Author: Mike Gold

Suicide Squad – The Big Reveal (Not A Review, Seriously!)

Suicide Squad Beacon Premiere

This is not a review of Suicide Squad, the latest movie that pisses off the critics. John deserves first crack at that, and you’ll see it in his regular space here at ComicMix this Sunday. And Arthur does his weekly review thing, and I wouldn’t usurp his turf. And I’ll bet our pal Robert gets a few comments in well before the home video release. Yeah, I’ll offer a few opinions here, but after reading the inner-most thoughts of so many of those professional movie reviewers I feel a strong desire to pull the bedsheet off of the painting.

Here’s the bird’s eye lowdown: the professional movie critics are sick and tired of superhero movies. Be warned – no matter what’s up there on the screen, the critics have wandered out of the theater in search of Elvis. Capes and cowls are crap. Enough is enough. Screw you, Robert Downey Junior.

Suicide Squad is not the Gone With The Wind of superhero flicks, and after Batman v Superman and The Killing Joke, it probably seems better to me than it should. Yeah, there’s too many people in it: without them, you can’t establish a squad. There’s one completely unnecessary supervillain plotline, which seems to be the hallmark of recent DC-based adaptations. Big deal. Suicide Squad belongs to three of the most compelling characters in contemporary comics: Harley Quinn, Amanda Waller, and The Joker. And The Joker is only there to establish why Harley is Harley – and Harley is… complicated.

Here’s my big review: if you pull the stick out of your ass before it, and you, plump down into your popcorn-littered seat, you just might have fun.

Suicide Squad the movie is fun. It’s not Deadpool type fun, although the first DC/Marvel movie crossover should be Harley Quinn Meets Deadpool. Yeah, I don’t think that will happen either.

If you’re a movie critic or a professional Internet crank, “fun” doesn’t pay the rent. Critics’ vitriol should be measured the way most guys measure their penis, confusing inches with millimeters. The genre is not done. The genre has been with us since Douglas Fairbanks Senior first donned Zorro’s mask. Costumed heroes are a movie staple. If the earth didn’t open up and swallow those theaters playing Batman v Superman, the genre is safe.

Pick up a newspaper. Read about Donald Trump. The zika virus. ISIS. Killer cops. Hurricanes and tornados. Mongo crashing into Earth. After all that, trust me, Suicide Squad is a fun movie worthy of your time and your need to relax after all that heavy lifting.

Superhero movies have been with us for 100 years and, whereas the current fad will lessen eventually, they will be with us for the next 100 years.

Critics: deal with it.

Love, Mike Gold, professional crank

Mike Gold, Mickey Mouse, and Ren & Stimpy’s DNA

Mickey Toon

Listen up. I’m going to tell you a horrible, horrible secret. And it’s about me!

I really don’t care for most Disney animation. The earliest black and white stuff is fun, and there are a few shorts here and there that I enjoy. The features? Not as many. Alice in Wonderland… that’s about it. As Craig Ferguson might ask, “how long have you been in ISIS?”

Floyd-Gottfredsons-Mickey-Mouse-1930Disney comics is a totally different thing. Every time I’m forced to list my all-time favorite comics creators, Floyd Gotfriedson and Carl Barks are always on that list. Gotfriedson’s Mickey Mouse newspaper strip brought depth and characterization to the popular rodent. His adventures were truly adventures, full of wit and charm, brilliant craftsmanship, on-the-button pacing, and heart. Lucky for us, our pals at Fantagraphics have been reprinting them in brilliant hardcover editions.

Carl Barks was the master behind Disney’s Donald Duck family of comics, published by Dell and later Gold Key. You’ve probably heard of him: he’s one of the very, very few Disney comics creators who’s adapted work was screen-credited, in Duck Tales. Unca Carl created Uncle Scrooge, the Beagle Boys, Magica De Spell, and a great many other pillars of the Disneyverse. His comics are that good; even better. You will often hear geriatric baby boomers mentioning Barks in the same breath as Will Eisner and Jack Kirby. Here, too, Fantagraphics been reprinting them in brilliant hardcover editions.

But three years ago, my animation preferences expanded to include some work produced by the current Disney studio. I haven’t opened my heart to more of the “original” material; I’m enjoying the new series of Mouse cartoons (featuring the entire Disney-toon cast), available on the appropriate Disney cable channels – excluding ESPN – and on sundry Disney apps for smartphones, tablets, AppleTV… they made it really easy for me to find this stuff.

donald-p3And who do we have to thank for it?

I’d say Ren and Stimpy.

These shorts, which average a paltry 210 seconds, have damn near everything the classics do not: they are anarchistic, irreverent, self-parodying, and wacky as shit. In other words, they’re entertaining – even to a guy un-American enough to not worship about a half century of Disney animated output. The style, also reminiscent of Ren and Stimpy (and even more reminiscent of small budgets and short deadlines), works perfectly for the pacing.

Of course this material won’t replace those I consider to be the masters of animation such as Bob Clampett, Tex Avery, and the Fleischer family. Cartoons aren’t profitable enough to warrant such budgets. But after more than two decades of soulless mainframe computer hyper-modeled “3-D” crap, these new Disney shorts are a breath of fresh air. Damn near all of them. And there’s a lot out there, too.

Give a few a test-drive. Like I said, each takes about three-and-one-half minutes out of your life.

And, because I now like some Disney animation, there’s one less reason to send me to Gitmo.

Mike Gold: Suicide Squad, John Ostrander, and My Damn Good Luck

Johnny O Squad LogoAre you tired of all the comics-related movies this summer? I didn’t think so, but I do understand why some of the movie critics are. These poor bastards see a couple hundred movies each year, they have little choice over which ones they must review and after a couple years, the daily smell of hot popcorn must become cloying.

Still, a couple of these writers have become complete assholes about it. Fine, fine. It is a great tradition among the professional critic set to cast their noses so high in the air you’d think they’d drown in a drizzle.

Having just seen The Killing Joke in a real movie theater – that part was cool – I’m only a couple days away from seeing Suicide Squad­ at the New York City screening. I’ll be joining my friend, frequent-collaborator and fellow ComicMix columnist John Ostrander, creator of Amanda Waller and the concept of The Suicide Squad.

This will be a highly personal experience for me. John and I have been friends for 45 years now, which speaks highly of his astonishing tolerance. Amanda Waller and Company first got on their feet in my apartment in Evanston Illinois before I returned to DC Comics in 1986. John and I were plotting the Legends miniseries and, since Bob Greenberger was my assistant way back then and he and John had been kicking some ideas around we decided Legends would provide a great launchpad for the Squad.

We really weren’t sneaking John in through DC’s back door, although that image pleases me. When Dick Giordano offered me the job of senior editor, he was hoping that I would bring John and some of my other First Comics collaborators to the company, or, in many cases, back to the company. This was no surprise: it was exactly the same deal, with the same hopes, that DC’s then-executive vice president Irwin Donenfeld made with Dick when he was editor-in-chief at Charlton nearly 20 years previous.

John and I met because we were comic book geeks. We both were at a party dominated by people in Chicago’s burgeoning theater scene, which gave us the likes of John Malkovich, Laurie Metcalf, David Mamet, Dennis Franz and Joe Mantegna. In fact, John co-wrote the play Bloody Bess that starred Franz and Mantegna. When I arrived, the party’s host recognized me and semi-snarlingly said “Oh, we have a couple of other comic book fans here” and I was escorted to a lonely couch where us fanboys couldn’t infect the others. John was sitting on said couch, and we hit it off immediately.

Friendships come and go; the really good ones can exist forever and endure long periods of limited co-existence. I am lucky to have John in my life as a constant – our friendship never lacked personal contact despite my moving from Chicago to New York, back to Chicago, and then back to New York (well, Connecticut, really). John has also moved around, calling Chicago, Connecticut, New Jersey and now Michigan his home. We share emails almost daily, phone calls frequently, and in-person visits whenever possible (in the comic book racket, that can be with alarming frequency given the now-12 month convention season), often over amazingly great barbecue. John and I have shared our good times and our bad, the worst of which for each of us being the death of our respective wives thirteen years apart.

John Ostrander has always been there for me, and that is why I am looking forward to the Suicide Squad premiere.

Even if the film breaks.

Mike Gold: Archie Is Too Cool For Words

ramones wide

Lately, my Weird Sounds Inside The Gold Mind kickass rock and blues Internet radio show has spilled over into my ComicMix column. But it’s hard for me to restrain myself, and besides, self-restraint isn’t exactly my long suit.

Since every living person, as well as the estates of many of the dead, makes all kinds of “big” announcements at SDCC, the smart people (Hi, Martha!) make their big announcements the week before the show. They’ll get better exposure in the online comics news sites, and this year they avoid having to compete for attention with a 70-year old Creamsicle media hog with severe bigotry issues.

Ramones & ArchieSo our friends at Archie Comics cleverly chose last week to announce their latest bizarre crossover, Archie Meets The Ramones. This past decade or so, Archie Comics (as opposed to the character, Archie Andrews) have been the most innovative and risk-taking of the Original Comics Publishers. Archie has methodically testing new concepts, new interpretations of their characters, super and non, and new ways of running their company to provide the revenue to launch such projects. I think I read all of their new-material comics save their Sonic the Hedgehog line, and I like what they’re doing.

They’ve done unusual crossovers before – Archie Meets The Punisher probably is the one best-known to the ComicMix audience. They’ve done rock’n’roll based crossovers before. But linking up with The Ramones is a whole ‘nother matter. The Ramones were part of the vanguard of the punk rock movement that they, in fact, started back in 1974. It was and remains as exciting and as vital to the form as the blues/folk/hippie rock from the previous decade. One might not think the Ramones to be a good fit with the Riverdale crew, and I highly suspect that previous (and older) management teams might have felt the same way.

Riskier still is the fact that almost all of the original Ramones are dead. They ran until 1996. Joey Ramone died in 2001, Dee Dee Ramone died in 2002, Johnny Ramone died in 2004, and Tommy Ramone died in 2014. Two important notes: First, the “Ramone” surname was contrived; they were no more related to each other than were the Doobie Brothers. Second, they were not the most doomed band in rock history. That privilege goes to Beatles protégés Badfinger; I mean them no disrespect by avoiding the specifics. Wiki’s got them just fine.

Let us not be confused by the fact that one of Archie Comics’ more popular titles is called Afterlife With Archie. Evidently, Riverdale’s typical teen-agers indulge in some serious time-travel. Comics fans get that. Rock fans get that. Your grandparents; probably not. They’ve been working on understanding Doctor Who since 1963.

Archie Meets The Ramones is a very, very clever concept. And it sounds like it’s going to be a lot of fun. We’ll see on October 5th.

The Ramones, The Punisher, KISS, Predator, Glee, Sharknado… Where does Archie go for its next unlikely team-up? Way back in the mid-1980s I whimsically suggested to then-publisher Michael Silberkleit we do a Betty and Veronica / American Flagg! mini-series. He immediately agreed; I suspect he was more familiar with Flagg!’s sales than with its content. But I can’t tell you how much I wanted to see how far I could push that one.

Sigh. Maturity sucks.

So, next time I think Archie and the band should go back in time once again and team-up with the MC5. I’m dying to see what Wayne Kramer www.waynekramer.com would say to Forsythe P. Jones – and vice versa. Maybe Brian Bendis can get a waiver from Marvel; his dialogue skills would work well here. Maybe John Sinclair could offer Juggie a… cigarette.

Yeah. Google that, chillen!

Six Reasons Why Clickbait Works

  • News
  • July 13, 2016

comicmixsix600-550x121-2556367

  1. numbersMost people online can count to nine by looking at their keyboard. However, in the so-called real world the number after “9” is not “0.”
  1. “Clickbait” sounds like “Chickbait” and you’ve already met Chris Hansen.
  1. You missed out on the glory days of our space program.
  1. Your attention span is so short you confuse usatoday.com with the newyorktimes.com.
  1. You can’t understand why there were five people in the Three Stooges.
  1. Welcome to the end of the list. Obviously, it works.

Mike Gold: The Cursed Earth Is Whole Again!

dreddcursed17

Judge Dredd Cursed EarthJudge Dredd: The Cursed Earth Uncensored • Writers: Pat Mills, John Wagner, Chris Lowder • Artists: Brian Bolland, Mick McMahon • Rebellion A/S, $35.00 hardcover, $15.00 Kindle edition. 208 pages.

Almost 40 years ago, I was sitting in my office at DC Comics in Rockefeller Plaza creatively shirking my work when the mail room guy wheeled up to my desk and dropped off a package. It was from my friend Richard Burton, then a major comics fanzine editor in England. It contained the first three issues of a brand new weekly comic book titled 2000 AD, along with a note from Richard noting he would be curious as to my opinion. Hey, free comics for a letter? Fine by me.

2000 AD-2I proceeded to read this new anthology comic. Lucky for me, it is perfectly legitimate to read comics on the job when you’re working at a comic book publishing house. The first issue was great fun, wholly unlike anything I had ever seen come out of the States. Dinosaurs, time travel, futuristic sports, militant counter-revolutionary truck drivers… for 1977, it was great fun that was simply off the charts.

Then I read the second issue. It launched a series called “Judge Dredd” and, if I thought the rest of the anthology was extreme, then Judge Dredd was life-threatening. It was as if Joe Strummer’s best-articulated worst nightmare had come to life. Outrageous, to be sure, with a satirical bite that would send King Kong yelping to mommy. The folks at IPC Magazines invented a whole new age of comics.

2000 AD-1About two months into its second year, 2000 AD started up a 25-week storyline called “The Cursed Earth.” To borrow a term once voiced by Harlan Ellison over a similarly outrageous comics series, “The Cursed Earth” was totally bugfuck. Dredd was tasked to traverse the area between America’s two Mega-Cities to deliver a much-needed vaccine (here in States we usually hire huskies for that job). The Cursed Earth, as the area was called, was a lawless home to a myriad of mutants, militants, misfits and monsters. A horrible, horrible place that Judge Joe Dredd might call “a nice vacation.”

Part of the storyline had one town, owned by the McDonald’s Corporation, declare war on their neighboring town, owned by the Burger King Corporation. Yep, Ronald McDonald and the Burger King led their respective troops into merciless, bloody battle. That worked out well, so Dredd encountered other corporate spokescharacters such as the Michelin tire man, the Jolly Green Giant, Colonel Sanders and my personal favorite, Speedy Alka-Seltzer.

Let me remind you: I just said this was a totally bugfuck Joe Strummer nightmare. It was also one of the most exciting continued stories I’d ever consumed in any medium. Primarily written by Pat Mills (who created 2000 AD) and drawn by Mick McMahon and spelled out by writers John Wagner (who co-created Dredd with Carlos Esquerra) and Chris Lowder and artist Brian Bolland, “The Cursed Earth” was a non-stop joy ride through psychedelic hell. Case in point: the only way to find artists with styles more disparate than Bolland’s and McMahon’s would be to toss Charles M. Schulz into the mix. It didn’t matter. The story worked out seamlessly.

2000 AD has reprinted most of these stories before but had been reluctant to reprint certain chapters after talking with various and sundry solicitors representing certain trademarked spokescharacters. Well, somebody got over this because, as you no doubt noticed, this high-quality reprint is titled Judge Dredd: The Cursed Earth Uncensored.

This is an excellent package, perfect for those of us who have grown a bit jaded by reboots, rebirths and re-tweaks. Just as the times caught up with other cultural barricade breakers such as The Simpsons and South Park, these days the Judge’s stories seem a bit more calm. Hell, after 40 years of weekly publication and a half-century of the companion monthly Judge Dredd Megazine – not to mention sundry original series published in strange foreign locals such as “California” – it is no wonder. But The Cursed Earth Uncensored remains as astonishing and as entertaining as it did in 1978.

Get this book. And while you’re reading it, listen to some Clash records.

Mike Gold: The Wrong Captain America

Captain America StatueYesterday, I awoke to the news that the should-be city of Brooklyn was honoring the 75th anniversary of Captain America with a 13-foot tall bronze statue, to be planted in Prospect Park next month after visiting the San Diego Comic Con. “Pretty cool,” I said to our cats, who I believe responded with “Yeah? Does he have a pro pass?”

Then I saw the sketch. In case you haven’t seen it, look to the left.

That is not Captain America. That’s the guy who starred in the past several movie adaptations. That one hasn’t been around for 75 years, but he has been around for over five billion dollars.

I really hate it when the media adaptations are conflated with the “real” thing. The biggest event in the history of comic books should have been the marriage of Lois Lane and Superman. Instead, it was just another episode of Lois and Clark – an afterthought that was unceremoniously (comparatively speaking) ported over to the comic book. Getting rid of that fiasco actually justified one of DC’s many, many reboots.

Not all stories work out, no matter what the medium. Movies and teevee adaptations are made for their times. This is understandable when a $200 million budget is on the line. I don’t get angry when they “get it wrong” as long as the end result is an entertaining experience. That’s why it’s called an adaptation. But I do get concerned when the adaptation becomes canonical.

There’s a reason why Captain America has lasted 75 years (admittedly, with a couple years off during the 1950s and 1960s). There’s a reason why Superman and Batman have lasted almost 80 years each. Quite frankly, there’s a reason why the reboots of Doctor Who and James Bond worked so well: both were extremely faithful to the source material. Neither character became somebody or something else. Their re-creators understood what made those characters work.

Andy GumpThat’s why I feel it was a mistake for Marvel Comics to replace the Lee and Kirby version of Nick Fury with the Samuel L. Jackson version in their mainstream comics universe. I’m certainly a very strong advocate for diversity in comics. That’s why I asked Joe Corallo to do a weekly column here at ComicMix covering that very issue. But SHIELD is an organization that employs about a zillion people and presumably is a diverse place; coming up with another Nick Fury to track the movies wasn’t necessary.

Statues are likely to last a long while. There’s still a statue of Andy Gump in downtown Lake Geneva Wisconsin – in fact, when some drunken idiot smashed it to pieces in 1967, it was replaced with another. Andy starred in a popular newspaper comic strip called (of course) The Gumps. It ended in 1959 and today very few people know of either the strip or the character. But that statue lives on. It is nice to think it inspires some to Google the name and learn a thing or two about comics history.

Captain America? The movies will be with us in one form or another pretty much forever. The comic book? Sad to say, that’s somewhat less likely – but, clearly, over the course of time more people will know Cap from those movies than from the comics.

I sure hope they get to meet the real guy.

Mike Gold: Our Own, Personal, Joker

Dark Night DiniDark Night: A True Batman Story, written by Paul Dini, drawn by Eduardo Risso • Vertigo Comics, $22.98 hardcover, $13.79 digital.

Wow. This one is tough.

It’s tough to read, it must have been tough to write, and knowing that makes it even tougher to read. Of course, doing so is at the reader’s discretion. The writer had no choice but to live it.

Dark Night is subtitled “a true Batman story” and, well, it is. It is true, and it is a Batman story. And it’s Paul Dini’s story.

Paul is one of those people who needs no introduction. However, if I don’t give him one I’ll be taunting the ghost of my junior-year high school journalism teacher, and after reading this book I don’t want to piss off anyone in the ecto-sphere. Mr. Dini is the well-celebrated writer of animation, television, video games and comic books. He’s perhaps best known for his work on Tiny Toon Adventures and on Batman: The Animated Series. Oh, yeah, and he co-created Harley Quinn with animator Bruce Timm. Now that I’ve made the late Mr. Koerner happy…

Paul_DiniSome two dozen years ago, Paul was walking home in the dead of the Los Angeles night and encountered a couple of muggers who proceeded to beat the crap out of him. Surgery saved his sight and time put the rest of his pulped body together, although – of course – the psychological scars are far more enduring. Your brain scoops up all kinds of life-long memories and turns them up to 11, distorting them like two elephants mating on a wah-wah pedal. The inner-dialog never really ends, even while you try to figure out how to stuff it in its place. In this telling, Paul uses the characters of the Batman, the Joker, Two-Face, the Penguin and, yes, Harley Quinn as that inner-voice, all the while revealing the youthful neuroses common to those of us pop culture fans of baby boomer vintage.

It’s a harrowing experience made all the more horrific for the reader by knowing it’s a hell of a lot easier to read than it is to live. For those few who have never endured any degree of that experience, let me tell you this: releasing the story might be cathartic, but taking another peek into Pandora’s Box is risky to say the least.

Paul Dini is and has been one of the best comics and animation writers of the past 30 years and if all you’ve done is read and watched his stuff, you might not have known of his travails. While writing Dark Night might be his crowning achievement (after all, how you do top your own bloody, painful near-death experience?) in so doing he has taken American graphic novel writing to a whole new level, combining his life, his obsessions and his lifelong fictional posse to reveal a journey no one in his or her right mind would ever want take. People will be studying this book in writing schools forever.

I said this is Paul’s story, and that story is so overwhelming that at first reading you might miss the power and proficiency of artist Eduardo Risso’s work. Don’t worry; it’ll hit you once you wrest your nose from your belly button. Known for his work on 100 Bullets, Alien Resurrection, Wolverine and that other Dark Knight book released this year, his efforts are every bit as worthy as the story. Whomever put together that creative team – Paul, and/or editor Shelly Bond (who will be missed at DC) and/or others – hit the nail right on the head.

A non-fiction story co-starring Batman. Damn. This one was tough… and worth it.

Personal note: Really glad you made it through, Paul!

Mike Gold: Do NOT Look Up In The Sky!

TV Invisible AirplaneQuestion 1: What’s the coolest part of the Wonder Woman myth?

That’s easy. It’s her invisible airplane. Hands down.

Question 2: What really cool looking merchandising item is coming to help celebrate (or milk) WW’s 75th anniversary?

Ummm… It’s her invisible airplane. Among everything else you can imagine.

Question 3: What crucial element of her saga is not in the upcoming Wonder Woman movie?

Oy. Please don’t tell me it’s her invisible airplane.

Hot Wheels Invisible AirplaneJust as I’ve grown comfortable recommending the otherwise dreadful Batman v Superman movie solely for the Wonder Woman scenes, DC Entertainment President Diane Nelson somewhat apologetically told People Magazine “There is no invisible jet. Not in this iteration.”

Feh.

I wasn’t thrilled about the movie being set during World War I, even though it is being released in time to, ahh, celebrate the 100th anniversary of The War To End All Wars. Yes, kids, that’s what WWI was called. And, in that context, WWI was a failure. But I digress.

Then an old-timey 15-watt incandescent light bulb when off over my head. “Wait!!!” I said to me. “An invisible biplane!!! How cool is that???”

Evidently, cool enough for me to use six exclamation points and three question marks.

But such will not come to pass. No invisible plane, bi- or otherwise.

The invisible airplane is as cool as it is completely gratuitous. No, we do not need it. Just as Superman doesn’t need his red trunks, either, but you wouldn’t eliminate that world renown icon, would you?

O.K. That’s a bad example. I’m completely right, but it’s still a bad example.

This isn’t the end of the world, and sure as hell I’m not calling for a boycott of the movie or anything like that. For one thing, Gal Gadot was so … wonderful … in BvS that she deserves our attention, even if Warner Bros. does not.

And who knows? President Nelson talked about iterations. Maybe the invisible plane – invisible jet? – will get polished up for the Justice League movie.

Ha! Just kidding. When it comes to Warner Bros. big-screen adaptation of the sundry DC heroes, we can always count on the Demons of Burbank to screw the pooch.

But, still, it would have been cool.Will Elder Woman Wonder

Mike Gold: Life Goes On

Mike Gold: Life Goes On

Truth Justice and the American Way

There’s a lot to comment about in the comics and popular culture community this week – Rebirth, Civil War II, who screwed over whom but did they really… the usual stuff that promotes our fannish wrath and strokes our inner-nine-year-old. But I don’t feel like it. Sure, I could fake it but you’d see through that in a heartbeat.

In this space yesterday, Joe Corallo eloquently and soulfully expressed his views regarding Sunday morning’s Pulse massacre in Orlando Florida. Joe deftly tied the story in to our comics community, and as a writer and as his editor I applaud his effort. Crom knows I couldn’t top that even if I tried, and there’s absolutely no need to try. So, instead, I’m going to tell you about how a couple of our pop culture icons handled it.

Sunday night, John Oliver attached a two-minute opening to his political comedy news show. Oliver had a problem I wouldn’t wish upon any broadcaster, although most of us have faced lesser versions of it from time to time. Everybody woke up Sunday morning to the news out of from Orlando, and the news junkies among us (ahem) spent the better part of the day watching and listening to the coverage – particularly Brian Williams’ amazing marathon anchoring job at MSNBC. And several million of us pretty much go to bed after watching Oliver’s Last Week Tonight. There are plenty of people who labor in that field; John Oliver’s show was the first one up.

John OliverHe expressed his outrage, to be sure. What he said kinda sorta seemed like an apology for doing the subsequent comedy show, but if you pay attention to what he said you’ll see that was not the case. In fact, he made what I regard as the most gratifying statement I’d heard on the subject: “I will happily embrace a Latin night at a gay club at the theme park capital of the world as the ultimate symbol of what is truly wonderful about America.” Indeed.

Monday, Rolling Stone magazine covered Bob Weir’s comments at Sunday’s Bonnaroo Festival, held in Manchester, Tennessee. The Grateful Dead’s guitarist/vocalist said the anti-LGBTQ rhetoric coming from some prominent members of the Republican party mirrors the language of groups such as ISIS. Weir noted Georgia Rep. Rick W. Allen’s comments from the state legislature, quoting Romans 1:18-32 and Revelations 22:18-19 – the bits about how lesbians, gay men, bisexuals, the transgendered and queers (LGBTQ) are “worthy of death.” Not a steroid-raging young lunatic who had enough cash to buy a Sig Sauer MCX assault rifle, but a member of the state house of representatives presumably elected by the people in his district. You know, a position of honor.

Bob WeirWeir went on to quote Texas Lieutenant Governor Dan Patrick quoting Galatians 6:7. “This morning, the lieutenant governor of Texas using Galatians 6:7 to justify his comment regarding the LGBTQ community: ‘Well, they’re reaping what they’ve sown.’”

Explain to me again the difference between fundamentalist Muslims and fundamentalist Christians and exactly who we should ban from our nation’s shores in order to protect the security of all Americans.

This latter bit comes from the mouth of Republican Presidential Candidate Donald Trump, who, after the Sunday morning massacre, doubled down on his position that Muslims should be banned (somehow) from entering this country. Not that such an act would have stopped the Pulse gunman: this asshole was born in America – in fact, he was born in the borough of Queens, New York City, the same place where Donald Trump was born.

How do we put an end to this madness? Well, of course we must speak up and we must speak out. We cannot stand by idly while our elected psychopaths call for the building of new and improved ovens.

More important, as people involved in our popular culture, both as financial supporters and as creators, we must speak out within the framework of our media and back those who do so. It is our obligation as human beings, and it is most certainly our role as Americans.

Do you need proof of that? Okay, friends. Here it is.

Truth. Justice. And the American Way.

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