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Posts posted by Mrs_Krinkle


    Erick Purkhiser picks a fight with "The Cramps" in the no wave classic flick, "The Foreigner" by Amos Poe while the Erasers, "No Se" play at CBGB Circa, 1978.


    i know we did a punk segment way already, but what about the no wave and proto-scenes? Shock Rock and Richard Kern are right there waiting for attention, if ya ask me. still really relevant to today. but i suppose that's just my opinion.




    full film of Nick Zedd's Wild World of Lydia Lunch.

    Nick Zedd follows Lydia around London, while she basically breaks up with him the whole trip was to get away from him.

    apparently the film score, the soundtrack is a tape she sent to Zedd as a fuck you.


    i really love the soundtrack to this whole thing. enjoy.

    • Like 1

  2. here's a couple of movies i had forgotten about and recently re-discovered.



    Re-Animator c.1985 Dir. Stuart Gordon


    ....and let's not forget....




    From Beyond C.1986 Dir. Stuart Gordon


    ...i am quite young to actually remember these coming out but i did lack intense parental supervision.

    i am not sure if that is a good or a bad thing, but i can say this. i do have taste. that is for sure.

    and i remmeber, even as a kid loving these movies. i almost lost my shit when, "From Beyond" came on a local prime time movie channel here. great stuff.


    Not sure if you were serious, but Fred Savage is now directing TV shows like "It's Always Sunny in Philadelphia", "Party Down", and "Happy Endings". He actually appeared as a guest on Comedy Bang!Bang! a little while back talking about it.



    i take it this is my cue to get out from under that huge rock i've been living under.

  4. A 1962 underground film written, directed and starring the character actor Timothy Carey. The self-financed film tells the story of an average man, Clarence Hilliard (played by Carey), who quits his day job as an insurance salesman and forms a rock band. Finding that he can whip crowds into a frenzy with his wildly unhinged rockabilly performances, Clarence takes advantage of the attention by turning his fanbase into a political party and eventually a religious cult based on the premise that every man is a god. Ironically, Clarence finances the cult by graphically seducing elderly widows out of their life savings (the film is noted for its many sequences of Timothy Carey making out with old women). The more powerful Clarence becomes, the more egomaniacal and detached from reality he grows, eventually insisting upon being called God with a capital "G" (literally-- "God Hilliard") and having his followers worship him as such. Soon he personally challenges the God of the Bible to prove that Clarence himself is not the true Almighty. God obliges him.

    The film features a score composed by a young pre-Mothers of Invention Frank Zappa


    The film is narrated by Paul Frees in his typically dramatic fashion.



    • Like 1

  5. i realize we've found the manakin guy but i actually found a neat little article by judy zee wrote about them on may 14th 1981.

    i found it pretty interesting, i thought i would share it- regardless.




    here it is.


    PZ Connection

    Judy Zee writes with

    her partner Punkasso.

    Will they ever agree?

    May 14, 1981




    "Welcome back Manakin for an unannounced performance on April 14th at Club 88" ran a Man from Uncle-like psychedelic coded message in Showtime. With crystal clear, technologically clean melodic instrumentation; and Brent's expressive vocals- this ensemble has been swaying Los Angeles audiences consistently.

    So we showed up for this one. Manakin has been missing in action for four months already, and friends and fans were getting restless.

    Opening with "Manakin-land", you enter their cartoon. Brent par usual, is carried, a frozen full sized human doll, onto center stage. Then, they start in with their Temptations-like stage presence savoring 60's-ish black vogue. The pace is upbeat, integrated and intense.

    Manakin sounds fuller than ever, much of it do to the addition of a thoroughly appropriate bouncing keyboard/synthesist.

    The untabulated eloquence of "Children of Paradise" as well as "Just a Dream" never fails to sway Ms. Zee, tumbling into the imagination of what really could be; strongly grasped romantic ideals, seen through rose colored glasses waltzing to the cadence of human aspiration; stretching towards the near perfection we all feel at times. Manakin nearly composes these utopias merely through sound.

    "Bridges on the Other Side", joyfully rhythmic, breaks on through the windows of Reggae, reminding one of "Dangerous Rhythm" (one of Ultravox's most overlooked songs, 2nd album).

    Punkasso gives a description of the Club 88 dance floor at this point: false manakin puppeteers prolificate on the floor in a Devoesque bath of the 60's, it was such a cliche I could hardly move.

    I wish Manakin was on record already, so that you could hear what I am referring to. No clones these guys. Cream of drums, Guy Epstein shoots off sparks, snaking round the set. On bass you've got Andre. The keyboardist is Chas Coleman playing a shoulder strap hand held bone like instrument which is hooked up to a sequential circuits Prophet 5. His presence and musicianship are both outstanding. Bob 'Moonstone' Walker's running liquid quarter notes make up the river world of Manakinland, and synchronize like clockwork with the synth.

    A couple moments of erotic beats were caught and frozen into a time/space continuum, encompassing the overall experience of the night. The jam was real.

    Rock on. -Judy Zee

    • Like 1