Creativity Quote by Glenn Danzig

Danzig’s offhand “Of course” is doing more work than the rest of the sentence: it frames his origin story as inevitable, as if the only reasonable way for someone like him to fall in love with comics was through the disreputable side door. He’s not talking about capes and corporate continuity; he’s talking about the underground comix boom of the 1970s, when the medium became a delivery system for sex, drugs, politics, and bad taste used as moral weapon. That’s a clean cultural rhyme with Danzig’s own lane in music: punk and metal as outsider art that courts panic, leans into taboo, and treats mainstream respectability as a scam.

The specificity matters. “Underground stuff” isn’t just a preference; it’s a declaration of allegiance to a counter-economy of distribution and attitude: head shops, small presses, artists who drew like they were daring you to look away. By locating his fandom there, Danzig quietly rejects the sanitized idea of comics as childhood nostalgia. He positions them as adult, transgressive, and handmade - closer to a flyer on a telephone pole than a product on an endcap.

There’s also brand management in the casualness. Danzig has long cultivated the image of the collector-intellectual with a taste for pulp, horror, and exploitation. This line ties his personal myth to a recognizable subculture timeline: the 1970s as the decade when America’s optimism curdled, and art responded by getting weirder, angrier, and more explicit. He’s telling you his aesthetic didn’t come from nowhere; it came from a print underground that trained him to prefer the forbidden over the approved.