Written By Tim Gray Via Variety

“The Rocky Horror Picture Show” didn’t invent midnight screenings, but the Tim Curry/Susan Sarandon-starring musical turned the phenomenon into an art form.

The film celebrates its 43rd anniversary this week. It opened Sept. 26, 1975, advertised with the iconic poster of a lipsticked mouth with the tagline “A different set of jaws” — a reference to Steven Spielberg’s shark movie, which had opened three months earlier.

Execs at 20th Century Fox knew they had an unusual film which would require a different approach to marketing. Before the film’s U.S. premiere at Los Angeles’ UA Westwood theater, Fox hired a promotion company to distribute flyers to people in line at other films, concerts and clubs, at beaches “and other spots where youth gathers,” said a Daily Variety story at the time. The company handed out 100,000 flyers in the eight weeks before the film opened, which included postage-paid envelopes to buy reserved tickets for the first shows.

It worked. In its first three days at the theater, “Rocky Horror” sold out and earned a promising $13,250. But it was downhill from there. The horror-comedy-musical underperformed at the few other theaters where it was screened; Fox withdrew the prints, and cancelled the New York City opening, which had been scheduled for Halloween night.

Most studios would just move on, but Fox exec Tim Deegan persisted. He contacted Bill Quigley of Walter Reade theaters and they talked about a midnight show. Deegan noted that a lot of the reason for success at the UA Westwood had been repeat business: In the pre-VCR era, fans wanted to see the film again and again.

“Rocky” resurfaced on April 1, 1976, at the Waverly in New York, with midnight screenings. The showings were billed as “previews,” which meant that the film didn’t officially open in N.Y. — in other words, no reviews for magazines or Gotham newspapers. Despite resistance from most execs, Deegan got support where it counted: from studio head Alan Ladd Jr.

A Variety article on April 14, 1977, assessed the film’s financial history: “Failure? Yes and no.” It cost about $1 million to produce, with added costs for marketing and distribution; it returned $400,000 to Fox in its first 19 months, causing the studio to take a writedown. However, its success was building; in its first 52 weeks of midnight screenings at the Waverly, B.O. averaged $1,800 per week, with $1,150 of that returned to Fox. Marketing costs: $58.73 a week, for a little ad in Village Voice. And the box office was increasing in its second year.

Meanwhile, the film was also scoring in Austin, where ad costs were zero. Soon Fox had 20 prints in circulation, and rentals averaged $27,000 for 48 weeks. The midnight showings expanded into other cities and by the end of 1980, it had played at more than 200 theaters and Fox had earned a net profit of $11.5 million.

In the modern corporate world, these numbers would be considered trivial. But “Rocky Horror” continued to perform; after 96 weeks of sellouts in N.Y., the film moved to the New Yorker, because Waverly neighbors complained about the oddly-dressed and noisy fans (who queued up many hours in advance). And it continued playing midnight shows for decades.

In March 1971, Variety credited the midnight phenomenon to“El Topo,” a trippy Western directed by Alexandro Jodorowsky, which had opened at Christmas 1970 at New York’s Elgin Theater; it cost $350 a week to keep the theater open that late every night, and the weekly income was about $4,000. The “El Topo” pattern was soon followed by “Pink Flamingos,” the 1936 “Reefer Madness,” “Harold and Maude” and “King of Hearts.”

But “Rocky Horror” added another level of enjoyment to midnight screenings, since some theaters gave free (or discounted) admission to anyone in costume, and people started showing up as their favorite characters, singing along and vocally interacting with the onscreen action. (Among the items frequently brought to throw at the screen were toast, newspapers, confetti, rice, toilet paper and a deck of cards.)

“Rocky Horror” ended up earning more than $100 million in the U.S., and inspired countless revivals of the original stage work by Richard O’Brien, a British-born, New Zealand-raised actor.

The film, like the stage show, was directed by Jim Sharman, a Sydney-born helmer who grew up in a circus. Sharman only made three other feature films, including the 1981 “Shock Treatment,” starring Cliff De Young and Jessica Harper as Brad & Janet, the “Rocky Horror” protagonists who this time are contestants in a quiz show. That semi-sequel has a cult following, but could not duplicate the success of the original (which also starred Barry Bostwick and Meatloaf).

Despite its rocky beginnings, “Rocky Horror” was a defining work for all of the artists involved. And, as a bonus, the United States National Film Registry in 2005 named it as being a work that was “culturally, historically, or aesthetically significant.” Not bad for a film that was initially dismissed as a write-off. And there’s a lesson here for every exec who thinks that a film’s life depends on opening-weekend numbers.

‘The Rocky Horror Picture Show’ at 43: The Rocky Road to Its Socko Success

Photo: Youtube Nickelodeon

By: Tyler Sharp Via Loudwire

It’s true: The instrumentals to Pantera‘s “Death Rattle” were featured in the 27th episode of Spongebob Squarepants‘ second season. The 11-minute short, titled “Pre-Hibernation,” tells the story of Spongebob’s friend Sandy Cheeks and the adventures she has before she heads into hibernation for the winter. Eventually Spongebob becomes worn out from the extraneous activities and bails without telling Sandy, which prompts her to start a town-wide search for him.

An amended instrumental version of “Death Rattle” was later placed on an official Spongebob soundtrack under the title “Pre-Hibernation.” In 2017, orders for official vinyl copies of a Spongebob soundtrack were launched.

“Pre-Hibernation” first aired in 2001, exposing countless kids to Pantera for the first time. Do you remember if you ever saw the episode when you were younger? If so, was that the first you had ever heard the band? And did it entice you to seek out more heavy-based music? it is interesting to think about the impact Spongebob has had on the millennial generation, their parents and beyond. From memes to Pantera, the show’s influence on the world today is certainly undeniable. You can check out some iconic quotes and scenes from the episode below.

Remember When Pantera Were in a Spongebob Episode?

GOATWHORE, pioneers of the blackened death metal scene, will headline the eighth installment of the “Metal Alliance Tour”. Each year this touring festival, which is presented by hot sauce company High River Sauces, assembles a package that celebrates the various genres of metal.

The “Metal Alliance Tour” will make the trek across United States and Canada starting on Halloween at GOATWHORE‘s hometown on New Orleans and continue through November. Joining the tour are New York City street punk legends THE CASUALTIES, sludge metal band BLACK TUSK, Boston hardcore outfit GREAT AMERICAN GHOST and opening the tour will be split between MORTHEREON (October 31 – November 17) and GOZU (November 18 – November 30).

The “Metal Alliance Tour” will have three different ticket packages: The Scavengwhore VIP Package, VIP Package and General Admission Ticket. Packages vary, but include a bottle of Hellacious Hot Sauce from High River Sauces, tour poster, meet-and-greets, laminate, early entry and other awesome swag.

Tour Dates:

Oct. 31 – Southport Hall – New Orleans, LA

Nov. 01 – Warehouse Live – Houston, TX

Nov. 02 – Gas Monkey Bar – Dallas, TX

Nov. 03 – Alamo City Music Hall – San Antonio, TX

Nov. 04 – Diamond Ballroom – Oklahoma City, OK

Nov. 06 – Club Red – Mesa, AZ

Nov. 07 – Roxy Theatre – West Hollywood, CA

Nov. 08 – Brick by Brick – San Diego, CA

Nov. 09 – Full Circle Brewing – Fresno, CA

Nov. 10 – The Boardwalk – Orangevale, CA

Nov. 11 – Cornerstone – Berkeley, CA

Nov. 13 – Club Sur Rocks – Seattle, WA

Nov. 14 – Dante’s – Portland, OR

Nov. 16 – Metro Music Hall – Salk Lake City, UT

Nov. 17 – Marquis Theater – Denver, CO

Nov. 18 – Aftershock Live – Merriam, KS

Nov. 20 – Turf Club – St. Paul, MN

Nov. 21 – Reggie Rock Club – Chicago, IL

Nov. 23 – Magic Stick – Detroit, MI

Nov. 24 – Overtime Sports Bar – Kingston, ON (Canada)

Nov. 25 – Salle Multi DU Complex – Quebec City, QC (Canada)

Nov. 26 – Les Foufounes – Montreal, QUE (Canada)

Nov. 28 – Gramercy Theatre – New York, NY

Nov. 29 – Montage Music Hall – Rochester, NY

Nov. 30 – One Center Square – Easton, PA

Tickets are available at www.metalliancetour.com.

GOATWHORE‘s latest album, “Vengeful Ascension”, was released in June 2017 via Metal Blade Records. The band’s seventh full-length was captured at Earth Analog in Tolono, Illinois with longtime soundman and comrade Jarrett Pritchard (1349, GRUESOME), breaking a four-album tradition of working with Erik Rutan. The disc was mixed by Chris Common (TRIBULATION, PELICAN) and mastered by Maor Applebaum (FAITH NO MORE, HALFORD, TODAY IS THE DAY).

GOATWHORE To Headline Eighth Annual ‘Metal Alliance Tour’

From Mikael… Re-Posted from Opeth’s Facebook Page

“Just started reading this one with great interest and a fair amount of nostalgia. We only put out the one album, “Still Life” through Peaceville Records back in the day. It was interesting times, and that’s the album where I think we found “our” sound more so than what we’d done previously, without putting down the stuff on the 3 first albums we did.

Our relationship with Hammy and Peaceville ended sooner that expected and we were more or less forced over to Music for Nations who in turn put out the records that cemented our good reputation in the metal scene: “Blackwater Park”, “Deliverance” and “Damnation” as well as our first live DVD, “Lamentations”.

If you’re after a slice of extreme metal history as it was, then give this one a read. Fun times with Paradise Lost, Anathema, My Dying Bride, Katatonia, At The Gates and Darkthrone… And us!”

Find it at: http://www.peacevillelife.com

Written By: Mikael Åkerfeldt of the band Opeth

A Piece of Metal History

By: EMPEROR RHOMBUS Via Metal Sucks

Metal shirts and merch are my jam. I know that makes me slightly superficial, but I can’t help it–if a band has cool art, especially cool shirt art, it makes me like them more. A band sounds better to me if their art is rad as fuck.

So this morning, when Kerrang! posted that they’d determined the thirteen best metal shirts of all time, I was interested to see how well they’d done their research. And overall, I have to admit, I was pretty impressed! They got plenty of the majors, including one or two shirts I never would’ve thought of but that definitely qualify for me.

You can read the full post here, but here’s the list:

1 Slayer’s steel eagle shirt.

2 Cradle of Filth’s ‘Jesus Is A Cunt’ shirt.

3 Death’s plain logo shirt.

4 Pantera’s Vulgar Display shirt.

5 Metallica’s Master of Puppets shirt.

6 Cannibal Corpse’s Eaten Back shirt.

7 Darkthrone’s TNBM shirt.

8 Iron Maiden’s Trooper shirt.

9 Slipknot’s self-titled shirt.

10 Brujeria’s “Matando Gueros” shirt.

11 Anthrax’s Among the Living shirt.

12 Motörhead’s logo shirt.

13 Obituary’s Cause of Death shirt.

Again, not terrible, right? Each one of these shirts is pretty iconic, and we’ve seen all of these at a million metal shows. There’s nothing here that makes me say, “REALLY?

That said, there are some BIG omissions here that I think need to be discussed. Here are five shirts that the dudes at Kerrang! seem to have blanked on.

Celtic Frost’s Morbid Tales shirt

Duuude, is there any logo more iconic, arcane, and TRVE than the cover of Celtic Frost’s debut full-length? Seeing someone in this shirt officially tells me they have at least some idea of what the fuck is up. How many looming psychos have you seen at a metal show rocking this bad boy? Definitely deserves a high spot on this list.

Judas Priest’s British Steel shirt

Now, how the Hell are you going to add Maiden and Motörhead and not give props to this gem? Honestly, the British Steel cover might be the most iconic heavy metal album sleeve of all time. Kerrang! is even a UK-based magazine–this one feels like a given!

Guns N’ Roses’ Appetite shirt

Obviously, this shirt will spark the classic controversy of, Is G’N’R a metal band or not? But that’s what makes this shirt so important, if you ask me. The Appetite shirt is the ultimate T-shirt that non-metal fans wear to show that they’re into metal and metal-adjacent stuff. Sorry, guys, but this one’s a necessary inclusion.

White Zombie’s ‘Ugly Music for Ugly People’ shirt

Okay, maybe this isn’t the most iconic shirt in the world, but I don’t give a shit–this thing RULES. It’s as straight-up metal as White Zombie shirts get, and the slogan on the back is claaaassic. I had this shirt as a kid, and it will forever be The One That Got Away for me.

This Municipal Waste shirt

Easily the greatest shirt design ever made. Come on, guys.

Kerrang! Says These Are The 13 Best Metal Shirts of All Time

“It’s been like 40 years since we’ve been in this thing,” says onetime band member

The History Channel series American Pickers recently unearthed an awesome piece of rock ephemera. A recent episode found hosts Frank Fritz and Mike Wolfe stumbling upon a dilapidated van used by rock legends Aerosmith in their early days.

The 1964 American Harvester Metro van, with some sweet R. Crumb-inspired art painted on the side, was found slowly crumbling away in the woods behind a farm in Chesterfield, Massachusetts, a town located just over a 100 miles west of Aerosmith’s home base of Boston.

Aerosmith formed in 1970, and according to Boston.com, the van’s authenticity was confirmed by Ray Tabano, the band’s original rhythm guitarist who was only in the band for a year. Wolfe reached out to his buddy, Black Keys co-founder Dan Auerbach, who sent photos of the van to Aerosmith guitarist Joe Perry. Tabano then apparently got a call from his old bandmate and made his way over to the farm to confirm its legitimacy.

“I’m afraid to say how long it is, but it’s been, like, 40 years since we’ve been in this thing,” Tabano said, adding, “We’d drive from Boston up to New Hampshire for $125 [per gig]. Then after the gas, the tolls, and the food and back, we’d all make like $3 apiece.”

What’s not known is how the van wound up there. The owner of the property where it was located (identified only as Phil) said it was there when he bought the land from someone who was supposedly connected with Aerosmith. For his troubles, the American Pickers hosts paid Phil $25,000 for the van, with Wolfe calling it “one of the biggest and most iconic pieces of rock and roll history.”

Aerosmith’s First Tour Van from 1964 Found Abandoned in the Woods in Massachusetts

Advisory: This is a live stream. Language is unpredictable

https://tunein.com/embed/player/s131229/

San Francisco’s Golden Gate Park will be bustling with people this weekend for the 11th year of Outside Lands (the first edition to officially incorporate a music festival tradition), but for those of us who can’t make it to the West Coast this weekend, a curated selection of sets can be streamed right here.

Friday boasts newcomers like Dermot Kennedy (who was an NPR favorite from SXSW) and indie staples Margo Price, Father John Misty and Mac DeMarco. Saturday night is where you’ll find big names like Bon Iver and Future. And Sunday is the cherry on top, with sets from the soulful Durand Jones & The Indications, the always energetic Rainbow Kitten Surprise, electro-pop character BØRNS and Australian multi-instrumentalist Tash Sultana.

TuneIn will be webcasting these select sets and more from the festival via its Outside Lands Radio channel. A list of confirmed sets and their times — always subject to change, of course — are listed below.

Dermot Kennedy — 1:30 p.m.

Margo Price — 2:45 p.m.

Chicano Batman — 5:20 p.m.

Father John Misty — 6:50 p.m.

Mac DeMarco — 8 p.m.

Saturday, Aug. 11

Pale Waves — 1:05 p.m.

Cuco — 2:20 p.m.

Poolside — 3:35 p.m.

Broken Social Scene — 3:55 p.m.

Big Gigantic — 4:45 p.m.

CHVRHCES — 5:20 p.m.

Tycho — 6:15 p.m.

Bon Iver — 6:55 p.m.

Future — 8:40 p.m.

Sunday, Aug. 12

Durand Jones & The Indications — 12:45 p.m.

Rainbow Kitten Surprise — 2 p.m.

BØRNS — 3:20 p.m.

Tash Sultana — 6:15 p.m.

(Note: Sets listed are on Pacific Standard Time.)

Stream The Outside Lands Festival This Weekend, Including Sets From Bon Iver, Future