Ski masks, the F-word, and three-piece suits; it's clear that The Browns walk the scarier side of the street. Even if you didn't notice their love for B-movie horror tradition, their comic-book menace is apparent from their Browns crime-family entourage and their pseudo-pretentious debut album title Greatest Hits Volume One. Why all the horrific high jinks? Because being scared, and being scary, is fun. 　　 　　Sonicly, the Browns are most often compared to a mixture of the swinging "ooohs & aaaahs" of The Misfits, the ferocious rock of The New Bomb Turks, and the naivety of early-era Descendents. Masters of three-chord mayhem, the group purveys fear and fun through "a caustic stage presence that would inspire the most brutal heckler to run out the door with tail between his or her legs" (A. McInnis; FFWD Magazine). Their penchant for playful danger has found The Browns in impromptu wrestling matches with television hosts on live air, in the hospital with broken ribs after a series of rowdy Wisconsin showcases, and in the hearts of a growing audience. 　　 　　After the location of their secret hideout in Canada was discovered in 2000, frontman Charlie Brown fled to Wisconsin to lay low while the heat died down. Forming a new gang of Browns in secrecy, he appeared on the scene and rethrust The Browns into the spotlight. First to fall victim was the videogame industry after The Browns' homage to their former hideout American Werewolf in Calgary was featured in Tony Hawk's Underground. Hot on the heels of the multi-million selling game release is a re-release of their debut album, production of a new record, and a central North American tour. 　　 　　This, my friends, is Brownsmania and it is dangerous.