Posts Tagged ‘gypsy

24
Nov
13

Happy 25th Birthday, Mystery Science Theater 3000!

Mystery Family

*Turn Down the Lights, Where Applicable.*

Hey Gang, if you will humor me for just one post I would like to make an attempt to express my love and admiration for a television show that served as one of the primary inspirations for The Trash Cinema Collective and The Primal Root’s Rotten Reviews. One of the funniest and most inspired comedy series to ever grace the boobtube. An unholy amalgam of science fiction, puppet show, Saturday horror matinee and sketch comedy show. It’s influence is still felt to this very day and it’s legend  continues to grow by leaps and bounds.  Today, this show turns 25 years old.

Of course, I am speaking of Mystery Science Theater 3000.

So, excuse me while I turn into a drooling fanboy and make a lame autobiographical post about how the show changed my life, shaped my entire being and  get all sentimental. Read on if you dare…

When I was in first grade my parents decided to uproot us from Winter Haven, Florida, the town where I was spawned, and move us up North to the capital city of our rotted penis shaped state, Tallahassee, Florida. It was a pretty abrupt and unexpected change of scenery for me, one I resisted and revolted against with all my might. Having to leave behind my friends and everything I was so familiar with was a terrifying prospect.  The idea of starting all over again in some new town, in a new school, with a bunch of new kids was enough to evoke the first panic attack of my young life.

Of course, as life teaches us, everything changes whether we like it or not.  I adapted fairly well to my new environment thanks to my family, primarily my younger cousins Steven and Patrick, who I started hanging out with habitually just about as soon as I arrived, and some understanding, supportive teachers. There was also one other element that eased my transition and helped me to forget my woes over having been tossed headlong into this awkward, new phase of my life; a television show called “Mystery Science Theater 3000”.

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Flipping through the channels one Saturday or Sunday morning I came across some cruddy old b-movie, with these funny little silhouettes in the bottom right corner. It looked like some regular Joe and a couple of funny looking monsters, or robots…maybe aliens? I had no clue. But as I listened it dawned on me that these little guys were doing what my Mom, Steven, Patrick and I always did over such cheese-ball entertainment…they were cracking jokes! And great ones! Sure, many of of them flew over my head, but a lot of the appeal had to do with their delivery.  Soon, the little people in the movie theater row got up and walked out of frame and the camera pulled back through a colorful, fun assortment of doors and hallways leading back to a room where the three folks in the theater were suddenly right in front of me. I was soon acquainted with three captives on Dr. Forrester’s diabolical Satellite of Love (The S.O.L., for short) Joel Robinson, Tom Servo and Crow T. Robot.  My life would never be the same.

Needless to say, I was hooked. My cousins and I would watch it just about every weekend and laugh our elementary school aged asses off at just about everything these jokesters said.  I was never quite sure of the shows schedule in those days, but the chances were if I tuned into The Comedy Channel, later Comedy Central, during Saturday or Sunday, they would eventually be on the air. The premise was simple and spelled out brilliantly in the show’s opening theme song, here, I will let Joel explain…

The show was unapologetic in it’s  silliness, boundlessly creative and unabashedly intelligent. To watch Mystery Science Theater 3000 you had to actively pay attention to the action on screen while simultaneously listening to Joel and his robot friend’s riffs and out two and two together in your own head. Sure, many of the jokes reference things you might not know about or not be in the vein of comedy specifically catering to your liking, but as Dr. Forrester and Crow T. Robot himself, Trace Beaulieu has stated in the past: “Hey, if you don’t like that joke, there will be another one in about 3 seconds.” The humor, jokes and references span an enormous spectrum  so that there will always be something for everyone in each episode.

Across the board, the characters, puppets and all, were brought to life with such manic creativity and energy, you couldn’t help but pay attention. The host segments, the parts of the show taking place between the stints in the theater, often mocked the film’s themselves in the form of skits and small productions Joel and The Bots would put on for The Mads back down at Gizmonic Institute, later Deep 13…later Pearl’s VW van, later still, Pearl’s gothic castle.  These segments also treated the viewer to the “Steampunk over a decade before Steampunk existed” set created with what looked like nothing more than garbage,  junk purchased at the flea market, Styrofoam pillars and hot glue. It was the epitome of bargain basement, do it yourself creativity. They had a budget, they worked with the scraps they had and they ended up putting together a show with a unique, one of a kind appearance that looked like a million bucks, but probably cost as much as a dinner for two at Red Lobster.

Mystery movie

Between elementary school and high school MST3K came and went in my life as I moved around a lot after my parent’s divorce. I collected episodes on VHS as I spotted them and would watch as often as I could depending on who our cable provider was. Call it luck or call it fate, I got the pleasure of seeing Mystery Science Theater 3000: The Movie during it’s initial run when it played in Dallas, Texas. I just happened to be in town for my older brother, Trey’s, college graduation and got to see this milestone in MST3K history in the company of my Mom and my  late Grandmother affectionately known as Bobo. Hearing Bobo laugh as hard as I did through MST3K: The Movie, I often think she might have just been laughing at hearing me laugh, is one of my fondest memories I have with her.

I have since had the pleasure of meeting and shaking hands with  many of the creators and talent behind Mystery Science Theater 3000 as well as experienced their riffing skills live and in person. I only wish I could put into words just how much their creation means to me.  Some folks, their passion might be Dr. Who, others Star Trek or Firefly maybe even  Battlestar Galactica. For me, my science fiction television allegiance will always belong to Gizmonic Institute, Deep 13 and Mystery Science Theater 3000. A show that has always had it’s heart in the right place, filled my life with laughter, brought my friends and family closer,  influenced and inspired me in countless ways and always reminded us to “breath and just relax”. Not to mentions they had TWO final episodes and neither one of them sucked.

I am now an adult with a  fireplace mantle decked out with every box set of Mystery Science Theater 3000 Rhino and Shout Factory have so far released and not a week goes by that I don’t watch at least one episode.  Those guys and gals can still make me laugh all these years later. In fact, I would say they keep on getting better with age, which is no small feat.

MST3K

To Joel Hodgson, Trace Beaulieu, Kevin Murphy, Frank Conniff,  Mike Nelson, Mary Jo Pehl and the rest of the Best Brains Team, I thank you from the very bottom of my heart for creating Mystery Science Theater 3000. You’re show is an even bigger part of my life now than it was when I was a child.  I’ve shared and introduced your creation to so many great and wonderful people who mean the world to me. Heck, the love of my life and I finally got together after months of being “friends” thanks to your outstanding short “Assignment Venezuela!” Who knew your brand of zaniness would inspire such a romantic evening with my very own Creepy Girl?

Happy 25th Birthday, Mystery Science Theater 3000!  May your legacy live on forever.

Love,

-Kevin (The Primal Root)

PUSH THE BUTTON, FRANK!

11
Apr
13

Werewolf on the Moon: The Howl Story

Werewolf on the Moon

Created by Perry Gilbert

a Dirty Thought with The Primal Root…

edited by Bootsie Kidd

By now,  I’m sure most of our Trash Cinema Collective regulars are well aware of The Collective’s most recent project, “Werewolf on the Moon’.” A mock 1950’s style Roger Corman-esque trailer to be entered into a competition held at a 24 hour film festival in Chicago on Saturday, March 9th, 2013.  The competition was going to be judged by audience applause,  so as out-of-towners our chances of “winning” this thing were pretty nil from the get-go.  Still, the idea of The Collective coming together and creating something outside the realms of our usual “The Primal Root’s Rotten Review” and, instead, making a short film of sorts to be shown on the big screen in front of hundreds of people as part of a friendly competition between other amateur filmmakers? I began scribbling down ideas…

Being the overly excitable and eager fellow that I am, I came up with about a dozen ideas and contemplated creating all of them for the competition. Keep in mind, we only had about a month to get ONE trailer finished let alone six… So, when I brought these ideas to veteran filmmaker and The Trash Cinema Collective’s go to collaborator, John Thursby,  he thankfully managed to talk me down and into shooting just one trailer.  Out of all the concepts, ‘Werewolf on the Moon’ struck me as the most doable project of them all. It presented its own distinct challenges, including a rocket trip to the moon, creating uranium rods, and convincing a woman to get naked in the shower and be gawked at by a menacing, blood-thirsty werewolf. We had our work cut out for us. At least I thought. Then I realized  we had The Trash Cinema Collective’s unrivaled pool of talent supporting us every step of the way.

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Our unparalleled cast of actors including whom I am hesitant to name, seeing as they are all very respectable, contributing members of society who just so happen to also be incredibly creative and willing to go all-out for such projects over and over again, giving of themselves and their time in order to bring these ideas to life. I am forever grateful for their contributions and reliable eagerness to be a part of these projects.  Thank you for the support, inspiration and friendship.

Also, our behind the scenes crew were amazing, as well. Laura Henry was remarkable as ever as our hair and makeup designer.  Perry Gilbert, who created our computer generated-effects and made his acting debut as “The Man” in the trailer has become a valuable player and an excellent addition to The Collective’s production crew.  Having cast myself as The Werewolf I wasn’t able to be behind the camera as often which meant it relied mostly on the talents of John Thursby and Bootsie Kidd as cinematographers and both did an astounding job with this project and making it look as wonderfully cheesy as possible.

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Also, we must give special mention to Steven Torres, who responded to a total strangers cry for props inviting us over to his home, and lending us an entire garage full of cool, strange, unique pieces and original art to be used in our trailer.  This was a HUGE help on Werewolf on the Moon.

We shot the trailer in 3 days on weekdays, once people were available after work. Our biggest day was our first as we gathered a large group of our cast to shoot the scenes involving our initial werewolf attack scene, the Moon Marines battling the werewolf, our scientist explaining the perils of battling a werewolf on the moon,  and the harrowing werewolf shower attack sequence. It was a fairly nice-sized shot list, but through concentration, professionalism and plenty of beer and vegan pizza, we managed to conquer it. John Thursby, always a fun performer, knocked the character of our 50’s chain smoking, oddly aggressive scientist, out of the part.  Carpenter as the head of the Moon Marines was pitch perfect in his aggravated, manic, blood thirsty portrayal of a man who cannot comprehend of a situation where he can;t just kill his enemy instantly.  His Moon Marines, played by A.D. and Bailey, were both hysterical onscreen, bringing to life their characters in ways I hadn’t even comprehended.  Bailey performed his own stunts when the Werewolf rips his face open, and A.D. gave his character that great Dudley Do-Right vocal quality that, at first, seemed goofy but quickly felt pretty damn perfect. Keep in mind, most of these scenes were shot against a white wall in a two car garage.  I cannot forget to mention L.A. whose willingness to strip down to a tiny pink bikini and, in the case of a shot or two, stripping totally naked in order to make her werewolf attack seem more sever and legit. Oh yes, the nudity was ABSOLUTELY crucial to the trailer.

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Our next day of shooting took place at Kleman Plaza in downtown Tallahassee where we primarily shot our Werewolf’s rampage sequence. The werewolf attacked a little girl playing hop-scotch by snatching her up, throwing her over his shoulder and making a break for it. Our little girl was played by the always game Tara B-M, who didn’t mind getting rammed into by a beefy guy with impaired vision about a dozen times till we got the right take. Also of note, Tara’s shoes would fly off on every take and in one instance nearly hit a homeless man directly in the face.  Rachel M. played the young girls hop scotch companion and took played the roll of an over enthusiastic youngster to the hilt. I kind of wish that shot lasted long so you can really take the time to admire her incredible performance. Seriously, next time you watch the Werewolf on the Moon trailer, pay attention to her.  Perry Gilbert then made his screen debut as The Man, He’s the gentleman holding up the ‘Werewolf on the Moon’ newspaper who is then brutally assaulted. It was the scene where we went full on goofy and it came out wonderfully. The kid’s a natural. We shot a few scenes with Jennie C. as a gypsy who has relocated to the Moon and speaks of a prophecy that said “the curse would follow us to the stars.” Sadly, this moment had to be cut from the competitive cut to fit the time limitations, (you can still see her getting attacked in a quick cut during the competitive cut) however, we restored it in the extended cut.  We then shot some scenes in the parking garage of myself climbing on board an elevator to the ship to the moon as I transform into a werewolf and a shot of me disembarking from the elevator as a full blown lycanthrope.  We did some impromptu shooting around Kleman Plaza that ended up on the cutting room floor but will make it’s way into the extended cut.

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Our very last day of the shoot took place in Panacea Florida, in a small aircraft provided by  aviator, scholar and gentleman, Steve Faultz This would have to pass as our shuttle to the moon where I transform into a werewolf as my attention is drawn to the approaching moon by Ms. Bootsie Kidd who is seated next to me.  Thanks to some creative photography and the ingenious idea of using black construction paper with holes punched in it to create the illusion of our aircraft flying through the vacuum of space, it all looks better than we ever could have expected.  We managed to shoot the remainder of the footage we needed in only a couple of hours, including some unscripted footage of the werewolf hijakcing the moon shuttle that will be added to the trailer’s extended cut.

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Last, and certainly not least, we featured twice past Devil Girl and recurring actress in The Primal Root’s Rotten Reviews as our 1950’s Devil Girl in our Trash Cinema Collective Pictures logo. 😉 When that logo popped up in Chicago in front of  about 800 sci-fi fans, you should have heard the wolf whistles and cat calls! I’m pretty sure it wasn’t for the font we used…

The editing process went remarkably smoothly and was an absolute joy to piece together. The performances and handy work of my friends and partners in crime were a blast to watch and piece together into what shaped up to be a very fun, very funny, ridiculously entertaining little trailer. I am incredibly proud of what we made over those few days and what we were able to accomplish with no budget and little time. It’s a testimony to the talent and creativity we have here at The Trash Cinema Collective as a collaborative force to be reckoned with.

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Our trailer was one of the last of fifteen trailers to be shown in Chicago during The Portage Theater’s Sci-Fi Spectacular Movie Marathon. The audience reaction spoke for itself as people laughed from start to finish and applauded raucously at its conclusion. The crowd loved it. However, when it came time to be judged, it was the local Chicago folks who took home top honors as it was judged by applause and they were able to get their entire casts, crews and extended family to show up and cheer them on. And rightfully so! It was apparent that every single filmmaker, performer, and crew member had poured their creative juices into making these oddball shorts, and in the end everyone supported the hell out of each other. From me to you, it was a damn fine sight to behold.  But honestly, I think we truly won that night. Werewolf on the Moon, this project we all worked so hard to create, played on the big screen and garnered a huge amount of laughs, applause and praise afterwards. We created something people enjoyed and appreciated. for those 90 seconds, us Tallahassee kids, The Trash Cinema Collective, filled a theater full of movie lovers with laughter, with light, with something that touched people. And if we can put all our talents together and create something  that brightens the lives of those who watch it, even for a short while, isn’t it worth it?  I certainly think so.

Thank you all for making this project possible. Without your love, friendship, and support none of this would see its way into our version of reality.

So, without any further a due, here are the fruits of our labors. Enjoy “Werewolf on the Moon!” A Trash cinema Collective Mock Trailer.

Stay Trashy!

-Root

20
Apr
12

Uncle Grumpyfuk Remembers: The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies

written by Uncle Grumpyfuk

Welcome my fellow Gommorrahns to another episode of Uncle Grumpyfuk’s insightful and …uh, evinrude observations concerning …cinematic… intacies..intricies..intr..  …in-tri-ca-ci-ties… intricate stuff, whatever! FUCK! Sit d.. shove those poultry magazines and crusty tissues off the couch and throw that towel over the dark spot, NEVERMIND THE SMELL!!! ..sigh- and sit down. Shit, please stop my brain from spinning oh Crom.
I apologize folks, the tabs will be kicking in any minute and I’ll have some energy and get the peach fuzz off my brain- you know that Beatles (*) tune ;

Well she was just un-der-eight,
and it was tastin’ mighty great,
when I heard a knock,
a knock on my front door-or!
Yeah i-i-in came the cops and her pareeents! Ohhhh,
I was-still-holding-the-Mazola-

and-the-octopus-tentacle,
and she-was paaaassed-ooout aawwwn the-floor!

Well Uncle Grumpyfuk’s having one of those kinda mornings, I’m SURE you know what I mean.

(*) I’m sure you’ve recently heard of the lucky asswipe that hit an estate sale and found hand written lyrics by members of the Fab Four (**) amongst some old paperwork. He’s going to make some serious bank, lucky fucker – these are actually some of the alternate lyrics, released by stickyourgoddamncopyrightsupyouroozingrectum.com (***)

(**) In actuality the lyrics presented herein were NOT written by the Beatles. Neither the cute one or the wussie one, nor the good one or the lucky one had anything to do whatsoever with these lyrics, it was me. Seriously, it was…what? You think the Beatles could write lyrics that good?!? You are fucking insane.

(***) Actually no such website exists that I know of,I didn’t really check or anything, if there is it was a lucky guess- as far as I’m concerned I made that up too. Yes I did indeed! I know- O Henry, Saki, Shatner, Dickens, yep I know – thanks!

Whew, hell I haven’t even told you what movie we’re doing..oh, well I guess you read the title. Ok fine Monsieur Smartass! Ahem, today I’ll be reviewing a movie dear to Uncle Grumpyfuk’s heart, directed by the master Ray Dennis Steckler,with a title that deserves an Oscar in itself;  “The Incredibly Strange Creatures That Stopped Living and Became Mixed Up Zombies” , top that Scorsayze.. Scoresasee…Scorsaysie…Coppola! You bitch!

It begins with the highest crane shot I’ve ever seen of a rollercoaster in an amusement park on Long Beach that no longer exists, because the human race sucks. Next we find ourselves down in the park amongst the crowd in front of Mme Estrella’s Gypsy Fortune Telling tent and the camera moves forward, while filming(!) such innovative technique from a young Steckler! Amazing. Then, we move through the curtain and are transported, as if by magic, inside the tent! Huh, ‘Avatar in 3’D’ – phttt,what hog-waste!
We meet our sultry clairvoyant trying to attract a pudgy boozehound with her crotch-sweat, he actually reviles her and suggests she engage in intimate physical relations with one of her fellow carnival workers who was afflicted from birth with horrific physical handicaps, indicating that their unfortunate disfigurement delegated them as something less than normal! Enraged at his stunning political incorrectness and aggrieved for the delicate emotions of the disgusting freaks she calls forth Ortega, her debonaire companion, who’s makeup job of cotton swabs and cigarette ashes would not be equaled until a full 3 decades later with ‘A Joan Rivers Christmas Extravaganza’. Ortega’s Clark Gable-esque features and manner cannot help but impress- oh Ortega you devil! ..and the way Steckler executes the scene, with Ortega entering from behind the curtains, as if he emerged from a portal to another dimension, once again,amazing.
Well, Ortega subdues the slobbering sot and holds him wallowing helplessly as our ravishing gypsy demonstrates what happens when you try the Chinese water torture with corrosive acid, fun stuff indeed! She then commands Ortega to put the ‘feelthy peeg’ in the back with the others and our hopes begin to soar.
The first act is over and as the credits begin there appears a nice semblance of our director’s face which, as the credits proceed, evolves, like magic into the hideous countenance of Eddie Van Halen! Utter, soul-wrenching fright ensues. What an innovative and chilling intro by Steckler. The phantom cry from very shade of DW Griffith himself, at the moment that scene was originally shot, could be heard across the unimaginable distances from limbo itself claiming, ” Heeeelp! Talulah Bankhead and Barbara Stanwick are after me, trying to lop of my testicles with a crosscut saw and Hilary Clinton isn’t getting any younger!” Higher praise one simply could not ask for.
The next scene begins abruptly with the discordant laughter of a mechanical carnival clown that looks like Ross Perot and another head, a pirate or a priest or something, that those two assholes on that antique pickers show would give 30 bucks for, for both ,then we’re outside a cafe/dinner theater like in Amsterdam except there aren’t 7 people and a goat fucking on stage while salad is being served. What a shame, that always gets my appetite going!
A couple I like to call ‘Pat and Pat’, a rather masculine female (Steckler’s actual wife at the time) that looks like Mary Ellen from the Waltons and a rather feminine male that looks like Brigitte Nielsen are doing a pretty cool dance number, (what the fuck do I know), they finish and Pat dashes back to her room (see what I did there? that’s called…some writing term, shit, I don’t know) to swill Witch Hazel when she spots a dark feline creature glaring balefully at her from atop a box of Whiskas, and a terrified shriek erupts from under her boobs – her familiar has found her once more and she shudders as she hears the Dark Lord’s crappy voice singing ‘Bim Bam Baby’. Soon she knows she must join Sinatra and the rest of the Rat Pack and endure Sammie’s Uncle Tom routine for all eternity, that there is no escape. At that moment however her manager bursts into the room, scoops up the hissing monster and tosses it out into the hall- slamming the door before enraged Sir Scruffalot could re-enter the room, problem solved!
 Now, finally we’re introduced to the main character, the true rebellious teen idol of the 1960s; Cash Flag, otherwise known as our beloved director Ray Dennis Steckler! Acting, direction,  production, what a talent! Yes my friends Cash Flag, three times as cool as James Dean and Steckler didn’t have to take it up the ass to attain his fame like that fucking toy-boy poser! Cash is tre-fucking-cool, we open at his pad where he and his hip Greek buddy Harold, (who is from Greece and has a voice like Ahnold before he screwed his housekeeper and himself in the rump) are kickin’ back talking about Cash’s old lady and her uptight but totally fuckable mom, when Harold suggests Cash possibly get some means of employment to improve his relationship and get in that milf’s ass! Cash, horrified at the thought of a job delivers one of his classic lines which says it all, “The world is here to be enjoyed, not to make you depressed, that’s what work does, it makes you feel depressed.” Yeah, fuckin’a right buddy, we should all live off of gummi bears and expresso and crap out the window, hell yeah! ..Anyway the ‘dynamic two guys’ head over to Cash’s squeeze’s pad where her mom is giving her shit for not putting out for the the ‘nice boy’, you’ve all heard it before girls, I know you have. They take off and hit the beach where they frolic,  see, when you’re cool like Cash you can do shit and not worry about it – you can frolic, ya know what I’m saying? Word.
         The trio go over to the amusement park and decide to ride on the roller coaster, Cash tries to persuade his bird to give him a bj for the ‘fun photo’ camera but no dice, so they hit the Gonad Lift and hock luggies into the baby cribs passing by below, good old fun like kids used to have the kind of fun that’s been taken away from them, just like lynchings! It’s terrible.
Meanwhile Pat is still swilling on her Witch Hazel, an oreo is on stage telling the worst jokes with the delivery of a third grader with autism, then Pat and Pat begin their act with Pat staggering around like Whitney Houston on meth..oh come on, screw you,  no one was surprised about that shit! ..and Pat ends up faceplanting on stage like Whit..oh fine, like your mother after a night out with the Cult of the Red Hat, yeah! Ha! However the crowd was entertained so all is well. She rushes backstage followed by her oppressive manager, and dives back into the bottle. He tells her to continue drinking- the audience loved it and it gave him sadistic pleasure at watching her humiliate herself  and Pat onstage, it is really funny when you think about it, and that if she quits, she’s fired.
Later that night they’re still riding the coaster, apparently the operator suffered a major stroke getting a hummer from a 10-year-old for a caramel apple and a coke razor necklace so they’re stuck up there for the moment! Haunted by her encounter with Sir Scruffalot, Pat seeks solace from Mme Estrella who tells her of two possibilities concerning her future, that she will die very soon or get knocked up by a spade with a huge choad sending her fleeing in terror, out of the tent and knocking Harold head-over-heels as the kids stand outside the tent. The intrigued youngsters enter the gypsy’s tent to see what the hubbub is about, however our hot-ass gypsy’s clairvoyant vision is clouded by the smell of Harold’s hair cream so she basically gives them the same old ‘one of you will die!’ spiel. This enrages Cash who swears bloody revenge on the smokin’ cougar, the Roma bitch stole Harold’s wallet though so she’s got it coming. Oh man that mole on her face does something down in the groinal region, you know? Sure you do! Fuck yeah! Groins!
The kids head back out into the park and they find some hootchie’s dancin’ on stage, led by Estrella’s sister, the exotic and mysterious Carmalita, with a look so alluring it would make oatmeal remain at room temperature! Cash is immediately hooked as if he’d received a particularly tasty dose of smack, or in Carmalita’s case, smuck. He ditches his friends like a pair of tranny hookers after your wad is blown and enters the tent.
Outside the tent the carnival barker asks one of the hotter dancing girls if she’d like to go out on a date, now check this out, at her house, cooking steak for him in her kitchen! That is some serious Fonz-like coolness there my friends, yes sirree! Since I heard that line 4 women have slapped the shit out of me and another told me to ‘get fucked’- 2 of them because I tried that line! I’ve got to work on that one, learn to make it work, yes sir!
Now comes the first musical/dance number with a bevy of super-hot dancing girls in slaughtered zebra flesh outfits (yum!), and a troupe leader with a set of gams that go up to her eyebrows, yow!  They do a cool number then Carol Kaye sings “It Only Hurts When He Doesn’t Use Lube”, a softer/slower song, she’s got a great voice, it’s a nice song. (See how nice I’m being? See, I like this film and Steckler! Understand? Otherwise…)
Then comes Carmalita’s ‘strip’-‘tease’, no pole – I know, can you believe it? Cash stares, riveted, as Carmalita proceeds to.. not really strip and.. not really dance… oh baby! As he watches, like some phantom from a haunted tobacco field, Ortega materializes in a puff of smoke behind Cash and hands him a note from Carmalita asking if he’s interested in a threesome with Estrella and herself? Cash can hardly contain his excitement, lucky fucker!
After ‘accidentally’ barging into the dancers’ dressing room, no bush or anything by the way, not even a nipple(!), Cash finds the gypsy strumpet in her dank and poorly lit dressing room. She bids him go behind some curtains and he excitedly envisions a rickety cot with stained sheets a-waiting, yet when the curtains part he’s confronted with the dreaded ‘hypnotic cheese wheel’, that, you know, hypnotizes you..with cheese..surrounded by Ortega and her sister. He falls helplessly under the irresistible spell of the cheese wheel, the smell of stilton is simply more than his weakened senses could take. Mme. Estrella succeeds in mesmerizing our helpless teen heartthrob as Ortega huffs on dried cow dung and Carmalita..just sorta stands there and one wonders, where can I find a hot gypsy outfit in a childs size 5?!? Estrella commands Cash to…do something, we’re not actually let in on it, you think we would be but ..oh, I see! Steckler is building suspense! How could I have doubted his genius? Shit. Then the camera spins round and around, real artistic-like, fuck it’s things like that that make the universe worth not destroying!
           Back at the music theater a really really white guy on bennys is droning on,wondering where your heart is so he can cut it out and devour it, then the oreo introduces Pat and Pat who begin their dance routine, then we are treated, nay, honored to behold the most awesome murder scene in the history of motion pictures, it’s just that damn great, man!!!

Pat and Pat begin their routine as usual, unfortunately Pat, having gone to see Mme. Estrella, had neglected to down her required dose of Witch Hazel so she’s actually dancing ok when she turns around to face Pat, and there, looming, like the silent-film Nosferatu rising from his coffin, his eyes transfixing your gaze as icy terror tugs at the shoe-strings of your crappy-ass Walmart Nike ripoff sneakers, like turning on the radio to be confronted with the life-stealing, banshee-like wail of Glee, and when you lunge at the control knob to change the station it breaks off in your trembling hand…wait,what the fuck was I talking about? …oh, right, cough… as Pat turns there in front of her looms Cash, our beloved Cash, Ray Dennis Steckler himself, standing,  raised blade in hand, with a look in his eyes that will haunt your mortal soul,( yeah that’s right, you ain’t going nowhere after you croak, suckers!), the intense helplessness, the visible inner struggle between the opposing forces of his two brains (wink!), the feral rage invoked by the vengeful gypsy..who’s still hot as shit, I don’t care I totally would, that crusty wart might feel good on the tip …sigh, anyway, all of this and probably less does Pat see in his frenzied stare as the knife flashes downward like the sword of Damocles itself into her.. cheekbone. ..( How is THAT for a run-on sentence my fellow miscreants? I coulda broken it up but fuck it, a new personal record! Yeah!) The wounded and stunned Pat hits the floor like soggy hamburger meat and Cash proceeds to stab her fallen body over and over, enjoying the delicious warmness of here life’s blood covering his hands,mmmm. Then he turns his basilisk gaze to Pat, who is standing there totally aroused and shitting himself, and again the blade slices down, in a downward direction, and Pat turns to show how a cheap bloody make-up job can look pretty darn cool. He hits the floor to join Pat and their running blood mingles together as the delighted audience howls for more! The zombie-like Cash, his mission accomplished, exits stage left and chaos ensues as the audience rushes forward to take photos and vids to post on youtube for a thousand bucks, and a couple of particularly savvy souls gather up the blood to sell on ebay – smart! Let that be a lesson to you all, don’t squander a perfectly good opportunity to profit off of the misfortunes of others! You snooze, you lose!
What a scene, you just want to hit the pause button, whip it out and go at it until a 2-ply sheet of Bounty simply ain’t enough, you know what I mean!?! ..and isn’t that what art is all about? Uncle Grumpyfuk says hell yes! You’re fuckin’a right it is! Groins! Woo!!!

Next our ingenious director and crew really strut their stuff and we see Cash thrashing about in his bead, haunted by the coolest dream sequence in all of film, I am fucking serious damn it! Super-imposed images flash across the screen, the dancing girls and Cash, played by Pat, with Darth Maul’s makeup, dancing and whirling around, smoke, fire, camel toes, Estella, Ortega’s dashing features, all choreographed and filmed by the future award-winning crew. It’s a haunting and totally addictive scene you just want to watch over and over, it’s like smack without the puking! Glorious.
The next morning Cash cruises over to his old lady’s house to see if she’s sorry for being such an uptight bitch, when, during the conversation she begins to spin an open umbrella which vaguely reminds us, and Cash, of the hypnotic cheese wheel. This pisses him off and he begins to throttle Angie Baby’ – she deserves some roughing up anyway for that crap attitude of hers. Gotta keep’em in line or before you know it they’ll want to start driving and voting and shit! Crazy times. He gleefully continues, enjoying the warm feel of her convulsing trachea in his cold hands when he sees the image of Pat’s face and squeezes Angie’s delicate neck all the harder, achieving a righteous boner in the process. Suddenly her brother Madison,who can’t wait any longer for his turn, throws Cash to the ground and as Angie stares with bemused curiosity at Cash, her brother takes over and finishes throttling her, living the dream.
Cash, meanwhile, flees the scene and wanders around the city, giving us some great camera shots of an LA lost in the past and eventually he makes his way back to the carnival for some serious payback for the playful gypsy duo. His mistake however was in not bringing along his one-man Greek posse for backup, and Cash is quickly hypnotized all over again and once more sent out to kill..someone, which turns out the be the dancer who was going to cook steak for the tre-cool barker. We arrive at her pad and she’s about to light up when she looks down her long poorly-lit hallway and spots Steckler, knife in hand, stalking down the hall towards her, knife again raised for action and dispatches her after a brief struggle. Then the barker knocks on the door, sees the light go out, smells that hot poon a-waiting’, or so he thinks as he enters,calling her name. WE see his silhouette and then Cash’s silhouette behind his, knife raised, end of scene. Spooky stuff folks – Hitchcock Shmitchcock, this is the shit right here!

 
Now we’re treated to the best of the dance/song numbers as Carol Kaye and the girls get ‘Shook out of Shape’! I fucking love this song so fucking much it’s almost criminal, and the addition of Carol in a hilarious but totally hot rooster tail outfit and the smoking hot dancing girls…whew, damn, settle down boy, settle down! Apparently the dancers had no rehearsal time for these numbers but those bare legs are a kicking and pumping, yea-howdy!!!

After dispatching the dancing girl at her house Cash mechanically heads back to the carnival to get his ‘reward’ from the gypsy couple, woo-hoo! However his reward,instead of a nice threesome turns out to be a bunch of acid in the face – I’d take the two gypsy bitches myself but to each his own! Our poor hero stand as the corrosive liquid dissolves his pristine features, though we don’t actually see anything, turning him into a ..mixed up zombie! somehow..or a reasonable facsimile thereof. Estrella and Ortega lead the helpless post-op teen to be put with the ‘others’,however as the cage door opens the mixed up zombies escape by..walking out of the door! I guess it takes mixed up zombies a while to figure things out, you know? They then attack Estrella and Ortega, can you believe it?!? After supplying the pathetic creatures with a filthy cage for a home, 2 bowls of gruel a day and hourly anal punishment this is the thanks they get? Talk about gratitude! Jeez! Outnumbered, the conniving couple quickly succumb to the zombies’ mixed up assault and we shed a tear; never again will we be dazzled by Ortega’s suave manner and good looks, or be turned on by Estrella’s mole,it’s almost too much to bear! Sniff.
Hearing the commotion Carmalita moves to investigate but is quickly dispatched by a zombie, then all hell breaks loose. The zombies wander into the cafe and then the last dance number, the now famous ‘Zombie Stomp’ begins. After the entertainment the cops burst in and start shooting everything that moves, followed by Harold, Angie Baby and Madison, who are searching for Cash to get their paychecks! Cash, seeing them enter, jumps out of the window and tries to take a powder, hoping to avoid paying any of the actors involved in the film now that the movies is ending, so the trio takes off after him, followed by the police, sounds familiar eh? Ha!
The chase moves to the ocean and when he gets a clear shot the cop raises his pistol. “Do it!” scream the actors, “The insurance company will pay us what he owed us!”,so he takes the shot. Poor Cash plummets onto the rocks below and into the ocean,but miraculously makes it back to shore, still hoping to escape- one tough motherfucker! Yet he finally collapses on the sandy ground and buys the farm, and a not terribly bright and rather lazy and cheap star has been extinguished, sniff, and the actors sue the insurance company and get their dough after 2 years of court appearances and Angie Baby blowing the judge. The End.


There you have it folks and just in the nick of time, Uncle Grumpyfuk just ran out! Time to go on the hunt if you know what I mean! (wink!wink!) So until next time my fellow ugnugs, this is your favorite little teddy bear all covered with mold and spunk reminding you, “There’s no such thing as too much lube or too small a hole!” Groins! Woo!!!

-Uncle Grumpyfuk




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