Vampire Nation (WTF)

[Susurrus]

http://www.communistvampires.com/Vampire%20Nation%20cover.jpg


The novel's set in the 1980s, when Ronald Reagan is in the White House, and Transylvania -- home of Count Dracula -- is still firmly behind the Iron Curtain. The main character is Henry Willoughby, a director who just wants to make a good old-fashioned witch movie. He gets a Hollywood studio to front the cash for it, but his backers constantly push for changes, finally sending him to Romania (home to Transylvania) to scout locations.
In Romania he finds an entire country run with half-logic and peopled by half-awake people stumbling through their daily lives. Swarming in the dark corners of the country are the Communists. They rule by fear, but their power doesn't just come from doctrine. No, these Communists have something else going for them: vampirism.

Communist Vampires attacks its subject matter from a libertarian perspective inspired by heavy doses of Ayn Rand's fiction, Ronald Reagan's shoot-from-the-hip witticisms, and a quirky sense of humor.

[Dzerzhinsky's Ghost]

This is brilliance and it brings up a valid point; we should also cater to the undead community as well in our united front against the bourgeoisie.

I'm half-surprised the novel isn't captioned "Communism: It's a Pain in the Neck."

[Susurrus]

It's like someone said to themselves
"Hmm, what are the worst pieces of fiction? Probably Ayn Rand books, Teen Vampire novels, and all that old American anti-soviet propaganda. I know! I'll make a book out of it, and toss in Reagan, because why the hell not."

[Rafiq]

Ha, sounds ridiculous. However vampires would be a fine addition to our movement.

[Pirate Utopian]

No, vampires cant be trusted.

[Rafiq]

Engels was a vampire. You saying he can't be trusted?

[Pirate Utopian]

Engels didnt become a vampire until waaay after Marx died and then he just seduced people and drank their blood the whole time. Vampires only care about blood.
That's their only drive, they cannot be trusted. Next thing we're gonna allow werewolves or witches.

[Susurrus]

Plus generally vampires are bourgeoisie or feudal lords. Not very many working class vampires.

[xub3rn00dlex]

Plus generally vampires are bourgeoisie or feudal lords. Not very many working class vampires.

Werewolves on the other hand have had an everlasting struggle against the bourgeoisie vampiric elitists. If we were to add the lycanthropes to our struggle , I believe it would significantly boost our standings.

[Rafiq]

Engels didnt become a vampire until waaay after Marx died and then he just seduced people and drank their blood the whole time. Vampires only care about blood.
That's their only drive, they cannot be trusted. Next thing we're gonna allow werewolves or witches.

We can teach the vampires to only drink the blood of animals or Bourgeois members!

Dude you're a big time reactionary, and WTF, we aren't allowing werewolves? The bourgeoisie has got like, zombies and shit, we need to step up our game!

[Rafiq]

Plus generally vampires are bourgeoisie or feudal lords. Not very many working class vampires.

Me cousin Alfred is a vampire, and he works full time on two jobs!

Now you're just discriminatin'

[DDR]

Engels didnt become a vampire until waaay after Marx died and then he just seduced people and drank their blood the whole time. Vampires only care about blood.
That's their only drive, they cannot be trusted. Next thing we're gonna allow werewolves or witches.

That's just discrimination against fary-tale creatures, and that's reactionary!

[Pirate Utopian]

Fairytale characters dont exist. Were focusing on horror monsters here, which are totally real.

It's like saying zombies are oppressed. They eat human flesh, they're a menace.

Vampires cant be trained, they have vampire interests which are tied to the vampire class. Which seeks to drink the blood of anyone they can.

Monsters are a hazard to any revolution. Remember the time Medusa became politically involved? Poor Greek anarchists...

[xub3rn00dlex]

Fairytale characters dont exist. Were focusing on horror monsters here, which are totally real.

That is just discriminatory against fairytale characters, which I believe would be more justifiably called mythological creatures.



It's like saying zombies are oppressed. They eat human flesh, they're a menace.

Are you kidding me?! Zombies are oppressed, and the bourgeoisie media constantly portray zombies attacking humans for flesh - when really any flesh will do.


Vampires cant be trained, they have vampire interests which are tied to the vampire class. Which seeks to drink the blood of anyone they can.

So we should give up on vampires? What about re-educating them to make the right progressive choices? Medical science has come and is going a long way, no doubt we could produce synthetic blood to quench their thirst and reintroduce them as a productive power into the labor force.


Monsters are a hazard to any revolution. Remember the time Medusa became politically involved? Poor Greek anarchists...

Medusa was a victim of bourgeoisie patriarchal abuse, it was not her fault. Again, changing the system will liberate these oppressed species and help them progress in society.

[Pirate Utopian]

Look, ask your average person if he wants to riot with the Blob. They dont, because monsters are mindless killers.

Some people on the left are too blind to the dangers monsters carry with them.

[Dzerzhinsky's Ghost]

Can we not all agree upon the revolutionary potential of Frankenstein?

[Sperm-Doll Setsuna]

Look, ask your average person if he wants to riot with the Blob. They dont, because monsters are mindless killers.

Some people on the left are too blind to the dangers monsters carry with them.

Oh please, the Blob is totally a symbol for communism. It merges people into itself (collective) and provides them with nutrients (merges more) and grows, and also, it's almost red. The Blob will be a great addition to our ranks. We can put it on the tracks of capitalists and stuff. It'll be wonderful. And it's all slippery and gooey and cool, too!

[Smyg]

Can we not all agree upon the revolutionary potential of Frankenstein?

However, I can't help but dislike the Frankenstein monster's primitivst stances...

[Dzerzhinsky's Ghost]

However, I can't help but dislike the Frankenstein monster's primitivst stances...

Primitivist stances? The conqueroring of death via technology and scientific determination? Seems rather Transhumanist to me.

[Smyg]

Dr. Frankenstein himself could naturally be interpreted as such, the creature he created though went on a murderous rampage and ended up like this:



I shall collect my funeral pile and consume to ashes this miserable frame, that its remains may afford no light to any curious and unhallowed wretch who would create such another as I have been. I shall die.

[Pirate Utopian]

Van Helsing was a true revolutionary. He knew how to handle a monster.

[Pioneers_Violin]

Don't be a Mutant-ist.

Monsters are victims of Bourgie exploitation too!
Do you think they get any decent Percentage of the Gross from any horror flick?

We need to help them organize, not dump on them further.

[Rafiq]

Fairytale characters dont exist. Were focusing on horror monsters here, which are totally real.

It's like saying zombies are oppressed. They eat human flesh, they're a menace.

Vampires cant be trained, they have vampire interests which are tied to the vampire class. Which seeks to drink the blood of anyone they can.

Monsters are a hazard to any revolution. Remember the time Medusa became politically involved? Poor Greek anarchists...


Marx specifically pointed out that class relations are defined by relations to the MOP, with no exceptions.

Vampire proletarians are just as much revolutionary then human ones.

And those are imperialist lies, medusa only ate free marketters!

[Rafiq]

Van Helsing was a true revolutionary. He knew how to handle a monster.



Van helsing was a petite bourgeois fascist, just look at this letter he wrote to Franco :

"Your excellency, I wish to continue our conspiracy against the vampire menace, as they pose both a threat to the nobility of our nations. I have decided that I am in dire need of arms and equipment, and asswipe paper..

Yours truly, van helsing"

[Zanthorus]

Werewolves on the other hand have had an everlasting struggle against the bourgeoisie vampiric elitists.

I agree (http://www.youtube.com/watch?v=FxtEEDbaTJs).

[Pirate Utopian]

I agree (http://www.youtube.com/watch?v=FxtEEDbaTJs).

His lameness never ceases to amaze.

[TheGodlessUtopian]

Whoa wait!....Engles and Marx were vampires?! What does that make Stalin then? Vampire master?

[Jimmie Higgins]

Vampires are feudal aristocrats. Read "Dracula" he's a feudal lord who lusts over the new exploitation (i.e. blood extraction) opportunities possible by English capitalism. The English bourgeois in return are at once attracted by his opulent wealth but horrified by his backwards customs.

It takes a bearded German eccentric scientist who studies the powerful but hidden forces in our world to point out that the bourgeois are too weak to lead the fight against Dracula.

[Pirate Utopian]

Marx specifically pointed out that class relations are defined by relations to the MOP, with no exceptions.

Except his later works which delt with vampirism all the time.

[Jimmie Higgins]

Can we not all agree upon the revolutionary potential of Frankenstein?Frankenstein is a cautionary tale about revolution. Sure this science and understanding how things work and function is good, but watch out, your nice bourgeois revolution might take on a life of its own and start making demands that you were not prepared to satisfy.

Dr. Frankenstein is like the wealthy bourgeois during the period of capitalist revolutions. They want to get rid of feudal backwardness, but when the mob begins to take the streets they suddenly get scared and run away.

The monster is Jacobinism.

[Jimmie Higgins]

Werewolves are just anyone who becomes a wolf. There's no inherent class character to them :lol:

The ones who turn into a bipedal harry guy and not a full wolf are fence-sitting equivocators though.

[EvilRedGuy]

Werewolves are just anyone who becomes a wolf. There's no inherent class character to them :lol:

The ones who turn into a bipedal harry guy and not a full wolf are fence-sitting equivocators though.

This is pure fascism. No inherent class character?

Keep attacking the Werewolf liberation movement.

[Pirate Utopian]

Silver bullets for them all.

[EvilRedGuy]

Silver bullets for them all.

Actually thats a fictitious bourgeois lie http://en.wikipedia.org/wiki/Werewolf

[Smyg]

Whoa wait!....Engles and Marx were vampires?! What does that make Stalin then? Vampire master?

To me it seems obvious that Stalin was of a origin far more demonic.

[Pirate Utopian]

Actually thats a fictitious bourgeois lie http://en.wikipedia.org/wiki/Werewolf

No it's not. Havent you seen the historically accurate 1987 movie Monster Squad?

[Dzerzhinsky's Ghost]

To me it seems obvious that Stalin was of a origin far more demonic.

Stalin = God. He was the God man foretold in the prophecy.

[Pioneers_Violin]

Whoa wait!....Engles and Marx were vampires?! What does that make Stalin then? Vampire master?

Don't be silly!

Engles and Marx weren't Vampires... they had full beards! :lol:

And Uncle Joe? He was the best Vampire Slayer of them all.
A true inspiration for Buffy who only manages to emulate his merciless extermination of the bloodsucker class.

Those rumors about Lenin rising out of his tomb at night are nothing but a bunch of Capitalist lies!

[Xenophiliac]

Here are two articles discussing the antisemitism in the vampire myth, and in Bram Stoker's Dracula in particular.



According to the Oxford English Dictionary, the word “monster” comes from the Latin monstrum, meaning “divine portent or warning.” The notion of a monster as a type of warning lurks just across the threshold of consciousness in the psyche of Gothic fiction, where the monster often functions as an embodiment of transgression. Works of Gothic horror provide spaces where the deepest, darkest passageways of the human mind and soul can safely be explored. Inevitably inhabiting these deep, dark passageways is some form of a monster; in Gothic horror, the monster is an actual physical entity, but in the human psyche, the monster is the cultural Other-that which goes against the status quo of its particular place and time. Gothic fiction provides an outlet for a culture to project and deal with its fear of Otherness and with its concerns about the potential threat of the unknown. Abundant in scholarly work on Gothic literature are interpretations of the Other as the female and the homosexual; surprisingly lacking from the body of Gothic critical work is a category of people that have perhaps been the most culturally scorned of all-the Jews. In the deeply Christian context and tradition of Gothic horror, Jews are the ultimate Other, with their differences in beliefs, rituals, language, and dietary laws. The stereotypical image of the Jew eventually came to be embodied in the vampire, an anti-Semitic demonization that seems to have its roots in Bram Stoker’s Dracula character.
In the Middle Ages, when Europeans were beginning to live together in larger and larger groups, Christianity was the dominant cultural adhesive. As civilization grew, any person suspected of non-Orthodox adherence to Christianity was considered a heretic and was “black-listed” in the community. The idea of practicing any other religion was utterly unthinkable. Individuals or groups who willfully rejected the notion that Jesus Christ was G-d were agents of the devil (Stephens). The Jews received the brunt of this belief because the Church had conveniently forgotten by the Middle Ages that Jesus himself was Jewish, and that it was the Romans who crucified him, not the Children of Israel. The astonishingly absurd and horrific rumors of blood libel that were popular in the Middle Ages (and which sadly persist in some Arab cultures to this day) made the Jews especially subject to persecution. It was believed by Christians that Jews kidnapped Gentile children and killed them in order to drink their blood as part of cannibalistic religious rituals. Jews were said to ambush Christian children in their bedrooms, and then bring them to temples where they would be slaughtered and drained of their lifeblood. Entire communities of Jews were wiped out on these Satanic allegations, burned on the pyre for their religion. Because of further rumors that Jews could re-animate themselves and others Jews after bodily death, their corpses were often decapitated or a stake was driven through the charred heart (Stephens). These rumors obviously provided the basis for the Jew-as-vampire image.
It was this paradigm of anti-Semitic fear and superstition that the Western world had inherited when London experienced an inpouring of Eastern European Jews in the 19th century. A certain cultural apprehension already existed in Western Europe at this time because of several other changes that had begun to threaten the old Christian patriarchy. Women were slowly starting to free themselves from their total dependence on men. Sexual transgression was snowballing; sexually transmitted diseases were on the rise, and cities were becoming overpopulated. The popularization of Darwin’s theory of evolution, along with other exponentially increasing advancements in the sciences, were undermining more and more Christianity’s monopoly on Truth. These changes brought about an intense concern with the idea of cultural purity and infection in the collective unconscious of late 19th century England (Spencer 203). This is where the vampire tale comes in, with its horrifying notions of demonic infection and the downfall of civilization as it was known.
The decade in which Stoker composed Dracula was the decade that anti-Semitism seemed to peak across Europe (Herbert 106). The parallels between the character of Dracula and the 19th century stereotype of the Jew are striking. Physically, he is made to resemble an Eastern European Jew: Dracula is a dark-featured, pale-skinned man with a prominent “hook nose.” He comes from the East and speaks with a strange accent, switching his “v’s” and “w’s” and sometimes “t’s” and “s’s”-morphemic characteristics of Hebrew. Just as anti-Semites saw the Jewish people, Dracula is selfish, materialistic, evil, and his “child’s brain” is emphasized throughout the novel. Further, like the Jews cast out of Israel into the lands of the Diaspora, Dracula as a vampire has no true nationality to claim. He has pride in tracing his ancestry back to the Turks and the great warrior Attila the Hun, but he has no present ties to any geographically fixed ethnic group. He is forced by his very nature to remain on the outskirts of civilization, hunted and, as the Christians imagined the Jews to do, hunting down innocent people. Van Helsing and his “Crew of Light” make it their mission to destroy the threat that Dracula poses to their way of, and do so wholly in the name of Jesus. Van Helsing summarizes the Crew of Light’s mission in Chapter XXIV, telling Mina,
Thus are we ministers of G-d’s own wish: that the world, and men for whom His Son die, will not be given over to monsters, whose very existence would defame Him. He has allowed us to redeem one soul already, and we go out as the old knights of the Cross to redeem more. Like them we shall travel toward sunrise; and like them, if we fall, we fall in good cause.
They are fighting for Jesus, for Christianity, and for G-d. Their mission is to destroy all the “monsters” that oppose Christ, all beings whose “very existence would defame Him,” evil beings that stray from the Christian cultural norm-in this case, the Jews. Central to the Crew of Light’s arsenal of weapons against the vampire are the crucifix, the Host, and vials of Holy Water, all of which were believed at some point in history to repel and to otherwise adversely affect Jews. Further, the method of destroying vampires in Dracula is identical to the methods used to execute Jews in the Middle Ages: the vampires are staked through the heart and then decapitated in order to prevent them from re-animating themselves. Clearly, anti-Semitic beliefs infected Stoker’s writing of Dracula just as much as it was feared that Jews would infect Christianity and Western civilization as a whole.
The vampiric incarnation of the Gothic monster embodies anti-Semitic superstitions and traditions that were passed along from the Middle Ages to Victorian times. Gothic vampire tales, Dracula in particular, represent the anxiety of a patriarchal Christian society in facing the unknown. By demonizing the Jews, whose very foundation of life was completely foreign and utterly threatening to the Christian paradigm, and projecting this demonization onto a character that is ultimately destroyable, these anxieties could be dealt with cathartically. Anti-Semitism in the vampire story is ultimately a testament to the psychological function of Gothic horror: confronting what is considered to be Other and dealing with it in whatever way seems appropriate-no matter how far from reality and human decency “appropriate” ultimately is.
http://writinghood.com/literature/the-jewish-vampire-gothic-antisemitism/#ixzz1XPoMDgxE (http://writinghood.com/literature/the-jewish-vampire-gothic-antisemitism/#ixzz1XPoMDgxE)


Bram Stoker: Antisemite.
Dracula, the novel that catapulted Bram Stoker into the realm of the immortals, is a spiteful, racist political hatchet-job on one of Britain’s greatest Prime Ministers; Benjamin Disraeli. Now there’s a claim and a half! Read on and you might even half-believe it.
Stoker’s relationship with Benjamin Disraeli’s politics is, to be fair, a mixed bag (he voices support for BD’s policy on the Berlin Treaty of 1878, both in the Dracula novel itself and in family correspondence), it is, however, his antipathy to Tory politics and the anti-semitic character of his spiritual dalliances that are the most fundamental influence on him. And on his famous literary creature.
Abraham Stoker (1847-1912) was a fop. A typical 19th Century Dublin gentrified intellectual. His greatest claim to fame, prior to writing Dracula, is that he married Florence Balcome, Oscar Wilde’s chief fag-hag. He also flirted with all manner of occultist nonsense, a weakness common to a number of progressive, Irish landowner’s sons. This ranged from the mild interest in Ouija boards and Madame Blavatsky’s Theosophy, popular in most fashionable drawing-rooms, to the extreme cases (of which Stoker was rumoured to be among), who followed more radical forms. Among these is the ultimate chinless wonder’s attempt at occult wisdom; Aleister Crowley’s Hermetic Order of the Golden Dawn.
Such obscurantism was a common foible of the Irish upper classes who found their own people’s Catholicism as not only repressive and arbitrary, but also incredibly uncouth. Occultism was cleverer than Catholicism because it used all kind of symbols, chants and pentagrams that run-of-the-mill Catholics couldn’t fathom. This was a Good Thing. Particularly for members of the elite, like Stoker, as it gave them even more reason to look down upon the plebs.
A bizarre common cause emerged between the occult and the ideals of Liberalism. A disdain for traditional forms of religion was a key feature both of the liberal mindset, with its scientific, rationalist credentials and of the new Spiritualist/Occultist movements. That these two creeds are almost wholly incompatible was glossed over in the pursuit of common enemies. This seems to have been the case for Bram Stoker, the liberal occultist.
Liberalism was, according to his biographers, a consuming interest throughout Stoker’s life. And 19th Century Liberals had one particular enemy in their sights: Conservatism. This was true particularly in national politics where both camps held very different attitude to the ‘problem’ of Irish governance.
In this instance it can be argued that old Bram was swayed by a legitimate national interest. The Liberals, under the indomitable leadership of William Ewart Gladstone, were the champions of Irish Home Rule. A cause that Stoker passionately believed in. Gladstone’s main opponent in the national debate (on Ireland and many other issues) was Benjamin Disraeli. Disraeli was everything Gladstone was not: tall, swarthy, good looking, dapper, effortlessly charming and to cap it all, born a Jew of uncertain European extraction. He was also Queen Victoria’s favourite. Disraeli, as the press cartoons of the time indicate, became a popular hate-figure for Liberals. In their defence, it was not they who cast the first stone.
Disraeli’s political career, like Geoffrey Archer’s a century later, combined politics and literature with a great deal of success. Disraeli was, however, a diehard polemicist (unlike Archer). From his first novel, Vivian Gray (a thinly-veiled attack on a Tory corruption scandal), he used books to go after his political enemies. None of his contemporaries would read a Disraeli novel without expecting to find an attack on rivals within the Conservative party or, more likely, their Liberal opponents. Is it possible that Bram Stoker turned the tables on Disraeli, hoisting him on his own petard?
So let us examine the evidence present in Dracula, that classic of Gothic literature. Stoker takes a medieval bogey-man popular in previous centuries (Vampire novels by Polidari, Prost, Maupassant, Le Fanu are obvious antecedents) and turns him into… well. Some people claim that Henry Irving is the model. I am not so sure. Could it be Queen Vic’s favourite, old Disraeli himself?
Here we have a monstruous villain who is tall, swarthy, good looking, dapper, effortlessly charming and of uncertain European extraction. So far so good in terms of an Anti-Disraeli polemic (It was first published 7 years after Disraeli’s death, but was probably written, at least in part during his lifetime). These physical similarities are intriguing, but not in themselves convincing. Other elements, however, add weight to my thesis.
If you look at the fanged Count through the optic of 19th century antisemitism, the novel becomes considerably more disturbing. For starters, Count Dracula is repelled by Christian symbols. The common belief that Jews are anti-Christian is a common thread through the hate literature of the time (and, sadly, the present). This is buttressed in a rather disturbing fashion by Dracula’s dietary requirements: Blood. The use of blood in antisemitic propaganda has a long and distinguished tradition. It is often Christian blood that is the object of (supposed) desire and contention. In The Merchant of Venice, for instance, Shylock is foiled by Shakespeare when the court denies him this particular fluid. The blood libel, which is entirely germane in this case, accused Jews of killing Christian babies to use their blood to bake their bread. Many medieval anti-Jewish riots and pogroms were fuelled by these pernicious myths. Dracula merely introduces a new twist to this ancient race-hate; the pointy fang.
Another aspect of the antisemitic undertone in Bram Stoker’s novel is the issue of wealth and class. Dracula lives in a castle and oppresses the poor of Transylvania through his tyrannical rule. He plays with the prejudice that all Jewish wealth and power is obtained through illegitimate means. This is a pop by Stoker, an old-money landed gent, at a parvenu Disraeli –whose family made their fortune through the dastardly method of trade. Dracula’s character is created from a coded ‘Jewishness’ based upon common prejudice. (Blood drinking, oppression of the poor, usury, foreignness).
So there you have it. Another stick to beat the sparkly vampire fans with: Modern vampires are the product a racist, distorted caricature of a dead politician. Paradoxically, Stoker sets out to destroy an old political enemy and brings him new life from beyond the grave (in monster form). Dracula’s main message could be this: that Disraeli and his Tory ilk must never rise again to terrorize the land.
Far fetched? Maybe. But the idea of Tories as evil fiends is a good one. We should grab a pitchfork and a stake, my friends, get ourselves down to David Cameron’s and kill some monsters!.
http://floppybootstomp.wordpress.com/2010/07/10/bram-stoker-antisemite/
And this link yields a double plus good article on the subject.

http://www.golemjournal.org/GOLEM3-1-2009_Robinson.pdf

[xub3rn00dlex]

Silver bullets for them all.

Fascist. Monsters and Mutants are not second class proles. I suppose Davy Jones and the Kraken are also bourgeoisie ass hats and deserve shackles eh?

[Dzerzhinsky's Ghost]

Fascist. Monsters and Mutants are not second class proles. I suppose Davy Jones and the Kraken are also bourgeoisie ass hats and deserve shackles eh?

The Dutchman must always have a captain. Part of the ship, part of the crew.

[Jimmie Higgins]

This is pure fascism. No inherent class character? No, there can be working class people who become werewolves or ruling class people that are - werewolfism is like an illness, anyone can get it, although how you cope with it is informed by your class position. Working class werewolves have it tougher than ruling class werewolves who just sail to their private nature reserve when the moon becomes full.

[xub3rn00dlex]

No, there can be working class people who become werewolves or ruling class people that are - werewolfism is like an illness, anyone can get it, although how you cope with it is informed by your class position. Working class werewolves have it tougher than ruling class werewolves who just sail to their private nature reserve when the moon becomes full.

Indeed the same can be thought of for vampires. Familiars are extremely oppressed and are forced to do the bidding of the ruling class. If we would just show solidarity with them, inform them, then we would obtain a priceless ally in the class struggle.

[Tablo]

What about Godzilla? He has saved Tokyo on numerous occasions.

[Rafiq]

Yeah, saved the Imperialist capital of tokyo. Godzilla was a friend of Imperial Japan and is said to have a tattoo of a swatstika on his left ass cheek. Very small one, though.

[Mark V.]

Godzilla was just trying to protect the urban proletariat living in Tokyo. Also remember that Godzilla is an ancient creature who remembers the long history of the swastika before the Nazis appropriated it for their use.

[Reznov]

Vampires are clearly Capitalist collaborators and reactionaries.

[Smyg]

Not to mention deeply entrenched in the noble classes back in feudalism.

[PC LOAD LETTER]

What about the Lost Boys?

Or would they be lumpen?

Well, they were sexist anyways - there was one woman in the original group. They were still the Lost Boys.