(image) Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch! Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make... more

Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch!

Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make the wrong choices you will get shot down by a SuicideGirl in 10 different humiliating ways!

Written by Anthony Zuiker, creator of the CSI franchise, directed by Troy Miller, executive producer of Flight of the Conchords and starring those naughty, internet, art-sleaze superstars the SuicideGirls. This app was shot and created specifically for the iPhone & iPod Touch. It's SuicideGirls version of a Japanese Dating Sim or one of those kids books where you could choose what happened next by making different choices. A little funny, a little sexy, and maybe a little goofy, this is the closest you will get to dating a sexy girl who lives inside your iPhone.

To enter all you need is a Twitter, Facebook or Myspace.

- Tweet
- Update your Facebook status
or
- Post a bulletin to your Myspace friends

with:

"Check out SuicideGirls newest app for the iPhone and iPod Touch: Seduce A SuicideGirl. Download it here: http://tinyurl.com/ylz8789"



Take a screenshot (see example above screenshot how to instructions here) of your message as it appears on Twitter, Facebook or Myspace.

E-mail to: marketing@suicidegirls.com
- your screenshot
- a link to your facebook, myspace, or twitter page
- your name
- date of birth
- address

Competition closes at midnight PST on November 2nd. The winner will be chosen at random from all valid entries. You may enter one time for each update. The winner will be notified by e-mail by November 6th.

Jesse Hughes loves women. I mean, he really loves women. If you read the first of our Eagles of Death Metal interviews with Joshua Homme, you may have got the impression that the boys, who grew up together in Palm Desert, are shameless flirts. That's doubly true with Hughes, the second half of this... more

Jesse Hughes loves women. I mean, he really loves women. If you read the first of our Eagles of Death Metal interviews with Joshua Homme, you may have got the impression that the boys, who grew up together in Palm Desert, are shameless flirts. That's doubly true with Hughes, the second half of this fun-loving act.

An old-school Southern charmer (Hughes's family moved to California in 1979), when he's not exercising his powers of seduction, he spends much of our interview impressing upon me how wild and wicked he truly is. However, the effect is ruined and redemption is found with an unexpected phone call from his mom.

While a polite, well brought-up boy, who wears clean underwear and socks (more on that later), lies not far beneath Hughes' rock & roll veneer, he does have the odd bad habit his mom's not yet managed to iron out -- tardiness being the one that's most pertinent to our interview. Having cancelled then rescheduled our little tête-à-tête, Hughes is running nearly an hour late by the time he finally calls in.

Jesse Hughes: Sorry it took me so long to get hold of you baby.

Nicole Powers: Well good things are worth waiting for, is that not right?

JH: I hope so. I hope I'm to be that reality for you.

NP: So the new album, I was going to start with the cover 'cause the imagery is kind of interesting, a bloody heart being squeezed by a well manicured hand, with blood red nails digging into flesh.

JH: Well, basically my heart is forever going to be in the clutches of women.

NP: Your buddy was telling me it was because the album is dedicated to the heartland.

JH: Heart On definitely came from that, but the beauty of rock & roll is there's nefarious and cross-purposes often, do you know what I mean?...Ultimately the reason it's called Heart On is because the heart of Eagles of Death Metal belongs to women everywhere.

NP: You smooth talker you. The cover's also got an old school heavy metal vibe to it hasn't it?

JH: We wanted an album that looked liked our favorite records. I want to feel like I did something that belongs to be put up with my heroes you know. However presumptuous that may be, it's a goal that I think is worth fighting for.

NP: So who were some of your heavy metal heroes?

JH: I remember the first concert I ever went to. My dad took me to see KISS and Ted Nugent at the Greenville Memorial Auditorium in 1976. I remember thinking KISS, their show was insane, but I remember even being six years old and knowing that when Ted Nugent came out he rocked heaviness from his songs without fire and spitting blood. I didn't think one was better than the other...they were both heavy but different.

NP: You wrote this album on the road. Were you writing in the back of a bus?

JH: Oh yeah, it's like living the dream. Eagles of Death Metal really has only been about two best friends having the shits and giggles good time of their life...Our fantasy has always been to do it Led Zeppelin style. Led Zeppelin did all their shit on the road. When they were touring they'd write and record. So when Queens did the first leg of their tour around the States I went on the bus with them and it was awesome...This album, just to record it was a fucking dream because we got to do all of these things that we'd always fantasized about.

NP: Talking about finding your dreams, in one of your songs you say you had to sell your soul. Do you feel like you had to?

JH: Well, you know the price of admission is what it is I guess. I never felt like I had to, but I've had the nickname The Devil my whole life, and I've always believed in letting the facts dictate the terms of your decisions, and if it looks like an Indian, and smells like an Indian, then it ain't fucking John Wayne. So that being said, I knew coming into rock & roll that it weren't no fucking Bible study, and since every world must have a god, I knew it probably wasn't the holy lord that I go to church and worship and so I just figure, price of admission, I wanna play.

NP: It's hard to be rock & roll in this day and age. We're in the dull era of the well-behaved rock star.

JH: You're absolutely right. Danger; You can't have guaranteed results, you can have everything be safe, but you also need to have a modicum of decorum, you know what I'm saying? I mean, when the moment seizes me, I go for it but the consequences for those moments are so extreme now, you know what I mean. You can't throw a TV out of hotel room anymore without going to jail.

NP: This is true.

JH: What I like to do is throw it and make it look like it came from someone else's room, and call the front desk and complain and watch as they go to jail and know I've done something really evil. Just kidding.

NP: Experts at throwing TVs out of windows know that you need a very long extension cord, so when you throw the TV out the window you can have it switched on with the volume set to high. That way you have a sound and light show as it's falling.

JH: That is bad-ass baby. Or you could connect it to a car battery, so when it landed it actually really exploded. When we get done with this interview you and I need to set a date where we can do some rock & rollin'.

NP: I'm no amateur rock & roller.

JH: I wouldn't mind chasing some night with you darling, I can tell you that right now.

NP: So you say your nickname's The Devil. I guess I should ask how you earned that name.

JH: Joshua gave me that name when I was thirteen...I used to get picked on a lot, and when I would get picked on severely, or if it really made a point to me, I would get vengeance, but I would get vengeance in the way that I could, which was mostly clever and all consuming. Joshua once witnessed me in the moment I was about to enact vengeance upon someone, and he just said, "you're the fucking devil dude," and it stuck.

NP: You have a history of devil worshiping tracks on your albums: "Chase The Devil" on Peace Love Death and "Kiss The Devil" on Death By Sexy. What's the most satanic song on this album?

JH: You know the first description of the devil in the Bible, and of evil in general, is very interesting, and it's this: Now the serpent who is the more subtle of all the creatures of the garden. You're the first person who's ever almost accurately nailed what I think is those songs. Like "Kiss The Devil" -- "Who will love the devil? Who will sing his song?" In the South there was an old concept of evil spells simply being put into songs to get the people to innocently sing along. But if you call the devil, whether you believe in him or not, he will eventually show up. On this album, the devil is almost in every song, and now he's more subtle than all the creatures of the garden.

NP: And you're hoping that enough people play the song backwards at the same time you're going to have some kind of rising from the dark side.

JH: Led Zeppelin did it baby, why not us.

NP: So is it worthwhile spinning the album backwards?

JH: I would like to ask every person out there to spin it backwards, and I want to know what they get 'cause they might hear messages I can't hear and I want to know if the mother ship is calling me or if it's going to be hotter in hell for me than everyone else.

NP: So what would your idea of hell be?

JH: I think it's eternal falling. I think it's being cast into a pit that has no bottom. And it's a place of heat, and gnashing of teeth, and ghouls in the darkness stomping out at you, and grabbing you, and tearing at your flesh forever. That's what it seems like to me.

NP: Talking of going to hell, your music's very Hollywood-centric, women-centric, and rock & roll centric. Is it because that's your life?

JH: It is. You tend to write what you know. And this album especially, it's Hollywood-centric, and it's not celebrating the worst elements of Hollywood or the pretenses and the sliminess. I experience Hollywood at night, normally after the bars close. I'm a night creeper you know. Hollywood, L.A., The Valley, the 101, Laurel Canyon, [they] become alive. I kinda understand how the Red Hot Chili Peppers write a song with L.A. as almost a romantic character in it.

NP: I get pissed off that so many people rag on L.A. because it's a fucking great place.

JH: It is man, it is. It's just, the problem with L.A...It's been infiltrated by a very bizarre self-deceit. No one's from L.A., they're all coming there for one reason, to be famous. There's nothing more self-interested or self-centered than that ever. So you've got a bunch of people pretending that they're not there for fame, when everybody is. Everybody's pretending like they're not caring more than anything, and that can fuck everything up, and it brings out the worst in people no matter what.

That's why when I show up in L.A., it's like, fuck, this is Hollywood, I want to make some money, and I'm going to sell my songs to commercials. Fuck yeah man, I ain't pretending like I'm here to save whales. It ain't no fucking Bible study. I came here to shake my dick and have a good time, and Hollywood has really let me do that I gotta tell ya.

NP: But the flip side is that some of these songs deal with loneliness too.

JH: Yeah, this album, you know, as much as I talk like a tough guy, I was married square before rock & roll came and took me. It really did take me. I didn't do anything to be in a band. I'm a romantic too. I love women. My mother's probably the greatest person I've ever known...My concept therefore of women is not that sort of bizarre boys club chauvinistic shit. I like girls, I hang out with girls, I love women, I think they're fucking amazing. So for me, when I get sweet on a girl, I get interested and invested, and then Hollywood makes it easy to get hurt even if someone doesn't mean to hurt you, do you know what I mean?

So yes, this album was a weird album because Joshua really wanted me to [include] "Now I'm A Fool." That song was hard for me to put on the record because for me Eagles is about "everything's rad," and "check it out I'm dancing," but I guess that doesn't really stop that, it just demonstrates the raw human a little bit I guess.

NP: It gives the album balance.

JH: I typically write most of the songs for the record before we start to record you know, and Josh was like, we need an "Already Died," we need a song to give this album some depth. And I was experiencing a romance in a way with a friend of mine who actually is one of my best friends, and the song started really with me making an adult decision, like the only way I'm going to be friends with her is if I stop pursuing the romance. I started to get to the point where I saw that maybe I was threatening one of the few true friendships that I've had. That's a really big fucking decision to come to, you know, and so I started writing this song. Music, or any art, has a way of approximating something, so that song is sort of an approximation of that moment with me.

But it's also got the joy of women. Like "High Voltage," I wrote that for Kat Von D, because that fucking girl's bad ass. I was spinning one night, Hollywood rolling, it was like five in the morning, she was still at her shop with a couple of people, her High Voltage shop, and I came rolling in, we had fun. I'm home by seven in the morning and I'm sitting thinking what a fucking rad night that was. I love this job. Bomb, "High Voltage," and then it came out, do you know what I mean? Rock & roll for me is Parliament and Funkadelic, and that's what that song sounds like to me. I was trying to butt fuck the Rolling Stones with Parliament

NP: I think you achieved it with that song.

JH: Why thank you darling.

NP: Mick Jagger's ass should be feeling really sore right now.

JH: It should be raw and bruised, and you should feel very good about yourself Jesse.

NP: So what's the plan tour-wise? You've toured with some crazy people over the years.

JH: Oh yes. Right now we're on tour with The Hives, and we have Joey Castillo drumming. Fucking badass.

Oh my god, my mother's on the other line. Let me just tell my mother I'm going to call her right back. Hold on. Don't go anywhere.

NP: I won't.

[break]

JH: Hello. That was my mom and my son. My son was on tour with me for the last four days, he's my little rock & roller, and when he left last night with my mother it was very heartbreaking for me. I hate it when he leaves you know. And so my mom just picked him up right now and he was calling me and he was like, "Dad when I woke up this morning I wanted to cry because I wanted to be with you. But I was like, I've got to put on a brave face because my dad would want me to do that. So I just wanted you to know that when I got to school I wasn't crying."

NP: Aah.

JH: What do you say to that shit? You know like here I am on this interview trying to seem like this badass rock & roller, clearly trying to flirt with you, and here my son knocks me at my feet.

NP: It was actually at the point that you didn't let your mom go to voicemail that I knew that the devilish shit was a bit of a façade.

JH: It's got a reality to it, but my mother, she scares me more than other peoples' moms, you know what I mean? When she gets pissed: I have an old school, old fashioned kind of Southern mother who was brought up in the sixties generation so she's hip, but to her there's right and wrong boy, and you just don't cross the line. So when my mamma calls it's like, "Oh shit, it's mom, everyone hide the drugs," you know. But I'm in my own house.

She's been staying at my house and I've just got my new collection of pornos, and I'm watching them, and the funniness and the weirdness of being in your own home, and being a grown fucking thirty-something year old dude, and scrambling for the remote to try and switch the fucking TV/VCR button before your mom walks in -- it's pretty funny.

NP: So does she still do your laundry?

JH: She does, twice a week. But again I come from the theory that a family is bigger than you, and it doesn't matter exactly where you live. My mother's house is two miles from mine but we're a family. My father's dead, they divorced before he died, so I got to look out for my girl.

NP: And moms like to be able to fuss over their sons.

JH: Absolutely, that's half of it. If I'm going out in the cold, and as I'm putting on my jacket she'll tell me to put on a jacket. I've just got to let her do that shit.

NP: And she makes sure you go on stage with clean socks.

JH: And underwear –– no shit! We had a laundry facility at the venue we played at, and I was able to do my laundry. She comes off the tour bus with my bag and says, "I noticed you've got your jeans, I wanted to make sure you got your underwear and your socks clean," and I'm like, "Oh fuck, did you just say that in front of the guys? Not in front of the guys mom!" Sometimes I find myself dong that too, "Ah mom, not in front of the guys."

NP: You'll always be twelve in front of your mom.

JH: That's like with anyone. You're always going to be the thing, it's how you were introduced, you know, and I was introduced to my mother as her baby child.

NP: So does your mom support your choice of career?

JH: She loves it. When I sing the song "Whorehoppin'", it has the words "shit goddamn" in it, she winces, every time, I can see it. She stands at the side of the stage, and every time I would talk to the crowd and every time an expletive would slip out I'd find myself automatically looking to the side of the stage and going, "Sorry mom!"

I think there should always be a line you don't cross in anything...Cussing in front of your mom, you don't have to do that. It's like taking the time to go into a relationship just to cheat seems really fucking pointless to me. It lets everybody know that you're going to fucking cheat on the closest person to you, so in business you're probably going to cheat too.

NP: So, bottom line, it doesn't matter how rock & roll you are you just can't cuss in front of your mom.

JH: I like that. That should be a song. Real rock & rollers don't cuss in front of their mom. Like a billboard, or a public service announcement with me with the F word being blocked out of my mouth.

NP: A YouTube public service announcement.

JH: Yeah, a YouTube video of "You don't cuss in front of your mother."

NP: You make the video and I'll post it.

JH: And then you and I will post it and can eventually have our night of rock & roll chasing the night into Hollywood.

NP: I was reading an anthropological book called Watching The English, and it had a chapter about flirting. Flirting in England is a very different thing to flirting in America. Flirting in England is actually good manners; It acknowledges that's someone's attractive and it's a mechanism to help the conversation flow.

JH: What it does is politely cater to the realities of men and women, and their real different needs.

NP: It's a subtle form of flattery. It doesn't have to be about sex, it's a matter of etiquette.

JH: My job is to flirt, in a way. That makes total sense to me. That is an awesome way to put it actually darling, and I think I'm going to steal that from you.

NP: And the interesting thing is, in England, the more upper class you are the more it's ingrained, whereas the working class were always told that if they didn't follow the Ten Commandments to the letter they'd burn in hell. It was a way of keeping them down.

JH: That's a fact... I remember in the South, which remains still very English in a lot of ways...I'm Jesse Everett Hughes IV, so I come from a really old Southern family, and the notion of the mistress was an accepted thing amongst I guess you would say the higher classes. A southern gentleman would have his kids, have his plantation or whatever, and the wife was respected in the right way, but it was just a sort of an unspoken agreement that everyone understood what a mistress was. It's not necessarily something I subscribe to, but it's an interesting way to understand or to see how people can actually like live and let people be people. An unrealistic expectation is only, and will ever be, just that -- an unrealistic expectation.

NP: I should let you go because you have your son to call back.

JH: I don't want you to let me go baby.

NP: Well, if you love someone you have to set them free.

JH: [laughs] That was good girl. I love you for that one. That was good.

SuicideGirls has a new app for the iPhone called Seduce a SuicideGirl Meet the sexy Zoli Suicide in a comic book shop and—if you make the right choices—you will get a sexy, 17+ make-out session with her (it’s not that racy, but it’s cute). Make the wrong choices and get shot down by a SuicideGirl... more

SuicideGirls has a new app for the iPhone called Seduce a SuicideGirl

Meet the sexy Zoli Suicide in a comic book shop and—if you make the right choices—you will get a sexy, 17+ make-out session with her (it’s not that racy, but it’s cute). Make the wrong choices and get shot down by a SuicideGirl in 10 different humiliating ways!

Shot and created specifically for the iPhone & iPod Touch, This is the Suicide Girls version of a Japanese Dating Sim or one of those kids books where you could choose what happened next by making different choices. A little funny, a little sexy, and maybe a little goofy, this is the closest you will get to dating a sexy girl who lives inside your iPhone.

Written by Anthony Zuiker, creator of the CSI franchise, and starring those naughty, internet, art-sleaze superstars the SuicideGirls.

We want to make a few more of these, so please let us know in the feedback what we should do differently in the next episode or what SuicideGirl you’d like to see in it.

Download the app, Seduce a SuicideGirl here!

If music be the food of love, then Eagles of Death Metal are a super-sized serving. Though their music has little to do with The Eagles or death metal, core members and BFFs Jesse Hughes (a.k.a. The Devil) and Joshua Homme (a.k.a. Carlo Von Sexron) have embraced the hard rockin', easy lovin'... more

If music be the food of love, then Eagles of Death Metal are a super-sized serving. Though their music has little to do with The Eagles or death metal, core members and BFFs Jesse Hughes (a.k.a. The Devil) and Joshua Homme (a.k.a. Carlo Von Sexron) have embraced the hard rockin', easy lovin' ethos of such bands. The pair went from kicking a football around together during their formative years in Palm Desert, to kicking musical ideas around as adults on the road.

Homme was the first to commit his life to music, forming cult desert generator party band Kyuss at the age of 14. After Kyuss' demise in '95, Homme regrouped, fulfilling many of his rock & roll dreams with his next band, Queens of The Stone Age.

Hughes' journey to rock was less direct, he got waylaid by university, a career (as a journalist), and a wife. As his relationship turned sour, the guitar seduced Hughes, who reunited with Homme to make sweet, rootsy rock & roll under the moniker Eagles of Death Metal.

At first, Eagles of Death Metal was perceived as a side project by Queens of the Stone Age fans, but the deafening buzz surrounding their 2004 debut album, Peace Love Death Metal, soon changed that. Homme found himself torn between two very viable bands, and was forced to choose between his two loves when both hit the road simultaneously.

As Eagles of Death Metal prepare to release their third album, Heart On, Homme talks to Suicide Girls about his passion for his bands, and how he spreads the love in the musical ménage à trios that is his life.

Nicole Powers: Are you sitting comfortably?

Joshua Homme: I am. I'm so comfy now. Thank you for asking. How about you?

NP: I'm extremely comfy. We have a big sectional couch here at the Suicide Girls' office.

JH: Wow. I love how you said sectional. That's great. I'm actually in a sectional myself. I'm sitting right in the corner where they both come together.

NP: I'm all about the corners of sectionals. The only problem is it makes you feel kind of greedy, because a sectional's supposed to do two or three people, but when you're sprawling in that sweet center corner other people are forced to sit in the extremities.

JH: Well, you know, I think sometimes you have to be good to you. I think you're doing the right thing right now. Just be good to yourself for God's sake.

NP: I think we're both on that page and in that corner of the sectional. We've got so much in common already. Who knew?

JH: I know, I love this. Same time tomorrow? What do you think?

NP: So I guess we should talk about the album.

JH: If we must.

NP: Sorry to do it to you because I know you've probably spoken about it a bit too much today.

JH: No, no, I actually haven't, you know, so I'm ready to knock the seal off and talk about it.

NP: Well let's start with the cover. Talk about judging a book by its cover, yours has an image of a bloody heart being squeezed by a well-manicured hand, with blood red nails digging into the flesh. What's that about?

JH: Well we didn't want people to get confused; so many people have been thinking it's called Hard On and I just think that that is so dirty, and we wanted to eliminate confusion.

There's almost a weird Hollywood Strip aspect with the way it looks, you know an eighties metal vibe to it, and for us, Eagles of Death Metal, part of what we're trying to do is unite the clans. We need to touch every scene and invite everyone to come and dance. I think that eighties metal vibe is one of the only things we really haven't tapped as far as who in the scene wants to come and dance.

NP: Talking about the metal vibe, it is heavier than your previous album isn't it?

JH: It's a matter of delivery I think, because I think the production value is a little more professional, and I think it's kind of electrified this time. It seems a bit more electrified. But I wouldn't say heavy metal.

NP: It's just a little bit harder, you know.

JH: Thank you. Oh, the album.

NP: I'm sure the ladies say that to you all the time.

JH: Well, I feel a little harder today.

NP: You're known for having some very cool guests on your recordings. Who guested on this album?

JH: Well, there wasn't many guests on this album...I think we decided not to have too many guests and instead go travel around the States and make the record. Like we recorded part of it in Boise, Idaho and Fargo, North Dakota, because we wanted to kind of be where the people were.

NP: I understand that's the other reason you chose to call your album Heart On, as opposed to Hard On, because it was written and recorded through the heartland.

JH: Yeah, it was written through the heartlands you know, because we are definitely an American rock & roll band. And America's not a dirty word. I don't know what it is actually, but it's not a dirty word. So we thought we'd just put a little spice in it and admit who we are, say that we want to spread a little faith and solidarity throughout the world for rock & roll.

NP: America's reputation has taken a bit of a bashing around the world.

JH: We've been the world's dickheads lately. I'm so sorry about that.

NP: Well, it's not you personally.

JH: Well no, not me personally, but I'm here to help correct it.

NP: Talking of Bush & Co, it brings me nicely to my next question. You have a history of songs that deal with the devil: "Chase The Devil" on Peace Love Death and "Kiss The Devil" on Death By Sexy. What's the most satanic song on the new album?

JH: I would say "Tight Pants."

NP: Why is that?

JH: Well because I would say that if you were talking to the devil, the devil wouldn't say, "you do this." It would be more like, "if you don't want get loose, I understand. I've been afraid too. If you're afraid that's fine." And that song encompasses that sort of attitude.

NP: The lyrics to one song on the new album say, "I came to LA to make rock & roll, along the way I had to sell my soul." Do you feel you had to?

JH: No, but it's fun. I think that Jesse came into this so late. This is essentially Jesse's first band. So he's what I refer to as a late bloomer. The benefits of being a late bloomer, you get to leap frog and just jump right into it. And I think Jesse's perspective from that is, "Wow, did I just sell my soul. What happened?"

NP: There is a weird dynamic between the two of you because for Jesse this is his main gig, while you obviously have Queens of the Stone Age too. How does that work?

JH: For me it's a bit like being a circus performer, it's very dangerous and there's a lot of concentration involved. This isn't a side project for me. I'm in two bands. I have musical schizophrenia, and this is one of those personalities. I've known Jesse since I was fourteen years old, and it feels great being side by side with somebody you've known for so long. He didn't have a moustache back then, but I knew he would. Those are the sort of things that kept us together.

NP: I know that Queens of the Stone Age have finished touring, so will you be able tour a little bit with Jesse for the new album?

JH: I'm absolutely going to tour quite a bit more. I didn't get the chance to do that that much on the last record, and it really hurt, for real. I really wanted to go because the Eagles of Death Metal audience has got to be the funnest audience in the world.

NP: And the music has a sense of humor.

JH: We don't take ourselves seriously, but we take the music seriously. I think, "where's all the fun bands?" ...and that's a shame because I think music is a pleasure device, and it should be used as such.

NP: Your lyrics focus on the fun things in life: Hollywood, women and rock & roll. But there's also heartbreak and loneliness in there.

JH: Yes, and I think on each Eagles record it takes a lot to articulate something that is more rock & roll, and more girl-centric, and more all the things you said without being silly and without being ridiculous about it. I guess the answer is that all that stuff is real. We're not going home and changing into our Mr. Rodgers clothes...The thing that we've always wanted to maintain is that it's got to be honest, and I think that's why Eagles is contagious you know.

NP: But to someone listening to a song like "Wannabe LA" in bumfuck wherever, it would sound like a glamorous fantasy, but, I guess, that's your life.

JH: Well the goal here is to live a different life, and to be the master of your own destiny. That's what we're attempting to do here, and to write about that journey as scientifically as possible. When you write about cutting loose, this is hopefully what it sounds like...

I think there's a mixture of the fantasy of it all and the reality of it all. When you go to a song like "Now I'm A Fool," it's very heartbreaking but it's very honest. And the lyrics to "Wannabe in LA" are about when I first brought Jesse up to Los Angeles to record. And so these lyrics, "I came to LA to make rock & roll, along the way I had to sell my soul," the next verse talks about him recording at my friend's house in their studio one morning and so it's personal, but universal at the same time.

NP: I guess there's a flip side to that song. In it you say, "I made some good friends that made me say, I really want to be in LA," but then you also have a song titled "How Can A Man With So Many Friends Feel So Alone."

JH: Yeah. I bet we've all been in that situation where you're in a crowded room full of people and you're like, "Wow, there's no one here." I think what I really love about Eagles is part of the way we go after this notion of playing for the ladies by touching your feminine side. Like admitting full-on the feelings you have, regardless of what they are, without being a total pussy about it, because, after all, we are men.

NP: So right now, you're touching my feminine side, is that it?

JH: Yeah, if that's alright, I'd like to keep doing it.

NP: Please do.

JH: Because I think too much of the time rock & roll gets turned into Bible study. We're too serious. Too many of the American males, like you're supposed to be in touch with your feminine side, but like you're not supposed to be a total puss. And I think trying to walk that line is not that difficult, you know.

NP: And what's going on in America right now with this whole pervasive Christian right puritanical thinking, it's almost like rock & roll artists don't feel they can be rock & roll anymore.

JH: Yeah, I know, down to their core. Like when we play festivals and stuff, when we roll in in a cloud of smoke, spilling bottles, you know, and you see a bunch of artists that are stretching, and reading, and on their computers, we're always like, "Whooaaa," you know. That's why I say it's very real. What's amazing is how many bands this is a business for, versus how many bands this is what they have to do because this is their way of life. So that's why I'm so proud of Eagles of Death Metal.

NP: But you also seem to know where the line is because you've reprimanded one-time band members for going over the line and maybe partying too hard.

JH: Well that's not actually true. That's what people think. Clearly too you can take something too far. My motto has always been, you've got to deserve to party. I celebrate what we just did, and not what we're going to do, and that's just a philosophical difference. It you party so much that it ruins everything you have, well then, quite frankly, you're partying too hard.


Check back next week for our second Eagles of Death Metal interview with Homme's partner in crime Jesse Hughes.

(image) Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch! Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make... more

Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch!

Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make the wrong choices you will get shot down by a SuicideGirl in 10 different humiliating ways!

Written by Anthony Zuiker, creator of the CSI franchise, directed by Troy Miller, executive producer of Flight of the Conchords and starring those naughty, internet, art-sleaze superstars the SuicideGirls. This app was shot and created specifically for the iPhone & iPod Touch. It's SuicideGirls version of a Japanese Dating Sim or one of those kids books where you could choose what happened next by making different choices. A little funny, a little sexy, and maybe a little goofy, this is the closest you will get to dating a sexy girl who lives inside your iPhone.

To enter all you need is a Twitter, Facebook or Myspace.

- Tweet
- Update your Facebook status
or
- Post a bulletin to your Myspace friends

with:

"Check out SuicideGirls newest app for the iPhone and iPod Touch: Seduce A SuicideGirl. Download it here: http://tinyurl.com/ylz8789"



Take a screenshot (see example above screenshot how to instructions here) of your message as it appears on Twitter, Facebook or Myspace.

E-mail to: marketing@suicidegirls.com
- your screenshot
- a link to your facebook, myspace, or twitter page
- your name
- date of birth
- address

Competition closes at midnight PST on November 2nd. The winner will be chosen at random from all valid entries. You may enter one time for each update. The winner will be notified by e-mail by November 6th.

Kevin Smith became more famous for just talking than he ever was for making movies like Clerks, Chasing Amy and Zack and Miri Make a Porno. His public speaking Q&A sessions fill large theaters, including Carnegie Hall. Arguably, his tales of debating a giant spider with producer Jon Peters, finding... more

Kevin Smith became more famous for just talking than he ever was for making movies like Clerks, Chasing Amy and Zack and Miri Make a Porno. His public speaking Q&A sessions fill large theaters, including Carnegie Hall. Arguably, his tales of debating a giant spider with producer Jon Peters, finding a camel for Prince and having unprotected sex with an open sore on his penis contain more laughs than any one of his films. In between public talks, Smith has graduated from journaling his random diatribes online to recording them in podcast form.

The Smodcast is Smith’'s audio sessions with friend and producer Scott Mosier. The name is simply the combination of the names Smith and Mosier with the word podcast. They debate such diverse topics as Helen Keller (was she faking it? Did Annie Sullivan have to explain sex to her?), cloning (would your clone be your best friend? If you slept with your clone, would you be gay?), the metaphysical (What if Smith hired Jennifer Connelly to become Scott Mosier while Mosier was still there observing?) and just plain sex talk (lap dances, puberty education literature, etc.) Friends and frequent collaborators Bryon Johnson, Walt Flanagan and Malcolm Ingram also join in from time to time.

"“On some level, it fulfills that childhood aspiration to have a comedy album,"” Smith told Suicide Girls in an exclusive phone interview. "“That’'s what I listened to when I was growing up, people doing bits on comedy albums whether it’'d be sketches or just standup material. Number one, I’'m not a comic so I could never do that sort of thing. But, because of what I do, I’'ve gotten this kind of backdoor into the world of standing on a stage with a mic and making people laugh, this quasi-standup world of mine with this Q&A or by extension, the Smodcast stuff. So it kind of works like that, where you could put it out there and people could listen to it. Granted, we'’re not selling it like they did back in the day with comedy records, but I kind of dig it. I know on some level it fulfills that desire of the 11 or 12-year-old in me to be Bill Cosby for a minute, but a really filthy mouthed version of him.”"

A collection of Smodcasts is coming out in print form as the book Shootin’ the Sh*t with Kevin Smith: The Best of Smodcast. Smith took the interview call from home, with his wife Jennifer Schwalbach out at Yoga and his daughter Harley at a playdate. That left Smith free and clear to discuss the depraved subjects of his Smodcasts and start a few new ones too.

Fred Topel: Did you always conceive of the Smodcast as potential material for a new book?

KS: The weird thing is, the idea for the Smodcast book came directly from the good folks at Titan. [Editor] Adam Newell was just like, “Hey, we had this idea about we'’re going to do an interview book with you, but why don'’t we just transcribe some of the Smodcasts? They'’re really funny.” And I was just like, “I don't know if it would really work in print form, dude.” He had two of them done, transcribed and then sent them to me. Reading it out loud, I was like, “That is actually kind of funny.” And it’'s weird because I know the material so you’'d imagine that wouldn'’t have caught me off guard but a couple things made me chuckle out loud just by reading it.

FT: Did you ever follow up on Helen Keller?

KS: It'’s so weird you say that because two days ago, somebody on the Twitter feed said, “Hey, here'’s a video of Helen Keller.” It was on YouTube and it was Helen Keller essentially displaying, showing the folks that she could indeed speak, putting her fingers to Annie Sullivan’s mouth and throat or something like that. Then she kind of echoed what Annie Sullivan said. It was amazing. I’'d never seen it before and I’'d never seen what either of them had looked like but I saw the cinematic depictions and sh*t. You'’re always seeing the wild feral girl in the beginning, and she just looked like some old timey lady, but not like this feral wild child that could barely speak or barely knew of its own existence. What was great about that episode of Smodcast was how much we learned after that. I know way more about Helen Keller now than I did before we did it, and it became a kind of signature Smodcast mood for me and Mosier where we would just speak at great lengths about something we didn'’t know that much about. And we never spoke with authority, like, “Oh, this is what really happened” but it was like, “I think I remember hearing it like this and this kind of thing happened.” Then the tradition that follows is you go to the website and you read the 100 corrections that people are like, “Dude, Helen Keller wasn'’t born that way. For a year and a half she could hear and see.” Or, “There is video of Helen Keller.” Stuff like that, where you’'re just like, “Well, I guess we were way the f*ck off base.”

FT: Well, you asked if she had sex or wanted sex, and then how Annie Sullivan explained it to her. A biography by Dorothy Hermann says she did like sex.

KS: That is wild. That gives me a great deal of relief but how does that get explained? I mean, how the f*ck did Annie Sullivan explain that.

FT: Don’'t we have to read the biography now to find out?

KS: I don't know. I don't know if I could commit that much time. I’'d rather somebody else read it, distilled it on the internet, I could read that.

FT: When you talk about having Jennifer Connelly remake Scott Mosier, did it occur to you that that’'s similar to the plot of Synechdoche, New York?

KS: No, is it? I don't know, I never saw Synechdoche but now, to even have kind of a similar idea to a genius like Charlie Kaufman would be kinda cool. But no, no. I don't know if Mosier ever saw it but I love the idea of f*ckin’ Jennifer Connelly trying to play Mosier.

FT: Now since you talk about sex a lot, do you mind some dirty questions?

KS: Not at all.

FT: For some reason I’'m worried about offending you.

KS: Oh, never.

FT: On that note...


KS: Get to the dirty stuff, go.

FT: You always say you like your wife to be on top. Can you come that way?

KS: That’'s the only way I come, brotha’. I mean, I could come any way I guess but, and this is so weird, we were talking about this last night. I have been married for 10 years and my wife has never really seen me do anything physical, up to and including my very limited role in our sex life where she does 95% of the work. But, when she saw me go play in the Walter Gretzky Street Hockey Tournament up in Brantford, For a dude of my size I’'m pretty limber. And, I was surprisingly good, for a guy who hadn’'t played goal in 15 years. The wife was just like, it was almost as if I was like, “Oh, you didn'’t know that I could make my c*ck three inches bigger? Like, I’'ve never told you that before? I'’m sorry. I just never wanted to do it until now.” It was just she’'d never seen that side of me. I caught a momentary flash of her being utterly impressed but then she quickly put it down because she’'s like, “I’'m not going to give him this.” Because she thinks I get too much affection everywhere in this world anyway. So I waited for like a minute or two to pass and then I was just like, “Admit that you got just a little bit moist when I blocked that shot.” And she'’s like, “I gotta tell you, it’'s impressive but it’'s befuddling because you won'’t f*ck me. I always have to f*ck you yet I can watch you explode in a display of physical prowess. I don'’t understand why you don'’t bring that to the bedroom.” And I was like, “Because I don’'t have to. What’'s the point? If you do it all, I’'m happy with that. And you like it better doing it also. I'’m happy with that. That’'s a good thing for me.”

FT: Then, isn'’t cuddling underrated? Laying in bed naked playing with boobies is nice too.

KS: It is. I used to be a huge foreplay guy. I married somebody who’'s not. I married somebody who'’s just like, “Why are you wasting my time? Let’'s f*ckin’ bone.” So it'’s kinda hot. She’'s very much the dude in this relationship. I am total femme dude in every way, shape and form with the exception of I don’'t take it. She just controls it on when it comes to that aspect of our lives and I wouldn’'t have it any other way.

FT: Now to get deep. You talk about the ramifications of cloning in the Smodcast and the book. Do you think about the current debates like health care? They’'re worried about death panels. How could they ever handle it if human cloning became a real possibility?

KS: You’'re killing me here, man. You’'re blowing my mind. I mean, we all just sat around goofing about Walt wanting a clone which we all thought was adorable. So uncharacteristic that the dude expressed like, “I’'ve always wanted a clone.” The ramifications of cloning we touch on a little bit only inasmuch as let’'s get the comedy going. I don't think it’'s going to happen, dude. I mean, it ain'’t gonna happen for years. We really have to evolve as a species and a culture before that could ever be considered bringing into practical reality. Like creating whole people just to harvest them or creating whole people, I mean that’'s just more people to feel. This planet has a problem feeding who'’s here now.

FT: Do you think about politics? Do you ever share political views?

KS: Oh, like in practicality, in real life, outside of Smodcast?

FT: Yeah, because you stay away from political stuff in the public forums.

KS: Yeah, just because I'’m not that bright. I could speak knowingly or knowledgably about any number of subjects but politics, not at all. Mosier is our political guy and even he’'s not as immersed in it, but man, he knows way more than I do, that'’s for sure. I always tend to stay away. I'’m not very political. It’'s weird, when I became “successful” inasmuch as I started making money doing what I love, people were like, “You should go Republican, dude, because you’'ve got money now.” I’'m like, “Why? I don’'t understand that.” “Well, they'’ll help you keep that money.” I don't know, the money aspect to this job, I'’ve got a good relationship with it. I’'m never ashamed of it but at the same time, it’'s never been the driving factor so it’s also never been a problem for me. So for me, it’'s always about how cool it is to do it. You look at something like Clerks II. I literally took no salary to make the movie. Nothing whatsoever. I earned nothing off of Clerks II. I just did it because I wanted to do it and I was like, “Thank God somebody’'s giving me the money to do it so I don'’t care. I’'m just happy to do it.” [My next film] A Couple of Dicks, I took a huge price cut to do the movie just because that was the only way the movie was going to get done based on the budget. I was like, “You know what? I always wanted to make a Bruce Willis movie.”

FT: You got to be in Live Free or Die Hard and now direct a Bruce Willis movie. Things really worked out for you since he turned down Jersey Girl.

KS: Yeah, things panned out for me, man. I don't know, you stick around long enough and all your dreams come true I guess.

FT: What can you tell Batman fans about the series you’re writing, Widening Gyre?”

KS: The story, we re-introduced Silver St. Cloud into the matrix. Batman’'s past kinda comes into his present and it’'s good, dude. I like it. I hope people aren'’t getting ready for a f*ckin’ slam bang action-fest run. It’'s really kind of more about what happens when Bruce reaches this point in his life where he'’s seen his kid sidekicks grow up and go onto their own lives and have normal lives and girlfriends, the things that other people have that he’'s always sacrificed, that he’'s always said, “I could never have.” Suddenly, it’'s coinciding with the appearance of this new vigilante who Bruce is just like, “You know, I’'ve always been training kids. Maybe if I f*ckin’ brought an adult under my wing, it might be different and I can take some more time for myself.” So that’'s kind of what it’'s about and I probably turned off everybody that had half an interest in it but I don't know, I dig it. The folks at DC have been so accommodating and wonderful and what not. Everybody, our team on the book is great. This dude Mike Marts is a really wonderful editor that Dan Didio gave us and we got Art Thibert doing the inks on this one. He honors Walt [Flanagan]’'s inks but still kinda brings out a lot of great stuff in it. We got Art Lyon doing colors. Looks really, really f*ckin’ good. It’'s just a really strong book, so happy with it and it’'s something that I’'m going to enjoy. I remember reading the kind of mediocre review and going, like, “I don't know, dude. I’'m sitting here holding my Cacophony hardcover and it'’s just a cool thing. Whether you like the story or not is kind of irrelevant at this point because I'’m holding a hardcover of this comic book I wrote a couple months back and my friend Walt Flanagan, who I’'ve known for over 20 years, drew.” It’'s just way bigger than whether or not somebody thinks I did a good job writing Batman dialogue. This is far bigger than that, dude. This isn'’t about me making a paycheck. This is about a kid getting the keys to the f*ckin’ candy store and being told like, “Hey, go have fun. With your friend!” Like oh, that’'s amazing. Sh*t like that happens to me and I’'m always just like oh, that'’s the best part of the job, man. Don’'t get me wrong, money is f*ckin’ cool and it affords you a lot of cool things but money’'s just never been the driving factor for me.

FT: When will you start work on your Green Hornet comic, based on the script you wrote for a movie back at The Weinstein Company?

KS: Dicks took a lot out of me and rightfully so. I had to devote all my attention to it. For the first month, I was splitting my attention to the movie and the Carnegie Hall thing, the Walter Gretzky Street Hockey Tournament thing back in June, but then once Carnegie Hall was done, then it was all I could focus just on Dicks. Everything else went to the side. So now that I'’m done shooting Dicks and I’'m working on fine cutting it right now, I can kind of go back to the Green Hornet script and break it down because I don’'t want to just give them the script that I wrote for the movie and be like, “Here, figure it out.” I want to see if I can maybe break it down for whoever the artist is going to be, the same way that I write any comic book script. [Dynamite President and Publisher] Nick [Barrucci] wants to make it part of the canon for their Green Hornet tenureship so I said, “Dude, that’'s very flattering. I think my script for Green Hornet was all right, but in some places it was goofy. I don't know if you want that to be part of your continuity.” And he was like, “Well, we can have multiple Hornets as you know. We can have Hornet in the past, you’'re doing the Hornet most people would know from the Van Williams/Bruce Lee era so to speak. Then we'’ll do future Hornet as well. No, I want your story to be in continuity.” So I don't know, I’'m still going to fight him on that I think.

FT:You were one of the Weinsteins’ golden boys back in the Miramax days. Even with the recent success of Inglourious Basterds, why do you think The Weinstein Company has struggled? They used to be the masters of indie films.

KS: Yeah, you'’re absolutely right. They were the masters and they invented the game but the problem is, everybody else learned how to play the game too. Like when Wayne Gretzky broke out in the NHL, nobody had ever seen a player like him before but by the time Wayne Gretzky retired, there were a lot of people who played not specifically like Wayne Gretzky but a lot of people were now playing at his level of proficiency. I think it’'s kind of the same thing here. When Miramax got into the game, they were such f*ckin’ game changers, man. Nobody knew what was happening. It was like watching Billy Smith get scored on by Wayne Gretzky. Maybe not Billy Smith because he’'s actually able to f*ckin’ defend against Wayne Gretzky. But it’'s like watching an NHL goalie circa 1983/84 face off against Wayne Gretzky. They just weren'’t prepared. They were like, “Where the f*ck did this come from?” It was the same thing with the brothers Weinstein and Miramax. When they sprang onto the scene, they took the world by storm. They were just brilliant geniuses at doing what they did. But the thing is, you do that long enough and people observe you, they'’re going to learn how to do it too and other people started doing it. For me, to my reckoning, the moment that Dreamworks put out American Beauty, that’'s when other studios figured out how to make a Miramax movie. Once that happened, they had way more resources, all these studios and whatnot, to make those kind of pictures. So Harvey started competing at that level and that’'s where the Cold Mountains come from and The Aviator. The dude created something that everyone else learned how to do from him and then they just learned to do it so well that he kind of had to learn to play catch up. It doesn'’t mean that they’ll never be great again but you’'ve got to stay sharp, dude.

FT: Finally, to preview A Couple of Dicks, how did you end up directing a movie you didn'’t write?

KS: Dicks kind of sprang at me, which sounds so erotic, it was after San Diego Comic Con, not this year but the year before. Jeff Robinov who heads up the motion picture group over at Warner Brothers was at this Q&A I’'d done with Zack Snyder. It was me, Zack Snyder, Frank Miller and Judd Apatow and I guess I was funny because the dude was like, “Send him in because I want to meet with him.” It was weird because we’'d had some friction in the past and we were just like, “Hey, let'’s put that aside.” He’'s going, “I think you'’re funny and I want you to work here and blah blah blah.” And I was like, “Yeah, man, one day, whatever you got, we'’ll see.” He had sent it to me and he hit me with the e-mail with, “What’'d you ever think of Dicks?” I was like, “Hey, man, I don’'t run that way.” Then he explained what he was talking about and all bad d*ck joke puns aside, I read the script. I was like, “Wow, this is kinda like a cop movie if I would’'ve wrote the cop movie.” He loved Zack and Miri so he was like, “I want you to do what you did to Zack and Miri but with this movie.” I was like, “What, give it a f*ckin’ title that nobody will go see it and we'’ll have to fight for?” Because that’'s where we are right now. [Laughs] Fighting for the Couple of Dicks title. Not fighting but it’s weird. It’'s not a fight yet. CBS, NBC and ABC all said that they would not run a spot before 9 o'’clock p.m. Now, that’'s fine because it’'s an R-rated movie but at the same time, you want to be advertising this R-rated movie during sports.

FT: So you might change the name before this movie comes out?

KS: Look, Warner Brothers is doing everything they can but you can'’t fight City Hall. This all comes down to Janet Jackson'’s boobs still. That’'s where the problem is. I'’m just like what f*ckin’ financial crisis are we in where a network can afford to turn down pricey top dollar advertising just because they're like, “We'’re uncomfortable with the word Dicks, what it may infer to people.” I mean, yes, it'’s a double entendre. Of course it’'s a double entendre. That’'s what’'s funny about it. It’'s not even a discussion, dude. In this world, it’'s just like, “All right, of course we'’ll do something about it because why would we go through all this effort just to have nobody see the movie because we can'’t advertise the movie because of the title?” Simply change the title. Movie doesn’'t change.” If they had gotten me prior to Zack and Miri, I probably would’'ve went down swinging like, “No, it’s all about the integrity of the title.” After having gone through the debacle of the Zack and Miri Make a Porno title, believe me, dude. I’'ve been f*cked once. I don’'t want to get f*cked again. Probably not a week of my life goes by in the last year where I wasn’'t like, “Why didn’t I just call the f*ckin’ thing Dirty Movie? What was I, an idiot?” When Humpday came out, I was like, “These motherf*ckers are brilliant! What a great title. Why did I go with Zack and Miri Make a Porno? I’'m such an idiot.” I mean, I like the movie and stuff. It’'s just the title, man. The title really, really hurt us.

Shootin’ the Sh*t with Kevin Smith: The Best of Smodcast is available September 22.

Lita Ford is one of the few women who've made a dent in the male-dominated world of heavy metal. She first rocked our world in the late 70's as the lead guitarist of the groundbreaking jailbait rock band The Runaways. Despite being just 17 at the time of joining, her skills were accomplished... more

Lita Ford is one of the few women who've made a dent in the male-dominated world of heavy metal. She first rocked our world in the late 70's as the lead guitarist of the groundbreaking jailbait rock band The Runaways. Despite being just 17 at the time of joining, her skills were accomplished beyond her years and helped the all-girl band win the respect of peers such as The Ramones with whom they toured.

After the band's premature demise following much documented inter-band acrimony, Lita, who had wanted to steer the group into heavier territory, embarked on a solo career. She toured with metal heavyweights such as Black Sabbath, Anthrax, Judas Priest, and Iron Maiden, and released a total of six albums between 1983 and 1995. Her most successful, Lita, released in 1988, went platinum and spawned the Top 10 single "Close My Eyes Forever," a power-ballad duet recorded with Ozzy Osbourne. Lita was never able to repeat this success however, and each of her three subsequent records sold less than the last. After marrying Jim Gillette of the extreme hair metal band Nitro, Lita put her recording career on hold and thrust herself into the role of wife and then mother (the couple have two sons, Rocco, 8, and James, 12).

Returning to the public eye after a hiatus of close to 15-years, Lita's seventh solo album, Wicked Wonderland (released October 6), is the first of three Lita-related projects hitting stores in quick succession. Having sealed her reputation as the self-styled Queen of Metal two decades back, Lita has been immortalized as Queen Lita in Brütal Legend, a music-based Playstation 3 and Xbox 360 adventure. The game, which stars Jack Black and features metal legends Ozzy Osbourne, Rob Halford, and Lemmy Kilmister, is unleashed on "Rocktober" 13. To complete the hat-trick, a new comic will turn Lita and her family into zombie-fighting superheroes. Written by 14-year old comics prodigy Jake Tinsley (Night Owl) and illustrated by Manga artist, Jason Dube, The Gillettes: Family Business, will be published next month.

With so much to look forward to, Lita chooses not to look back. However, the release of a Runaways biopic next year may force her to. Produced with the co-operation of former-bandmates Joan Jett and Cherie Currie, the project stars Kristen Stewart (as Joan) and Dakota Fanning (as Cherie) -- and the relatively unknown Scout Taylor-Compton (as Lita). The much-anticipated film is already reopening still tender old wounds as it threatens to air dirty laundry Lita would rather was left in the basket. On the plus side, it promises to expose the Runaways' music to a new generation and cement their legacy as the band that showed women how to rock.

SuicideGirls caught up with Lita by phone during a break from rehearsals as she prepares to embark on a tour with prog metal heads Queensrÿche later this month.

Andrea Larrabee: Wicked Wonderland is your first album since 1995's Black. Where have you been and what have you been up to in the intervening years?

Lita Ford: We have been living in the Caribbean. I got pregnant with my first child and I really just wanted to focus on being a good mom, which is very different for me. I'm used to guitars, I'm used to things with strings attached not little babies. And when god blessed me with my first kid I was like, "Holy Shit! What do I do with this? I've never held one of these!" I never had sisters that had kids. I didn't know what to do. I was really in the dark and so I just really wanted to concentrate on learning how to be a good mom and a good safe place to be is in the Caribbean on a deserted island. There's not much that can hurt you out there -- except the crabs.

AL: Right, you moved out there after 9/11.

LF: We did, yeah. 9/11 really freaked us out. We were talking about moving anyway and then 9/11 hit and that was the topper, and we just bailed.

AL: You seem to have this amazing existence, a semi-survivalist lifestyle. I understand that you built your own house and that you grow and catch your own food, and you've home-schooled your children.

LF: Yep, that's true. We started with nothing. I mean there literally is nothing on this island. There's no grocery store, there's no Federal Express, there's no Pizza Hut, you can't find anything on this island...So it was nice to be out there. It felt safe to be out there...When the sun comes up we get up, when the sun goes down we pretty much go to bed because there's nothing. We're pretty self-sufficient on the island.

AL: It sounds like it's been a process of getting back in touch with your primal instincts - not only to survive but as a mother.

LF: That's true. That's very true, and it's really good to know, for your children, especially in case anything severe should happen, I think our kids would be one of the survivors. It's just stuff that people just take for granted these days. Say, for instance, a box of peanut butter cereal; You can't get it out there so when you do come back into the United States you go down the cereal isle in the grocery store and you're screaming "YES! THEY GOT PEANUT BUTTER CEREAL MAN!" And the kids are like, "ALRIGHT MOM! GET SIX BOXES." And everybody's looking at me like I'm out of my friggin' mind. What's wrong with that girl? Hasn't she ever seen peanut butter cereal before? We not lately, no, I haven't. So you do take things for granted.

AL: I would also imagine you're stocking up on piles of soft toilet paper.

LF: Oh everything, yeah, we do. There's a place called Rock-It Cargo that ships out into the Caribbean, and you can load containers and stuff and just buy whatever you want to buy, I mean right down to cars, trucks, anything like that, You just ship it out, ship it on over. So we do stock up on food and clothes and toys and dildos...

AL: Dildos by the container load! [laughs]

LF: Absolutely. [laughs] That's funny.

AL: It sounds like an idyllic life. What on earth made you want to return to music?

LF: We're in the United States now because we rehearse in Florida but we still live there. Our home is sitting there waiting for us.

AL: But the music industry can be a very toxic place. It must have been relaxing not to have that in your life.

LF: It is. It's very different. When we retired from the music industry, we really didn't know when we were going to return. My husband got himself into developing this island along with his partners and made excellent money doing that, and it freed me up so I could focus on being a good mom and trying to raise our kids.

AL: So your husband's been developing the island for tourism?

LF: You know what, let me put him on and I'll let him explain. Here's Jim.

Jim Gillette: We're tag-teaming you. We're going to wear you down.

AL: Lita mentioned you were developing the island. I just wondered in what respect?

JG: Well what didn't we do there? We buy big chunks of land and then we make them into lots for houses. We put in roads, put in sidewalks, we put in canals, put in bridges, ports. We've kind of done it all.

AL: So you're developing your own community, your own town -- Gillette Town?

JG: You couldn't get away with that in the States, but you can do that in the Caribbean.

AL: So you and Lita get to be king and queen of you own Caribbean island?

JG: Yeah, pretty much. It's pretty cool. It was tough for her to get me to come out of the old coconut palm.

AL: Well I was reading that there was a family vote to decide if Lita should go back to music?

JG: Not really a vote. I'm fine. I always knew that we were going to end up doing this again. Lita was just waiting 'til the boys were ready. She's an excellent mom. I don't think that many people would think that, I mean she looks like a Suicide Girl right?

AL: Hell yeah! She's one of the originals.

JG: But you know what I mean. She probably helped pave the way for sites like SuicideGirls.

AL: Absolutely.

JG: I mean she's got seven tattoos.

AL: What's your favorite?

JG: The one that says "My Husband" right above her ass, so when she's bent over I can look at it. It's pretty nice. [laughs] That's my ass.

AL: Fair enough. I can appreciate why that might be your favorite.

JG: Nah, you know what? That was my favorite, but now she's got the Gillette family logo on her left arm. I have the same basic thing on my back only mine's the size of a truck 'cause it covers my whole back. And she's got this kind of cool cross with a skull on her right arm that has our wedding anniversary on it in roman numerals -- that's on the album -- so that's pretty cool.

AL: In keeping with the Caribbean theme, I understand there's some proverbial sunken treasure over there in the form of album that you guys recorded but never released.

JG: Oh boy! We were not in the Caribbean when that happened. That was about thirteen years ago because Lita was actually pregnant with our first boy James. You want to talk about a funny sight? [laughs] This music was as heavy as hell and we'd be in rehearsals and she's got these goddamned pink pig slippers on and her belly's sticking out and she's playing these Metallica type riffs with her guitar sticking up at an angle because her belly's in the way - that was amazing! It was some good stuff. We may let it out one day. I don't know if we'll actually put it out or just put it on a website or something and let people check it out for free.

AL: It's a shame YouTube wasn't around then. I'd have loved to have seen a pregnant Lita rockin' it in her pink fuzzy pig slippers.

JG: I'm kind of weird, but it made me horny. Her little pregnant fat belly sticking out, her pink slippers, playing [sings heavy guitar riff]. It was very strange.

AL: I understand there was quite a sexual undercurrent to this album too? What was the inspiration behind the music you did together?

LF: The music we did together isn't something that we had planned. It's not like we had 15 years worth of music sitting around. It was literally a spur of the moment idea and we really didn't know where we were going with it until we started going. It's pretty much about us, about our family, about our sex life, our love life, our hate life, pleasure, pain...

JG: ...Bondage.

LF: It's about us, our own personal wicked wonderland.

JG: Yeah, our marriage is very, very, very - did I say very? - sexual. We have a belief: Great, adventurous, crazy sex every single day, keeps the divorce lawyer away.

AL: So when you were writing the album together what was the process?

JG: We'd come into my office and crack open a bottle of champagne and literally kind of compare notes from the last night's sexual escapades.

AL: Do you care to share an example of that in a song?

JG: "Push." Whenever she's ready to pop she says, "Push." We literally tuned the "push, push" into a song. It's kind of the way she does it in the chorus and it's called "Push."

AL: Lita, I understand one of your favorite tracks on Wicked Wonderland is "Sacred."

LF: Jim wrote that song for me and I adore the song. It's close to me, it's close to my heart.

AL: So who wrote most of the lyrics on Wicked Wonderland?

JG: Most of the lyrics I wrote, and she would sit there and say, "I didn't say that." And I'd say, "Bullshit, you said it last night." It's kind of weird, because we didn't mean, in the beginning, for it to be so personal. We just started writing and it was very sexual. It was about us, it was about our experiences together. After about two songs we kind of thought, "Gee, should we do this? Should we be this open and let everyone into our bedrooms like this?" People, they know exactly what we do now. And we thought, "You know what? Let's do it. Because it's real, it's from the heart. This is what we're feeling, this is what we're writing, so let's just go with it."

AL: You seem like a very open family anyway. I mean you have The Gillettes: Family Business comic which is based on your family.

LF: Yeah. My kids get to beat up zombies and be superheroes. It's pretty cool.

AL: So it's seems like you're not afraid to share your family and personal life with the world.

JG: That's just happened with all this. I mean for a while there we weren't even on the planet. I mean we were gone -- nobody knew where we were. We could have told you where we were and you couldn't have found us, it's that remote where we are. We just kind of decided, coming back, it kind of started with the lyrics honestly. It was like this is who we are, this is what we're about, this is what we dig and this is where our heart is, so lets just go for it. And doing that we decided if we can let people into our bedroom and know what kind of frickin dildos we use, know that I like to go down on my wife's toes, all this weird fetish stuff, if we're going to talk about that why not let them see our kids. After that it's kind of wide open. The gloves are off at that point you know.

AL: I'm seeing a reality TV show - The Osbournes meets Survivor.

JG: We've been approached a few times for reality TV.

AL: And you're not tempted?

JG: We're tempted but we want to control it. We're the management company, we're the record company for this. We wrote the songs with a friend. We produced the album with a friend. We're not going to let somebody take six weeks worth of filming and make it look like whatever they want it to look like -- they're notorious for that. We want control of the editing. If we do a reality show we want it to be what a reality show is supposed to be, to really show the real picture. We're not going to let me and Lita get into an argument and let them run that every goddamned week, you know? Out of six weeks of filming we argued once so they try and make it look like we're at each other's throats every day. We're not going to do that. We're not going that way. They can do that with other people.

LF: Yeah. So far we have been offered a few things and we're just not, actually I'm not ready for it yet. Of course if a deal comes across that we absolutely can't refuse, have to have, of course, you know, we're going to jump on it. But, as of now, we have the comic book, we have the Xbox game, we've got this wonderful album coming out, we haven't even made a video yet. We've just got so much going on, so many irons in the fire, so to speak, that we don't need it right now. I think in time, when it's the right time and place, the right offer comes around, of course we're going to dive on it.

JG: We've got a very different family. If you see us we're very strange. You know what Lita looks like, I'm 280 pounds, covered in tattoos. I've got a Mohawk, our kids have Mohawks, our kids have been learning to kill people since they were 2-years old.

AL: You're all into martial arts which makes the manga comic very fitting.

JG: Yeah, well the kids grew up with the Gracie family and the Valente family who created the UFC. I was a sparing partner with Royce Gracie -- he's a UFC legend. We've got videos of our kids doing triangle chokes and arm bars when they were two years old.

AL: Talking of kicking ass, Lita's featured in the Brütal Legend game as Queen Lita, and you're a martial arts family, so she's probably one of the few characters in the cast that can kick ass as hard in real life as in the game.

LF: Oh, absolutely. There's no doubt about that man. You don't want to tangle with these guys. Holy crap! They're really good. My 8-year old could literally put a grown man to sleep.

AL: What do you love about your Brütal Legend character?

LF: Oh she's very sexy and she gets to ride a beast. I am an animal lover, so she gets to ride her own beast, which I think is just awesome. I'm the only one in the game that has a pet.

AL: And you have a Wicked Wonderland track, "Betrayal," in Brütal Legend?

LF: Correct. That track was written specifically for the game. It didn't start being that way, but it turned out they were looking for material for the game and Jim through that up and said, "Hey! What about this one? Check this out." And they fell in love with it. We changed the lyrics and made the lyrics fit the game. It fits the game perfectly so it really worked out well.

AL: And now you're embarking on a tour with Queensrÿche?

JG: We're excited about that.

LF: That is bad to the bones. I mean how blessed: The Queen and Queensrÿche.

AL: And that's going to be a family affair again?

JG: Oh yeah. You get one Gillette, you get four of us.

AL: So what do you and the boys do on stage?

JG: I do a lot of singing and the boys stand behind me and run out and throw balloons at the crowd or squirt the crowd or bring bottled water or just come out and start rocking out. It's pretty cool.

LF: If you've heard the whole album in its entirety you'll hear Jim a lot on the album. He sings a lot of the background vocals, and does a lot with the production. He's just a huge part of this. I just couldn't imagine doing it without him.

AL: How would you describe the live show?

LF: We get on stage and we jam our asses off for as long as they'll allow it.

AL: I kind of feel sad for the girls that rock today. The way the music industry presents them, it's all very safe, pre-packaged and contrived. You're of a generation that actually got to rock -- and be seen to rock -- for real. It feels like the truly wild days of rock & roll are behind us. Do you feel like that at all?

LF: Not with me. I do understand what you're saying. I think the generation of kids these days is even more wild than our generation, or my generation, I just think it hasn't been brought out yet. Everything is all flowers and sunshine, and it's those kind of people that watch that stuff that I think are really dying for the vampire side of things. With me, I don't do flowers and sunshine. I don't even wear pink on stage. If I did I'd probably throw up. But I think if anybody's going to crack that ice, I think it's going to be me. So that's a good question. Maybe that's why I'm back for that reason.

AL: You're back and very much in control. The album's coming out on your own record label and you manage yourself. Obviously The Runaways were managed by Kim Fowley, and as a solo artist you were managed by Sharon Osbourne at one point. Both are notorious figures -- for very different reasons -- but what have you learnt from them that you've been able to take forward into your career now?

LF: Well Sharon is the one that I really have a lot of respect for. She's a wonderful business woman and she's taught me how to deal with people. There's certain people you want to stay in touch with, there's certain ways of handling somebody, because you're really in it for the long haul. It's not a one-night stand. It's a lifetime commitment. Sharon treats people with class and dignity, and if she doesn't like someone she's tell them flat out, "Go fuck yourself," and that's it, she's gone, you'll never see her again. She's been a good help and somebody to follow as far as that sort of thing goes. She's a class act definitely.

AL: So are the two of you still in touch?

LF: No. Not so much anymore. I'm off in the Caribbean and she's, I believe, living in California, so we don't speak too much anymore. I don't speak to anybody too much anymore actually. We live a very private life when we are home, and when we're out on the road, you know, all hell breaks lose. But when we're home, we stay to ourselves.

AL: You were quoted recently in Rolling Stone as saying you have nothing to do with the upcoming Runaways film. Has anything been done to rectify that situation? Has there been any outreach to you?

LF: There has been, but I didn't like it. I really don't care for Joan's management. I have a real problem with working with them. I don't want to work with them. I don't have to work with them. They insist on using me in this film. That's their business I suppose. I tried to take out the pieces that I absolutely despised and that's it.

I'm a public figure, so it's pretty hard for me to say no, you can't use me on that. They're going to do it anyway, and it's the law, as disgusting as that sounds. Like Angelina Joile is in The [National] Enquirer every five minutes. She has no say, she's like a piece of meat, she's a public figure, and so am I.

If they have respect for you, and hopefully they will enough that they'll listen to my requests and please take that piece out. And they did. Thank god they at least did that, and offered me a ridiculously low amount of money, which wasn't even worth accepting. I just thought this is just a joke. The only reason they're using me is to hopefully sell more tickets to their theater, and that's it, which I could really care less. If I were to do my version of The Runaways movie it would be about the music.

AL: Would you want to produce a documentary or book so that you're able to present your side of the story?

LF: Not yet. I'm really not interested in it. I've got bigger and better things going on right now. One of my old girlfriends who was the main producer on [Runaways documentary] Edgeplay, she wants to do a biography on Lita. I told her I thought that would be great and if anybody does it, you would be the person I would choose to do it. The problem is, I only have half of it. I don't have the ending. There's no ending.


For further information on all things Lita Ford go to litaxx.tv/lita/.

Did your parents read you Where the Wild Things Are before bed? It may have seemed like an epic, but they probably finished Maurice Sendak’'s story in minutes and had you to asleep before prime time. Even with the illustrations performed in real time, the book alone would not fill 90 minutes of... more

Did your parents read you Where the Wild Things Are before bed? It may have seemed like an epic, but they probably finished Maurice Sendak’'s story in minutes and had you to asleep before prime time. Even with the illustrations performed in real time, the book alone would not fill 90 minutes of screen time. Spike Jonze elaborated on the story when he co-wrote the script and directed the movie version of Where the Wild Things Are. It won’t be everybody'’s idea of their childhood fantasy, but it is distinctly Jonze'’s.

In Sendak’'s book, Max gets a little too wild playing in his wolf suit and his mom sends him to bed without supper. A forest grows in his bedroom and he becomes king of the wild things. In the movie, Max runs away from home to discover the land of the wild things. He still becomes their king and leads a wild rumpus, but Jonze has the wild things throw dirt clods at each other, build a massive fort and step on each other’s heads. These aren’t just random bouts of whimsy, however. They mirror Max'’s destructive behavior.

Hollywood shouldn’t expect a traditional kids movie from the director of Being John Malkovich and Adaptation. He even gave his early music videos a touch of the surreal. When Weezer’s “Buddy Holly” came on, you might have thought you were watching an episode of Happy Days. Heck, his Sabotage video for The Beastie Boys even fooled Beavis and Butthead into thinking it was only a coming attraction for a video.

Jonze doesn’t particularly want to explain Where the Wild Things Are. Put him in front of a group of reporters and he’'d rather have everyone share their interpretations of the film. If they insist on doing an interview, he’ll still throw in some whimsical nonsense. We wouldn’t have it any other way.

Question: Why do you take so much time between film projects?

Spike Jonze: Well, they just take a long time. My other two movies took three years. This one took five years and I think after I finished my last one, I didn’t start right away. I wanted to take some time and then I didn’t realize how long this one was going to take. Everything about this movie became twice as complicated as we thought it was: The script and obviously the way we shot it with these creatures and going to locations. Like, building the suits took almost a year. Doing the faces took another year. We just finished the faces a month ago. Everything about it was more complicated than I ever would have thought.

Q: How much of that time was spent looking for the right Max?

SJ: That was hard. I mean, probably a year. It came down to crunch time. We were already living in Australia and I’d fly back here to audition with kids. We were prepping the movie and we still didn’t have our hero. Our friend Lance Bangs found Max in Portland, OR. It was a huge relief. We got the first tape from Lance and then Keener was working in Oregon on Into the Wild so I asked Keener to go audition with him. Then they sent me a tape and each tape was more exciting. Then we flew Max to Los Angeles and I came in from Melbourne and we auditioned and basically just beat each other up with blow up boxing gloves and shot NERF guns at each other. I thought, “Wow, he’s got a good shot. He has good aim so I cast him.”

Q: You have to add things to the plot. Where did the new story elements come from?

SJ: We got beaned by a dirt clod and we’re just like whoa, whoa, whoa. I don't know. Again, all those things, I don't know where they came from. They came from Spain?

Q: Okay, maybe you can’t pinpoint your inspiration, but you must have known you’d have to add to the story to make a whole movie.

SJ: Yeah, I think for a while I was hesitant to add a story on it because I didn’t want to add something that wasn’t in the book already because I loved the book so much. The idea I came up with was more just sort of figuring out who Max was and who the wild things were and writing the characters, the invention that the wild things could be wild emotions and that Max goes to this place to try and understand that better. So in creating the wild things as wild emotions, it sort of gave room for basically anything to happen. That was really the way in. Everything did happen because once you start writing characters, the story just came out of that, who Max was and who the wild things were and let the relationship create the story.

Q: Were you nervous about taking on such an iconic story?

SJ: I feel like very early on, before I even was really writing, when I was just writing notes, I sort of got hit by this fear. I started working on it, I would tell my friends and tell people and everyone would have such personal reactions to the book, because they read it when they were a kid and everybody has such a personal relationship to that book. So I started to talk to Maurice about it and Maurice was the one who said, “You can’t worry about any of that. You can’t even worry about what I think of the book. You have to make your version of this movie and make it personal to you. All I ask is that you don’t condescend to children, don’t pander, make it honest and make it personal.” So from that point on, once Maurice gave me that freedom, I gave myself that freedom to not really worry. All I can do is make my version of it. I always look at the book as like a poem because it’s so sparse yet so deep and there’s so much to it. A great poem leaves so much room for everybody to have a different reaction to it.

Q: Were you surprised Sendak trusted you with his book?

SJ: Yeah, I think his attitude was “I don’t want to make a movie just to make a movie. I don’t want to just make some crap to fill the multiplexes for a month.” That’s why he didn’t make it for 20 years. He trusted us which is astounding and I’m grateful. Once he decided to let us make it, he really just gave us his book and said, “Make it your own.” There was not a sort of protective artist at all. All he was protective of was making it honest. Any time we’d write a scene that felt dishonest, he’d be the first one to say, “This feels phony.” He’s an artist through and through. It’s pretty remarkable to have a mentor and a producer and a friend who guided us through it. One thing I was just thinking about Maurice is he’s such a hard person to explain because he’s this one of a kind person. We just did this documentary on him. It’s a 40 minute documentary. It comes out on HBO October 14 and it’s just basically conversations with him. It’s like a video portrait of him.

Q: Was the studio a little less receptive to your interpretation of the book?

SJ: Yeah, definitely. I’m sure you guys have read about it. In editing, when they finally saw the movie, they were surprised as probably in the same way that Maurice described when he handed the book in, the publishing house was equally surprised. But that’s kind of to be expected. What happened was when we made the movie, we were editing it, we showed it to the studio at a certain point and they were just sort of surprised by what the movie was, and what the movie is that you see. I think it just isn’t what they expected it to be. It’s just not a traditional children’s film. I think they were sort of expecting more of a pixie dust magical fantasy film where we set out to make a movie about childhood. It doesn’t have a movie kid in it. It has a real kid in it. Max’s performance is so real and raw. That’s just not really what they were expecting.

Q: Did you make changes to placate them?

SJ: Hell no. We just made the movie we wanted to make. We weren’t going to work on something that long and care that much about it. It was just a process of getting them comfortable and basically, they had to learn to love the child they had. We triumphed. We stepped on their head.

Q: How did you explain the film’s tone to the studio, and now to audiences?

SJ: The idea was we weren’t thinking about whether it was dark or light. We were just trying to make a movie that represents what it’s like to be a human being at that age. What it feels sometimes, what it can feel like at times when you’re nine. When you’re nine, there’s fun, there’s love, there’s safety and then there’s also times where there’s loneliness and longing and loss of control. We were trying to be true to Maurice’s work and I think Maurice’s work, his book actually when it came out was attacked by librarians and child psychologists and Better Home and Garden type magazines because it wasn’t like a traditional children’s book. It showed this boy being wild, acting out, yelling at his mom and his mom, instead of calming him down and helping him through his emotions and teaching him a lesson, his mom reacted too and yelled at him and sent him to his room. That was something that they said, “This book is dangerous for kids” because it wasn’t teaching the kids a lesson. But, it was truthful and kids recognized that. Kids started taking it out of the library and it became popular because kids loved it. Now, 40 years later, it’s a classic. It’s something that everybody gets. If your friend has a baby, you get them Where the Wild Things Are. I think the movie is coming from the same intention, just to be truthful and not condescend to kids.

Q: What was your introduction to the book?

SJ: My introduction to the book was when I was a kid, my mom read it to me and it was one of the books I loved. There’s probably a handful of books that I deeply, deeply remember. It was Where the Wild Things Are, In the Night Kitchen, Nutshell Library of Maurice’s stuff and then some Shel Silverstein stuff. Where the Sidewalk Ends, The Missing Piece, The Giving Tree. I feel like those are the ones I’d go back to. I remember going back to them when I was eight or when I was 12 or even when I was 15. For some reason, even when you’re 12, you go back and read Where the Wild Things Are or In the Night Kitchen, you don’t read them in the same way you did when you were five, but at least I remember again when I was 12 looking at the way the bedroom turns into the forest and how the magic of that imaginative creation and being excited by it and inspired by it.

Q: Why was Karen O’s music the soundtrack to the film you decided on?

SJ: Karen is one of my favorite artists and she’s so childlike in her freedom of expressing herself. Not that she makes innocent music but there’s an innocence to her and a depth at the same time, even her most wild stuff from the Yeah, Yeah, Yeahs. I thought her music could sort of be the heart of the film because her music has so much heart to it. The idea was that we thought we would have pop songs be the score, not pop songs like Britney Spears but pop songs in the great sense of like Brian Wilson or John Lennon, Paul McCartney and David Bowie. I think as a kid, I connected so much to pop songs. As a kid, I remember listening to “Across the Universe” and feeling that feeling. Even though I didn’t really understand exactly what they were writing about, I understood the feeling of it. “I Will Survive,” the Gloria Gaynor song. When I’m seven years old, I could sing along that song and I guess I felt every word of it. I didn’t probably relate so much to the woman being dumped and left by the man, but I related somehow to the sense of heartbreak and longing and whatever the things are. Pop music, I think there’s a reason kids connect to it. We wanted to tap into that so Karen wrote from that place and didn’t write songs about what the scenes were about. [She] wrote songs about what the themes of the movie were about. So even if the specific words aren’t directly one to one, it’s the themes and feelings of the songs.

Q: Was there ever discussion of doing CGI wild things?

SJ: I think before we started, Maurice had been trying to make a movie for a while and the studios had sort of talked to him about doing CG, so they were going to do a CG version, they were going to do an animated version but when we started on it, I’d always wanted to do it live action. I just thought it would be more exciting and fun. Not only fun, I guess that’s the wrong word. More visceral and dangerous.

Q: Which wild thing do you most identify with?

SJ: I think all of them. I think all the characters I feel a part of. In my other movies too. In the movies that Charlie Kaufman wrote, I feel like even those, you kind of have to be connected to them all.

Q: What’s the wildest thing you’ve done?

SJ: I ate a building, a hotel.

Q: Why’'d you do that?

SJ: I was mad at it.

Q: Did it taste good?

SJ: No.

Where the Wild Things Are opens October 16.

(image) Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch! Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make... more

Help SuicideGirls spread the word about our newest App in the iTunes store Seduce A SuicideGirl and enter for your chance to receive a free iPod Touch!

Meet the sexy Zoli Suicide in a comic book shop and if you make the right choices—you will get a sexy, 17+ make-out session, but if you make the wrong choices you will get shot down by a SuicideGirl in 10 different humiliating ways!

Written by Anthony Zuiker, creator of the CSI franchise, directed by Troy Miller, executive producer of Flight of the Conchords and starring those naughty, internet, art-sleaze superstars the SuicideGirls. This app was shot and created specifically for the iPhone & iPod Touch. It's SuicideGirls version of a Japanese Dating Sim or one of those kids books where you could choose what happened next by making different choices. A little funny, a little sexy, and maybe a little goofy, this is the closest you will get to dating a sexy girl who lives inside your iPhone.

To enter all you need is a Twitter, Facebook or Myspace.

- Tweet
- Update your Facebook status
or
- Post a bulletin to your Myspace friends

with:

"Check out SuicideGirls newest app for the iPhone and iPod Touch: Seduce A SuicideGirl. Download it here: http://tinyurl.com/ylz8789."



Take a screenshot (see example above screenshot how to instructions here) of your message as it appears on Twitter, Facebook or Myspace.

E-mail to: marketing@suicidegirls.com
- your screenshot
- a link to your facebook, myspace, or twitter page
- your name
- date of birth
- address

Competition closes at midnight PST on November 2nd. The winner will be chosen at random from all valid entries. You may enter one time for each update. The winner will be notified by e-mail by November 6th.

SuicideGirls has a new app for the iPhone called Seduce a SuicideGirl Meet the sexy Zoli Suicide in a comic book shop and—if you make the right choices—you will get a sexy, 17+ make-out session with her (it’s not that racy, but it’s cute). Make the wrong choices and get shot down by a SuicideGirl... more

SuicideGirls has a new app for the iPhone called Seduce a SuicideGirl

Meet the sexy Zoli Suicide in a comic book shop and—if you make the right choices—you will get a sexy, 17+ make-out session with her (it’s not that racy, but it’s cute). Make the wrong choices and get shot down by a SuicideGirl in 10 different humiliating ways!

Shot and created specifically for the iPhone & iPod Touch, This is the Suicide Girls version of a Japanese Dating Sim or one of those kids books where you could choose what happened next by making different choices. A little funny, a little sexy, and maybe a little goofy, this is the closest you will get to dating a sexy girl who lives inside your iPhone.

Written by Anthony Zuiker, creator of the CSI franchise, and starring those naughty, internet, art-sleaze superstars the SuicideGirls.

We want to make a few more of these, so please let us know in the feedback what we should do differently in the next episode or what SuicideGirl you’d like to see in it.

Download the app, Seduce a SuicideGirl here!

AMC's hit series Mad Men turned the channel into a legitimate network for original programming. Their previous claim to fame was simply showing old films, as their title American Movie Classics indicated. Harkening back to a more "classic" era, Mad Men takes place in the world of 1960s advertising. The smoldering period piece stars Jon Hamm as Don Draper, the top ad man at Sterling Cooper. The world of the office features lots of smoking, suits and pre-sexual harassment sexism.