Here now are those stories, collected in one easy-to-look at PDF. Who was nice / cool to me while I was making This Music Leaves Stains? Who wasn’t? What was the book tour like? Also, selected pieces of Misfits lore deleted from Stains that you might not be overly familiar with. Please, come inside and read You Can’t Come Inside.
If you want to absorb this thing for free, be my guest. If you want to give me money for it, wow, that’d be fucking cool. Think up an amount and Paypal or Venmo jgreenejr at gmail dot com.
Click the cover image or click this –> You Can’t Come Inside
The photograph on page 42 was taken by Rob Farren, whose name was accidentally omitted from the credits. James Greene, Jr. regrets this error. James Greene, Jr. also regrets the typos on pages 6 and 14.
Thanks for indulging me. I love you all.
Part of a Star Wars display at the Mall of America Lego store in Bloomington, MN. There are some artistic liberties occurring here, which I encourage.
Incredibly sexual centerpiece at the Mall of America Peeps store. Should marshmallow be this arousing?
My best friend John owning it in the style of his birth city (the Bronx).
A very beautiful lake in Stockholm, Wisconsin.
I attended a wedding looking like this (and I wasn’t thrown out!).
Abandoned rubber chicken in the mailbox area of my Orlando apartment complex. Never got the full story on this sensational find.
Main entrance of Florida’s infamous Howey Mansion. I was granted exclusive access when I wrote a story about it for Orlando Weekly.
Angry mid ’90s Rolling Stone reader.
Orlando area toll plaza decorated for Halloween.
Record store regrets.
Street art spotted deep in Mexico.
Some of my roommate’s nonsense.
Some of my own nonsense.
“Space Ghost Coast to Coast” put me in absolute shock the first time I saw it. I couldn’t believe a tv show so fluently spoke to the cultural car crash in my head. A fusion of “Batman ’66” and Letterman and punk rock; a post-modern quasi-cartoon rewriting the rules of kitsch; a reverse Roger Rabbit where our dimension is the tiny portion of a surrealist animated landscape populated by exhausted and agitated characters who couldn’t give a tinker’s dam about what anyone else wants, let alone a human. A show about a retired super hero entering the late night wars with two sidekicks he’s imprisoned in his garish studio on an otherwise barren planet.
No other entertainment makes me laugh as hard as “Space Ghost.” It’s so elastic. Clever and cutting one moment, beautifully stupid and nonsensical the next. Long stretches of nothing, then dense clusters of joke upon joke upon joke, like a swarm of bees. Total reverence for a guest that quickly washes into contempt and sarcastic quips. And the full visual trip of live action celebrities being forced to interact with repurposed ’60s animation—what an addictively weird atmosphere.
An enormous piece of the show’s creative heart was animator and voice actor C. Martin Croker, who passed away last weekend. Croker brought to life the titular host’s enslaved sidekicks, band leader Zorak and producer Moltar, who as the show progresses transform from standoffish super villains into disgruntled everyman employees hilariously nonchalant in their burning hatred for Space Ghost. Zorak and Moltar savor each moment their captor stumbles and find themselves in a quiet pain when he succeeds. Naturally, these two have their own issues: Zorak is a pathological liar and cannibal while Moltar seems to be covering up an unsatisfying marriage.
How could I not be in awe of Croker? He drew this amazing show, voiced incredible foils for the main character, and his name’s stately as hell. This guy’s a legend. Everything I’ve read about him away from his work suggests he was cool, generally willing to share a laugh with admirers or do the Zorak and Moltar voices. It’s devastating that he’s gone at only 54 (cause of death currently undisclosed) but I’ll always be thankful for experiencing his talent. It affected me deeply to see that television as bizarre and lawless as “Space Ghost” could not only exist somewhere but thrive. That’s inspirational.
So thanks, Clay Martin. We’ll miss you.
What a fine time to remind you I am the author of This Music Leaves Stains: The Complete Story of The Misfits (not so complete any more), available for purchase here. The Austin Chronicle likes it, saying I “pull no punches” as I “accurately and respectfully” barrel through the group’s saga. Psychobabble claims this volume is “informative” and “thorough” and “pretty much anyone will get a kick out of it.” You know what? I don’t think it’s too bad either.
Here’s something you can do for free: take a look at the online photographic supplement for This Music Leaves Stains and see a wealth of Misfits imagery I couldn’t afford to license for print publication. Imagery like the photograph above. Look at that goddamn punk rocker. He’s sick of everybody’s shit.
If you’re curious how a dope like me wound up writing a book like that in the first place, this interview might help explain a thing or three.
Thank you for your interest and consideration. We remain one thirty eight.
Prince's music is so potent and intoxicating that despite universal acclaim it still seems underrated. What sacred art, what sacred love.
— James Greene, Jr. (@HoneyIShrunkJG2) April 21, 2016
To say anything else may be exceptionally unnecessary. And yet…
It was only a few years ago that I began digging into the Prince catalog. I purposely started with The Black Album, my reasoning being, I know the hits, I know Prince can orchestrate pop perfection, let’s see what it’s like when this guy is stumbling. Prince suppressed Black for nearly a decade because he felt dissatisfaction with it (one rumor suggests a bad ecstasy trip convinced him the album projects too much evil). Yes, I often begin my journey into legendary bodies via a most dubious property. What can I tell you? I’m American, I’m obsessed with failure.
My immediate reaction to The Black Album: if this is Prince at his worst, sign me up. Sections of Black’s malcontent electro funk are misguided, sure, but as with all his work, Prince commits with such totality (even to utter silliness) you can’t deny the sale. You remain absorbed and ultimately feted.
Now The Love Symbol Album and The Gold Experience are go-tos. Bold, decadent, liberating, rich with flavor. I also spend a lot of time getting lost in the grooves and hymnals of Chaos & Disorder. Sign O’ The Times? That thing is a best of / greatest hits unto itself. And of course, the one Prince album I paid close attention to at the time of its release, Batman.
I want to say I understand people who dog the Batman album but I actually don’t. Prince captures the glamor, the restlessness, and the bankruptcy of Gotham City. The music freezes, it bleeds, it works both within and outside the motion picture’s context. I can’t comprehend why “Partyman” and “Trust” aren’t FM radio staples. The balladry avoids being overwrought. What a thrill to have it all culminate in the white knuckle lunacy of “Batdance.”
“Batdance” is on this Warhol level, a gleeful vandalism of Neal Hefti’s 1960s theme, a schizophrenic pastiche of Burton’s film driven by fascist percussion, indiscriminate keyboards, searing guitar, and direct dialogue samples. It’s jarring and insane but again, Prince commits. That’s why the song reached #1; the Artist’s dedication willed this cacophony into something incredible.
It feels strange to comment on all the risks Prince took in his career, if only because he possessed the celestial wizardry to more or less conquer them all. Is there another human being who could have successfully changed their enormously bankable and recognizable name to a singular character of their own invention with no known (or offered) pronunciation? Ricky Shroder has spent decades trying in vain to make people drop the “y.” If he had adopted a symbol we would have sent him to live on the international space station.
Thanks for the fifty-seven years, Prince. You will never be equaled.
“Yeah, well, you’re either on drugs or fuckin’ crazy if you think Hate Your Friends is the best Lemonheads album.”
“You gotta hear this cover of ‘Strutter’ by the Donnas. It’s really respectful to Kiss’s original vision and the guitarist, she just nails Ace’s solo!”
“That’s so disrespectful, man. Helloween’s not hair metal. Hair metal is, like, Vince Neil, Mötley Crüe.”
“Before Wheels of Fire came out I dreamt that Cream would release a double album with a silver cover. And then they did! Can you believe that?”
“Hey, I know you’re into all that Touch & Go shit. You know, whatever, I just wanna know where to start with all that fucking shit.”
“Mudnohey, huh? How do you think they feel about you buying their record?”
“Bricks Are Heavy? Pfft, you can have my copy. Let me go home and get it.”
“I know you’re only like ten or eleven but you have to learn what the real world is like. I can’t sell you this Van Halen cassette because you have most of the money. I need all of the money.”
“Oh great, that dog snuck in here and shit near the register again.”
“I’m gonna open this Nashville Pussy CD and put it on the shelf uncensored and I’m gonna blame you so I don’t get fired. Because I don’t like you.”
“This kid just stole a Master P CD and it’s like, I don’t mind except that Master P sucks. If you’re gonna steal something, steal something good.”
Garry Shandling was an innovator who turned a lot of comedy on its ear, but what’s more important to me is the raw, sometimes ugly emotional core of his humor. Fraying anxiety, sizzling jealousy, swampy deposits of depression—all served with flashes of that famous mile-wide grin. We hear Garry could be quite impassioned offstage, in the best and worst senses of that phrase, and that’s no surprise. It’s the nucleus of his work.
I was under ten when “It’s Garry Shandling’s Show” was airing, and even though it was difficult to understand what I was watching, I loved tuning in because it was so different. Here’s this quote-unquote sitcom where every plot device and character takes a backseat to Garry’s ongoing conversation with the viewer, a conversation that is basically just, “Wow, look at my show, isn’t it strange?” It’s a minimalist, neurotic “Pee-Wee’s Playhouse.” What if your neighbor thought he was on tv all the time but refused to play it up? What if he talked about it like the weather or a bake sale?
Later we got “The Larry Sanders Show,” a transcendent entry, a masterclass of meta comedy streaked with pathos. Garry won an Emmy Award for writing on “Sanders” but he should have received an additional one for acting. When he really wanted to, the guy could get it all into one glance or wordless aside.
Garry pops up in some of the Marvel movies, and that’s deeply satisfying. An entire generation will only know Shandling as the Senator giving Tony Stark what for in Iron Man 2, the same government creep who appears in Captain America 2. I have to admit I was waiting for him to turn to the camera in both films to say, “Can you believe this? Me, a Senator? I know, but listen, there’s some good stuff coming up, so don’t walk out yet.”
I’ll miss the Shand Man. Stormy genius. And funny as hell.
“My dog’s penis tastes bitter. Do you think it’s his diet?”
The article below was originally written for and published by Crawdaddy! in two thousand ten. Since that time my appreciation for the enormously absurd album discussed has only grown deeper. Just call me Stretch Nuts.
Quality, essence, virtue—terms that, by this point, are rarely (if ever) debated when it comes to Insane Clown Posse, the ultimate bastard sons of music. True Juggalos have already unconditionally accepted the alleged greatness of rapping jesters Violent J & Shaggy 2 Dope like the most fervent born again Christians, while those outside “The Dark Carnival” have difficulty thinking of a more pathetic and misguided social subset America has produced. Even Civil War re-enactors rank higher than Juggalos, mostly because of their stately 1860s facial hair and the vintage weapons they brandish that could blow your spleen across a Long John Silver’s parking lot.
The Juggalos are one thing; overzealous fans of any entity (Paul McCartney, the Green Bay Packers, the Twilight franchise) can be intolerable. Is it fair, though, to automatically malign and dismiss the Wicked Clowns themselves? I was viewing the much-ballyhooed video for ICP’s “Miracles” the other day, and I have to say, aside from the LOL-inducing, are-they-serious? lyrics, the song is pretty boring. Straight up, “Miracles” is a boring ass song. The clowns aren’t even really rapping, they’re just kinda talking softly (save for that jaw-dropping “fuck scientists” bit). The beat in “Mircales” is equally flaccid. The sub-mediocrity I saw before me got the rusty gears in my brain turning.
These guys weren’t always this bad.
Yeah, yeah, Insane Clown Posse used to be, like, kind of exciting. Actually almost insane, even. 1997. The Great Milenko. Everyone I knew had that album. Everyone I knew loved that album. It was funny, it was weird, it was stupid, the songs had legitimately cool beats. The clowns had dreadlocks. They relied heavily on the term “stretch nuts.” They screamed shit like their trashy Midwestern lives depended on it.
What happened? Am I crazy? Is this selective amnesia?
As my steam-powered noggin began chugging, I remembered that I had very similar thoughts of disappointment when ICP released the limp single “Let’s Go All The Way” in 2000. It sounded like fuckin’ half-assed 311. Where was the evil calliope music? I was dumbfounded when I saw Violent J in the video with closely cropped bleach blonde hair. Were the Wicked Clowns selling out on the final Joker’s Card?
I’m not sure it’s possible to sell out when your group is named Insane Clown Posse and you’ve been signed to a Disney subsidiary for an amount of time that can be measured in hours. Hollywood Records paid $1 million for the rights to release The Great Milenko in 1997 after a groundswell of industry buzz. Then, someone in khakis actually listened to the thing, and Disney realized these clowns were insane in the stabby killy way, not the wearing-Hawaiian-shirts-to-business-meetings way. Hollywood withdrew Milenko the same day it was released (even though it had already sold nearly 20,000 copies and was climbing up the charts) and canceled all future plans for ICP. The Clowns were at an autograph signing when they learned they were no longer part of Donald Duck’s extended family.
I can think of ten thousand hardcore punk bands who wish they could say they were kicked off a major label like that. Let’s face it: ICP were the Clinton Era’s Sex Pistols, and Disney was their great rock n’ roll swindle.
Though nowhere near as invigorating or groundbreaking as the Sex Pistols, the Insane Clown posse of Great Milenko remain worthy of more praise than they’ve ever received. Milenko offers the same template of boiling suburban rage, infectious beats, hilarious rhymes, and comically graphic violence that Eminem rode to global renown just a year or two later. Granted, Eminem is a better rapper than either Clown, but as far as gimmicks go, Em’s reference-every-current-tabloid-headline approach probably dates his material more than ICP’s insistence they belong to an evil carnival from another dimension. Besides, Eminem was already complaining about the pressures his superstar lifestyle on his second album. Marshall Mathers gets on “TRL” a couple times and bro-ham can’t handle the pressure. Boo hoo. Didn’t you fool around with Mariah Carey? Yeah, you don’t get to complain about anything.
The Great Milenko is Insane Clown Posse’s fourth album, and never again would they sound this legitimately disturbed, hilariously demented, or crazy frightening. Possibly the greatest example of this comes almost midway through the “House Of Horrors,” when Violent J intones the following:
“Lemme show you something—[makes high-pitched raspberry noise] / You know what that means? it don’t mean nothin’! / But it scared you, ’cause people don’t be doin’ that shit / But me? [makes noise again] / Bitch, [makes once noise again] I’m all about it!”
Think about that for a minute. An overweight harlequin with dreadlocks invites you into his dark, foreboding fun house. Suddenly, he turns to you amidst the dry ice and strobe lights and starts excitedly making noises with his mouth. Can you honestly say you wouldn’t vigorously soil your Tommy John boxer shorts at that very moment?
The Clowns’ bizarre viewpoint also pops up in the slow, introspective jam “How Many Times?” At first, it seems like this song is just another chill rap tune about dealing with life’s smaller aggravations (particularly highway traffic). Then, apropos of nothing, one of the clowns starts losing his shit because he cannot pay for fast food by imparting scientific knowledge upon the cashier (“Can I walk into McDonald’s to the counter / and tell ’em you can make limestone from gun powder? / Will they give me a cheeseburger if I know that shit? / Fuck no, fuck you, and shut your fuckin’ lip!”). That ICP favors the barter system comes as no surprise, as I don’t believe psychotic circus workers generally keep bank accounts.
I’d call it a double standard that people have been regularly eating up GWAR for so many years when their musical output is at least equally as stupid as ICP’s, but everyone involved here is a white male from flyover states. GWAR wears foam rubber cocks that shoot fake ejaculate all over their audience and they get more respect from the outside world than ICP. Does that make any sense? Perhaps ICP lowered their market value by aligning themselves with an off-brand soft drink like Faygo. Winn Dixie brand doesn’t cost much more, and it carries a less backwoods stigma. Good rule of thumb: if they can afford to put a NASCAR driver on the bottle, you won’t look stupid drinking it.
Another point to ponder: if the Insane Clown Posse is so bad, how come legends like Alice Cooper and Slash make appearances on Milenko? Those guys don’t necessarily go around lending their legacies to crap (Alice Cooper was in Wayne’s World, for the love of Chris Farley). What could Slash have to gain by appearing on the major label debut of some rapping clown band? Nothing, really, aside from a paycheck he probably didn’t need. He’s Slash! He must have simply dug the hot circus jams.
Perhaps it’s all a tomayto / tomahto thing. I believe there’s some kind of genius in lyrics like “He eats Monopoly and shits out Connect Four!” (Violent J’s description of an average ICP fan in “What Is A Juggalo?”). If you can’t see that, I guess we’re just in opposite time zones. This entire debate brings to mind an astute remark usually attributed to actress Mary Woronov: there is a difference between art and bullshit; sometimes, bullshit is more interesting.
Yes, The Great Milenko is targeted at people who would rather spend a Saturday afternoon watching “Charles In Charge” and doing whippets as opposed to visiting the nearest Christo exhibit or foreign film fest. Yet you can’t view this album through the same “OMG, irony fail!” prism as “Miracles.” Milenko is a finely-tuned, gratifying journey through the admittedly low brow genre of horrorcore, second only to the first Gravediggaz album in terms of relative greatness. Juggalo fervor has overshadowed ICP’s music in recent years, be it good or bad. No one seemed to bat an eye when the Clowns released 2007’s The Tempest, possibly the first hip-hop album featuring a song about a roller coaster. Seems like they had to make a crazy joint like “Miracles” just remind people they’re an actual musical group and not just some out-there trailer park cult.
Hopefully one day bizarre and sickening minutia like Juggalo baby coffins will be separated from ICP’s musical catalog and The Great Milenko will garner recognition as the worthwhile exercise in cathartic silliness it is. If Music From “The Elder” by Kiss could eventually find a home in our shared cultural circle, there’s hope yet for the fourth Joker’s Card.
Nearly a decade ago I wrote a book about Star Wars fan culture that did not get published. This PDF contains the story of that failure, some chunks of the original manuscript, a few new essays about our nutso ewok lifestyle, and original artwork by dear friends.
You may have this item for zero dollars if you’d like. If you’d like to give more than zero dollars for this item (and if you have a Paypal account), you may click the shiny knob below. I’m not putting this thing out for the money, though, I’m doing it for the kicks. So thanks for reading, I appreciate that support more than anything else.
Happy Hanukkah. Stay funky, you crazy jawa jockeys.
Here’s an interview I did with “Weird Al” Yankovic for Crawdaddy! in 2011. “You asked some very interesting questions,” he remarked when we were done, which for sanity’s sake I must interpret as a compliment. Photo by Casey Curry/Invision/AP.
For three decades, one name has reigned supreme in the field of parody-based musical comedy: “Weird Al” Yankovic. From “Eat It” to “Smells Like Nirvana” to “White and Nerdy,” Yankovic has won the hearts of millions churning out strange, funny twists on Top 40 hits, his appeal spanning various generations, genders, social strata, and pickle preference. Al was kind enough to grant us a few minutes on the eve of his thirteenth full-length release, Alpocalypse, so we could regale the Pride of Lynwood, CA, with queries about his rumored fight with Billy Joel’s relatives, his implied “Family Ties” obsession, and what he knew of Macho Man Randy Savage’s unexpected hamster aversion.
Okay, let’s clear something up right now—did you not release your early ’80s parody “It’s Still Billy Joel To Me” because Billy Joel’s family strongly disapproved and there was some kind of altercation on a red carpet somewhere?
[Laughs] No, no, no…I never put it out because by time I got a record deal the song seemed too dated. It wasn’t topical anymore, there were a lot of references in there I thought people wouldn’t get, and also, it was kinda mean spirited, you know, and that was a little out of character for me. I wrote it in college, never thinking that Billy Joel would actually ever hear it, but eventually some local TV show played the song for him…and he was clearly a little put off by. So, I felt bad.
You have a lot of quasi-legendary unreleased recordings from your early years like “Billy Joel,” such as “Belvedere Cruising” and “Pacman.” Would you ever consider releasing an Al rarities record?
No, because I think the people that would appreciate those songs have already managed to track them down. You can bit torrent all those early horrible tracks I did. [Laughs] I wouldn’t say I’m embarrassed by those songs, but I wouldn’t want to promote them now because they don’t represent my current level of work.
Not to harp on this angle, but everyone knows Prince has steadfastly refused to sign off on your parodies of his work, and it seems from time to time that there’s legitimate anger on your part about that. Was he rude to you about your ideas, or was there an incident?
Yeah, [Prince] has become my scapegoat over the years, but to be fair I haven’t asked him to parody anything in the last decade. Back in the 1980s, though, he obviously had a few hits that I thought leant themselves to parody. Every time I asked, he responded with a flat no, but he never gave a reason. [Sighs] It was frustrating, but there’s no hard feelings. I mean, he never personally threw a drink on me at a party or anything like that. Prince is just a very talented but ostensibly humorless artist.
Has anyone ever been on the fence about your ideas? Like, have you had to gently nudge anyone into agreeing?
Hmmm, my manager would be a better person to ask about that, as he’s the one who’s usually in contact with these people. As far as I know, everyone’s usually very receptive. What I can tell you is a lot of the time [the] management of the people I’m interested in parodying don’t return our calls, like in this recent Lady Gaga incident, so I’m sent on a quest to find original artist. That happened with Kurt Cobain, it happened with MC Hammer—and with the few known exceptions they’re always more than happy to agree to it.
How did you track down Hammer? Did you find out where he shot all those Pepsi commercials and just show up?
[Laughs] No, it was some kind of awards show, like the American Music Awards or something. I went there specifically because I knew he would be performing and I hung around back stage so I could “accidentally” bump into him. And, of course, he was totally cool and receptive to the [“U Can’t Watch This”] parody.
Have you ever had the perfect parody in mind for a song that wasn’t really popular enough to parody?
Well, generally, if a song isn’t popular enough it doesn’t make it on my radar. I’ll tell ya, when Nirvana came on the scene, I didn’t immediately have an idea but I thought, Wouldn’t be cool if they got popular enough to make fun of? Then the album went to number one, and that was that.
Did you have anything on deck in case Nirvana didn’t blow up?
No…if that didn’t happen, I would have just waited for the next cultural movement.
Did you get to hang out with all those celebs in Michael Jackson’s “Liberian Girl” video, or was all that filmed at separate times?
I got to hang out with a lot of them, but not all of them. Dan Aykroyd was there, so was Steve Guttenburg. Michael Jackson wasn’t there, but I had met him previously.
Has any parody of yours ever been a hit that you personally felt was maybe a little subpar, or vice versa? Have you ever had something you thought was amazing that just didn’t go over?
I never really know how things are gonna go. “It’s All About the Pentiums,” I thought that was gonna be a much bigger hit than it was. We had a great high budget video, some hot video vixens, some great celebrity cameos…I thought it was going to be huge. But then it came out, and it wasn’t. Now, when I did “White and Nerdy” a few years later, I knew it was a great song but part of me thought, “This is the same basic subject as [‘Pentiums’],” and then “White and Nerdy” turned out to be my biggest hit ever.
Your new album Alpocalypse is scheduled for release on June 21, which is the joint birthday of “Family Ties” stars Meredith Baxter and Michael Gross. Did you do that on purpose? Is there some kind of hidden “Family Ties” subtext within the album that true fans have to decipher?
Well, everything happens for a reason. No, I can honestly say I didn’t plan that, but I’ll have to look into it, do some research.
Is it true that the late Macho Man Randy Savage almost backed out of his appearance on “The Weird Al Show” in 1997 when he found out he was supposed to lose his wrestling match with Harvey the Wonder Hamster?
Things were definitely touch and go with Randy Savage. He was not sure he should lose to a hamster, and we had to explain to him, you know, “That’s the joke,” that you wouldn’t expect this heavyweight world champion to lose to a hamster. So he said, “Well, alright…it’s not a girl hamster, is it?” [Laughs] And we said, “No, it’s a boy hamster, don’t worry.”