Too Much Misfits Business
Misfits news lying on a table of filth, Misfits news to which I’ve not yet replied.
Although an exact reason for his departure was not given when Dez Cadena left the current incarnation of the Misfits back in June, it turns out the guitarist is battling throat cancer. You may contribute to the “Help Dez Beat Cancer’s Ass” GoFundMe page here. Bassist and vocalist Jerry Only’s adult son Jerry Junior has been christened as Dez’s replacement; Jr.’s crazy if he doesn’t adopt the stage name Jerry Also (first suggested by Misfits Central message boarder “Mega Man”). In September the Misfits will embark on a U.S. tour wherein, at each stop, they will perform Static Age in its entirety. Why not? Gotta do something to commemorate the album’s 37th anniversary.
By the way, Dez Cadena played with the Misfits for fourteen years (2001-2015), approximately four times longer than his legendary stint in Black Flag. Does that mean he’ll go into the Punk Rock Hall of Fame with corpse paint? Can you even imagine a Punk Rock Hall of Fame? That’s what they should do with that abandoned Burger King on Governors Island in New York. Refurbish it as a shrine to everything Lou Reed wrought.
In July, Jerry Only told Metal Hammer he is in the midst of writing a book about his life. Now I don’t feel so bad about Jer never responding to any of my invitations to lend his voice to This Music Leaves Stains. Jerry’s book will include “a lot of the tragedies,” he says. You’re expecting me to make a Devil’s Rain joke here but I refuse to give you the satisfaction.
On the other side of the tomb: this Friday, Danzig (the band) will release single the first from their long-awaited covers EP Skeletons. Unfortunately, said single, a rousing rendition of the Devil’s Angels theme backed with a version of the Nightriders’ “Satan,” is confined to the European market via a limited edition vinyl run of 500 copies from AFM Records. If there’s a plan for digital release it remains secret for now. There is also no street date in place for the entirety of Skeletons, which shall find Danzig barreling through hits made famous by Black Sabbath, Aerosmith, and ZZ Top. Guys, we wanna buy your stuff. Why make it so challenging? Is that how Lucifer dictates it in the blood oath? I’d have your lawyer renegotiate that parchment.
Meanwhile, Danzig (the man) recently filmed a guest shot for the Peabody Award-winning comedy show “Portlandia.” Details are scarce, but somehow Carrie Brownstein and Fred Armisen convinced our Hellhound to unbutton his shirt and hit the beach. A vaguely iconic photo was produced, if only because it suggests Glenn has reached a new level of self-comfort.
Coincidentally, this pic popped up the same day “Aqua Teen Hunger Force” co-creator Dave Willis appeared on Tom Scharpling’s “The Best Show” to talk about the “Aqua Teen” series finale…and, at the behest of Scharpling, Danzig. Glenn voiced an animated version of himself on Willis’s cult cartoon in 2002 and famously caused a rigamarole before he could even step in the recording booth. Given final say on his two dimensional likeness, Danzig kept rejecting what the animators drew for not having the correct musculature.
“I’m way more cut than that,” was the Danzig money quote relayed from Willis to “Best Show” listeners. In order to circumvent any squabbling about the singer’s height (or lack thereof), “Aqua Teen” simply made him six feet tall from the start. Strategic move.
Now, on “Portlandia,” Danzig has no qualms about his physical definition (or lack thereof) and even told one news outlet he “had a blast.” Thirteen years can sure change a man. Who knows, maybe the people at “Portlandia” are just that much more charming and/or convincing.
And what of Joey Image? Over the Summer the percussionist who plays on the original storied “Horror Business” recorded a new version of that song—plus “Teenagers From Mars” and a couple originals—with Orlando-based punks Awesome & The Asskickers for their free release AAK. Download it here. Sounds like Joey can still rip it the hell up. Adrenalin O.D. drummer Dave Scott provides backup vox on the Misfits tracks (as well as drums on two A.O.D. revivals: “Nice Song” and “White Hassle”).
Speaking of the post-Static Age pre-Walk Among Us Misfits, Bobby Steele’s band the Undead continue to live up to their name: the group has scheduled an appearance at this year’s Chiller Theater convention in Parsippany, New Jersey. October 23-25 with a special performance on the 24th. For more info creep over to their website, TheUndead.com. Also appearing at Chiller 2015: Julie Newmar, Burt Ward, Adam West, and Antonio “Huggy Bear” Fargas!
Having authored a book about the Misfits you’d think I’d write about them here with more regularity. What stops me is concern over becoming trapped as “the Misfits guy” and also a perception that fiend-dom is shrinking as time goes on. Then I see viral stuff like the photo above, a Misfits t-shirt at Wal-Mart, coupled with endless “thumbs down” emojis from disillusioned ghouls of all stripes, and I realize the committed may actually be growing. So I rekindle my own flame. Once again, bonfire burnin’ bright.
Until the next batch of macabre happenings, consider this: the ex-Misfit Doyle is, as of last year, a vegan. No longer is the man who played on “Brain Eaters” a brain eater. Do they make soy brains? If so they must taste terrible.
Glenn Danzig Sues Jerry Only For Trademark Infringement In Latest Misfits Lawsuit
On Earth as it is in court: Only and Danzig in happier(?) times.
The brand new Misfits legal horror business: founding singer Glenn Danzig has filed suit against bassist Jerry Only for breach of contract, claiming Only violated a 1994 legal agreement by trademarking various band logos and images in his own name in the year 2000. Danzig is seeking $75,000, but is also asking the court to figure out how much Caiafa might owe him as a result of lost or blocked licensing deals.
This action comes just five years after ex-Misfits Bobby Steele and Arthur Googy sued Only over the exact same thing. That case fell apart after key evidence on the plaintiffs’ side went missing (according to Steele, his ex-wife purposely destroyed said evidence during their very acrimonious breakup).
Both suits cite the same facts: during the second half of 2000, Jerry Only filed applications with the United States Patent and Trademark Office to trademark various Misfits logos—including the Famous Monsters version of the Misfits logo and a version of the Crimson Ghost mascot (referred to in the legal papers as the “Fiend Skull”)—in his offstage name of Gerald Caiafa and did so without notifying other band members. The applications were all approved by 2003; Only then began licensing these logos to retailers. This violated a 1994/5 contract in which splintered Misfits factions agreed to share ownership of the band’s name as well as pre-existing trademarks, logos, and artwork. The Misfits were also bound not to use “names, likenesses and visual representations” of each other without written consent.
That contract, of course, was one of the end results of Only suing Danzig in 1992 over various copyrights and unpaid royalties. Another result: Danzig, who broke up the band in 1983, allowing Only the performance rights to the Misfits. Only has had some version of the band going ever since; in this new lawsuit, Danzig calls Jerry’s Misfits an “imitation,” asserting the “vast majority of…Misfits fans associate the [trademarks in question]” with his original stint, wherein Danzig was known as the band’s “creative heart.” The singer also suggests Only’s “primary qualification” for replacing original bassist Diane DiPiazza in February of 1977 is that “he had recently received a bass guitar for Christmas.”
Danzig apparently became aware of Only’s trademark moves around 2005; that’s when the singer first began filing cancellation/opposition proceedings with the U.S. PTO. Danzig last filed an opposition in 2008. Meanwhile, Only hasn’t let up in his quest to put the Misfits logos on every available surface. This would be fine and dandy, allegedly, if he had cleared it all with Danzig, and if he hadn’t bullied stores into not working with Danzig. To wit:
Caiafa has prevented and continues to prevent other retailers, including Hot Topic, which is the largest retailer of the Misfits products, from entering into licenses with Danzig and/or his designee to merchandise products…by falsely instructing the merchandisers that he is the exclusive owner of the marks, and that, if they enter into a license agreement with Danzig to exploit the marks, they must pay Caiafa a license fee and/or a significant monetary penalty…Caiafa’s misrepresentations have proximately caused injury to Danzig by causing merchandisers not to do business with him, and have deceived consumers as to the source of merchandise bearing the marks…Had Caiafa not interfered with Danzig’s ability to exploit the marks, Danzig or his designee would have entered into lucrative agreements to license the marks…”
Danzig (or rather, his lawyer) goes on to call Only’s behavior “despicable” and notes that he’s been “subjected to cruel and unjust hardship in conscious disregard of his rights.”
The most recent action in this case is the April 29 waiver of service of summons from Jerry Only’s attorney, which just means Danzig’s lawyer doesn’t have to send someone to New Jersey or Chicago or where ever Only lives now to serve the guy with papers.
Interesting bit with the “Fiend Skull.” Perhaps Danzig fears the wrath of Paramount Pictures, who currently own the original Crimson Ghost film serial from which the Misfits appropriated that logo. Someone at Paramount knows what they’re sitting on there: when I inquired about using a still from The Crimson Ghost in my book they asked for what amounts to half a year’s rent.
More on this story as it develops…or, maybe in this case, decomposes. Below: the first page of DANZIG v. CAIAFA, all of which I have read. Yes, there is reference to Kryst the Conqueror.
Undead Singer / Guitarist Bobby Steele: The JG2Land Interview
The original Undead lineup outside of Manhattan club A7, September 1982. L-R: Chris Natz, Patrick Blanck, Bobby Steele. Photo by Ronnie Ramone.
Beginning with their kinetic 1981 debut 9 Toes Later, the Undead have spent three plus decades churning out a sneering brand of traditional punk laced with as many cobwebs as succinct melodies that stick in the brain like hot tar. Rotating memberships and an ever-evolving punk landscape have proven challenging for this Jersey-bred trio; yet the Undead remain in a class where their only real competition is founder Bobby Steele’s former band the Misfits (Steele served as Misfits guitarist from 1978 to 1980).
Although we didn’t get a chance to speak before This Music Leaves Stains was published, Bobby Steele and I connected recently and the man was kind enough to have a conversation with me about launching the Undead, his memories of that band’s various career arcs, and the looming shadow of the Misfits.
JAMES GREENE, JR: Correct me if I’m wrong, but you had the Undead going before you parted ways with the Misfits in October of 1980, right?
BOBBY STEELE: Well, I had another band before the Misfits called the Skabs, and on Sundays when the Misfits weren’t doing anything I’d get together with [Chris Natz] the bass player and [Rich Matalian] the drummer from the Skabs to mess around. After I got kicked outta the Misfits, for five about five minutes I was like, “What am I gonna do?” But then I just got the Skabs back together, and I had always wanted to be in a band called the Undead, so we switched the name.
JG2: Were there specific things you did to set yourselves apart from the Misfits, or did you not think about it? Did you let the Undead’s image and music happen organically?
BS: I said, “I’m just gonna go out do my thing.” There was no reason to separate ourselves from the Misfits because at the time, the word on the street was they were kaput, they were breaking up.
JG2: So from the get-go, the Misfits weren’t necessarily this albatross around your neck?
BS: No, we thought they were done. After that Halloween gig they seemed over. Then in the Summer of ’81 they were starting to come back.
JG2: Obviously the Undead and the Misfits had their problems with each other later on, but was there tension between the two in the beginning?
BS: No, there were no real signs of tensions. [Misfits singer] Glenn [Danzig] came to our early gigs and he really liked us. He liked [Undead drummer Patrick Blanck’s] drumming, how it was simple and straightforward. Glenn came up after our first show and he was raving to Patrick, “Oh man, you’re really good, your drumming is great, that’s always what I’ve been looking for!”
JG2: Yeah, the chronology of Misfits drummers suggests Glenn was always trying to go down a level, to get to that no-nonsense Tommy Ramone thing.
BS: Yeah, right. You look at [second Misfits drummer] Mr. Jim and he was very jazzy, his bass drum is adding a rhythm. You can hear that on “Bullet.” Then when the Misfits got Joey [Image], he was less jazzy, but when it came to fills the guy was like Keith Moon. I remember we had Joey redub some stuff on “Horror Business” and when we watched him from the booth it was unreal. His speed and power he put in…we were in awe sitting back watching. Then after Joey the Misfits got [Arthur] Googy, and his drumming was even less intricate.
JG2: The Undead had some success off the bat, getting signed to Stiff Records and with all the positive press that came in for 9 Toes Later. Was that expected? Was that the plateau you expected to reach or did you think you could build from that point to bigger successes?
BS: I figured things would go on for the Undead. My goal was to be signed within a year of forming, and we did it. Once we got the Stiff deal, though, things kinda went to everyone’s heads. I tried to [stay the course] but the other guys, they wanted to relax, and they also wanted to make things democratic in the band. “We think we should have consensus,” they’d say, and my reply would be, “Well, while we’re debating all this shit the gig we wanted went to someone else.” Like, somebody’s gotta make decisions. Unfortunately, I started having my health problems around then, with my foot, y’know, and I lost control. [Steele had surgery to remove an infected toe in September of 1981]
JG2: So almost immediately, there’s a sense that it could all be ending?
BS: Well, I’ll tell ya—when I was in the hospital I got word [Chris and Patrick] were auditioning other guitar players. They were trying to get another guitar player for my band! Y’know, Stiff didn’t like those guys. They told me, “Dump those guys and we’ll get you some other musicians and we’ll back you all the way.” I said no. My biggest downfall is my loyalty to friends, and a lot of the time they stabbed me in back anyway.
JG2: But you got back on your feet, no pun intended, and the Undead endured. Were there other points were you thought you could achieve what you had with Chris and Patrick?
BS: Yeah, the Act Your Rage lineup with [bassist] Tim [Taylor] and [drummer] Eddie [Enzyme]. At the start they were really into the band. As time went on, they said I had no talent, my songwriting sucks, uh, y’know, my arrangements are boring…so that didn’t last, but at first we got good gigs and decent money. Act Your Rage also came out at a time when punk was considered dead, metal and all this other stuff was happening, but I guess people wanted to hear it again because that record sold surprisingly well. Another lineup that was looking great was when I had [bassist] Bryce [Bernius] and [drummer] Jaw. That was great for year or two, we were really productive, but at some point Jaw said he liked the earlier, more raw stuff, what we were doing wasn’t what he liked, so he left.
JG2: How did that stuff affect you, that band turmoil? Could you brush it off when the relationships there fell apart?
BS: Some people assume I have a big ego, but that’s not true. For a while in the wake of that stuff I might start to believe I suck, but then I’d hear from a fan from some far out place about what my music means to them, and that makes me feel better.
JG2: How about the record label rejection? You’ve made note in the past, sometimes in song, how despite the Undead’s popularity labels would often blow you off or give you the runaround.
BS: That fired me up, man. They’re giving me so much power by rejecting me. I have nothing to lose.
JG2: The video for “My Kinda Town,” the second song on 9 Toes Later, popped up online a few years ago. Was that an attempt to get on MTV or did you just do it for the hell of it?
BS: We did try to get it on MTV, but by then MTV had been taken over by the majors. Indie labels had no chance. Like, the industry standard at the time for video was three inch tape. To get on MTV, you had to shoot on one inch tape. They did little things like that. “Oh, this looks great…unfortunately it’s not one inch.” But we did the video and thought, “Maybe this will open their eyes,” ’cause it was so weird, y’know? I’m jumping over the fence at Bellevue, I’m throwing quaaludes up in the air at the World Trade Center, breaking the antennae off a taxi…nothing was scripted or planned out. We just went out and shot it.
JG2: I’m sorry, did you say you were throwing quaaludes around?
BS: Yeah! The part at the World Trade Center, I’m throwing two hundred quaaludes in the air as I’m singing. As soon as the shoot was done, these kids ran up and started collecting them. I had to fight them off. [laughs]
JG2: Did you consider doing other videos?
BS: We would have loved to make other videos, we had other ideas and concepts, but we didn’t have the contacts that other people had. We were dirt poor. Maybe if we were part of that elite Max’s Kansas City scene we would have had access to more people with video equipment. “My Kinda Town” only happened because we were approached by these guys from Jersey City State University who had to do a project for their video class. And this is interesting—I tried to locate the guy who made the video a few years ago, and it turns out he won an Emmy for his news coverage of 9/11!
JG2: Throughout all the time you’ve done the Undead, have you ever felt the desire to fold the band and go in another direction musically?
BS: No, never…I mean, punk, it’s the shit! The speed, the energy, and the drive. There were times I was discouraged over the direction of scene, when it was all about metal or dance stuff, but I stuck to my guns.
JG2: What do you feel is the apex of the Undead’s recorded material?
BS: I’m really proud of how Til Death came out. “I’m So Happy,” “Thorn In My Side”…you know, I did “Thorn In My Side” in my bedroom. You know Phil Spector and the “wall of sound?” I read up on that “wall of sound” stuff and I just recreated it in my bedroom. Fans tell me there’s feeling in what we recorded—that’s because I put the time into it. I remember when we recorded the “Verbal Abuse” single I only had four track [recorder] and so many microphones, so I had the drummer record his kick and his snare on one track and his fills on another track…it took a couple weeks, but the results were awesome. Y’know, you gotta make do with what you got.
JG2: Now, I imagine people ask you about the Misfits at least once every day, maybe even once every hour.
BS: [laughs] Yeah.
JG2: Does that ever bother you? Do you ever wish you could step away from that?
BS: No, not really…I remember when I was young reading this article in Rolling Stone about Linda Ronstadt blowin’ off her fans, like blowin’ people off on the street, and that pissed me off…like, the fans are the reason I’m here, the least I can do is give them fifteen minutes…if fifteen minutes is gonna make them happy or make their day, why not?
JG2: What’s been harder to deal with personally, everything that’s come with having been in the Misfits after the fact, or laboring away in the Undead and dealing with those ups and downs?
BS: That’s a good question. I think it’s kinda half one way, half the other. Sure, the other Misfits spreading all their lies and doing all that backbiting negated the good times we had together, but they also spread my name [around]. A lot of my fans came from hearing that live version of “Teenagers From Mars” [from 1981] where they’re singin’ “Bobby Steele’s a fuckin asshole, he’s got an asshole for a cunt.” They heard that and thought, “Who is this guy?”
JG2: So this underdog status that many people ascribe to you in both situations, this isn’t something that’s ever bothered you?
BS: No, because the underdog almost always wins, and he also usually laughs last. And you know what they say…he who laughs last laughs best!
Photo of Bobby with guitar by Heidi Calvert.