There is the shock rock role he obviously relishes, and one that he was charged with by parental groups of the 1980s – of the demoniac figure corrupting and torturing children. One senses there is something oddly autobiographical to it upon Dee Snider’s part. Its moderately charged wildness aside, Strangeland feels confused. There are some fairly wild images of whippings, seeing Snider strung up and being hung by his nipples and victims with their lips sewn shut, their bodies pierced, impaled through spikes and hung on chains (even if in the end all the body-piercing, BDSM imagery has only been borrowed for old hat shock imagery). Snider cuts a freakish figure with tattooed body, red mohawk and with piercings all over his cheeks, nose and brow, even his eyelids. As such, the film co-opts the imagery of 1990s body piercing, tattooing and body art counterculture – there is even a speech about the right gauges of metal to pierce with. Snider clearly still desires to cause parental outrage but all his crossdressing theatrics are passé and here he now models himself as a Marilyn Manson copycat. Dee Snider is still about, performing with other groups and even maintains his own website The oddest reappearance Snider made was as the star, screenwriter and producer of this peculiar vanity production. Beyond the five-minute appeal of the single, Twisted Sister failed to sustain their shock theatrics into any substantial musical content and the group disbanded in 1987. Twisted Sister had a big hit with the single We’re Not Going to Take It Anymore (1984) and incurred the wrath of much parental outrage, due to Dee Snider’s garishly over-the-top crossdressing antics and ghastly makeup. In the 1980s, Dee Snider was the lead singer with the heavy metal band Twisted Sister.
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