Just when you thought you couldn’t get enough of Spinal Tap, director Rob Reiner puts into words the story of how perhaps the most referenced band of all time came to fruition, with the help of key players Christopher Guest, Michael McKean, and Harry Shearer for A Fine LineBetween Stupid and Clever: The Story of Spinal Tap.
From each member’s early beginnings within the entertainment world, to how they each eventually came together in the ’70s and created the ultimate rockumentary with 1984’s This IsSpinal Tap (and all the false starts that occurred prior to it).
It also helps fill in all of the gaps between the original movie and its recent sequel Spinal Tap II: The End Continues, including brief reunions and one-offs, and other pop culture appearances over the years (yes, their ’90s cameo on The Simpsons included, too).
But that’s not all; finish A Fine Line Between Stupid and Cleaver and flip it over and you’ve got Smell This Book, a fictional Q&A on the band’s history from each of their alter egos. Not as strong as the other side of the book, but entertaining in its own right.
I had to laugh when I had my own “Spinal Tap” – esque moments while building this very article and the initial photo I uploaded for it was smaller than an eighteen inch Stonehenge (if you know, you know!), not to mention the typo originally found in this very article’s title! Without a doubt, the legacy created by these four guys will continue to endure through the ages/until we’re all “Rockin’ in the Urn” like a Derek Smalls original.
Typically when asked what my “favorite movie of all time” is, I struggle to give a definitive answer. But in the field of comedy films, for decades now my mind has almost instantly always gone to 1984’s This Is Spinal Tap, the rock mockumentary featuring the fictional band of the same name. So as soon as I heard the news about Spinal Tap II: The End Continues, I knew I would be there on opening night (or more accurately, an early IMAX screening of it on September 10).
The film itself follows the core of Spinal Tap, Nigel Tufnel (Christopher Guest), David St. Hubbins (Michael Mckean), and Derek Smalls (Harry Shearer) reuniting after a fifteen year gap for a comeback concert in New Orleans, all while being filmed again by Director Marty Di Bergi (Rob Reiner).
Inner band turmoil and the search for that ever elusive drummer all ensue, and there’s appearances by the likes of Paul McCartney and Elton John (among others). But the jokes unfortunately don’t always go to “11” this time around, despite how hard they may try to (although the pay off in the end is rather satisfying).
Flyer for the previously-mentioned early showing of Spinal Tap II the author attended on 9-10-25, although the Q&A advertised here was nowhere to be found, only a brief introduction from Director Rob Reiner prior to the film was present.
Can I recommend Spinal Tap II? Of course. But if you’re not as big of a fan of the first film as myself, you might find yourself lacking interest in the proceedings here. But still, we live in a world where Spinal Tap (the band) are still around to give us at the very least one more round; that alone can’t be all that bad.
I’ve never been one for the standard “What’s your favorite movie/band/album/etc…” question as I’ve always found it near-impossible to answer. However, certain titles will almost always instantly pop up when pried, and in the case of films, 1984’s This is Spinal Tap usually is my go-to answer as far as personal favorites go (without a doubt at least in the comedy genre, if not overall).
Originally released on March 2, 1984, there’s simply something comforting about the movie and its characters that will almost always make me stop if it’s playing somewhere. I can’t really recall the first time I ever watched it in full, but I definitely remember many a times watching it; sometimes with friends while sharing drinks and laughs, other times alone in the middle of the night while simply battling insomnia. Either way, the ‘Tap have just always been there for me, one way or another.
Set up as a documentary (or “mockumentary,” if you will) with actual director Rob Reiner portraying a filmmaker chronicling the fictitious band Spinal Tap’s storied history within the film itself, it’s so realistic it almost feels real as he interviews David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), Derek Smalls (Harry Shearer), and the numerous drummers that came and passed throughout the years (one of many running gags).
Copy of This is Spinal Tap on DVD and the band’s 1992 album Break Like the Wind on CD from the author’s personal collection.
From getting lost on the way to the stage, to Stonehenge and amps that “go to eleven,” there’s no shortage of genius classic moments and quotable lines that can be found. Even the companion soundtrack, with such masterpieces as “Big Bottom” (with lines like “Talk about mud flaps, my gal’s got ’em!”), “Hell Hole,” and “Tonight I’m Gonna Rock You Tonight,” are all brilliant in their own ways.
The lasting impact of the film cannot be understated. From McKean and Shearer appearing as their respective characters St. Hubbins and Smalls on the charity group Hear ‘n Aid’s 1986 single “Stars,” to the band appearing on a 1992 episode of The Simpsons (not a far stretch considering both McKean and Shearer had each already done voice work on the show prior). The “band” themselves have also since occasionally performed live and even released the albums BreakLike the Wind (1992) and Back From the Dead (2009).
Plans of a sequel were first announced in 2022, with reports that filming had started (with Reiner and the core cast members all attached) early this year. Whether or not the new film will be a worthy follow up or not still remains to be seen, but one thing is for sure there’s no denying the legacy the film – and Spinal Tap themselves – have created. Turn it up to eleven, and enjoy.
I wasn’t around in the ’70s, so my first impression of actor Howard Hesseman did not come from the hit TV show WKRP in Cincinnati as it had for many before, but instead the ’80s high school sitcom Head of the Class. As a kid at the time with four older brothers and sisters, all mostly high school aged by then, it was easy for me to fall in love with the show and relate to its characters, who I was able to equate to my older siblings. And it was just as easy for me to picture Hesseman’s portrayal of Charlie Moore as someone who could have just as easily been a teacher of mine as well.
Originally a native of Oregon, he rose to prominence in the ’60s as a member of the improv comedy troupe The Committee, as well as an underground DJ for a San Francisco-based radio station, a job that would no doubt help shape his eventual iconic role as Dr. Johnny Fever on WKRP. By 1968, he landed acting gigs in his first film Petulia, and first TV show, a memorable appearance on the hit police show Dragnet.
Throughout the ’70s, he continued to make notable appearances on such classic shows as Sanford and Son, Laverne and Shirley, and The Bob Newhart show, before eventually landing the career-changing role on WKRP in 1978, a job that would keep him occupied until 1982. By the ’80s he was appearing in such big name films such as Clue (1985) and, one of my personal favorite films of all time, 1984’s This is Spinal Tap.
Hesseman also appeared in what would eventually become my favorite Police Academy film (something I would even relay to series producer Paul Maslansky when I spoke to him last year for Rewind It Magazine), 1985’s Police Academy 2: Their First Assignment, before landing the Head of the Class role the following year in 1986 (which would last until 1990).
When I also spoke to actress and Head of the Class co-star Khrystyne Haje last year for Rewind ItMagazine, she had nothing but praise when it came to her time working with Hesseman, stating; “I always admired Howard’s work, and he became just such a mentor to us all. He’s not only a gifted actor, but he’s also a great comedic actor, and was a great example to me as well. He was really invested in the character he played, and it was an honor to get to work with him.”
Hesseman continued acting well into his 70s, both revisiting his role as Dr. Johnny Fever again on The New WKRP in Cincinnati in the early ’90s, and replicating it via several appearances on That’70s Show in 2001. His last television appearance was on a 2017 episode of the ABC comedy Fresh off the Boat. He passed away just two days ago on January 29 due to complications from colon surgery. He left behind a wife of 33 years, Caroline Ducrocq, and a void in the entertainment world like few others. He will be missed dearly by many for years to come.
The FX series What We Do in the Shadows is top-notch, quality entertainment. No detail is spared, from the sets, costumes, special effects, and makeup, the show retains every theatrical element of the 2014 New Zealand horror comedy film of the same name.
The movie was directed by Jemaine Clement of Flight of the Conchords fame and Taika Waititi, writer/director of the acclaimed Jojo Rabbit (2019), among other films. Their unique, fresh, and often hilarious take on the vampire genre was seamlessly adapted into a television series that just wrapped up its third season. Clement and Waititi are heavily involved in the show’s production and even reprise their roles from the film as sitting members of the esteemed Vampiric Council.
The series continues the trend of portraying centuries-old vampires living together in modern times. Their escapades are captured by a documentary crew in the vein of The Office and other “mockumentary” comedies. This is Spinal Tap (1984) was an early example as was the Albert Brooks satire Real Life (1979). Brooks’s movie is about a documentary filmmaker living with an all-American family to capture their daily lives, but in Shadows, we don’t know who the documentary crew is. Most of the time, we forget they’re even there.
I contend that Shadows is the best comedy show since It’s Always Sunny in Philadelphia (now approaching its fifteenth season). They both rank, in my twisted opinion, as the finest sitcoms of the past decade. Their sharp, outlandish humor and perfect casting lead to hysterical results. They’re also both property of the FX network, who played their cards right with two gems that continually restore my waning faith in American comedy.
What We Do in the Shadows premiered on television in 2019. At the time, I was a tad confused by the trailers showing a different group of vampires living together in New York. I didn’t know if it was a direct adaptation of the movie or something completely different. A few episodes in, I was sold by its fast-paced humor, deft comedic timing, and high production values.
The show follows four vampire roommates in their gothic Staten Island home, having traveled to the U.S. from Europe decades prior. There’s suave, sex obsessed Laslzo Cravensworth (Matt Berry), his vampire bride Nadja (Natasia Demetriou), bachelor Nandor the Relentless (Kayvan Novak), dedicated familiar (now bodyguard) Guillermo de la Cruz (Harvey Guillén), and energy vampire outcast Colin Robinson (Mark Proksch).
Each character plays a vital part to the overall story. As roommates, the vampires are dysfunctional, aloof, and completely moronic. That, among other traits, is just part of the charm. The undeniable chemistry between the cast propels the show’s offbeat, unique brand of humor and clever writing. Though seemingly episodic in nature, there is an evolving plot that advances with each season. And if the largely brilliant third season showed us anything, it’s that Shadows shows no signs of slowing down.
The premiere of the ten-episode season begins with “The Prisoner,” featuring hopelessly loyal familiar/servant Guillermo locked in his vampire masters’ basement after slaughtering a hoard of vampires who had entrapped Nandor, Nadja, Laszlo, and Colin into attending the prestigious Nouveau Théâtre des Vampires. The entire event was a trap to execute them for murdering other vampires, namely the ancient Baron Afanas from the earlier season. What no one knows is that Guillermo has been inadvertently behind all the vampire deaths thus far. As a descendent of famous vampire killer Abraham Van Helsing, it’s in his blood.
Following the theater massacre, the vampire roommates are unsure what to do with Guillermo. He saved their lives, but he is also a vampire killer by nature. Though Guillermo is caged and presumably prisoner, the gang don’t notice as he slips out of his cage each night to do his chores at night and look after them. He even has time to go to Arby’s during the day. They eventually decide to let him live and “release” him with a promotion to bodyguard. This, of course, follows an ineffective ritual where they engage in a hypnosis ritual to prevent him from harming them.
Meanwhile, the Supreme Vampiric Council deliver a videotaped message, informing Nandor, Nadjga, Laszlo, and Colin that since all the powerful vampires of New York area were killed, they, in fact, will be appointed the head a new council. Nandor and Nadjga immediately square off for the throne as Guillermo schemes in the background.
Guillermo’s intriguing development throughout the series continues unabated. After ten years of service, he remains entirely dedicated to his master, Nandor with hopes of becoming a vampire one day. It’s revealed early on, however, that no familiar ever actually becomes a vampire. But Guillermo’s budding confidence and increasing friction with Nandor provide some of the show’s most genuine depth.
The third seasons contains four brilliant episodes, four good ones, and two that are slightly filler. In one particularly stellar episode, the troupe go on vacation to Atlantic City, where they barely survive due to the cleaning woman throwing out their bags of native dirt needed to sleep. In another, Nandor joins a cult-like wellness center of “formerly fanged” iconoclasts who have rejected vampire lifestyle and wish to become human.
We see the return of the Baron Afanas (what’s left of him anyway), incredibly played by Guillermo del Toro regular Doug Jones. Nadja rises in the council ranks as Nandor grows sullen and depressed by his loneliness and immortality. Laszlo strangely links up with Colin Robinson for many episodes, and we soon find out why. Energy vampires only live for a hundred years, and Colin is nearing his 100th birthday.
The third season begins and ends on a high note. Both episodes are perfect bookends to an engrossing storyline that provides real growth for its characters, despite their farcical environment. Shadows shows that, human or vampire, we all desire purpose. By the finale, Nadja has been invited to join the Supreme Council in London and frets leaving Laszlo, her love, due to his hatred of the old country.
Nandor, meanwhile, embarks on his journey of self-discovery, leaving Guillemro feeling distraught and abandoned. Their shocking all-out brawl is a series highlight, where Nandor, acquiescing to Guillemero, turns to the camera and says, “That little fucker can really move when he wants to.” A lot more happens, including Colin’s death and bizarre rebirth, and we’re left with a litany of questions by the end. The fourth season can’t come soon enough.
Few fictional ‘rock’ flicks have ever perfectly captured the essence of sex, drugs, and rock and roll as well as 2001’s Rock Star. Tagged with the line “The story of the wanna be, who got to be,” its source inspiration was drawn from the real life fairy tale of Tim “Ripper” Owens, who landed the dream job as frontman for heavy metal legends Judas Priest after being discovered singing the band’s material in a cover band.
Directed by Stephen Herek, the film uses this idea to tell the story of Chris “Izzy” Cole (Mark Wahlberg), who goes from singer for a Steel Dragon cover act, to the real deal almost overnight. He instantly feels all of the highs and lows going from obscurity to the big leagues, with many of his personal relationships ultimately straining as a result, including his romance with girlfriend/manager Emily Poule (Jennifer Aniston).
Having previous experience as lead singer for Marky Mark and the Funky Bunch, Wahlberg pulls off playing Cole like a pro. He’s surrounded by more ‘real life’ musicians throughout the film, with guitarist Zakk Wylde (Ozzy Osbourne/Black Label Society), bassist Jeff Pilson (Dokken), and drummer Jason Bonham (Led Zeppelin) making up the rest of the lineup of the fictional Steel Dragon.
The author (left) with former Judas Priest singer Tim “Ripper” Owens in 2019. Owens inspired the plot of Rock Star.
Outside of Steel Dragon, there’s use of many other notable musicians in the film; Slaughter drummer Blas Elias, Alter Bridge frontman Myles Kennedy, and even one time L.A. Guns/future Steel Panther lead singer Ralph Saenz (a.k.a. Michael Star – see photo below) all pop up at one point or another. There’s even an homage of sorts to the 1984 classic This is Spinal Tap, when the band is seen photographed on the same rooftop featured in said film.
Aside from featuring many original songs by the likes of KISS, Motley Crue, and Def Leppard (among many others) throughout, it also contains a number of covers re-imagined as Steel Dragon originals, such as the Steelheart track “We All Die Young.” And while the other members of the fictional outfit perform on these songs, oddly, Wahlberg does not sing on them. Instead the vocal duties are handled by Steelheart vocalist Miljenko Matijevic, and one-time Journey singer Jeff Scott Soto.
Making under $20 million on a $50-plus million dollar budget, Rock Star fell short of making the impression filmmakers had hoped it would; this could likely be attributed to the fact it was released just days before the September 11 terrorist attacks. Still, the film has since maintained a life of its own among fans, and remains a go-to, rags-to-riches rock journey to this day.
Steel Panther performing live in 2013; vocalist Michael Star makes a brief appearance in the film (photo courtesy of the author’s personal collection).
