Earlier today, the red band trailer for The Suicide Squad was released!
It’s always kind of funny to me how excited some people get over red band trailers, when essentially red band trailers are just the same as regular trailers. The main difference is that you get to hear people curse but is that really that exotic? Red band trailers always remind me of a little kid trying to impress everyone by dropping the f-bomb. I mean, we all already knew that The Suicide Squad was R-rated, right? Maybe it’s just that I’ve seen so many Italian horror trailers that everything now seems tame by comparison. I mean, once you’ve seen the trailer for Zombie Holocaust, it’s hard to be shocked.
Anyway, people with far more knowledge of The Suicide Squad than me are excited about this trailer so I will refrain from being too critical. I mean, the trailer gets the job done. If you were excited to see The Suicide Squad, I imagine that you’re still excited. I think the only recent trailers that actively turned people from seeing a films that they might otherwise see were the trailers for Ghostsbusters and Cats.
Myself, I’m just looking forward to seeing what James Gunn does with the material.
Anyway, here’s the trailer!
This was published in 1957. One thing that always amuses me about covers like this one is how surprised we’re supposed to be that a woman can have a job. It’s not enough that this is a book about the love life of a disc jockey. The cover makes sure that we know it’s about a “girl disc jockey.”
She’s also a “Big-Town Hellcat,” which I guess is better than being a “small town hellcat’ but not up to the level of being a “city hellcat.” I can’t help but notice the man on the cover is offering her a cigarette but not a light. Maybe that’s why they’ve got that fire roaring in the fireplace.
Unfortunately, the identity of the artist of this cover is unknown.
Every 80s hair band had to have at least one song that showed that, underneath all the debauchery and the partying, they were actually sensitive poets. Motley Crue had Home Sweet Home. Def Leppard had Two Steps Behind. And Poison had Every Rose Has Its Thorn.
This song was inspired by Bret Michaels’s relationship with his then girlfriend, Tracy Lewis. After playing a show in Dallas, Michaels called Lewis in Los Angeles and, in a scene reminiscent of Pink Floyd’s The Wall, he was shocked when another man answered the phone. Michaels wrote the song the next day while sitting in a laundromat.
(Presumably, the death of the landline phone has all but eliminated the risk of getting caught cheating as a result of the wrong person answering phone.)
The concert scenes in this video were filmed at a show in Green Bay, Wisconsin while the scenes of Bret Michaels and his girlfriend (his Rose?) were filmed in a warehouse. The video’s director, Marty Callner, was one of the top music video directors of the 80s and 90s. He worked with just about everyone.
Incidentally, Poison is a band that I always used to make fun of but then I saw them interviewed in Penelope Spheeris’s The Decline of Western Civilization Part II and they came across as being surprisingly well-adjusted, especially when compared to W.A.S.P’s Chris Holmes, who was famously interviewed while floating in a pool and pouring a bottle of vodka over himself.