Archive for Alice Cooper

Horror Celebrities to appear at “ROCK CON” FanFest July 30-August 1

Posted in Events, Festivals, Movies, Music, News with tags , , , , , , , , , , , , , , on June 3, 2010 by darklordbunnykins

William Finley as the Phantom of the Paradise

PRESS RELEASE:

HORROR ROCK STAR CELEBRITIES will be appearing at “ROCK CON: “WEEKEND OF 100 ROCK STARS” including a “PHANTOM OF THE PARADISE” REUNION!

“Rock Con: Weekend Of 100 Rock Stars” Celebrity FanFest event comes to the Sheraton Meadowlands Hotel Conference Center in East Rutherford, NJ on Friday, Saturday and Sunday July 30th – August 1st weekend with theme reunions and guest appearances, including a roster of Rockin’ Horror Stars.

Already scheduled to appear are:

~Gerrit Graham played “Beef” in Brian DePalma’s rock horror musical film “Phantom of the Paradise.” He also composed with Bob Weir of The Grateful Dead.

~William Finley played Winslow Leech – “The Phantom” title character in the rock horror musical film “Phantom of the Paradise.”

~Jonathan Tiersten starred in the cult horror/slasher film “Sleepaway Camp.” His band Jonathan Tiersten & The Ten Tiers.

~Lezlie Deane “killed” Freddie Krueger in the film “Freddy’s Dead: The Final Nightmare.” She is lead singer in West Coast band Scary Cherry & The Bang Bangs.

~Demon Boy is a new recording artist influenced by Alice Cooper and Rob Zombie, and is the star of the upcoming Demon Boy comic book series.

~Eerie Von bassist for Danzig and Samhain, fits in this category for his “Fiend Art” paintings of monsters and horror themes.

~Bobby Steele guitarist for The Misfits and The Undead.

KISS fans will be please to see former KISS guitarist Bruce Kulick and Lydia Criss, ex-wife of Peter Criss, who wrote the book “Sealed With A KISS.”

Fans attending “ROCK CON” will be able to talk directly to, obtain signed autographs and meet some of their favorite rock and media personalities on common ground. The eventsis ghost-hosted by “Cryptmaster Chiller Chucky” of the National Horror Happenings newsletter.

Many very special music guests of honor are already confirmed, including current and former members of such rock bands as:  Suicidal Tendencies, The Hollies (2010 Rock HOF inductees), The Cars, The Animals (1994 Rock HOF Inductees), Porno for Pyros, The GoGos, The Archies, Vanilla Fudge, The Yardbirds (1992 Rock HOF Inductees), Jefferson Airplane/Starship, The Smithereens, Human Beinz, The Rascals (1997 Rock HOF Inductees), Nazz, Tuff Darts, The Stories, The Bay City Rollers, Spanky & Our Gang, Village People, Utopia & many others.

Other notable names include legendary rock & blues guitarist Johnny Winter, Dale Bozzio of Missing Persons, actress/singer/personality Rockabilly personality Robert Gordon, Dr. Demento favorite Tom T-Bone Stankus. Also, expect to see radio and TV music personalities like rock & roll TV DJ Clay Cole, the only host to have both The Beatles and The Rolling Stones on the same broadcast.

A complete list of all special guests appearing can be found at http://www.nationalrockcon.com/Artists.htm. Tickets starting at $20 are now on sale online. For info, write rock@nationalrockcon.com or call 203-795-4737. www.NationalRockCon.com

What: “ROCK CON:Weekend of 100 Rock Stars”

Where: Sheraton Meadowlands Hotel & Conference Center, East Rutherford, NJ (special ROCK CON convention rate only $109 before July 1)

When: Friday July 30th 2010: 6pm -11pm (optional 5pm V.I.P. Early-Bird admission available), Saturday July 31st 2010: 1pm-10pm (optional NOON V.I.P. Early-Bird admission available), Sunday August 1st 2010: 1pm – 9pm (optional NOON V.I.P. Early-Bird admission available)

Vendor Rooms and Guests Rooms close at 9pm Friday, 7pm on Saturday and Sunday

MACABRE MUSIC: NEW LORDI COMING!

Posted in Monsters, Music with tags , , , , , on May 27, 2010 by darklordbunnykins

PRESS RELEASE:

Lordi will release their highly anticipated fifth studio album on September 14, 2010 in the US on The End Records. The new album is titled Babez For Breakfast and will be released simultaneously in Europe, Japan and the USA. The first single, “This Is Heavy Metal,” will be released on August 6, 2010.

The new album was recorded in early 2010 in Nashville, Tennessee with highly regarded producer Michael Wagener, who has produced albums for artists as varied as Ozzy Osbourne, Alice Cooper and Janet Jackson and mixed Metallica’s classic Master of Puppets.

Mr. Lordi comments on the new album, “We are very proud of this album. We went back to the basics and beyond.  The new material is more rocking and melodic, but we have not forgotten the horror elements, either. As our producer says – each song includes a lot of energy, emotion and entertainment. We are eager to go back on the road and meet our fans with new songs, outfits and tricks!”

An important part of this album, as always, will be the new costumes designed by Mr. Lordi, which will be premiering soon.

Fans can check out the band’s studio diary at www.lordi.fi and follow the band’s updates on Twitter at twitter.com/lordiofficial.

MUSICAL VAMPIRE COMEDY `SUCK`TO SCREEN IN NEW YORK

Posted in Art, Events, Movies, Music, News, Vampires with tags , , , , , , , , , , , , , , on March 13, 2010 by darklordbunnykins

Dimitri Coats as Queeny

SUCK

Directed by Rob Stefaniuk

Screens in New York City at MoMA

as part of Canadian Front 2010
Friday March 19, 2010, 7:15pm

Theater 1 (The Roy and Niuta Titus Theater 1)

Monday March 22, 2010, 7:00pm

Theater 1 (The Roy and Niuta Titus Theater 1)

The Museum Of Modern Art

11 West 53 Street, New York, NY 10019, 212-708-9400
Adult $10, Seniors $8, Students $6, Members Free

Tickets at the door or purchase online: http://www.moma.org/visit/calendar/tickets

Starring:

Rob Stefaniuk  | Jessica Paré  |  Malcolm MacDowell  |  Dave Foley  |  Barbara Mamabolo | Paul Anthony  |  Chris Ratz  |  Mike Lobel  |  Nicole de Boer  |  Iggy Pop  |  Alice Cooper  | Henry Rollins  |  Moby  |  Alex Lifeson  |  Carole Pope  |  Dimitri Coats  |  Calico Cooper

RT: 90 minutes

Watch the trailer: http://www.youtube.com/watch?v=kOHghfrww8I

Read up onsite: http://www.suckthemovie.com/

Rob Stefaniuk, Barbara Mamabolo, Paul Anthony, Carole Pope, and others  will be in attendance at the Friday night screening.


(Toronto…. March 12, 2010)   Hey, New York City! Get ready to fang-bang in the Museum Of Modern Art.

Coming to America, the darkly-funny vampire rock-musical  SUCK will have its New York premiere at the MoMA next week, as part of the Museum’s annual Canadian Front film showcase. It’ll be a second MoMA appearance for SUCK director/actor musician Rob Stefaniuk, following his earlier comedy Phil The Alien.

“Participating in the Canadian Front is a singular honour for any Canadian filmmaker,” says Stefaniuk, “and for a director to have his work shown at MoMa in New York City is very cool.”

SUCK is a psychedelic comedy with a kick ass soundtrack featuring 11 original songs, and classics from Lou Reed, Iggy Pop, Alice Cooper, David Bowie, and the Rolling Stones.

Joey Winner (Stefaniuk) is a down and out musician, whose band has been playing to empty clubs for over a decade. When his manager (Dave Foley) advises him to fire his manager, his girlfriend (Nicole deBoer) dumps him, and a mysterious bartender (Alice Cooper) suggests he should kill himself, he’s about ready to call it a night. Everything changes however when bass player (Jessica Pare’) goes to an afterhours party with rock and roll vampire (Dimitri Coats).

When Jennifer returns she’s different. She has a charged, sexual, death energy that is perfect for rock.  People start turning up to the gigs and seem hypnotized by the new and improved line up. As the band tours down this highway to hell, the body count rises with the ticket sales. The band assumes Jennifer keeps getting sick in the sun and disappears at night because she’s on drugs.  Once they get past the American border guard (Alex Lifeson) they play shows with the likes of Beef Bellows (Moby), record with an artist in exile named Victor (Iggy Pop), and wind up on The Rockin’ Roger Morning Show (Henry Rollins). But The Winners are not at the top yet and if Eddie VanHelsig (Malcolm McDowell) has anything to say about it they never will be. When the mysterious bartender returns with an offer for Joey, we realize why so many bands nowadays suck.

SUCK marks Stefaniuk’s second feature turn as director, writer and star. In addition he co-wrote seven of SUCK’s 11 soundtrack songs. The movie is produced by Robin Crumley, Vice President of Capri Vision and by Jeff Rogers. Co-Producer is Victoria Hirst. Executive Producer is Gabriella Martinelli.  Other Executive Producers include Jeff Sackman, Brad Peyton and Terry Markus. Director of Photography is D. Gregor Hagey.

Capri Vision Inc., a division of Capri Films, has rock and rolled SUCK to acclaim since its premiere at the Toronto International Film Festival last year. It subsequently won the People’s Choice Award at the Whistler Film Festival and will make its U.S. debut at SXSW this weekend. It will continue on to the River Run Film Fest and Newport Beach Film Fest. Alliance Films, who own the Canadian rights, are looking at a late summer theatrical release in Canada.

“Needless to say, we are stoked,” says Capri Vision Producer Robin Crumley. “At first glance, you don’t expect to see a genre film in a museum. But the MoMA is a transcendent venue and SUCK is a smart, funny, tradition-busting movie, one we’re immensely proud to see displayed in an artistic environment.”

rock n roll never dies…..


RETRO REWIND: ROB ZOMBIE ON EDUCATED HORSES AND THE DEVIL’S REJECTS

Posted in Interviews, Movies, Music with tags , , , , , , on March 3, 2010 by darklordbunnykins

The Dark Lord Bunnykins is caught up writing for corporate masters this week who are paying him lots of money so he’s finding less time to post all-original content this week.

But he knows you love him and check back daily for content (yes?) so he’s foregoing watching Rescue Ink this week (it’s a repeat anyway) to re-edit and post this interview with Rob Zombie who just recently announced a co-headlining tour with the original shock rocker Alice Cooper.

This interview was conducted around the release of his 2006 album Educated Horses.


In my experience, 9:30 a.m. is early to do interviews, especially for musicians. Have you always been a hard worker?

Yeah. People are always surprised at how early I get up. I usually get up at 6 a.m. and starting doing stuff. I’m always trying to accomplish so many things, and it ain’t going to get done if you’re asleep.

Given all the different projects your work on, you must be a great time manager.

I try to be. It gets difficult. The biggest problem I have is your brain gets a little fried. So I’ve tried to concentrate on one thing at a time. I sort of a balance a whole bunch of projects, but when I was making the movie, I only worried about the movie. When I was making the record, I only worried about the record, as opposed to before where I would try to juggle too many things at once. I feel that everything suffers a little bit because you’re never 100% there.

The tour launches soon. Are you excited to be back out on the road?

We’re excited. We start rehearsing this weekend so that’s when it really feels like it kicks in. So, yeah, it’s going to be a blast.

How did you enjoy headlining the second stage at Ozzfest last summer?

Well, that was the third time I did Ozzfest and that was the best time ever. It was the most fun. The other times we’ve done main stage, and, truthfully, main stage is a bit of a drag because of the way it’s set up. But second stage is a blast.

The main stage is seated and very uptight with the security, whereas second stage is just a free-for-all. The most enthusiastic kids move upfront and the ones who want to stand in the back stand in the back. Whereas when you’re on the main stage, the people in the front are just the people that happened to buy tickets in the front, whereas a lot of times the kids in the back are the ones that are going crazy. So the energy’s kind of off.

I understand that meeting your guitarist John 5 helped decide you on making music again.

It kind of came about that way in the sense that I was sort of burnt out after the last tour and the album. Everything was good, but, as always, somehow band relations tend to break down and things become a drag. Then I went off to make Devil’s Rejects, then that was such a great experience that I wasn’t looking to bring myself back into touring and dealing with all that shit again.

But then I met John, and he’s a great guy and we played a couple of one-off shows together, these sort of benefit shows, and one thing just led to another. And Blasko, who’s always remained a friend, said, ‘Oh, I met this great drummer. We used to play with Alice Cooper. He’s only 25 but he’s a great guy’. That was Tommy Clufetos . When we got together, it was so cool and excited and it was just so fun that it was sort of infectious and it kind of happened.

John 5 is a very accomplished musician obviously. How did his playing shape this album?

Just in the sense that he’s the best guitar player I’ve ever had the opportunity to work with by far. It’s nothing against anyone I’ve worked with in the past, but John is just incredible. It’s like someone saying ‘oh, here’s Eddie Van Halen, here’s Zakk Wylde’, you just go, ‘Wow, I’ve never worked with a guy that’s this good before’.

So that basically no matter what you can think of there’s no problem that John can’t play it or can’t complement it or can’t deal with it because he’s great at everything. There’s a lot of stuff on the record where I was like ‘well, I’d like to do something that’s like a sitar here, let’s do acoustic here’. He can play anything anytime anywhere, whereas a lot of guitar players can’t. They’re good at their thing, but if you want them to branch out into something else, they might not be so good at it, and John’s pretty much superior in every way.

Did his proficiency push you to play even better?

It just pushes everything. It’s not even his playing. It’s funny because he’s the nicest, most amazing guitar player I’ve ever met. A lot of times you’ll meet people who aren’t even half as good but they give an attitude. Everything’s just so easy. Making the record was just such a snap.

It was fun?

Fun? Totally. I can’t do it anymore if it’s not fun. I don’t need the money, I don’t need the aggravation, I don’t need anything. I only want to do it if it’s fun, and it’s fun.

When did you start writing the new album?

I started writing some of it before I met John, before I did Devil’s Rejects. And most of those songs got thrown out — there’s actually only two of them on the record — and the rest of it we wrote as soon as we got off Ozzfest starting in October.

Came together quickly. Really quickly. The only holdover songs, I think, were ‘Foxy Foxy’ and ‘Let It All Bleed Out’. The rest of the record, I believe, was more or less after starting in October.

Was it the fastest album you’ve ever made?

Fastest? Probably the least painful anyway. We usually work pretty fast. Having John around made things move really fast. It’s great when you work with musicians who really are one-take guys. Like, no matter how complicated the part, no matter what it is, he can play it perfect immediately. It’s not like ‘well, let me go work on it for awhile and I’ll come back’ or ‘let me do this and we’ll do a hundred takes’. So that just really speeds up the process when you really play with exceptional musicians.

How long did it take to make Educated Horses?

It’s become pretty quick. But back in the day, like with the White Zombie records, even the bigger ones, they were all done that fast. You would book this much studio time and at the end of that time, you’re supposed to be done. It’s not like this new thing where people just drag it out for years and years and it seems to go on forever.

On spontaneity:

Spontaneity plays a big part in the sense that we don’t want to overwork it. Even though the records, of course, sound very polished, at the same time, we sort of write and record at the same time. Most of the vocals that I do, I never lay down scratch vocals. Usually I go in there and just do it. More often than not the whole record is the first pass of the song. Sometimes I’ll go, ‘That sounds kind of weird, I want to re-sing that chorus differently or something’. But what has been the mistake in the past sometimes is to redo things so much and you go, ‘Shit, the rough mixes sounded really kick-ass, and now we’ve so overmixed it that we’ve mixed all the energy right out of the song’.

Same thing happens when you’re editing a movie sometimes. You’ll edit and you’ll have it at a pretty good place and it sort of seems like you’re done. You go, ‘Well, maybe we can tighten up this a little bit’, because you start getting paranoid… Because you’ve watched the movie so many times that you’re afraid someone else is going to watch it and get bored. So you have a tendency to keep editing and editing and faster and faster, and we made that mistake on Rejects. And then we went back and went like ‘shit, man, we cut out all this great stuff’ and we put it all back in the movie. It made the movie longer, but it somehow seemed shorter. But that’s the weird balance. That’s where it gets really tricky where you can spend forever and somehow screw it all up.

So you have to rely on your instincts.

That’s everything, really. That’s sort of my philosophy with life. Your gut reaction is almost always right. If you meet somebody and your first reaction is like ‘I don’t know, this guy seems like he’s full of shit’, he usually is. ‘Why is this guy being so nice to me?’ More often that not, your gut reaction is always right.

Any significance to the title? In other words, what’s an educated horse?

It’s an old circus term for one of the acts that they used to have, Educated Horses. And when I was growing up as a kid, my whole family was involved in carnivals and circuses, and it was an attraction that my grandfather used to run. And at some point when my mom was cleaning out the house and was moving from the east coast to the west coast and found these old pictures, and one of them I put on the record — it’s underneath the disc — of my grandfather in his circus get-up. Somehow that brought it back to mind, and I was like ‘what a bizarre phrase’. I worked it into some of the lyrics and I was like ‘well, maybe it’ll be a title, maybe it won’t. Kind of odd, I don’t know’. Something about it I liked.

Do you feel weighed down by your horror image?

Well, I don’t feel “weighed down” by it, I just don’t want to feel trapped by it. Even if the next movie is a horror movie, I want it to be a horror movie because that’s what I want to do, not because that’s what’s expected that I should do. Obviously there are the things that I love, but I don’t want to be trapped by it.

I think a lot of times bands especially get trapped by their own thing, and I feel bad for them sometimes. Because it seems like people stop paying attention. Like, they’re still popular but people go, ‘Well, I didn’t really listen to your last five records because I assumed it was the same as the last five records’. You either want people to either love it or hate it, but you never want people to go, ‘Yeah, that’s pretty much what I expected. Same old shit’.

So for this one I just wanted to just in general with everything just deconstruct. Sinister Urge, I thought that the band and the stage show and everything had just gotten so big and so out of control that I really wanted to do the exact opposite and get rid of everything. Because I felt like we couldn’t do anymore. What, this time we’re going to have ten robots on stage, ten dancing girls and a thousand fireworks? It just became so ridiculously over the top. It was fun and it was great at the time, but where do you go with it? You can’t just keep making it bigger. It would become retarded. So I thought, ‘Do the exact opposite. Strip it down to nothing’.

On House of 1000 Corpses:

That was a little different because by being the first thing you’re not really up and running on how your whole way of working anyway. But I definitely wanted to make a completely different movie, and I knew for that reason some people would be bummed that it was a different movie and some people would be thrilled that it was a different movie.

Really, at the end of the day, you can only do what you can do. You can’t create things on demand to please people. One thing I’ve learned over the years with the fans is that they all say the exact opposite thing from each other constantly. One person’s favourite song is the song the other person hates the most; someone’s favourite record is someone’s least favourite record; someone’s favourite movie is someone’s worst. That’s why I think the Internet sometimes makes people crazy because they go through messageboards and they read everything and all you can conclude is everyone has a different opinion. So it makes you nuts.

On doing what you want to do as an artist:

That’s all you can do. You really can’t do anything else. And when you start trying to do something else… Because I feel that when people are true to themselves when they’re making whatever they’re making, it’s usually good. You may not appreciate it at the moment. Maybe ten years later you go, ‘Wow, I didn’t get it at the time, but that film or that record is really good’.

But what usually is crap is when you can tell that something is being force-fed to you and pre-packaged and made for you. Like the studio goes, ‘Well, we know people like these kind of films or these kind of people so we’ll put it all together…’ The films that people still talk about are always those ones — not to sound like a jerk but I don’t think anyone’s going to be talking about the remake of When A Stranger Calls 30 years from now.

Whereas other films that kind of stirred people up and they’re arguing about, they still argue about. For me, I know there’s been records I got at the time: ‘Ah, I hate this record, it’s shit’. I go back now and go, ‘Jesus, this record is amazing’. But I just didn’t get it at the time; it just didn’t hit me right. I was thinking it was something else.

Rob Zombie on The Devil's Rejects set

Your last film, The Devil’s Rejects, really challenged the current crop of safe, boring horror exemplified by the likes of the When A Stranger Calls remake. Is it more difficult to make challenging music or film?

To me, the biggest challenge is… I don’t really try to “challenge” things — I’m not trying to “push boundaries” or challenge the way people see things necessarily. To me, the most challenging thing is to make something that’s entertaining and that works. That’s the biggest challenge.

Because at the bottom line, with movies and music and everything, it’s entertainment. Some of it’s highbrow, some of it’s lowbrow, some of it’s stupid, some of it’s intelligent, but it’s entertainment. And it has to work on that level first because I don’t think anyone watches a movie that’s not entertaining and goes, ‘Wow, what a great movie. I really learned a strong lesson. But I was completely bored’… It has to work on every level. And that’s really the trick. And if it works on other levels, too, that’s great. Like with a comedy, it’s great if there’s a message, but if I’m not laughin’, I’m not going to get to the fuckin’ message.

On the song ‘The Devil’s Rejects’:

On Halloween, we played a show with Judas Priest and we played the song ‘House of 1000 Corpses’, and whenever we play we usually have video screens which there are scenes playing from House of 1000 Corpses while we’re playing the song, and I was like, ‘This is so cool’. I just love that moment. I was like, I was still working on the record, I was like, ‘Man, I should do a Devil’s Rejects song’, I feel bad that I never did it, and that’s when I did it.

Has your approach to making music been perceptibly influenced by your film work or are the two separate activities in your own mind?

They’re very different, but the same in the sense that the creative process for everything is sort of the same. You’re sort of just sitting there with your own head and going like, ‘Okay, somehow a movie has to come out of my brain’. And somehow there’s no songs and songs suddenly have to exist. It’s sort of the same process of just working.

Over the years, one thing that comes with having done things a lot is you get more and more calm with working. You don’t panic so much. One thing I’ve realized is that you’ll figure it out when you figure it out. You can’t force it, really. It’s just usually terrible when you try to force things.

How does your record company feel about you going years between albums?

They never say anything. I’m sure that they would rather have me make records because making movies doesn’t do them any good and doesn’t make them any money. In fact, I always forget how much time goes by. I’m always a little shocked. The other day someone was like, ‘Oh, it’s been five years since you made a record’. I was like, ‘Jesus’. I thought it was three at the most.

But I guess I feel busy because I’m always doing something so it’s not like I disappear because I’m always out there and meeting people and doing things and doing interviews and talking and everything. I guess it’s just different subjects.

Is it harder to make a movie or a record?

A movie is harder than anything. Because a record, not to take away from either, but a record is more controlled. It’s you and a band and a producer and a studio. It’s a much more controlled environment. Whereas a movie… That’s the reason I wanted to make the documentary that goes with the DVD. I don’t know if you saw that. I get kind of tired of people, everyone’s a critic and everyone’s complaining and everyone knows everything, but no one has any idea how movies are made, and they just say things like ‘so and so should have done this’. Yeah, that’s great… in fantasy land that that’s how movies are made!

So I thought, ‘Why don’t we make a long documentary showing… and I didn’t show a lot of stuff because I didn’t want to hurt people’s feelings, but the daily grind… ‘Yeah, Rob Zombie’s such a fucking asshole, he should have used so-and-so more’. Well, maybe I would have used so-and so more… if so-and so could remember one line at a time! Maybe I would have! If so-and-so and so-and-so didn’t hate each other so much they didn’t want to be in the same room’. There’s just so many things that go on that are unpredictable that people just don’t get. And as a director I feel it’s my job to hide that from the world. I don’t tell people’s dirty laundry, but it’s difficult.

Whereas a record, it’s difficult to create the songs but pretty much your band’s going to show up and one guy didn’t forget how to play guitar overnight and has to learn again or something. Whereas on set you just never know what’s going to happen. If the weather changes, you’re fucked. If someone doesn’t know their lines, you’re fucked. Every second something can go wrong. And even when it goes right, it’s bizarre to make movies in such a hodge-podge way of shooting everything out of sequence, in pieces. You have a gut feeling like ‘we got it, let’s move on, we got it, let’s move on’, but you really don’t know until you start editing if you got it.

Basically the more personalities you deal with, the more chance there is for some things to go wrong. Making records is a couple of people, making movies is hundreds of people, and it’s just harder.

Of course John 5’s ex boss, Marilyn Manson, has recently announced his intention to become a director. In your acquaintance, are there a lot of musicians who secretly long to become filmmakers?

I think they don’t know what it means, that’s why they say it. Because being a director means everybody else comes before you. Some people think, ‘It’s going to be a big feather in my cap and another new title to hang on myself’. You’re in charge, sure, you’re the boss. But you have to somehow… you take a backseat to everything. At least the way I do it. It’s all about the actors and making everyone else happy so you can get them to do the best work that they can do. It’s not about you, it’s about the movie, and it’s not like you’re going to show up in your special director’s outfit… Maybe people do but maybe that’s why there are a lot of bad movies.

I want the actors… They’re the most important people in the world. Because acting is really hard, and you have to get them so comfortable they will do anything. And when you get scenes like in the motel room with Priscilla Barnes exposed and Kate Norby, who’s completely naked, and Bill Moseley who’s uncomfortable, and Sheri and Geoffrey Lewis… Nobody wants to do scenes like that, nobody enjoys them. That’s not how people normally act or think. And you have to do it for hours and hours. People put a lot of trust in you, that when you do that stuff that you’re not going to make them look stupid. And actors get burned a lot of times.

Is coaxing a good performance from an actor much different from coaxing a good performance from a musician?

It’s totally different. Because with a musician it’s more like, you can get the performance. It’s just more about ‘can they play the right part?’ But an actor… acting, it’s amazing. Acting is a funny thing because the better someone is the less that you notice it because they’re so good. When you don’t see them acting is when they’re amazing.

How proud are you of this album?

I love it. I mean, I really love it a lot. I guess people say that about every record they make every time it’s new, but there’s just something about this record that seems special. There’s a lot of songs and things that are kind of different, I was really thrilled with it.

You’ve worked in many media recently: music, film, comic books.

How important is music to you now compared to, say, 10 years ago?

It’s as important as it ever was. Whatever I’m doing at the time is the most important thing and I want it to be as good as possible. I never take it lightly or take it for granted. I think sometimes maybe people think, ‘Oh, he’s not taking this seriously because he’s doing this’, but that’s not the case. That’s why it’s so long between records and things. If I didn’t care, I could have whipped off a couple of shitty records and just thrown them out there, but I didn’t want to do that. I want to spend the time and make it good. And now that we’re going into rehearsals I try to put together the best possible guys I could find and we’re going to fuckin’ play as hard as we can and try to make it as great as possible.

ALICE COOPER ANNOUNCES “KEEPIN’ HALLOWEEN ALIVE” iTUNES EXCLUSIVE AND “COOPER-OKE” VIDEO CONTEST

Posted in Music with tags , , on October 7, 2009 by darklordbunnykins

ALICE COOPER AND SHOUT! FACTORY

ANNOUNCE NEW SINGLE “KEEPIN’ HALLOWEEN ALIVE”

AVAILABLE EXCLUSIVELY ON iTUNES

AC.HalloweenSingle.72dpi

 

“Cooper-oke” Video Contest Runs Through October 31st

 

Alice Cooper, the King of Halloween, has a brand-new single celebrating his eternal love for the infernal holiday: “Keepin’ Halloween Alive.”

Alice Cooper’s “Keepin’ Halloween Alive” is available for purchase exclusively on iTunes, as a single, or as a Digital 45 with the “Cooperoke” vocal-free version and a bonus digital booklet.

Fans are encouraged to join in on the fun by entering the “Keepin’ Halloween Alive” Cooper-oke Video Contest, in which they upload videos of themselves singing their own karaoke versions of “Keepin’ Halloween Alive.”

 

Three winners, chosen by Alice Cooper, will have their videos posted on AliceCooper.com and elsewhere, and will be awarded one of three cash prizes: First Place: $1,000, Second Place: $500, and Third Place: $250. All videos must be submitted no later than midnight PDT, October 31st, 2009. Entry details, contest rules and more info available at www.nightswithalicecooper.com

 

Alice delivers “Keepin’ Halloween Alive” with the garage-punk snarl he is best known for, ensuring that it will soon be a Halloween classic. “At home my family all gathers around an old spooky tree decorated with skulls and bones in the living room, and we exchange gifts,” says Cooper. “It’s our holiday. We even all have matching black-and-orange Halloween sweaters!  I wanted a theme song for people like me, and for us Halloween never ends. In the chorus I say, ‘I’m keepin’ Halloween alive, baby, 3–6–5’… and I mean it!”

 

“Keepin’ Halloween Alive,” was co-written and co-produced by Cooper with Piggy D. (a member of Rob Zombie’s band), who played rhythm guitar/backup vocals. Dave Pino (Powerman 5000) is featured on lead guitar, and David Spreng (Engineer for Bob Dylan, The Bravery) mixed the track and played drums. Of the recording, Cooper says, “We played it live as a band to capture the vibe. It was the easiest work I think any of us have ever done, not to mention a blast!”

 

In addition to releasing the new single, Cooper is busy hosting his “Nights with Alice Cooper” radio program, now syndicated on more than 100 stations worldwide, and staying on the road with his Theatre of Death world tour—tour dates below. For more information on “Nights with Alice Cooper” please visit www.nightswithalicecooper.com

 

Nights with Alice Cooper airs on over 100 radio stations worldwide and is produced and distributed by United Stations Radio Networks, Inc., the nation’s leading independently owned and operated radio network.     United Stations distributes and produces multiple format specific services to nearly 4500 rated radio stations across the U.S. in every mass-appeal format including the target format for Nights with Alice Cooper, Classic Rock.   The New York-based company was founded in 1994 by radio pioneers Dick Clark and Nick Verbitsky.

 

Alice Cooper Theatre of Death tour dates:

 

Fri, Oct 2                                  Clearwater FL                            Ruth Eckerd Hall
Sat, Oct 3                                  Pompano Beach FL                    Amphitheatre
Sun, Oct 4                                 Ft Myers FL                              Mann Perf Arts Center
Mon, Oct 5                                Daytona Beach FL                      Peabody Auditorium
Weds, Oct 7                  Montgomery AL                         Performing Arts Center
Fri, Oct 9                                  Marksville LA                           Paragon Casino Resort
Sat, Oct 10                    Biloxi MS                                  Beau Rivage Casino
Sun, Oct 11                  Houston TX                               Verizon Wireless Theatre
Mon, Oct 12                  Dallas TX                                  Palladium
Fri, Oct 16                    Lake Tahoe NV                          Harrah’s Tahoe South Shore Room
Sat, Oct 17                                Wendover NV                            Peppermill Casino
Mon Oct 19                               Idaho Falls ID                            Civic Auditorium
Weds, Oct 21                            San Francisco CA                      The Warfield
Fri-Sun, Oct 23-25          Las Vegas NV                           Orleans Hotel & Casino
Tues, Oct 27                             Fresno                                      Saroyan Theatre
Weds, Oct 28                            Los Angeles CA                         Nokia Theatre
Fri, Oct 30                    Indio CA                                   Fantasy Springs Casino
Sat, Oct 31                    Valley Center CA                        Harrah’s Rincon Open Sky Amphitheatre
Weds, Nov 18                Kocise, Slovakia                                    Cassosport Hall
Thurs, Nov 19               Bratislava, Slovakia                     Sports Hall Pasiersky
Fri, Nov 20                    Plzen, Czech Republic                 CEZ Arena    
Tues, Nov 24                             Manchester, England                  Apollo
Weds, Nov 25                Glasgow, Scotland                                 Clyde Auditorium
Fri, Nov 27                    Newcastle, England                    City Hall
Sat, Nov 28                   Sheffield, England                                  City Hall
Sun, Nov 29                  Swindon, England                                  Oasis
Tues, Dec 1                   Wolverhampton, England            Civic Hall
Weds, Dec 2                  Plymouth, England                                 Pavilions
Fri, Dec 4                                  Nottingham, England                  Royal Concert Hall
Sat, Dec 5                                 Brighton, England                       Centre
Sun, Dec 6                    London, England                        Hammersmith Apollo
Tues, Dec 8                   Kerkrade, Netherlands                 Rodahallen         
Weds, Dec 9                  Schwerin, Germany                    Sports & Kongresshalle
Fri, Dec 11                    Espoo, Finland                                       Arena              
Sat, Dec 12                   Oulu, Finland                             Teatria                   
Mon, Dec 14                             Gothenburg, Sweden                  Lisebergshallen         
Tues, Dec 15                             Vasteras, Sweden                       Bombardier Arena