The People's Republic of New Jersey, United States
About me: Jersey born, loudmouthed, gun touting, capitalist / godless wicked heathen, organ playing romantic (wink) who believes in rock and/or roll, self reliance and, consequently, has no time for your hippie bullshit. Qui Tacet Consentit.
Note: All of the music which appears here is tattooed on glorious vinyl. It has been plucked outta the garbage, mildewed basements, broiling attics, and assorted crawlspaces and has been uploaded free or charge for your listening pleasure (i.e. I play the part of the obsessive lunatic who never gets laid so you don’t have to.).
All music has been recorded with no noise reduction or variable EQ in an effort to preserve the imperfections associated w/ the medium as well as the ravages of time. No copyright/ownership is implied. If by chance you know of, or are yourself affiliated with any members/attractions included herein, then I (and the three people who read this dreck) would love to hear your story. If, consequently, you would like any materials removed, contact me and I will do so, but keep in mind that I reserve the right to call you a dick and out you on this blog. I aint makin’ any money (half of nothin’ is nothin’). Just relax.
"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."
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