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  • The Ypsilanti mystery pooper saga continues

    Ypsilanti police are still searching for the person dubbed the “mystery pooper.” Someone has been, as the Associated Press politely puts it today, “soiling slides at an Ypislanti playground over the last six months.” So, of course, someone purchased an electronic billboard along I-94 near Huron St. at exit 183 that delivers multiple calls for action: For instance,”Help us flush the pooper.” The company that purchased the billboard, Adams Outdoor Advertising, knows how to reach the world in the 21st Century, branding each billboard with a hashtag for the public utilize in its efforts: #ypsipooper. WJBK-TV says the billboard also toggles through other rich lines, such as: “Do your civic doody, report the pooper #YPSIPOOPER” “Help us catch the poopetrator #YPSIPOOPER.” You can have the runs, but you can’t hide. They’re still looking for you, Mystery Pooper.

    The post The Ypsilanti mystery pooper saga continues appeared first on Metro Times Blogs.

  • City Slang: DJ AvA, Chuck Flask & Keith Kemp preview Movement at Urban Bean Co.

    It’s a really, very cool idea. Paxahau, the good people behind the Movement Electronic Music Festival, are hosting a series of warm-up events, or previews, to the big festival which takes place Memorial Day weekend. On Thursday evening, Movement moved into the Urban Coffee Bean on Grand River in Detroit. While Dj AvA and Chuck Flask & Keith Kemp ably worked the decks, the regular coffee shop goings on continued behind them. It made for an interesting and amusing webcast experience – one guy was taking a nap on camera, while others supped coffee and tappd their feet. It should come as no surprise – the Urban Coffee Co. people have always been big supporters of electronic music. The place includes a DJ stand, and co-owner Josh Greenwood encourages customers to bring their own vinyl and spin on the open turntables. Not on Thursday night though. This being a coffee shop, and it not being particularly late at night, the music remained pretty chill throughout. DJ AvA (real name Heather McGuigan) includes Beth Orton, Madonna, the B-52’s, Daftpunk and David Byrne among her list of influences, so you know that she’s capable of both whipping up a storm and also […]

    The post City Slang: DJ AvA, Chuck Flask & Keith Kemp preview Movement at Urban Bean Co. appeared first on Metro Times Blogs.

  • Here is why landlords could do well in Wayne County

    CNN has a message to all prospective landlords: Head to Wayne County! Occupancy and rental rates are increasing, the report says, creating an opportunity for serious returns on investments. In fact, after comparing the median sales price of homes to average monthly rents in nearly 1,600 counties, RealtyTrac found that Detroit’s Wayne County offers landlords the best return on their investment in the nation. Investors who buy homes in the metro area can expect a 30% gross annual return from rents. That’s triple the national average of 10%. RealtyTrac, an online real estate information company, says the county offers investors low prices for larger homes — with a median price of $45,000. “We’ve got some steals here,” said Rachel Saltmarshall, a real estate agent and immediate past president of the Detroit Association of Realtors, told CNN. “There’s a six-bedroom, 6,000 square-foot home in a historic district selling for $65,000.” For more, read the entire report here.

    The post Here is why landlords could do well in Wayne County appeared first on Metro Times Blogs.

  • The Record Store Day Guide for metro Detroit

    This Saturday, audiophiles across the world will venture out to their favorite independent record stores in search of limited releases that quickly become collectors items. The third Saturday of April marks the fairly new international holiday Record Store Day. There are certainly dos and don’ts to know for RSD — like where to shop, and how to shop. That’s right, there is an etiquette to shopping on Record Store Day and violating that code makes you look like a real asshole. In my experience of celebrating Record Store Day, I’ve seen stores use a few different tactics as far as stocking the special releases. Some establishments will set up a table, somewhere in the store, where a few shoppers at a time can flip through records in a calm and contained manner. Other places will have a similar setup, with all the releases at a table, but shoppers ask the store employees for the releases they want. It’s like a record nerd stock exchange. This process gets loud, slightly confusing and incredibly annoying — this is where elbows start getting thrown. Then, there are places that put the releases on the shelves, usually categorized by size — twelve inches with the twelve inches, seven inches with the seven inches and […]

    The post The Record Store Day Guide for metro Detroit appeared first on Metro Times Blogs.

  • City Slang: DEMF 2014 canceled

    The Detroit Electronic Music Festival, which was supposed to be making a triumphant return this year, has been canceled. A statement on the website says that the festival will be back in 2015. Back in November, Ford Field hosted an announcement party for DEMF, where it was revealed that a new DEMF festival would take place at Campus Martius Park in Detroit over the July 4th weekend. “I’m proud to be involved in the biggest and best electronic music festival in the world,” said Juan Atkins. “The future’s here. This is techno scene.” Not the immediate future, apparently. The DEMF people claim that the M-1 rail construction is partially to blame for the cancellation/12-month-postponement. Read the full statement here. Follow @City_Slang

    The post City Slang: DEMF 2014 canceled appeared first on Metro Times Blogs.

  • Metro Times wins heavy at the SPJ Awards

    Despite a turbulent 2013 which saw Metro Times change owners, move buildings and change editors twice, we picked up eight awards at the Society of Professional Journalists Awards on Wednesday night. The big winner was Robert Nixon, design manager, who picked up a first place for “Feature Page Design (Class A)” for our Josh Malerman cover story, first for “Cover Design (Class A)” for our Halloween issue (alongside illustrator John Dunivant), and a second in that same category for our annual Lust issue. In the news categories, our esteemed former news editor and current contributing writer Curt Guyette won third in “General News Reporting” and third in “Best Consumer/Watchdog” – both Class A – for the Fairground Zero and Petcoke Series respectively. Music & Culture Editor Brett Callwood placed third for his Josh Malerman cover story in the “Best Personality Profile (Class A)” category, and former editor Bryan Gottlieb picked up a couple of Class C awards for “Editorial Writing” and “Headline Writing” (third and second, respectively). We were also pleased to learn that our investigative reporter Ryan Felton won first place and an honorable mention for work published while at the Oakland Press. The MT ship is steady now, […]

    The post Metro Times wins heavy at the SPJ Awards appeared first on Metro Times Blogs.



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Cover Story

Bruce Campbell - the man, the myth, the chin

Chronicling the rise of hometown hero

Photo: N/A, License: N/A

Photo: N/A, License: N/A

Just a few movies into his career, Campbell certainly didn’t leave town because he was getting harassed by local super-fans. “I’d go into a comic book store and some guy would say, ‘Man, you look like Bruce Campbell’s brother,’” he says. “They couldn’t put it together. The first Evil Dead had more success overseas, Crimewave nobody saw. Evil Dead 2, by the time we left, that movie did OK but it wasn’t a wide release. It was unrated, so it bicycled around the country in different markets. It wasn’t a national release. The only way people recognize you is when you get your butt on television. You come into their living rooms every single week. Movies are different. So I had pretty good anonymity.”

Before Campbell would step back onto an Evil Dead set to fight deadites once again in Army of Darkness, he would enter a whole other horror franchise with a loyal fanbase — Maniac Cop. “That was fine,” Campbell says. “I was interested because I had heard of Bill Lustig and he had done movies like Vigilante [Lustig also directed the classic slasher flick Maniac]. He was a good, solid genre director. He called me to ask if I wanted to be in the movie, and it was my first non-Sam Raimi movie. It wound up doing well, so they did another one and I only make it five minutes into the second one.”

Another project featuring Campbell during this period is gloriously entitled Lunatics: A Love Story. “That was a fun little experience,” he says. “It was just before Army of Darkness. It was only made for a couple of hundred thousand dollars, so we had complete control over it. Structurally, it’s one of the best screenplays I’ve ever worked on. I’ve never seen a screenplay to equal that amount of consistent themes and structure, and storytelling. I would use that script to teach a class.”

And then came Army of Darkness — the third and, until this year, final Evil Dead movie — in which Ash finds himself in medieval times, facing all manner of witches and creatures. This one saw the horror toned down and the comedy boosted up, though there is still enough blood to satisfy the most ravenous gore hound. “It only made as much as the budget,” Campbell says. “It cost $13 million and I think it made $13 million. Now it’s on American Movie Classics with Ben-Hur. There are 14 different versions on DVD and it plays all the time everywhere. People think it was a hit movie, but it was absolutely not. The first was a hit, the second we were in the process before we even started making the movie, and the third one failed. That’s the other thing too. There was a lot of pressure to make another Evil Dead, but if you follow that formula, the first movie was $350,000, the second was $3.5 million, the third was $13 million, the fourth one will be $100 million, and the third didn’t make money. In our mind, there wasn’t a big call from the industry to make another. There was from the fans, but not from the box office.”

Thanks to a résumé that includes the likes of Evil Dead, Maniac Cop and, yes, Crimewave, it’s not surprising that people tag Campbell a “cult hero”. The man himself doesn’t mind that at all. “You can’t stop it,” he says. “Even if I wasn’t comfortable, there’d be nothing I could do about it. I just embrace it. I didn’t come up with it. I just see myself as a working actor. I’ve stopped worrying about what people are into. At one time, I wondered why people only wanted to talk about the Evil Dead movies, but if that person’s a horror fan, they wouldn’t have seen much of my other work. They might have seen Bubba Ho-Tep. But I’m actually more stereotyped by my fans than I am within the industry. I did Cloudy with a Chance of Meatballs, G-rated movies. I’ve been in a French film, and I’ve done a lot of weird stuff. But if that’s not what you’re into, the horror movie lover will really only know me for that. They’re not going to watch Burn Notice, or all these other things. I’ve stopped worrying about it. The Evil Dead fans are fabulous though. I have a collection on my phone of like 130 photographs of Evil Dead-type tattoos. It’s a great collection. It’s a slow-growing weed. None of this happened overnight. There was no Taco Bell tie-in type advertising. This was all pretty much word of mouth, DVDs. Anchor Bay is the company in Michigan that sublicenses Army of Darkness, and they were the first ones to say, ‘Fans want more.’ They want behind-the-scenes footage, they want ‘the making of,’ they want deleted scenes, they want to see storyboards and interviews. It’s DVD companies like Anchor Bay that really got people interested again and they revisited the thing. The remake is the only worldwide release we ever had. We never thought about releasing any of this nationally. Army of Darkness was the closest we got. I’m excited to see what something like this can do when you release it all at the same time.”

The mid- to late ’90s saw Campbell get more mainstream work, including, importantly, recurring roles on major TV shows. He played the detestable Bill Church Jr. on Lois and Clark: The New Adventures of Superman, Ed Billik on Ellen, and Autolycus on both Xena: Warrior Princess and Hercules: The Legendary Journeys. More recently, he has starred as Sam Axe on the hit show Burn Notice. “That’s just what you want to do,” he says. “You want to get out there and get at it, get going. TV is the most active thing because you really get to hone your character over a long period of time. With a feature, you really want to throw out the first couple of weeks of shooting because usually you don’t know what the hell’s going on, what your character is and how something’s supposed to play. With TV you have literally years to hone it. The writers start to learn what you’re good at and they write more of that. They learn what you suck at and they write less of that. You can start forming relationships with directors, writers and producers. It can be a very family-like experience. With Burn Notice, we’re on our seventh season coming up in March and I’ll be back down to Miami. After that’s over, it’ll be seven seasons and 100-something episodes of that show, and I won’t see most of those people ever again, that’s the crazy thing. Some I will, but most I won’t.”

In 2002, Campbell re-entered the world of cult cinema thanks to the frankly incredible Bubba Ho-Tep, which tells the story of an Egyptian mummy terrorizing a bunch of old people in a retirement home. Campbell plays a man who believes he’s Elvis Presley, while the late Ossie Davis played a man (a black man, no less) who believes he’s JFK. Whether they are who they think they are is open to interpretation. Somehow, the movie isn’t at all ludicrous, despite that premise. “It was one of the weirdest scripts I’d ever read, but I found it oddly touching because it’s ultimately a story about two old guys in a rest home and what becomes of old people,” Campbell says. “There are weird, underlying themes with that and — oh, yeah — there’s also a mummy. … I’ve seen a lot of movies like Bubba Ho-Tep that are trying to be funny, and Bubba succeeds because everyone is dead serious in that movie. That’s why it works. If it was too campy, then it’d be like Transylvania6-5000 or something, where it’s a wacky story with wacky characters. I think because of Joe Lansdale’s tone, the way he wrote it, he made it seem like it was really happening, and that’s what saved it. Don Coscarelli deserves props too for being a very stubborn independent filmmaker. Ossie Davis was great as JFK. I think it was one of his last roles. He was 83 when he did it.”

Campbellhas also found success in kid’s cinema, thanks to parts in such movies as Sky High, Cloudy with a Chance of Meatballs, The Love Bug and The Ant Bully. The man relishes the opportunities. “I enjoy doing it, only because it’s just another thing that’s completely different,” he says. “Any actor would like to come in and play a goofy character where anyone can watch it. When an actor starts doing kids’ movies, that’s when they had children. The same thing changes in their brain. Ten years ago, they’ll say “I wouldn’t do some stupid kids’ movie.’ Ten years later, they’ve got a little 3-year-old kid and they say, ‘I should do more kids’ movies.’ I don’t look for them; it’s just another weird opportunity that comes up. I talk to a lot of fans, and some of them didn’t get along with their parents, but the one thing they had in common with their dad was Evil Dead. I’m glad to help families all across the world.”

April will see the release of a whole new Evil Dead movie, a remake reunites the original production team (including Campbell and Raimi), though it’s directed by first-timer Fede Alvarez. Fans have been understandably petrified, though not for the right reasons. Some classic horror franchises — from A Nightmare on Elm Street to Friday the 13th — have been subjected to painfully inept and lazy remakes. The Evil Dead is hallowed ground (so to speak), and fans won’t stand for a similarly bad reinterpretation. Campbell isn’t worried. “I fucking love the new movie,” he says. “I’m impressed as hell with it. I saw an early version when I was working on Burn Notice in Miami, and I just got on the phone and said, ‘Guys, I think we dodged a bullet on this one.’ Fede Alvarez is going to be a very busy young man. He just brought a really neat sensibility to the movie, and it’s stylish without being masturbatory. It’s not stylish for the sake of being stylish, it tells you this weird story that’s unfolding. I think he did a great job, and the score is just over-the-top. Roque Baños is the guy that did it, and it’s fantastic. If you have a good score, your movie’s halfway there. We’re big lovers of sound, so I just spent a month with Fede mixing this movie word by word, line by line. I think it’s going to have some serious impact. We’ve seen it several times with an audience. I cannot wait for South by Southwest. There are certain screenings I would never miss, and that will be one of them. Austin is a fabulous horror city. There are more tattooed freaks in that city than just about anywhere. It’s perfect. I want to see the first Evil Dead tattoo from the new movie. I’ll sign that one special.”

Judging by the intense red band trailer that has been doing the rounds online, there is plenty of reason to be optimistic and even excited about this movie. The intensity has been kicked up a notch, but the elements that made the originals so great are present, from chainsaw self-mutilation to living trees to the creepy girl in the basement. “Fede took little bits from all of [the original movies],” Campbell says. “You’ll find some little homages that are good for the DVD commentary. We pulled some original sounds from the original movies, because we had a bunch of our sounds remastered and redigitized. We throw a few of those zingers in there to remind people that we’re still thinking about them. I’m one of the producers of this movie and I have to promote it, but I can either want to promote it or not want to. This one, I’m good promoting it because I think the general fans are very sensitive. They’re very vocal and sure in their opinion, which is fabulous. We’ve done everything we can to not piss them off. That’s why I’m excited: I think we’ve succeeded in not pissing them off, and I think we succeeded beyond that in that I think they’ll actually get excited about it. When Evil Dead fans get excited, they will embrace it. It’s just about trying to encourage them to get past their fears. Don’t worry about it; we’re all involved. This is not some no-name, cigar-chomping producer who randomly bought the rights to this series. This is us. This is the movie that got me into the film business, so I’m not gonna fuck around with it. We’re gonna make sure this thing is everything that we think we need it to be. I’m excited because they moved it up a week, it’s now April 5. They’re trying to position us well and give us a good opening launch. I think we’re between GI Joe and Oblivion. Bring it.”

Probably wisely, Alvarez and the guys decided not to bring back the character of Ash in the new movie, saving fans the genuine horror of watching somebody else try to fill Campbell’s boots. “Bringing Ash back was always off the table, because Sam wanted to be able to do more movies with the original partners,” says Campbell. “That’s why he was eliminated, to keep this world open to two sets of movies. Our ideal world would be to have the original movies, and then three of the new ones. … I didn’t want some other schmo playing Ash; you don’t want to put some weird pressure on them, like, ‘Well he sort of did it but he didn’t really do it. He didn’t look like him.’ You can go all day with that crap, so why bother? We did all-new kids, familiar evil book, creepy cabin — the elements are the same. The beauty is, we wanted to make a version where you can’t see the green garden hose spewing the fake blood. We wanted to be able to bring the same sense of horror and fantastical things happening in a more realistic way. Fede brings a really interesting sensibility to this. He actually brings a very mature sensibility. We were so relieved when we first saw the first cut of this movie. Like, ‘Oh, thank God, this guy gets it.’ It’s only 90 minutes. The original was 87 minutes. It’s a short, crazy ride, which is what it should be.”

The release of the remake is still a couple of months away. This weekend, however, Campbell will be at the Royal Oak Music Theatre, in his old home town, for An Evening with Bruce Campbell. “Expect the unexpected,” he says. “It’s not like a Charlie Sheen thing where I’m going to be on stage trying to entertain you. This is going to be a very active Q&A, then I’ll be introducing a screening of Army of Darkness. I won’t be sitting down and telling fascinating stories. It’ll be more interacting with fans in that venue.”

After that, Sam Raimi’s Oz: The Great and Powerful hits the big screen on March 8. As one would expect from a Raimi movie (see Spider-man), Campbell has a small part to play. “I’m in it, although with these big movies you never know what’s going to happen,” he says. “I have a pivotal role, let’s say that. If I was not in this movie, certain things would not transpire. That’s all I have to say.”

Between his live performances, Oz and the Evil Dead, plus the return of Burn Notice in June, Campbell is a busy man, but he wouldn’t want it any other way. Still, no matter what character Campbell portrays and no matter how much success he has elsewhere, he will always be firmly linked to the Evil Dead in the minds of many. It’s his cross to bear, but, to his credit, he embraces the fact and his excitement towards the remake is genuine. “It’s been 22 years since anyone’s ever set foot on an Evil Dead set, so that’s a full generation,” he says. “It’s time to let people have it with the power that modern-day film making can bring. Better sound, better images, better focus, better actors — we’ve got better everything in this movie. I’m jealous. I’m extremely involved, but still jealous.”

Don’t worry, Bruce. No one could ever replace you.


Bruce Campbell appears at 7 p.m. on Sunday, March 3, at the Royal Oak Music Theatre, 318 W. Fourth St., Royal Oak; 248-399-2980.


Brett Callwood is a staff writer at Metro Times. Send comments to

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