Showing posts with label Jimmy Calabrese. Show all posts
Showing posts with label Jimmy Calabrese. Show all posts

Tuesday, January 5, 2016

CALABRESE- Lust For Sacrilege Promo Photos

Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

 Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark
 
Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Ashes Wednesday

Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark
 
Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark
 
Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark
 
Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

Hi Res Calabrese Promo Photo — Photo Credit- Andy Hartmark

Tuesday, August 4, 2015

"GIMME WAR" [OFFICIAL MUSIC VIDEO]


Bobby: “Gimme War’ is all out, loud and heavy. Very bare bones, but that’s the way I like it. This is the song that wakes you up in the morning when all you have to drink is decaf. We filmed in a junkyard during one of the hottest days of the summer, which I think helped the intensity of the video. We even did it in a single take. How can ya beat that? Crank your speakers to 11 and get fucking wild!”

Monday, July 6, 2015

CALABRESE "Lust For Sacrilege" Official Album Stream

(The Dark is Who I Am)
We wrote this one in the studio, it's one of quickest songs we've ever written and one of the coolest songs to date. We wrote it with Bog Hoag, producer madman, who laid down some really great synths and shaped it into the song it is. Heavily influenced by Goblin and Giallo soundtracks from the 70's and 80's.

(Down in Misery)
Understanding who you are is the smartest move you can make. It's freeing. It's not giving a shit. This song is kind of our "anti-hero song," it's about being a miserable person and liking it. Getting down into your own misery. Why not? No one likes you for who you are and what you do, but so what? Who cares? I think if you know, deep down, that you're a miserable person, it's almost like you aren't miserable anymore. It's accepting yourself on your own terms. Why be something you're not?


(Teenage Crimewave)
This song was originally intended for "Born With a Scorpion's Touch," so it has more of a garage-y, punk tone to it, which fit perfectly at the time. It eventually made it's way to the new record, which I think breaks it up a bit. Influenced by madmen, weirdos and crime spree thrill seekers. It's a bloodbath in the concrete jungle.


(Flesh and Blood)
A love song, plain and simple. Down to the core it's very animalistic, violent and strange.

(Lust For Sacrilege)
I wanted a song that could capture the entire mood of the album. Heavy drums, large choruses and an emphasis on evil. This is what we're about. It's about falling in love with death and destruction. It's about knowing who you are and your burning lust for sacrilege.


(Wanted Man)
Another lone-wolf song, we wrote this really quick and easily. It came out natural and really to the point. A lot of our songs are influenced by loneliness, depravity and just not giving a shit.

(Serpentflame)
I love New Orleans. Who doesn't dig New Orleans? We wanted a song that could capture the murky, creepy atmosphere of the city. It's about evil women, voodoo and death. It's got a very Cult-like vibe to it, which I think is great. The Cult are fantastic. Crank this jam to 11.


(Gimme War)
GIMME WAR is all out, loud and heavy. Very bare bones, but that's the way I like it. This is the song that wakes you up in the morning when all you have to drink is decaf. The solo is very Greg Ginn, whom I think is the coolest punk guitarists of all time. Dissonant chords and bizarre timing, it's total genius and totally shitty at the same time. Nothing gets better than that. All hail Black Flag.


(New York Ripper)
I love the chugging riff to this one. It's heavy and melodic and sucks you in from the start of the distorted drums. The song is pretty self-explanatory. "Her dead body broken in the river." Pretty heavy stuff.


(Lords of the Wasteland)
We live in a desert, lots of dirt, dead plants and empty spaces. We're heavily influenced by the landscape in which we live, so a lot of our songs tend to reflect that. A lot of post-apocalyptic films and books definitely help. Everyone gets the feeling of living in a nowhere town, a black hole in the middle of a dead civilization. This song is for all you wastelanders.


(Drift Into Dust)
A lot of our songs tend to revolve around serial killers, I have no idea why but it always manifests it's way into our music. This song is no exception. It's Roy Orbison meets Chris Isaak meets Elvis Presley. It's about love and death and everything that leads up to it.

Purchase LUST FOR SACRILEGE:
(iTunes): https://itunes.apple.com/us/artist/calabrese/id261384
(Physical): http://www.spookshowrecordsstore.com

Friday, August 1, 2014

A Monster Memoire

I'd like to tell you a story about a young boy and how he fell in love with monsters. Full disclosure, that young boy was me!

My earliest memories of monsters are from picture books of mythological creatures. I would flip through books at the library and whenever the pages were filled with drawings of strange monsters I would make sure to take it home. Ancient men fighting terrifying and fantastic beasts always fascinated me. Needless to say, I loved movies like Clash Of The Titans and the animated Lord Of The Rings and The Hobbit.


I was kinda a loner as a kid. I had my older sister, Gina, but we didn't really get along at times, as normal siblings do. I also didn't really play with the kids in the neighborhood, because I was the youngest and nobody wanted to play with the baby. So I would turn to my own world of imagination for company. I would spend hours playing imaginary games where I'd fight invisible wars as a WWII soldier or go on Medieval quests to battle dragons. Our house in Illinois sat on a half acre of land which served as fertile ground to explore and play out my fantastic adventures.


It wasn't until first grade that I made a real friend, Ben, who was the coolest kid I ever knew. He played indoor hockey and loved monsters, too. He also had a great family that I enjoyed being around. His Mom was super nice to me, his Dad was always welcoming and his older brother was ultra cool (he wore checkered Vans shoes).


My earliest memories of Ben, or of my grade school St. Peters, for that matter, was when some older bullies stole our monster and robot erasers from us on the playground during morning recess. I don’t know the details but I remember being scared for my life that I would get punched by the bullies and more importantly, worried that we’d never get back our super cool erasers.

These guys came in a Happy Meal and almost got me killed!

The first house Ben lived in was an old white house where his family lived on the top floor while someone lived below them, but both places shared the basement. Ben and I used to play with our Masters Of the Universe figures in that house. We were obsessed with He-Man and Skeletor at the time. For Ben’s birthday, his folks took me and Ben to a toy store where we met people dress up as characters from the Masters Of The Universe. It seemed kinda weird at the time that grown ups were dressing in costume, but it was still pretty cool.

Look! Grown men humiliating themselves!
One time in the old, white house, Ben’s brother (which I can’t for the life of me remember his name) played for us a record that was like a radio play of the story of Frankenstein with creepy sounds and everything. It was really scary at the time for some reason. Then when we were totally creeped out, Ben and his brother told me they saw a ghost in the basement, and that I should go down and see for myself! They said it looked like some sort of white being or orb. It was the most terrifying peer pressure I have ever experienced. I think I walked halfway down the stairs and ran back up. Scary stuff!

Now - For the first time! I pissed my pants!
Thank goodness Ben and his family moved out of that house and into a new one. They had a much friendlier basement where Ben and his brother shared a room, which was full of monster toys and rock music posters. Ben’s brother introduced me to KISS, telling us how The Demon actually flew across the stage at their concerts. Of course, I didn't believe him, but he showed me amazing KISS album covers that made me want to believe! Years later I would finally listen to KISS and was highly disappointed that their music did not (in my mind) match the ferocious image that KISS portrayed. They looked like monsters, so why didn't they sound like monsters?

I didn't know what this was all about, but I sure liked it!
I remember being at Ben’s house for a sleepover and his mom asked me what I wanted for Christmas. I said the The Fortress of Fangs, which was a Dungeons & Dragons play set. I had a bunch of D&D toys because my Dad worked with a someone that gave him a bunch of the D&D toys and manuals (they must have had a family connection). I always wanted to play D&D, even buying the game book starter set but nobody ever wanted to play. Nowadays, kids have World Of Warcraft to go questing about, but D&D was the only option back then and it wasn't very popular where I lived in the Midwest.

Dear Santa, I want them ALL!

Nobody wanted to play this cool looking game! What gives?

I remember at one point Ben giving me a copy of Famous Monsters of Filmland magazine and it changed my life. I remember taking it home and devouring it from it page to page. For months I would keep revisiting the magazine, letting all those scary images just burn themselves into my mind. I still have that issue packed up in a box somewhere.

This smiling face is burnt into my brain.


I was so jealous of Ben’s toys 'cause he had things I’d never seen before. Ben’s father, being in the navy, would bring him back toys from Japan like Utlra-man and huge Godzillas that would shoot off body parts. Ben also had the video game system called Intelevision and a Dracula video game that was pure awesome. The game let you run around as Dracula catching people to drink their blood!

Drool.

I promise you, this used to be cool!

Then it ended. Ben and his family moved away, I guess his Dad got stationed somewhere else. I was all alone in my newly found world of rock music, horror magazines and video games.


This is a picture of Ben as Skeletor and me as Count Dracula!

Wednesday, December 15, 2010

Sunday, November 8, 2009

Flash Fiction - "Meet Me Tonight"


Here's a new flash fiction story that was just published on THE FLASH FICTION OFFENSIVE.


 Meet Me Tonight
By Jimmy Calabrese

I can't believe I'm
about to go through with this. I knock on the flimsy trailer door, and the trailer shifts slightly as someone responds. I hear the click of the lock, and a dark-haired woman in a silk mini robe appears in the doorway. She's too beautiful for a place like this, I bet she probably owns the trailer for such occasions.

READ MORE

Tuesday, July 7, 2009

Flash Fiction - Too Much Of A Good Thing


My new flash fiction horror story, "Too Much Of A Good Thing," has been published at Flashes In the Dark.

Too Much Of A Good Thing
by Jimmy Calabrese

I wished it didn’t happen; I really do…it just got out of control. I turned the wheel and drove my Jeep off the freeway and out into the Arizona desert. I gripped the wheel tighter as I bounced in my seat; the uneven earth shook my vehicle and my nerves. I needed to clear my head before I went home to face my wife.

READ MORE

Saturday, February 28, 2009

Eric Powell Interview Part 2. The Goon -10 Years Of Punching Zombies

Let’s jump right back into the interview, we last left Eric as he recalled all the rejection letters from when he first started…

Jimmy - So ignoring the rejection letters, you brought your portfolio to show Bernie Wrightson. Bernie was doing a signing at a local comic shop. What did you think would happen? He'd take you under his wing?

Eric – I really didn’t have an expectation. I was like wow, Bernie Wrightson was going to be in Nashville. I was just excited to meet him. I was hoping I would get some advice or some word of encouragement. Tom Sniegoski who I met there, who really jump started my career, remembers exactly what I said to Bernie, I guess I plopped down my portfolio on the table and said “do you think I have a chance?”

J – [Laughs]


E – Bernie was really encouraging and it was nice to meet him. It was a fateful day because up until then I was not getting any positive feedback.

J – By believing in yourself and taking a change to meet Bernie Wrightson it actually put you in contact with Tom Sniegoski. Do you think writers are always looking for artists and that’s why he was able to spot your talent?

E – Writers can’t draw so they are always looking for someone to work with.

J – And Tom helped you get your first real comic industry job “Razor: Uncut” series. Did Tom write the issues that you drew?


E – He wrote them and I drew them.

J – What did you learn from that first real job in the industry?

E – I learned to work from a script a little better. Up until then I’d never really done anything, I was really learning on the fly, like how to make layouts from a script and about story telling.

J – Did Tom help you with this?

E- He pretty much gave me free reign. I got spoiled by Tom because he knows how to write a script for an artist. A lot of guys will write a comic book script with a whole string of action and I only have one panel to work with. I try to describe it as writing a film script but instead of filming it with a movie camera you are filming it with a still camera. You have to take single snap shots. A lot of guys don’t understand that. Tom is really good about just giving the information that you need and not overdoing it.

J – So you were really lucky to work with him at the beginning. If it was anyone else…

E – I’d probably put a gun to my head.

J –[Laughs] Are you still friends with him? Have you gotten him any jobs?


E – Yeah I’m still friends with Tom we actually worked on a young readers series called “Billy Hooten” I did the covers and some illustrations for that. I actually did get him a job once. Marvel contacted me about doing a “Devil Dinosaur” book which is this crazy 1970’s Jake Kirby comic about a giant red dinosaur. Ironically Tom and I were talking about “Devil Dinosaur” a couple of weeks before so I called Tom and said “guess what Marvel just offered me?” So we worked on that together.


J – After the “Razor: Uncut” work you did some Freelance work, then you ended up releasing the Goon with Avatar Press but you were not happy with it.

E – The production value was not good; the ink would come off on your hands when you read the book. The covers looked like someone took a can of black spray paint to them. I talked to them about the production value asking if they could at least get it on a better grade of paper and they said the sales didn’t justify putting it on better paper. So we had a little bit of conflict with that. So we parted ways.

J - You state your turning point was the 2001 Wizard World convention in Chicago?

E – Yeah [Laughs] it was pretty pathetic. I bought a table for about one hundred bucks, I had been drawing some Buffy comics for Dark Horse but that stuff dried up. I was doing some inking work for Marvel and all that work dried up. So I didn’t have any work coming in. I had this Artist Alley table at the convention and I only did one sketch for twenty bucks so it didn’t even pay for the table. I drove out there by myself and I drove back all pissed off. It was a point where I thought “Is this going to work or should I quit?” It was a six or seven hour drive and I had the whole time to think about it. It was pretty sad but I realized I was never able to do what I wanted to do. So I decided to self publish my book to see what happens.

J - I can really relate to you going DIY and self-publishing. That’s what Calabrese has done with all our recordings and merchandise.

E – It’s really gratifying. I like being at Dark Horse but it was really gratifying when I put it out on my own.

J – You had to take out a loan to self-publish, was it a business loan? I know printing comics can be expensive. Didn’t you have credit cards?

E – I think I had an auto loan at the time and my ex and I went there to take out a small personal loan. Luckily we were able to pay it back with the first two books. That was nice.

J – That was my next question did you ever pay it off.

E - That’s when I actually got excited. Wow, this was going to work. I honestly didn’t believe it was going to work. It was one of those things that I had to try or I’d wonder “if” my whole life. I thought I’d take out a huge loan, I’d put out a couple of books so I could say “did you see my comic I put out a few years back… No?” Then I’d have to get a regular job to pay back the loan.

J – Could you have kept self-publishing when Dark Horse approached you or was it becoming too much work to handle by yourself?

E – I spent too much time doing the busy stuff, the advertising, dealing with the printer. It took away too much from actually drawing the book and because Dark Horse has much bigger distribution, I just jumped at it when they offered.


J - What's your comedy influences? It seems somewhat slapstick- any 3 Stooges influence?

E – There’s a lot of Python, to me anyway. I also think its part of where I grew up, the violent humor.

J – Seriously “Monty Python”? Have you actually laughed at a Monty Python sketch?

E – [Laughs] I do I think it’s funny. It’s absurd, the kinda funny that makes no sense.

J – You’ve also mentioned “The Andy Griffith Show”?

E – Yeah, it’s a weird thing. That’s what I grew up watching, I think that actually influenced my work. Also the “Twilight Zone”, “The Little Rascals” all those old stupid black and white T.V. shows.

J – I can see that.

E – I think it also has a lot to do with where I grew up. I don’t know how to put it, there seems to be this level of cruelty here.

J – Why to you think that is?

E – That cruelty in humor? I don’t know, I think it’s a redneck thing. In a more sophisticated area they treat their dogs like children and here they tie their dog up to a tree and leave him out in a rain storm.


J – [Laughs] Here's a quote from you: "Back in the yester-years when VCRs were a new technology, me and my sister used to rent videos from the back of the Dairy Queen, one horror move and one comedy." Can you tell me more about this “Dairy Queen”, it sounds amazing.

E – [Laughs] When VCR technology really started to click, out here the first place you could rent movies was the back of the Dairy Queen. There was this little addition they built on to the back of it. It was a little ten by ten room with shelves filled with videos. Every weekend we’d go out there and rent videos. We had to get something funny and something scary. We’d sprinkle in the action movie now and then to see shit blow up.


J – What horror movies influenced your psyche?

E – The most obvious influence on “The Goon” was “The Evil Dead.” The Universal Monster stuff was pretty influential early in my childhood like Frankenstein. We used to rent slasher movies, “Friday The 13th” and “Texas Chainsaw Massacre.”

J – The cover art of those video boxes back then were amazing. How could you not resist renting a horror movie?

E – It’s kinda a shame they don’t paint posters anymore or the movie box covers. Remember the poster for the first “Nightmare On Elm Street”? That’s a great painting. The one with the claw.


J – Or “Halloween” where the knife morphs into the pumpkin. Based on past interviews, why do you think you cannot draw pretty people very well or modern buildings with details?

E – It takes a subtly to draw a pretty face. A person with character you put lines in there face and you give them a weird nose. That stuff I can scribble out just fine. Drawing something attractive you have to be really subtle with your lines. If your drawing a twenty year old woman and you put a line by her nose all of the sudden she’s forty.


J – So it’s not a product of low self-esteem or a bad childhood, it’s just a style preference.

E – If I was going to read any of that into my art it would be more in the writing than in the drawing. I just like drawing creepy ugly guys. It’s more of an aesthetic thing. I’m attracted to monster movies and Frankenstein. It’s boring to draw the pretty happy person. I want to draw the big ugly guy who’s rejected.

J – What was your influence on story telling? That’s a different talent than drawing.

E – It’s something that just came naturally. I never really studied other than looking at movies. After I started working in comics I started thinking about telling stories more. I was kinda going on instinct before. I thought I should develop the storytelling a little bit better. The best training I think I got was from Spielberg movies like “Jaws” and “Close Encounters”. There is a deliberate pace and visual quality that would work perfect in comics. There are not a lot of quick crazy cuts in those movies and composition was really nice. It’s not the same medium but his movies are a great tool to study storytelling.

J - You have said to break into the comic industry you need to dedicate practically all your time. Are you at a point in your career you can take a breather? Do you work every day, do you take weekends off?

E – It seems like I work every day. Unless I’m at a convention, I do a little something everyday. Last year we took “The Goon” and did it monthly for a year because we had this big story and that burnt me out. I couldn’t wait for that to be over, it was a non-stop workload. After each issue they were on me for the next one, it was a constant rush.

J – Do you have any hobbies? How do you make time for your family?

E – You just have to make time. When my boys come over and I have a deadline they sit on the floor and draw with me or they come in and out. As far as hobbies go, I watch movies and listen to music. I’m pretty much doing a hobby for a living. The only thing I’d really like to do, and I keep thinking about it but I don’t even bother cause I know I don’t have the time- I want to have an old muscle car.

J – [Laughs] No you’re never going to have any time for that. You have to wait till you retire- if you ever retire.E – [Laughs] Screw comics I’m going to work on this old car.

J – The movie coming up looks pretty exciting. I looked up the Director David Fincher and I see he’s directed “Alien”, “Fight Club” and “Se7en”. Your animated movie looks like it’s going to be the real deal.


E – I hope so. I’ve got my fingers crossed that we actually get this thing going. Blur, the animation studio, has been doing some test stuff and it looks amazing. I’ve been having story meetings with Fincher and the Blur guys and I think we got it going in a really good direction.

J – What kind of rating are you going for?

E – I think PG or PG-13. It’s definitely going to be a little edgy, we are not going to tone anything down. We want it to be what it is. Fincher and Blur realize if we start stripping it down and taking the “balls” off it’s going to be this watered down thing, not “The Goon.”

J – Yeah, then what’s the point?

E – It’s not the reason people got into it.


J – The Mezco toys of “The Goon” turned out really cool.

E – Yeah I was really happy with them. I wish they sold better so they would do a second series. [Laughs]


J – When the movie comes out I hope they produce more action figures.

E – Yeah, once we have a release date for the movie I’m sure there be all kinds of merchandise happening.

J - Do your boys play with “The Goon” action figures?

E – Yeah, I gave them some of the action figures and they played with it for a little and then they moved on to their robots and stuff.

J – [Laughs]


E - Again, they are just not impressed. They are a like “yeah it’s just this thing my dad does, whatever.”

J - Do you do any exercises to keep from getting carpal tunnel? Is that even an issue?

E – I haven’t had any problems with it yet. I’ve had a few times where I’ve had to pull some crazy weeks and my hand and wrists start giving me trouble so I put on a workout bandage. [Laughs] I don’t know if that’s good or bad for it but it makes my wrists stop hurting.

J – I assume you are open to a Goon video game especially if the movie explodes.

E – I already talked to Blur about that. Blur does a lot of animatics for video games so we are definatly talking about it.

J – Have you thought about the Wii? You can make it so when you punch your the Goon.

E – That would be awesome. I’m going to suggest that – “Wii Goon.” So you can punch zombies and stuff.


J – So when you listen to music while you’re working have you ever listened to Calabrese?

E – Hell yeah. That CD I picked up at DragonCon, I listen to it all the time. J – That warms the cockles of my heart. E – [Laughs] I wouldn’t have asked you guys to take part in the party if I didn’t listen to your music.

J – They say art imitates life. After viewing your drunken debauchery on myspace I'm starting to think Nortons Pub is a real place in your world somewhere.

E – [Laughs] I wish there was, I need a Nortons Pub. I need some place I can roll out of bed and go hang out in but unfortunately I don’t live anywhere close to a Nortons Pub.

J – I have few last questions about some projects you worked on. I see you were one of the inkers on Brian Pulido’s 1st issue of "Evil Ernie: Returns" on Chaos Comics.

E – Did I?

J – That’s what the internet says…if you want to believe that.

E – I don’t think so? Or maybe I did? I think I might have done a fill in page. If I did, it was like only a few pages.

J – Brian Pulido directed our music video so I was hoping you had some Brian Pulido stories.

E – Actually I didn’t have any contact with Pulido. When I did that I think the editor called asking if I could ink a few pages. Brian Pulido stories…I don’t think I have any. I can make something up if you want?

J – [Laughs] No no, that’s ok we make up enough stories already. We don’t need any more out there.

J - In 2005 you did a spread for “Mad Magazine” where you did a parody video game… is that true?

E – Yeah it was a parody of a pro-wresting video game where the wrestlers are all corporate mascots so you had the Hawaiian Punch guy, the Pep Boys and The Jolly Green Giant. It was a lot of fun.

J – How did you get that? Did they contact you?

E – Yeah one of the guys contacted me to see if I was interested in doing the illustration for them. I jumped at it cause its “Mad Magazine”, if nothing else you can put on your resume you’ve worked for “Mad Magazine.”

J – Your cool points rose in my book when I saw you did that work. So now that you’re living the dream what’s next?

E – Right now making the movie happen is my next goal.

J – I can just imagine how “The Goon” will explode when that movie comes out.

E – Then I can be really obnoxious.



If you want to learn more about Eric Powell and “The Goon” check out http://www.thegoon.com/

Friday, October 17, 2008

Sir Jimmy Calabrese

You can't get a good look at this portrait in my profile so I'm posting it here for your eyeball pleasure. I need to hang this over the fireplace.