BftRB Presents: Grind Shop Vol. 2 (Strangeland Mix)
"Five young kinky actors and their artistic director come to a desolate and nearly forgotten burial island, complete with a morbid history of MURDER, RAPE, CURSES and DEMONS. Alan (Alan Ormsby), the brilliant but bizarre Director of the company, has brought them to this foreboding place to dabble in witchcraft; specifically to dig up a fresh corpse and use it in a ritual ceremony which is supposed to raise the dead from their graves.The PAY-OFF: It seems as though Alan has really gathered his "children" here, only to play a practical joke on them and then to party the rest of the night away. However, the joke's on Alan. His bizarre ritual ceremony really does raise the dead from their graves...only they're in no mood to party! NOTE: "BENJAMIN" CLARK is really "BOB" CLARK, the creative director behind the hit films PORKY'S, BLACK CHRISTMAS and A CHRISTMAS STORY among others. ALAN ORMSBY, though he turned in what has been described as "...one of the most obnoxious screen performances in history!", has actually made a mark for himself as the screenwriter for such memorable films as MY BODYGUARD, CAT PEOPLE, KARATE KID 3 and PORKY'S 2."
Here's two majestic birds from that crate o' killer Doo-Wop from several months back. Weird, cause neither of these songs are particularly Doo-Wopy (Doo-Wopish!?) and are pretty much exceptions to the rule. In fact, one is a devistating blues rocker (59') w/ Ax effects in full, um, effect, whilst the Big-Wheel cut is about as close as I get to poppy (Poppish!?) soul (67') without pinchin' my nose closed and throwing up in my mouth a little bit (Better than somebody elses).
Divine Horsemen: The Living Gods of Haiti (1985)
"A black and white documentary film about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1952 and edited and completed by Deren's third husband Teiji Ito and his wife Cherel Winett Ito (1947-1999) in 1981, twenty years after Deren's death. Most of the film consists of images of dancing and bodies in motion during rituals in Rada and Petro services. Deren had studied dance as well as photography and filmmaking. She originally went to Haiti with the funding from a Guggenheim fellowship and the stated intention of filming the dancing that forms a crucial part of the vodou ceremony. The film that resulted, however, reflected Deren's increasing personal engagement with vodou and its practitioners (Wilcken, 1986). While this ultimately resulted in Deren disregarding the guidelines of the fellowship, Deren was able to record scenes that probably would have been inaccessible to other filmmakers. Deren's original notes, film footage, and wire recordings are in the Maya Deren Collection at Boston University's Howard Gotlieb Archive Research Center."