It’s weird how going to shows changes as you advance in age. In my late teens, I would walk two miles each way to Hairy Mary’s (RIP) for all ages matinee shows, so excited that bands like Vader, Spirit Caravan and Today is the Day were playing anywhere near me. My lame broke ass didn’t have a car or any friends that were into underground metal (being shy and awkward and going to Catholic school for the entirety of your pre-college education will do that to you) so I hoofed it, and I thought it was the greatest thing in the world. I would watch every single band, no matter how many were on the bill and my enthusiasm never wavered for the shows, even when the bands didn’t start on time, or when the bands sounded like complete shit, or when the bands didn’t show up.
The times they are ‘a-changin.’ I never thought I’d see the day that WWE would create a Japan-style wrestling tournament, let alone a tournament focusing on smaller wrestlers. Yet here we are, just a few days away from the inaugural Cruiserweight Classic, which will see wrestlers in the 205 lbs. and under weight class from all over the world competing against each other for not just a trophy, but for the honor of being recognized on a global scale.
I haven’t watched TNA (or Impact Wrestling or whatever they’re calling it these days) in years. What started out as a fresh alternative to WWE that featured a great mix of lesser known but incredibly talented wrestlers (Samoa Joe, AJ Styles, Christopher Daniels, etc) and veteran fan favorites (Sting, Scott Steiner, Kevin Nash, Kurt Angle and others) took a nosedive in 2010 when Hulk Hogan, Eric Bischoff and their cronies got their slimy hands on the promotion, doing away with much of what made it unique and basically turning it into WCW part two. I held on for about year before finally tuning out for good.
Not all professional wrestlers can be “superstars.” In fact, there are some wrestlers who exist solely to make the superstars looks like superstars. These dedicated men and women are known as jobbers, and it’s their uh, job, to look like they’re getting the ever-loving crap beaten out of them like they’ve never been beaten before, rarely if ever getting in so much as a lick of offense, before going down for the ol’ one-two-three. Jobbers aren’t often seen on television these days, but during the ’80s and ’90s, big time wrestlers often clashed with jobbers on “b-shows” such as WWF’s Wrestling Challenge and WCW’s WCW Saturday Night.
For the better part of three decades, Destruction has been pumping out albums like clockwork. And with the exception of 1998’s infamous The Least Successful Human Cannonball, they all kick ass to varying degrees. Their fourteenth(!) full length Under Attack is no different, in fact it’s easily their best since 2008’s D.E.V.O.L.U.T.I.O.N. It’s as thrashy, heavy and catchy as we’ve come to expect from the Teutonic trio, but this one packs that extra oomph that was somewhat lacking on Spiritual Genocide just four years ago.
There is no other director that holds a place in my heart the way John Carpenter does. His films have been a part of my life since I was old enough to comprehend what was happening on a TV or movie screen. Sure, I loved watching The Thing, Halloween, Escape from New York and Christine as a kid, but the real clincher was when my Mom took me to see Big Trouble in Little China in the theater. Here was a movie that had everything in it that a little kid could possibly want; monsters, magic, gun fights, martial arts, horror and just the right amount of humor. I would’ve been only seven years old at the time, but to this day I remember it vividly and it was the beginning of a lifelong love affair with the Horror Master’s oeuvre.
Aside from Ghost, I’m hard-pressed to think of another band that’s come out in the past ten years that’s managed to charm me quite like Norway’s Kvelertak. Their now patented amalgamation of scathing black metal and latter-day Turbonegro-esque melodicism scratches an itch I didn’t even know I had. Their self-titled debut still gets regular spins here at the Doomsday bunker, and while I consider follow-up album Meir to be something of a lesser work in comparison to that excellent first salvo, I find that it still sounds pretty damn good with the proper amount of volume applied.