Thursday is the new Friday at G-FEST

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10 am Thursday, July 9th 2026 – My youngest son, Luke, and I pick up my eldest son, Alex, to kick off this year’s G-FEST (Godzilla Festival) 2026. Technically, this is G-FEST XXXI, but it seems the Roman numerals have been dropped. It makes sense, since COVID screwed up the whole numbering system anyway, but I’m kind of surprised they didn’t do it last year instead of actually going forward with G-FEST Triple X. We kicked off the event by visiting a Japanese market in Arlington Heights, Illinois, called Mitsuwa. I’ve been there before, but this was their first visit. We picked up some Sake’ (this is probably a good time to mention that my kids are all over the age of 21), some Japanese imported snacks, and sushi for dinner. Before leaving, we enjoyed beverages in their food court from a place called Releaf. The kids loved Mitsuwa, and both agreed this should be our new G-FEST tradition – especially since they also had a bookstore with a Godzilla section.

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20 Years of Scary Monsters Magazine

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While it was the National Horror Host, Svengoolie, who is indirectly responsible for bringing the Daves together as friends, it has always been our stance that TERROR FROM BEYOND THE DAVES was really the bastard child of the 2010 Vampira Tribute and SCARY MONSTERS MAGAZINE. In reality, the two are complimentary of each other. Within the pulpy pages of the world’s only “REAL Monsters Magazine,” classic monsters as well as Horror Hosts have always been featured side-by-side. And why shouldn’t they be? For many of us adult Monster kids, it was the classic commercial hosts who introduced us to all the greats be it Godzilla, The Universal Monsters, the films of Hammer Studios, the wonderful “B” movies of Roger Corman, as well as those from directors who were slightly…ahem…less gifted.

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Mad about Mothra!

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It’s very rare these days to have a horror host present a Japanese giant monster movie.  How ironic considering that many of us were introduced to the these films via weekend Creature Features and late night hosts. For the past ten years, however, the opportunity to see these films on commercial television has become few and far between. TOHO (the Japanese studio that owns Godzilla) has made the films less accessible – their legal team hungry and eager to feed.  To me this is a terrible error on the studio’s part. By making them harder to acquire,  they are blocking many potential new fans from the genre.

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