the teardrop from ‘The Cure’s’ Robert Smith is said to do many things,
“Butcher Billy’s Tales From The Smith Comic Book Series” is what you get when you mix classic comic things is so magical and amazing that it would bring a smile to the face of the even the most gothic, goth.
Brazilian artist, Butcher Billy created these brilliant prints that borrow from classic comics as well as a couple of more contemporary horror selections with wonderful results.
Head over to his site to check out this series and his other equally awesome pieces. His shop at Redbubble already has a couple of these prints up for sale on T shirts.
Make your entry glow with fat Halloween cats made from stacked pumpkins (and mini-pumpkin paws)
Candles light up the eyes of Halloween cats made from stacked pumpkins
painted black. No need to hollow out the large body pumpkin;
the candle sits inside the head
.
Create a spooky trio of glossy black cats to watch over trick-or-treaters at your door. All you need are a few pumpkins in feline shapes ― long or pear-shaped for the body, small and round for the face.
More great ideas for pumpkins
At the pumpkin patch, look for body shapes with character and a stable base. They can lean to one side (like a cat on its haunches) but shouldn't wobble.
Choose a tall one for an elegant cat, or a squat orange heirloom for a chubby cat curled on its paws. Test a few "heads" until you find a good match.
This twist on the traditional jack-o'-lantern cuts down on some of the usual pumpkin cleaning: No need to hollow out the body. Just clean out and carve the head, then add mini pumpkin paws, curvy cucumber tails, and ears from stiffened felt or black card stock from the craft store. Then, light the candle, get the candy, and watch your Halloween cats come to life.
Carve a cat pumpkin
Step 1: Cut out top of small pumpkin and scoop the inside clean. Place it upside down on the base pumpkin, turning to find a good fit. If necessary, carve opening slightly to adjust.
Step 2: Set head on the base to decide placement of eyes, then carve them out. You can draw them on first or use our template.Step 3: Cut pointy ears out of felt or card stock and mark their positions on the head with a pen. Carve two shallow grooves into the head to hold the ears. Avoid cutting all the way through the pumpkin. (For more realistic ears, carve crescent-shaped grooves.)
Step 4: Prep an outside work area for spray painting. Stuff the head with loosely crumpled newspaper.
Cover pumpkins, mini pumpkins, and cucumber with one or two thin coats of black spray paint. Allow to dry. Remove stuffing and insert the ears.
Step 5: If the head is wobbly, gently pound a few floral picks into the body with the mallet or hammer. Measure the opening of the head, then position the picks to fit just inside.
Touch up paint if needed.
Step 6: Put a short tea light on a lid or dish to catch any drips. Stick to the top of the big pumpkin with a small ball of clay polymer or poster putty. Attach the head. Position cat and arrange tail and paws next to body.
Marilyn Manson occasionally takes time out of his rock-god schedule to pursue acting. He’s amused by this new profession and would make a full-time switch if he could. Manson received acclaim for his bit part in the final season of Sons of Anarchy. Now he’s appearing in a substantial role in Let Me Make You A Martyr. The indie movie was shot in Tulsa, Oklahoma on a $200,000 budget in July. The trailer, which is framed as a “cerebral revenge” tale, hit the internet on Wednesday.
The film stars a few SOA guys, who roped Manson into doing the film. Mark Boone Junior plays an abusive father. Nico Nicotera plays his son, who is in love with his sister (Sam Quartin). The siblings want to murder their dad, which is where Manson’s character hits the story. He plays a Native American hitman. Manson spoke with Rolling Stone about the film:
Aside from taking delight in horrific surroundings, Manson also identified with another trait of his character: “I am part Indian,” he says. The singer adds that he did not know Pope was Native American when he took the role because the script didn’t specify it.
“I really didn’t have to change too much about myself physically. I already had just shaved my hair to a Mohawk and it’s black already, so without being stereotypical, that seems like the character would have that if he was part Indian. I think originally they had envisioned someone with long black hair.”
At first glance, this casting steps into the same territory as Cameron Crowe’s Aloha, which castEmma Stone as an Asian fighter pilot (and for which Emma later apologized). This even conjures up memories of Johnny Depp popping a bird on his head and calling himself “Tonto.”
Manson is one of the whitest guys anyone could imagine, but he does come from Sioux heritage (on his mother’s side). Speaking as someone who lives in Oklahoma, I know several people with Native American heritage who are as white as Manson. Twitter is still pretty upset about how Manson was cast in this role:
Here are some shots of Manson on the set of Let Me Make You A Martyr. He also got bored andwent roller skating while he was in town.
Gene Wilder - Willy Wonka(TV-14; 01:14)Watch a short video about Gene Wilder to learn how he recovered after the loss of his wife Gilda Radner.
Synopsis
Gene Wilder began his movie career in 1967's Bonnie and Clyde, but he became famous as a favorite of writer/director Mel Brooks. His wacky roles in films such as Young Frankenstein, Blazing Saddles and Willy Wonka & the Chocolate Factory made him an unforgettable comedy icon. In his later years, Wilder has become a serious novelist, writing a memoir and several novels.
Early Life
Gene Wilder was born Jerome Silberman in Milwaukee, Wisconsin, on June 11, 1933, to a Jewish family. His father, William, had emigrated from Russia. His mother, Jeanne, was often ill from complications from rheumatic heart disease, and a doctor warned the 8-year-old Jerome, "Don't ever argue with your mother... you might kill her. Try to make her laugh." These circumstances began Wilder's lifelong calling to acting, as he made his mother laugh by putting on different accents. After a brief stint in a California military academy, Wilder moved back to Milwaukee and became involved with the local theater scene, making his stage debut as Balthasar in a production of Romeo and Juliet.
After graduating from high school, Wilder studied communication and theater arts at the University of Iowa, following that with a year studying theater and fencing at the Bristol Old Vic Theatre School in Bristol, United Kingdom. He returned to the United States to study the Stanislavski method of acting but was promptly drafted into the U.S. Army for two years, during which time he worked as a medic in Pennsylvania. Next, Wilder moved to New York City, where he took a variety of odd jobs, including a position as a fencing teacher, to support himself while he studied acting.
Early Career
At age 26, Wilder decided that he "couldn't quite see a marquee reading 'Jerry Silberman as Macbeth'" and took the stage name Gene Wilder. He took his new first name from a character in a Thomas Wolfe novel, and his last from the playwright Thornton Wilder. He started appearing with some regularity in off-Broadway and Broadway shows. In a 1963 production ofMother Courage and Her Children, he met Anne Bancroft, who introduced him to her boyfriend, Mel Brooks. Wilder and Brooks became fast friends, and Brooks decided he wanted to cast Wilder in a production of the screenplay he was writing, The Producers.
Film Career
Wilder made his film debut with a minor role in 1967's Bonnie and Clyde. He took on his first major role in The Producers, playing Leo Bloom against Zero Mostel's Max Bialystock. The film was a box office flop and received mixed reviews, but Wilder earned an Academy Award nomination for Best Supporting Actor. He quickly became an in-demand commodity in Hollywood, taking parts in several comedies, including the idiosyncratic title character inWilly Wonka & the Chocolate Factory.
Willy Wonka brought to life the weird and wild Roald Dahl book of the same name, and it thoroughly established Gene Wilder as a leading man who could hold his own in any comedic situation. As the enigmatic Wonka, Wilder chewed the scenery right into a Golden Glove nomination for best actor and became known to a legion of young film-goers.
Despite Wilder's personal success, though, none of his films of this period met with much commercial success. He finally broke that streak with a role in Woody Allen's 1972 film Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask). He then took a last-minute role in Mel Brooks' 1974 comedy Blazing Saddles, a decision that would help define his career.
Blazing Saddles was a western like no other, and it set out to offend every viewer equally. Now a cult classic, the movie set Wilder on a path through his other classic films, including four with Richard Pryor: Silver Streak (1976), Stir Crazy (1980), See No Evil, Hear No Evil (1989) and Another You (1991).
Stir Crazy, in which Wilder and Pryor played prison inmates, was a notable hit, and like Blazing Saddles before it, the film helped to cement Wilder's reputation as a comedy legend.
Wilder began writing and starring in more films in 1974, starting with Young Frankenstein (in which he played Dr. Frederick Frankenstein). Like Blazing Saddles, Young Frankenstein set out to turn an established genre, this time horror, on its head. Starring Wilder as the infamous Dr. Frankenstein's grandson, the movie is unrelenting in its jokes and sight gags, and audiences have been connecting with it since the day it hit theaters.
Wilder also wrote, directed and starred in 1975's The Adventure of Sherlock Holmes' Smarter Brother and 1977's The World's Greatest Lover. WhileYoung Frankenstein was a hit and achieved a huge cult following, the others failed to gain positive critical response and were commercially unsuccessful.
There are few places more dazzling in the Robot Restaurant located in Shinjuku, Japan. We use the term 'restaurant' very loosely because it's more like a variety show, that you just happen to be dining at.
A visual feast for the senses, where the every which way you look is a kaleidoscope of colourful lights and relentless noise, where drummers are armed with glow sticks, cyber strippers fling themselves around neon poles and life-sizes robots go head-to-head in boxing matches.
But the fun doesn't end there, we haven't even mentioned the flying Terrordactyls, giant sharks, bigger Anacondas and the dance off between robots starring a bevy of scantily clad women, naturally.
So if you're in Japan and literally want to have your brain overloaded to the point where it's nearly melting, make sure you head to the Robot Restaurant, it's an experience you won't forget anytime soon.
It’s hard to imagine an experience more perfectly suited to Tokyo, and one less likely to exist anywhere else, than Shinjuku’s Robot Restaurant. With a stage show that stretches the definition of terms like “elaborate” and “bizarre,” the restaurant has quickly become one of the city’s most popular venues.
We were dazzled by the Robot Restaurant from the moment we spotted it. The entire facade was illuminated in blinding LED lights, and towering lady robots with giant bouncing breasts were roving about the foyer. A band inspired by Daft Punk was rocking out behind the robots, and everything was flashing and loud and over-the-top. Sensory overload? Definitely. And we hadn’t even picked up our tickets yet. I suspected that the performance was going to be more like sensory assault.
Having arrived well in advance of the evening show, we passed the extra time in the restaurant’s upstairs lounge. You’ll want to do the same, because the lounge is unbelievable. It’s as though the world’s most outrageous interior designers were given crayons, glue sticks, glitter and mescalin, and told to go crazy. Everything is mirrored and shining. On every table, there’s a robot dinosaur. On the stage, a lady-band clad in metallic bikinis and angel wings is playing soft lounge music. The drinks are cheap and the vibe couldn’t be better. You and the people around you are in a place unlike anywhere any of you have ever been, and you’re all excited and giddy and talkative. It’s a bonding experience.
Now, however, it’s showtime. You and your new friends head into the underground theater, take your seats, and await the spectacle. Soon, the lights go out, the speakers switch on, and giant vehicles appear on either side of the narrow stage, ridden by ladies dressed as Amazonian war princesses from the year 3000. They’re pounding on drums, rotating around the stage, screaming and dancing to the music, and you’re just… confused. What the hell is happening? It’s hilarious, pointless, impressive and overwhelming in equal measure.
And that’s just Act One! By the end of the show, which stretches out across seven or eight acts, you’ll have perhaps seen boxing robots. Women riding huge mechanical cows. An alien-eating shark robot. Huge motorcycles and airplanes with pole-dancing lady passengers. A tank, I think. There was definitely a freedom-fighting panda. The shows change frequently, so you might see other things entirely, things which no sane human would ever be able to predict.
We had fun from the moment we entered the Robot Restaurant, and I’m not sure my brain has yet been able to process everything we saw. Almost as much as the show, we enjoyed watching the spectators sitting across from us. Without exception, they had their eyes wide open and huge smiles plastered across their faces. I’m sure it’s how we looked, too.
