by Daniel Robert Epstein

Little did I know that the Scottish guy that took over Howard Hesseman’s role on Head of the Class, Billy Connolly, would go on to become one of the funnier comedians working today. But over the past ten years Connolly has gotten more acclaim as an actor in films like Lemony Snicket’s A Series of Unfortunate Events, The Last Samurai and SuicideGirls’ favorite Boondock Saints. But his new film, Fido, showcases Connolly’s best role yet. Fido is set in an alternate universe in 1950’s America. A mysterious gas came down to Earth and turned all dead people into zombies. After the great zombie war, secure towns have been established, and with the help of a special collar, zombies can become servants, and in some cases, people’s lovers. Connolly plays Fido, a zombie that has been brought into a family where the father is terrified of zombies. But the little boy in the family, Timmy, is being ignored by father and decides to adopt Fido as a pet. I got a chance to interview Billy Connolly during the Fido junket in Manhattan.

Read our exclusive interview with Billy Connolly on SuicideGirls.com.

by Mike Hammer

Sage Francis tears holes in hypocrisy and mainstream hip-hop with his thoughtful stories of the human condition. The wordsmith spits rhymes that make you think, make you smile, and flow beautifully over high-tempo beats. His new album, Human the Death Dance, is a hip-hop work of art that mixes cutting edge beats from indie rap producers like Alias and Reanimator and Ant, as well as Sage’’s insightful personal and pop cultural rants. The 16-track disc is what Sage calls a “wrap up” album of all his previous work.

I sat down with Sage in Cleveland, Ohio to hear some things about the indie hip-hop scene, his abnormal MySpace page, the first rhyme he ever wrote, greedy publishing companies, and more.

Read our exclusive interview with Sage Francis on SuicideGirls.com.

by Darrah de jour

Women have long been considered the sum of all wickedness. Something about our siren nature, which is able to distract, lure, bankrupt, limp, stronghold, harden, weaken and dilate a man’s – well – everything. Add money to the mix, and you have some interesting table talk.

My interest in the lure of sex work has little to do with the pedestal-izing of its workers, more so with their private relationships. Likely, it is difficult to carry on a typical, standard, monogamous partnership if your profession dictates you wrap your hands, lips, and lady bits around your male clients. Are sex workers, by nature, polyamorous? And what are the risks of telling or not telling your boyfriend or girlfriend what you do for a living?

I got up the nerve to chat with two really cool ladies, who are 100% comfortable and very erudite when asked to talk about such issues. In fact, as widely respected sexperts, they are frontrunners in the carnal knowledge movement. In this first installment of a two part series on love, sex, porn and polyamory, I chat with famed “prostitute and porn star turned sex educator and artist” Annie Sprinkle. During our conversation, I decided to roll the dice and ask her about a few other things I’m, ahem, curious about…Listen in:

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by Aaron Detroit

Marilyn Manson says his new record, Eat Me, Drink Me, saved him from an identity crisis. The controversial singer – recently hailed as “The Last Rock Star” by Spin magazine – chatted with Aaron Detroit about Slayer fans, getting his mojo back by making a record while lying on the floor, his directorial debut Phantasmagoria: The Visions of Lewis Carroll, and the last gasps of record industry.

Read our exclusive interview with Marilyn Manson on SuicideGirls.com.

by Erin Broadley

Like his name would suggest, Aesop Rock is a storyteller. But instead of shrouding lessons on morality within recycled folklore, the hip-hop emcee cuts to the chase, illuminating the human condition through unfettered observations on the strangeness of people and the shape-shifting worlds we inhabit. Born and raised in New York, Aesop has never lacked for subject matter. One could say that the city chooses her storytellers, and not the other way around. Aesop’s refined staccato raps eloquently around even the harshest of big city truths, and when he zigs before he zags, the wordplay is nothing short of spectacular. His detailed, non-linear narratives explore the tension that exists between innocence and the sordid aspects of human nature; the self-inflicted identity crisis that exists when one dabbles in role play – when the virgin taunts the whore, or when the pornographer becomes the ice-cream man. As Aesop puts it, his attraction lies in what happens when “fluffy meets evil.”

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by Erin Broadley

El-P is not a businessman by nature, but rather, by necessity. In a music industry smeared with artistic ultraviolence and held together by cobweb sutures, the Brooklyn, New York-based emcee decided to take matters into his own, deft hands and start an independent hip-hop label in 1999, calling it Definitive Jux Records. It wasn’t long before the label became one of the most legit and dynamic sources for underground hip-hop in the country. “The greatest thing that can ever happen for an artist is to make money off what he does for a living,” El-P says. “One of the worst things that can happen for an artist is to all of a sudden be this little guppy in a fish tank full of piranhas.”

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by Erin Broadley

Back in 1984 Slayer and other metal mainstays Venom and Exodus hit the road on what was dubbed the Combat Tour. According to band legend, one drunken night on the tour bus, Slayer frontman Tom Araya – just a tempestuous twentysomething – stumbled down the hallway looking for a place to take a leak. Venom vocalist Cronos joked that the bathroom was right there, in his mouth. Araya proceeded to whip it out and piss all over Cronos’ hair. Sure, Cronos left Araya with a shiner but it’s all part of what makes Slayer, well, fucking Slayer.

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