, Phil Nutman, myself, Archie Goodwin, like what would be the world? And then the Bible that would actually give you enough, breadth and width to play with these characters that wouldn't just always be puzzle box, pinhead, puzzle box, pinhead, you know? And so we developed a fairly large set of rules and mythologies allowed for that. Mike: That's so cool. I mean, there really wasn't anything at all, like Hellraiser when it came out. Like, and there's still not a lot like it, but I - Jessika: Yeah, I was going to say, wait, what else? Mike: I mean, I feel like I've read other books since then, where there's that blending of sexuality and [00:50:00] horror and morality, because at the, at the core of it, Hellraiser often feels like a larger morality play. Dan: Now, you know, I'm going to disagree with you on that one. I mean, I think sometimes we let it slip in a morality and we played that out. But I think Hellraiser is sort of find what you want out of it. Right. You go back to the first film and it's, you know, what's your pleasure, sir? You know, it was when the guy hands up the book and the Centobites, you know, or angels to some demons, to others. So I think the book was at its best and the movies are at their best when it's not so much about the comeuppance as it is about find your place in here. Right? And that can be that sort of weird exploration of many different things. Mike: That's cool. So going back to Terror. Because we've talked about like how much we enjoyed the character and everything, I want to take a moment to talk about each of our favorite Terror moments. Dan: Okay. Mike: So Dan, why don't you start? What was your favorite moment for Terror [00:51:00] to write or going back to read? Dan: It's a great question, one of the toughest, because again, I had such delight in the character and felt such a connection, you know, in sort of channeling him in a way I could probably find you five, ten moments per issue, but, I actually think it was the it's in the first issue. And was probably the first line that sort of came to me. And then I wrote backwards from it, which was this, got your nose bit. And you know, it's the old gag of like when a parent's playing with a child and, you know, grabs at the nose and uses the thumb to represent the nose and says, got your nose. And there's a moment in that issue where I think he's just plummeted out of a skyscraper. He's, you know, fallen down into a police car. He's basically shattered. And this cop or security guard is kind of coming over to him and, and he just reaches out and grabs the guy's nose, you know, rips his arm off or something or legs to start to replace himself and, and just says, got your nose, but it's, but it's all a [00:52:00] build from this inner monologue that he's been doing. And so he's not responding to anything. He's not doing a quip to anything. He's just basically telling us a story and ending it with this, you know, delivery that basically says the guy has a complete condescending attitude and just signals that we're in his space. Like he doesn't need to kind of like do an Arnold response to something it's just, he's in his own little world moments I always just kind of go back to that got your nose moment, which is just creepy and crazy and strange. Mike: As soon as you mentioned that I was thinking of the panel that that was from, because it was such a great moment. I think it was the mob enforcers that had shot him up and he had jumped out of the skyscraper four and then they came down to finish him off and he wound up just ripping them apart so that he could rebuild himself. All right, Jessika, how about you? Jessika: I really enjoyed the part where Terror fights with sharks in order to free Silver Sable and Luke Cage. [00:53:00] It was so cool. There was just absolutely no fear as he went at the first shark head-on and, and then there were like five huge bloodthirsty sharks in the small tank. And Terror's just like, what an inconvenience. Oh, well. Mike: Yeah. Jessika: Like followed by a quippy remark, like in his head, of course. And I feel like he's such a solitary character that it makes sense that he would have such an active internal monologue. I find myself doing that. Like, you know, I mean, I have a dog, so he usually gets the brunt of it, but he, you know, it's, it is that you start to form like, sort of an internal conversation if you don't have that outside interaction. Dan: Right. Jessika: And I think a lot of us probably relate to that though this pandemic. Mike: Yeah. Jessika: But the one-liner thoughts, like, again, they make those scenes in my opinion, and it gave pause for levity. We don't have to be serious about this because really isn't life or death for Terror. We know that, and he just reminds us that constantly by just he's always so damn nonchalant. [00:54:00] Dan: Yeah. He does have a very, I'm not going to say suave, but it's, uh, you know, that sort of very, I've got this, you know, sort of attitude to it. Mike: I would, say that he's suave when he wants to be, I mean, like the last issue he's got his whiskers tied back and kind of a ponytail. Dan: Oh yeah. Jessika: Oh yeah. Dan: Richard Pace did a great job with that. Mike: Where he's dancing with his assistant in the restaurant and it's that final scene where he's got that really elegant tuxedo. Like. Dan: Yeah. It's very beautiful. Mike: I say that he can be suave and he wants to be. So I got to say like my favorite one, it was a visual gag that you guys did, and it's in issue six when he's fighting with the Punisher and he's got this, long guns sniper. And he shoots the Punisher point blank, and Terror's, like at this point he's lost his legs for like the sixth time. Like he seems to lose his legs, like once an issue where he's just a torso waddling around on his hands. And so he shoots him the force skids him back. [00:55:00] And I legit could not stop laughing for a good minute. Like I was just cackling when I read that. So I think all of us agree that it's those moments of weird levity that really made the series feel like something special. Dan: I'm not quite sure we're going to see that moment reenacted at the Disney Pavilion, you know, anytime soon. But, that would be pretty awesome if they ever went that route. Mike: Well, yeah, so, I mean, like, let's talk about that for a minute, because one of the main ways that I consume Marvel comics these days is through Marvel unlimited, and Terror is a pretty limited presence there. There's a few issues of various Deadpool series. There's the Marvel team up that I think Robert Kirkman did, where Terror shows up and he has some pretty cool moments in there. And then there's a couple of random issues of the 1990s Luke Cage series Cage, but like the core series, the Marvel max stuff, his appearance in books like Daredevil and Wolverine, they just don't seem to be available for consumption via the. App Like I had to go through my personal [00:56:00] collection to find all this stuff. And like, are the rights just more complicated because it was published under the Epic imprint and that was create her own stuff, like do you know? Dan: No, I mean, it wouldn't be it's choice, right. He's probably perceived as a, if people within the editorial group even know about him, right. I was reading something recently where some of the current editorial staff had to be schooled on who Jack Kirby was. So, I'm not sure how much exposure or, you know, interest there would be, you know, to that. I mean, I don't know why everything would be on Marvin unlimited. It doesn't seem like it requires anything except scanning the stuff and putting it up there. But there wouldn't be any rights issues. Marvel owned the Shadow Line, Marvel owns the Terror Incorporated title, it would have been there. So I'm not really sure why it wouldn't be. And maybe at some point it will, but, that's just an odd emission. I mean, for years, which I always felt like, well, what did I do wrong? I [00:57:00] mean, you can find very little of the Daredevil work I did, which was probably very well known and very well received in, in reprints. It would be like, there'd be reprints of almost every other storyline and then there'd be a gap around some of those things. And now they started to reappear as they've done these omnibus editions. Mike: Well, yeah, I mean, you know, and going back the awareness of the character, anytime I talk about Terror to people, it's probably a three out of four chance that they won't have heard of them before. I don't know if you're a part of the comic book historians group on Facebook? Dan: I'm not. No. Mike: So there's a lot of people who are really passionate about comic book history, and they talk about various things. And so when I was doing research for this episode originally, I was asking about kind of the revamp of supernatural heroes. And I said, you know, this was around the same time as Terror. And several people sat there and said, we haven't heard of Terror before. And I was like, he's great. He's amazing. You have to look them up. But yeah, it seems like, you know, to echo what you stated, it seems like there's just a lack of awareness about the character, which I feel is a genuine shame. And that's part of the [00:58:00] reason that I wanted to talk about him in this episode. Dan: Well, thank you. I mean, I love the spotlight and I think anytime I've talked to somebody about it who knew it, I've never heard somebody who read the book said, yeah, that sucks. Right. I've heard that about other things, but not about this one, invariably, if they read it, they loved it. And they were twisted and kind of got into it. But did have a limited run, right? It was only 13 issues. It didn't get the spotlight, it was sort of promised it kind of, it came out with a grouping of other mercenary titles at the time. There was a new Punisher title. There was a Silver Sable. There was a few other titles in this grouping. Everyone was promised a certain amount of additional PR, which they got; when it got to Terror. It didn't get that it like, they pulled the boost at the last minute that might not have made a difference. And I also think maybe it was a little bit ahead of its time in certain attitudes crossing the line between horror and [00:59:00] humor and overtness of certain things, at least for Marvel, like where do you fit this? I think the readers are fine. Readers are great about picking up on stuff and embracing things. For Marvel, it was kind of probably, and I'm not dissing them. I never got like any negative, you know, we're gonna launch this title, what we're going to dismiss it. But I just also think, unless it's somebody like me driving it or the editor driving it, or Carl Potts, who was the editor in chief of that division at that point, you know, unless they're pushing it, there's plenty of other characters Right. For, things to get behind. But I think again, anytime it kind of comes up, it is definitely the one that I hear about probably the most and the most passionately so that's cool in its own way. Mike: Yeah, I think I remember reading an interview that you did, where you were talking about how there was originally going to be like a gimmick cover or a trading card or something like that. Dan: Yeah. Mike: So what was the, what was the gimmick going to be for Terror number one? Dan: What was the gimmick going to be? I don't know, actually, I if I knew I [01:00:00] can't remember anymore. But it was going to be totally gimmicky, as all those titles and covers were at the time. So I hope not scratch and sniff like a, uh, rotting bodies odor, although that would have been kind of in-character and cool. Mike: I mean, this was the era of the gimmick cover. Dan: Oh, absolutely. Mike: Like,that was when that was when we had Bloodstrike come out and it was like the thermographic printing, so you could rub the blood and it would disappear. Force Works is my favorite one, you literally unfold the cover and it's like a pop-up book. Dan: Somebody actually keyed me in. There actually was like a Terror trading card at one point. Mike: Yeah. Dan: Like after the fact, which I was like, shocked. Mike: I have that, that's from Marvel Universe series four. Dan: Yeah. we did a pretty good job with it actually. And then even as we got to the end of the run, you know, we, and you can sort of see us where we're trying to shift certain aspects of the book, you know, more into the mainstream Marvel, because they said, well, we'll give you another seven issues or something, you know, to kind of get the numbers up. Mike: Right. Dan: And they pulled the plug, you know, even before that. So, uh, that's why [01:01:00] the end kind of comes a bit abruptly and we get that final coda scene, you know, that Richard Pace did such a nice job with. Mike: Yeah. I mean, it felt like it wrapped it up, you know, and they gave you that opportunity, which I was really kind of grateful for, to be honest. Dan: Yeah. and subsequently, I don't know what's going on. I know there was that David Lapham, you know, series, you did a couple of those, which I glanced at, I know I kind of got in the way of it a little bit too, not in the way, but I just said, remember to give us a little created by credits in that, but I didn't read those. And then, I know he was in the League of Losers at one point, which just didn't sound right to me. And, uh. Mike: It's actually. Okay. So I'm going to, I'm going to say this cause, it's basically a bunch of, kind of like the B to C listers for the most part. And. So they're called the Legal Losers. I think it's a really good story, and I actually really like what they do with Terror. He gets, she's now Spider Woman, I think it's, Anya Corazon, but it was her original incarnation of, Arana. And she's got that spider armor that like comes out of her arm. And so she [01:02:00] dies really on and he gets her arm. And then, Dan: That's cool. Mike: What happens is he makes a point of using the armor that she has. And so he becomes this weird amalgamation of Terror and Arana's armored form, which is great. Dan: Was that the Kirkman series? Is that the one that he did or. Mike: yeah. That was part of Marvel Team-Up. Dan: Okay. Mike: it was written by Robert Kirkman. Dan: Well, then I will, I will look it up. Mike: Yeah. And that one's on Marvel unlimited and genuinely a really fun story as I remembered. It's been a couple of years since I read it, but yeah. Dan: Very cool. Mike: So we've talked about this a little bit, but, so

Each story of the Bailey years started with a phone call from an insurance executive, calling on Johnny to investigate an unusual claim. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. Open these links and subscribe free to enjoy our shows! ANDROID USERS- 1001 Radio Days right here at Google Podcasts FREE: https://podcasts.google.com/search/1001%20radio%20days 1001 Classic Short Stories & Tales at Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vQURMNzU3MzM0Mjg0NQ== 1001 Heroes, Legends, Histories & Mysteries at Google Podcasts: https://podcasts.google.com/search/1001%20heroes 1001 Sherlock Holmes Stories (& Tales from Arthur Conan Doyle) https://podcasts.google.com/search/1001%20sherlock%20holmes 1001 Ghost Stories & Tales of the Macabre on Spotify: https://podcasts.google.com/search/1001%20ghost%20stories 1001 Stories for the Road on Google Podcasts https://podcasts.google.com/search/1001%20stories%20for%20the%20road Enjoy 1001 Greatest Love Stories on Google Podcasts https://podcasts.google.com/search/1001%20greatest%20love%20stories 1001 History's Best Storytellers: (author interviews) on Stitcher https://www.stitcher.com/show/1001-historys-best-storytellers APPLE USERS Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 CLASSIC SHORT STORIES at Apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes!  https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com REVIEWS NEEDED . My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hi guys and welcome back to the mystery and comedy Old time radio podcast. please welcome back to Mr Boris Karloff, Mr Bella Lugosi and Mr Vincent Price in the monsters tell the story part 2. in this first episode starring Mr Boris Karloff he plays a man who has never dreamed a day in his life until one night he has a terrifying nightmare that not only haunts him in his dreams but haunts him in real life until he does the unthinkable act that the woman's voice is wanting him to do. and it is called the dream from the lights out radio show. and in this next episode starring Mr Bella Lugosi he plays a well-known professor of psychology who has made its own theory of a person who is trying to commit suicide tonight kill themselves but kill the person that hurt them the worst. and it is called the doctor prescribed death it is from the suspense radio show. and in this final episode starring Mr Vincent Price he plays a man who has gone on a killing spree going through a timeline of how many people he has killed when in reality he has only killed one person and that was his wife. but he tells the priest that he's killed more people. as he walks towards his final resting place the gas chamber he finds himself in a place where he is at peace. and it is called present tense and it is from the old time radio show escape. I hope you guys enjoy Mr Boris Karloff Mr Bella locosi and Mr Vincent Price in the monsters tell the story part 2. please join me later on tonight guys as I bring to the show visitors from another planet. stay tuned for the coming weeks guys as I bring such stars as Miss Nancy Kelly Miss Murray Wilson and Miss Kathy Lewis in the CBS comedy show my friend Irma. Mr Edward g Robertson and many others. but please also join me Sunday night guys for my Halloween and final episode of spooktober part 2 starring Mr George Edwards in the radio show Frankenstein. I hope you guys enjoy my podcast if you like the show please comment and subscribe and always remember guys to enjoy the show thanks.

Something borrowed. A remake of a remake, sort of. In House of Wax (1953), Vincent Price pitches a wax venture. Maintaining purity in artistic intentions. Later, a person who may or may not be Vincent Price's character shows up to … Continue reading → The post House of Wax (1953) + House of Wax (2005) first appeared on Double Feature.

♪♫This is Halloween!  This is Halloween!♫♪  Supporters on our Patreon and fans in our FB group chose the topics for today's episode (plus now there's a sub-reddit):  01:35 sorting Dracula fact from fiction 07:49 how horror stars got their stars 20:01 when did clowns become scary 23:29 the history behind zombies 28:38 movie monster fast facts!  Mentioned in the show: Overly Sarcastic's Frankenstein run-down Cutting Class podcast on Christopher Lee Oh No! Lit Class on The Phantom   Who needs a costume when you could wear this?!   Read the full script. Reach out and touch Moxie on FB, Twit, the 'Gram or email. Music by Kevin MacLeod  Sponsor: City of Ghosts Brandi B. asked that we sort fact from fiction on Vlad Dracula.  Personally, I can remember a time when I didn't know that Vlad the Impaler was thought to be the inspiration from Bram Stoker's genre-launching vampire Dracula.  Hop in your magic school bus, police box, or phone booth with aerial antenna, and let's go back to 15th's century Wallachia, a region of modern day Romania that was then the southern neighbor of the province of Transylvania.  Our Vlad was Vlad III.  Vlad II, his father, was given the nickname Dracul by his fellow Crusade knights in the Order of the Dragon, who were tasked with defeating the Ottoman Empire.  Wallachia was sandwiched between the Ottomans and Christian Europe and so became the site of constant bloody conflict.  Without looking it up, I'm going to guess that they failed, since the Ottoman Empire stood until 1923.  Dracul translated to “dragon” in old Romanian, but the modern meaning is more like devil.  Add an A to the end to denote son-of and you've got yourself a Vlad Dracula.   At age 11, Vlad and his 7-year-old brother Radu went with their father on a diplomatic mission into the Ottoman Empire.  How's it go?  No too good.  The three were taken hostage.  Their captors told Vlad II that he could be released – on condition that the two sons remain.  Since it was his only option, their father agreed.  The boys would be held prisoner for 5 years.  One account holds that they were tutoried in the art of war, science and philosophy.  Other accounts says they were also subjected to torture and abuse.  When Vlad II returned home, he was overthrown in a coup and he and his eldest son were horribly murdered.   Shortly thereafter, Vlad III was released, with a taste for violence and a vendetta against the Ottomans.  To regain his family's power and make a name for himself, he threw a banquet for hundreds of members of his rival families.  On the menu was wine, meat, sweetbreads, and gruesome, vicious murder.  The guests were stabbed not quite to death, then impaled on large spikes.  This would become his signature move, leading to his moniker Vlad the Impaler, but wasn't the only arrow in his quiver.  Facing an army three times the size of his, he ordered his men to infiltrate their territory, poison wells and burn crops.  He also paid diseased men to go in and infect the enemy.  Defeated combatants were often treated to disemboweling, flaying alive, boiling, and of course impalement.  Basically, you turn your enemy into a kabob and let them die slowly and, just as important, conspicuously.  Vlad's reputation spread, leading to stories we have trouble sorting from legend, like that he once took dinner in a veritable forest of spikes.  We do know that in June of 1462, he ordered 20,000 defeated Ottomans to be impaled.  It's a scale that's hard to even imagine.   When the Ottoman Sultan Mehmed II came upon the carnage, he and his men fled in fear back to Constantinople.  You'd think Vlad was on the road to victory, but shortly after, he was forced into exile and imprisoned in Hungary. [[how?]]  He took a stab, no pun intended, on regaining Wallachia 15 years later, but he and his troops were ambushed and killed.  According to a contemporary source, the Ottomans cut his corpse into pieces and marched it back to Sultan Medmed II, who ordered them displayed over the city's gates.  History does not record where the pieces ended up.   Vlad the Impaler was an undeniably brutal ruler, but he's still considered one of the most important rulers in Wallachian history for protecting it against the Ottomans and a national hero of Romania.  He was even praised by Pope Pius II for his military feats and for defending Christendom.  So how did get get from Vlad Dracula, the Impaler, a warrior king with a taste for torture, to, 400 years later, Dracula the undead creature of the night who must feed on the blood of living, can morph into bats or mist, and must sleep in his native earth?  Historians have speculated that Irish author Bram Stoker met with historian Hermann Bamburger, who told him about Vlad III, which ignited some spark of inspiration, but there's not actually any evidence to back this up.  Stoker was actually the first writer that we know of to have a vampire drink blood.  Vampires are actually a common folklore baddie around the world, from the obayifo in Africa which can take over people's bodies and emit phosphorus light from their armpits and anus to the manananggal of the Philippines who can detach her torso from her legs so she can fly around with her organs trailing behind her and use her snakelike tongue to steal babies from the womb.  In Western culture, though, Vlad the Impaler became the basis for everything from Bela Lugosi's Dracula to Count Chocula.  That means he's also the source of the Twilight saga, truly one of history's greatest monsters.   Ronnie asked for “how some legends got their stars.”  I wasn't sure what that meant, so I asked for clarification.  No, I didn't, I launched off immediately and at a full gallop with the first interpretation that came to mind, as I do in all aspects of my life.  So let's talk horror actors and the Hollywood walk of fame.   Even if he weren't a recognizable face, Vincent Price is probably the most recognizable voice in horror history.  For folks my age, you probably heard him for the first time on Michael Jackson's Thriller.  Folks in their 30's might have heard him first as Prof. Ratigan in The Great Mouse Detective.  Price wasn't always a horror icon.  He'd done theater, radio, including Orson Wells Mercury Theater of the Air, and other genres of films, but 1953's House of Wax, which was also the first 3D movie to crack the top 10 box office gross for its year, solidified his place in horror history.  It's almost odd that Price went into acting at all.  His father was the president of the National Candy Company and his grandfather had set the family up with independent means thanks to his brand of cream of tartar.  Price and his wife Mary wrote a number of cookbooks, one of which my mother had when I was young.  You cannot fathom my confused disappointment that it was just a regular cookbook full of regular, boring, non-scary recipes.  And now, for no other reason than it makes me smile, is another amazing voice, Stephen Fry, talking about Price on QI.:  Romanian-born Bela Lugosi was a classical actor in Hungary before making the move to movies.  In fact, he was already playing Dracula on stage when the movie was being assembled.  Lugosi wanted the role so badly he agreed to do it for $500 per week, about $9K today, only one quarter that of actor David Manners who played Jonathan Harker.  It was a good investment, I'd say, since everyone knows Lugosi and this was the first time I'd ever seen David Manners' name.  Though Lugosi turned down the role of the monster in Frankenstein, he was quickly locked into horror.  He appeared in minor roles in a few good movies, like “Ninotchka” with Greta Garbo, but mostly bounced like a plinko chip from mediocre to bad movies, with ever decreasing budgets.  His drug addiction probably had a cyclical relationship with his work prospects.  He died two days into filming the absolutely dreadful “Plan 9 From Outer Space” and was replaced by a much younger and taller actor and his ex-wife's chiropractor because he fit the costume.   Peter Lorre is a name you might not recognize, but you would absolutely recognize his overall aesthetic.  It's still being referenced and parodied to this day.  See the bad guy?  Is he short, with round eyes, and a distinctive way of speaking?  What you got there is Peter Lorre.  Hungarian-born Lorre struck out at 17 to become a star.  For 10 years he played bit parts in amateur productions, but in 1931 he got his big break in the German film “M,” and Hollywood took notice.  His first English-speaking role was in the Hitchcock thriller “The Man Who Knew Too Much.”  The character spoke English, but Lorre didn't.  Just like Bela Legosi during his first turn as Dracula, Lorre had to memorize his lines phonetically.  Imagine how difficult it must be to put the right pacing and inflection into a sentence when you don't know which word means what.  He continued portraying psychopaths until John Huston cast him in a quasi-comic role in “The Maltese Falcon” with Humphrey Bogart and Sidney Greenstreet, which led to lighter roles like the one he played in Arsenic and Old Lace.  If you never seen it, make it you next choice.  It's a comedy, but you can definitely watch it with your horror movies, since it's about a pair of serial killers hiding bodies in their cellar.   Arsenic and Old Lace also features a bad guy getting plastic surgery to avoid the police, which accidentally leaves him looking like Boris Karloff and he's really touchy about it.  I don't know why.  Even though he played many monsters and villains in his career, Karloff was said to actually be a kind, soft-spoken man who was happiest with a good book or in his garden.  We hear him narrate How the Grinch Stole Christmas every year.  He doesn't sing the song, though.  That's Thurl Ravenscroft, who was also the original voice of Tony the Tiger.  The title role in Frankenstein took Karloff from bit player to household name.  Karloff said of the monster, “He was inarticulate, helpless and tragic.  I owe everything to him. He's my best friend.”  By the way, if you're one of those people who delights in going “Um, actually, Frankenstein was the name of the doctor,” can you not?  We all know that.  And since it's the last name of the man who gave him life, aka his father, it's a perfectly passable patronym to use.  Oh and by the way Mr or Ms Superior Nerd, Frankenstein wasn't a doctor, he was a college dropout.  I refer you to my much-beloved Red at Overly Sarcastic Productions on YouTube for a thorough explanation of the actual story.  Penny Dreadful did get pretty close in their interpretation.   Here's a name more people should know, John Carradine.  Wait, you say, the guy from Kill Bill?  No, that's his son David.  Oh, you mean the FBI guy the sister was dating on Dexter.  No, that's his other son Keith.  Revenge of the Nerds?  No, that's Robert.  The patriarch John Carradine was in over 500 movies, big names like Grapes of Wrath and A Funny Thing Happened on the Way to the Forum, but he also did a lot of horror, though it could be a mixed bag — everything from Dracula in House of Dracula down to Billy the Kid vs Dracula.  Not always for the love of it, either.  Sometimes a gig's just a gig.  He told one of his sons, “Just make sure that if you've got to do a role you don't like, it makes you a lot of money.”  Good advice for many areas of life.  If you've got Prime Video or Shudder, look for The Monster Club.  It's an darling, schlocky little anthology movie, which they just don't seem to make anymore, starring Carradine and Vincent Price.     Jaime Lee Curtis could have been on this list since she was in 5 of the Halloween films, but I just don't think people think “horror” when they hear her name.   There were a few names surprisingly not set in the stones.  While ‘man of a thousand faces' Lon Chaney, who played the original Phantom of the Opera and Hunchback of Notre Dame, has a star, his son, Lon Chaney Jr, who played the Wolfman, the Mummy and numerous other roles in dozens of horror movies, does.  Somehow, Christopher Lee doesn't either.  In addition to the 282 roles on his imdb page, he deserves a star just for playing Dracula 10 times and still having a career after that.  Also, he was metal as fuck, recording metal albums into his 80's and there was the time he corrected director Peter Jackson on what it's like when you stab someone, because he *knew.  My buddies over at Cutting Class diverged from their usual format to tell us all about his amazing life.   Over in the Brainiac Breakroom, (plug sub reddit, thank Zach), Alyssa asked for the history behind clowns being evil.  One day, a man dressed up as a clown and it was terrifying.  Thank you for coming to my TED talk.   No?  Okay.  Fine!  It's not like I have to research them and keep seeing pictures of clowns.  Clowns weren't really regarded as frightening, or at least a fear of clowns wasn't widely known, from the creation of what we'd recognize as a clown by Joseph Grimaldi in the 1820's until fairly recently.  David Carlyon, author, playwright and a former clown with Ringling Bros. and Barnum & Bailey Circus in the 1970s, argues that coulrophobia, the fear of clowns, was born from the counter-culture 1960s and picked up steam in the 1980s.  “There is no ancient fear of clowns,” he said. “It wasn't like there was this panic rippling through Madison Square Garden as I walked up through the seats. Not at all.”  For centuries, clowns were a funny thing for kids — there was Bozo, Ronald McDonald, Red Skelton's Clem Kaddidlehopper and Emmet Kelly's sad clown– then bam!  Stephen King's hit novel “It,” the doll in “Poltergeist,” and every incarnation of The Joker.  It could be seen as a pendulum swing.  Clowns had been so far to the good side that it must have been inevitable they would swing *way the hell over to evil.   Not so fast, argues Benjamin Radford, author of the book “Bad Clowns,” who argues that evil clowns have always been among us.  “It's a mistake to ask when clowns turned bad because historically they were never really good.  Sometimes they're making you laugh. Other times, they're laughing at your expense.”  Radford traces bad clowns all the way to ancient Greece and connects them to court jesters and the Harlequin figure.  He points particularly to Punch of the Punch & Judy puppet shows that date back to the 1500s.  Punch was not only not sweet and loveable, he was violent, abusive, and even homicidal.   Maybe when isn't as important as why.  Why are some of us afraid of clowns?  Personally, I think it's their complete disregard for personal space.  Kindly keep your grease-painted face at least arm's length away.  The grease paint may be part of it.  It exaggerates the features.  The face is basically human in composition, but it's not.  It dangles us over the edge of the uncanny valley, where something makes us uncomfortable because it is *almost human.  The makeup obscures the wearer's identity, so we don't really know who we're dealing with.  Clowns also act in aberrant ways, contrary to societal norms and expectations, and that might subconsciously get our back up.  As for coulrophilia, sexual attraction to clowns…. I got nothing.  You do you.   Charlie asked for the real history behind popular horror icons, like werewolves, vampires, and zombies.  Even though the zombie craze held on longer than the 2017 obsession with bacon, most people don't know about them pre-George Romero's Night of the Living Dead.   The word “zombie” first appeared in English around 1810 in the book “History of Brazil,” this was “Zombi,” a West African deity.  The word later came to suggest a husk of a body without vital life energy, human in form but lacking the self-awareness, intelligence, and a soul.  The Atlantic slave trade caused the idea to move across the ocean, where West African religions began to mix with force Christianity.  Pop culture continually intermixes many African Diasporic traditions and portrays them exclusively as Voodoo. However, most of what is portrayed in books, movies, and television is actually hoodoo. Voodoo is a religion that has two markedly different branches: Haitian Vodou and Louisiana Vodoun. Hoodoo is neither a religion, nor a denomination of a religion—it is a form of folk magic that originated in West Africa and is mainly practiced today in the Southern United States.   Haitian zombies were said to be people brought back from the dead (and sometimes controlled) through magical means by voodoo priests called bokors or houngan. Sometimes the zombification was done as punishment (striking fear in those who believed that they could be abused even after death), but often the zombies were said to have been used as slave labor on farms and sugarcane plantations. In 1980, one mentally ill man even claimed to have been held captive as a zombie worker for two decades, though he could not lead investigators to where he had worked, and his story was never verified.   To many people, both in Haiti and elsewhere, zombies are very real and as such very frightening.  Think about it.  These people were enslaved, someone else claimed dominion over their body, but they still had their mind and their spirit.  What could be more frightening to an enslaved person than an existence where even that is taken from you?   In the 1980s when a scientist named Wade Davis claimed to have found a powder that could create zombies, thus providing a scientific basis for zombie stories, a powerful neurotoxin called tetrodotoxin, which can be found in several animals including pufferfish.  He claimed to have infiltrated secret societies of bokors and obtained several samples of the zombie-making powder, which were later chemically analyzed.  Davis wrote a book on the topic, “The Serpent and the Rainbow,” which was later made into a really underappreciated movie.  Davis was held up as the man who had scientifically proven the existence of zombies, but skeptic pointed out that the samples of the zombie powder were inconsistent and that the amounts of neurotoxin they contained were not high enough to create zombies.  It's not the kind of thing you can play fast & loose with.  Tetrodotoxin has a very narrow band between paralytic and fatal.  Others pointed out nobody had ever found any of the alleged Haitian plantations filled with zombie laborers.  While Davis acknowledged problems with his theories, and had to lay to rest some sensational claims being attributed to him, he insisted that the Haitian belief in zombies *could be based on the rare happenstance of someone being poisoned by tetrodotoxin and later coming to in their coffin.   Bonus fact: Ever wonder where we get brain-eating zombies from?  Correlation doesn't equal causation, but the first zombie to eat brains was the zombie known as Tarman in 1984's Return of the Living Dead.  This wasn't a George Romero movie, though.  It's based on a novel called  Return of the Living Dead by John Russo, one of the writers of Night of the Living Dead.  After Russo and Romero parted company, Russo retained the rights to any titles featuring the phrase “Living Dead.”    Cindra asked for movie monster facts.  The moon is getting full, so let's hit these facts muy rapido.   1922's Nosferatu was an illegal and unauthorized adaption of Bram Stoker's Dracula.  Stoker's heirs sued over the film and a court ruling ordered that all copies be destroyed.  However, Nosferatu subsequently surfaced in other countries and came to be regarded as an influential masterpiece of cinema.   Not a single photograph of Lon Chaney as the Phantom in The Phantom of the Opera (1925) was published in a newspaper or magazine, or seen anywhere before the film opened in theaters.  It was a complete surprise to the audience and to Chaney's costar Mary Philbin, whos shriek of fear and disgust was genuine.   In the original Dracula, Lugosi never once blinks his eyes on camera, to give his character an otherworldy vibe.  Francis Ford Coppolla did something similar by having Dracula's shadow move slightly independently, like the rules of our world don't apply to him.   Even though he starred in the film, Boris Karloff was considered such a no-name nobody that Universal didn't invite him to the premiere of 1931's Frankenstein.   Karloff's classic Mummy the next year did not speak because the actor had so many layers of cotton glued to his face that he couldn't move his mouth.   The Creature from the Black Lagoon's look was based on old seventeenth-century woodcuts of two bizarre creatures called the Sea Monk and the Sea Bishop.   To make a man invisible for 1933's The Invisible Man, director James Whale had Claude Rains dressed completely in black velvet and filmed him in front of a black velvet background.   The movie poster for The Mummy (1932) holds the record for the most money paid for a movie poster at an auction: nearly half a million dollars.   Boris Karloff's costume and makeup for 1935's Bride of Frankenstein were so heavy and hot that he lost 20 pounds during filming, mostly through sweat.  His shoes weighed 13 lb/6 kg/1 stone apiece.   The large grosses for the film House on Haunted Hill (1960) were noticed by Sir Alfred Hitchcock was inspired to make a horror movie after the seeing the box office gross for William Castle's House on Haunted Hill.   Filming the shower scene for Psycho was pretty mundane, but actress Janet Leigh was so terrified by seeing the finished product –thanks to the editing by Alma Reveill-Hitchcock and Bernard Herrmann score– that she did not shower, only bathed, from the premier in 1960 to her death in 2004.  You can read more about Alma Revill in the YBOF book.   According to our friends Megan and RJ at Oh No! Lit Class podcast, the first use of Toccata Fuge in G Minor in a film was the 1962 Phantom of the Opera.  It's hard to imagine classic horror without it.   In Night of the Living Dead, the body parts the zombies ate were ham covered in chocolate sauce.  George Romero joked that they shouldn't bother putting the zombie makeup on the actors because the choco-pork made them look pale and sick with nausea anyway.   A lot of people know that Michael Myers' mask in the original Halloween was actually a William Shatner mask painted white.  They bought it because it was on clearance and the film had a small budget.  Most people don't know that Shatner later repaid the favor by dressing up as Michael Myers for Halloween.   Freddy Kruger's look was based on a scary drunk man Wes Craven saw outside his home as a child.  His glove made of leather and steak knives was actually inspired by Craven's cat.  Looks down at scratches on both arms.  Yeah, that checks out.  The idea of being killed in your sleep comes from real deaths of people who survived the Khmer Rouge in Cambodia, only to die mysteriously later.   1987's The Monster Squad. With a werewolf, a mummy, Dracula, and Frankenstein's monster in the mix, the group looked suspiciously like the line-up of the 1930s and '40s Universal horror movies. To avoid confusion (i.e. lawsuits), filmmaker Fred Dekker made some subtle changes to his monsters, like removing Dracula's widow's peak, and moving Frankenstein's neck bolts up to his forehead. See? Totally different!   Yes, those were real bees in Candyman, even the ones in Candyman's mouth.  Tony Todd had a clause in his contract that he would get $1k for every bee sting he got during filming.  Even though juvenile bees with underdeveloped stingers were used, he still got $23k worth of stings.   You might think 1991's Silence of the Lambs was the first horror movie to win an Oscar, but Dr. Jekyll and Mr. Hyde beat them to it by 60 years with Fredric March's Oscar for Best Actor.

On this edition of Parallax Views, we're preparing for Halloween w/ a number of episodes for the spooky season! First up, the great film historian David Del Valle joins Parallax Views to discuss monsters, character actor, and the horror movies of Hollywood. We talk Orson Welles, Dracula actor Christopher Lee (and taking him to a gay disco), LGBTQ+ horror and vampires, the adolescent love of horror movies, the classic Universal Monster movies and the British Hammer Studio horrors of the 60s and 70s, the Dracula Society and the strange character of Donald A. Reed, TV horror hosts like Bob Wilkins of Creature Features, meeting Bud Abbot of the Abbot and Costello fame, becoming an agent to Hollywood stars, the Howling Vs. An American Werewolf in London, Lifetime movies, a story about Zelda Rubinstein (known for her role in POLTERGEIST), stories about Hervé Villechaize and Angelo Rossitto, working on the great 80s horror anthology FROM A WHISPER TO SCREAM starring Vincent Price, interviewing Vincent Price for THE SINISTER IMAGE, Donald Pleasance aka Dr. Loomis of the HALLOWEEN franchise, the late John Carradine (patriarch of the Carradine family), recording audio commentaries (and in particular his audio commentary with horror starlet Barbara Steele for SILENT SCREAM), how Hollywood actors get into debt, the classic Hollywood actor Cameron Mitchell a story about film noir actor Lawrence Tierney who gained late-in-life fame for RESERVOIR DOGS and his appearance SEINFELD, the gay horror/arthouse filmmaker Curtis Harrington and his love of outlaw female characters and Kenneth Anger of HOLLYWOOD BABYLON fame, the breast-loving independent filmmaker Russ Meyers (FASTER PUSSCAT KILL KILL!, BEYOND THE VALLEY OF THE DOLLS), the Ken Russell adage "Every Day is Halloween" in Hollywood,

Robert, Nat, and Cody join for a triple feature of Vincent Price including THE INVISIBLE MAN RETURNS, THE TINGLER, and THE MASQUE OF THE RED DEATH. Will they conclude that the Price is right or is there something more nefarious brewing? Time tracks: THE INVISIBLE MAN RETURNS  Discussion: 0:00 to 21:44 THE TINGLER Discussion 21:44 to 59:45 THE MASQUE OF THE RED DEATH Discussion 59:45 to End

Each story of the Bailey years started with a phone call from an insurance executive, calling on Johnny to investigate an unusual claim. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. Open these links and subscribe free to enjoy our shows! ANDROID USERS- 1001 Radio Days right here at Google Podcasts FREE: https://podcasts.google.com/search/1001%20radio%20days 1001 Classic Short Stories & Tales at Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vQURMNzU3MzM0Mjg0NQ== 1001 Heroes, Legends, Histories & Mysteries at Google Podcasts: https://podcasts.google.com/search/1001%20heroes 1001 Sherlock Holmes Stories (& Tales from Arthur Conan Doyle) https://podcasts.google.com/search/1001%20sherlock%20holmes 1001 Ghost Stories & Tales of the Macabre on Spotify: https://podcasts.google.com/search/1001%20ghost%20stories 1001 Stories for the Road on Google Podcasts https://podcasts.google.com/search/1001%20stories%20for%20the%20road Enjoy 1001 Greatest Love Stories on Google Podcasts https://podcasts.google.com/search/1001%20greatest%20love%20stories 1001 History's Best Storytellers: (author interviews) on Stitcher https://www.stitcher.com/show/1001-historys-best-storytellers APPLE USERS Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 CLASSIC SHORT STORIES at Apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes!  https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com REVIEWS NEEDED . My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW. Learn more about your ad choices. Visit podcastchoices.com/adchoices

As a prelude to the next chapter of our Origins of Hallowe'en series, we delve into the world of spooky spoken word records from the '60s and '70s, discovering a world of scary stories and haunted vinyl! We hear Famous Monsters Speak! (1963), visit A Graveyard of Ghosts (1974) with Vincent Price, and experience Halloween Horrors (1977)!

https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr22021/TheHorror1042.mp3 This week on The Horror, Inner Sanctum bring us their tale from August 30, 1948, titled, Next Time I Live. Download TheHorror1042 The Horror is made possible by you! If you're able to help out, visit donate.relicradio.com for more information. And, if you'd like some stories featuring Vincent Price for Halloween, you will get (via [...]

In episode 327, Ryan and Jose are joined by Ed and Nina of Coenobium to returrn to Clive Barker's A-Z of Horrror, Q for Quiet Men for an audio commentarty for the 1963 Roger Corman film, The Raven! 1963, Roger Corman With Vincent Price, Peter Lorre, Boris Karloff,  Show Notes Amazon Prime Video Apple TV Rent 45rpm Promo The Telltale Heart Animated The Vincent Price Collection of Fine Art Coming Next  Halloween Special Jericho Squad 77 Illustrator II And this podcast, having no beginning will have no end.  web www.clivebarkercast.com iOS App| Android App, Apple Podcasts, Google Podcasts, Android, Stitcher, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Google Play, Radio.com, DoubleTwist and YouTube and Join the Occupy Midian group Discord Community Twitter: @BarkerCast| @OccupyMidian Support the show, Buy a T-Shirt

The dudes dedicate an entire episode to horror icon Vincent Price. They discuss HOUSE ON HAUNTED HILL and THE MASQUE OF THE RED DEATH. Not intended for children. The views expressed do not necessarily reflect the views of their employers. Twitter: https://twitter.com/TwoDudes7 Facebook:https://www.facebook.com/Two-Dudes-One-Double-Feature-Podcast-108846657540306 Instagram:https://www.instagram.com/twodudesonedoublefeature/?igshid=17oyviqg0pxno&fbclid=IwAR13Qy_UYaRmxREDtBlpA7zWovszRFB_C3QTB7xTbbDXZnvMZrWeATkCHHg Richard's YouTube: https://www.youtube.com/user/Channel23hahaha Joey's YouTube: https://www.youtube.com/channel/UCkFZy6PEmCY2SPScOAWkXbg?view_as=subscriber

Derek dives back into the crypt of recordings that haven't made it to an actual episode of Monster Kid Radio, and emerges with this recording from a Q&A with the one-and-only Victoria Price from 2019. This took place after a screening of the classic House on Haunted Hill at the Hollywood Theatre. Also this week, another ultra-cool installment of Mark Matzke's Beta Capsule Review! Voicemail: 503-479-5MKR (503-479-5657) Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark Matzke Monster Study Group - Small Town Monsters -  Monster Kid Radio on TeePublic - Next week on Monster Kid Radio: STAY TUNED! "" () appears courtesy of () All original content of Monster Kid Radio by is licensed under a .

31 Days of Halloween continues as Vincent Price hosts a calvacade of gory Southern Gothic tales in 1987's From a Whisper to a Scream. ENDING MUSIC: From a Whisper to a Scream by Elvis Costello Support TWoRP Contact Us talkwithoutrhythm@gmail.com

We're a day late and a dollar short, but we're still delivering all the fun, including Kayne is now officially Ye; “Halloween Kills” slays at the box office; Prince Charles' car runs on old wine and cheese; “Wonder Woman” is curiously coming back for a third go; Banksy's $24 million shredded artwork; Madonna is a rude bitch; the Queen gives up her daily martini; Nutter Butter cookies are on the endangered list; Vincent Price's big “Thriller” mistake; and, lots more pop culture silliness.

This week we stroll back into the Crestwoood House to talk about another super cult, mad scientist flick, the over the top camp classic The Abominable Dr. Phibes from 1971. Vincent Price at his Price-ist.

Shreya and Jacob get spooked by Edgar Allan Poe and Roger Corman! Vincent Price the god.. Discussed are House of Usher (1960) and The Masque of the Red Death (1964)

The wind blows a little bit colder, so we're chillin' like a villain with the Best Disney Villain Song bracket: - Welcome back to Mouse Madness veteran, Mandy! - We propose a Mary Poppins 'What If ...' episode. - Chris can't resist doing old man impressions. - Hi-Diddly-Dee-Dee, is an actor's life really for me? - Chris's earliest memory as a human. - Vincent Price, huge Disney guy. - Kyle butchers the lyrics to 'Shiny'. - How Walt REALLY treated the Sherman bros. - Thurl Ralphio. - Mandy's dog gets upset about a few picks. Got a rebuttal? Want to be a tiebreaker host? We'd love to hear from you: Support us on Patreon: cutt.ly/GerisGang Email us at mousemadnesspodcast@gmail.com Tweet us @MouseMadnessPod Follow us on Instagram @MouseMadnessPod Chat with us on Discord: discord.gg/qwpqAWA Join or Facebook Community: fb.me/MouseMadnessPodcast

You know what's scary? The past. Like, the 1800s and earlier. You know what's more scary? The past but with ghosts and the Wendigo. Well, okay, people have believed in these things for ages but in horror movies they get to actually exist. This week we're looking at Historical Horror films. You know, creepy period pieces.We discuss the Vincent Price classic, The Masque of the Red Death, 1999's underrated Ravenous, and Guillermo del Toro's Crimson Peak. Plus, Randy's thoughts on the new Chucky TV series and more. Enjoy!Originally streamed live October 14th, 2021 via Facebook Live.★ Support this podcast on Patreon ★

https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr22021/StrangeTales614.mp3 Our story for this week's Strange Tales comes from The Mysterious Traveler. From January 30, 1944, here's his story The House Of Death. Download StrangeTales614 Strange Tales is made possible by you! If you're able to help out, visit donate.relicradio.com for more information. And, if you'd like some stories featuring Vincent Price for Halloween, [...]

John and Jeni get into spooky season with our favorite Ghoulish Gourmand, Vincent Price. From his cookbooks to his TV Show as well as cooking records (yes you read that right), we cover everything food related to the Master of the Macabre. We also give you an early Halloween treat with an radio play featuring Vincent from 1974. Enjoy!!

Vincent Price, John Carrradine and Donald Pleasance round out half of what was supposed to be an assemblage of the 6 gentlemen of classic horror. Still, we get an anthology of three spooky tales spooky, sad, and funny, surrounded by a quirky wraparound story and three surprisingly catchy interstitial rock tunes. And if you REALLY want the full Halloween experience, check below for Elvira's commentary - not once, but twice.

https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr22021/TheHorror1040.mp3 This week's episode of The Horror features Knock At The Door, the December 15, 1942, broadcast from Lights Out. Download TheHorror1040 The Horror is made possible by you! If you're able to help out, visit donate.relicradio.com for more information. And, if you'd like some stories featuring Vincent Price for Halloween, you will get (via download) [...]

James Adomian is a man of many, many voices. A comedian by trade, he's known for his incredible impressions of people like Bernie Sanders, Vincent Price, Jesse Ventura, and Mike “My Pillow” Lindell. When they sent over the list of comedians available to guest on my Live from Moontower TMH, his name jumped off the page. It was the very first show of the entire festival (no pressure), but I think we killed it (not to brag).  THE CALLS:  1) A male caller asks Bernie Sanders, “What do you do in a small town that's predominantly conservative, but you're not?”  2) Drake is having trouble getting to his lady, and asks Macho Man Randy Savage to help.  3) A very drunk woman asks, “What the fuck is with people walking wherever the fuck they want?” A perfect dismount!  This episode is definitely in the top five we've ever done. Check it out, Mightys! I thank you. Call Matt and ask a question 323-763-0228 New episodes arrive every Thursday via The Laugh Button. For advertising opportunities email advertise@thelaughbutton.com Learn more about your ad choices. Visit megaphone.fm/adchoices