By Rick Polo (Editor-in-Chief)
2015 has certainly been a busy year for model and upcoming actress Colleen Hagerty. The young starlet has not only landed roles in two feature horror films, but her modeling talents have been published in several major publications including a long-running stint in the Horror/Erotica magazine, GOREgous Girls. She has visited the Playboy mansion, performed at the Gathering of the Juggalos and has appeared at a number of horror cons.
Hagerty, whose modeling alias in Miss Kittee, is looking to take her career to the next level. The Raw Alternative recently sat down with Miss Kittee to discuss showbiz, breaking out of a small town and all things horror!
THE RAW ALTERNATIVE: Tell us a little about yourself: How long have you been modeling/acting?
MISS KITTEE: I’ve been modeling for a little over two years now and I actually just got into acting maybe eight months ago.
RA: How about some of the films you’ve been featured in previously?
MK: I’ve done a lot of background work in some Indie films mostly in the Cleveland area. One of them is called Contract: Redemption, and it’s based off of the Hitman games. I would say about five months ago I decided to start going for speaking roles and I’ve actually been nailing the auditions.
RA: Tell us about your current film: What is it? Who will you be playing? Who’s directing?
MK: I’m currently involved in two, possibly three films, right now. One of them is called Muck: The Feast of St. Patrick. It’s a horror film and right now I don’t know my character’s name for it. The director of that one is Steve Wolsh. The second film is currently being called The Director’s Cut, until he decides on a more fitting name. It is also a horror film and my character for this one is named Raven. The director of if is Col. Richard Hunter. Then there is the third film that I just recently auditioned for and am waiting to hear back about. It’s called Gretchen’s Lock and its a horror film based off of Gretchen’s Lock out in Salem, Ohio. I auditioned to be Esther Hale, but they also had me read for two other characters, Amy and Jenn. This one is also a horror film and is being directed by Josh Menning.
RA: How did you get involved with these projects?
MK: The first and third film I got involved with because of my one modeling group, GOREgous Girls. My photographer Eric “eRock” Littlefield was promoting the Muck movie and I asked if he could talk to the director about me and see if I could get even just a walk on role, and then it turned into going to the PlayBoy Mansion with him, meeting the director, and getting a bigger part. For The Lock film, one of the models found it and sent the link to eRock to post of all the models to see and I submitted and landed and audition for it. The Director’s Cut movie the director actually found me on Facebook though my modeling things and asked me to audition and that got me the role of Raven, a victim, for his film.
RA: You’ve had a very success career model thus far. Tell us a little about that world. Did your modeling work lead to your acting work?
MK: My modeling definitely did lead to my acting. If it wasn’t for my modeling I would have never gotten into GOREgous Girls or worked with other photographers and I probably never would have gotten half the opportunities that I have now. Modeling can be pretty crazy. You use a lot of muscles you didn’t think you would and sometimes you have to stand in the most uncomfortable position for what feels like forever, but in the end its honestly so worth it. I love every minute of it and wouldn’t trade it, or the people I’ve met, for the world.
RA: What do you enjoy most about what you do?
MK: The amazing people I’ve met and the crazy things I’ve gotten to do. I got to go to the PlayBoy Mansion with eRock and Jessy, who is our MUA (she does our crazy blood and makeup and our hair). I got to go to Vegas, I’m going to be going to Cape Cod for filming in early October. Jessy and her family have become like a second family to me. Along with the GOREgous Girls group in general. We are like one big family and I love that so much.
RA: What are some of your favorite horror movies, or favorite types of horror movies?
MK: It would have to be the oldies like Halloween and Friday the 13th. I really like the campy horror films too though. They aren’t scary, but still fun to watch, like Sharknado or Zombeaver.
RA: You recently starred in a music video. Tell us a little bit about that. Did you volunteer or were you asked to take part?
MK: The music video was awesome! It was for this Horrorcore/Muder Rap artist, Restriktid, from the Toledo area. I actually met him a few month prior at The Gathering of the Juggalos where I was at with my GOREgous Girls modeling group. Restriktid’s wife actually got a hold of eRock and asked him to ask his girls to get bloodied up and play victims or bodies in his new music video for his song “Loose Cannon.” That was a blast. I got to get prettied up and then bloodied up to jump around in a grave, a cage, even a well like area, just crazy things like that.
RA: What’s next for you? Is this the humble beginnings of a bright career?
MK: I truly am hoping this is a beginning to an awesome career! A lot of the people I’ve been in contact with are really interested in working more with me and some of the other girls. I’m just going to keep trying my best with my modeling and my now acting careers and see how far they can take me.
Hagerty has been featured in every issue of GOREgous Girls magazine since its inception. You can check out here appearance in “Loose Cannon” by Restriktid here, as well as some exclusive stills from the video shoot and more by clicking the links below.
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By Rick Polo (Editor-in-Chief)
By the late 90s, the promising musical landscape that was “Alternative Rock” took a dramatic turn into strange, unsettling territory. And there was none more unsettling than that of Nu Metal.
This hybrid genre, comprised of post-Thrash groove metal, alternative rock and rap/hip-hop, left a very bad taste in the mouth of 90s alternative audiences. The decade that saw the rise and mainstream success of acts as influential and diverse as Jane’s Addiction, Red Hot Chili Peppers, Soundgarden, Pearl Jam, Nine Inch Nails, Kyuss, Smashing Pumpkins and Nirvana to name a few, fizzled out into an instantly nostalgic radio-rock wasteland.
Enter Nu Metal: A bastardized version of alternative metal which filled the gap between Electronica and third generation post-grunge.
Looking back, rock music was almost just as much an integral part of rap and hip-hop at its inception as anything else. DJs lifted just as many samples from 70s hard rock as they did from funk and soul. The idea of a slick, repetitive guitar riff under and funky beat was undeniably infectious, as proven on Run DMC’s rendition of Aerosmith’s “Walk This Way:” The first major hybrid hit. Also, in the late 70s, punk and hip-hop were akin to one another, speaking socio-political truths to disenfranchised youth.
By the early 90s alternative scene, acts like Faith No More and Rage Against the Machine had emerged. With their aggressive heavy metal guitar overtop deep grooves and rap-like vocals, new audiences flocked. With the former taking it to experimental and avant-garde territories and the latter taking on a punk rock-esque political platform, the musical marriage undeniably made sense. By the mid-90s, angst-driven metal-ish acts like KoRn, Deftones and Limp Bizkit ushered in and solidified the sound of Nu Metal, taking the groove and hip-hop influence even further, with downtuned, bass-like riffs, screamed/growled vocals and later introduced a Turntable-spinning DJ as a predominant instrumentalist.
In its humble beginnings, the genre seemed just as promising as any of Lollapalooza-era offshoots. However, by the time of its peak mainstream accessibility, it failed to capture the admiration of either heavy metal or rap audiences. It instead found it’s niche in (predominantly) white suburban teen angst. The fashion choices of this scene are perhaps cringe-worthy enough (baggy clothes, overly-abundant accessories, poorly spiked hair), but what about the music itself? Here is a look at some of the best and worst the Nu Metal scene had to offer…
Incubus – Make Yourself 1999
Of all the acts from this scene, Incubus may have been the most musically diverse, and certainly had the best vocalist; Brandon Boyd. The album features signature scratching and rapped vocals, however, they are used sparingly and actually add quite a bit of flavor in contrast to Boyd’s impressive vocal range. Lyrically, the album isn’t as angst-y as most of its contemporaries either, and instead takes turns into the philosophical and ethereal. The album as a whole has more in common with post-grunge than KoRn. One could argue that if the scratches and raps weren’t present, it’d work as a decent Stone Temple Pilots record. The band would eventually abandon the signature Nu Metal sounds all together on future releases and explore more alt-rock territory on later releases. Overall, Make Yourself holds up rather well almost two decades later.
Slipknot – Slipknot 1999
Perhaps the most aggressive and extreme of their contemporaries, Slipknot drove deeper and darker than your average teen angst Nu Metal act. The fact that they wore unique masks and dressed in post-dystopian-like jumpsuits worked as both a gimmick and the most initially intriguing aspect of the band. The music was ugly, and sounded just a bit more demented than the rest of the crop. Slipknot incorporated elements of Industrial, Thrash and Death Metal, along with distorted turntables, horror film samples and hard-edge rapped vocals (possible influence on Tech N9ne?). Their chugging guitars were not far off from those of Ministry. They would eventually go darker and heavier on their follow-up Iowa, before teaming with Rick Rubin for more crossover appeal on 2004’s Vol. 3: The Subliminal Verses. Still, their debut stands out like a severed head in a period of mostly dormant heavy metal.
Sepultura – Roots 1996
Is it fair to label Sepultura a Nu Metal band? Absolutely not. The Brazilian quartet took Thrash metal into exciting new places in the early 90s with albums like Chaos A.D., and also made a name for themselves as an early Death Metal act in the late 80s. So what happened? Finding influence in their native Brazilian and African percussion-heavy “roots,” and looking to emerging acts like KoRn and Deftones, they teamed with producer Ross Robinson for something new and heavy. Robinson’s signature sound saw the band eliminating almost all high-end from their guitar sound, trading leads and guitar solos for low, downtuned riffage. For what it was, and when it was, its the perfect marriage of old and new school heavy metal. Both new and old fans embraced this momentary direction. Frontman Mx Cavalera would eventually abandon Sepultura entirely to go in a complete Nu Metal direction with his next, and currently still-running band, Soulfly.
KoRn – KoRn 1994
It’s almost hard to believe this album came out at a time when Nirvana, Soundgarden and Smashing Pumpkins were dominating the rock landscape. The sound was at least three or four years ahead of its time, and no one sounded like KoRn before KoRn. Their decision to utilize (then-cutting edge) seven-string guitars and tune them a whole step lower, was something unheard of even in the deepest corners of extreme metal. Their riffs steered far away from traditional heavy metal by sounding more percussive, with all instruments locked into a tight, heavy groove. In ’94, Death Metal was still a very underground phenomenon, and this was the heaviest thing to alt-rock audiences since Pantera. As a result, it spawned a new approach to metal which would come to the forefront in the late 90s and early 00s.
Deftones – Around the Fur 1997
With their sophomore release, Deftones took the rough edges of their debut, 1995’s , smoothed out some, and sharpened others. The vocals, although still mostly screamed, had just enough accessibility to lift the song to higher levels when needed, without losing any edge. The riffs were still very grove-heavy, but stronger. The main difference between Around the Fur and Adrenaline was that the band learned when to hold back before exploding, giving these tracks a truly powerful impact. There are hints, albeit few and far between, of the Post-Punk and Shoegaze avenues the band would eventually take. However, Around the Fur is probably the most artistic record of the Nu Metal era.
System of a Down – Toxicity 2001
Toxictiy was undobtedly a powerful nail in the coffin of Nu Metal. Sure, the band played low-tuned groove-riffs with the occasional growled vocal. But of any of their contemporaries, System of a Down took note from the genre’s most high-profile inspirations; Faith No More and Rage Against the Machine. The spastic outbursts and odd time signatures clearly harkens back to the best days of Faith No More and Mr. Bungle, while their socio-political overtone is of the strongest since the heyday of Rage. The middle-eastern influences and overall quirkiness also set the band light years apart. Toxicity is often referred to as an essential metal record.
Soulfly – Soulfly
KoRn – Follow the Leader
Stuck Mojo – Stuck Mojo
System of a Down – System of a Down
KoRn – Take A Look In the Mirror 2003
By 2003, KoRn were basically the lone survivors, smoldering in the rubble of Nu Metal. And they weren’t in the best of shape either. After failing to find a groove or produce anything new or interesting for several years, Take A Look In the Mirror sounded like a tired reflection of the innovative sound the band became known for, only worse. The lyrics are angry for the sake of being angry, and cheesy to the point of no return. The riffs sound like uninspired rehashes of earlier work. The inclusion of rapper Nas on a track sounds like a failed attempt to recapture the magic of earlier collaborations with Ice Cube. Although the band would try their hand at more electronic and Industrial sounds on future releases to mixed results, this album will forever serve as a glimpse at the end of an era.
Evanescence – Fallen 2003
Evanescence attempted to trick many a young pre-teen and teen girl that their generic, commercial brand of post-grunge Nu Metal was hip and Goth. Shame on them! Although singer Amy Lee has an impressive vocal range, the overuse her high-pitched soprano overtop cheesy, formulaic riffs doesn’t do much other than tire the listener. The fact that Fallen saw much mainstream success at the beginning of the decline of the music industry is also a testament of what the record industry was pushing on the masses during its last breaths. The band declined after this release.
Papa Roach – Infest 2000
Not sure what’s worse: The fact that Papa Roach rose to fame with generic rap-rock anthems of angst at the height of the genre’s reign or that they morphed into some awkward cock rock band who still saw success after its demise. One thing is for sure: The undeniable irony. And it makes perfect sense. Infest was as whiny, angst-y, and lyrically idiotic as it got in terms of frat boy Nu Metal. With the rise of bands like Limp Bizkit, Nu Metal saw success in pop territory, and Papa Roach did well to exploit that. And, unfortunately, they still do.
Linkin Park – Hybrid Theory 2000
By the time of Linkin Park’s debut, Nu Metal was down to a science. Find a group of angry suburbanites who lived through the grunge years, were exposed to punk and Industrial but never quite got it, and who had a deep appreciation for aggro-Gangsta Rap and BAM! You have a successful Nu Metal band. Linkin Park did little, if nothing, to further the genre. Instead embodied literally all of its tacky cliches. Hybrid Theory, a massively successful record, serves as their crowning achievement. And understandably, as it represents this genre at its mainstream peak. It was possibly the biggest crossover hit, having just enough edge (in terms of Nu Metal) for the hardcore fans but enough fluff for rock and pop radio. Linkin Park would go on to attempt Electronica and more traditional radio-friendly alt-rock to moderate success, however the scars of Hybrid Theory are too deep not to notice.
Limp Bizkit – Chocolate Starfish and the Hot Dog Flavored Water 2000
Initially, Limp Bizkit seemed like a silly joke. Kind of a far-inferior version of Primus; wrought with redneck humor, but overall lacking in artistic integrity. And it was okay. They sounded like douchey frat boys and they owned it. Take into consideration some stellar musicianship, especially from guitarist Wes Borland and bassist Sam Rivers, LB might not seem so bad. It wasn’t until their third album, 2000’s Chocolate Starfish and the Hot Dog Flavored Water, that the real moronic nature of vocalist Fred Durst hit it’s all time high, or low. With jabs at pop starlets, alt-rock titans like Trent Reznor, and whoever else he didn’t like, Durst put it all on tape, ultimately embarrassing only himself. Musically, it sucks. That’s about it. Lyrically, your dog’s farts might be more profound. There are no redeeming factors here (Sorry Wes). You’re best off to just move along.
Flaw – Through the Eyes
Limp Bizkit – Results May Vary
Papa Roach – LoveHateTragedy
Dope – No Regrets
Adema – Adema
- 2014: A Year in Review
- Our Top Picks of 2014
- Our Top Albums of 2014
- Our Most Anticipated Albums of 2015
- Smashing Pumpkins Mezmorize on ‘Monuments to An Elegy’
By Jennifer Elizabeth Rose (Social/Cultural Writer and Music/Arts Historian)
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By Jennifer Elizabeth Rose (Social/Cultural Writer and Music/Arts Historian)
As many bands throughout Europe began to be more and more influence by Scandinavian Black Metal one of those pocket regions that rose to this movement was the Slavic regions.
Indeed there was an almost camaraderie between the two regions at least musically and they often respected and acknowledged each other’s influence on each other. Fenriz, the drummer for Norwegian black metal band Darkthrone, said on the band’s MySpace that the Master’s Hammer debut LP Ritual from 1991 “is actually the first Norwegian black metal album, even though they are from Czechoslovakia.”
Although the Slavic bands would general employ a quality that would eventually be known as yet another subgenre that is still flourishing to this day: Blackened Death. It was perhaps a combination of Czech Republic’s Torr (http://www.metal-archives.com/bands/T%C3%B6rr/4399) formed in the 80’s and Poland’s Vader and the original elements of Scandinavian black metal’s originators that influenced the early influential bands such as Master’s Hammer and Root.
Both Master’s Hammer and Root said Bathory heavily influenced them. In addition, Master’s Hammer was also influenced the by the extremely technical aspects which Carl Czerny and Giuseppe Verdi which employed in their compositional styles. Master’s Hammer enjoys a reputation among of the most respected metal acts as composers. Such influences among these early bands would lead to the orchestral metal influences in this region just as it did in Scandinavia.
Artwork on records became quite distinctive (and often unusual) in this region. One of the first contributions in this scene actually came from Master’s Hammer vocalist František Štorm, who did the artwork for Root’s first single, “7 černých jezdců / 666,” and their first full length, Zjevení. These and their later albums reached to other parts of Europe, namely to Portugal where the very successful Moonspell is from. They were greatly influenced by them. Root was indeed an early prominent band and was active until only about a few years ago.
In fact, many bands from this region enjoyed a longevity that unfortunately the Scandinavian black metal scene did not. Many are still currently active. One example that also has a great fan base to this day and who also solidified in 1991, is Behemoth from Poland. Their early works were demos on the small Polish label, Pagan Records but later came full length, Sventevith (Storming Near the Baltic) in 1995.
A year later, they recorded their second album Grom: A stellar example of Black Metal in its starkest form, it is often the most overlooked Behemoth record. The album hits upon themes not dissimilar to Viking Metal with titles such as, “The Dark Forest (Cast Me Your Spell)” and “Spellcraft and Heathendom,” lead singer Nergal seems to be tapping into his own interest in paganism as Quorthon of Bathory did before him. There are decided Black and Viking Metal influences and the record (from 1996) sounds much older but the influences they took from all those elements and what Vader started in the 80’s, Master’s Hammer and Root in the early 90’s is how Slavic Blackened Death would become completely developed.
Grom as well as other early Behemoth records were unique and ethereal, but Grom was especially important, as it was a pivot between applying what they knew black metal as and the band’s starting to experiment with their own takes of it. Tracks with very madrigal style female and children’s vocals and purely Polish lyrics became something of an archaic harkening to Slavic lands in Ancient and Medieval times.
As Behemoth went on to be the most notable band from the Slavic region to refine the blackened death genre, we must not forget the bands a long the way from other regions that were influential such as Akercocke, Belphegor, and Sacramentum. However, Behemoth became more political and critical of Catholicism in their native Poland just as Quorthon was in Sweden and they are still going strong with many of these sentiments as well as thought provoking lyrical themes of many kinds in addition to exploring different subgenres of metal. On their new album, The Satanist (that we reviewed in March) they seem going back in time by using older methods and songwriting styles just as the bands of the early Slavic scene had done before them. It is good to know your musical history.
All of the aforementioned bands as well as some of the lesser known independent acts (which I unfortunately cannot decipher enough of the languages to adequately add to this article with accuracy.) But they all seem to all be going strong – Many since the 80’s. Which is an interesting contrast compared to much of the Scandinavian Metal scene where tragedy abounds. Maybe they applied their own cultural takes on Black Metal and instead of “praising Satan” they embraced Vampirism or perhaps they found a better balance with religious assimilations of their Slavic paganism and Christianity that the some of the Scandinavians did not. (At least not among the hype of the crowds.)
All in all, I find the music of these regions and the blackened death subgenre, genuine and both dark and ethereal… Very interesting music. Please check it out.
In addition to my Picks of the Week (from June 2014) leading to this article Here is a list of picks (as chronological as possible) for your enjoyment!
Vader – Dark Age
Törr – Kladivo na čarodějnice
Master’s Hammer – Ritual Full LP
Master’s Hammer – Až já budu v hrobě hníti…
Root – Píseň pro Satana
Behemoth – The Dark Forest (Cast Me Your Spell)
Behemoth – Alas, Lord is Upon Me
IN THIS ISSUE:
- Kaiser Chiefs in Top Form on Fifth LP
- Chris Robinson Brotherhood to Thoroughly Rock Cleveland
- Industrial Metal Pioneers Godflesh Return to Gloomy Glory
- Masked Intruder Take Hold with Sophomore Disc