It's just a rat fink with a taste for mother's milk.
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Lang's drawings resemble the grungy aesthetic of Ed Roth's Rat Fink hot rods.
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It was Rat Fink material that had sent us to Mooneyes, which maintains the brand.
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He filters politically charged work through a raspy and psychedelic aesthetic akin to Ed Roth's Rat Fink.
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Also, just look up the word "whistleblower" in the dictionary; the synonyms you see include [snitch, stoolie, rat fink].
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He enters to that 'Best Day of My Life' song, then gets huge cheers for calling Michael Cohen a 'rat fink.
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Her barely human characters are depicted as over exaggerated caricatures within a comic strip style of painting reminiscent of Ed Roth's Rat Fink cartoons.
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RAT FINK took off in 1965 after Ed "Big Daddy" Roth created a "hot rod" character with that name as an "antihero" to Mickey Mouse.
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Cahill is having fun while channeling all that garden-variety frustration stewing under the lid of any woke young woman into dead rats, floating Betty Boop heads, and Rat-Fink-style phantasmagoria.
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Franco's weaselly smarm works perfectly as rat fink Frankie, and he brings a smear of buttery tenderness to Vince, who opens a seedy new bar near Times Square called the Hi-Hat, which welcomes prostitutes.
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Take a core sample from almost any story about Hillary Clinton in the massive armamentarium where they are stored and—like one of those Simpsons subterranean pan shots, revealing layers of absurd archaeology—all the Hillarys we have come to know will appear: the A student, the opportunist, the mastermind, the rat fink, the pragmatist, the truth-twister.
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For us Generation Y-ers, precariously balanced between Generation X and millennials, it will leave your synapses blazing in remembrance of iconic pop culture ephemera: Shag stickers; Rat Fink hot rod kits; the HOUSE33 clothing line that directly referenced California skate culture of the early '90s; the imagery of artist Chris Cooper, whose iconic "smoking devil" design bears more than a passing resemblance to Cruz himself.
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One section chronicles Cruz's eye for hot rod cars, showing a progression from the classic hot rod that was his father's passion project and point of inspiration for Cruz as a young man, to Ed "Big Daddy" Roth's futuristic Mysterion show from the Henry Ford collection; in 1997 Cruz began a collaboration with Roth to develop a specialized font for the Rat Fink brand.
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It can seem as if a million different things are going on simultaneously at Rat Bastards, a narrow rectangular space off the museum's main bookstore reached through sets of Japanese door curtains painted by Ms. Eisner's son Louis — an artist who commutes between Los Angeles and Mexico City — with a logo that itself is a homage to the Rat Fink characters devised by the cartoonist and custom car designer Ed Roth (known as Big Daddy).
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He worked there for 10 years until about 1980.Ganahl, p. 144. In December 1977, Robert and Suzanne Williams, along with Skip Barrett, organized the first Rat Fink Reunion to celebrate the legacy of Roth. Rat Fink Reunions are still held to this day at the site of Roth's final residence in Manti, Utah and near Los Angeles.
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Edward Roth, Big Daddy to 60's teenagers and creator of curvaceously customized cars and delightfully repugnant cartoon characters, notably the slobbering Rat Fink, died on Wednesday in his studio in Manti, Utah.
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The superheroines storm Rat Fink's lair and retrieve it, unmasking Rat Fink and converting one of his minions, Tiger, to the side of justice after he falls in love with one of the Batgirls.
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Since then he had appeared at Bimbo's in San Francisco, the Rat Fink Room in New York City, the Elegante in Brooklyn, Izzy's Supper Club in Vancouver and the Beverly Hilton Hotel in Los Angeles.
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In 1993, a major exhibition was held at the Julie Rico Gallery in Santa Monica shortly after the Laguna Museum show "Kustom Kulture". It was at this time that the lowbrow art movement began to take on steam. Featured in the exhibition titled, "Rat Fink Meets Fred Flypogger Meets Cootchy Cooty" were Roth, Willams, and Mouse and their creations. The L.A. Times placed Roth's Rat Fink on the cover of the Culture section December 20, 1993 with a full article about the entire exhibition.
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Dean Jeffries was employed by MPC. Bill Campbell created hippie monster designs for Hawk. Ed Roth, famous for his 'Rat Fink' was hired by Revell about 1962. Many of these customizers created real cars and had to have specialists convert their creations into model kit form.
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A reference to Rumpsville can be found in the book Rat Fink: The Art of Ed "Big Daddy" Roth (Last Gasp Publishing, 2003) , by Douglas Nason, Greg Escalante, and Doug Harvey. The foreword, written by C.R. Stecyk III and Ren Messer, is titled "Road to Rumpsville".
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In 1959, Mouse and his family founded Mouse Studios, a mail-order company, which sold his products. In 1964, he was invited to help in the design of Monogram automobile model kits using the "monster" cartoon characters he had developed to compete with Roth's "Rat Fink" character.
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Ed "Big Daddy" Roth (March 4, 1932 - April 4, 2001) was an American artist, cartoonist, illustrator, pinstriper and custom car designer and builder who created the hot rod icon Rat Fink and other characters. Roth was a key figure in Southern California's Kustom Kulture and hot rod movement of the late 1950s and 1960s.
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They reverted to a four-piece with the 1989 addition of two prior guest collaborators, drummer/guitarist Andrew Wilson (a.k.a. Rat Fink Jr., formerly of the Turnpike Cruisers) and keyboardist/guitarist Simon "Doc" Milton, who made their official debut on that year's Too Much Acid? double-live album. Their seventh studio album, Curse, was released in October 1990.
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Accessed 25 Nov 2012. Roth died of a heart attack on April 4th, 2001 at the age of 69. Since his death, the official Rat Fink Reunion has been held in Manti, Utah the first weekend in June. The museum that Ilene Roth created to honor her late husband includes displays of Ed's art work and other memorabilia.
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Batwoman employs the services of several young female agents known as "Batgirls", in her pursuit of justice. Her archenemy is a masked villain named "Rat Fink". Added to the mix is the President and Vice-President of the "Ayjax Development Corporation". The company, using plutonium as its fuel source, has created a powerful listening device called "the Atomic Hearing Aid", which allows for limitless eavesdropping.
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"Rat Fink " is also the only cover (by Allan Sherman) the Misfits ever recorded. "Horror Hotel" is the final 3 Hits from Hell track re-released to CD. "Halloween" and "Halloween II" are taken from the Halloween 7-inch. These tracks are alternate versions of the tracks included on Legacy of Brutality and the aborted 12 Hits From Hell album. Unlike songs such as "Horror Hotel", "Halloween" and "Halloween II" do not reference the movies of the same name.
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Los Angeles County Raceway (LACR) was an NHRA- sanctioned quarter-mile drag strip located near East Avenue T and 70th Street east in Palmdale, California. LACR was home to many racing organizations such as SCEDA, NMRA, DHRA, ANRA, and practically every NHRA racing category. LACR was home to the annual Hangover Nationals, Fox Hunt, Rat Fink Party, and Toys for Tots. LACR was open every Wednesday and Friday night to any racer ranging from dragsters to street cars.
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Hawk Models continues to re-issue its "Weird-Oh's" periodically. Numerous artists were associated with Roth including artist David Mann, Rat Fink Comix artist R.K. Sloane, Steve Fiorilla who illustrated some of Roth's catalogs, and most notably, Ed Newton, who worked for Roth and designed several of his cars and T-shirt designs beginning in 1964, and Kustom Kulture icon Robert Williams who began working for Roth in late 1965. In the mid 1960s Roth began customizing motorcycles.
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The company tried to sell the device to the U.S. Government, but they were not interested due to its unstable power supply. Instead, they ordered the company to destroy the device. The President of Ayjax refused to destroy it, and Rat Fink is pressuring the company to give him the device. The Vice President of Ayjax recruits Batwoman to protect the device, but Rat Fink's minions use drugged bowls of soup to incapacitate Batwoman and her Batgirls and steal the device.
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Drummer Rat Fink and guitarist Johnny Volume band first got together in 1999 with the idea of playing "junk rock" (a term coined by Kerrang! magazine to describe classic bands like The Stooges, New York Dolls and MC5 and newer bands like Buckcherry, Nashville Pussy and Sweden's Backyard Babies). Jowitt was recruited on vocals (the name Dunk Rock was given to him at the first rehearsal by Volume) and Doc Virus completed the line-up on bass. In June 2000, Virus was replaced by Spandosa.
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"Where Eagles Dare" is a song by the American punk rock band Misfits. Written by frontman and vocalist Glenn Danzig, the song was recorded and first released in 1979, alongside the track "Rat Fink", as the B-side of the band's single "Night of the Living Dead". "Where Eagles Dare" was later included on the 1986 compilation album Misfits, also known as Collection I. A version of the song was also included on the compilation album Legacy of Brutality, which was released in 1985.
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Different versions of all three tracks appeared on compilation albums years after the original single went out of print. An alternate version of "Where Eagles Dare" was released on Legacy of Brutality in 1985, with overdubbed guitar and bass tracks recorded by Danzig. Different versions of "Night of the Living Dead" and "Where Eagles Dare" appeared on Misfits the following year, while "Rat Fink" appeared on Collection II in 1995. All three songs appeared, in all of their different versions and recordings, in The Misfits box set in 1996.
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"Where Eagles Dare" was first recorded by the Misfits in January–February 1979 at C.I. Studios in New York, New York. It was recorded again in June 1979 at the Song Shop in New York, New York, with Danny Zelonky producing. The Song Shop recording of "Where Eagles Dare" was released alongside the song "Rat Fink" as the B-side of the band's single "Night of the Living Dead", which was issued on October 31, 1979. The single, which was issued through Glenn Danzig's own label Plan 9 Records, consisted of 2,000 copies.
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For example, in 1975, Inner City produced Maggie The Mouse Meets The Dirty Rat Fink, a Christmas musical that was written by Jackson. In the production, a black man and woman were cast as the parents of a Japanese daughter and a Chicano son. The following year, Jackson staged, Langston Hughes Said, a musical tribute to the Harlem Renaissance writer. The production included Hughes's one-act play, Soul Gone Home and featured a Chinese mother with her son played simultaneously by two actors, one black and the other Chicano.
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Many have speculated as to whether Roth made a mold of the body. Pictures in a magazine article seem to hint at the existence of one but no such molds have ever been found. The car was painted at Larry Watson's Watson's House of Style, where Roth traded the paint work for a supply of Rat Fink T-shirts. The Bandit was featured on the cover of the May 1961 edition of Car Craft magazine. It was also the subject of an article titled “Bandit at Large” in the July 1961 issue of Rod & Custom magazine.
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The 1961 alt=A white car with brown stripes, with open wheels and a clear bubble canopy over twin seats, and exposed, chromed engine with a blower. Beatnik Bandit II and a few of Roth's other cars are also on display in this museum. Roth is best known for his grotesque caricatures — typified by Rat Fink — depicting imaginary, out-sized monsters driving representations of the hot rods that he and his contemporaries built. Roth began airbrushing and selling "Weirdo" T-shirts at car shows and in the pages of Car Craft magazine as early as July 1958.
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In 1983, 19-year-old bassist Chad Spandosa formed Skreem with drummer Kim Sweeney, British marathon drumming champion (59 hours 30 minutes & 32 seconds) from 2004 to 2008. Spandosa then joined Johnny Thunders/Ron Asheton/Stooges-inspired guitarist Johnny Volume and Iggy Pop-obsessed singer "The Blay" (Colin Blaylock) in Blackpool’s Dog Food who, with a succession of different drummers, were a permanent fixture on the Blackpool music scene throughout the rest of the 1980s and most of the 1990s including touring with Dunk Rock's Headhunters in 1986. Dog Food were joined by Rat Fink on drums shortly before the band split permanently in 1998.
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Mickey Mouse's global fame has made him both a symbol of The Walt Disney Company and of the United States itself. For this reason, Mickey has been used frequently in anti-American satire, such as the infamous underground cartoon "Mickey Mouse in Vietnam" (1969). There have been numerous parodies of Mickey Mouse, such as the 2-page parody "Mickey Rodent" by Will Elder (published in Mad #19, 1955) in which the mouse walks around unshaven and jails Donald Duck out of jealousy over the duck's larger popularity. The grotesque Rat Fink character was created by Ed "Big Daddy" Roth over his hatred of Mickey Mouse.
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A fan club member of gothic rock band Alien Sex Fiend, Wilson first met singer Nik Fiend when Lytham St Annes band The Turnpike Cruisers landed a support slot with the band. By 1986 he was drumming for the Turnpikes when they supported Alien Sex Fiend in Hammersmith, London and shortly afterwards Nik Fiend asked him to join the band. Fiend gave Wilson the stage name Rat Fink Jr. when he joined as drummer and guitarist and he subsequently toured and recorded with them until 1992. Rat's time with Alien Sex Fiend along with frank and honest details of his personal life is thoroughly documented in the book "Once Upon a Fiend".
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"Night of the Living Dead" is titled after the 1968 horror film of the same name, and the song's lyrics address the zombie plot of the film: "You think you're a zombie, you think it's a scene/from some monster magazine/Open your eyes too late/This ain't no fantasy boy". "Where Eagles Dare" shares its title with a 1968 war film. "Rat Fink" is a cover of a song by Allan Sherman from his 1963 album My Son, the Nut, which itself is a parody of "Rag Mop". It was the only cover song that the Misfits recorded during their early era, though it was credited on the single itself, and on later releases, to Danzig.
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According to Clarke, the story for the film was inspired by Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde, which dealt with multiple personalities. Clarke and co-writer/director Tom Boutross (although some sources, including Clarke himself, say his friend Phil Hiner co-wrote the first draft) wrote the first draft of the screenplay, then-titled Saurus or Sauros, names taken from the Latin word meaning "reptile". Other working titles for the film included Strange Pursuit and Terror in the Sun. Boutross, who is also credited as one of the film's co-directors, later edited films like Rat Fink (1965), A Man Called Dagger (1967) and 1974 hit The Legend of Boggy Creek.
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"Children in Heat" is taken from the Horror Business EP. It was originally conceived as the second part of a medley with "Teenagers From Mars," and was mixed together with that song for the Horror Business EP. The engineer's introduction at the beginning of "Teenagers from Mars," announcing the take, mentions both songs. For the Beware EP, the intro was kept, even though "Children in Heat" was replaced by "Last Caress". The intro was also kept for Collection I, even though "Children in Heat" was nowhere to be found. "Rat Fink" is taken from the Night of the Living Dead EP, and is the only song on the EP to appear on this record or on Collection I. (the other two tracks on the EP can only be found on CD3 of the Box Set).
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As the space race heated up, Marx playsets reflected the obsession with all things extraterrestrial such as "Rex Mars", "Moon Base", "Cape Canaveral", and "IGY International Geophysical Year", among other space themed sets. In a similar theme, Marx also capitalized on the robot craze, producing the Big Loo, "Your friend from the Moon", and the popular Rock'em Sock'em Robots action game. In 1963, Marx began making a series of beatnik style plastic figurines called the Nutty Mads, which included some almost psychedelic creations, such as Donald the Demon — a half-duck, half- madman driving a miniature car. These were similar to the counterculture characters of other companies introduced about a year before, such as Revell's Rat Fink by "Big Daddy" Ed Roth, or Hawk Models' "Weird-Oh's", designed by Bill Campbell (Atomic Home Videos LLC, 2010).
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Model companies hired big name customizers to create new and striking designs. Just as AMT had hired George Barris and Darryl Starbird, Revell hired Ed "Big Daddy" Roth about 1962 as their new stylist (Funding Universe Web page). Hawk Models would use Bill Campbell's "'Weird-Ohs" like "Davey" the wild motor-bike rider and "Digger" the dragster, and later, Monogram would hire designer Tom Daniel. At this time, Roth created the bubble-glassed "Beatnik Bandit" (later made even more famous when produced by Hot Wheels), the double engined "Mysterion", the asymmetrical "Orbitron", the "Outlaw" (a highly styled T bucket), and the "Road Agent". Apart from wheeled wonders, arguably his most famous creation was the "Rat Fink", an anti-Mickey Mouse figure (Ed Roth Cars 2008–2011). Roth's Web site reports that in 1963 Revell paid Roth 1 cent for every one of his model kits sold, totaling $32,000 (Biography 2008–2011).
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Their music also had elements of such first wave glam bands as Slade, David Bowie, T. Rex, and the New York Dolls; an early review by the LA Weekly stated that Celebrity Skin was "the only band in Hollywood to take seriously the music and styles of the original wave of glam rockers like Bowie Sparks, Gary Glitter, T. Rex, etc." Another obvious musical antecedent was Redd Kross, one of the first L.A. bands to embrace the sound, themes, and images of 70s trash culture and combine them with the harder edge of punk rock. Celebrity Skin's sound evolved over their career, with earlier songs like "Long Black Yak" and "Rat Fink" having a rougher, more punk/hardcore quality while later songs like "Evicted" showing off more of their pop side, with lusher harmonies and more melodic guitar. In recorded work, their sound was considerably more polished than their live sound, and was augmented by keyboards,and sound effects.
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