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Dig these high-octane Italian lobby cards for ‘Whatever Happened to Baby Jane?’
09.25.2017
10:26 am
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The first season of Ryan Murphy’s docudrama series Feud, released earlier this year, has triggered an uptick in interest in the sublimely dishy goings-on that led to Robert Aldrich’s overwrought 1962 melodrama (if that is even the word for it) Whatever Happened to Baby Jane?, which featured two actresses widely known to despise each other, Joan Crawford and Bette Davis. (Weirdly, I’ve copyedited bios of both women.) Ideally cast with Susan Sarandon as Davis and Jessica Lange as Crawford, the eight-episode narrative tackled one of Hollywood’s most curious releases, a pulpy embrace of camp, kitsch, and lurid material that seems miles ahead of its time.

In Italy, the movie, under the title Che fine ha fatto Baby Jane?, didn’t debut until the spring of 1963, but when it did Italian audiences were no doubt lured to purchase a ticket by this utterly fantastic atomic-age lobby art, done up in an eye-popping palette including a garish combination of hot pink, powder blue, and bright yellow. The irony, of course, is that none of these colors are to be found in the film itself, being that it was shot in black and white.
 

 

 
More after the jump…

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Posted by Martin Schneider
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09.25.2017
10:26 am
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A bored suburban housewife turns to the occult in George Romero’s fascinating ‘Season of the Witch’
09.25.2017
09:21 am
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Season of the Witch
 
George A. Romero ushered in the modern-day zombie film with his debut motion picture, Night of the Living Dead (1968). Romero, who died on July 17 at the age of 77, was primarily known for his series of zombie movies, but made other types of flicks, too. His third feature is one such work. This fascinating film—which follows a suburban housewife and her dalliance with the occult—is relatively obscure, though the pending release of a new Romero boxed set will surely change all that.

Filmed in 1972 under the title of Jack’s Wife, Romero was given just $170,000 to make the film, though he had been promised a slightly higher—but still very modest—budget of $250,000. So, the picture had to be made on the cheap. In addition to directing, Romero wrote the original screenplay, was the cinematographer, and edited the film. His original cut of Jack’s Wife was 130 minutes, but the distributor, Jack Harris, chopped it down to 89 minutes and changed the title. Released in 1973, it would now be called Hungry Wives.
 
Hungry Wives
 
The marketing materials for Hungry Wives downplayed the witchcraft angle, instead making it seem as though targeted filmgoers were in for a softcore picture, filled with married women who were all stepping out on their husbands (quite misleading, though there is some brief nudity and the protagonist does have an affair). If you’ve seen the movie, you know the Hungry Wives trailer is more than a little deceptive.

Despite (or perhaps because of) the efforts made by the distributor to make the film a box office hit, it failed to find an audience. Understandably, Romero later looked back on the entire endeavor as “a pretty disappointing experience.” There are no existing copies of his 130-minute cut.

After the success of Romero’s Dawn of the Dead (1978), Harris rereleased Hungry Wives as Season of the Witch. As you can see in the poster at the top of this post, it was not only made to appear as if it was Romero’s follow-up to Dawn, but that it’s a horror movie similar to John Carpenter’s Halloween (1978).

But Season of the Witch isn’t really a horror movie either, though it has elements of the genre, notably the proto-slasher nightmare sequences, in which Joan is being stalked by a man wearing a mask and brandishing a knife. This aspect was exaggerated in the Season trailer.
 
Publicity still
 
Little-known actress Jan White plays Joan Mitchell, the lead character in the film. Joan’s suburban boredom and anxiety regarding her path in life leads to her interest in the dark arts. Joan eventually becomes a witch, and though she believes it makes her more powerful, it doesn’t mean she’s made the right choice.
 
Press Photo
 
Romero’s picture reminded me of Luis Buñuel’s Belle de Jour (1967), in that they’re both character studies about married women dealing with troubling issues that involve their husbands, and it’s often difficult to tell while viewing these films if what we’re seeing on screen is meant to be reality.

In his book, The Cinema of George A. Romero: Knight of the Living Dead, author Tony Williams takes a deep dive into Season of the Witch (he uses Romero’s original title when referring to the picture). I’ve selected a few excerpts, which provide additional insight into the film and how it relates to Romero’s other work.

Despite its production problems [minimal production values, uneven acting, and a tendency to appear as merely a dated product of its time], Jack’s Wife represents one of Romero’s most sophisticated attempts to analyze the personal dilemmas affecting individuals in contemporary society who are often faced with different choices but who end up choosing the wrong path. Romero’s various screen characters variously engage in processes of denial that harm their very personalities and prevent them from releasing their real potential as free individuals.

 
Yellow
 

Like Day Of The Dead, Jack’s Wife opens with a deceptive image which seems realistic at first. But, unlike the later film, it follows another sequence which initially appears realistic but is nonetheless an illusion—despite its placement in the world of everyday normality. Both visions symbolically represent Joan’s real life problems and challenge her to respond to them.

Joan’s daughter, Nikki, has a casual boyfriend named Gregg, who’s a professor at the local university—and a self-righteous jerk. A mutual attraction between Joan and Gregg develops, with Joan later casing a spell on him. The two first lay eyes on each in the most realistic-looking of the multiple dream sequences that appear early on, which is easy to miss upon first viewing.
 
Gregg
 

Gregg’s presence initially appears unusual. It will not be until later into the narrative that audiences actually meets him in the film. This intimates that what initially appears to be a chronologically positioned opening sequence actually belongs to the film’s actual conclusion. According to this system, the end must answer the beginning. By placing a character the audience meets later at the very beginning of the film, Romero suggests that Joan’s dilemma will never reach any firm resolution but is actually circular in nature.

 
Orange
 

Joan fails to comprehend the nature of her personal entrapment. Her attempts to seek out false alternatives that harm her potential for true independence lead to escalating patterns of supernatural chaos and violence. The original nightmares emerged from her uneasy relationship with her boorish husband. But they also take on a sinister form of development as a result of her flirtation with a world of witchcraft which is as equally conformist as the deadly world she seeks escape from.

 
More after the jump…

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Posted by Bart Bealmear
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09.25.2017
09:21 am
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Get your very own David Bowie life mask
09.20.2017
12:52 pm
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David Bowie and Catherine Deneuve in ‘The Hunger’
 
Before the advent of photography as a widespread practice available to common citizens, it was not unusual to take casts of the faces of prominent personages in the moments after death. For those who had logged noteworthy accomplishments, it was a way to fix the memory of that person, to remind one of his (seldom her) reality. A quick round of Googling reveals the existence of death masks of such well-known folks as Abraham Lincoln, Johann Wolfgang von Goethe, Napoleon, Ludwig van Beethoven, Benjamin Franklin, Ulysses S. Grant, Vladimir Ilyich Ulyanov (Lenin), Martin Luther, Richard Wagner, and Isaac Newton.

Once you hit the mature years of the 20th century, death masks become far rarer. For some reason there is one for James Dean, and Nazis are statistically overrepresented in the group, there being death masks for Reinhard Heydrich, Heinrich Himmler, and Erwin Rommel. It’s not a thing we do anymore. In the age of Facebook, even un-famous people are often photographed incessantly, so the need is not as pressing to fix our memory of a person’s visual appearance. There’s always plenty of pictures out there!

To the best of my knowledge, there never was a death mask taken of the distinctive visage of David Bowie, but a “life mask” was taken, during the making of Tony Scott’s moody vampire flick The Hunger. In one point in The Hunger, the vampire John Blaylock rapidly ages several decades, so it was necessary to depict Bowie as an old man. Rather than subject Bowie to extra makeup sessions, the life mask was taken to make life easier for Dick Smith, in charge of makeup effects for the movie.
 

 
The process of making “old Bowie” is documented in Anthony Timpone’s Men, Makeup, and Monsters: Hollywood’s Masters of Illusion and FX, of which a relevant page is shown above.

At the risk of being called morbid, it would certainly be an apt sign of devotion to have a casting of Bowie’s life mask in your living room, and just such a possibility is currently being provided by Kirstie Hewer of Classic Castings, located in Warwickshire, England. They are made from plaster of Paris and come in white, silver, and copper as well as an iconic Aladdin Sane face paint version. The price for the single-color version is £40; the Aladdin Sane one is £60 (shipping in the U.K. is £6.50; international £30).
 

 

 
More looks at the Bowie masks after the jump…....
 

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Posted by Martin Schneider
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09.20.2017
12:52 pm
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Rik Mayall & Adrian Edmondson of ‘The Young Ones’ beating the shit out of each other on ‘Bottom’
09.19.2017
09:16 am
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Actors and real-life BFFs, the late Rik Mayall and Adrian “Ade” Edmondson from their other television show, ‘Bottom.’
 
If you love Dangerous Minds, then it’s a safe bet that you are also fans of the much loved UK cult-comedy, The Young Ones. If you agree with that, then you are truly one of us and also perhaps a fan of the much-praised comedy series from two of the stars of the show, Rik Mayall and Adrian Edmondson that aired on BBC2 starting in 1991, Bottom. And if you’re not, you should be.

The premise of the show is sort of like a sleazier, down-low version of The Odd Couple television series starring Jack Klugman and Tony Randall. Both Edmondson and Mayall are confirmed bachelors who shack up with each other out of desperation and commit equally desperate acts of violence and trickery that often center around trying to get laid. Getting laid is something that according to the storyline has eluded Mayall’s character of “Richard “Richie” Richard” his entire life as he’s still a virgin. Edmondson’s character “Edward Hitler” is just as unhinged as his flatmate as well as being an accomplished boozehound and thief. Adding another layer of cool on Bottom is that apparently, the characters created by both actors was somewhat based on their long, real-life friendship that began back in 1975 when the two were just teenagers attending Manchester University. Mayall and Edmondson would get gigs doing stand-up and sketches as “The Dangerous Brothers” at The Comedy Store in their early 20s which would, in turn, help them get regular work on the long-running UK show, The Comic Strip Presents. Coincidentally, Edmondson would meet his future wife, Jennifer Saunders of Absolutely Fabulous fame, on the set of the show. They have been married for 32 years.
 

Edmondson and Mayall performing at The Comedy Store back in the day.
 
The show is hysterically violent and pessimistically dark, and both Mayall and Edmondson did much of the slapsticky stunts in the series themselves—such as when Edmondson fell through a ceiling in the 1992 episode “Burglary.” Only eighteen episodes ever aired before the proposed fourth series was killed by BBC. After that, the duo took Bottom on the road as a stage play which according to all reports was even more tawdry and savage when it came to the vulgar displays of aggression between both Edmondson and Mayall in the name of comedy. Then in 1999 the sad-sack characters were once again brought to life, this time for the film Guest House Paradiso (directed by Edmondson) which centered around Mayall and Edmondson as the owners of the “worst” hotel in the UK. There was some talk of bringing Bottom back—in Edmondson’s words as old men who hit each other with “colostomy bags,” but that awesomeness never materialized.

Get to the ‘Bottom’ after the jump…

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Posted by Cherrybomb
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09.19.2017
09:16 am
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‘Porklips Now’: Spoof of Coppola’s ‘Apocalypse Now’ sends up suburban barbecue culture, 1980
09.18.2017
12:29 pm
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The strongest period for American film starts with Bonnie and Clyde or The Graduate, which both came out in 1967, and, in my opinion, ends, 12 years later, with Apocalypse Now. Francis Ford Coppola had once been one of the main poster boys for the New American Cinema, having made the first two masterful Godfather movies and The Conversation in the early 1970s. When he chose to adapt Joseph Conrad’s novella Heart of Darkness as a Vietnam movie—and spent several years and tens of millions of dollars to do it—the American public was made to focus on Coppola’s ego and excesses, which was certainly at least partly fair but, in a way, seemed to misdiagnose the problem. Coppola was being ridiculed for ... wanting to make an ambitious work of art on a socially relevant subject? The abuse seemed out of proportion to the crime. 

It’s difficult to reconstruct just how deep the mockery of Coppola ran at that time. I can remember quite clearly the accepted-by-everyone premise that Apocalypse Now “didn’t have an ending”—this claim that was supposed to be definitively argument-ending on the subject of Coppola’s lunacy but in retrospect seems fairly arbitrary. Coppola had trouble pinning down a final version in the editing room, true, and you can see the lengthier cut of the movie when you watch Apocolypse Now Redux, but it just wasn’t true that the ending was any special index of Coppola’s excesses or inability to make a decision (both of which were real factors for Coppola at that point). As Richard Beggs, who won an Oscar for Best Sound for his work on the movie, later said in defense of the movie: “There were never five endings, but just the one, even if there were differently edited versions.”

At any rate, the idea that Coppola was ripe for a comeuppance was inescapable in the culture. Case in point: Porklips Now, a short movie (16 minutes) directed by Ernie Fosselius to make fun of Coppola’s Vietnam epic. Fosselius’ main claim to fame at this point was certainly Hardware Wars, a parody of Star Wars that had become something of an indie sensation in 1977. Lifting its strategies directly from MAD Magazine, just as Hardware Wars had done, Porklips Now transforms the story of Willard seeking out Kurtz into the following:  “Dullard,” a barbecue practitioner of the suburbs, is sent into “Chinatown” to investigate the unorthodox practices of a rogue butcher named “Mertz” (as in Fred Mertz, from I Love Lucy).
 

 
I won’t ruin too many of the jokes but I will point out that Billy Gray, once best known for playing “Bud” on Father Knows Best, was extremely well cast as “Dullard”—the re-creation of Martin Sheen’s voiceover in Apocalypse Now is one of the best elements of the satire. Fosselius himself does the Brando turn as Mertz, and it’s only fair to say that he does a pretty excellent job in the role.

You can’t take on Apocalypse Now without addressing the Doors, and sure enough, Fosselius comes up with a pretty amusing Doors pastiche under the title “Not the End—Yet” (a dig at the indecision surrounding the original movie), performed by “Scott Mathews and the Back Doors,” whoever that may be. Meanwhile, true to the times, the parody of the big helicopter scene is given a suitably cocaine-y gloss, with the Wagnerian “Disco Valkyries” performed by the Four Hoarsemen, har har.

Continues after the jump…

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Posted by Martin Schneider
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09.18.2017
12:29 pm
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‘Is the Father Black Enough?’ Monkee Micky Dolenz stars in bizarre 1970s racial exploitation flick
09.14.2017
01:50 pm
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Poster for sale at Westgate Gallery
 
Micky Dolenz will always be known as a Monkee and not as a dramatic actor, but he did do some non-Monkee acting after the band broke up in the early 1970s. One of Dolenz’s legacies as an actor is certain high-profile roles he did not end up getting cast in. He famously auditioned for the role of Arthur Fonzarelli in Happy Days (Michael Nesmith did too). The only thing we can say for sure about that is that there is zero chance he would have been as successful in the role as Henry Winkler was. He also was considered for the Riddler in Batman Forever, a part that eventually went to Jim Carrey.

One of his early acting roles was his star turn in Night of the Strangler, an exploitation film that came out in 1972. Directed by Joy N. Houck Jr., it’s a pretty run-of-the-mill serial killer movie except for two things, the complete and total lack of any strangling whatsoever during the entire movie and the progressive (???) use of an interracial love affair as the driver of events. The movie begins with the hasty return of Denise to her native Louisiana from Vassar College, where she has fallen in love with an African-American fellow who has impregnated her and whom she intends to marry. (I had to work in a mention of Vassar, seeing as how the same institution unwisely furnished me with an undergraduate degree.) This news is taken rather differently by her brothers Vance (Dolenz) and imperious Dan, who throws around the N-word a lot and threatens to kill Denise and her betrothed. Before that can happen, though, her man is shot by a sniper and Denise is drowned in her bathtub…...
 

 
The taglines for the movie were “He Gets Them All!” and “Southern Revenge!” As happened with many B-movies in the 1970s, this movie was released under multiple titles. I guess it wasn’t common for movies to have quite this many titles, most of which play up the race thing and (thank goodness) don’t mention strangling, as in Dirty Dan’s Women and Is the Father Black Enough? and The Ace of Spades (really?).

As with many violent B-movies, there isn’t enough motivation for the series of killings, which are there mainly to draw audience and titillate viewers. In between the spurts of violence, you can barely glimpse a more interesting movie, but even that aspect is just sketched together. Dolenz’s training from the Monkees sitcom helped him, however. He’s not great or anything but he’s perfectly engaging as the more recessive of the two brothers.
 

 

Posted by Martin Schneider
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09.14.2017
01:50 pm
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Goodbye, Pork Pie Hat: Watch Charles Mingus get evicted from his NYC studio, 1966
09.14.2017
06:45 am
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It is not always the case that financial rewards flow to the most creative pioneers in our society. Case in point: In 1966, jazz legend Charles Mingus got evicted from his apartment at 5 Great Jones Street due to nonpayment of rent. A young documentary filmmaker named Thomas Reichman had a crew on hand the night before Mingus had to vacate the premises, and he left with some astonishingly poignant footage of Mingus in a garrulous, charming, angry, self-pitying mode.

The footage was incorporated in an hour-long movie that was released two years later with the somewhat confusing title Mingus: Charlie Mingus 1968, which isn’t what I would call a movie that was shot in 1966. Whatever!

Anyway, Mingus: Charlie Mingus 1968 is quite fascinating. Mingus is fully aware that Reichman and his crew are there, of course, and he is in his most florid and theatrical mode. Early on Mingus delivers a lengthy impromptu “pledge of allegiance” that starts like this:
 

I pledge allegiance to the flag—the white flag. I pledge allegiance to the flag of America. When they say “black” or “negro,” it means you’re not an American. I pledge allegiance to your flag. Not that I have to, but just for the hell of it I pledge allegiance. I pledge allegiance to the flag of the United States of America. The white flag, with no stripes, no stars. It is a prestige badge worn by a profitable minority.

 
Later on he sings the altered refrain of “My Country ‘Tis of Thee” with the line “sweet land of slavery.” He unloads his shotgun into a nearby expanse of plaster and asks his young daughter Kiki to tug on a noose made of trick theatrical rope that he has placed around his neck.

Continues after the jump…

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Posted by Martin Schneider
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09.14.2017
06:45 am
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New documentary about Jayne Mansfield and Anton LaVey from the makers of ‘Room 237,’ a DM exclusive!
09.14.2017
06:40 am
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The violent end Jayne Mansfield met in a cloud of insecticide has all the elements of a good story. Sex, violence, fame, blackmail, a Satanic curse, death by decapitation (well, severe haircut, anyway)—why, the LA Times obit reads like 12-year-old Glenn Danzig wrote it:

Jayne Mansfield Killed

Jayne Mansfield, blonde and buxom, almost a caricature of a sex symbol who lived in a glass bowl of publicity for 13 years as a Hollywood actress was decapitated last week in a grotesque car crash in a New Orleans swamp. She had been appearing at a night club in Biloxi, Miss. leaving there en route to New Orleans for a morning television appearance when the 2:30 a.m. collision occurred. Her car came around a curve at high speed and smashed into the trailer of a truck which had slowed on entering a cloud of white anti-mosquito mist. The trailer sheared off the top of the auto killing instantly the three adults in the front seat: Miss Mansfield, her friend, Samuel S. Brody, 40, a Los Angeles lawyer and their driver, Ronnie Harrison, 20, a student at the University of Mississippi. Three of her five children (in the back seat of the car) were injured but not seriously.

[...] Last year, her son Zoltan, 6, (while posing with her for a publicity stunt) was mauled by a lion and almost died when he developed meningitis. Several weeks ago, her daughter Jayne Marie, 16, left home complaining that she had been beaten by her mother’s boyfriend lawyer Brody. Miss Mansfield’s second husband was Mickey Hargitay, who flew to New Orleans after the accident to be with his children. On the French Riviera last week, Francoise Dorleac, 25-year-old French film actress, was also killed in a car crash. Her car skidded on a wet highway, struck a sign post and burst into flames.

The legend of Mansfield’s death is the subject of the latest documentary from P. David Ebersole and Todd Hughes, the creative powerhouse behind Room 237, Hit So Hard: The Life & Near Death Story of Patty Schemel, and the live-action Chick tract feature Hot Chicks. Ebersole and Hughes’ Mansfield 66/67: A True Story Based on Rumor and Hearsay focuses on the actress’s relationship with the Black Pope of the Church of Satan, Anton LaVey, and the tale that sorcery caused her fatal car crash. She is portrayed by “over fifty actors and dancers.”
 

 
Mansfield 66/67 appears, like Room 237, to be about a particular kind of 20th century folklore: “Paul is dead” cases of private obsessions, nourished by mass media, passing into folk belief. Conditions were favorable. Dead Jayne was in no position to refute any stories about her entirely sensationalized life, and LaVey was in no hurry to disclaim supernatural powers. Interviewed by Jack Fritscher in the 1972 book Popular Witchcraft, LaVey suggested his curse was responsible for the car crash, though he’d laid it not on Jayne but Sam Brody—the man the LA Times identified as Mansfield’s “friend”:

LAVEY: I know I have been rumored to have cursed Jayne Mansfield and caused her death in that car crash. Jayne Mansfield was a member of the Church of Satan. I have enough material to blow sky-high all those sanctimonious Hollywood journalists who claim she wasn’t. She was a priestess in the Church of Satan. I have documentation of this fact from her. There are many things I’ll not say for obvious reasons.

FRITSCHER: Say what you can.

LAVEY: Her lover [lawyer Sam Brody, also killed in the front seat of the car], who was a decidedly unsavory character, was the one who brought the curse upon himself. There was decidedly a curse, marked in the presence of other people. Jayne was warned constantly and periodically in no uncertain terms that she must avoid his company because great harm would befall him. It was a very sad sequence of events in which she was the victim of her own—as we mentioned earlier—inability to cope with her own success. Also the demonic self in her was crying out to be one thing, and her apparent self demanded that she be something else. She was beaten back and forth in this inner conflict between the apparent self and the demonic self. Sam Brody was blackmailing her.

FRITSCHER: About what?

LAVEY: He was blackmailing her. I have definite proof of this. She couldn’t get out of his clutches. She was a bit of a masochist herself. She brought about her own demise. But it wasn’t through what I had done to curse her. The curse, that she asked me to cast, was directed at him. And it was a very magnificent curse.

Watch the trailer after the jump…

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Posted by Oliver Hall
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09.14.2017
06:40 am
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Krautrock master Klaus Schulze’s porno soundtracks for ‘Body Love’ and ‘Body Love, Vol. 2’
09.12.2017
02:19 pm
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Klaus Schulze is an important figure in the development of the “kosmische musik” known popularly as Krautrock, being one of the founding members of Ash Ra Tempel and Tangerine Dream and a player on a staggering number of releases. While Can was breaking new ground in Cologne and Kraftwerk became international superstars based out of Düsseldorf, Schulze operated mostly out of Berlin, where bands like Cluster and Birth Control held sway, as well as the aforementioned bands Schulze was in.

Schulze’s contributions are littered all over Julian Cope’s top 50 Krautrock albums of all time. His solo albums Irrlicht, Cyborg, and Blackdance all get a mention. He was on Tangerine Dream’s first album Electronic Meditation, but that band went on to its incredibly prolific output without input from Schulze. Schulze also played on Ash Ra Tempel’s incredible self-titled debut as well as their fourth album, Join Inn. He was one of the composers of the legendary album Tarot by the Swiss musician Walter Wegmüller. He participated on all of the Cosmic Jokers releases, and he actually sued Rolf-Ulrich Kaiser (founder of the Ohr, Pilz, and Cosmic Couriers record labels) over the unauthorized release of the final one, which more or less sent Kaiser into exile.

On top of all of that, Schulze has released seven albums under the name Richard Wahnfried and released a dozen collaborations with Pete Namlook and Bill Laswell under the series title The Dark Side of the Moog, which engage a British visionary art rock group called Pink Floyd.

Clearly, this dude is in it to win it.
 

 
In 1977 Schulze put out three albums, two of which were a soundtrack to a porn film called Body Love and a follow-up featuring “Additions to the Original Soundtrack,” as the French release had it. Body Love was directed by Lasse Braun, who was born in Algiers but was from Italy—his given name was Alberto Ferro. Braun was the kind of principled porno director of whom it can be said (per Wikipedia) that he, ahem, “placed himself firmly in the tradition of 18th century pornographers such as Rétif de la Bretonne.....” One thing that made Body Love somewhat out of the ordinary was that the lead actress was Catherine Ringer, a member of one of France’s most innovative pop groups, Les Rita Mitsouko.

As “Yum-Yum” at the House of Indulgence put it a few years back,
 

Seriously, the score is incredible. Reminiscent of the chillout techno music that was semi-popular in the early ‘90s (The Orb, Pete Namlook, The Aphex Twin, etc.), the music—to be blunt—is way too awesome to wasted in a film like this. Okay, I realize that what I just said oozes the worst kind of porn prejudice (what? you don’t think porn movies deserve to have cool music?). What I’m trying to say is that there are only handful movies in this world that are truly worthy of the music Klaus Schulze was making in the late 1970s.

 
Yum-Yum is right! There really is hardly any movie that’s worthy of this soundtrack.

Continues after the jump…

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Posted by Martin Schneider
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09.12.2017
02:19 pm
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Check out the bodacious Lynda Carter as a blonde in ‘The New Original Wonder Woman,’ 1975
09.12.2017
09:25 am
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Nothing to see here. It’s just ‘Wonder Woman’ actress Lynda Carter in a blonde wig holding a massive golden barbell back in 1975. Yawn.
 
When actress Lynda Carter got the good news that she had landed the starring role in the television series Wonder Woman, she was apparently dead broke and had already made the decision to move back Phoenix, Arizona. For the first movie-length episode of season one in 1975, The New Original Wonder Woman Carter donned a long blonde wig and a barely there white dress with her other female pals on Paradise Island—a dreamy sounding mecca inhabited only by women. So far, so good!

During the episode, Carter takes on the Nazis, has a catfight with sexy Stella Stevens (who most memorably starred opposite the late Jerry Lewis in 1963’s The Nutty Professor), and hangs out with Cloris Leachman who played the fantastic “Queen Hippolyta” aka Wonder Woman’s mother. In an interesting side-note, Leachman was paid an astonishing $25,000 for one day’s work on the set.

As is the case throughout the WW television series, the episode is about as campy as they come and still holds up a staggering 42 years later much like the lovely Ms. Carter herself who continues to defy the laws of aging entirely. I’ve posted images of the very blonde Carter in her wig below. I’ve also included footage of her sexy skirmish with Stella Stevens which is said to have inspired the claws-out brawls between the fictional divas “Krystle Carrington” and “Alexis Colby” in the epic 80s television soap, Dynasty. And because I just couldn’t resist, you can also watch an amusing clip of Carter in her more traditional WW get up flying around in her invisible jet with a shirtless with “Steve Trevor” played by the red-hot actor Lyle Waggoner. It’s all too much!
 

Cloris Leachman and Lynda Carter on the set of ‘The New Original Wonder Woman.’
 

 
More after the jump…

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Posted by Cherrybomb
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09.12.2017
09:25 am
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