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This review was originally published a few years ago in The Classical Mess, a newsletter I was doing on Substack until I discovered they were giving money to very bad people.
Debbie Harry has always seemed remarkably well-adjusted considering her global renown. This image is not shattered by her 2019 memoir Face It. Harry unfolds the road map of her life and nothing, it seems, has driven her off sanity’s edge. Not sour business or lost love or discovering that world famous drummer Buddy Rich was one of the two 40-something creeps who followed her home at the age of 12 after making their intentions clear at a nearby lobster shack.
Harry writes about that mortifying episode and several other very traumatic incidents like they’re just wacky family stories to be told after a few drinks around the holidays. Is she too well-adjusted? Millions of people cope this way — downplaying visceral horror with a laugh or wry comment. Maybe she is truly unaffected. Either way, it doesn’t prevent Harry from coming across as a relatable, endearing human in Face It. Often it feels like the only thing separating us from her is we don’t own paintings of ourselves by Andy Warhol.
What are Face It’s revelations for the casual Deb head? Harry “made it” once with David Johansen back in the day. She admits she “was never a Muppet fan” and only went on “The Muppet Show” because Dizzy Gillespie had been a guest (Harry offers praise for Jim Henson, though, whom she labels “a big pervert, in the best possible way”). Also, Debbie Harry once enjoyed an Edgar Winter concert.
Then you have this fascinating aside about Lydia Lunch, that high priestess of the underground, and her devotion to Bret “The Hitman” Hart. Lunch, Harry, and Harry’s longtime beau Chris Stein were all wrestling fans and used to attend matches together. “Lydia Lunch was hot for Bret big time,” Harry writes, noting that “heads turned [and] eyes stared” when Lunch began screaming in her “earth-shatteringly loud” voice for Bret when he was on the card. I wonder if Bret Hart ever heard Teenage Jesus.
The back half of Face It starts to feel like a sprint to cram in every notable event from Harry’s life during the 21st Century. Now maybe you understand why Richard Hell halted his life story I Dreamed I Was a Very Clean Tramp around 1984. Harry’s work is more humane, though, and more human, so we bounce along, happily adjusting.
The first thing that comes to mind when I think about legendary Canadian punk band Teenage Head is the guitar playing of Gord Lewis. I love to hear him blaring like a siren during the opening moments of “Tearin’ Me Apart.” I love the romantic growl of his power chords across their debut LP. Everybody in Teenage Head played their asses off and the material couldn’t be written any better, but there was crazy magic in Gord’s style.
It was very upsetting to learn this week not just that Lewis had died but that he was apparently murdered by his own son Jonathan. Sounds like those in the know assumed something like this was going to happen. Gord’s brother Brian has spoken of mounting tensions between the father and son in recent weeks and that they were both “dealing with their own demons.”
Rest in peace, Gord. Thanks for the music. I crank the Head your honor.
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I wrote a book detailing the history of the Ghostbusters movies (all of them, even the ones they didn’t make). It’s called A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever and it’ll be published this November by Lyons Press. Click here to preorder it. I’ve said it before and I’ll say it again — I thought I knew everything about this franchise…then I started work on this book. I think you’re gonna love it.
Before A Convenient Parallel Dimension, I was working on a book about the Guns N’ Roses album Chinese Democracy. You know, the album it took them 15 years to record and release. I am pleased to report that Backbeat Books has asked me to complete the Chinese Democracy book for 2025. What can I say? Take me down to Paradise City.
I’m going to blog here again on a weekly basis and that includes some posts that will only be available to JG2LAND PREMIUM subscribers. For just $2 a month (or more, if you want) you can enjoy access to it all. The first premium post went up yesterday. It’s a review of Two of a Kind, a 1983 John Travolta / Olivia Newton-John comedy no one really remembers. Click here to sign up and check it out.
Remember, when you become a JG2LAND PREMIUM subscriber, you’re not just supporting me, you’re supporting my beautiful wife, my beautiful children, and our beautiful guinea pigs.
Thank you for all your love and support. Now let’s try to relax before Rob Zombie’s Munsters comes out and the discourse becomes unbearable.
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This November, Lyons Press (a division of Rowman & Littlefield) will publish A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever, a comprehensive history of the Ghostbusters film franchise authored by me, James Greene, Jr. Please scroll past the beautiful cover to learn more.
I spent four years researching this book, digging through vast library archives to paint as accurate a picture possible of the Ghostbusters films they made, the Ghostbusters films they didn’t make, and all the talent involved. I also conducted scores of firsthand interviews and curated a nice selection of pictures for the middle section.
I’ve said it before and I’ll say it again — I thought I knew quite a bit about Ghostbusters before I started A Convenient Parallel Dimension but oh was I wrong. It is my sincere hope that this proves to be the case for many readers. I also hope people who don’t know anything at all about Ghostbusters pick this up and say, “Hey, I like learning about these wacky ghost movies!”
Don’t want to say anything else as the manuscript is still being copyedited but I can’t wait for everyone to check it out. Ask your local independent book store to put A Convenient Parallel Dimension on their list today!
Cinematographer László Kovács purposely shot the original Ghostbusters like a drama, avoiding the bright tones that usually signal comedy, so every element would feel credible. This is why the movie’s frights are so frightening and why so many people today view Ghostbusters not as a comedy but as a supernatural adventure with a handful of jokes.
The marketing for forthcoming third chapter Ghostbusters: Afterlife is playing to that crowd by emphasizing a solemn cadence. A new trailer debuted last week that reiterates the narrative threads we’ve been given about wayward teenagers slowly unearthing the truth about what is now an unspoken legend of yore, the Ghostbusters. It’s very Force Awakens. Well, why not? The Force Awakens made $2 billion worldwide in 2015, revitalizing Star Wars after a generation in the weeds. Not a bad template to copy.
Whatever Ghostbusters: Afterlife actually is (laugh riot? creep show? rural youth dramedy with paranormal elements?) the commercials make it look interesting. I’d like to see it. My enthusiasm is tempered by the fact Afterlife has become an avatar for our impatience with COVID.
Experts were saying pretty early on that even in the best of circumstances the pandemic might last until 2025. Everyone else wanted to measure this crisis in monthly increments. Afterlife’s release has been delayed three times in the past year and a half. The filmmakers insist it must be experienced on the big screen. Of course; a strictly theatrical release generates the most profit. Will life “return to normal” by November? Skimming headlines about the Delta variant and all the children who are getting sick now because half the country still believes wearing a mask and getting vaccinated is a matter of personal liberty, I’d say no.
Maybe if everything had shut down last year until our daily COVID infection and death rates dropped down to zero, we would have seen Ghostbusters: Afterlife already. Can you imagine a world where we’re already intimately familiar with Muncher?
I read an interview with Joe Dante the other day where he said the Looney Tunes should have been retired after 1960. I can’t argue with the man. In my lifetime, they’ve only been impressive in Roger Rabbit and that’s because Disney had the final vote on quality control. The original Space Jam is okay but Shawn Bradley is funnier in it than any of the Looney Tunes. You could remove the Looney Tunes entirely and still have a decent movie about NBA players fighting aliens. The animation is just a gimmick. And to paraphrase Chuck Jones, the real Bugs Bunny wouldn’t need Michael Jordan’s help to win a basketball game.
Now we have Space Jam: A New Legacy, which is more of a remake than a direct sequel. If you’re the type of person who can spend hours staring at that poster where Kermit The Frog is dressed like Garth Brooks, this movie will be your Star Wars. Everything you’ve read is correct — A New Legacy is just a commercial for Warner Bros. IP. Would you believe they’re treating most of this stuff as poorly as the Looney Tunes? Scooby Doo, Fred Flinstone, and Space Ghost make brief cameos that are visually on par with the Patterson Bigfoot clip. Meanwhile, the camera lingers on several real life human extras in screamingly awful Batman costumes. They’re on the sidelines of the big showdown, practically rubbing elbows with the main characters, even though they should be on house arrest at a Spirit Halloween.
If you’ve never seen the Looney Tunes before, Space Jam: A New Legacy will give you zero insight into their personalities. You might literally believe that Elmer Fudd is just a short guy from Austin Powers. That’s all they give him in this movie; they animate Fudd over the Verne Troyer reveal from The Spy Who Shagged Me. The premise here is that an evil computer algorithm has convinced the Looney Tunes they should be involved with more exciting franchises, so they’ve all left Looney Tune Land for stuff like The Matrix and Mad Max. See? The movie told the Looney Tunes they were boring and they agreed! And they don’t return to Looney Tune Land because they miss it. They return because the story necessitates that they partner with LeBron James to defeat Don Cheadle and his ragtag crew of NBA mutants.
There is a “serious” death scene for one of the characters in A New Legacy — “th-that’s all, folks!” they sputter melodramatically — but it doesn’t mean anything because the whole thing is reversed two minutes later. So not even a movie this big and dumb and critic-proof can escape the Marvel influence. Death is meaningless, life is meaningless, let’s smash our toys together. On the other hand, if they made 25 more Space Jams perhaps they’d eventually land on something interesting.
Space Jam: A New Legacy made me laugh once, when they dress Foghorn Leghorn up like Khaleesi from “Game of Thrones” so he can soar by on a dragon and throw out some catchphrase. I think that’s the most meaningless thing I’ve ever seen in my life. It deeply amused me.
CORRECTION: Bunsen Honeydew is the Muppet who dressed like Garth Brooks. I can’t believe I misremembered that thing I only saw once.
Hello, friends. Since 2019 I’ve been working on a book that is an in-depth history of the Ghostbusters films. It’s titled A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever and it will be published by Lyons Press in the Fall of 2022. Originally the book was scheduled for this year; the goal posts moved to keep up with the forthcoming entry Ghostbusters: Afterlife. I’ve always felt very strongly that I can’t complete this book without seeing Afterlife. I am very thankful my publisher agrees.
A Convenient Parallel Dimension will be the most thorough Ghostbusters history ever written, one that covers all the movies and will include a wealth of information previous volumes have omitted. It’s a story about art, people, comedy, commerce, evolution, “Hollywood,” and, to some extent, America. Myths will be shattered, truths revealed. The cartoons, video games, and comics will also be discussed and yes, there will be pictures.
I’ve never worked harder on anything in my life and I can’t wait for everyone to read this thing. Thank you for your continued support. I love you all.
— I deleted my substack after it came to light that the company was giving money to anti-trans voices; eventually I will repost much of that content here as I attempt to relaunch jg2land; only recently have I accepted the fact that throughout the history of my freelance career this blog has been the only truly reliable structure
— my latest book A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever will be published by Lyons Press in the Fall of 2022; I think it’s going to be the best thing I’ve ever done and I hope you will agree
— they changed the interface on the wordpress post editor and I don’t know how to make that image of Muncher smaller but honestly every image of Muncher should be the size of a highway billboard