diff --git a/textfiles.com/magazines/FUCT/fuct-003.txt b/textfiles.com/magazines/FUCT/fuct-003.txt
new file mode 100644
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+
+
+ 旼컴컴컴컴컴컴컴컴컴커
+ 뇌횮anceR컴Presents퀭�
+ � 饗FucT컴#003퀭 �
+ � 饗06�01�93퀭 �
+ 읕컴컴컴컴컴컴컴컴컴켸
+
+
+
+
+ 旼컴컴컴컴컴컴컴컴컴컴컴컴컴커
+ � Table훟f횮ontents �
+ 쳐컴컴컴컴컴컴컴컴컴컴컴컴컴캑
+ 쿛art 1................Intro �
+ 쿛art 2.Getting into Vax/Vms �
+ 쿛art 3..H/P/A?no "D"eviancy �
+ 쿛art 4................Scans �
+ 쿛art 5..........Member List �
+ 쿛art 6..........Dist. Sites �
+ 쿛art 7...............Endtro �
+ 쳐컴컴컴컴컴컴컴컴컴컴컴컴컴캑
+ � 饗CanceR컴93퀭 �
+ 읕컴컴컴컴컴컴컴컴컴컴컴컴컴켸
+
+
+
+
+
+
+ Part 1
+
+
+ [INTRO]
+
+ Well, it has been three months since the start.From here on out
+ the group should be picking up a bit.Note the "D" instead of A for
+ anarchy...making insignificant destructive devices is hardly anarchy
+ and we know it.Enjoy.
+
+
+
+Part 2
+
+ $%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$
+ $%$ Getting into VAX/VMS Systems $%$
+ $%$ by Nitro-187/CanceR $%$
+ $%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$%$
+
+VMS is an acronym for Virtual Memory System, and is made by Digital
+Equipment Corportaion as a way of allowing the basic computer management
+to be done by a user familiar with any of the systems it made.
+.... Blah .... The main purpose of this manual is to actually teach
+the average person something besides have a 20k file full of techno-talk
+and just stuff people release and people go "Gee, he sure knows a lot
+about this" without ever learning something. Ok, the first step of getting
+into a VMS is identifying one. First if you do not know of any VMS systems
+in your area I suggest Tone Loc or some other program. Anywayz
+the Username: prompt. The system will let you try three accounts
+and passwords. Here's a list of default user names and passwords that
+are common on most VMS systems
+
+ USERNAME PASSWORD
+ -------- --------
+ DECNET DECNET
+ SYSTEM SYSTEM
+ DEFAULT DEFAULT
+ OPERATIONS OPERATIONS
+ SYSTEST_CLIG CLIG
+ SYSTEST
+ TEST
+
+These are accounts with powerful access, So try these first
+because you will be able to do things that you can't with
+others, like create your own account.
+
+ SYSTEST UETP
+ SYSTEST
+ FIELD FIELD
+ SUPPORT SUPPORT
+ DEC
+
+Ok, when you put down a user account it will not tell you if it is valid
+or not. Now you should be in and see a $ prompt. I won't tell you what
+to do, because I would be wasting my time. VMS has some of the best
+help files available anywhere. Just type HELP at the $ prompt and you will
+get it on every command you would pretty much want to use.
+The system I got into was the University of Alaska computer network,
+divided between 3 cities here and hooked up to internet, If you would like
+some more info on this than there are hundreds of files for you to
+choose from, such as VAX news, or my file /큗tershock #3 which is a capture
+on how some are run. Also if you do have an internet account there are
+several ftp sites for VMS stuff like amarna.gsfc.nasa.gov arizona.edu
+hydra.uwo.ca
+ Have phun!
+
+
+
+Part 3
+ [Minor Deviancy] hehe
+
+
+ Molotov Cocktail
+
+
+ This has got to be one of the most simple destruction devices
+ to make,and also very effective.
+
+ Supplies:One bottle/Coke,Beer(16 ounce size)
+ Gallon of Gas
+ Quart of motor oil
+ And one rag
+
+ Ok take your bottle andd pour in the oil,about 1/2 the way full.
+ Next add about the same amount of gas.Soak your rag in some of
+ the left over gas andd cram it in the top of the bottle.Now get
+ a lighter,go to a buddies house light and throw.Have fun...
+
+
+
+
+ 췊asy M-80s�
+
+ Ok there have been tons of files written about M-80s etc. This one is
+ damn simple and the supplies are right at hand.
+
+ Supplies Needed: Cardboard Tubing (toilet paper roll,Paper Towles)
+ Toilet Paper (Packing Material)
+ Clay/Putty (Packing Material)
+ Gunpowder (Hmmm I wonder)
+ Fuses (Duh)
+ Wooden Dowl (Hardware/Lumber store)
+ Hammer
+ Cold Beer/Cigs
+
+ 1st step take your tube and poke a hole inn the middle of it,just big
+ enough for the fuse to fit.Now cover the hole with a peice of tape.Next
+ putty up one end of the tube and let it set.Next wad up some toilet paper
+ and stuff it in the tube.Now take your dowl and hammer and pake the
+ fucker in,nice and tight.Put about a 1/4 of and inch of both clay and
+ TP in the end.Now get ready to pack your ass off.Pour in some gunpowder
+ and pack it down.Keep going until you reach the hole you punched.Remove
+ the tape and insert your fuse.Now pack in some more gunpowder until you
+ reach about 1/2 an inch from the top.Pack in about 1/4 of Toilet paper
+ and then your clay to finish it off.Let it set for awile,so drink a brew
+ and have a smoke.Ok now grab your lighter and your bomb.Goto your Ex-
+ girlfriends house,and have fun.
+
+ Of course these are far more lethal then your standard M-80,so use your
+ head so you can be around to see another day.
+
+
+ M-80 Diagram
+ �
+ 旼쩡쩡컴컴컴좔컴컴컴쩡쩡�
+ 남낡� 낡남�
+ 남낡� Gunpowder 낡남�
+ 남낡� 낡남�
+ 읕좔좔컴컴컴컴컴컴컴좔좔�
+
+ KEY:
+
+ �=Clay/Putty
+ �=Toilet Paper
+
+
+
+ 컴Detonators컴
+
+ Supplies:2 gator clips
+ plenty of wire(2 separate peices)
+ 1 lantern battery
+ 1 pack of Solar Ignitors(found at Hobby Shops)
+ Soldering Iron/Solder
+
+ First splice your wires eds,and soldder on the gator clips.Next take your
+ solar ignitors(used for launching model rockets) and fasten it to your
+ fuse.The part that burns on the ignitor is light brown and looks like a
+ tear drop.Now connect your gator clips to the 2 little wires that come
+ off of the ignitors.Next string out your wire to a safe hiding spot.Now
+ touch one wire to the pos. the other to the neg. and KABBOM!I think they
+ also sell wireless detonators for model rockets at hobby shops,so u might
+ want to check those out.
+
+-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
+ Using ANSI.SYS To Make Nifty Little Trojans
+_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
+ Alistar/CanceR
+
+Hey all.. This article will teach you to use ANSI.SYS (if you don't know what
+that is, read a book) and other MS-DOS tools to create nifty little trojan
+horse programs.. They are relitivly easy to slip into computers, and are un-
+scannable if you have any brains at all.. The only way that i know of to
+defeat these little fuckers is a program called pksfansi.com, which most
+people don't have.
+
+First of all, i will describe some easy key re-definitions.. function keys
+are the easiest, here is a table of thier "extended function codes".. i'll
+explain in a bit..
+
+ _Key_ _Normal_ _Shift_ _Control_ _Alt_
+ F1 0;59 0;84 0;94 0;104
+ F2 0;60 0;85 0;95 0;105
+ F3 0;61 0;86 0;96 0;106
+ F4 0;62 0;87 0;97 0;107
+ F5 0;63 0;88 0;98 0;108
+ F6 0;64 0;89 0;99 0;109
+ F7 0;65 0;90 0;100 0;110
+ F8 0;66 0;91 0;101 0;111
+ F9 0;67 0;92 0;102 0;112
+ F10 0;68 0;93 0;103 0;113
+
+to change one key to have the effect of another type this:
+
+ ESC[#;#p
+
+where the first # is the ASCII vlaue of the key you wish to change,
+and the second # is the ASCII value of the new definition.. (unfortunatly)
+i don't have an ASCII key value chart, find one!) this is really useful
+for re-defining the N key to Y (you'll see what i mean in a minute)..
+
+to re-define a keystroke to mean a string of characters (format c: comes to
+mind:) simply type:
+
+ ESC[#;"string"p
+
+where, as before, # is the ASCII value of the key you wish to change.. (d
+would probably be the best, seeing as how the command "dir" is very commonly
+used)..
+
+to make all this really useful if you end the ESC sequence wih ";13p" as
+opposed to "p", the string will self-execute.. (getting the picture here?)
+here is an example.. create a batch file called "lamer.bat" it should contain
+the following lines
+
+@echo off
+ESC[#;#;13p (where the first # is the ASCII value for "n" and the second "y")
+ESC[#;"format C:";13p (where # is "d" or somthing..)
+
+then put in somthing stupid like "type fuct.ans" so the stupid fuck thinks
+he ran a legit file.. then, the first time they hit "d", "format c: y/n?"
+appears onthier screen.. they freak out and hit "n", which has been
+re-defined to mean"y".. as they stare in shock at thier screen, thier computer
+is either wholly, or partially fucked big time...
+
+
+
+Part 4
+ [Scans]
+
+
+ Tone 1-800-682-6176 :
+ Tone 1-800-428-2947 :
+ Tone 1-800-672-7668 :
+ Tone 1-800-951-1476 :
+ Tone 1-800-370-8078 :
+ Tone 1-800-295-9071 :
+ Tone 1-800-621-9026 :
+ Tone 1-800-753-5673 :
+ Tone 1-800-667-1349 :
+ Tone 1-800-484-7053 :
+ Tone 1-800-725-2722 :
+ Tone 1-800-780-8649 :
+ Tone 1-800-628-1846 :
+ Tone 1-800-260-7068 :
+ Tone 1-800-862-5479 :
+ Tone 1-800-539-2061 :
+ Tone 1-800-367-2538 :
+ Tone 1-800-437-5006 :
+ Tone 1-800-479-0826 :
+ Tone 1-800-803-2077 :
+ Tone 1-800-225-3073 :
+ Tone 1-800-562-1601 :
+ Tone 1-800-782-7247 :
+ Tone 1-800-367-6964 :
+ Tone 1-800-251-6946 :
+ Tone 1-800-282-4814 :
+ Tone 1-800-530-9477 :
+ Tone 1-800-295-7669 :
+ Tone 1-800-331-3748 :
+ Tone 1-800-639-7952 :
+ Tone 1-800-443-3660 :
+ Tone 1-800-780-2585 :
+ Tone 1-800-553-0647 :
+ Tone 1-800-262-9685 :
+ Tone 1-800-482-3276 :
+ Tone 1-800-553-2403 :
+ Tone 1-800-461-4113 :
+ Tone 1-800-521-8186 :
+ Tone 1-800-387-0059 :
+ Tone 1-800-926-9141 :
+ Tone 1-800-964-0513 :
+ Tone 1-800-972-3656 :
+ Tone 1-800-998-9407 :
+ Tone 1-800-926-9629 :
+ Tone 1-800-940-2613 :
+ Tone 1-800-972-8778 :
+ Tone 1-800-932-4269 :
+ Tone 1-800-945-6632 :
+ Tone 1-800-972-6328 :
+ Tone 1-800-998-7290 :
+ Tone 1-800-952-5780 :
+ Tone 1-800-933-2418 :
+ Tone 1-800-992-1780 :
+ Tone 1-800-933-7437 :
+ Tone 1-800-922-4617 :
+ Tone 1-800-940-3434 :
+ Tone 1-800-940-1250 :
+ Tone 1-800-972-5605 :
+ Tone 1-800-992-7699 :
+ Tone 1-800-835-1334 :
+ Tone 1-800-846-4603 :
+ Tone 1-800-874-5029 :
+ Tone 1-800-826-6965 :
+ Tone 1-800-828-5731 :
+ Tone 1-800-841-7624 :
+ Tone 1-800-833-9305 :
+ Tone 1-800-852-4650 :
+ Tone 1-800-848-2978 :
+ Tone 1-800-831-3411 :
+ Tone 1-800-858-4602 :
+ Tone 1-800-826-5164 :
+ Tone 1-800-828-2028 :
+ Tone 1-800-832-6965 :
+ Tone 1-800-892-4642 :
+ Tone 1-800-831-1307 :
+ Tone 1-800-872-3439 :
+ Tone 1-800-873-0537 :
+ Tone 1-800-892-3263 :
+ Tone 1-800-832-9512 :
+ Tone 1-800-824-7689 :
+ Tone 1-800-843-7040 :
+ Tone 1-800-831-2811 :
+ Tone 1-800-826-4751 :
+ Tone 1-800-859-2085 :
+ Tone 1-800-845-6339 :
+ Tone 1-800-832-5180 :
+ Tone 1-800-826-1967 :
+ Tone 1-800-872-2119 :
+ Tone 1-800-852-3338 :
+ Tone 1-800-845-9435 :
+ Tone 1-800-872-2991 :
+ Tone 1-800-856-7995 :
+ Tone 1-800-872-8891 :
+ Tone 1-800-892-2051 :
+ Tone 1-800-856-9430 :
+ Tone 1-800-846-1920 :
+ Tone 1-800-872-4511 :
+ Tone 1-800-862-5946 :
+ Tone 1-800-852-9980 :
+ Tone 1-800-852-6920 :
+ Tone 1-800-852-9542 :
+ Tone 1-800-892-0252 :
+ Tone 1-800-852-8595 :
+ Tone 1-800-826-9151 :
+ Tone 1-800-872-9009 :
+ Tone 1-800-879-3059 :
+ Tone 1-800-652-4081 :
+ Tone 1-800-672-6175 :
+ Tone 1-800-666-4153 :
+ Tone 1-800-337-7303 :
+ Tone 1-800-372-2768 :
+ Tone 1-800-392-4066 :
+ Tone 1-800-358-6060 :
+ Tone 1-800-392-4553 :
+ Tone 1-800-392-3372 :
+ Tone 1-800-345-0770 :
+ Tone 1-800-346-1979 :
+ Tone 1-800-392-4950 :
+ Tone 1-800-329-7100 :
+ Tone 1-800-370-3242 :
+ Tone 1-800-366-3124 :
+ Tone 1-800-392-0815 :
+ Tone 1-800-344-3342 :
+ Tone 1-800-326-5795 :
+ Tone 1-800-336-6191 :
+ Tone 1-800-392-5863 :
+ Tone 1-800-352-6976 :
+ Tone 1-800-370-4686 :
+ Tone 1-800-342-8122 :
+ Tone 1-800-352-2291 :
+ Tone 1-800-370-6123 :
+ Tone 1-800-372-6129 :
+ Tone 1-800-338-4088 :
+ Tone 1-800-350-7339 :
+ Tone 1-800-325-5437 :
+ Tone 1-800-372-6738 :
+ Tone 1-800-361-6340 :
+ Tone 1-800-370-6316 :
+ Tone 1-800-800-1316 :
+ Tone 1-800-800-4664 :
+ Tone 1-800-800-7645 :
+ Tone 1-800-800-2154 :
+ Tone 1-800-800-1182 :
+ Tone 1-800-800-0344 :
+ Tone 1-800-800-1104 :
+ Tone 1-800-800-3459 :
+ Tone 1-800-800-2937 :
+ Tone 1-800-800-1326 :
+ Tone 1-800-800-7935 :
+ Tone 1-800-800-0182 :
+ Tone 1-800-800-1058 :
+ Tone 1-800-800-6460 :
+ Tone 1-800-800-1098 :
+ Tone 1-800-800-0154 :
+ Tone 1-800-877-5718 :
+ Tone 1-800-877-5821 :
+ Tone 1-800-877-6078 :
+ Tone 1-800-877-6631 :
+ Tone 1-800-877-9463 :
+ Tone 1-800-877-6732 :
+ Tone 1-800-877-1811 :
+ Tone 1-800-877-9789 :
+ Tone 1-800-877-2761 :
+ Tone 1-800-877-3146 :
+ Tone 1-800-877-3516 :
+ Tone 1-800-877-5125 :
+ Tone 1-800-877-0681 :
+ Tone 1-800-877-9858 :
+ Tone 1-800-877-9569 :
+ Tone 1-800-877-3695 :
+ Tone 1-800-877-4133 :
+ Tone 1-800-877-2689 :
+ Tone 1-800-877-8652 :
+ Tone 1-800-877-0067 :
+
+ Note: These scans were done from the 2nd to the 15th of May 1993.
+ Some may be lame and some not...we at CanceR wouldnt know,
+ as they are for you,the reader.Check em out.
+
+
+
+
+Part 5
+ [Member List as of 06/1/93]
+
+ Updated every issue...
+
+ Jester Of Chaos (206)
+ Candy Man (206)
+ Arsonist (206)
+ The Slacker (206)
+ Alister (206)
+ Quantum (206)
+ Bane (708)
+ Nitro-187 (907)
+ The Gargoyle (904)
+
+ Special Thanks to the Support Team(Sysops):
+
+ Candyman (206)
+ Bane (708)
+ Goldstein (708)
+ Hawkmoon (914)
+ Blackhawk (904)
+ The Gargoyle (904)
+ Lineman (417)
+ Slither (819)
+
+
+
+Page 9
+ [Distribution Sites]
+
+13th Avenue CanceR WHQ.........................................206-XXX-XXXX
+Daemoniac Ghetto CanceR HQ.....................................708-XXX-XXXX
+Room101........................................................708-XXX-XXXX
+Liquid Euphoria................................................914-XXX-XXXX
+Blackstaff Tower...............................................904-XXX-XXXX
+Darke Spyre BBS................................................904-XXX-XXXX
+Lineman's Lair.................................................417-XXX-XXXX
+Dot Matrixx....................................................819-XXX-XXXX
+
+
+
+
+Page 10
+ [Endtro]
+
+ We at CanceR are always looking for new writing talent...if you would
+ like to join then write something and upload it to one of the dist.
+ sites.Also leave a way we can contact you.Also also...if you need to
+ talk to a CanceR member it can be arranged...leave a message at:
+ 1-800-877-2231 (after hours) hit **10302...it should say "This is
+ Grant Forebain {Bane},please leave a message".This is to not attract
+ any attention to the box(may not matter)...just ignore the greet.
+
+
+
+ C.1993 CanceR
+ FucT#003
+ 06/01/93
+
+
+
+
+
diff --git a/textfiles.com/magazines/FULLDISC.1 b/textfiles.com/magazines/FULLDISC.1
new file mode 100644
index 00000000..ae619cd2
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC.1
@@ -0,0 +1,38 @@
+
+T E X T F I L E S
+
+Electronic Magazines: Full Disclosure
+
+Glen Roberts is one angry man. Concerned about the nature of privacy and personal
+information online, he has created a ton of newsletters and even runs a radio
+show centering around the proliferation of your personal data.
+In doing this, he makes himself a lightning rod for all sorts of madness. On the
+whole, quite an impressive pedigree. This collection is only a small part of all
+the files he's written; if I can find an easy way to get them all, I'll put them
+up. All intelligently written and worth a read.
+
+
+Filename
|
+Size
|
+Description of the Textfile
|
+
+blue.txt 27648
| The Death of the Blue Box
+ | court.txt 11520
| No Protection for U.S. Citizens
+ | doggie.txt 25984
| The Great American Dog Trial Vendetta, by P. Remington Adams
+ | edit.txt 8704
| There's Gotta Be a Better Way, by Glen Roberts and Bill Vajk
+ | freq.txt 7424
| Surveillance Frequency Selection
+ | hopp.txt 10624
| new FBI Attempts at Secure Communication
+ | nag.txt 8064
| The War on Privacy Hits You in the Pocket Book!
+ | news.txt 8832
| The IRS is Here to Protect Our Rights
+ | ntia.txt 8960
| Surveillance Conference Overview
+ | post22.txt 5888
| Mail Surveillance
+ | postal.txt 3200
| Inside the Postal Mail Cover
+ | ripco.txt 13184
| Dr. Ripco Seizure
+ | sells.txt 7296
| Surveillance Equipment Buys
+ | spy.txt 7261
| The Cell Structure of the Spy Network
+ | surv.txt 7552
| The World of Surveillance
+ | trash.txt 5888
| Dumpster Diving
+ | | | | | | | | | | | | | | | | |
| There are 16 files for a total of 168,029 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/FULLDISC/.windex.html b/textfiles.com/magazines/FULLDISC/.windex.html
new file mode 100644
index 00000000..a6af6afe
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/.windex.html
@@ -0,0 +1,38 @@
+
+
T E X T F I L E S
+
+Electronic Magazines: Full Disclosure
+
+Glen Roberts is one angry man. Concerned about the nature of privacy and personal
+information online, he has created a ton of newsletters and even runs a radio
+show centering around the proliferation of your personal data.
+In doing this, he makes himself a lightning rod for all sorts of madness. On the
+whole, quite an impressive pedigree. This collection is only a small part of all
+the files he's written; if I can find an easy way to get them all, I'll put them
+up. All intelligently written and worth a read.
+
+
+Filename
|
+Size
|
+Description of the Textfile
|
+
+blue.txt 27648
| The Death of the Blue Box
+ | court.txt 11520
| No Protection for U.S. Citizens
+ | doggie.txt 25984
| The Great American Dog Trial Vendetta, by P. Remington Adams
+ | edit.txt 8704
| There's Gotta Be a Better Way, by Glen Roberts and Bill Vajk
+ | freq.txt 7424
| Surveillance Frequency Selection
+ | hopp.txt 10624
| new FBI Attempts at Secure Communication
+ | nag.txt 8064
| The War on Privacy Hits You in the Pocket Book!
+ | news.txt 8832
| The IRS is Here to Protect Our Rights
+ | ntia.txt 8960
| Surveillance Conference Overview
+ | post22.txt 5888
| Mail Surveillance
+ | postal.txt 3200
| Inside the Postal Mail Cover
+ | ripco.txt 13184
| Dr. Ripco Seizure
+ | sells.txt 7296
| Surveillance Equipment Buys
+ | spy.txt 7261
| The Cell Structure of the Spy Network
+ | surv.txt 7552
| The World of Surveillance
+ | trash.txt 5888
| Dumpster Diving
+ | | | | | | | | | | | | | | | | |
| There are 16 files for a total of 168,029 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/FULLDISC/blue.txt b/textfiles.com/magazines/FULLDISC/blue.txt
new file mode 100644
index 00000000..4afd7338
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/blue.txt
@@ -0,0 +1,524 @@
+DEATH OF THE BLUE BOX
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+This article will provide an historical review of the problem of ``Blue Box''
+telecommunications fraud. A blue box being the street name of one, of several
+electronic devices designed to allow the user to place free, long distance
+telephone calls. The information presented here consists of excerpts from the
+1970's National Wiretap Commission Hearings. In some cases, answers that had
+clarifying questions interspersed have been merged together without the
+extraneous questions for clarity and space reasons.
+
+The excerpts from the following witnesses are used here: Neil Beller,
+Division Attorney, Central Telephone Company of Nevada; Michael Simon,
+Special Agent, Federal Bureau of Investigation, Las Vegas; and Karl
+Berolzheimer, Central Telephone Utilities and Utilities Corporation Counsel;
+William Caming, Attorney, American Telephone and Telegraph. Other individuals
+are members of the Commission.
+
+Mr. Feldman: Mr. Beller, would you tell us how many investigations you were
+involved in and the approximate period of time?
+
+Mr. Beller: From April 22, 1973, to October 15 of 1973, we gave approximately
+32 numbers to the FBI.
+
+Mr. Feldman: . . . What does that indicate?
+
+Mr. Beller: We had reason to believe individuals were using some sort of
+device on their telephones.
+
+Mr. Feldman: Would you state on what basis you had that belief?
+
+Mr. Beller: We have a computer print out, a copy of which I have here, which
+was for selected numbers. These are toll-free network numbers, and studying
+these numbers and ascertaining where the called number was, we had reason to
+believe that the person was using a foreign device.
+
+The reason for that is that some of the numbers that were called were
+numbers, for example, to New York information, or the information office at
+TWA. And it is not logical for a person to talk to TWA for 20 minutes or a
+half-hour.
+
+Based upon that, we would put either a brush recorder or at a later date we
+subsequently acquired another device, which emitted a tape such as this. And
+from that we were able to ascertain that the person was, in fact, using a
+foreign device on the telephone line.
+
+Mr. Feldman: Agent Simon, how many cases ultimately resulted from the
+information provided you?
+
+Mr. Simon: The resulting investigative cases? We had five cases that were
+brought to indictment and subsequent prosecution. We had seven other cases
+that, because of the United States Attorney's position, prosecution was
+declined. And I will give you one specific example, where an individual made
+a blue box which was very unsophisticated in comparison to what Mr. Caming
+showed us. This box was approximately two-and-a-half feet long by two feet
+wide and about 18 inches tall.
+
+This man made it at home from various electronic parts, and his wife used the
+device to call her mother once a week in Miami, Florida.
+
+You have to understand, of course, that we did conduct extensive
+investigation to obtain all the facts we could before we presented them to
+the United States Attorney.
+
+There were other telephone numbers referred to us by Mr. Beller where we
+subsequently obtained affidavits in support of a search warrant and
+subsequent search warrant were executed and we had what is known as a ``dry
+hole.'' The device was not there.
+
+As we progressed with these investigations we became more sophisticated. We
+learn with each one.
+
+Mr. Feldman: If we could concentrate on the successful investigations, I
+believe that information came to you as to the FBI from a number of different
+sources, indicating that various defendants we using electronic toll fraud
+devices. I wonder if I you can state the different ways in which this
+information came to your attention.
+
+Mr. Simon: There were three different ways. Mr. Beller would furnish us with
+a computer tape printout, and after the issuance of a federal grand jury
+subpoena directed to Mr. Beller or his designee, he would furnish us with the
+name and address of the individual.
+
+We would then conduct a physical surveillance to determine if that person
+actually existed. It is always possible to have aliases. We did run into a
+number of instances where an individual who was subscribing to the telephone
+company service was not, in fact, the name that was on that card.
+
+So once we established this, and after obtaining a search warrant, we would
+notify Mr. Beller.
+
+Mr Beller, in turn, would notify one of the technicians who would tell us
+that were was, in fact, a device being utilized on that telephone.
+
+Mr. Simon: The second thing we had was confidential sources of information.
+[these were FBI informants who would provide information that electronic toll
+fraud was occurring just the same as they'd advise of a gambling offense].
+And Mr. Moore was first brought to our attention by a confidential source who
+furnished the information to an agent of the FBI, Mr. J. Lawrence Sullivan.
+Mr. Moore did not have any of these devices even though he was selling them
+in Las Vegas. We were able to pick up Michael Raymond Tullis who was
+subsequently tried and convicted for fraud by wire based on the confidential
+source information.
+
+Mr. Feldman: So you have computer printout information and informant
+information. Was there any other?
+
+Mr. Simon: Yes. On Frank Joseph Masterana -- he had been the subject of a
+number of legal Title III wire interceptions by not only the Law Vegas
+Division, but other Divisions of the FBI. He was at one time in Macon,
+Georgia, for sentencing on one of the gambling cases, at which time
+confidential source information was received that he was using in Macon,
+Georgia, at that time, a blue box to call Las Vegas.
+
+So bearing in mind and having additional information, two of our Las Vegas
+FBI agents, in August of '73, observed Masterana in an open pay telephone
+booth making a telephone call with what appeared to be a blue box. But they
+couldn't get close enough because he was quite surveillance conscious.
+
+Based up on that and subsequent investigations, we were able to assume that
+he was using a blue box, but we couldn't put it all together factually.
+
+In conjunction with advice furnished by Strike Force Attorney James Buff, who
+is assigned to the Las Vegas & California, Strike Force Office, we together
+with the telephone company, worked out a program whereby if we were able to
+come up with the various telephones that Masterana was using to make these
+alleged calls, Mr. Duff would give us authority to make an immediate arrest,
+providing the telephone company could verify the fact that Masterana was
+using an electronic device or a blue box.
+
+Mr. Simon: These were pay telephone booths. What was required was to send
+agents out in the field and survey Masterana on a continuous basis to find
+out what telephone exchanges he was using.
+
+After several days' work we were able to determine he was using three or four
+different exchanges. He was very careful. He would use an open pay phone in a
+drug store, for example, that was inside of the drug store, where he could
+view the exterior entrances into the drug store, watching for agents. And
+because of the size of the city of Las Vegas, it didn't take him very long to
+find out who we were. So it was difficult to surveil him.
+
+[Description of methods by phone company to verify use of toll fraud devices
+ommitted]
+
+Mr. Feldman: Mr. Beller, once you had verified to your own satisfaction,
+using the electronic equipment, that, in fact, electronic toll fraud was
+committed on the lines, what did you do?
+
+Mr. Beller: Concurrent with the subpoena from the FBI, we'd typically put on
+the recorder that particular individual's line. At that point in time, Mr.
+Simon would hand carry over a subpoena for any and all information that we
+would have relating to toll fraud. He would ask for the subscriber
+information card which denotes the name of the particular person who has the
+line, any other information that we might have, which would then be the paper
+tape.
+
+Mr Feldman: Agent Simon, I wonder if you could indicate what your next step
+was once you had received the information Mr. Beller has described.
+
+Mr. Simon: Once we received the information, again our investigative process
+was to verify the fact and physically observe the home or apartment to see
+that we had everything correct and based upon that information, I would take
+the information furnished by Mr. Beller on the 800 number, the toll free
+number, and I would call it that day or the next day to verify the fact that
+it was a toll free number to a particular place. In some instances that
+number was no longer actually working, but the person utilizing the blue box
+would get into the toll free telephone line system and use that number to get
+into it.
+
+Then I would take that information and prepare an affidavit in support of a
+search warrant. This affidavit was then brought before the U.S. Magistrate
+who reviewed it, and through the normal process a search warrant was issued.
+
+Then I would return to my office and contact Mr. Beller and tell him we had a
+search warrant at that time.
+
+The next step was that whomever Mr. Beller would designate -- one of their
+electronic experts -- would call me and say they had information that this
+particular time an electronic device was being used on this telephone.
+
+Mr. Feldman: Was that information gathered by continued use of the TTS-176
+(pen register)?
+
+Mr. Beller: Yes.
+
+Mr. Simon: This may have taken two days to prepare. Then there would be
+agents in the field and I'd notify them by radio. They had the search
+warrant, plus inventories in their possession, and they'd go in the house
+with a lawful search warrant and execute it.
+
+Mr. Feldman: And this was the same general procedure used in each of the
+cases?
+
+Mr. Simon: With the exception of the Masterana case. In the Masterana case
+the Central Telephone Company was able to put on the device after we had
+surveyed the phone he had used. If we could tell what exchange Masterana was
+using, the telephone company would put on their TTS-176 and be able within
+ten minutes to tell us whether he was using an electronic device, the
+possession of which was not in violation of the law so he had to be using it.
+And as a result, we arrested Masterana in a telephone booth specifically on
+October 15, 1973, in a public pay telephone booth, at which time he had two
+blue boxes in his possession, the one he was using, together with voluminous
+gambling records, and $18,836.53 was confiscated.
+
+Mr. Feldman: In the other four cases, when you executed the search warrant,
+who did you find in the premises and did you find a blue box in each house?
+
+Mr. Simon: Yes, in each case. In the Judith Dinah Douglas case, two blue
+boxes were found when the search warrant was executed. As a result of this,
+she, Douglas, was tried by stipulation of facts and found guilty. She was
+sentenced to serve five years in custody of the Attorney General of the
+United States on July 2, 1974, provided she'd submit to psychiatric
+examination, and come back within 90 days for resentencing.
+
+Subsequently, her case was appealed to the Ninth Circuit on two separate
+occasions. The Ninth Circuit upheld the conviction. She has not to my
+knowledge begun serving her sentence, nor is she though with her legal
+recourse. Apparently she is going to appeal again.
+
+On the Michael Raymond Tullis case, upon execution of the search warrants
+based upon confidential source information, we did find one device in his
+apartment, and this case when to jury trial.
+
+He subsequently appeared on March 15, 1974, with counsel in Las Vegas and was
+sentenced to five years in the custody of the Attorney General, with the
+first 90 days to be served in custody, and the balance of the sentence was
+suspended and he was placed on probation for the additional period.
+
+In the Frank Victor Scaramuzzo case, with a valid search warrant we recovered
+a blue box and went to trial. He was found guilty on March 28, 1974, by the
+jury. On May 10, 1974, the United States District Judge in Las Vegas
+suspended the sentence and placed him on three years' probation.
+
+At this time, he also ordered that Moore make restitution to the Central
+Telephone Company.
+
+He filed a notice of appeal to the Ninth Circuit and the Ninth Circuit upheld
+the conviction.
+
+The last matter was David Louis Goldberg and H. Jordan Rabstein. In this
+particular matter, in the fall of 1973, we had a court authorized wire
+interception on Mr. Goldberg's residence phones. During that period of time,
+while we were monitoring and recording, we found on a repetitive basis that
+Rabstein would attempt to use the blue box or the electronic device to
+circumvent the telephone toll call recording equipment. It was a
+sophisticated type of blue box, slightly larger than the one Mr. Caming
+presented.
+
+We heard him on numerous occasions make mistakes and because of the slowness
+with which he had to manipulate the call numbers, it apparently would not
+work successfully. Once in a while he'd complete a call and be completely
+elated. Mr. Goldberg, on the other hand, was much more efficient.
+
+Subsequently, Mr. Beller came to us with computer tape printouts, and we went
+through our normal process of obtaining an affidavit in support of a search
+warrant and subsequently a search warrant and executing the same, at which
+time we found the blue box in his residence, next to his night stand, which
+he had access to -- his wife would, too, but he was the one who normally used
+it. Also also we were able to seize three illegal, unregistered firearms that
+he had in the apartment.
+
+Mr. Goldberg, subsequently, together with Mr. Rabstein and with counsel, were
+charged with violation of the Title 18 Sections 1084 and 1343 of the United
+States Code. And they appeared and entered a plea of guilty.
+
+They were subsequently sentenced on August 18, 1974, at which time Goldberg
+was sentenced to one year in custody of the Attorney General of the United
+States for violation of Section 1343, and Goldberg was placed on one year
+probation for violation of Title 18, Section 1084, both sentences to run
+consecutively.
+
+Mr. Feldman: Agent Simon, you have already indicated that Section 1343 does
+not specifically prohibit the possession of blue boxes.
+
+Mr. Simon: To my knowledge, the manufacture or possession.
+
+Mr. Feldman: And in all cases, expect the Masterana case, I assume, you
+arrived there sometime after the call had been concluded?
+
+Mr. Simon: It was circumstantial.
+
+Mr Feldman: That is my point. The evidence on which convictions were
+subsequently obtained was circumstantial.
+
+Mr. Simon: That is right.
+
+Mr. Feldman: I wonder if you can describe the type of circumstantial evidence
+that was used in these cases?
+
+Mr. Simon: We had the computer print out and the TTS-176 tapes -- not only
+that was previously given to us but that day, of the time, the Central
+Telephone Company had the TTS-176 installed on that phone or particular
+phones. That became part of the evidence we presented. Plus the fact that
+these people were the only ones in the apartment when the search warrant was
+executed helped us, of course.
+
+In one instance, in the Scaramuzzo case, he called his attorney in the
+presence of Special Agent John Kinsinger -- and I am going to paraphrase what
+Scaramuzzo said. He said, ``They caught me with one of them things,'' or
+``They caught me with one of them boxes and I was using it.''
+
+What he was saying is he had just set it down when the agents entered the
+room. And he set it down to answer the door and the phone was off the hook.
+We were able to introduce this and it was very strong
+
+Mr Feldman: And that was the basis on which convictions were obtained?
+
+Mr. Simon: That is correct.
+
+Mr. Berolzheimer: I want to make clear that Central Telephone Company,
+although it operates in nine states, has only had experience with this
+problem is Las Vegas. We only have experience in one area. You will notice
+from the material we have submitted to the Commission it all occurred during
+a relatively short period of time in 1973. It deals with one community, Las
+Vegas, which has relatively compact and flat geography with wide streets and
+low buildings.
+
+It also happens to be the center of legalized gambling which also attracts a
+certain amount of illegal gambling and transmission of gambling information.
+
+So we have in Las Vegas a combination of unique circumstances, in including
+its geography, its size, the interest of both the FBI and the prosecuting
+agency; I think also the existence of a grand jury and the ability of the FBI
+to obtain search warrants.
+
+We also had cooperation between the telephone company and the FBI, as has
+been described by the witnesses, with surveillance and radio control, so that
+they could swoop in and get the blue box.
+
+I don't know, because we don't have the experience, but I certainly can
+conceive it would be most difficult to obtain that kind of evidence in a
+major metropolitan area. I just don't think you could coordinate it that
+well. Your ease of movement wouldn't be the same. Your distances would be
+greater; you'd have different kinds of courts.
+
+And I'm not convinced, although we were successful -- that is the United
+States Attorney was successful -- in securing convictions in these six cases,
+without positive identification of the user, I don't know that the evidence
+would be convincing in every court. It had not become a critical issue in the
+cases tried in Las Vegas, but I can conceive of a court taking the position
+that without voice identification of the user a conviction could not be
+obtained.
+
+Mr. Westin: . . . Do you believe these techniques would not be feasible in a
+large metropolitan center or under conditions that vary from the Las Vegas
+one?
+
+Mr. Simon: I think all of the comments were very valid. Because of the fact
+that I spent ten years in Chicago, I can only express an opinion, but I can't
+conceive of this working in an apartment complex, a high rise, third floor
+walk up. I think it would be almost impossible. If the technology was
+available we might be able to proceed, but I do not think we could enter the
+residence within from one to five minutes after the telephone company says
+``The electronic device is being used right know by an unknown party in
+Apartment no. so and so.''
+
+I think it would be almost impossible to have the physical surveillance work
+because of the largeness of the metropolitan area. I think it would be almost
+impossible to surmount. I just don't know how it could be done.
+
+Mr Hodson: . . . does Bell also use the system we have just heard about?
+
+Mr. Caming: First, I might like to say, Mr. Hudson, I am in general agreement
+with everything said by Mr. Simon and the gentlemen from Central Telephone.
+In fact, we agree completely. And we have found in a number of cases where
+we, too, have been fortunate because of proximity and circumstances in the
+thousand or so cases we have been involved in in the last decade, if we could
+catch them using it or in circumstances very close to that, as Mr. Simon so
+ably described in one or two of the cases, then we either would obtain a plea
+of guilty or they would be found guilty.
+
+But we have found in the majority of our cases, and those that are the
+greatest problem to the industry as a whole, that we have not been able to
+have such a happy admixture of factual circumstances. And let me give you
+three cases just as an example of what we have been through.
+
+Problems of identification have been very great. We had one recently that we
+received invaluable help from law enforcement authorities on. And I might
+generally say that over the years, in many areas, not not only electronic
+fraud, the cooperation of the Bureau has been consistently outstanding. And I
+think it is worthy to express what is a personal feeling but a tribute to
+their industry and dedication. As far as one case, it is a case that might be
+denominated -- the Bremson Case -- only because he was one of the original
+architects. Since time is of the essence, I will quickly synopsis it. It
+involved the general cooperation of 14 Bell Telephone companies and two
+General Telephone companies between December 1971 and September 1972.
+
+I will just name the cities that were principal cities: Minneapolis,
+Cleveland, Houston, Dallas, Los Angeles, Santa Monica, Atlanta, Washington,
+DC, Chicago, Detroit, Des Monies, Memphis, St Paul, Miami, New York, Denver,
+Knoxville, New Orleans, Milwaukee -- among others.
+
+We finally resulted in gathering evidence -- as you can see, this was a very
+widespread conspiracy of manufacturers, nationwide distributors, and users
+such as businessmen. The purpose was to not only very substantially
+manufacture and distribute blue boxes, but to use them in an extensive number
+of businesses where you might have offices populated by a large number of
+people, and where it was virtually impossible to maintain surveillance of any
+intimate character.
+
+Also, these people used them at homes scattered throughout a large area.
+
+It finally resulted in 20 arrests, 19 indictments, at least 14 convictions --
+a number of investigations are still going on.
+
+In another case, to show you how cogent the problem is, financier Bernard
+Kornfeld was involved. He apparently had a home with I understand was huge,
+something like 90-odd rooms, in the California area. There was a large number
+of people, both male and female, constantly in and out of there. There were
+indications from various sources of some use by somebody of blue boxes in
+some parts of this rather cavernous place.
+
+Finally, it resulted in apprehension by chance of one of the secretaries
+using the blue box, and she was arrested on January 28 of 1975. The question
+of identification could not have been made except for the very limited voice
+recording.
+
+It ultimately resulted in the seizure of two boxes. And even with all that,
+it took six months more to develop the case, to indict Mr. Kornfled on June
+5, 1975, by a federal grand jury in Los Angeles, some six months later, for
+making 344 calls to Europe over a period of time.
+
+The witnesses at offered a solution to the problem. The following is the
+statute they proposed:
+
+``Fraudulent Communication Devices. ``(a) Whoever willfully ``(1) sends
+through the mail, or sends or carries in interstate or foreign commerce,
+or ``(2) imports or otherwise brings into the United States or any
+territory or possession under its control or jurisdiction, or ``(3) makes,
+assembles or possesses, or ``(4) sells, gives or otherwise transfers to
+another, or ``(5) offers, or places in any newspaper, magazine, handbill
+or other publication any advertisement, to sell, give or otherwise transfer
+to another, or ``(6) purchases or in any other manner obtains, receives or
+conceals, ``any electronic, mechanical or other device, instrument,
+apparatus or equipment or plans, specifications, instructions or other
+information for making, assembling or using any such device, instrument,
+apparatus or other equipment, or publishing any such plans, specifications,
+instructions or other information, ``with intent to use it, or knowing or
+having reason to know that it is intended to be used or that its design
+renders it primarily useful, to obtain any communication service from a
+communication common carrier, ``by rearranging, tampering with, or making
+any unauthorized connection, whether physically, electronically,
+acoustically, inductively, or otherwise to, any telephone instrument,
+equipment or facility of any such communication common carrier, to avoid the
+payment, in whole or in part, of the lawful charge for such communication
+service, or to from any such communication common carrier or from any lawful
+authority the existence or place of origin or termination of any
+communication, ``or by using any communication service knowing or having
+reason to know that such rearrangement, tampering or connection existed at
+the time of use, ``shall be fined not more than $1,000 or imprisoned not
+more than five years or both.
+
+The first amendment aspects of this statute were brought up, but due to a
+lack of time were not addressed in any detail. The whole problem of this type
+of fraud and statutes to deal with it became moot when industry step in and
+plugged the technological holes. In a February 1990 article in SECURITY
+MANAGEMENT in discussing the problem, aptly noted that ``[i]t took a series
+of innovative technological developments by the Bell System to defeat them.''
+
+Today, the attempts to solve the unauthorized access of computers and current
+day telecommunication fraud parallel the blue box situation. They will be
+equally ineffective.
+
+Even a statutory change to reduce the burden on law enforcement agencies
+would have still necessitated an on going investigation, prosecution and
+incarceration program sufficient to deal with many thousands of individuals
+using toll fraud devices. Nonetheless, there still exists today a periodical
+based in blue box technology and mentality. It is called 2600.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
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+
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\ No newline at end of file
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+NO PROTECTION FOR U.S. CITIZENS
+
+ This article is reprinted from Full Disclosure. Copyright (c) 1986
+Capitol Information Association. All rights reserved. Permission is hereby
+granted to reprint this article providing this message is included in its
+entirety. Full Disclosure, Box 8275-CI3, Ann Arbor, Michigan 48107. $15/yr.
+
+ The Minimization Procedure required by the Foreign Intelligence
+Surveillance Act (50 U.S.C. 1801) offers no protection to United States
+Citizens.
+
+ The U.S. government's secret spy court authorized under the Foreign
+Intelligence Surveillance Act is used by intelligence agencies (CIA, FBI,
+NSA, etc) to obtain authorization to electronically spy on foreign powers and
+their agents within the United States.
+
+ The Act requires a minimization procedure to be followed with respect to
+information obtained on U.S. persons in the course of the surveillance. When
+a law enforcement agency seeks to electronically surveil a suspected criminal
+they are required to demonstrate probable cause that a crime has been or will
+be committed in order to obtain a search warrant. However, for an
+intelligence agency to obtain a warrant from the United States Foreign
+Intelligence Court (USFISC), they only need to demonstrate probable cause
+that the target is a foreign power or an agent of a foreign power. That is
+to obtain a warrant in a normal Federal or State Court, there must be
+evidence of a crime, but to obtain a warrant in the USFISC there merely needs
+to be an indication that the target might be associated with a certain class
+of people.
+
+ To "protect" U.S. persons a minimization procedure is employed with
+respect to the disclosure of information obtained during the surveillance of
+foreign powers and their agents. Full Disclosure has obtained a copy of a
+FBI warrant application filed with the USFISC which details the actual
+minimization procedure. According to the application's Exhibit A which
+details the procedure:
+
+ These procedures apply to the acquisition,
+ retention, and dissemination of nonpublicly
+ available communications and other information
+ concerning unconsenting United States persons
+ that is collected in the course of electronic
+ surveillance directed at the telephone
+ communications of this agent of a foreign power
+ and oral communications of this agent of a
+ foreign power...
+
+ When the FBI begins the surveillance, they will verify that the telephone
+communications lines being intercepted at the residence and business are in
+fact the telephone lines of the agent of the foreign power.
+
+ The FBI agents who monitor the communications are responsible for
+determining if the information "intercepted must be minimized". Further, the
+communications of United States persons (this includes discussions of U.S.
+persons by foreign powers) will be subject to "continuing analysis to
+establish categories of communications that are not pertinent to the
+authorized purpose of the surveillance". The categories are to be
+established after a reasonable period of monitoring the communications of the
+foreign power. No information was provided which would indicate that
+information categorized as not pertinent would be stored, processed or
+disseminated any differently than pertinent information.
+
+ Access to information obtained regarding United States persons is to be
+under strict controls. Use of the information is restricted to FBI
+supervisory, investigative, and clerical personnel who have a need to know
+the information for "foreign intelligence or law enforcement" purposes. Any
+information which contains evidence of a criminal offense is retained until a
+decision is rendered by prosecutive officials, and if the United States
+person is prosecuted the information will be retained until the end of the
+prosecution.
+
+ To further "protect" United States persons information regarding them
+won't be disseminated without their consent, unless the information is
+"evidence of a crime which has been, is being, or is about to be committed".
+Such information can be disseminated to "Federal, state, local, or foreign
+officials or agencies with law enforcement responsibility for the crime".
+Information regarding U.S. persons which is not evidence of a crime, but
+which reasonably appears to be foreign intelligence information can be
+disseminated in a "manner which identifies United States persons only for
+authorized foreign intelligence, foreign counterintelligence,
+countersabotage, and international terrorism, or law enforcement purposes".
+
+ So far, there is little minimization (or protection) of information
+regarding United States persons which was obtained in a manner inconsistant
+with the Fourth Amendment warrant requirements. The last sentence of the
+Exhibit appears to set forth the only protection afforded the United States
+person:
+
+
+ Any information acquired from electronic
+ surveillance of the target of a foreign power
+ which is disseminated for law enforcement
+ purposes shall be accompanied by a statement
+ that such information or any information
+ derived therefrom, may only be used in a
+ criminal proceeding with the advance
+ authorization of the Attorney General.
+
+ Prior to the passage of the Foreign Intelligence Surveillance Act, George
+Hasen, Chairman of the Committee on Civil Rights wrote a letter to Senator
+Inouye outlining this very problem. The text of his letter follows:
+
+ Dear Senator Inouye: We understand that your Committee has received from
+the Committee on Federal Legislation of the Association of the Bar of the
+City of New York its critique of the provisions of the proposed Foreign
+Intelligence Surveillance Act of 1977 (S. 1506). Our Committee on Civil
+Rights associates itself, generally, with that critique, but we disagree with
+it in one important respect.
+
+ Both the Committee on Federal Legislation and the Committee on Civil
+Rights are concerned because the standards imposed by S. 1566 for obtaining a
+warrant to engage in electronic surveillance do not, in some instances,
+require a probable cause showing of criminal conduct. It is the considered
+judgment of the Committee on Civil Rights that a CRIMINAL STANDARD IS
+ESSENTIAL to the bill and, unlike the Committee on Federal Legislation, we
+believe that unless S. 1566 is amended to provide such a standard, it should
+not be enacted.
+
+ We think that is important to remember why this legislation is needed.
+Clearly it is not needed to empower government agencies to carry on
+electronic surveillance. Rather, the need is for legislation which will
+limit and control electronic surveillance and the consequent government
+intrusion into the private lives of American Citizens. The findings of
+Congressional committees which over the last several years have investigated
+intelligence agency abuses HAVE MADE THIS ABUNDANTLY CLEAR. Based on such
+findings, the Church Committee specifically concluded that no American should
+"be targeted for electronic surveillance except upon a judicial finding of
+probable criminal activity" and, further, that targeting "an American for
+electronic surveillance in the absence of probable cause to believe he might
+commit a crime, is unwise and unnecessary." (Intelligence Activities and the
+Rights of Americans, Final Report of the Select Committee to Study
+Governmental Operations with Respect to Intelligence Activities, U.S. Senate,
+94th Cong., 2nd Sess. (1976), at 325.)
+
+ Further the Supreme Court has warned of the danger to First Amendment
+rights inherent in national security surveillances:
+
+ "National security cases . . . often reflect a convergence of First and
+Fourth Amendment values not present in cases of `ordinary' crime. Though the
+investigative duty of the executive may be stronger in such cases, so also is
+there greater jeopardy to constitutionally protected speech. `Historically
+the struggle for freedom of speech and press in England was bound up with the
+issue of the scope of the search and seizure power,' Marcus v. Search
+Warrant, 367 U.S. 717, 724 (1961). History abundantly documents the tendency
+of Government -- however benevolent and benign its motives -- to view with
+suspicion those who most fervently dispute it policies. Fourth Amendment
+protections become the more necessary when the targets of official
+surveillance may be those suspected of unorthodoxy in their political
+beliefs. The danger to political dissent is acute where the Government
+attempts to act under so vague a concept as the power to protect `domestic
+security.' Given the difficulty of defining the domestic security interest,
+the danger of abuse in acting to protect that interest becomes apparent.'
+United States v. United States District Court, 407 U.S. 297, 313 (1971).
+
+ Notwithstanding these warnings, S. 1566 would permit the electronic
+surveillance of United States citizens and other persons for 90 days or more
+without any showing that they are engaged in, or likely to be engaged in,
+criminal activity. Section 2521(b)(2)(B)(iv)/1 would go even further and
+would permit the electronic surveillance of individuals who "knowingly" aid
+and abet persons whose conduct may be entirely lawful.
+
+ Surely, the burden of justifying such a departure from basic Fourth
+Amendment principles -- if indeed it can be justified -- ought to be on the
+proponents of such provisions. And, surely, they ought to be able to specify
+precisely those lawful activities of American citizens which are so vital to
+the safety of the nation that the Government must be permitted to
+surreptitiously gather information about them and, worse, to do so by such an
+intrusive method as electronic surveillance. In our opinion, however, two
+Attorneys General have been unable to sustain that burden, and the few
+examples are simply unconvincing. In our view, the necessity of a
+non-criminal standard has not been demonstrated, and it should, therefore, be
+rejected.
+
+ There is another and perhaps even more important reason why such a
+standard should not be accepted. If, in this first legislative attempt to
+control searches in national security matters, Congress authorizes the most
+intrusive and least precise of techniques -- electronic surveillance -- where
+no crime is involved, what justification will there be for barring in similar
+situations more specific methods such as surreptitious entry and mail
+openings? And if a non-criminal standard is necessary to protect the
+national security where the connection with a foreign power can be as tenuous
+as that provided in S. 1566, what arguments can be made against a similar
+standard in domestic situations where the perceived danger to national
+security may be just as great?
+
+ S. 1566 represents in some respects an advance over earlier proposals,
+but in out view, IF A NON-CRIMINAL STANDARD IS RETAINED, ENACTMENT OF THIS
+LEGISLATION WILL LEGITIMIZE THE VERY CONDUCT IT OUGHT TO PROHIBIT AND WILL
+CONSTITUTE A SERIOUS BLOW TO CIVIL LIBERTIES.
+
+ If permitted by your procedures, it would be appreciated if this letter
+were made a part of the record of the hearings of your Committee on this
+bill. [emphassis added]
+
+/1 This section was passed into law.
+part of the record of the hearings of your Committee on this
+bill. [
\ No newline at end of file
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+The Great American Dog Trial Vendetta!
+
+By P. Remington Adams
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+Several years ago, one Clayton Longacre was present at the scene of a heinous
+crime that was to result in a notorious jury trial known to the bureaucrats
+in the 9-1 District Courthouse in Kalamazoo County, Michigan, as the ``Dog
+Trial Vendetta''.
+
+Now, this might require a bit of explanation for the uninitiated. You see,
+any time someone is charged with a violation of animal control ordinances our
+public servants call it a ``dog trial''; when someone pleads ``not guilty''
+and asks for a jury trial it becomes a ``vendetta''. I concur that vendetta
+is the appropriate term; however, I assert that it is the judicial work group
+(clerks, officers, prosecutor, and judge) and not the defendant which turns
+the process into a vendetta.
+
+The judicial work group is less interested in the innocence or guilt of the
+defendant than it is in seeing that the case is disposed of quickly and
+efficiently. To expedite this, the defendant is expected to take the citation
+``to the teller window downstairs'' and pay the fine without question. That
+is the quickest and most profitable way to dispose of these cases.
+
+The Honorable Judge ``Jessie'' James Presiding:
+
+The dog vendetta came to trial in the spring of 1989 with Judge Donald James,
+one of the great mediocrities of our time, presiding. I have often had
+occasion to wonder whether Judge James is related to the infamous Jessie
+James. Judge James sometimes engages in unarmed robbery, attempting to steal
+justice away from those who choose not to hire an attorney and proceed
+instead as pro se litigants.
+
+There is a bureaucratic mentality that pervades the 9-1 Courthouse, hovering
+in the air like the stench around a slaughter house. This mentality is
+characterized by a lack of social conscience, which results in an emphasis on
+cost efficiency and expedience, rather than on justice.
+
+The criminal justice system in Kalamazoo has acquired an assembly line
+mentality with respect to civil infractions and misdemeanors. On this
+assembly line, the attitude is that only a trouble maker would have the
+audacity to plead ``Not Guilty''; only a radical, embarking on a personal
+vendetta, would request a jury trial. These people are obviously attempting
+to harass the court and deprive it of cost efficiency. Anyone who won't plea
+bargain is considered an unreasonable person or a lunatic.
+
+What Is A Reasonable Person?
+
+According to this demented sense of justice, which I refer to as ``slaughter
+house logic'', a reasonable person is expected to simply pay the fine or plea
+bargain. Rational, reasonable Americans are not supposed to be concerned with
+liberty, justice, the constitutionality of laws, innocence and guilt, nor
+even the preservation of their own good names. A reasonable person is
+expected to assess the situation in the short term and follow the course of
+least immediate expense. The fines are low enough that it would be more
+expensive to hire an attorney.
+
+
+Unreasonable people are herded into the courtroom like sheep, along with
+dozens of other people awaiting arraignments and court hearings. Typically
+the court has a session in the morning and another in the afternoon. As many
+as a hundred cases may be scheduled collectively by means of group
+appointments. (For example, sixty people may all be given 9 a.m.
+appointments). Consequently people may sit for hours, all day or longer, in
+order to eventually stand in front of a judge for five minutes or so.
+
+Obviously, if you consider your time to be worth even the minimum wage, it is
+cheaper to pay the fine or plea bargain than it is to submit to hearings,
+more hearing, legal fees and the whole trial process. The system is designed
+to encourage guilty pleas in exchange for allowing the defendant to get on
+with the more important things in their lives in the shortest time possible.
+Justice Or Cost Efficiency: Which is The Reasonable Expectation
+
+According to ``slaughter house logic'', people who place value on innocence,
+liberty, legal justice, and the constitution, people who are opposed to the
+inhumanity and injustice of assembly line justice, are considered
+unreasonable, irrational people. These priorities suggest to the proponents
+of assembly line justice a possible emotional or mental imbalance, because it
+is more efficient, expedient, and cost effective for everyone concerned, if
+the defendant presents a quick and inexpensive guilty plea. The court makes
+its money, the lawyers make their money, and the defendant saves a great deal
+in time, grief, and legal fees.
+
+Trouble makers, radicals, and other irrational people who insist that the
+system render justice and protect civil liberties are seen as harassing the
+court by wasting time and money that could better be used to rapidly and
+profitably process the cases of more reasonable people. Since the radicals
+don't hire attorneys they are also seen as harassing the bar association and
+stealing food from the mouths of attorney's little children.
+
+If not for the basic apathy of the average U.S. citizen, this system could
+not exist. A few hours spent in a court room will demonstrate that the
+innocent frequently plead guilty because it's easier. None-the-less,
+prosecutors are often frustrated by the naive inability of these people to
+lie properly about their guilt for the court record. In order to obtain an
+acceptable admission of guilt for the court record, the innocent often have
+to be taken out of court and coached by a prosecutor or their attorney in
+order to commit perjury properly.
+
+The District Judge's Interest In The Matter
+
+Judge James mentioned during the proceedings that it costs at least $500 per
+day to operate the court. Judges must maintain an awareness of cost. If their
+court isn't cost effective the state may decide that the inefficient judge is
+not earning his or her $90,000 per year salary. In addition, in Michigan, a
+small percentage of the each fine levied goes into the judicial pension fund.
+The more expediently the cases are handled, the more money is sent to the
+fund.
+
+Origins of the Dog Trial Vendetta
+
+May 1987. County law enforcement officials have been keeping a house located
+on Glendale Street in Kalamazoo under observation for days. What heinous
+crime against the state is in progress there? What infraction of enormous
+social consequence has come to the attention of the county?
+
+Two female springer spaniels are alleged to be harbored in that house. These
+scalawags are without current (1987) Kalamazoo County dog licenses!
+
+
+The dynamic growth industry that is Kalamazoo law enforcement is about to
+launch a fervent attempt to bring justice to the vicious criminal who is
+harboring the spaniels. He is clearly a major threat to the public welfare
+and to the criminal justice process itself!
+
+This man not only harbors illegal dogs but, a matter of much greater
+importance, he will have the audacity to go on record in district court to
+plead ``Not Guilty''; he will have the temerity to refuse to plea bargain;
+and he will have the gall to demand an inexpedient and costly jury trial!
+This trouble maker is clearly intent on engaging in a full blown personal
+vendetta.
+
+The Real Culprit was not Apprehended and is Still at Large
+
+What the County Animal Control Officers didn't know was that I was living at
+the house at Glendale Street. Clayton owned the house, and several other
+properties as well. He did stay at the house occasionally, but he was in the
+process of relocating to Washington to attend law school near his fiancee.
+
+I was house sitting for Clayton and running a tree service, using his house
+as an office. Since he was moving, Clayton had to find homes for Snoopy and
+Sammy, his AKC registered springer spaniels. I paid $100 for the dogs in
+April, but the dogs hadn't gotten their state required licenses yet. I had
+frequently asked Snoopy and Sammy to get their licenses, but they just never
+got around to it.
+
+I had noticed the PRK animal control officers sneaking around the house
+earlier in the week (May 13, 1987) so I took the dogs to the company garage,
+which is in a quarry out in the country. I was also careful not to park in
+the driveway or in front of the house where my car would be associated with
+the occupants of the house and I could be traced by my plate numbers.
+
+I should have gotten the ticket, but I am too intelligent to answer the door
+when the brown shirted, fascist, animal control officers come visiting. The
+code says that, even if your dogs have gotten their licenses, if you don't
+have them ready to show to the animal control officer at the time you are
+asked to, you can still be ticketed for ``failure to show.'' Now, my mother
+didn't raise a fool. My dogs had not yet gotten their licenses. I was,
+consequently, not going to answer my door to talk to the dog gestapo. As far
+as I'm concerned, the ``animal control officers'' are public welfare bums
+with badges--social parasites on the dole--whose sole purposes are to raise
+revenue and to bother citizens.
+
+I don't approve of preventive law. I think it would be better to require dog
+owners to have tags and shots for their dogs. If a dog actually bites
+someone, is running loose, or damages property, and if the dog doesn't have
+tags and/or shots, then it becomes appropriate to pick up the dog and cite
+the owner for a real crime with a real victim and real injury or damage.
+Unfortunately, this kind of rational law would raise fewer revenues and
+provide fewer high paying jobs for the friends, cousins, and political
+lackeys of the bureaucrats and politicians of Kalamazoo county.
+
+The Scene of the Crime
+
+On Saturday, May 16, 1987, Clayton pulled into the driveway at the house on
+Glendale Street and a county animal control officer pulled in behind him,
+blocking his way out. As a highly trained and skilled law enforcement
+observer, the animal control officer concluded that because Clayton was in
+the driveway he must be a resident, and he must, therefore, be the owner of
+the dogs (who were no longer in residence).
+
+Clayton requested that the officer move her truck, explaining that he was
+late for an appointment.
+
+``I'd like to talk to you about the dogs.'' the officer replied.
+
+``What dogs?'' Clayton asked.
+
+``We can do this the easy way or the hard way.'' the officer said.
+
+``Do it any way you like, just move the truck so I can get out of here.''
+Clayton responded.
+
+Acting on instincts honed by years of professional justice experience, the
+officer determined that Clayton was the mastermind behind this heinous plot
+to harbor dogs without a license. It wasn't really necessary to verify that
+there were indeed dogs in the back yard. Nor was it necessary to knock on the
+door, or to talk to the neighbors, to see who actually lived there. Why
+bother to check with the post office or consult the phone book about who was
+living at that address? After all, the crime had been solved by trained
+observation combined with keen deductive reasoning and logic.
+
+The man was obviously guilty. When a highly trained animal control officer
+asked him a question he had refused to talk, and then had asked her to get
+out of his way because she was blocking his driveway. Consequently Clayton
+was traced through his vehicle plates, and received through the mail a
+citation for ``failure to show a license upon request.''
+
+Clayton presented a copy of the bill of sale to the prosecutor to prove that
+he had sold the dogs. The prosecutor assured Clayton that the charges would
+be dropped and that it would be unnecessary for him to attend the pre-trial
+conference. As it happened the charges were not dropped that day. The
+prosecutor misplaced the bill of sale. A bench warrant was issued against
+Clayton Longacre for ``failure to appear.''
+
+In February, 1989, Clayton returned to Michigan to clear up some personal
+matters and to finish his senior thesis for Kalamazoo College. While he was
+here, he was set up to attend an informal, late afternoon meeting with the
+township police regarding a zoning dispute. When he appeared for the meeting,
+Clayton was arrested on the bench warrant for failure to appear. The
+arresting officer requested a $200 cash bond, and Clayton's ability to obtain
+bail was hampered by the arrival of the end of the work day. Fortunately,
+Clayton was able to reach, at home, a sympathetic judge who ordered his
+release on personal recognizance after only 30 minutes in jail.
+
+Prosecutorial and Judicial Indiscretions
+
+The case had been assigned to a new prosecutor. Clayton refused to plea
+bargain, complaining that the prosecutor's office had lost the sales receipt
+and other exculpatory evidence. Judge James, who was once allegedly voted the
+worst judge in Kalamazoo County by the Kalamazoo Trial Lawyers Association,
+showed no interest in the lost evidence.
+
+Clayton, who was unemployed, filed a motion for court appointed counsel.
+Judge James stated that he doubted that the state would seek incarceration
+upon conviction, and on that grounds he denied Clayton counsel.(1)
+
+Clayton also requested that the court advise him of his rights and assist him
+in defending himself (called a ``motion for rights sua sponte''). Judge James
+also denied this request. Judge James makes a practice of denying counsel and
+then holding the defendant to the standards of an attorney.
+
+The inexperienced new prosecutor took a dislike to Clayton and refused to
+dismiss the case. Had a more fair minded judge, such as Judge Long, been on
+the bench the prosecutor would have had no alternative, but Judge James
+dislikes pro se litigants--so Clayton Longacre was going to trial.
+
+The Infamous Dog Trial Begins
+
+In April 1989 the ``dog trial'' of Clayton Longacre began with the
+questioning of the jurors (voire dire). Two or three of the jurors were
+removed for prejudice when Clayton asked:
+
+``I wouldn't be here today if I hadn't done something wrong, would I?'' Most
+of the jurors agreed initially. A few adamantly and tenaciously maintained
+that opinion after being coached by Judge James. The Judge informed them that
+their point of view was prejudicial and incorrect, and explained to them the
+concept of innocent until proven guilty. He then asked them again, and some
+of these honest folk could not be convinced to lie about their feelings in
+order to stay on the jury.
+
+Another juror was asked whether, given conflicting testimony from an animal
+control officer and a citizen, all other things being equal, he would give
+preference to the officer. He agreed that he would--because his dad was an
+animal control officer. When coached by Judge James and asked the question
+again he maintained his original answer.
+
+Now the ``voire dire'' got down to the heart of the case:
+
+Mr. Prosecutor: ``Would anybody here believe that a police officer is being
+unreasonable if he pulls a driver over and asks to see his license,
+registration, and proof of insurance?''
+
+The jury agreed that this was reasonable.
+
+Mr. Longacre: ``If you were sitting on a park bench in the middle of a park
+and an officer walked up to you and asked to see your drivers license,
+vehicle registration, and proof of insurance, would you consider that
+reasonable?''
+
+The jurors were primarily bewildered by the question--but they would not
+forget it, and it was to set the tone for the ensuing trial.
+
+The Defense Surprises the Prosecutorial Work Group
+
+The prosecutor and his accomplice, Judge Donald James, apparently assumed
+that Clayton was going to argue that the dog laws are unconstitutional or
+unfair. Clayton's defense was, however, much simpler than that. He had a
+three point defense:
+
+1) He didn't live at Glendale Street. 2) He didn't own the dogs at the house
+on Glendale Street. 3) There were no dogs at the house on Glendale street
+on the day of the incident.
+
+Since the crime of which Clayton is accused is ``failure to show a license
+upon request'' it is interesting to note that the prosecution neglected to
+ask the officer whether she had ever actually asked to see a license. She
+hadn't.
+
+Once the prosecutor had rested his case, Clayton moved for a directed verdict
+because of the prosecutor's failure to present a prima facie case. He had no
+evidence or testimony that the officer ever requested to see a license. Judge
+James denied his motion on the grounds that the lack of evidence was a
+question of fact for the jury to decide. (One wonders how a jury is to decide
+facts when none are in evidence.) As the defenses first witness I testified
+that I was living in the house at Glendale in May of 1987 and that I owned
+the two dogs that were there in May of 1987. I was asked whether the two dogs
+that were there on May 16, 1987, were mine. I testified that there were no
+dogs there on May 16, 1987. When I was asked whether I was harboring dogs
+without a license I invoked my right to remain silent under the 5th and 14th
+Amendments to the U.S. Constitution.
+
+Judge James Loses His Composure
+
+``Oh my God! Get the jury out of here!'' exclaimed Judge James. Both the
+prosecutor and the judge were already flustered by how well the defense was
+doing, but this was too much!
+
+``Did you know that this man was going to take the fifth amendment?''
+demanded the judge.
+
+``Not for sure. He told me he might, but I didn't know for sure.'' replied
+the defendant.
+
+``You can't do this! If you were a lawyer, I'd have your license!'' exclaimed
+the judge.
+
+The judge and the prosecutor conferred. They were afraid that the jury might
+be unduly influenced. The prosecutor asked for a contempt citation and
+special instructions to the jury to ignore the statement. The judge declared
+a mistrial and sanctioned the defendant $192 in court costs.
+
+I was upset by the rude and prejudicial manner in which this inept judge was
+pushing Clayton around, so I told Clayton to notify the court that I was
+prepared to waive my right to silence.
+
+Meanwhile, Judge James gave a long diatribe about how my outrageous
+invocation of my constitutional rights, coupled with Claytons objections to
+being denied due process and to the loss of the exculpatory evidence by the
+prosecutor, had irrevocably prejudiced the jury. At the end of the judges
+rantings, Clayton informed the court that I was now willing to waive my right
+to silence.
+
+James turned red in the face, his lips thinned, his voice raised. He didn't
+know what to do. His basis for alleging a mistrial had just been stolen away
+from him. How could the jury be prejudiced if the trial resumed and I
+answered the question? The prosecutor brought up a concern about double
+jeopardy.
+
+After a short break to recover himself, Judge James stated that if either
+Clayton or I said a single word he would throw us both in jail for contempt.
+While Clayton and I were both angered by the constant verbal abuse and
+prejudicial behavior of the court we managed to just smile at him and walk
+out.
+
+The Judge rescheduled a new trial for June, 1989. Then the clerk tried to get
+Clayton to to pay the fine or make arrangements to pay it, to no avail, of
+course. Previously the judge had refused to make the prosecutor provide
+evidence that he had ordered at a motion hearing,because a written order was
+never entered. Clayton threw the judges own words back at him:
+
+``You stated the court lives and dies by its written orders...write it up so
+I can appeal it. You have no lawful authority to assess me court costs.''
+
+After we had calmed down we realized that we had won. James had no authority
+to assess us court costs, and we were fairly certain that the double jeopardy
+clause to the 5th amendment applied to our case. The double jeopardy clause
+provides that no one shall be
+
+``subject for the same offense to be twice put in jeopardy of life or
+limb....''
+
+The Double Jeopardy Clause to the Fifth Amendment of the U.S. Constitution
+
+The trial does not have to be complete for the double jeopardy clause to be
+in effect. In a jury trial the clause may attach from the moment the jury is
+empaneled and sworn.(2) In a bench trial it may attach the moment the first
+witness has been sworn.(3)
+
+When a trial is stopped by a motion of the prosecution or of the court, the
+Perez test(4) is applied to determine whether double jeopardy applies to bar
+further prosecution. If the case is stopped for ``manifest necessity''(for
+instance the death of a juror or the judge) there can be a retrial.
+
+When there is reason to believe that the prosecution or the court is using
+the superior resources of the state to harass the defendant or to achieve a
+tactical advantage, double jeopardy then attaches.(5)
+
+A Case of Prosecutorial Hostility
+
+After declaring a mistrial, the judge suggested that the prosecutor dismiss
+the case via ``nolle prosequi''(that is, as a matter of discretion with no
+explanation). The prosecutor, however, was determined to go for a new trial.
+
+Clayton and I decided to go on the ``war path''. We began sending letters of
+complaint to the attorney grievance committee and to the judicial tenure
+commission. We wrote press releases. We prepared a ``Motion to Disqualify
+Judge James''. We prepared an appeal, which we planned to file as soon as
+James entered his mistrial order. The prosecutor and Judge James capitulated;
+the prosecutor's dismissal was signed and entered the same day that we began
+filing motions.
+
+Victory!
+
+Clayton Longacre had thwarted the state! He had out fought the nefarious
+interests of the collectivist ``new class''(6) and had bested the judicial
+work group. To this day, Judge James has not entered a written order to
+assess Clayton costs and fees for the mistrial.
+
+Clayton is currently looking for a civil rights attorney to file suit for
+abuse of process. Most attorneys aren't interested in these cases because
+the damages are not significant enough to make their efforts profitable. If
+necessary, Clayton will file pro se. Why? Because there is always the
+possibility of a substantial jury award and, in any case, our public servants
+need a reminder. It will cost them a lot of money and may effect their
+insurance rates adversely.
+
+In this situation a pro se litigant simply can't lose. It is very inexpensive
+to file a civil suit. If he wins, Clayton gets compensation and damages. If
+he loses, the animal control people will have incurred large legal fees and a
+great deal of work in answering depositions and interrogatories--thus
+learning an expensive lesson.
+
+Who says you can't beat city hall? Clayton and I do it all the time.
+There is nothing quite like issuing subpoenas to bureaucrats and forcing
+them to answer your questions at a deposition hearing. It's fun sitting
+in a position of superior authority and watching them squirm. Try
+it, you'll like it. It can even be profitable on occasion. Is this
+a great country or what? Enjoy!
+
+FOOTNOTES:
+
+1. Scott v Illinois, 440 US 367 (1979). If the state waives incarceration as
+punishment, an indigent defendant can be denied appointed counsel.
+
+2. Illinois v Somerville, 410 US 458, 35 LEd(2d) 425, 93 SCt 1066 (1973)
+
+3. Serfass v U.S., 420 US 377, 43 LEd(2d) 265, 95 SCt 1055 (1975)
+
+4. U.S. v Perez, 22 US (9Wheat) 579, 6 LEd 165 (1824)
+
+5. Arizona v Washington, 434 US 497, 98 SCt 824, (1978)
+
+6. Sociologists often refer to the managerial administrators, the public
+sector, government employees, etc. as the ``new class''. This is the rapidly
+growing parasitic sector of the work force that is paid high wages out of
+public funds and in return produces nothing of significance or value.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/edit.txt b/textfiles.com/magazines/FULLDISC/edit.txt
new file mode 100644
index 00000000..79485dff
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/edit.txt
@@ -0,0 +1,175 @@
+THERE'S GOTTA BE A BETTER WAY
+
+By Glen Roberts
+ Bill Vajk
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+This issue of Full Disclosure is devoted to the current attempts at solving
+the problems of computer security through prosecution of computer crimes.
+
+It would appear from the recent activities of the federal government that one
+of its major attacks is trying to spread fear throughout the ``hacker''
+community. Such a concept will certainly work in a limited number of cases.
+However, as the reading of any local newspaper will show, numerous crimes are
+committed everyday, criminals are not stopped by the fear of punishment.
+
+The other aspect of the government's fear program appears directed towards
+those who have no criminal involvement, who wish to participate in First
+Amendment activities by high-technology. Some have been subjected to
+punishment without even the allegation of criminal behavior. See related
+article titled ``Dr. Ripco Seizure.'' The result is a fear by some of
+participating in the First Amendment, not a legitimate goal of law
+enforcement or the government.
+
+Reprinted in this issue is a copy a sentencing memorandum filed by the
+Government last year in a computer crime case. It portrays the defendants as
+particularly ``powerful by'' means of the information they stole. Missing is
+the fact that the lax nature of computer security is what actually gave the
+defendants power. If the state of computer security been reasonable secure,
+the information obtained by defendants (whether legally or not) would have
+granted them no extraordinary power.
+
+A primary reason the government seeks incarceration as part of the sentence
+is not because of the criminal nature of the defendants activities, but
+rather to send ``the message that the hackers around the country need to
+hear.'' Unfortunately, the death penalty has failed to stop murder.
+
+The government appears to be more concerned with the free flow of information
+than the fact that criminal acts were committed; ``[f]rom the start,
+information was stolen and, by definition no longer safeguarded.'' Later
+concluding, ``in essence, stolen information equalled power, and by that
+definition, all three defendants were becoming frighteningly powerful.''
+
+The concept that information is the crux of the problem is also highlighted
+by William Cook, Assistant United States Attorney, Chicago, Illinois in an
+article he wrote for the Spring 1990, COMMUNICATOR*1. He noted that
+hackers can ``easily keep up with industry technical developments.'' He also
+perceives that hackers are able to easily use prior information to form
+attack plans on new computers.
+
+As the Soviet Union moves toward a more open society, the United States is
+just as surely closing its windows of communication. The United States has
+always been the technological forefront in the world because of the ease of
+information flow. Researchers, corporations and individuals have always been
+free to group together and exchange information as desired. This has greatly
+increased the ability of the United States to make technological advances
+quickly.
+
+One can easily see the results by looking at the space programs administered
+by NASA. They have resulted in many inventions finding their way quickly into
+our economy, including rapid improvements in our exports. A few of the things
+that have resulted from NASA's openness with U.S. industry have included: new
+applications such as teflon coatings (frying pans and such), inhalation
+therapy for lung ailments, teflon coatings for asbestos fiber made into
+special apparel for rescue in fires, and many more too numerous to mention.
+
+The phenomenon of information exchange is exactly what William Cook describes
+in his article. However, because the ``hackers'' have apparently built or
+made use of a highly efficient communications medium they have been able to
+advance as quick as corporations which have failed to take devote resources
+to advance their informational security. The corporate security departments
+should make use of the same hacker communication techniques to work on their
+problems and see their use of the ``frightening power'' of information lead
+to secure computer systems.
+
+The Communications Fraud Control Association (CFCA) in its published FRAUD
+ALERT of June 21, 1990, is concerned that the government may not be able to
+stop computer crime, if several organizations promising funding for legal
+defense follow through. At risk is the review of several federal and state
+statutes for compliance with constitutional guidelines. To date, even with
+the presence of one such rights organization, the EFF*2, in at least
+two federal cases, such a review has thus far been thwarted.
+
+In short, we see the CFCA's position as allowing only two choices: 1) violate
+the rights of hackers in order to obtain convictions, or 2) the world will be
+runover by a rampage of hacking activities.
+
+Two decades ago, the same problems, but with slightly different technology
+was showing its ugly face. The related article in this issue ``The Death of
+the Blue Box'' overviews the legal difficulties the government had in
+prosecuting those stealing telecommunications services.
+
+Ultimately, the law enforcement efforts to stop blue boxers were by all
+practical means of measurement a complete failure. Only a handful of
+thousands of offenses were prosecuted. Those prosecutions proved to have no
+deterrent effect on others. Just as we will see that the few recent computer
+hacker prosecutions will do nothing to stem the flow of current day hacking
+and telecommunications fraud.
+
+Prosecution of crimes throught to be victimless does little more than to
+strengthen the resolve to not get caught in a very evoluntionary way. The
+solution today is the same as it was in the blue box solution. An upgrading
+of the technology will prevent the simplistic attacks that are so common. The
+first step towards a technological upgrade requires an increase in the
+communication between those experiencing compromise of their data.
+
+The CFCA's COMMUNICATOR claims in the February 1990 issue of Security
+Management to be the only regular journal on telecommunications crime.
+Apparently overlooking, CUD, 2600 and the non defunct Phrack. That is a small
+start towards the free flow of information needed by those who are looking
+for security solutions for their companies.
+
+*1 Communications Fraud Control Association (CFCA), 7921 Jones Branch Dr,
+#300, McLean, Virginia 22102, Phone: (703) 848-9768, Fax: (703) 356-3701. The
+association also operates a Consumer Hotline for anyone experiencing phone
+fraud.
+
+*2 EFF, The Electronic Frontier Foundation, 155 Second St, Cambridge, MA
+02141, Phone: (617) 864-0665, Fax: (617) 864-0866.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/freq.txt b/textfiles.com/magazines/FULLDISC/freq.txt
new file mode 100644
index 00000000..366b9786
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/freq.txt
@@ -0,0 +1,220 @@
+Surveillance Frequency Selection
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+This article will over techniques of selecting frequency for surveillance
+use. This information pertains to lawful surveillance by State and Local
+government agencies. Federal agencies are not bound by FCC regulations. Those
+not intending to use the technical surveillance information in a criminal
+prosecutor might be more apt to hide their operation by using a more obscure
+frequency.
+
+The information herein has been derived from ``A Guide For Establishing
+Electronic Surveillance Operations,'' distributed by Audio Intelligence
+Devices, 1400 NW 62d St, Ft Lauderdale, Florida 33309. Phone: (305) 776-5000,
+Fax: (305) 776-5005 at the NATIA conference.
+
+The starting point is the examination of FCC regulations that relate to
+surveillance radio operation. FCC Regulation 90.19(g)(3):
+
+``A licensee may use, without special approval from the Commission, any
+mobile service frequency between 40 and 952 MHz listed in Subpart B of this
+part of the Rules, for communications in connection with physical
+surveillance, stakeouts, raids and other such activities. Such use shall be
+on a secondary basis to the operations of licensees regularly authorized on
+the assigned frequencies. The maximum output power that may be used for such
+communications is 2 watts. Transmitters operating under this provision of the
+Rules, shall be exempted from the station identification requirements, of
+Section 90.425. Use of Public Safety frequencies not listed in paragraph (d)
+of this section is conditional on the approval of the coordinator
+corresponding to each frequency...''
+
+Three suggestions on selecting a frequency to use within these specifications
+are provided:
+
+1) Contacting the Association of Public Communication Officers (APCO)
+frequency coordinator and reviewing the options for your area,
+
+2) Using a mobile police scanner to search through the VHF band and make a
+list of the used and unused frequencies in your area. Any of the unused ones
+that meet the FCC requirements would be usable, or
+
+3) Deriving a list of unused frequency from a police frequency directory and
+then using a scanner to make sure they are in fact open.
+
+After selection of a frequency or frequencies, a surveillance user has to
+remain aware that it could be assigned to someone in the future requiring
+reselection of a surveillance frequency.
+
+Surveillance transmitters used for tracking purposes (vehicle, person, etc)
+have a different set of requirements to fulfil. In addition to power output
+requirements, there are stricter frequency requirements and the transmitters
+must have a ``positive means'' to limit the transmission time to no more than
+10 days. The use of battery life is an allowable method to control
+transmission time.
+
+Tracking transmitters are required to operate in the following frequency
+ranges:
+
+150.999 - 151.490 MHz
+153.740 - 154.445 MHz
+154.635 - 155.195 MHz
+155.415 - 156.250 MHz
+158.715 - 159.465 MHz
+
+The following public safety radio frequencies have been allocated by the FCC
+for the following services:
+
+Police
+
+154.650 154.665 154.680
+154.695 154.710 154.725
+154.740 154.770 154.785
+154.800 154.815 154.830
+154.845 154.860 154.875
+154.890 154.905 154.920
+154.935 154.950 155.010
+155.070 155.130 155.190
+155.250 155.310 155.370
+155.415 155.430 155.445
+155.460 155.475 155.490
+155.505 155.535 155.550
+155.580 155.595 155.610
+155.625 155.640 155.655
+155.670 155.685 155.700
+155.730 155.790 155.850
+155.910 155.970 156.030
+156.090 156.150 156.210
+158.730 158.790 158.850
+158.910 159.030 159.090
+159.150 159.210
+
+Local Government
+
+153.740 153.755 153.785
+153.800 153.815 153.845
+153.860 153.875 153.905
+153.920 153.935 153.965
+153.980 153.995 154.025
+154.040 154.055 154.085
+154.100 154.115 154.45625
+154.46375 154.47175 154.47875
+154.965 154.980 154.995
+154.025 154.040 154.055
+154.085 155.100 155.115
+155.145 155.715 155.745
+155.760 155.775 155.805
+155.820 155.835 155.865
+155.880 155.895 155.925
+155.940 155.955 155.985
+156.000 156.015 158.745
+158.760 158.775 158.805
+158.820 158.835 158.865
+158.880 158.895 158.925
+158.940 158.955 173.20375
+173.210 173.2375 173.2625
+173.2875 173.3125 173.3375
+173.3625 173.390 173.39625
+
+Fire
+
+153.770 153.830 153.890
+153.950 154.010 154.070
+154.130 154.145 154.160
+154.175 154.190 154.205
+154.220 154.235 154.250
+154.265 154.280 154.295
+154.310 154.325 154.340
+154.355 154.370 154.385
+154.400 154.415 154.430
+154.445 166.250 170.150
+
+Highway Maintenance
+
+150.995 151.010 151.025
+151.040 151.055 151.070
+151.085 151.100 151.115
+151.130 156.045 156.060
+156.075 156.105 156.120
+156.135 156.165 156.180
+156.195 156.225 156.240
+157.050 157.110 158.985
+159.000 159.015 159.045
+159.060 159.075 159.105
+159.120 159.135 153.165
+159.180 159.159
+
+Forest Conservation
+
+151.145 151.160 151.175
+151.190 151.205 151.220
+151.235 151.250 151.265
+151.280 151.295 151.310
+151.325 151.340 151.355
+151.370 151.385 151.400
+151.415 151.430 151.445
+151.460 151.475 151.490
+159.225 159.240 159.255
+159.270 159.285 159.300
+159.315 153.330 153.345
+159.360 159.375 159.390
+159.405 159.420 159.435
+159.465 170.425 170.475
+170.575 171.425 171.475
+171.575 172.225 172.275
+172.375
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/hopp.txt b/textfiles.com/magazines/FULLDISC/hopp.txt
new file mode 100644
index 00000000..5e469c33
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/hopp.txt
@@ -0,0 +1,212 @@
+NEW FBI ATTEMPTS AT SECURE COMMUNICATION
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+The FBI has spent many millions of dollars attempting to obtain secure
+communications by various voice encryption methods, with limited success.
+
+The GAO Report of March 8, 1988, ``FBI Voice Privacy, Cost, Status, and
+Future Direction'' provides much insight into the difficulties the FBI has
+had establishing a secure communications system.
+
+The FBI's original estimate for establishing a digial voice protection system
+was $79.3 million.
+
+The March 8th report indicates that ``[b]ecause the FBI's estimated savings
+cited in the table are very preliminary and are not supported by formal field
+surveys or other documentation, we continue to believe that the $204.4
+million and the latest $205.8 million estimate for the nationwide voice
+privacy program appear to be unrealistic.''
+
+A big part of the major cost overrun was a lack of technological review of
+what they were getting into.
+
+``Our Feburary 1987 report explains that the technological impact of range
+loss on the DVP system was one factor that increased the FBI cost estimates
+from $79.3 million to $204.4 million. In the report, we say that `the FBI
+recognized in its 1979 to 1981 research that the communications range of DVP
+technology was less than the range of the old, unsecure system, but it did
+not consider the impact of this reduction.' The FBI says that this statement
+is `totally in error because we did recognize range loss and did consider its
+impact.
+
+``In a follow-up discussion, a key FBI official who is knowledgable about the
+voice privacy cost estimate process told us that the FBI did not consider
+range loss in the $79.3 million estimate and emphasized that an engineering
+consultant firm developed the estimate as part of a comparison of analog
+versus digital voice privacy technologies. According to this official, range
+loss was not serious considered until the FBI prepared the $132.4 million
+estimate. The FBI says that its methodology for developing the $132.4 million
+estimate included doubled the number of repeaters to compensate for the DVP
+range loss.
+
+However, a 1984 from the Deputy Assistant Director, Technical Services
+Division, the following range loss problems were described: ``The Motorola
+DVP/DES [Data Encryption Standard] system has a loss in range as a penalty
+for the effectiveness of the digital voice privacy. Experience in the six
+cities has demonstrated that to equal the existing geographic coverage, there
+is an 80%-100% increase in so called fixed station equipment (e.g. repeaters,
+cross band sites, and backbone equipment).''
+
+Much of the FBI's difficults seems to be from a lack of proper management.
+According to the GAO report, ``[d]uring our review, we could not find any
+evidence that a long range plan for the nationwide DVP program had been
+prepared, and FBI officials confirmed that a written plan did not exist. The
+FBI contends that it was not feasable to prepare a formal plan for the DVP
+program, within time and manpower constraints. In follow-up discussions about
+their response to our report, FBI official emphasized that DVP is a threat
+driven system and told us that it was a management decision to go full speed
+ahead rather than plan.
+
+Now, the FBI is trying to solve the problem with frequency hopping radios.
+According to Daniel Miller, Contracting Officer for the FBI, 45 PH-26
+(portable frequency hopping radios) and 20 MH-26 (mobile frequency hopping
+radios) along with numerous accessories, including 2 repeaters were purchased
+on September 24, 1990.
+
+These radios are not FCC approved radio equipment and the FBI has a
+sole-source contract for them with Transcrypt International, Inc., 1440
+Buckingham Dr, Lincoln, NE 68506, Phone: (402) 483-2961, Fax: (402) 435-6780,
+Telex: 466146.
+
+According to Transcrypt's brochure, ``encryption insures that no outside
+party can understand radio transmissions, an encrypted radio signal has a
+very distinctive sound; and with the right equipment, it can be jammed,
+intercepted, or the source located.''
+
+Transcrypt refused to provide Full Disclosure with pricing information and
+that information was not available from the Government by press time. The
+going rate for this type of equipment, however is said to be approximately
+$10,000 per radio. Transcrypt will only sell the radio within the United
+States to law enforcement agencies.
+
+Even though their brochure claims that both the public and private sectors
+outside the United States have the need for this type of secure
+communications (no mention is made that the private sector within the United
+States has such needs), a company spokesman seemed skeptical that the State
+Department would approve the radios for export.
+
+The idea behind frequency hopping radios is that rather than transmitting
+constantly on one frequency, the frequency is changed many times per second
+in a pseudo-random fashion. These radios switch from 12 to 50 times per
+second, between any channels in a programmable window of the 148-174Mhz band.
+The window size is programmable between 100Khz and 1.6Mhz. Therefore, if the
+window size was set to 1.6Mhz and the window was located at 165.000mhz, the
+transmissions would occur only on frequencys between 165.000mhz and
+166.600mhz.
+
+Therefore, with a standard scanner one would not notice the existence of such
+transmission, nor be able to pin point them. Monitoring one of the
+frequencies it used in its hopping sequence would result only in a burst of
+noise 1/12 to 1/50 of a second in duration.
+
+Another brochure from Transcrypt quotes from Communications Africa a claim
+that ``there are very few countries in which the equipment and expertise are
+available to try to break these systems.''
+
+Finally, the FBI has a solution to is desire for secure communications or
+does it? The first glimpse to a line of attack is in the same brochure that
+quotes from Communications Africa. It explains how other (in use) frequencies
+in an urban environment gives the transmissions extra cover. Any kind of
+transmission made in an urban environment gets extra cover from all the other
+surrounding transmissions.
+
+The fact that the transmissions need or gain from having ``cover'' indicates
+that they are not invisible.
+
+Technical sources suggested the following as a method of detecting use of
+frequency hopping radios in the area. Hook a cable ready TV set to an
+appropriate antenna and tune it to the federal band (160-172mhz). Cable
+channels G, H and I. Each channel will display a 5mhz spectrum of the federal
+band. The complete frequency range of the radio would be cable channels A
+through I and 7.
+
+The sources indicated that operation of a frequency hopping radio in the area
+will show a distinct pattern on the screen. To test this theory, Full
+Disclosure hooked up a low power programable RF oscillator to switch
+frequencies 15 times per second in the 160mhz range and powering the unit on
+showed a distinct change (unique unsynchronized horizontal lines) in the
+display on a TV set tuned to that frequency.
+
+Because of the narrow window the units use, after locating the frequency of
+the window, jamming the unit could be accomplished with a wide bandwidth
+transmitter. (1.6mhz isn't real wide, compared to a 5mhz video transmitter).
+If a little used portion of the VHF band was selected for operation by the
+frequency hopping radios, jamming could be accomplished with little
+interference to other transmissions.
+
+There is some dispute over the effectiveness of using a spectrum analyzer to
+spot the use of frequency hopping radios. One technical source aptly pointed
+out ``why worry about whether a spectrum analyzer works when a $100 TV set
+does?''
+
+As with any new surveillance technology, there is a gap between its
+introduction and the availablity of countermeasures. Unlike spread spectrum
+radios that switch frequencies over the entire RF spectrum, frequency hopping
+radios operate in a very small window making detection, jamming, and
+direction finding a much simpler task.
+
+The following are selected specifications for the PH-26 and MH-26 radios.
+Figures in ()'s are for the MH-26 when different.
+
+Frequency Programming Range: 148-174MHz. Frequency stability: .0005%.
+Frequency spacing: 5, 6.25, 12.5, 15, 25 or 30KHz. Transmitter: Power Output:
+1 or 5 watts (30 watts). Modulation: FM. Receiver: Sensitivity 12 db. Sinad:
+.25uv. Selectivity @30Khz: 70 db. Audio Output: 500mw (5 watts). Frequency
+Agil Mode: Number of channels: 4096. Frequency series: Pseudorandom (PR).
+Dwell time: 20 to 100 milliseconds. Synchronization: Continuous digital.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/nag.txt b/textfiles.com/magazines/FULLDISC/nag.txt
new file mode 100644
index 00000000..3a151493
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/nag.txt
@@ -0,0 +1,181 @@
+The War On Privacy Hits You In The Pocket Book!
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+Why does the FBI and other select government agencies pay over $4,000 for a
+pocket tape recorder? One of the most important elements in an electronic
+surveillance operation is the tape recorder. Whether hidden in one's pocket
+or recording information from a wiretap or bug, the tape recorder can be the
+key to success or failure.
+
+The FBI had a need for a specialized recorder, so they contracted with the
+U.S. subsidiary of a Swiss company, Nagra Magnetics, Inc. to design a
+recorder that met their needs. The result being the Nagra JBR subminiature
+recorder and PS-1 playback system.
+
+When asked whether the unit was named after Jim B. Reames, an FBI employee
+who helped design the recorder, a Nagra spokeswomen refused to say, but
+pointed out that the initials were in fact the same.
+
+The design and manufacture of the recorder has been so secret and important
+to the FBI (and two other unnamed government agencies who are supposedly the
+sole users of the recorder) that any public availability of information on
+the recorder would ``make the machine extinct,'' according to an employee of
+Narga who refused to provide any details on the recorder in a telephone
+interview.
+
+It is also interesting to note that in the literature obtained by Full
+Disclosure from the NATIA show, several of the companies made mention of
+Narga tape recorders, but not the JBR model.
+
+A freelance reporter who contacted Nagra in August, 1990, was informed that
+someone from the Justice Department had just visited to express the
+government's desire to keep the public ignorant about the JBR recorder.
+
+Full Disclosure contacted Nagra on September 24, 1990 and was informed that
+they received a letter from the Government ``last week'' informing them that
+they couldn't give out any information on the JBR recorder. Nagra refused to
+disclose what agency sent the letter.
+
+The company spokeswomen, also stated that they are not allowed to advertise
+the unit anywhere, and if they did they would ``lose all government
+contracts.'' She further stated that they wanted to advertise it in
+Law and Order and could not.
+
+Marketing is done by word of mouth and narcotics trade shows, she said. This
+seemed a little contrary to the first spokesman who said that there were only
+three customers for the JBR recorder.
+
+Full Disclosure's investigative reporting team, was able to obtain complete
+specifications on both the recorder and playback unit.
+
+Because of the secrecy around the recorder and its specifications, the unit
+is sole-sourced from Nagra. Inevitability when a product is available from a
+single source, there is no price competition.
+
+The following public disclosure of the JBR specifications should serve two
+purposes:
+
+1) to open a competitive market for this type of recorder, and
+
+2) to give the American public more information on the tools the government
+uses to spy upon. Thereby increasing the public's ability to participate in
+political process as it relates to oversight and domestic use of spy
+technology.
+
+@SUBHEAD = JBR RECORDER
+
+``The recorder is stereophonic, with two totally independent channels. A
+third central track records a reference signal of 5,461 Hz. This signal is
+used later on in the playback system as a reference, in order to correct for
+speed variations.
+
+``The recording speed is 15/16 ips. This speed is stabilized by an optical
+encoder system. In order to save energy and to reduce radiation as much as
+possible, no erasing head is provided. For basically the same reasons, and to
+ensure that the tapes remain genuine, there is also no playback facility
+provided on the recorder.
+
+``Special Kudelski cassettes are used to provide two hours non stop recording
+autonomy. A set of three ``N'' size batteries are used allowing ten hours of
+operation.
+
+``Even though the detectablility is minimal, the bias frequency is of 32KHz
+and has thus the same radiation as a quartz watch. The recorder weight is
+less than 200 grams, includes its cassette and batteries, and is really
+pocket size with cover: 110.2 x 62.6 x 20.8 mm (4.34: x 2.46" x 0.82").
+Miniature microphone and remote controls are available with different length
+cables.
+
+So-called tape recorder detectors normally detect the presence of the ``bias
+oscillator'' in tape recorders. By using a non-standard and one that is also
+commonly used by other common devices makes detection by such a means more
+difficult.
+
+@SUBHEAD = JBR Specifications:
+
+SIZE (L x W x H): 110.2 x 62.6 x 20.8mm, with cover: 4.34" x 2.46" x 0.82"
+
+with cover & plugs: 110.2 x 64.3 x 20.8mm / 4.34" x 2.53" x 0.82"
+
+Weight: Recorder with cover: 143 g, Cassette with 2 hr tape: 22 g, Batteries,
+3 pcs: 29 g, Microphones including 4' cable, 2 pcs: 30 g, Remote control, 3'
+cable:18 g. Total weight: 242 g.
+
+Environment: Operating position: Any, Temperature: 0 C to 40 C (32 F to
+104F). Humidity: 20% to 95% non-condensing.
+
+Power Supply: Supply voltage: 2.7 to 5V DC, nominal 4.5 V. ``Batt OK''
+indicator threshold: 3.4V. Battery standard type: ASA ''N'', ANSI ``L20'',
+IEC ``LR1''. Current consumption - start of tape: 40mA typical, - end of
+tape: 50ma typical.
+
+TAPE: Tape transport: without capstan, constant speed. Tape type: chromium
+dioxide in special JBR cassette. Tape width: 3.81 mm (0.150"). Tape Thickness
+(total): 9u (0.35mil) 120 min. 12u (0.48mil) 90 min. Max recording time: 2
+hours. Audio tracks: 1.20mm x 2. Control tract (center): 0.40 mm. Track
+spacing: 0.50 mm. Nominal tape speed: 2.38 cm/s (15/16ips). Tape speed
+accuracy: better than +/- 2%. Wow and flutter: typ. 2.5% peak-to-peak, NAB (=
+DIN 45507) weighted. Start time: less than 4 seconds
+
+Inputs: 2 microphone inputs. Maximum input level: 60 mV RMS. Audio indicator
+threshold: 30 mV RMS input -3 dB on tape. Input impedance: 80 K. Microphone
+sensitivity: 10 mV/PA (1 Pa=10 ubar). Maximum SPL: 110 dB (0 dB SPL = 20
+uPa). Signal to noise ratio, unexpanded: better than 51 dB ASA A weighted.
+Frequency response: 170 Hz to 4.5 kHz +/- 3dB. Total harmonic distortion:
+less than 3%. Compression ratio: 2:1 in dB. Compressor operating range: 80 dB
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/news.txt b/textfiles.com/magazines/FULLDISC/news.txt
new file mode 100644
index 00000000..116aa7bb
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/news.txt
@@ -0,0 +1,173 @@
+The IRS is here to protect our rights
+Or the IRS finally hears about the Miranda Case.
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+Phoenix businessman David Carroll was acquitted in federal court of two
+felony counts of assault on a federal officer. Judge Charles L. Hardy, United
+States District Court Judge, found Carroll not guilty after hearing the
+testimony from the Government's only witness, Leo Anderson, an IRS revenue
+officer. The case was tried before a jury, but Judge Hardy ruled there was
+insufficient evidence for the case to proceed further and granted the Motion
+for Judgment of Acquittal made in court by Carroll's attorney, Mac MacPherson
+of Phoenix.
+
+Carroll was charged in a two-count indictment in which the Grand Jury alleged
+that, on July 10, 1989, Carroll ``forcibly assaulted and resisted, opposed,
+impeded, intimidated and interfered with'' Anderson, who surprised Carroll at
+his home in effort to collect back taxes IRS claimed Carroll owed. In Count
+Two, the Grand Jury charged that Carroll ``by force and threats of force
+endeavored to intimidate and impede'' Anderson during the performance of
+Anderson's duties.
+
+According to Anderson, rather than write a letter or call Carroll to schedule
+an appointment, he intentionally surprised Carroll at his home early one
+Monday morning. ``Surprise him at the door - that's the way we do it,''
+Anderson testified on cross examination by MacPherson. Anderson explained
+that IRS' new emphasis is that the collection officer be productive on the
+first contact. ``One call does it all,'' is our new motto, Anderson stated
+proudly.
+
+According to Anderson, as he sat in his pickup truck in front of the Carroll
+residence, taking notes about Carroll's assets, the garage door opened and a
+man appeared. Anderson approached Carroll, identified himself and said he
+wanted immediate payment of $12,000. With this, Carroll began to close the
+garage door, bumped into Anderson and continued to push Anderson back several
+feet. Anderson did not leave. He kept asking questions and an argument
+ensued. The two men walked to the sidewalk, Carroll leading the way. Anderson
+testified that at that point Carroll walked toward him 'slowly and
+deliberately' and that Anderson was impeded from getting information from
+Carroll, such as where he banked, where he worked and what assets he had.
+
+By this time, the men were yelling at one another and Anderson claimed that
+he was ``provoked, challenged, impeded'' and that he felt Carroll was trying
+to ``provoke him into hitting him.'' Anderson stated, ``And if I was not
+working, I would have hit him.''
+
+Anderson testified that, rather than fight, he decided to leave the scene. He
+walked to his truck, got in and started it. But before he could close the
+door, Carroll followed him and stood between the door and the truck. (Editors
+note: Most people close the door first, then start their vehicle) Carroll
+was still talking, but Anderson didn't listen. Anderson said, ``Back off,''
+and Carroll immediately moved out of the way. Anderson closed the door and
+drove off.
+
+Mr. Carroll had a different story to tell, which was related to judge and
+jury through MacPherson's opening statement: Anderson clearly violated the
+new Taxpayer Bill of Rights, a law enacted by Congress in November of 1988 as
+a result of abuse from IRS agents such as Anderson.
+
+Under the new federal law, agents are required to give to taxpayers an
+explanation of their rights and make sure the citizen understands their
+rights by way of Publication 1. ``As a taxpayer, you have the right to be
+treated fairly, professionally, promptly and courteously by Internal Revenue
+Service employees. Our goal at the IRS is to protect your rights so that you
+will have the highest confidence in the integrity, efficiency and fairness of
+our tax system. To ensure that you always receive such treatment, you should
+know about the many rights you have at each step of the tax process.''
+Anderson did not give to Carroll Publication 1, nor mention Carroll's rights,
+which include the right to tape record proceedings, the right to have copies
+of IRS documents and the right to enter into an installment payment agreement
+with IRS when the taxpayer cannot afford to pay the tax in full.
+
+Nothing was explained by Anderson. Instead, he kept demanding that he would
+accept full payment of $12,000 and nothing less. Through his tactics of
+surprise, fear and intimidation, Anderson attempted to coerce money from
+Carroll and get into the Carroll home without a court order. ``What will you
+settle for?'' Carroll kept asking. ``Full payment,'' was Anderson's repeated
+response.
+
+But Carroll, a man who has his own retail business and was not about to be
+pushed around, was not phased. He shut the garage door to protect his privacy
+rights and, as he did so, Anderson stepped forward and the two men -
+Anderson, 260 pounds, and Carroll, 220 pounds - merely bumped stomachs.
+
+Repeatedly, Carroll asked to see the documents which showed he owed the tax,
+and repeatedly Anderson refused. When Carroll threatened to eliminate any tax
+debts by filing bankruptcy, Anderson began his yelling tirade witnessed by
+Carroll's son, Callen, age 19, and two neighbors.
+
+But it was not the Taxpayer Bill of Rights that caused Judge Hardy to find
+David Carroll not guilty; it was Anderson's own admissions on cross
+examination by MacPherson.
+
+``You're a pretty big fellow, Mr. Anderson, and when the stomach bumping
+occurred, you weren't in the least bit afraid of Mr. Carroll, were you?'' To
+this, Anderson replied, ``No, I wasn't at all afraid.'' Anderson went on to
+admit that when he and Carroll left the garage for the sidewalk, it was
+Carroll, not Anderson, who led the way, despite Anderson's previous testimony
+that he ``retreated'' to his truck. Given these facts, Judge Hardy ruled that
+there was no assault, nor did Carroll attempt in any way to impede Anderson.
+The jury was thanked and dismissed.
+
+On the two-count indictment, David Carroll faced a maximum penalty of eight
+years in jail and a fine of $100,000.
+
+MacPherson, a certified tax specialist and certified criminal law specialist,
+has tried over 50 criminal tax cases in federal court in twenty-three
+different states and is author of Tax Fraud & Evasion: The War Stories. War
+Stories chronicles many of his winning cases, and MacPherson states that the
+Carroll case will be an added chapter to War Stories, Part II, which
+MacPherson is now writing for release this summer. The theme of War Stories:
+citizens should not be fearful of their own Government (the IRS); they can
+eliminate fear, and its stepchild intimidation, by coming to an understanding
+of how the criminal tax system works. This can best be done by actual case
+histories.
+
+Donald MacPherson can be contacted at 3404 W. Cheryl Drive, Suite A-250,
+Phoenix, AZ 85051.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/ntia.txt b/textfiles.com/magazines/FULLDISC/ntia.txt
new file mode 100644
index 00000000..dd7144f3
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/ntia.txt
@@ -0,0 +1,187 @@
+Suveillance Conference Overview
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+The National Technical Investigators Association (NATIA) held their 5th
+annual conference in San Antonio, Texas, August 26th-31th.
+
+Participation in the conference was 600 attendees up from 500 last year.
+However, there was a conspicuous lack of people from the military
+intelligence community.
+
+As usual with government related electronic surveillance operations,
+techniques, equipment, etc, secrecy prevails. Due to efforts by Full
+Disclosure, the San Antonio area media was informed about the show. They,
+however, were all turned away at the gate. The result being no local press
+coverage occured.
+
+NATIA is an organization of over 2300 supervisory law enforcement officers,
+communications and security managers assigned to support technical
+investigative activities in the major federal, state and local enforcement
+and intelligence agencies.
+
+The NATIA membership is responsible for supplying all of the various
+communications, audio, video, photographic, specialized electronic systems
+and investigative aids used in support of these sensitive bugging,
+wiretapping and intelligence activities.
+
+The annual conference is used by manufactures of spy equipment to introduce
+their new wares and sell more of the old stuff and for members to learn all
+the newest tricks, scams and techniques.
+
+Consequently, NATIA and its membership has a sigificant role in domestic
+spying activities. NATIA's role not only includes the equipment, but
+standards, operations, techniques, tricks, and the like. Such activities are
+purportely regulated and overseen by the public, through Congress, by the
+political process.
+
+Any effective oversight or regulation requires information; information that
+NATIA desires to suppress from the American public. The First Amendment,
+however, assures that the public will be informed. Full Disclosure was able
+to obtain many documents at the show and the essential information content
+will be presented in this and future issues. Articles based upon show
+information will be indiciated as such.
+
+The desire to suppress this information is so great, that due to Full
+Disclosure's publication of the 1989 NATIA conference exhibitors directory,
+there was no directory made for 1990. (The essential information content from
+the show schedule is presented below).
+
+Not only was NATIA furious over the publication of the exhibitors directory,
+but also over the fact that several hundred copies of the issue with the
+directory were distributed on the show floor.
+
+What was the atmosphere of show? At night, some members, partied like
+motorcycle gang members. During the day, however, it was strictly business.
+The following is an overview of the technical and management seminars that
+were held. Contact addresses have been provided by Full Disclosure and were
+not a part of NATIA literature.
+
+``Future Telephone Technology'' by Bruce Becker, Central Telephone. Telephone
+technology is rapidly changing. With new systems, features and technologies
+on the way. This class will discuss what's on the horizon in the telephone
+industry.
+
+``Law Enforcement and FCC Rules and Regulations'' by Arlan Van Doorn, FCC,
+Deputy Chief, Field Operations (202) 632-7200. Find out what the rules are.
+What's new, what's changed, what's the same. Is that video transmitter you're
+using legal? [Ed note: if not, does the exclusionary rule or fruit of a
+poisonous tree doctrine apply?]
+
+``2.4Ghz Video Transmission'' by Michael McDowell, Florida Department of Law
+Enforcement. The FCC has recently allocated State and Local Law Enforcement
+Agencies frequencies for low power video transmission. Learn what equipment
+is available and how to put together a 2.4 Ghz video transmission system with
+off the shelf parts.
+
+``Countermeasures: Technical Surveillance Counter Measures'' By Clyde Widrig,
+Los Angeles, Police Department. What is being found during TSCM sweeps? Learn
+about this, the basics of doing a sweep, and what equipment you will need.
+
+``Telephone Technology Panel'' The panel will discuss the impact on law
+enforcement of new technologies (ISDN, CLASS, Etc.), systems and features,
+coming soon to a telephone near you. Discussion will include the need for
+NATIA to help set standards for intercept equipment.
+
+``Covert Entry Planning'' by Jim Moss, U.S. Customs, 40 S Gay St, #424,
+Baltimore, MD 21202. Covert entry planning offers the agent valuable tips on
+setting up the mechanics, legal, and security aspects of surreptitious
+entries. This class could mean the difference between a successful entry and
+a possible tragedy.
+
+``Digital Recording And Audio Processing'' By Attila Mathie, Adaptive Digital
+Systems. An audio recorder with no moving parts? See it and get the latest
+information on digital recording and audio processing.
+
+``Managing Technical Operations'' by Anthony Bocchiccio, Drug Enforcement
+Administration. Aimed at the management, this class is intended to give you
+the knowledge of what it takes to run a technical section. Instruction will
+include managing resources, personnel, and equipment.
+
+``R-F Spread Spectrum Techniques'' by Stan Causey, DC Metro Police. Spread
+Spectrum transmission is an area of rapid development. With many new systems
+either in the works or already here, this class will bring you up to date.
+
+``Seizing Personal Computers and Data Recovery'' by Ken Scales, IRS, Criminal
+Investigative Division. Everywhere you look today there are PC's (personal
+computers). What do you do when you seize one? Just turning it on may cost
+you some very valuable data. Learn what to do, not to do, and who to contact
+for help.
+
+``Member Equipment and Technique Exchange Forum'' Do you have any new ideas,
+tips, techniques, tricks or equipment? This is the place to bring them. Share
+all of this valuable information with your fellow members in this open forum.
+
+``Video Operations'' By Jack Tuckish, Naval Investigative Service. How to get
+the most from your covert video operations. This class will teach packaging
+techniques, camera placements, tips, tricks, etc.
+
+``Night Vision Critique.'' Instruction will be given in interfacing night
+vision equipment to 35mm and video cameras. Additionally you will learn about
+specifications, uses and limitations of the different types of night vision
+equipment. If available slides taken at the night vision demo will be shown.
+
+``Computer Crimes.'' By Frank Milligan, IRS. People are gaining illegal
+access to computer data bases, bank accounts, etc. Who are these hackers, how
+are they getting in, and what can be done to stop them.
+
+``Asset Seizure And Property Management.'' By Richard Harris, California,
+Department of Justice. Is there more to Asset Seizure than property, weapons
+and cash? This class will offer an overview on asset seizure and focus on
+seizing equipment that can be used to aid law enforcement. Items such as
+computers, communications gear and alarm equipment are being seized and used.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/post22.txt b/textfiles.com/magazines/FULLDISC/post22.txt
new file mode 100644
index 00000000..d7017d0a
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/post22.txt
@@ -0,0 +1,127 @@
+MAIL SURVEILLANCE
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+In Full Disclosure #21 information was provided on ``mail covers'' where
+information on the outside of mail is recorded and provided to law
+enforcement and/or intelligence agencies. That article prompted questions by
+readers about when the post office might actually open mail and examine its
+contents. This article will explore an actual case where mail was opened and
+overview the postal procedure for mail openings in drug related cases.
+
+Full Disclosure was able to obtain copies of documents filed in the federal
+court in Chicago, Illinois on February 2, 1990 that provide the following
+description of the mail opening program:
+
+``The Chicago Division of the U.S. Postal Inspection Service has implemented
+an Express Mail Profile program at the Air Mail Facility (AMF) at Chicago
+O'Hare International Airport This program consists of a physical profile of
+Express Mail parcels which have been mailed to or from locations within the
+Northern District of Illinois. Targets were cities and/or areas of the United
+States which have been identified by law enforcement as being source areas
+for the distribution of narcotics, and/or controlled substances.''
+
+The package in this particular case had a return address in Evanston,
+Illinois, delivery address in Chicago (the same name on both), and a post
+mark in San Francisco. However, another case that was reviewed showed the
+return address and postmark to correspond. The physical appearance in both
+cases were rather generic (according to the descriptions offered in the court
+files)
+
+W. Earnst Hills of the Postal Inspection Service in Chicago said in an
+interview that this program was not ongoing but rather goes into effect
+whenever they get information from other agencies that indicate a suspicious
+package is on the way. For example, if a DEA agent observes a suspected drug
+dealer mail a package, the description of that package would be passed on and
+packages fitting that description would be selected for further review.
+
+Hills' description of the program was that the Postal Inspection service
+would receive a tip from another agency that a suspicious package was on the
+way. They would then be looking for it at the O'Hare Air Mail Facility.
+
+``One of the things we look for is fictitious return addresses'' said Hills.
+He didn't think there was a problem with it taking too much time to do this
+type of checking.
+
+After packages have been selected by their physical description, they are
+subjected to drug sniffing dogs or machines. The dog test consists of several
+similar packages being put in separate nylon sacks and if the dog bites and
+scratches at the nylon sack with the suspect parcel, a search warrant is
+sought.
+
+Hills indicated that the mail is not significantly delayed. Since most mail
+arrives very early in the morning they have plenty of time to examine it
+prior to the necessary delivery time later in the day. He also said that they
+will get a magistrate up in the middle of the night to issue a search warrant.
+
+Upon receipt of the search warrant, the package is opened and inspected for
+contraband. Hills said that normally, the package will then be sealed back up
+and delivered by a postal inspector who will arrest the recipient after they
+accept the package.
+
+What if a warrant is issued and the package does not contain contraband?
+Hills was unsure, stating that as far as he knew they had a ``100% success
+rate'' on finding contraband in parcels opened pursuant to a search warrant.
+However, he offered to find out what the procedure would be if the package
+didn't contain contraband.
+
+Hills findings were that there has been ``no incident like that in Chicago.''
+However, when it has happened in other locations that have put a copy of the
+search warrant in the package and had it delivered normally. Hills cautioned,
+however that it wasn't necessary standard procedure to do that, only that it
+had been done in some cases.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/postal.txt b/textfiles.com/magazines/FULLDISC/postal.txt
new file mode 100644
index 00000000..9a1b6625
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/postal.txt
@@ -0,0 +1,86 @@
+Inside The Postal Mail Cover
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+A mail cover. What is it? How does it work?
+
+A postal mail cover is where a law enforcement agency makes arrangements with
+the Postal Inspectors to obtain a copy of the addressee, sender, return
+address, place & date of postmark and class of mail for all mail being
+delivered to a given address.
+
+No mail is opened in a mail cover program. Therefore, the government doesn't
+consider the Fourth Amendment Constitutional limitations on search and
+seizure to apply.
+
+A big concern, though is the delay of mail. Instructions to the postal
+employees preparing the Form 2009 reports stress that mail cannot be delayed.
+The postmaster is also required to certify that the mail recorded on the Form
+2009 was not delayed.
+
+The post office, is concerned about privacy in mail covers. Privacy about
+what they are doing. The Form 2009s have to be returned to the postal
+inspectors doubled enveloped in opaque envelopes, with the inner envelope
+marked ``limited official use.''
+
+The postal inspectors then forward the forms to the requesting law
+enforcement agency. However, it is pointed out that the forms remain the
+property of the postal inspectors and that it is preferred that the
+information is not used in any court proceedings, ie: the post office wishes
+it to remain private that they are invading the public's privacy with mail
+covers.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/ripco.txt b/textfiles.com/magazines/FULLDISC/ripco.txt
new file mode 100644
index 00000000..c1f775e3
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/ripco.txt
@@ -0,0 +1,241 @@
+DR. RIPCO SEIZURE
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+On May 8, 1990, Agents of the United States Secret Service, along with police
+and telephone company security personnel executed thirty-two search warrants
+across the United States as part of a two year investigation into the
+activities of computer hackers.
+
+Full Disclosure's investigative reporting team was able to obtain the
+application for one of the searches that occurred in Chicago, Illinois
+(actually two identical warrants, one for the business and one for the
+residence address of a computer bulletin board (BBS) system operator).
+
+Copies of a number of other search & seizure warrants were also obtained.
+First we will examine the two kinds of warrants and then look at the
+specifics of the May 8, 1990 warrant executed in Chicago, Illinois.
+
+The application forms for both types of warrants are nearly identical, except
+for a key concept. The identification, government agent, and notary parts are
+the same. The purpose of the application is where the difference comes in.
+
+The search warrant application form reads as follows: ``I am a(n)
+[official title] and have reason to believe that [] on the person of or [] on
+the property or premises know as (name, description and/or location)
+[property address], in the Northern District of Illinois there is now
+concealed a certain person or property, namely (describe the person or
+property to be seized) [descrip<>tion] which is (state one or more bases for
+search and seizure set forth under rule 41(n) of the Federal Rules of
+Criminal Procedure) concerning a violation of Title [ ] United States code,
+Section(s) [ ]. The facts to support a finding of Probable Cause are as
+follows:...'' [Emphasis added]
+
+The seizure warrant application form reads as follows: ``I am a(n)
+[official title] there is now certain property which is subject to
+forfeiture to the United States, namely (describe property to be seized)
+[property description], in the Northern District of Illinois which is (state
+one or more reasons for seizure under the United States Code) concerning a
+violation of Title [ ] United States code, Section(s) [ ]. The facts to
+support a finding of Probable Cause for issuance of a Seizure Warrant are as
+follows:...'' [Emphasis added]
+
+The content of the applications varies in what is being sought, also. For
+example, in one search warrant application seeking a warrant to search a
+computer system in Lockport, Illinois, the applicant stated in part: ``My
+investigation has revealed that on or about October 5, 1989, Richard Andrews
+and Leonard Rose transported a stolen or fraudulently obtained computer
+program worth $77,000.00 from Middle Town, Maryland to Naperville, Illinois
+and then to Lockport, Illinois.'' This affidavit was not part of the May
+8, 1990 series of ``Sundevil'' warrants.
+
+Along with the other information provided in the application lead the
+Magistrate to conclude that there was probable cause that evidence of a crime
+would be found on the computer in Lockport. A search warrant was issued.
+
+The application for a seizure warrant (filed by the Chicago Police Department
+in Federal Court), however, was directed toward a different end: ``Our
+investigation has revealed that Rufus Sims is a major narcotics dealer
+operating primarily on the west side of Chicago. Since February 1989, the
+United States has seized over $1.2 million in assets, including three parcels
+of real estate (including an apartment building), numerous auto-mobiles and
+over $650,000 in currency, that are the proceeds of Rufus Sims' narcotics
+activity. Rufus Sims has not attempted to dispute the forfeiture of any of
+this property or contested the fact that the property is narcotics proceeds.
+. . . Our investigation has revealed that there is a safe deposit box
+registered to Steven Sims at Austin Bank of Chicago, 5645 West Lake Street,
+Chicago, Illinois. Based upon what our previous investigation has revealed
+about the manner in which Rufus Sims conceals his narcotics proceeds, often
+using safe deposit boxes registered in the names of friends and family
+members, and based upon Steven Sims' direct involvement in Rufus Sims'
+organization and his participation in the handling of narcotics proceeds with
+Rufus Sims, I believe that this safe deposit box contains proceeds of
+narcotics transactions and that such contents are subject to forfeiture
+pursuant to 21 U.S.C. 881(a)(6).''
+
+In short, the search warrant is to seek out evidence of a crime and may
+involve the seizure of property for evidential purposes. The seizure warrant
+is for transferring assets from an individual to the government because the
+government is statutory ``owed'' those assets for some reason. In essence the
+seizure warrant imposes a punishment without trial or such legal activities
+as the average citizen equates with due process.
+
+The May 8, 1990 warrant executed in Chicago, Illinois as part of the
+nationwide sweep was not a search warrant. Rather it sought ``property
+which is subject to forfeiture to the United States'' was located at a
+particular location, being the location of a computer bulletin board named
+``Dr. Ripco.''
+
+From the start it was curious that Dr. Ripco was served a seizure warrant
+seeking forfeiture of his computer equipment when the government was
+apparently seeking evidence of the crimes of computer hackers. However, an
+interview with the system operator disclosed that after his equipment was
+carted off on May 8, 1990 he hadn't heard back. No arrest was forthcoming,
+not even an interview.*1
+
+Why was the system seized? The Secret Service employed a confidential
+informant (CI 404-235) who accessed Dr. Ripco over three dozen times in 1989
+and over a dozen in 1990. He is reported to have regularly seen messages
+posted by other users which contained long distance carrier customer
+authorization codes, references to hacking, and to credit cards and credit
+bureaus.
+
+Some of the messages in question were quoted in the warrant application. A
+number of them that provided long distance access codes also had verification
+by the long distance carrier that such codes had or had not been used
+fraudulently. Additionally, CI 404-235 and one of the board users arranged
+(apparently by way of private electronic mail on Dr. Ripco) to exchange
+credit card numbers for long distance access codes. CI 404-235 was given
+special authorization codes by U.S. Sprint to use for this purpose. No
+mention is made as to whether any fraudulent calls were made on that
+authorization code, nor whether the credit card numbers received by CI
+404-235 would pass the cursory verification requested by retailers. Nor are
+there any presented allegations that any attempts were made to utilize the
+credit card numbers.
+
+What did the system operator do? The application fails to allege that the
+system operator was in any was involved in telecommunications fraud, credit
+card fraud, or any other crime. In its definitions of BBS and system
+operators it presents a picture where the job of being a system operator is
+time consuming due to the volume of messages that have to be reviewed.
+
+No statutes are cited defining any obligations or responsibilities of system
+operations to either control the content of messages on their system, nor
+report ``illegal'' messages to any authorities.
+
+It only by implication states that the Dr. Ripco system operator didn't
+fulfill their unsupported claim that a system operator has some obligation to
+control content of messages: ``[s]pecial Agent Lawson's investigation has
+further determined that the access codes posted on the RIPCO BBS are not
+concealed from the system administrator of the bbs and could be seen by the
+system administrator of the bbs during an examination.''
+
+Part of the application's definition of the responsibility of the system
+operator is the ability to read every message on the system, including
+private electronic mail messages. The Electronic Communications Privacy Act
+of 1986 raises legal questions about the right of a system operator to do so,
+contrary to whatever technical abilities might exist. Similar to the
+prohibitions of telephone company personnel taping phone lines.
+
+The application is also silent about what efforts Dr. Ripco's system
+administrator took to delete such messages if and when he discovered them.
+Assuming that he didn't review, or that if he did review them, didn't delete
+any messages, it is not clear that as merely as the provider of an electronic
+communications service he is anymore liable for the content of messages, than
+the telephone companies are liable for the content of conversations their
+equipment carries. There were no allegations in the warrant application that
+the system operated posted any such information.
+
+There are many legal questions regarding the liability of BBS operators with
+respect to message content on their services, legal responsibility to review
+public and/or private messages raised by this case.
+
+The action taken in this case appears to be directed at solving the computer
+crime problem by indirect means. There are no allegations of criminal
+activity by the system operator. Rather than issue a subpoena to the system
+operator (under the Electronic Communications Privacy Act of 1986) for
+applicable records and messages of those users that were involved in criminal
+activity, they took an unique route.
+
+They declared that third party equipment used by numerous members of the
+public, including some who might have engaged in criminal activity (Full
+Disclosure has been unable to find any federal criminal court cases relating
+to the Dr. Ripco users named in the application that were involved in credit
+card/long distance authorization access code trading) to be subject to
+forfeiture to the United States. A court order was then obtained without the
+knowledge or the ability of the owner to contest such proceeding.
+
+The same technique used against other electronic communications providers
+would be considered so outrageous as to not even be attempted; seizing AT&T
+long distance microwave links, for example, because some drug dealers
+arranged a deal in a conversation that was carried by them. However, many see
+BBS systems as a threat to the power structure as they allow any individual
+to reach a broad audience with his opinions. The power to reach a vast
+audience with a political opinion has till now been limited to a select few.
+
+Mixing up the problem of those desiring criminal intent with those simply
+exercising first amendment rights is surely an effective method of smearing
+those with no bad intent. Subjecting those who desire to provide a wide-area
+public communications system to average members of the public to arbitrary
+punishment because a few miscreants act inappropriately is as absurd as
+seizing a long distance network over a drug dealers conversation.
+
+*1 Interestingly, according to Federal Court records in Chicago,
+Rufus Sims (as of January 7th, 1991) had never been charged with any federal
+crime, even though the federal government had been seizing narcotics assets
+since February 1989.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/sells.txt b/textfiles.com/magazines/FULLDISC/sells.txt
new file mode 100644
index 00000000..5310cc88
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/sells.txt
@@ -0,0 +1,178 @@
+SURVEILLANCE EQUIPMENT BUYS
+
+The following is a review of recent governmental bid specifications around
+the country for electronic surveillance equipment.
+
+Drug Enforcement Administration
+
+(100) Miniature video transmitter - low power. (100) Miniature video
+transmitter - lower power with one optional audio channel. (100) Miniature
+video transmitter - lower power with two optional audio channels.
+
+(100) Miniature video transmitter - high power. (100) Miniature video
+transmitter - high power with one optional audio channel. (100) Miniature
+video transmitter - high power with two optional audio channels.
+
+(100) Compact portable video receiver. (100) compact portable video receiver
+with one optional audio channel. (100) compact portable video receiver with
+two optional audio channels.
+
+The above transmitters shall have a frequency range of 1.71 GHz - 1.85 GHz
+fixed frequency. Power output of 200-500Mw (low), 3-5 Watts (high). The
+physcial volume of the transmitters will be less than 15 cubic inches and
+weigh less than 20 oz.
+
+In addition, the following federal agencies will be able to purchase from the
+same contract: Federal Bureau of Investigation, U.S. Customs Service, U.S.
+Secret Service, Interest Revenue Service, Bueau of Alcohol Tobacco And
+Firearms, and the U.S. Army Criminal Investigation Division.
+
+(32) Panasonic AG-450 camcorders.
+
+(50) Panasonic AG-1960 VCRs.
+
+(29) Panasonic AG-R6720 time laspe VCRs.
+
+(92) Panasonic AG-7400 portable video cassette recorders.
+
+(21) Discovery DNR (dailed number recorders)
+
+(46) Audio Console, 23 Audio Module, 2 linel, 25 MF Module, 50 cable sets
+(audio, 25 feet), 75 RS232 printer cables.
+
+@BODY-HEAD = Federal Bureau of Investigation
+
+(105) Revox Tape Recorders. 1/2 tract stereo with speeds of 1-7/8 and 3-3/4
+IPS. 105 rack adapters for the tape recorders.
+
+(140) Tascam 112 Cassette recorders, and 140 Tascam RC-71 remote cables.
+
+United States Secret Service
+
+(500) Motorola model H99QX Digial Saber III, DES voice privacy Handie-Talkies.
+
+(200) Motorola model Syntor X9000 T99KX 100 mobile VHF radio with DES voice
+privacy.
+
+(40) Motorola model P1350 DES-XL radio base stations.
+
+(10) Motorola model P1578A RF power amplifiers for use with the P1350s.
+
+(96) Motorola model PT3011 doe DES/XL encryption OTAR compatible variable key
+loaders.
+
+Triborough Bridge and Tunnel Authority (Randall's Island, New York, NY)
+
+(1) Probity electronics PE-X10 C-Mount Camcorder Video surveillance system
+with concealment shoulder bag and Auto Iris.
+
+(1) Electronic corp Astrolight viewer, low light level image intensifier
+including, 7x magnifing eyepiece, 135 mm telephone lens, foam lens storage
+case, pistol grip.
+
+(1) Probity electronics 9100-202 focusable, relay lens adapter to connect the
+PEX10 and the Astrolight Viewer.
+
+(1) Sony UP-850N video printer.
+
+(1) CR IIA Typr 2 (three system complete kit) includes CR II receiver, also
+transmitter (two part unit mounted in a belt with antenna, and miniature
+microphone mounted in the buckle. Frequency: 150-174mhz, 500mw. The CR-IIA is
+an audio only transmitter.
+
+(1) Probity electronics SME II, omni directional electret miniature
+microphone.
+
+(1) Probity electronics CR-IIA transmitter concealment kit, includes: 1
+attache case, 1 AM/FM cassette recorders, 1 leather port folio.
+
+(1) Marantz pmd 221 recorder, 3 heads.
+
+State of South Carolina, Law Enforcement Division
+
+The following equipment is being purchased to be used by agents in the field
+in conjunction with other Audio Intelligence Devices surveillance equipment.
+It is needed to allow field agents to expedite their surveillances without
+waiting on assistance from Headquarters in Columbia.
+
+(5) Unitized intelligence system. Unitel model 121B receiver, and TX714
+transmitter. The receiver has at least 5 crystal controlled switch selectable
+frequencies in the range of 150-175MHZ. The transmitters are 250mw and
+equiped with an external electret microphone with an audio cable of 13
+inches. The maximum dimensions exclusive of the microphone is 75mm x 60mm x
+20mm.
+
+(7) Body transmitter, model TX-903A. Frequency: 150-174MHZ. 1 watt powered by
+two 9 volt alkaline batteries and measure no larger than 3-3/8" x 2-1/4"
+
+(6) Portable VHF-VHF 2 watt repeater.
+
+(1) Portable briefcase VHF-VHF repeater / transceiver 2-15 watts. Unitel
+model 2215.
+
+(1) Portable briefcase VHF-VHF repeater / transceiver 2-6 watts. Unitel model
+BXR2200A.
+
+(5) Disguised pager transmitter. Unitel model TX-788. Frequency: 150-174 MHZ,
+500 mw, powered by 1 9-volt alkaline battery.
+
+(8) Electret microphone Unitel #91303.
+
+(10) Flexible wire body antennas. Unitel #91204-01.
+
+(2) Flexible wire body antennas (3'-11''). Unitel #91254.
+
+Summerville Police Department (Summerville, South Carolina)
+
+Audio surveillance equipment meeting the following requirements. Listening to
+and recording covert conversations with no unintentional feedback to the user
+of the transmitter used primarily for undercover operations.
+
+VHF High band (150-174MHZ) with at least 6 channels, repeater compatible,
+separate outputs for earphone, VCR and line level audio, portable, mobile and
+fixed operations, can be powered from various sources, 12-15VDC, 115/230VAC.
+Internal rechargeable batteries, unattended recording, ie: carrier recorder
+actuation, voice scrambler.
+
+Texas Department of Public Safety
+
+(6) High intensity infrared illuminators to be used with existing
+surveillance cameras. M3 Media model IR-32F.
+
+(5) Transformer enclosed surveillance system. This system is intended to
+provide covert video surveillance of a designated target. It transmits a
+standard NTSC video image over a 2450-2483.5 MHZ video (10 watts of power
+output) link to a remote listening post. A low ligth CCD video camera
+coupled with a motorized lens provides the video image. The zoom and focus is
+remotely controlled by a VHF FM DMTF control link.
+
+The camera and lens in concealed in a 50KVA or smaller utility pole
+transformer can. The system is to be pole mounted and powered by a 120 volt
+line from an adjacent transformer. The antenna pattern is omnidirectional so
+that the receiving site may be located at any position within a given radius
+of the unit.
+
+The DMTF control unit provides remote control of zoom lens functions,
+positioning the pan/tilt drive, and turning the video transmitter on and off.
+A multiple digit password feature is incorporated into the DTMF control unit
+and is factory set at 3 digits.
+
+Dallas, Texas Police Department
+
+(3) Miniature body transmitters, Model TX-903, 1 watt power output,
+165.2125MHZ, 165.1875MHZ, and 169.3850MHZ.
+
+(2) Disguised ditial pager alarm transmitter with FM Voice, model TX-788AT,
+500mw power output, 165.1875MHZ and 165.2125MHZ.
+
+(1) Envelope alarm transmitter, model TX-730, 120mw power output, 167.3575MHZ
+
+(1) RF power amplifer Cat #91120, 1 watt input signal, 169.3850MHZ.
+
+(2) Dynatech model T60 P12 DA disguse pager transmiter with alert tone.
+
+(1) Dynatech model T60 E-1 low profile envelope transmitter.
+
+(1) Dynatech model T100 disguise cigarette pack transmitter.
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/spy.txt b/textfiles.com/magazines/FULLDISC/spy.txt
new file mode 100644
index 00000000..c0465e95
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/spy.txt
@@ -0,0 +1,125 @@
+ This article is reprinted from Full Disclosure. Copyright (c) 1986
+Capitol Information Association. All rights reserved. Permission is hereby
+granted to reprint this article providing this message is included in its
+entirety. Full Disclosure, Box 8275-CI3, Ann Arbor, Michigan 48107. $15/yr.
+
+ The Central Intelligence Agency like many revoluntionary organizations
+(including the Russian KGB) organize their agent networks on a "cell" system,
+with small groups who meet and carry out specific activities. The small groups
+have very few connections with the rest of the organization. Typically, the
+connections between cells will involve only one person in each cell. See
+sample organizational chart prepared by the Central Intelligence Agency for use
+in Nicaragua by the "Freedom Commandos" (reprinted from Psychological
+Operations in Guerrilla Warfare, the CIA's Nicaragua manual).
+
+ When this structure is used and a member of a cell is discovered and forced
+to talk, he can only inform on members of his own cell. If he was the person
+with a connection to another cell it is possible that other cell will also be
+compromised, but only after the connection is traced. However, the tracing
+procedure is very slow, giving the organization time to regroup.
+
+ Although the tracing of the cell structure is very slow, intelligence
+information can be passed to the main organization quickly.
+
+ The main problem with such a cell structure is that the messages which pass
+through many cells can get grabled and since the cells have great autonomy they
+sometimes work at cross purposes.
+
+ The CIA extends the cell system to include Police Departments, Labor
+Unions, Student Associations, Medical Associations, Reporters/Editors etc.
+These cells are created by recruiting (or placing) an agent within the
+organization. The placement of the agent would depend on the main purpose of
+infiltrating the organization: information or control. Usually, most of the
+people in the "organization" cells don't know that they are working for the
+Central Intelligence Agency.
+
+ In addition, the CIA controls numerous "private" corporations. Usually,
+only a few of the top officers are aware of the CIA connection. The
+corporations conduct normal business operations, and are also available to
+provide services for the CIA whenever necessary.
+
+ A top-secret memorandum from Brigadier General Edward Lansdale to General
+Maxwell Taylor published in The Pentagon Papers, described "unconventional
+warfare resources in Southeast Asia" as follows:
+
+ CAT [Civil Air Transport] is a commerical
+ air line engaged in scheduled and nonscheduled
+ air operations throughout the Far East, with
+ headquarters and large maintenance facilities
+ in Taiwan. CAT, a CIA proprietary
+ [corporation], provides air logistical support
+ under commerical air cover to most CIA and
+ other U.S. Government Agencies' requirements.
+ CAT supports covert and clandestine air
+ operations by providing trained and experienced
+ personnel, procurement of supplies and
+ equipment through covert commerical channels,
+ and the maintenance of a fairly large inventory
+ of transport and other type aircraft under both
+ Chinat [Chinese Nationalist] and U.S. registry.
+
+ CAT has demonstrated its capabilities on
+ numerous occasions to meet all types of
+ contingency or long-term covert air
+ requirements in support of U.S. objectives.
+ During the last ten years, it has had some
+ notable achievements, including support of the
+ Chinese Nationalist withdrawal from the
+ mainland, air drop support to the French at
+ Dien Bien Phu, complete logistical and tactical
+ air support for the Indonesian operation, air
+ lifts of refugees from North Vietnam, more than
+ 200 overflights of Mainland China and Tibet,
+ and extensive air support in Laos during the
+ current crisis...
+
+ When the goal is to control the organization, the agent would be in a
+powerful place, like a Sergeant in a Police Department. This would enable the
+CIA to make use of the Police Department resources, computer data banks,
+officers, etc.
+
+ The police officers might perform surveillance on a target for the
+Sergeant, not knowing that they were really working for the CIA. According to
+Philip Agee/1, "Thousands of policemen all over the world, for instance, are
+shadowing people for the CIA without knowing it. They think they're working
+for their own police departments, when, in fact, their chief may be a CIA agent
+who's sending them out on CIA jobs and turning their information over to his
+CIA control".
+
+ Agents in Labor Unions can encourage strikes to cause economic difficulties
+when the CIA wants to stir up political problems in foreign countries.
+Reporters and editors can be used to plant propaganda in the press or have
+information withheld when its in the CIA's best interest not to have it
+printed/2.
+
+ When the goal is information collection the target organization would more
+likely be other intelligence services, medical or technology associations. The
+agent would be placed so that he would have access to as much information as
+possible. This could be a communications or mail clerk, etc.
+
+ The CIA also targets banks for infiltration. They are good organizations
+to provide cover for CIA personnel in foreign countries. The bank can provide
+necessary accounts in bogus names. They can also provide faked account
+balances so that background checks would out come out positive. Banks are also
+used for funding mechanisms. The Bank of Boston was used for such purposes by
+the CIA in Brazil/1.
+
+ When the cells aren't aware that they're working for the CIA, or think
+they're working for someone else, they can be put to other devious uses. For
+example, if the CIA controlled a cell which thought it worked for the PLO, they
+could send it on a terrorist mission with the intent that they be caught. This
+would have a two fold advantage for the CIA, first, the PLO would be blamed
+(providing a good opportunity for the U.S. government to expouse propaganda
+against the PLO), and secondly, it would allow the CIA to commit a terrorist
+attack with extremely little risk of exposure -- to achieve a greater level of
+interference in the affairs of foreign governments.
+
+ The CIA can also use cells within an organization which aren't aware of
+their connection to the CIA for less devious purposes. For examples, they can
+make public statement which have the effect of alienating their supporters.
+When one section makes offensive public statements, major disruptions can occur
+within the organization.
+
+/1 Inside the Company: CIA Diary (by Philip Agee)
+/2 See Full Disclosure article "I've Got a Secret"
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/surv.txt b/textfiles.com/magazines/FULLDISC/surv.txt
new file mode 100644
index 00000000..c0b76de9
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/surv.txt
@@ -0,0 +1,174 @@
+The World of Surveillance
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+Surveillance (7906 Hope Valley Ct, Adamstown, MD 20710, $35/yr) reports on
+phone taps via teleconferencing. This simple technique involves the
+``tappers'' conference calling two parties he wishes to spy on. He then
+listens and records the ensuring conversation. It is pointed out that this
+technique is not universally applicable, but is limited to situations where
+both parties normally answer the phone on the first ring. (And don't realize
+that neither one called the other).
+
+2600 (Box 752, Middle Island, NY 11953, $18/yr) reports that some cordless
+phones, including the General Electric System 10, model 2-9675, transmits
+phone conversation made through a standard phone when the unit is hooked up.
+Most people would assume that when they didn't use the cordless handset,
+their calls wouldn't be broadcast for any nosey neighbors or others to
+monitor.
+
+CAR CADDY
+
+The Concealment or Car Caddy is a device to covertly record the conversations
+of passengers in an automobile. It looks just like a litterbasket / snack
+tray.
+
+However, hidden inside is a tape recorder. It can either have one microphone
+powered by a hearing aid battery or two powered by the tape recorder.
+
+The SME-700 unit (stereo unit, with two microphones) sale is restricted only
+to federal and state law enforcement agencies. However, the SME-RN36 unit is
+available to anyone wishing to pay $385 for it. The SME-RN36 is configured
+with a 2 hour recorder.
+
+When asked what the reason for the restriction on the SME-700 was, Saul
+Mineroff stated that ``it has certain features designed with federal agencies
+and that was the agreement.''
+
+The snack tray is slid back to activate the recorder and forward to turn it
+off.
+
+This unit is produced by Saul Mineroff Electronics, Inc., 574 Meacham Av,
+Elmont, New York 11003, Phone: (516) 775 1370, Fax: (516) 775-1371.
+
+When Saul Mineroff refused to openly provide information on the features of
+the SME-700 recorder, Full Disclosure was able to obtain ``Confidential
+Information on SME 700 Surveillance System.'' The SME 700 is actually, just
+the recorder, which can go in the car caddy, be worn on the body or used in
+another applicable situation. Following are excerpts from the document:
+
+``Saul Mineroff, of Mineroff Electronics has worked for over a decade in
+cooperation with the Drug Enforcement Administration and F.B.I. personnel
+(along with various U.S. Governmental agencies) to develop a highly
+sophisticated foolproof body surveillance recorder with simple operating
+functions.
+
+``The SME 700 Recorder is designed strictly for law enforcement agencies. The
+sale of this unit will only be distributed to law enforcement personnel. Its
+primary use and design is for the agent in the field.
+
+``The SME 700 makes recordings in stereo. Because stereo utilizes two
+channels, it is easier for the human ear to identify certain sounds in the
+recordings (e.g. if multiple voices were recorded, it is easier to depict
+each individual voice when recorded in stereo). After recordings are made on
+the SME 700 Recorder they are played back on the SME 701 playback unit.
+
+``There are many features fabricated into the SME 700 Recorder. The first
+feature is the ability to record multiple voices and attenuate background
+noise levels drastically. By using fast acting A.L.C., special filtering, and
+compressing circuits, along with DNR (Dynamic Noise Reduction) in playback
+unit, background noises are suppressed allowing the primary voices to be
+recorded and played back.
+
+``The SME 700 Recorder is non-detectable (via tape recorder detectors). The
+circuit employs low frequency A-C bias, is completely shielded, and doesn't
+generate radiation. Radiation is what tape recorder detectors detect.
+
+The other features are mechanical in nature to prevent accidental operation.
+
+MINIATURE BUG
+
+This subminiature bug, is available in a VHF and UHF version. The 900mhz
+version is pictured here (actual size). The manufacturer, ATET, Via G. Da
+Verrazzano, 42, 10129 Torino, Italy, Phone: 011/ 59-04 93, Telex: 213273,
+TOATET I, claims that the unit is the smallest crystal controlled units being
+manufactured in the world today.
+
+Both units work over a input voltage range of 3 to 12 volts providing maximum
+flexibility in power sources. The power output ranges from
+.7mw to 135mw on the VHF unit and 3mw to 20mw on the UHF depending
+on input voltage.
+
+Several adapters are available for the units: 1) Telephone adapter, converts
+the module into a series telephone transmitter which obtains power from the
+phone line, 2) External microphone adapter, converts the module into a
+body-worn transmitter with the capability of total concealment, and 3)
+Vehicle adapter, connects to the internal supply circuitry of a motor vehicle
+and produces continuous transmission.
+
+The VHF unit has a frequency range of 135 - 175 mhz FM. The UHF frequency
+range is 700 - 1100mhz FM. The dimensions of both are 9 x 21 x 22 mm.
+
+The most significant problem with these units is a frequency shift over time.
+As you can see from the photograph, the unit was originally manufactured for
+900.270mhz and shifted to 900.265mhz and 900.260mhz.
+
+This particular unit was tested by the Drug Enforcement Administration.
+
+The U.S. Distributor for these bugs is: Knox Security, 335 Greenwich Rd,
+Greenwich, CT 06830, Phone: (203) 622-7300.
+
+CIGARETTE LIGHTER
+
+Pictured on page 9 with complete specifications below is a VHF
+microtransmitter disguised in a non-functional cigarette lighter.
+
+WHAT DO YOU WANT?
+
+Please let us know what types of surveillance devices and information you'd
+like to see here
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FULLDISC/trash.txt b/textfiles.com/magazines/FULLDISC/trash.txt
new file mode 100644
index 00000000..dcfcb9cb
--- /dev/null
+++ b/textfiles.com/magazines/FULLDISC/trash.txt
@@ -0,0 +1,135 @@
+DUMPSTER DIVING
+
+COPYRIGHT (C) 1991 BY FULL DISCLOSURE. ALL RIGHTS RESERVED.
+
+In light of the recent debates regarding the various activities of the
+``hacking community'' and it various methods of collecting and distributing
+information the following legal opinion by the Detroit, Michigan Police
+Department is presented to give some insight on the activity refered to as
+``Dumpster Diving.''
+
+Not only does this opinion show that such an activity can be legal but that
+it is not exclusive to the hackers, but is a investigative procedure of law
+enforcement agencies:
+
+SEARCH OF ABANDONED REFUSE
+
+``A recent Michigan Court of Appeals decision concerns searches of rubbish
+and garbage without a search warrant. Although courts in other states have
+addressed the legality of such searches, no Michigan appellate court has ever
+been confronted with the question.
+
+``People v Richard Whotte aka Richard Breathour
+
+``QUESTION: Is it ever legal to search rubbish and refuse for evidence if the
+rubbish or refuse has not been set out for or picked up by trash collectors
+if I do not first obtain a search warrant?
+
+``ANSWER: Such searches without search warrants are permissible if they meet
+the standards listed in People v Whotte.
+
+``DISCUSSION:
+
+``In People v Whotte, Mich App (Feb 1982), a Grosse Pointe Park detective was
+investigating a hold-up of a bar when he had occasion to speak to a possible
+subject at a two-family apartment. The detective noted that there was
+domestic rubbish scattered in the backyard of a two-family flat and it
+appeared that dogs, cats, or other animals had strewn the litter about the
+yard in searching for foodstuffs. The detective noted credit card receipts
+within the refuse in the name of the suspect. The next day, the detective
+returned, re-examined the credit card receipts, and looked inside one of the
+torn open bags in the yard, finding the suspect's wedding license and a
+wallet of one of the victims. This information was elicited in testimony at
+the circuit court. Upon this and other evidence, defendant was found guilty
+and eventually appealed his conviction, unsuccessfully.
+
+``Other states have addressed the issue of whether or not a search warrant is
+needed to examine trash and have generally decided that such searches are
+legal if the garbage has been left at a spot where the garbage is collected
+by the collection service or if the garbage has lost its identity by being
+mingled with other people's trash. The Michigan Court of Appeals has adopted
+the Alaska rule, which attempts to determine if the search violates the trash
+owner's reasonable expectations of privacy. That determination is made
+considering these factors:
+
+``1. Where the trash is located;
+
+``2. Whether the dwelling is a multiple or single family unit;
+
+``3. Who recovered the trash;
+
+``4. Where the search of the trash takes place.
+
+``Based on these standards, a search warrant is probably needed if the
+rubbish is stored immediately outside a rear door of a single family dwelling
+and only placed outside the back fence on trash collection day. However,
+trash thrown onto a common heap in the backyard of a large apartment building
+where roaming dogs strew it about would not require a warrant. Further,
+although the test might indicate otherwise, trial courts will probably not
+allow searches of trash inside of buildings even if there has been indication
+of intent to abandon the trash.
+
+``The test announced in this new case adopts a common sense approach as to
+whether the trash has been abandoned or just removed from inside the house to
+a more convenient location. Common sense would also dictate, though, that in
+questionable circumstances, discretion favors obtaining a search warrant.
+This case appears to be the state of the law in Michigan today, but is
+subject to reversal by a superior court.
+
+``Members having questions about this case are requested to contact the Legal
+Advisor Unit at Centrex 4-4426 or Police Dial 346.
+
+The above is reprinted from Full Disclosure Newspaper. Subscribe today and
+get interesting articles like the above, plus more... pictures, graphics,
+advertisement, and more articles. Full Disclosure is your source for
+information on the leading edge of surveillance technology. Print the
+following form, or supply the information on a plain piece of paper:
+
+----
+
+Please start my subscription to Full Disclosure for:
+
+[ ] Sample issue, $2.00
+
+[ ] 12 issue subscription, $18.00
+
+[ ] 24 issue subscription, $29.95
+ With 24 issue susbcription include free one of the following:
+ [ ] Directory of Electronic Surveillance Equipment Suppliers
+ [ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts
+ [ ] Maximizing PC Performance
+
+Also available separately:
+
+[ ] Directory of Electronic Surveillance Equipment Suppliers, $6.00
+
+[ ] Citizen's Guide on How to Use the Freedom of Info/Privacy Acts, $5.00
+
+[ ] Maximizing PC Performance, $6.00
+
+ Illinois residences, add 6.5% sales tax on above 3 items.
+
+Enclosed is payment in the form of:
+
+[ ] Check/Money order, [ ] Visa, [ ] Mastercard
+
+Card no:___________________________________ Exp date:_______
+
+Signature:__________________________________________________
+
+Phone:______________________________________________________
+(required for credit card orders)
+
+My name/address:
+
+Name:_______________________________________________________
+
+Street:_____________________________________________________
+
+City/State/Zip:_____________________________________________
+
+Return to: Full Disclosure, Box 903, Libertyville, Illinois 60048
+
+
+
+
\ No newline at end of file
diff --git a/textfiles.com/magazines/FUNHOUSE.1 b/textfiles.com/magazines/FUNHOUSE.1
new file mode 100644
index 00000000..cbf0b1e5
--- /dev/null
+++ b/textfiles.com/magazines/FUNHOUSE.1
@@ -0,0 +1,21 @@
+
+T E X T F I L E S
+
+
+
+
+
+
+| Filename
+ | Size
+ | Description of the Textfile
+
+funhouse-1.5 253834
| Funhouse: The Cyberzine of Degenerate Pop Culture Issue #5 (October 20, 1994)
+ | v1n1.mar 122497
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #1 (March 22, 1993)
+ | v1n2.jul 162301
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #2 (July 22, 1993)
+ | v1n3.jan 202332
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #3 (December 29, 1993)
+ | v1n4.txt 232003
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #4 (April 24, 1994)
+ | | | | | | |
| There are 5 files for a total of 972,967 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/FUNHOUSE/.windex.html b/textfiles.com/magazines/FUNHOUSE/.windex.html
new file mode 100644
index 00000000..26c3a08a
--- /dev/null
+++ b/textfiles.com/magazines/FUNHOUSE/.windex.html
@@ -0,0 +1,21 @@
+
+
T E X T F I L E S
+
+
+
+
+
+
+| Filename
+ | Size
+ | Description of the Textfile
+
+funhouse-1.5 253834
| Funhouse: The Cyberzine of Degenerate Pop Culture Issue #5 (October 20, 1994)
+ | v1n1.mar 122497
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #1 (March 22, 1993)
+ | v1n2.jul 162301
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #2 (July 22, 1993)
+ | v1n3.jan 202332
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #3 (December 29, 1993)
+ | v1n4.txt 232003
| FunHouse: The Cyberzine of Degenerate Pop Culture Issue #4 (April 24, 1994)
+ | | | | | | |
| There are 5 files for a total of 972,967 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/FUNHOUSE/funhouse-1.5 b/textfiles.com/magazines/FUNHOUSE/funhouse-1.5
new file mode 100644
index 00000000..9381d7da
--- /dev/null
+++ b/textfiles.com/magazines/FUNHOUSE/funhouse-1.5
@@ -0,0 +1,5176 @@
+FUNHOUSE!
+
+
The cyberzine of degenerate pop culture
+
+
+
vol. 1 - no. 5; October 20, 1994
+
Released on Bela Lugosi's would-be 112th birthday
+
editor: Jeff Dove (jeffdove@well.sf.ca.us)
+
associate editor: Jeff Frentzen (jfrentzen@pcweek.ziff.com)
+
back issues: ftp - ftp.cic.net or ftp.etext.org; gopher - gopher.well.sf.ca.us
+
+
The first FUNHOUSE! Garbage Rock issue
+
+
+
+
+
FUNHOUSE! is dedicated to whatever happens to be on my mind at the time that
+
I'm writing. The focus will tend to be on those aspects of our fun filled
+
world that aren't given the attention of the bland traditional media, or which
+
have been woefully misinterpreted or misdiagnosed by the same. FUNHOUSE! is
+
basically a happy place, and thus the only real criteria I will try to meet is
+
to refrain from rants, personal attacks, and flames - and thus FUNHOUSE! is an
+
apolitical place. Offbeat films, music, literature, and experiences are
+
largely covered, with the one stipulation being that articles are attempted to
+
be detailed and well documented, although this is no guarantee of completeness
+
or correctness, so that the interested reader may further pursue something
+
which may spark her interest. Correspondence and contributions are thus
+
encouraged, and any letters will by printed in future issues. Please send a
+
short message to the above address, and arrangements will be made for the
+
submission of larger items. The only other item is that FUNHOUSE! is
+
Free-Free-Freeware! PLEASE copy and distribute as you wish; however please do
+
not alter any text. I will be happy to try to clarify anything contained
+
herein, and to provide additional information if I can, so don't hesitate to
+
contact me.
+
+
Table of Contents:
+
+
* Letters, Commentary, and Other Stuff You'll Probably Skip Over
+
* The Rust@Death Mail List Evaluates the Neil Young Catalog
+
* The FUNHOUSE! Hot 100 - The One-Hundred Most FUNHOUSE! LPs of All Time
+
* Jeff Frentzen's Sleaze Film Source List
+
* A Survey of Essential Sixties Garage Punk Albums
+
+
Letters, Commentary, and Other Stuff...
+
---------------------------------------
+
+
The other day, I was strolling through the local Safeway, where a "Safeway
+
Cart" now requires a 25 cent deposit (Safeway claims it's to keep the homeless
+
from bagging the carts, but the truth is that they want to force you to
+
return them to their racks). I saw an interesting item for sale - "Teen
+
Spirit Shampoo." How's that stuff "smell?" I wonder if they had it available
+
in the Wood$tock Bazare, purchasable only with official Wood$tock Script, at
+
Wood$tock '94? It would have been hard to imagine that punk rock would become
+
marketable back in '81 or '82, when you faced a brawl with some lowered pickup
+
truck full of jock assholes blasting Journey just for walking down the street
+
with your hair cropped. And the only thing more annoying than the promoters
+
and their MTV cohorts - trying to blatantly squeeze every possible buck out of
+
the event - were all the hippies who were bitching about it with a headfull of
+
romanticized pseudo-memories about '69. There's nothing wrong with making a
+
nice profit, but the concept of "excess" seems to be foreign to the peddlers
+
of Wood$tock '94. MTV - where attitude is for sale: "I came in here for a
+
special offer / guaranteed personality." And despite the Gillman Street days,
+
Green Day have demonstrated that there isn't much punk rock left in them.
+
Just appearing at Wood$tock is enough proof of that. And to close off this
+
little blast of negativity and get on with the fun, I have to wonder about all
+
of the fond rememberances of Woodstock '69 anyway. Does anybody still really
+
like the majority of groups that played woodstock '69? I see that subgenre as
+
one of the absolute low points in rock-and-roll history. If you look past Sly
+
and the Family Stone, The Who, Jimi Hendrix and Neil Young (apart from CS&N!),
+
the rest of them were below mediocre or pure crap. $35 for a Rolling Stones
+
tee? Man, yuppies are suckers.
+
+
In the FUNHOUSE! tradition, we aren't delivering much of what was promised in
+
the last issue. Like it says above, it's "dedicated to whatever happens to be
+
on my mind at the time." Don't worry, next time we'll get back to the Italian
+
movie Maestro retrospective, and present Argento Part II, as well as Part II
+
of Jeff Frentzen's "All Night Video Drive In." However, this issue is
+
dedicated to real, raw, trashy rock-and-roll. With the recent release of Neil
+
Young's noisy Sleeps With Angles album, I decided to comission members of the
+
the Neil Young mailing list Rust@Death (currently trading info through the
+
address rust@death.fish.com) to provide some evaluation of the wealth of
+
material that Mr. Young has put out over the last 25 years. Also included in
+
this issue is the Top 100 FUNHOUSE! albums of all time. This is no "best of"
+
list - I try not to be pretentious enough to claim to know that. Rather, it's
+
the 100 records which best fit the FUNHOUSE! aesthetic of being honest and
+
energetic rock-and-roll. Carrying on in that vein, FUNHOUSE! also presents an
+
overview of the LPs of some of the raging'est punk groups of the sixties
+
(there should be no surprise at a certain degree of overlap in these pieces!)
+
Psychotronic cinema isn't abandoned completely this time. For answers to
+
those questions of, "That's cool - but where do I get it?" Jeff Frentzen has
+
compiled a sleaze film source list for videos and zines. There's no review
+
section this time, but it will be back with a vengeance in issue number six.
+
Giallo creeps into American TV! Promos for a new Perry Mason telemovie (uh,
+
sorry but I missed the actual show) showed a black gloved killer wielding a
+
blade.
+
+
More Russ redux:
+
+
There are a new pair of soundtrack CDs from Russ Meyer's films recently
+
released in Germany under the direction of Russ himself. Each is a comp-
+
ilation of music from three films, and each comes with a heavily illustrated,
+
high quality, color booklet (adults only!) One features FASTER PUSSYCAT KILL!
+
KILL!, LORNA and VIXEN, while the other contains music from UP! (aka
+
MEGAVIXENS,) BENEATH THE VALLEY OF THE ULTRAVIXENS, and SUPERVIXENS. Only
+
VIXEN and CHERRY, HARRY AND RAQUEL (both on the Beverly Hills label) and
+
BEYOND THE VALLEY OF THE DOLLS (originally on Fox, and recently reissued on CD
+
on the Media Archives label) have had soundtrack LPs issued in the past. Grab
+
the PUSSYCAT one for the great title theme by the Bostweeds. How about MONDO
+
TOPLESS next?
+
+
Long live Roger Nusic!
+
+
The Hall of Shame - The Most "Un-FUNHOUSE!" figures in "rock":
+
+
Billy Joel (Attila)
+
Phil Collins (whose latest tour is sponsored by Sears - isn't that the perfect
+
alliance of peddlars of lowest common denominator, safe drool to
+
boreing middle class America?)
+
Sammy Hagar (Van Hagar)
+
Steve Perry (Journey)
+
Pat Boone
+
+
************************************
+
+
Hi,
+
+
I read FUNHOUSE! #4 the other day and I just wanted to let you know that I
+
didn't fuckin' believe it! Amazing...there ARE weirdos like me who dig all
+
this psychotronic crap. The music stuff was good - I was able to use the info
+
- but what I *really* dug was the piece on Argento - marvelous! I'm a writer
+
and I was considering writing a piece for Psychotronic Video. I figured I'd
+
write on one of my fave directors, and since Russ Meyer was just covered I
+
thought it'd be natural to do Argento. Well this article had more info on
+
that guy than I even knew was publicly available, may I ask where the hell you
+
dug that shit up? You know, it was news to me that there was a book out about
+
his stuff also. All I know is that SUSPIRIA is my favorite witchcraft movie
+
ever, and (this is weird) when I read your article I had tons of flashbacks
+
about the Argento flicks that *I'd never seen before*, like I'd seen them
+
somewhere (where?) in early childhood. I've been conducting a lot of research
+
on dreams and consciousness lately and realize that in a weird way this could
+
be a psychotronic flick in itself. There is something unsettling about
+
Argento's movies, like after you watch them they linger in weird ways; they do
+
strange things to my early seventies / early childhood memories. There's a
+
certain kind of truth to Argento flicks and I think that's why I love them.
+
+
Thank you,
+
+
Michael Stutz
+
at118@cleveland.freenet.edu
+
+
************************************
+
+
Hi Jeff,
+
+
I'm really sorry to contact you this close to your deadline, but I really have
+
no time to write a review of Neil Young's Harvest. I was out of town for
+
business quite frequently this month and I just can't make it. Next week is
+
very busy again. I tried to contact you before but was unable to. Forgive me
+
contacting so late. Hope you find a solution for this.
+
+
Greetings,
+
+
Wilco Schepen
+
schepen@rulub2.leidenuniv.nl
+
+
************************************
+
+
+
The Rust@Death Mail List Evaluates the Neil Young Catalog
+
---------------------------------------------------------
+
+
When I put out a request for reviews of Neil's albums to the list members,
+
there were no rules. I simply asked that a commentator pick a record that
+
they have strong feelings about one way or the other - a positive disposition
+
toward the title was not necessary. It was no surprise, however, that each
+
person picked an album they liked a lot. In light of Neil's comments that
+
anyone who claims to like every one of his records must be crazy, there are
+
probably some members of Rust@Death who could use some therapy. With that in
+
mind, I believe these evaluations will help others sort through a diverse
+
catalog, in which Mr. Young puts his unique twist on varying musical styles -
+
from folky acoustic to hard and distorted, and from feedback-drenched to pure
+
country, big band R&B, rockabilly, synth and techno. So if you're into some
+
of Neil's stuff and want to know which titles in his vast back catalog might
+
be of a similar style, or if you're just trying to put it all into place, the
+
following should be a useful source. Only records on which Neil Young was the
+
principal artist are considered, which means nothing by Buffalo Springfield,
+
CSN&Y, or the Stills-Young band is included. You will, however, read about
+
Crazy Horse, the Stray Gators, the Bullets, the International Harvesters, the
+
Shocking Pinks, the Bluenotes, and the Restless. Booker T. and the MGs
+
haven't yet appeared on an official release, but hopefully that is something
+
we can look forward to.
+
+
+
NEIL YOUNG
+
1969 - Reprise 6317
+
The Emperor of Wyoming / The Loner / If I Could Have Her Tonight / I've Been
+
Waiting for You / The Old Laughing Lady / String Quartet from Whiskey Boot
+
Hill / Here We Are in the Years / What Did You Do to My Life / I've Loved
+
Her So Long / The Last Trip to Tulsa
+
+
by Ken Myers
+
kmyers@usace.mil
+
+
I have always been impressed by the "sound" of this album. I have heard that
+
the CD release of Neil Young does not stand up sonically, but my vinyl
+
version, now over 20-years old, still sounds great. (Alright, alright, the
+
quiet passages, especially on "Quartet From Whiskey Boot Hill," are kind of
+
crunchy). This album has a lot happening on it, from the Hollywood Strings
+
(?) to the almost mechanical, almost inaudible whirring and buzzing
+
multi-tracked muted fuzz guitars. And then there's Neil's voice, haunting,
+
spooky, beautiful. His plaintive, arid, downright dangerous sounding vocals
+
are some of his best. I make no attempt to analyze lyrics here, but let me
+
say that it sounds like they're the words of a soul who has crossed to the
+
other side and wants us to follow him. Here are just some brief thoughts on
+
this album. Some may call this work overproduced, and I would dare say Mr.
+
Young would not disagree. I remember a Rolling Stone interview from the
+
mid-70's in which Neil referred to this album as "overdub city." Certainly
+
the presence of strings may put off many of his grunge followers today, but
+
taken within the context of its time, this album holds up remarkably well. I
+
hate the cover art. I've always loved the opener, "The Emperor of Wyoming."
+
Hell if I know what the title means, but this starts off as a loping cowboy
+
instrumental (I bet there are lyrics to this song somewhere) and segues nicely
+
into "The Loner." This is my favorite song on the album, it reminds me a lot
+
of "Mr. Soul," but with strings. It's got those great buzzing guitars too. I
+
think the background vocals work wonderfully on "The Old Laughing Lady," but
+
almost ruin "I've Loved Her So Long." "I've Been Waiting For You" has a great
+
guitar (there must be hundreds of them) intro. Then there is "The Last Trip To
+
Tulsa"!!! What a way to end this album - weirdness disguised as weirdness. I
+
love it, it's so different from what came before. The jangled and jarring
+
images, the paranoid, almost whining vocals - just Neil and his guitar.
+
However, the single most beautiful moment on this album is on "Here We Are In
+
The Years," when Neil sings the line "So the subtle face is a loser this time
+
around." It is absolutely beautiful and evocative, and is my all time
+
favorite "Neil moment."
+
+
+
EVERYBODY KNOWS THIS IS NOWHERE
+
1969 - Reprise 6349
+
Cinnamon Girl / Everybody Knows This is Nowhere / Round and Round (It Won't
+
Be Long) / Down By the River / The Losing End (When You're On) / Running Dry
+
(Requiem for the Rockets) / Cowgirl in the Sand
+
+
by Lise R. Zawlocki
+
lisez@cruzio.com
+
+
The year is 1969. The year of Woodstock, and of Neil Young's classic second
+
album, "Everybody Knows This Is Nowhere." The album marked Neil's first of
+
many collaborations with a group that calls itself Crazy Horse, and that
+
featured a guitar player named Danny Whitten. Whitten's drug-overdose death
+
would later inspire Young's "The Needle and the Damage Done," featured on the
+
1972 release Harvest. The next Crazy Horse project wouldn't be until 1975's
+
Zuma, with Frank San Pedro replacing Whitten on guitar. Everybody Knows
+
This Is Nowhere has a stripped production sound; its beauty lies in the
+
guitar solos in "Down By The River," or in the childlike vocals in the title
+
track. The album's lyrics are simple and soulful, yet not fully understood,
+
even after listening to this album for over twenty years. But Everybody
+
Knows This Is Nowhere has clearly withstood the test of time, and has
+
produced some favorites that often get played live when one sees Neil Young
+
perform. The first selection on the album is one such standard at many of
+
Young's shows - "Cinnamon Girl." But what does this song speak of? On this,
+
and many of the songs on this album, the lyrics are almost an afterthought.
+
It is the music - the lead guitar, the rhythm guitar, the drums, that make the
+
song a classic performance piece. In the second track Neil complains that he
+
wants to go home, but does he really? Is it complacency that keeps him from
+
going home or is he telling us sarcastically that "Everybody Knows This Is
+
Nowhere"?:
+
+
"Everybody seems to wonder / What it's like down here / I gotta get
+
away / From this day-to-day runnin' around / Everybody knows this is
+
nowhere / (la la la, la la la la)"
+
+
That sweet, boyish harmony on the "la la la"'s send me reeling and wondering
+
what he's really trying to tell me. The third track is "Round and Round (It
+
Won't Be Long)," with a slow, lulling pace and more angelic harmony vocals.
+
Like the spider who comes out every evening to patiently repair its web, this
+
song evokes a feeling of time drifting by, of death approaching. The lyrics
+
are uncomplicated and intoxicating:
+
+
"It won't be long.../ How slow and slow and slow it goes / To mend the tear
+
that always shows / It won't be long / It won't be long..."
+
+
Then, just as you are ready to drift off to never-never land, the last and
+
longest song of side one hits you right between the ears. "Down By The
+
River," another brilliant vehicle for Neil's awesome guitar playing abilities,
+
explodes with unadulterated energy. A long, raw guitar solo is restrained
+
only by the steady backdrop of the rhythm guitar and bass line. The drums
+
beat a machine gun staccato in between each phrase of the chorus:
+
+
"Down by the river / I shot my baby / Down by the river/ Dead (shot
+
her dead)..."
+
+
"The Losing End (When You're On)" is one of Young's most obvious early forays
+
into country music, with a simple tune and earthy charm. He writes about
+
abandonment and self pity:
+
+
"It's so hard to make love pay / When you're on the losing end / And I
+
feel that way again... / It's so hard for me now / But I'll make it
+
somehow / Though I know I'll never be the same / Won't you ever change
+
your ways?"
+
+
It's easy to dismiss this little ditty, but it wears on you just the same,
+
like a shabby old coat that you just can't toss. Throughout Everybody Knows
+
This Is Nowhere, Neil Young is feeling sorry for himself, confessing some
+
dark crime, or simply a secret wish he harbors in his heart. By the time we
+
get to "Running Dry (Requiem For The Rockets)," it's not difficult to notice
+
that his apologies sound more like unrepentant, even proud, declarations. The
+
chorus is one massive rationalization:
+
+
"I'm sorry for the things I've done / I've shamed myself with lies /
+
But soon these things are overcome / And can't be recognized."
+
+
Yet the lilting, plaintive melody and woeful violin solo reflect the artist's
+
inner torture at having deserted his lover:
+
+
"Oh please help me, oh please help me / I need someone to comfort me /
+
My cruelty has punctured me / And now I'm running dry"
+
+
The truly fitting finale of this album is its longest song as well, "Cowgirl
+
In the Sand," a beautiful, lyrical, rocking and raw piece with long,
+
unrestrained guitar solos and soulful musicianship throughout. The song may
+
have additional significance for its mention of Neil's favorite state of
+
deterioration: RUST! Careful listening will reveal this lyric:
+
+
"Hello Ruby in the dust / Has your band begun to... "
+
+
You know the rest. Blow the cobwebs off *your* copy and give it a listen.
+
It's a great album, and after a quarter of a century, still holds up for its
+
powerful music, evocative lyrics, and historic significance as the first Neil
+
Young / Crazy Horse collaboration.
+
+
+
AFTER THE GOLD RUSH
+
1970 - Reprise 6383
+
Tell Me Why / After the Gold Rush / Only Love Can Break Your Heart / Southern
+
Man / Till the Morning Comes / Oh Lonesome Me / Don't Let It Bring You Down /
+
Birds / When You Dance I Can Really Love / I Believe in You / Crippled Creek
+
Ferry
+
+
by Runar Igesund
+
si2_ri92175@debet.nhh.no
+
+
After the Goldrush is a "right" album. Right in the sense that it changes
+
and grows, along with the listener. The first time I listened to it, I
+
thought that "Southern Man" was the only cool track on the album. Maybe
+
because it, together with "When You Dance I Can Really Love", were the only
+
tracks that were with an electric band. But soon I learned to appreciate the
+
fine lyrics of "Tell Me Why," and the ingenious melody of "Don't Let It Bring
+
You Down." And "After the Goldrush" sums up the album, as a title track
+
should. A mostly acoustic album, it tends to be a bit soft, like on Neil's
+
cover version of Don Gibson's "Oh Lonesome Me." It's nice and calm, and
+
doesn't "tear up the neighborhood." But most of all, the arrangements
+
underline what might be Neil Young's finest collection of tender melodies.
+
+
+
HARVEST
+
1972 - Reprise MS 2032
+
Out on the Weekend / Harvest / A Man Needs a Maid / Heart of Gold / Are You
+
Ready for the Country / Old Man / There's a World / Alabama / The Needle
+
and the Damage Done / Words
+
+
by Jyrki Kimmel
+
kimmel@sai.vtt.fi
+
+
"Think I'll pack it in and buy a pickup / Take it down to L.A."
+
+
Those lines begin Neil Young's Harvest, the legendary album that "put (Neil)
+
in the middle of the road." The image I always get listening to this part is
+
of driving down I-15 from Nevada to San Bernadino and Los Angeles - but what
+
could be more inappropriate? Neil has since commented, "It was time to head
+
for the ditch," after he made this album, but signs of the ditch are already
+
evident here. The opening tune, "Out on the Weekend," sets the tone for
+
Harvest's first section, which is comprised of four melancholy songs,
+
including Neil's one and only number-one hit single, "Heart of Gold." Between
+
these two are "Harvest" and "A Man Needs a Maid." All of them are clearly MOR
+
(middle of the road), but they are just another segment of Neil's vast range
+
of material. However, experiments with the London Symphony Orchestra
+
distinguish this music from the usual chart-hit mache. "Out on the Weekend"
+
is the story of someone escaping a broken relationship. The L.A. reference is
+
a permanent symbol in Neil's work. With this song you can escape anywhere.
+
"Harvest" is a much more innocent-sounding tune, with folkie references to a
+
young maiden:
+
+
"Did I see you walking with the boys / Though it was not hand in hand"
+
+
The "promise of a man" Neil wants to "fill your cup" with is, however, a
+
powerful reference to responsibility and the final decisions one encounters in
+
life. "A Man Needs a Maid" is superficially a womanizer's song, but in fact
+
"a maid" is, literally, a profession. If your heart is pure, you will
+
understand as there are no hidden meanings here! The use of the London
+
Symphony Orchestra seems pompous at first, but maybe the Streisand sound in
+
fact works better here than anywhere else. The song is simply heart breaking.
+
"Heart of Gold" is a song anyone can relate to, and maybe that's why it went
+
to number one on the US charts. Neil's simple acoustic playing and piercing
+
harmonica give it a feeling of utmost importance:
+
+
"I'd cross the ocean for a heart of gold"
+
+
We all know there's a "fine line" that cannot be defined which makes all the
+
difference. The first side of the vinyl LP ends with "Are You Ready for the
+
Country," a healthy reminder of the "ditch" side of Neil. Morbid references
+
to the hangman, and the haphazard guitar work, flip the album totally to the
+
other side of midnight.
+
+
Side two starts, again, with two songs in the MOR vein, "Old Man" and "There's
+
a World." "Old Man" features another chilling performance, and James Taylor's
+
banjo provides a superb touch. Neil's thoughts on the life of a celebrity,
+
and the fundamental loneliness found in overt publicity, are reflected here:
+
+
"Oh, one look at my eyes and you can tell that's true"
+
+
"There's a World" is another experimental tune with the London Symphony
+
Orchestra, complete with kettle drums and all. "Take it in and blow hard" is
+
Neil's advice to his listener as to the attitude one ought to take in life. A
+
counterpoint to these is "Alabama," a song altogether too widely labeled,
+
along with "Southern Man," as a comment on racist attitudes in the Southern
+
United States. In fact, this is one of Neil's more personal tunes, and has
+
the ultimate reference to the MOR / ditch dualism:
+
+
"Alabama - You got the weight on your shoulders that's breaking your back /
+
Your Cadillac has got a wheel in the ditch and a wheel on the track"
+
+
The guitar here is perfect "ditch." The subject matter of the next track,
+
"The Needle and the Damage Done," brings Harvest to the bottom of the ditch.
+
It is Neil's anti-drug manifesto, performed live on acoustic guitar. However,
+
the tune itself is strictly MOR. Imagine the lyrics of "From Hank to Hendrix"
+
inserted and you'd get another chart-buster, but talk about junkies and drug
+
deals may not be appropriate. The last song on the album is also "ditch."
+
Rhythmically, "Words" is an experiment, but proves its point in a wall of
+
electric and slide guitar barrages, which is a more than appropriate ending to
+
this album. Harvest is to the diehard Neil fan like a box of corn flakes;
+
you know what's there, you've tasted other cereals and maybe prefer more
+
exotic varieties, but you still have to go back once in a while for the
+
classic. Trust me, it's all here, as the core of Neil's work has not changed
+
over time. Neil has since produced albums that have surpassed the material on
+
Harvest, with respect to both MOR and "ditch," more so than probably anybody
+
imagined in 1972. Harvest deserves its legendary status, even though it has
+
been criticized as patchy and not wholly developed conceptually. I would
+
argue that it is conceptually perfect as a document of Neil's personality.
+
With its middle-of-the-road attitude and its "ditch" flip side, Harvest
+
provides both questions and answers concerning "life, the universe, and
+
everything."
+
+
+
JOURNEY THROUGH THE PAST
+
1972 - Reprise 2XS 6480
+
For What It's Worth-Mr. Soul / Rock-and-Roll Woman / Find the Cost of
+
Freedom / Ohio / Southern Man / Are You Ready for the Country / Let Me
+
Call You Sweetheart / Alabama / Words / Relativity Invitation / Handel's
+
Messiah / King of Kings / Soldier / Let's Go Away for Awhile
+
+
by Steve Vetter (Farmer John)
+
vetters@vax1.elon.edu
+
+
Journey Through the Past is probably one of Neil Young's most underrated
+
albums. Released in 1972, as the soundtrack to the movie of the same name and
+
right after the massive success of Harvest, it was in many fans' eyes a
+
letdown. In fact Journey Through the Past only offers one new song, and it
+
is buried on side four between what is, in my opinion, a bunch of crap. The
+
double album (still not available on CD) starts off with some classic live
+
recordings of the Buffalo Springfield on old TV shows. Interestingly enough,
+
you can hear the young girls go wild, just like the did for the Beatles'
+
appearances. They do "For What It's Worth" and segue into "Mr. Soul."
+
Following that is a throw away version of "Rock-and-Roll Woman." Closing side
+
one is a performance of "Find the Cost of Freedom" that runs right into a
+
version of "Ohio," which sounds very close to the original. Sides two and
+
three are much better. "Southern Man" begins side two with a long, jam
+
version in front of an audience. Following it is "Are You Ready For the
+
Country" (or at least part of it), which segues into a group of teenagers
+
singing "Let Me Call You Sweetheart." What comes next is my second-favorite
+
part of the album. Neil and some of CSN take up a jam of "Alabama," and you
+
can hear someone in the studio fooling with the mix. The best part of
+
"Alabama" is Neil saying, "We should do a moving Oooooh..." What I like about
+
this is that you can hear the creative process between Neil and CSN. You can
+
also hear an event like this on the bootleg Touch the Clouds. As soon as the
+
guys figure out what they should play they get right back into the groove.
+
There is a bizarre section in which the music fades out and Richard Nixon is
+
heard doing a singalong of "God Bless America," along with Crosby (?) talking
+
about apple pie. I liked it until Crosby got in there.
+
+
The best is yet to come. Once you turn over the record you are treated to a
+
*full* side of "Words." This is also in practice / jam style and is
+
wonderful. If you sit back and close your eyes, you almost feel like you are
+
with Neil and friends just working this out, jamming in the barn. Side four
+
contains a bizarre sequence with Neil talking to a preacher about "Relativity
+
Invitation," then there is a really long, irritating section of "Handel's
+
Messiah." The music and the "King of Kings" theme is pretty interesting, but
+
the singing is downright annoying. The only new song on this album is
+
"Soldier," and it begins with an interesting intro not found on the Decade
+
version. It had been a long time since I listened to this album and that was
+
a welcome surprise. Concluding the side, and the record, is a song called
+
"Let's Go Away for Awhile." It sounds lifted straight from the muzak system
+
at the dentist's office. The only way to describe this album is unusual - the
+
good stuff is exceptional and the bad stuff is awful. Sides two and three are
+
the standouts - if you are into jams and cool grooves buy the album and listen
+
to those two sides. The rest of it (save "Soldier") is throwaway material
+
that did not translate well from screen to LP (including David Crosby screwing
+
up part of "Alabama.") Neil has much better albums in his catalog, but
+
Journey Through the Past should not be overlooked or forgotten. Fortunately,
+
Neil won't deny fans the opportunity to enjoy it on CD when the reissue comes
+
out.
+
+
+
TIME FADES AWAY
+
1973 - Reprise 2151
+
Time Fades Away / Journey Through the Past / Yonder Stands the Sinner /
+
L.A. / Love In Mind / Don't Be Denied / The Bridge / Last Dance
+
+
by David Skoglund
+
skog0013@gold.tc.umn.edu
+
+
"My songs are all so long
+
And my words are all so sad"
+
- Neil Young
+
+
The key to understanding and appreciating Time Fades Away is in knowing the
+
conditions under which it was recorded. In the fall of 1972, Neil Young put
+
together a band to tour in support of his Harvest album. He had not been out
+
for almost two years, since his solo acoustic tour of early 1971. In that
+
time, both After the Goldrush and Harvest had been huge albums, thereby
+
creating a demand for live shows. An arena tour was booked for the early part
+
of 1973, and to no one's surprise tickets sold quickly. The band that Young
+
had assembled was a combination of the Nashville players from the Harvest
+
album, and Crazy Horse. The initial tour lineup featured Young, Ben Keith
+
(steel guitar), Tim Drummond (bass), Kenny Buttrey (drums), Jack Nitzsche
+
(piano) and Danny Whitten (guitar and vocals). After rehearsals, it was
+
obvious that Danny Whitten was in no condition to tour, as Whitten was in the
+
midst of trying to kick a heroin addiction by substituting large quantities of
+
other drugs in its place. He was fired from the band, and given an airline
+
ticket home and fifty dollars. A day later Whitten was dead of an overdose,
+
having used the severance money to buy the drugs that killed him. The start
+
of the tour was right around the corner, so Young and company made the
+
difficult decision to continue as planned. In early January, the band took to
+
the road for a three-month trip that was scheduled to visit over sixty cities.
+
Audiences were treated to a show that featured an opening solo acoustic set
+
followed by a rock set from the band. The material was drawn mainly from
+
After the Goldrush and Harvest, along with a smattering of older songs and a
+
batch of new songs. Part way into the tour Young's voice began to give out.
+
Without the vocal support of Whitten, he was forced to carry more of the vocal
+
chores than ever before. As the strain of the road and the grief of Whitten's
+
death began to catch up to Young, the shows became more and more ragged and
+
raw. In addition to everything else, the road crew tried to negotiate for
+
more money midway through - the temptation of seeing full arenas every night
+
must have proved too great. A brief break halfway through provided a chance
+
for Young to regroup; it was obvious that if the tour was to continue,
+
something needed to be done. Young called up his friends David Crosby and
+
Graham Nash for help, and they came onboard for the last month of the tour as
+
backup vocalists and rhythm guitarists. An additional change in the band
+
lineup was the replacement of drummer Kenny Buttrey with Johnny Barbata, the
+
CSN&Y tour drummer. Buttrey dropped out during the break because the
+
atmosphere was too much for him.
+
+
The bulk of Time Fades Away was recorded during this last leg of the tour, in
+
the western United States. Like the live sets, the album features a mix of
+
understated acoustic work and raw, urgent electric tunes. The new songs
+
included those that would appear on Time Fades Away, some that would appear on
+
Tonight's the Night ("Borrowed Tune," "New Mama," and "Look Out Joe") and some
+
that have yet to appear on any album ("Lonely Weekend" and "Sweet Joni.") The
+
three acoustic tunes are "Journey Through the Past," "Love In Mind," and "The
+
Bridge." Two of these songs are older numbers not written for this tour.
+
"Journey Through the Past" was a staple of the 1971 live performances, and the
+
version here was recorded during the first part of the 1973 tour, unlike all
+
the other 1973 material. "Love In Mind" was recorded in Los Angeles in
+
February of 1971, and is presumably included here to balance the more raw
+
material. The electric numbers ("Time Fades Away," "Yonder Stands the
+
Sinner," "LA," "Don't Be Denied," and "Last Dance") have an energy unlike
+
anything else Young had recorded before. The main reason for this is the
+
steel guitar playing of Ben Keith, who assumes Whitten's role as the main
+
musical foil for Young's guitar work. Unlike the Harvest material, in which
+
Keith mainly provides an atmosphere, his playing is sharp, biting and urgent.
+
It dramatically complements Young's wrenching, staccato playing, especially on
+
the album's closer, "Last Dance." This album is an honest document of a very
+
difficult period in Neil Young's life, both in musical and personal terms.
+
The descent into darkness continued during the sessions for Tonight's the
+
Night, which started soon after this album was assembled and mastered. The
+
safe thing would have been not to release these songs at all and let the tour
+
diminish into memory. Luckily, Neil Young has never done the safe thing.
+
+
+
ON THE BEACH
+
1974 - Reprise 2180
+
Walk On / See the Sky About to Rain / Revolution Blues / For the Turnstiles /
+
Vampire Blues / On the Beach / Motion Pictures (for Carrie) / Ambulance Blues
+
+
by Sam Tennent
+
stennent@hpqtdya.sqf.hp.com
+
+
On the Beach is perhaps the most personal record Neil Young will ever make.
+
It chronicles his emergence from a deep depression, caused in part by the
+
critical reaction to his post-Harvest artistic output. It is also a statement
+
of intent, which Young has stuck to throughout his career, that he will make
+
and release whatever music he feels like, with no compromise to commercial
+
considerations. This was a brave choice to make in 1974, when all of Neil's
+
musical contemporaries were urging him to make a "real" album - that is, to
+
hire a bunch of top notch session men and make Harvest II. Neil could have
+
easily done this. Listening to the material he was writing around this time,
+
songs like "Traces" and "Separate Ways," Harvest II would have been no
+
problem. Instead, Neil gave us a look into his REAL feelings and made some
+
remarkable music. Young had written about the pressures of fame during his
+
Buffalo Springfield days, with songs like "Out of My Mind" and "Mr Soul,"
+
however On the Beach sees an older and wiser Young coming to terms with the
+
pressures, rather than allowing them to overcome him. Almost every song
+
addresses these themes and gives Young's response. In "Walk On," Young
+
addresses his critics with the line:
+
+
"They go their way, I'll go mine"
+
+
thus setting the agenda for the next twenty years of his musical career. In
+
"Ambulance Blues" he is even more direct:
+
+
"All you critics sit alone / You're no better than me for what you've shown"
+
+
The title of the LP refers to Young's having "made it," but the songs reflect
+
the double-edged nature of fame. Perhaps the most revealing line on the
+
record is on the title track, where Young sings:
+
+
"Now I'm livin out here on the beach / But those seagulls are still out
+
of reach"
+
+
Elsewhere, his feelings about fame are shown to be even more bitter. He says
+
of the showbiz crowd (in "Motion Pictures"):
+
+
"All those people, they think they've got it made / But I wouldn't buy
+
sell borrow or trade anything I have to be like one of them / I'd rather
+
start all over again"
+
+
The lyrical content of On the Beach has been meticulously examined and
+
analyzed over the years, whereas the musical content has received relatively
+
little attention. This is an injustice, because this music is some of the
+
best that Young has ever produced. In fact, if one examines the critiques of
+
Young's music throughout his career, there has been relatively little analysis
+
of the sound quality of the records, as critics tend to concentrate on the
+
lyrics or musical styles employed. Hence in the eighties Young was accused of
+
excessive genre hopping by critics who failed to recognize that he has rarely
+
made two records that sound alike. For example, Neil's first six solo records
+
sound vastly different from each other.
+
+
Side one begins with "Walk On," a bright, up-tempo number, which is propelled
+
along by a shuffling beat from the Crazy Horse rhythm section, and reflects
+
the progression suggested in the lyrics. Next, Young chose to include an old
+
song, "See the Sky About to Rain." Some reviewers have suggested that it is
+
an attempt at irony on Young's part to include a prime example of his "downer"
+
songs here, after the sentiments expressed in "Walk On," but it's just a great
+
song with a magical chord progression change at the last verse and superb
+
drumming from Levon Helm. It is followed by "Revolution Blues," a song
+
inspired by Young's meetings with Manson. One can almost hear the 10,000,000
+
dune buggies coming down the mountain as the song rolls along with the Band's
+
Levon Helm and Rick Danko in the engine room, and David Crosby supplying manic
+
rhythm guitar. The pace then quiets down with "For the Turnstiles," a song
+
almost in the folk style, with Young singing falsetto accompanied by banjo and
+
Ben Keith on dobro. What other major artist during the seventies would have
+
chosen to sing a song that strained their vocal range as much as this? And
+
yet this gives the song its power and makes for compulsive listening. The
+
first side ends with "Vampire Blues," a jokey, standard twelve-bar blues with
+
a terrific bubbling guitar solo, which perfectly evokes an image of bubbling
+
oil being "sucked From the Earth." Here Young addresses one of the common
+
ecological themes found throughout his body of work.
+
+
Side two is a whole different ball game. The mood is somber, almost narcotic.
+
Young has commented that this record was made mostly under the influence of
+
"honey slides" - a marijuana and honey concoction described by Young onstage
+
at his Bottom Line show in May 1974. The title track is a beautiful, slow
+
bluesy song, with a wonderfully understated guitar solo that should come as a
+
great surprise to those who know Young only through his Ragged Glory period.
+
This is followed by "Motion Pictures (for Carrie)," a song written on the
+
road, in which Neil pines for the simplicity of the country life. A
+
beautiful, meandering chord progression and laid-back harmonica give it a
+
world-weary sound. The last track on the album, "Ambulance Blues," is among
+
the best five that Young has ever written. As he later admitted, the melody
+
in the verses is the same as that in Bert Janch's "Needle of Death," a song
+
that Young has cited as an early influence. However, the musical
+
implementation is stunning. With breathy harmonica and genuinely spooky
+
fiddle playing from Rusty Kershaw, the track has a rootless, floating feel,
+
leaving the lyrics as the focus of the listener's attention. On the Beach is
+
special to me, as it was the first Neil Young album that I bought at the time
+
of its release. I had gotten into Neil's music in early '74, and had acquired
+
all of his earlier records by the time On the Beach came out. I still
+
listen to it, twenty years later, more than either After the Goldrush or
+
Harvest. I guess this is because the record is so musically interesting.
+
It's full of spontaneous performances and first-take errors, which were left
+
on because their feel is right. It doesn't have the life produced out of it,
+
like, dare I say, Harvest Moon or Landing on Water. For me, this was summed
+
up in my favorite moment on the whole record, in which Neil catches his thumb
+
/ pick on the bottom E-string during "Ambulance Blues." The note booms out
+
over the line:
+
+
"Where men STUB their toes on garbage pails!"
+
+
It's just perfect.
+
+
+
TONIGHT'S THE NIGHT
+
1975 - Reprise MS 2221
+
Tonight's the Night / Speakin' Out / World on a String / Borrowed Tune /
+
Come on Everybody Let's Go Downtown / Mellow My Mind / Roll Another Number /
+
Albuquerque / New Mama / Lookout Joe / Tired Eyes / Tonight's the Night
+
+
by Damon Ogden
+
60053@ibmmail.com
+
+
Tonight's the Night is like an OD letter - the whole thing is about life,
+
dope, and death. "I probably feel this album more than anything else I've
+
ever done," said Neil Young in Rolling Stone (August 14, 1975). I also feel
+
this album - more than any other Neil Young album, or any album ever -
+
completely captures the essence of what I believe makes Neil Young such a
+
great artist: His ability to put his mood, his beliefs, and himself into his
+
work. Following Neil's work is a roller-coaster ride, and Tonight's the
+
Night is both the low point and the high point all rolled into one confused,
+
angry, sad, but brilliant piece. This album is not pretty, and undoubtedly
+
would not be the first album you're going to pull out for a friend interested
+
in hearing Neil for the first time, unless maybe you and your friend are
+
drunk. TTN was inspired by Bruce Berry, a longtime roadie, and Danny Whitten
+
of Crazy Horse, who both died of drug overdoses. It was recorded over two
+
years before its release in mid-1975, but was shelved in favor of On the
+
Beach. In 1975, Neil was playing his next album, Homegrown, for friends and
+
TTN followed on the reel. Neil decided TTN was better than the
+
still-unreleased Homegrown, and it was released instead. The album was
+
sequenced by Elliot Roberts, with three tracks, "Lookout Joe," "Borrowed
+
Tune," and "Come on Baby Let's Go Downtown" (recorded in 1970 with Whitten
+
signing lead) added to the original nine songs. This album is raw, ragged,
+
and powerful music. Every listener will have a different experience based
+
upon their tastes and state of mind at the time of listening. TTN is a must
+
for any collector of Neil Young albums.
+
+
+
ZUMA
+
1975 - Reprise MS 2242
+
Don't Cry No Tears / Danger Bird / Pardon My Heart / Lookin' for a Love /
+
Barstool Blues / Stupid Girl / Drive Back / Cortez the Killer / Through
+
My Sails
+
+
by Jeff Dove
+
jeffdove@well.sf.ca.us
+
+
"If I could hold on to just one thought for long enough to know / Why my
+
mind is moving so fast and the conversation is slow"
+
+
- from "Barstool Blues"
+
+
Zuma is the first record with the current and long-standing version of Crazy
+
Horse (Billy Talbot - bass, Ralph Molina - drums, and Frank Sampedro -
+
guitar). The record's sound is laid out in a way that places it on a
+
continuum that includes Rust Never Sleeps, Live Rust, Re-ac-tor, Ragged Glory,
+
and Weld in the future (as well as a few selected cuts here and there on other
+
albums, most notably "Like a Hurricane" from American Stars 'n' Bars). With
+
Poncho joining Neil on guitar, the band developed a style that I believe
+
allowed him to create his best music over the years. Previous Crazy Horse
+
collaborations had power, but Zuma is the beginning of the balance of raw
+
playing and a clean sound, featuring a perfectly balanced interplay between
+
the two guitars. Similar to Big Star in the early seventies or Television in
+
the late seventies, there is an amplified noise which doesn't let up on the
+
energy, but is not overwhelming or excessive. The previous Neil Young and
+
Crazy Horse collaboration, Everybody Knows This Is Nowhere, from the early
+
solo days, featured Danny Whitten's playing, but Whitten's death brought about
+
a six-year hiatus in the Horse's appearances as Young's backing band on a
+
complete record. Zuma signals their return, and this record introduces the
+
sound that gives Neil his "Godfather of Grunge" title. If Zuma has a lyrical
+
theme, it is one of romantic rejection, loneliness, hope, and despair. From
+
song to song, it seems to have been written by a man who has just been dumped,
+
and might even be still harboring a bit of hostility; but on the other hand,
+
he longs for a return to what he once had. The opening two high-energy songs
+
set this theme. From the musically upbeat "Don't Cry No Tears":
+
+
+
"Well I wonder who's with her tonight / And I wonder who's holding
+
her tight / But there's nothing I can say, to make him go away..."
+
+
"Danger Bird" isn't as abrupt in its words, but it is a heavy, searing tune
+
with an anguished tone to both the vocals and the guitar solos that continues
+
the emotion without putting it into words. Not every track is a full-on
+
electric work out, and side one takes a respite from this, in varying degrees,
+
with its third and fourth tracks. "Pardon My Heart" finds Neil with his
+
acoustic, and its plea is one of the most straightforward:
+
+
"Pardon my heart if I show that I care / But I love you more than moments,
+
we have or have not shared"
+
+
"Lookin' for a Love" presents a return to the electric guitar, but the
+
distortion is down and the country-rock beat is up. Again, the lyrical theme
+
of the album is pursued:
+
+
"I've been lookin' for a lover but I haven't met her yet..."
+
+
And then, the telling chorus:
+
+
"Lookin' for a love that's right for me / I don't know how long its gonna
+
be / But I hope I treat her kind, and don't mess with her mind, when she
+
starts to see the darker side of me"
+
+
It's a fatalistic response to the earlier, "Is it strange I should change I
+
don't know, why don't you ask her" line from the Buffalo Springfield song "Mr.
+
Soul." "Barstool Blues" kicks side one back into high gear. It is a raging
+
rocker, littered with wry observations and clever comments like the quote
+
which began this review, and is Zuma's best song. More relationship-based
+
angst can be found in the verse, such as:
+
+
"He trusted in a woman, and on her he made his bet"
+
+
And then:
+
+
"And I saw you in my nightmares, but I'll see you in my dreams / And I
+
might live a thousand years before I know what that means"
+
+
The second side begins much as the first did, with some loud Crazy Horse
+
intensity. However both "Stupid Girl" and "Drive Back" are centered less
+
around longing and are more bitter and angry. The title to "Stupid Girl" tips
+
off its message. When the Stones used this title on Aftermath for a different
+
song, it was to dismiss a woman for her superficiality and justified one of
+
Jagger's misogynist poses. Neil's song seems based on a more personal
+
disgust. On a musical level, listen as Neil harmonizes with himself on some
+
verses, singing in both his more usual voice and in the higher tone he
+
utilizes on occasion. "Drive Back" is one of the album's hardest rockers, and
+
accompanying its guitar attack are more words of angry dismissal:
+
+
"Drive back to your old town / I want to wake up with no one around"
+
+
The familiar "Cortez the Killer" continues the sound that has been prevalent
+
over the course of Zuma. Neil's and Poncho's guitars play off of each other
+
in an intricate and exciting manner. The music builds from subtle beauty
+
through an extended instrumental intro, to become more amplified and intense
+
as the song's story of the bloody aftermath of the arrival of imperialist
+
conquerors becomes more intense. The theme of "Cortez" is obviously quite
+
distinct from that which Zuma has been occupied with up to this point, but
+
stuck into a refrain and the end of the song can be found these seemingly
+
unrelated lines:
+
+
"And I know she's living there, and she loves me to this day / I still
+
can't remember when, or how I lost my way"
+
+
"Through My Sails" is a knock-off with Crosby, Stills, Nash and their acoustic
+
guitars. It's only average and, compared to the rest of the album, is a bit
+
of a let down. Neil was probably throwing a bone to the trio, who by this
+
time had already demonstrated their lack of any ability to create anything
+
worthwhile without Young along for the ride. If you're partial to the harder
+
edge of Neil Young's music, Zuma is an important stage in his development; if
+
your tastes run toward the sounds of loud electric guitars zealously playing
+
off of each other, then it is essential.
+
+
+
AMERICAN STARS 'N' BARS
+
1977 - Reprise MSK 2261
+
The Old Country Waltz / Saddle up the Palomino / Hey Babe / Hold Back
+
the Tears / Bite the Bullet / Star of Bethlehem / Will to Love / Like a
+
Hurricane / Homegrown
+
+
by Stephen J. Chant
+
schant@moose.uvm.edu
+
+
All of Neil's fans should own American Stars 'n' Bars, if only for the seminal
+
November '75, 8:14 minute "Like a Hurricane." AS'n'B is one of Neil's
+
scattershot albums, in which he explores a variety of themes, including rock,
+
country, ballad, even the waltz. Side one is performed by Neil, Crazy Horse,
+
and the Bullets. The Bullets (a humorous, oblique reference to the clitoris)
+
are Linda Ronstadt, Nicolette Larson and Carole Mayedo. Opening with the
+
rural-paced "The Old Country Waltz" and "Saddle Up the Palomino," Neil then
+
delivers a one-two-three roundhouse of excellent, romantically inspired songs
+
with the warm "Hey Babe," the hot "Hold Back the Tears," and the blistering
+
"Bite the Bullet." Side Two is a total mishmash. Neil picks up a group that
+
includes Emmylou Harris, Ben Keith, Tim Drummond and Karl Himmel for "Star of
+
Bethlehem," then goes solo for "Will to Love," before joining up with the
+
Horse for two classics, a raging "Hurricane" and a laconic and lovable
+
"Homegrown." AS'n'B remains one of my favorite albums, even after fifteen
+
years. Neil demonstrates versatility and unpredictability in a very laid-back
+
atmosphere, much like a favorite bar or back porch. At the very least, this
+
is an album that should've warned David Geffen that in Neil Young, he wasn't
+
getting a commodity driven by commercial success.
+
+
+
COMES A TIME
+
1978 - Reprise MSK 2266
+
Goin' Back / Comes a Time / Look Out for My Love / Lotta Love / Peace of
+
Mind / Human Highway / Already One / Field of Opportunity / Motorcycle
+
Mama / Four Strong Winds
+
+
by Crazy Donkey (aka Rob Blackmore)
+
rblckmor@vax1.tcd.ie
+
+
Comes A Time, produced by Neil Young, Ben Keith, Tim Mulligan and David
+
Briggs, is regarded by some as a comeback to folk music for Neil Young, more
+
in the style of Harvest and After the Goldrush. Originally, the album was
+
going to be called Ode to the Wind, and several copies were pressed with that
+
name. There are ten tracks on the album, five on each side. All of the
+
selections are written by Neil Young, except for the tenth track, "Four Strong
+
Winds," which is a cover version of an Ian Tyson song. A wide variety of
+
musicians play on the album, and Nicolette Larson sings the backing vocals.
+
Crazy Horse plays on "Look Out For My Love" and "Lotta Love," with J.J. Cale
+
on electric guitar. "Goin' Back" is one of my favorite tracks on the album.
+
It's a peaceful song, expressing a wish to return to the past, back to a more
+
simple time when "fire filled the sky" and where there was "nowhere to stay."
+
It also mentions a relationship splitting apart, which is possibly a central
+
theme to the album. The mixture of guitar sounds works very well, and Neil's
+
voice and the backing vocals of Nicolette Larson combine beautifully. The
+
imagery is quite geological to begin with, something Neil has touched on in
+
other songs, "Thrasher," from "Rust Never Sleeps," for example. The song
+
ends, however, in the city, where the shadows of the buildings "tore us apart,
+
and now we do what we do." Comes A Time opens with some great fiddling, which
+
blends well with the guitar. Neil's voice is quite lonesome, and the backing
+
vocals are perfect, just being audible on the edges. The imagery is again
+
very earthy, and the song seems to describe how time keeps passing by. The
+
idea of the earth spinning round, and "It's a wonder tall trees ain't layin'
+
down," is typical of Neil's ability to paint a picture with a few words.
+
"Look Out For My Love" is probably my favorite track on the album. Recently,
+
it was performed brilliantly for the Unplugged show, and it was hardly altered
+
because the set-up is so perfect! The crisp combination of guitars superbly
+
complements Neil's voice, which is pitched spot-on. The electric guitar,
+
which comes in at "hydraulic wipers pumping," just makes it for me - it's
+
heavenly! The whole description of the airport and traffic is classic; what
+
more can I say! "Lotta Love" is the next track on my tape, slightly out of
+
place with the sleeve order. There's some nice piano and high pitched
+
percussion work. It appears to be saying that it takes a lotta love to keep
+
people together. There's a wish for the right person / lover to "show up
+
soon." "Peace Of Mind" has an interesting beat, sort of like a ticking clock.
+
It describes how it takes a long time to get to know someone and to let them
+
get to know you. "It's hard to face that open space" is a sort of warning
+
that if you leave, you won't have "peace of mind," and that's probably the
+
best thing to go for. The electric guitar at the end adds to the drum beat.
+
The second side of the album opens with "Human Highway." This is more in the
+
style of the first two tracks of side one, with plenty of earthy imagery. It
+
also speaks, however, about people being unkind, and maybe talking about you
+
and your life behind your back. The backing vocals once again add to this
+
song. "Already One" always makes me feel a little sad. It's about splitting
+
up with someone, but being forever attached to them through a child, in this
+
case a little son. It's got a slow, lonely beat, and the guitar at the end is
+
great. Once again Neil uses words and phrases that have so much feeling, as
+
in:
+
+
"In my new life, I'm traveling light / Eyes wide open for the next move"
+
+
"Field Of Opportunity" livens things up. There's a nice blend of fiddle, and
+
acoustic and electric guitar; the strumming keeps the beat. The song talks
+
about moving on, new growth, and new love; everyone makes mistakes but you
+
just have to keep trying. "Motorcycle Mama" was apparently written by Neil
+
after watching a woman fall off her barstool in Florida, but I don't know how
+
reliable that is. This is certainly the most electric song on the album, and
+
it keeps the country feel with a mean piece of fiddling. Nicolette Larson's
+
vocals are very much the dominant force of this song. It sort of follows the
+
"moving on" theme, with:
+
+
"I just escaped from the memory-county jail."
+
+
The album finishes with a cover version of the Ian Tyson song "Four Strong
+
Winds." It's a fairly lively version, and the lyrics fit with the other
+
songs. Neil's voice is perfect, and again the set-up works well. I really
+
like this album. I find the mixture of acoustic and electric guitar with the
+
fiddle to be really pleasant to listen to. The songs are sometimes fairly
+
lonesome, but usually there is a balance. As usual, the subject matter would
+
appear to reflect Neil's personal life, but as with so many of his songs, the
+
problems are of a human nature that everyone can relate to.
+
+
+
RUST NEVER SLEEPS
+
1979 - Reprise HS 2295
+
My My, Hey Hey (Out of the Blue) / Thrasher / Ride My Llama / Pocahontas /
+
Sail Away / Powderfinger / Welfare Mothers / Sedan Delivery / Hey Hey,
+
My My (Into the Black)
+
+
by Richard Dubourg
+
uctpa08@ucl.ac.uk
+
+
Just recently, some people have started to say that they never really could
+
understand the connection made between grunge and Neil Young, and between
+
grunge and Rust Never Sleeps in particular. Don't listen to them, as this is
+
seminal, and all the more astounding for having been recorded over fifteen
+
years ago (with many of the songs older than that). The all-pervading theme
+
of the album is one of change, and of what becomes of those who try to resist
+
it. Hence, the boy who stands to fight the anonymous invaders, ignoring his
+
father's advice ("Red means run, son, numbers add up to nothing") gets a
+
bullet in the head for his pains ("Powderfinger"); the alien who says, "It's
+
old but is good" is nothing but a "primitive" ("Ride My Llama"); even the now
+
infamous line, "It's better to burn out than to fade away" is more an
+
exhortation to accept, and if possible to adapt to, change rather than resist
+
it and become obsolete ("Out of the Blue [Into the Black]"). Rust Never
+
Sleeps is an album borne of the decade that saw Vietnam, environmental
+
disasters, and other events of global change, and ends up being one of the
+
most direct and coherent statements about the punk movement ever put to vinyl.
+
"This is the story of Johnny Rotten," Young sings, and you know he sees Rotten
+
as the ambassador to an irresistible driving force in popular music at the
+
time. This only serves to reinforce the grunge connection, with that later
+
(and almost exclusively North American) phenomenon being a fruitful (if
+
somewhat overdue) offspring of the union between punk and rock music. You can
+
be sure that Young wasn't intending to "fade away" from "I'll know the time
+
has come to give what's mine" ("Thrasher"). But don't think this is just a
+
grunge album, as it has all of the Young trademarks: the distorted guitar, the
+
country influence, and good ol' rock'n'roll. But all of it, even the acoustic
+
first side, has a hard edge. There are not many albums which sound as fresh
+
and relevant today as when they were first recorded. Rust Never Sleeps is
+
one, and deserves to be in everyone's collection.
+
+
+
LIVE RUST
+
1979 - Reprise 2296
+
Sugar Mountain / I Am a Child / Comes a Time / After the Goldrush / My My,
+
Hey Hey (Out of the Blue) / When You Dance I Can Really Love / The Loner /
+
The Needle and the Damage Done / Lotta Love / Sedan Delivery / Powderfinger /
+
Cortez the Killer / Cinnamon Girl / Like A Hurricane / Hey Hey, My My
+
(Into the Black) / Tonight's The Night
+
+
by Joost Groen
+
joost@klft.tn.tudelft.nl
+
+
Live Rust was released by Reprise in 1979, only a few months after Rust Never
+
Sleeps saw daylight. It is a record of Neil's 1978 North American Rust Never
+
Sleeps tour, with Crazy Horse in its strongest line-up (Poncho, Billy Talbot
+
and Ralph Molina,) and was primarily released as a soundtrack to the tour's
+
filmed documentary. The set list of Live Rust comprises a good overview of
+
Neil's work thus far. The show can be more or less subdivided into two parts
+
(as is usual in a lot of Neil's concerts), an acoustic and electric. Live
+
Rust immediately starts off with one of the highlights, a very clear guitar
+
and Neil's singing what's famously known as the song he wrote on his 19th
+
birthday, "Sugar Mountain." The ending, with Neil singing the last stanza in
+
a kind of desperate way with the help of his harmonica, really strikes at the
+
heart. After this emotional song, the somewhat hurriedly played "I Am A
+
Child" comes as a kind of an anticlimax - I think this song deserves more.
+
But then, "Comes a Time" is great. I'm prejudiced toward this song, since my
+
friend Marc and I used it as the theme of the party for our graduation from
+
University. These first three songs have the same theme - a loss of childhood
+
and innocence. "After the Gold Rush" is alright, but "My My, Hey Hey" is kind
+
of impoverished. Although the audience appreciates Neil's dedication to
+
Johnny Rotten (shouted out), within this line-up the usual emotionality of
+
this song, telling of the first indications of maturing after an innocent
+
childhood, does not come out clear enough. With "When You Dance I Can Really
+
Love" bursting from your stereo set, things are alright again. Now this is
+
emotion, this is how being in love feels! The power emerging from this song
+
is incredible. "The Loner" is, again, somewhat hastily played, and therefore
+
loses some of its power. The thunderstorm and rain at the end of "The Loner"
+
("my guitar! - no rain!") is a nice relaxation point in an altogether exciting
+
show, and Neil's emerging from the rain acoustically with "The Needle and the
+
Damage Done" gives the song a good setting - the junkie in the gutter and in
+
the rain. "Lotta Love" is played better than the original, in my opinion,
+
especially the background vocals, which contribute to a sweet but intense
+
song. It maybe should've been performed earlier in the set, however.
+
+
With "Sedan Delivery," Neil and the Horse switch to electric - definitively. I
+
don't like this version of "Sedan Delivery," as it's too noisy and you can
+
hardly hear Neil's singing. That's a pity, but then the sequence
+
"Powderfinger" - "Cortez The Killer" - "Cinnamon Girl" - "Like A Hurricane"
+
produces one hell of a lot of energy. A very powerful "Powderfinger" again
+
describes the difficulties one encounters in maturing:
+
+
"I just turned 22 / I was wondering what to do"
+
+
"Cortez the Killer" is played slowly, in the way that it should be. The
+
reggae-ish ending of the song is famous and makes you smile. "Cinnamon Girl"
+
is still one of my early Neil favorites, but the version on Live Rust has a
+
strange spectral distribution (lots of treble, too low on bass). I've heard
+
Neil do better versions of "Like A Hurricane," as well. Well, the song was
+
still pretty young then, and it has certainly since developed. The encores of
+
"Hey Hey, My My" and "Tonight's the Night" are both played in a very
+
distorted, heavy, black style. I love them that way, but they make for a
+
strange appearance on an otherwise quite clear album. However, their symbolic
+
value - of decline setting in - serves the "story" of this concert well; in
+
this way, the concert ends in some kind of black hole through which we all
+
eventually have to crawl. The line-up of the songs on Live Rust suggests a
+
story of growing maturity. From childhood in the first couple of songs, to
+
death (in this case of someone in your vicinity) at the end. Some critics
+
claim that Live Rust doesn't really add anything to Neil's oeuvre, especially
+
since it came out only two years after Decade, and nine of the songs on Live
+
Rust are on Decade as well. I think the power of Live Rust is the fact that
+
it is live. It takes you on a 74'01" minute journey through the past.
+
+
+
HAWKS AND DOVES
+
1980 - Reprise HS 2297
+
Little Wing / The Old Homestead / Lost in Space / Captain Kennedy / Stayin'
+
Power / Coastline / Union Man / Comin' Apart at Every Nail / Hawks and Doves
+
+
by Jeff Connelly
+
jeffc27553@aol.com
+
+
Of his popular hit "Heart of Gold," Neil Young wrote, "This song put me in
+
the middle of the road. Traveling there soon became a bore so I headed for
+
the ditch; a rougher ride, but I saw more interesting people there." The
+
same can be said for Hawks and Doves, Neil Young's first album following his
+
phenomenally successful Rust tour. He heads straight for the metaphoric
+
ditch, following his muse rather than striving for commercial success. This
+
album is the first in his string of eclectic, experimental (self-indulgent?
+
- you be the judge) eighties records. Side one has a spare, at times eerie
+
sound. Unusual for a Neil Young album, the first track, "Little Wing," is
+
practically a throwaway; perhaps it leads off so the album doesn't start
+
overly dark. (Yeah, I know, you've got three words for me: Tonight's the
+
Night). "The Old Homestead" dates back to 1974. Neil will often hold onto
+
a song until he feels the time is right to release it, and it is the only
+
track on the side with instruments other than Neil's guitar and harmonica.
+
The song has a ghostly, Band-like feel to it, helped by the presence of Band
+
drummer Levon Helm. The darkness of "Homestead" is countered by the
+
relative whimsy of "Lost in Space" (featuring a guest vocal by a Marine
+
Munchkin). The side ends with "Captain Kennedy," which lyrically would fit
+
on a Tom Waits album, and both lyrically and musically evokes an image of
+
Neil singing in a candlelit room with people lying about, smoking grass, and
+
staring up at the flickering ceiling. Side two, in contrast, has a bright,
+
country flavor and a full band. The omnipresent fiddle player would
+
later tour with Neil in the International Harvesters. Most importantly,
+
Neil sounds like he's having a lot of fun. Lyrically, the songs are much
+
more direct - "Stayin' Power" and "Coastline" are love songs, while "Union
+
Man" and "Comin' Apart at Every Nail" are more political, though the most
+
pressing matter at the meeting in "Union Man" is the issuance of "Live Music
+
Is Better" bumper stickers. Hey, first things first. The album ends with
+
Hawks and Doves, which today Neil probably couldn't sing without making it
+
ironic. (We'll ignore for the moment that he is originally from Canada).
+
It's a burst of hey-we're-in-the-greatest-country-in-the world patriotism,
+
right in tune with the beginning of the Reagan Era. Though I'm not a
+
patriot in the classic sense (I prefer to think of myself as a Biafran
+
neo-patriot), the song never fails to pick me up and make me smile. Had it
+
been issued as a single and successful, it probably would stand today as a
+
popular patriotic country anthem for those who find Lee Greenwood boring.
+
+
+
RE*AC*TOR
+
1981 - Reprise HS 2304
+
Opera Star / Surfer Joe and Moe the Sleaze / T-Bone / Get Back on It /
+
Southern Pacific / Motor City / Rapid Transit / Shots
+
+
by Jack "Shakey" Mullins
+
j.mullins1@genie.geis.com
+
+
In 1979, Neil Young released Rust Never Sleeps, and side two of that album
+
proved that he could dish out punk with the best of them. Then after an odd
+
(but good) 1980 album Hawks and Doves, Neil followed up his punk effort with
+
even rougher rock-and-roll. The outcome was Re*Ac*Tor. This 1981 album, with
+
Crazy Horse, features some of the finest and rawest (not to mention
+
overlooked) music of Neil Young's career; this album is a prerequisite to
+
Grunge 101. Side one opens with "Opera Star," and reveals what would be in
+
the future musically, with synthesizers quite up-front in the mix. It's
+
uncompromising nonetheless, and the lyrics sting: "So you stay out all night
+
getting fucked-up in that rock-and-roll bar," Neil sings. Following this,
+
"Surfer Joe and Moe the Sleaze," might remind one, thematically, of a heavier
+
version of Three Dog Night's (or Randy Neman's -JF) "Mama Told Me Not to
+
Come." The next song wasn't even meant to be recorded, apparently, but wound
+
up so because Neil and the Horse still felt like playing after they recorded
+
the album. Nine-plus minutes of Neil playing wildly falanged guitar solos and
+
repeating "Got mashed Potatoes, ain't got no T-Bone." This would be a show
+
stopper if Neil ever took this song on tour! The side closes with "Get Back
+
On It," a very jumpy tune, like "Are You Ready for the Country" with no steel
+
and a grunge backbeat. It has a tough spot on the LP following the first
+
three songs! Side two begins with what is probably the most accessible song
+
on the album, "Southern Pacific," a rolling three-chord rocker about forced
+
retirement - just like a Springsteen song, only with balls. The pretty hokey
+
(but amusing) "Motor City" follows, and demonstrates how varied a Neil Young
+
album can be from song to song. "Rapid Transit," along with the first three
+
songs, would create the most perfect album side of all time - a very crunchy
+
trip through power-chords, and Neil's stammering, which would offend some
+
people. It's classic Neil, and almost a one note guitar solo again as well!
+
"Shots" closes the album, and it takes on a completely different form than
+
when Neil presented it in concert three years before, much as how the electric
+
version of "Cowgirl in the Sand" compares to the Four Way Street version. But
+
this song is much more sloppy and rough than "Cowgirl," which in fact sounds
+
tame by comparison. Listening to one song at a time does not do justice here,
+
folks. The album on a whole is a classic, and sadly it's a very underrated
+
one. The forthcoming CD release of Re*Ac*Tor will hopefully give it another
+
chance to be noticed, and I think it will be well received by people hearing
+
it for the first time, since the roots of grunge show so clearly.
+
+
+
TRANS
+
1982 - Geffen GHS 2018
+
Little Thing Called Love / If You Got Love / Computer Age / We R in Control /
+
Transformer Man / Computer Cowboy (aka Syscrusher) / Hold on to Your Love /
+
Sample and Hold / Mr. Soul / Like an Inca
+
+
by Jeff Dove
+
jeffdove@well.sf.ca.us
+
+
As either a description of the transformation to a techno-Orwellian society or
+
as a method of communication with a special child, Trans could not be created
+
from the traditional approaches of solo, acoustic rock (Comes a Time, Rust
+
Never Sleeps, Hawks and Doves) or fuzzed out, dueling guitar, electric rock
+
(Rust Never Sleeps, Re-ac-tor) that Neil Young worked with over the previous
+
four years. Trans required a new methodology. The core of this record
+
features Neil contributing synthesized rhythms through the use of a
+
Synclavier, and distorting his voice through a device called a Vocoder, to
+
create a distant, metallic, robotic sound. It has been reported that the use
+
of this gadgetry was borne from Young's attempts to reach his cerebral palsy
+
afflicted son, but what emerged is a bit of negative science fiction about
+
society's transistion to the computer age. The five central tracks, "Computer
+
Age," "We R in Control," "Transformer Man," "Computer Cowboy (aka
+
Syscrusher)," and "Sample and Hold," tell of a cold and mechanical society.
+
"Computer Age" is a plea for warmth and humanity, while "We R in Control"
+
spells out a technological anti-Utopia:
+
+
"We control The data banks /
+
We control The think tanks /
+
We control The flow of air"
+
+
As its title suggests, "Computer Cowboy (aka Syscrusher)" updates the
+
mythology of the old west maverick to a modern electronic rebel. "Sample and
+
Hold" describes a commercial venture that can provide a "unit" for a wanting
+
man, made completely to the height, weight, skin and eye color, and other
+
specifications of his desire. The song's protagonist, through Neil's vocals,
+
requests not "the angry one" or "the lonely one" but "a new design - new
+
design." "Transformer Man" is the key song, as it takes the idea of new
+
technologies directly to the inspiration for this record, as the transformer
+
man is Young's son:
+
+
"Direct the action with the push of a button..."
+
"Let us throw off the chains that / Hold you down"
+
+
The overall message is one of the mechanization of mankind, and this is
+
symbolized by the cover art. On the front a hippie with bongos thumbs a ride
+
into the horizon (and into the album itself) from a convertible Chevy on a
+
tree-lined road, while his counterpart on the other side of the street is an
+
automaton making the return trip by hitching a space car traveling through the
+
brave new world. The transition from one state to the next is described
+
within the record, which is the unseen point in the distance. The back cover
+
sums up the state of this future with a drawing of a human heart peeled open
+
to reveal its transistor and microchip interior. The album is not completely
+
techno, however, and these theme songs back their synthesized sounds with real
+
guitars, bass, and drums - the beat is there. "Computer Cowboy (aka
+
Syscrusher)" has a pretty raw guitar lead running through it, and "Sample and
+
Hold" straight-out rocks through all of its weirdness. These five tracks
+
weren't enough for an album, and thus Trans is filled out with two interesting
+
pairs of songs. "Hold on to Your Love" and "Mr. Soul" maintain the sonic
+
effect described above, although the former drops the Vocoder and presents an
+
older, simple love song with the new style of music. "Mr. Soul" is the
+
classic, given the complete futuristic treatment with distorted vocals and
+
all. "Little Thing Called Love" and "Like an Inca" have a traditional sound
+
to them. Each has none of the Kraftwerkesque effects, but are still somewhat
+
unique when stacked up against the whole of Young's work. They seem to be the
+
products of the same session, as each has a similar make-up. Though they
+
employ a full rock band, the subtle electric lead guitar, strumming acoustic
+
rhythm guitar, understated bass and drums, and calm singing don't sound like a
+
lot else of what Neil does when he goes electric. They begin and end Trans,
+
and I suspect that they had been in the can, not really fitting on previous
+
records. With the need for more material for this record and a desire
+
(however unsuccessful) not to completely alienate the new label (Geffen),
+
Trans was seen as a good place to pull them out. "If You Got Love" is a
+
phantom track (at least on my LP). It's listed on the jacket and the sleeve
+
(with lyrics) but isn't on the disk.
+
+
That Trans is Neil Young's first release for Geffen is also of interest. It
+
is doubtful that he was intentionally trying to deliver uncommercial product,
+
but likely that the record is just the result what he felt at the time.
+
Dedicated Neil fans know that this is not unprecedented - just look back to
+
Journey Through the Past. Geffen, however, wanted a big payoff from their new
+
artist and probably were hoping for Harvest II. There have been several
+
accounts of the label's initial rejection of Trans and the subsequent struggle
+
to get it out. In 1994, we are well aware of the strange turns Neil's music
+
can take, with Everybody's Rockin', Landing on Water, This Note's for You, and
+
even Trans behind us. However, in 1982 the listening public wasn't prepared
+
for these sounds, at a time when "new-wave and punk sucks" was the mantra of
+
the FM rock stations who were fighting with everything they had to dismiss
+
rock-and-rollers like the Ramones and the Clash as worthless. If you can
+
accept the mechanical vocals you'll find some great, solid rock sounds behind
+
them. All of Crazy Horse are involved (they are probably the band on "Little
+
Thing Called Love" and "Like an Inca," although the liner notes don't break
+
down musicians by song), as well as Nils Lofgren, and regular Young
+
contributors Ben Keith and Bruce Palmer. Trans doesn't seem intended as a
+
swipe at Geffen, but the bad blood between artist and label started with it,
+
and led to the giant FU that is the next record, Everybody's Rockin'. At a
+
time (1983) when the fad was a rockabilly revival (with the fluff of the Stray
+
Cats leading the way), Neil probably wanted to put Geffen off and show the
+
youngsters how it's done at the same time. How else can you explain an album
+
that is just over twenty minutes long and is completely detached in style from
+
any of his recorded work that came before? The tour that followed Trans was
+
also an interesting experience. It was mostly a solo acoustic event, with
+
Neil shifting between upright piano, grand piano, and acoustic guitar, until
+
the encore. At that point in the show he emerged, complete with futuristic
+
shades, behind his synth and with Vocoder in place to deliver a trio of songs
+
from the record, including "Transformer Man" and "Mr. Soul."
+
+
+
EVERYBODY'S ROCKIN'
+
1983 - Geffen GHS 4013
+
Betty Lou's Got a New Pair of Shoes / Rainin' In My Heart / Payola Blues /
+
Wonderin' / Kinda Fonda Wanda / Jellyroll Man / Bright Lights, Big City /
+
Cry, Cry, Cry / Mystery Train / Everybody's Rockin'
+
+
by Jyrki Kimmel
+
kimmel@cortex.sai.vtt.fi
+
+
As much has been said about Neil Young and his relationship with Geffen in the
+
1980's, this review focuses only on the record Everybody's Rockin'. A history
+
of listening to Neil Young, however, brings a personal bias to the article.
+
The album consists of five rock-and-roll standards as well as five songs by
+
Young (two of them with co-authors). In all, the tone is that of great
+
nostalgia, and the standards are recorded with care and original spirit. At
+
the same time, humor is not forgotten, as is shown in the opening "Betty Lou's
+
Got a New Pair of Shoes," a childish play on rhymes, and "Kinda Fonda Wanda,"
+
as in its lyric:
+
+
"...'cause Wanda always wanna wanna wanna..."
+
+
Another play on words, or rather imagery, is "Jellyroll Man," with obvious
+
references to sex:
+
+
"I gotta have it right now "
+
+
But maybe I just see it that way. The album-ending title song is also a
+
seemingly meaningless rock-and-roll tune, in the vein of "Shakin' All Over,"
+
"Let's Twist Again," "At the Hop," or any other song proclaiming the birth of
+
a new way to dance, but with the added topical notion of Ronnie and Nancy,
+
"rocking in the White House all night long." A more serious effort is "Payola
+
Blues," a lament of record company payoffs and of radio DJs. "Rainin' In My
+
Heart" and "Cry, Cry, Cry" go beyond the usual in rock and roll tear-jerker
+
ballads, and Neil's renditions are superbly true to that spirit in both songs.
+
The most noteworthy songs, when taken out of context on the album, are
+
"Wonderin'," a tune Neil wrote and had performed on stage in the seventies,
+
and covers of "Bright Lights, Big City" and "Mystery Train," both great hits
+
from their era. "Wonderin'" would be a rocker in any arrangement, and this
+
version is just perfect. "Bright Lights, Big City" is sang as if Neil
+
personally is relating a story of a girlfriend lost in metropolitan splendor.
+
"Mystery Train" also has a personal, emotional feel, and it does not have its
+
roots in Neil's model railroad hobby. The album clocks in at 24 minutes, over
+
which the very essence of fifties rock is laid out, turned over, and emptied.
+
Undoubtedly this is the music Neil grew up with (with the obvious exception of
+
the personally penned songs), and as such, Everybody's Rockin' is a great
+
tribute to the roots of rock-and-roll in a time when artists of a "Younger"
+
generation are crafting tribute albums to the Godfather of Grunge himself.
+
+
+
OLD WAYS
+
1984 - Geffen GHS 24068
+
The Wayward Wind / Get Back to the Country / Are There Any More Real
+
Cowboys? / Once an Angel / Misfits / California Sunset / Old Ways / My Boy /
+
Bound for Glory / Where Is the Highway Tonight?
+
+
by Steve Peck
+
speck%indycms@uicvm.uic.edu
+
+
You can take Neil Young out of the country (like when he tours Europe or
+
elsewhere), but you can't take the country out of Neil Young. After several
+
less definitive forays into country-and-western music (such as album sides on
+
American Stars 'n' Bars and Hawks and Doves), Young finally strapped on the
+
country harness for real on Old Ways. Backed by a full band, the
+
International Harvesters, replete with fiddles, pedal steel, and banjos, Neil
+
managed to make a very solid country record. While it may not be one of his
+
very best, Old Ways turns out to be an important work nonetheless. On Old
+
Ways, Neil Young has grown up; he is no longer a young man finger pointing at
+
the establishment. There is a new found sense of responsibility showing up in
+
his songs. He attempts to do his part in standing up for the small guy who's
+
dreams are being dashed, and who is trying to maintain his / her lifestyle,
+
built on the basic human values of family, love, and hard work. Neil speaks
+
of these things from the perspective of a man who has learned these lessons.
+
It is a transformation for Young, and actually is easy to miss when listening
+
to this laid-back sounding album. This new sensibility is also found in most
+
of his subsequent work. The main thematic highlights of the album are in "Are
+
There Any More Real Cowboys?," a song that chronicles the plight of the modern
+
cowboy / farmer, and "Bound For Glory," a tale of a lonely pickup-truck
+
driver, a hitchhiking girl, and her dog. The title cut, "Old Ways," has the
+
author swearing off his evil ways, although he cannot stay straight. Other
+
memorable moments are "California Sunset," an ode to his state of residence,
+
"Once An Angel," a slow country ballad with a very traditional setting, and
+
"My Boy," a touching song for his son. "Misfits" is one of those really weird
+
Neil Young numbers where you wonder what the hell he is talking about and what
+
possessed him to write it.
+
+
The International Harvesters were a swinging band that added a lot to the
+
quality of the record, and this is Neil's most realized country effort to
+
date. One enjoyable aspect of the album is his use of Waylon Jennings for
+
vocal harmonies. Waylon and Neil's voices blend well together, and Jennings
+
is one of the best harmonizers around. Willie Nelson shows up to duet on "Are
+
There Any More Real Cowboys?," adding further to the record's country
+
credentials. This period of Neil's career is even more significant if you
+
look past the Old Ways album, and take into account the subsequent
+
International Harvesters tour, with its performances of several exceptional,
+
unreleased songs, "Interstate" and "Grey Riders." Two other songs that
+
further defined Neil's sympathy for the modern farmer, "This Old House" (later
+
recorded by CSNY) and "Nothing Is Perfect" (still unreleased), fit right into
+
the themes of Old Ways. The Harvesters proved to be a spectacular live band,
+
and really shined when given the opportunity to stretch out and jam. Notable
+
highlights from the tour were smokin' renditions of "Southern Pacific" (with
+
great fiddling), and an epic version of "Down By the River" where Neil
+
strapped on the old electric guitar and wailed. Although this record is
+
generally viewed as one of Young's weird genre pieces from the eighties, it is
+
actually a pretty traditional album for him, as Neil's music always had a
+
country edge, even when blasting away with Crazy Horse. Old Ways breaks new
+
ground in terms of personal expression for Mr. Young, with his acceptance of
+
his role as a responsible adult. It is also a nice album to listen to when
+
you are sitting on your porch, doing nothing.
+
+
+
LANDING ON WATER
+
1986 - Geffen GHS 24109
+
Weight of the World / Violent Side / Hippie Dream / Bad News Beat / Touch
+
the Night / People on the Street / Hard Luck Stories / I Got a Problem /
+
Pressure / Drifter
+
+
by Don St. John
+
donstjohn@aol.com
+
+
Somewhere in the mid-eighties, Neil Young began the transition from "guy
+
making oddball records and being sued by his record company" to "legend and
+
avatar of post-punk and grunge." If you'd like to know where the changeover
+
started, check out Landing on Water, his 1986 release and the one Geffen
+
Records could never justify suing him for. Landing on Water was Neil's return
+
to a more rocking sound after the various experiments of Trans, Everybody's
+
Rockin', and Old Ways. It has something in common with these albums; the
+
record features a stark, metallic sound that has more than a little in common
+
with the synthesizer-driven Trans. Nobody plays bass on this album; Neil and
+
cohorts Steve Jordan on drums and Danny Kortchmar on guitars fill the gap with
+
synths, leaving no bottom end, and thus no warmth to the sound. Jordan's
+
drums rattle like garbage cans, and Neil employs lots of brittle, feedback
+
guitar on Old Black, his classic Les Paul. The record's themes touch
+
continually on alienation ("Touch The Night," "I Got A Problem," "Drifter"),
+
lost visions ("Hippie Dream"), and the search for control ("Violent Side,"
+
"Pressure"). Neil never sounds convinced, even on the opening track, "Weight
+
Of The World," that the loneliness he felt until he met his love has really
+
gone for good.
+
+
"What about you / How can I count on you to count on me?"
+
+
is the plaintive question of "Drifter." The listener can't count on a solid
+
answer. This ambiguity, and the way it presages the power of later albums
+
such as Freedom and Ragged Glory, makes Landing on Water the missing link in
+
Young's canon for most listeners. My advice: Go find it and fill the gap now.
+
+
+
LIFE
+
1987 - Geffen GHS 24154
+
Mideast Vacation / Long Walk Home / Around the World / Inca Queen / Too
+
Lonely / Prisoners of Rock'n'Roll / Cryin' Eyes / When Your Lonely Heart
+
Breaks / We Never Danced
+
+
by Gary A. Lucero
+
glucero@wordperfect.com
+
+
Life is Neil's last official recording with Geffen. It was released in 1987,
+
with much of it recorded live during the Landing on Water tour. Although not
+
as reliant on keyboards for its sound as Landing on Water, Life shares a
+
certain feeling with its predecessor. Many of the songs, like "Mideast
+
Vacation," "Around the World," "Too Lonely," "Prisoners of Rock'n'Roll," and
+
"Cryin' Eyes," are rockers. They're fairly hard, and have some great guitar
+
work. The remaining songs, "Long Walk Home," "Inca Queen," "When Your Lonely
+
Heart Breaks," and "We Never Danced," are slow, melodic numbers. Most ofthe
+
songs are about war, the Incas, rock, or love. One interesting thing is that
+
the song "We Never Danced" was used as the basis for the movie "Made in
+
Heaven," which stars Timothy Hutton and Kelli McGillis. Neil Young has a
+
cameo role in the film as a truck driver. "We Never Danced" was unfortunately
+
not sung by Neil in "Made in Heaven," but was used to good effect none the
+
less. As with Landing on Water, Life was not appreciated very much by Neil
+
Young fans at the time of its release. Rolling Stone magazine said that
+
Freedom, which came out two years later, was more a "life" album than Life
+
was. I disagree; real life is love, war, hate, rock-and-roll, etc., and
+
that's what the album Life is about. Long may you run.
+
+
+
THIS NOTE'S FOR YOU
+
1988 - Reprise 25719
+
Ten Men Workin' / This Note's for You / Coupe de Ville / Life in the City /
+
Twilight / Married Man / Sunny Inside / Can't Believe Your Lyin' / Hey Hey /
+
One Thing
+
+
by David G Skoglund
+
skog0013@gold.tc.umn.edu
+
+
"My songs are all so long
+
And my words are all so sad"
+
+
- Neil Young
+
+
After re-signing with Reprise, Neil created another excursion into a different
+
musical style - big-band electric blues. During the North American tour with
+
Crazy Horse in the summer of 1987, there was a short set of blues number
+
between the opening, acoustic set and the Crazy Horse electric set. The new
+
style began to draw Neil's interest. In November of that year Neil Young and
+
the Bluenotes (Crazy Horse plus a horn section) did a small tour of clubs on
+
the West Coast. The material ranged from newly-written songs to numbers
+
written back in Neil's teen years in Canada. Shortly after the tour, the band
+
headed into the studio, but only after a few changes. The Crazy Horse rhythm
+
section of Talbot and Molina was replaced by Chad Cromwell on drums and Rick
+
(The Bass Player) Rojas on bass, and in the intervening time Neil had written
+
more material. In April of 1988, the album This Note's For You was released.
+
It can be roughly divided into two styles, the up-tempo "power swing" numbers
+
and the atmospheric ballads. The two styles mix nicely together, much in the
+
manner of the acoustic / electric split of other albums. The album features
+
some of Neil's most technically proficient guitar playing in a long time,
+
especially on the slower numbers. Some of the standout tracks include "Coup
+
Deville," "Twilight" (both ballads), "Hey Hey," "Life In The City," and the
+
title track, "This Note's For You." The title track would prove to be a point
+
of controversy, especially where the video was concerned. Originally banned
+
by MTV, the clip went on to win best video of the year - go figure. On the
+
album, the song appears in a heavily edited version (at little more than two
+
minutes long) and is almost a throw away. The live version that was later
+
released on Lucky Thirteen is more representative. This period is said to be
+
very prolific for Neil in terms of song writing, and this was proven true when
+
the band hit the road in the summer of 1988 with even more new material. In
+
retrospect, it would have been nice if the band had recorded the album at the
+
end of its time together rather than the beginning, as the songs from the
+
summer tour have a little more fire than the ones that made it to the record.
+
A planned live album by the Bluenotes never materialized, but it's rumored
+
that the Archives project will contain a lot of Bluenotes material that never
+
saw release. In the eyes of many mainstream critics, this album marked the
+
beginning of Neil's "comeback." This opinion would be cemented by the release
+
of Eldorado and Freedom a year-and-a-half later.
+
+
+
ELDORADO
+
1989 - Reprise 20P2-2651 (CD-EP, Japan and Australia only)
+
Cocaine Eyes / Don't Cry / Heavy Love / On Broadway / Eldorado
+
+
by Steve Vetter (Farmer John)
+
vetters@vax1.elon.edu
+
+
Eldorado is the 21st release from Neil Young, one of the most prolific artists
+
around today. Released as a special EP in Australia and Japan, and running at
+
only 25 minutes, Eldorado is not much of a value. However, in that 25 minutes
+
there is some of the hardest rocking music that Neil had put out, pre-Ragged
+
Glory. Recorded with the Restless (making for the joke, Neil Young and the
+
Restless), this is a wonderful accomplishment for only three players. The
+
other musicians on the record are Chad Cromwell on drums and Rick "The Bass
+
Player" Rosas, who both also appear on the album This Note's For You. One of
+
the great things about Neil is that after playing with people such as Cromwell
+
and Rosas (and more recently Booker T and the MGs), he gets a great idea for
+
what would be fun to do next and does it. Unfortunately, this is the only time
+
that Neil ever did anything like release less than a full album. The opening
+
cut, "Cocaine Eyes," is perhaps my favorite track on the disc. It has a real
+
groovy thing happening at the beginning that basically sounds like they threw
+
it together in the span of five minutes. Neil plays a little riff-intro type
+
of thing and says, "Let's try one like that," then breaks into the song like
+
he had it all in his head the whole time. Cromwell's drumming is very punchy
+
and fits very well. "Don't Cry" is the next track on the CD, and is also found
+
on Freedom. I like this song for its music and lyrics. It has the words of a
+
love ballad, but then Neil and the Restless break into a wild solo / power
+
chord trip that scales up and down more times in the span of thirty seconds
+
than an elevator does all day. "Heavy Love" is next, and has a sort of Ragged
+
Glory-type Crazy Horse to feel to it. If you like the stuff on Ragged Glory,
+
you will probably like this track. Personally, it is my least favorite on the
+
disc, but do not take that as a professional opinion. "On Broadway" is next,
+
which is a cover of the old sixties tune. Neil does a stock version, with the
+
electric guitar and the rhythm section falling nicely into place. Then
+
something changes, as Neil does a short solo and then seems to get angry,
+
screaming "On Broadway" at the top of his lungs and breaking into another
+
wicked guitar solo, until finally topping it off with "Gimme some of that
+
crack! Gimme that crack! Aggggg!" It really sounds like he got pissed off
+
on his way to the Hit Factory studio in New York City, where this was
+
recorded. The title track is presumably Neil's favorite off the disc, being
+
the only one that he performed with any regularity on the Freedom tour. It is
+
interesting because Neil plays some Spanish guitar riffs that I find
+
particularly enjoyable. At one point, he breaks it wide open with his guitar
+
and fills your ears with wild distortion. I think that on this song you can
+
also see some of the influence of the Bluenotes sessions. Mixed in with the
+
riffs is some melodic, blues-type playing, however this track would have been
+
out of place on the Bluenotes album. This EP is one of the most important
+
pieces in Neil's career because it shows the beginning of the Freedom to
+
Harvest Moon era of his popularity. I also think that it is one of those
+
projects that we will look forward to more of in the future (but may never
+
get). If you can find a copy (it's not readily available but is attainable),
+
I don't think there's anyone who has regretted buying it.
+
+
+
FREEDOM
+
1989 - Reprise 25899
+
Rockin' in the Free World / Crime in the City (Sixty to Zero Part I) / Don't
+
Cry / Hangin' on a Limb / Eldorado / The Ways of Love / Someday / On
+
Broadway / Wrecking Ball / No More / Too Far Gone / Rockin' in the Free World
+
+
by Jeff Dove
+
jeffdove@well.sf.ca.us
+
+
Freedom is Neil Young's Odds and Sods. His return to Reprise, with This
+
Note's for You, found him still in his "odd" period, but this second return
+
effort for The Chairman of the Board's label put him back on friendly ground
+
with old-style fans and radio programmers alike. This isn't to say that
+
Freedom is an easy album to evaluate, in the fashion of something like Ragged
+
Glory. This collection is in fact quite eclectic, and while that is a trait
+
that we expect from Neil from album to album, it is never found within the
+
boundaries of any other single release quite to the extent that it is here.
+
Freedom seems to be culled from several sources. A careful listening, and
+
perusal of the liner notes, places the tracks into a few sort of fuzzy
+
categories. "Rockin' in the Free World," which opens and closes the album in
+
different versions, recalls Rust Never Sleeps. The parallel goes beyond the
+
similar tactic, used in "Hey Hey, My My (Out of the Blue) / My My, Hey Hey
+
(Out of the Black)," but the styles of the two recordings on Freedom match
+
Rust Never Sleep's live acoustic A-side and Crazy Horse-raging B-side. As
+
with "Hey Hey...," and for that matter as with "Tonight's the Night" on the
+
album of the same name, the two versions have some lyrical differences. The
+
opening version of "Rockin' in the Free World" is a live solo acoustic version
+
from a Jones Beach, Long Island, NY show, while the closer is an electric
+
ripper that is right in there with the best of the Horse. The acoustic
+
"Rockin'" can be grouped with "Hangin' on a Limb," another solo number, this
+
time done in the studio with the vocal backing of Linda Rondstadt. The
+
rocking "Rockin'" falls in with another pair of tunes recorded in Neil's Barn
+
studio, "No More" and "Crime in the City." These are all up-tempo recordings
+
that recall Neil's work with Crazy Horse. "Crime in the City's" aggressive
+
acoustic guitar riffs are backed with subtle bass and drums, and "No More"'s
+
guitar lead recalls that of "Cortez the Killer." While these are a little
+
cleaner and more subtle than Crazy Horse tunes, their style was reminiscent
+
enough of past glory to quickly get FM rotation, and gain the status of being
+
amongst Neil's most liked and well known songs. Poncho Sampedro contributes
+
to them all.
+
+
Although "Rockin' in the Free World" recalls Rust Never Sleeps, other Barn
+
recordings, "The Ways of Love" and "Too Far Gone," could be off of American
+
Stars 'n' Bars. Each has a country-rock feel, complete with Ben Keith's pedal
+
steel guitar, and each works. In fact, "Hangin on a Limb" sounds like a
+
Comes A Time recording, and "No More" would fit right in on Everybody Knows
+
This Is Nowhere. The other distinct grouping of tracks are those recorded at
+
New York's Hit Factory with the Eldorado line-up. "Don't Cry," "Eldorado,"
+
"On Broadway," and "Wrecking Ball" are done with a guitar-bass-drum trio, with
+
the exception of a little acoustic work by Poncho on "Eldorado," and all but
+
"Wrecking Ball" also turn up on the Eldorado CD EP. These three songs have a
+
somewhat distinct sound from anything else in Neil's body of work. In "Don't
+
Cry," he delivers a soulful vocal plea which is interrupted by crashing and
+
dissonant guitar chords. The show tune cover "On Broadway," which could very
+
well elicit a gasp upon first seeing it listed on the cover, actually succeeds
+
by using a similar technique. "Eldorado" accompanies its tale of drug dealing
+
south of the border with music with a Latin feel, carried by Neil's beautiful,
+
crisp leads, and occasional Spanish guitar and castanet sounding
+
interjections. Unfortunately "Wrecking Ball" doesn't work. It's a piano
+
driven ballad that is a little too typical of such songs by lessor artists. It
+
lacks the Neil "edge," musically and lyrically, which make songs such as
+
"After the Gold Rush" and "Helpless" exciting and distinct from MOR dreck. On
+
a record this varied you can expect some misfires; however, one track falls
+
below, way below "Wrecking Ball," and that is "Someday." It is rehashed Bruce
+
Springsteen at best, and like theme music to some lame Hollywood "formula"
+
film at worst. With its tinkling piano, and tempo which mimics the Boss'
+
"Thunder Road," you keep waiting for a Clarence Clemons-styled sax lead to
+
interject itself, and towards the end it finally does. Come on Neil, this was
+
recorded in 1989...and it's a Barn track also! Freedom represents the first
+
step in Neil's commercial come back, and as such there are a number of good,
+
and some great, cuts included. Its shifting style makes for a unique
+
listening experience, and while fans have seen such shifts in style in the
+
past on records from one side to the other, notably on Rust Never Sleeps and
+
Hawks and Doves, be ready for changes from track to track on this one.
+
+
+
RAGGED GLORY
+
1990 - Reprise 26315
+
Country Home / White Line / F*!#in' Up / Over and Over / Love to Burn /
+
Farmer John / Mansion on the Hill / Days That Used to Be / Love and Only
+
Love / Mother Earth (Natural Anthem)
+
+
by Kurt "The Hangman" Blumenau
+
terrapin@bu.edu
+
+
The turn of a decade has often proved a fertile time for Neil Young. 1969-70
+
brought us Everybody Knows This Is Nowhere and After the Gold Rush, while 1979
+
saw the release of Neil's clearest and most enduring cri de coeur, Rust Never
+
Sleeps. The pattern continued into the nineties with Neil's 1990 release of
+
Ragged Glory, recorded with longtime backup band Crazy Horse in his barn in
+
California. The moods in this ten-song set range from giddiness (a hilarious
+
cover of "Farmer John") to scathing self-flagellation ("F*!#in' Up"), but
+
overall the mood of the album seems to be the sort of guarded optimism for the
+
future as expressed in "White Line:"
+
+
"Right now I'm thinkin' bout these things that I know / And the daylight
+
will soon be breakin'"
+
+
Ragged Glory is not one of Neil's dark albums, even with the inclusion of
+
"F*!#in' Up" and the shimmering noise-guitar-and-choir environmental warning,
+
"Mother Earth (Natural Anthem)." The lyrics are too optimistic and not as
+
barbed as Neil's words have been in the past ("Days That Used To Be"
+
effectively comments on the passing of hippiedom without being TOO cutting).
+
The music, as befitting the album title, is beautifully fast and loose,
+
expressing great emotion in its simplicity. Crazy Horse is, for my money
+
anyway, Neil's most simpatico backing band; here they bash and clang
+
merrily away, creating a ragged groove that a lot of modern grunge bands
+
would kill for. Many of the songs are stretched out in the fashion of
+
earlier NY/CH epics like "Cortez The Killer" and "Down By The River,"
+
allowing plenty of room for interplay and Neil's characteristic passionate,
+
spasmodic solos (the songs average about six-and-a-half minutes, and two or
+
three top the ten-minute mark). Ragged Glory represents a return to form
+
for Neil, a smart, tough, yet fairly optimistic view of the turn of another
+
decade from a true survivor of the rock-and-roll wilderness. A taste for
+
loud, sloppy rock is essential to appreciate Ragged Glory, but if you've got
+
it, then get it. It's a triumph, comparing well with any of Neil's electric
+
work, even the hallowed Rust Never Sleeps. Stay tuned for 1999-2000...
+
+
+
ARC
+
1991 - Reprise 26769
+
by Tom Henke
+
henke@hrm.admin.usfca.edu
+
+
Arc is one of the most strange sidelights in Neil Young's long career of sonic
+
experimentation. The set-up is, in this case, half the story. Young had
+
finished the noisy, cranked sessions that resulted in Ragged Glory, and had
+
taken Crazy Horse back out on the road for a mammoth tour, which emphasized
+
snarling distorted Gibsons (for the first time in years). As an intriguing
+
generational prelude, he had Sonic Youth opened the tour. Apparently, SY's
+
Thurston Moore was talking with Young and told about a habit he had cultivated
+
of making random, collage-type tapes out of different parts and performances
+
from SY's tours - jigsaw puzzle tapes of noise, feedback and songs. This
+
idea intrigued Young and he kept it in the back of his mind for later use.
+
When the tour was over, it was announced that a live album, Weld, was on its
+
way. It would be packaged in a limited edition with a piece of experimental
+
noise, as Arc-Weld. These editions proved impossible to find, but Arc did
+
appear as its own single CD. It turned out to be, more or less, Moore's idea
+
filtered through Young's conceptual framework. Specifically, it is a collage
+
of extended outros from several songs on the tour, especially "Like a
+
Hurricane" and "Love and Only Love." These songs were stretched out during
+
the tour until their ends became freaked-out noise collisions all their own,
+
sometimes lasting an additional five to ten minutes. Young took recordings of
+
several of these long endings and wove them together into a 34:57 minute epic
+
of surge and crash, splatter and hum. He was very proud of this work at the
+
time and claimed it had a definite logical structure. This supposed structure
+
is hard to fathom. Rather than a complete composed piece, as it seems Mr.
+
Young viewed the document, what it appears to be is something far more oceanic
+
- a connected series of swells and crashes leading to times of relative calm.
+
The piece begins with some rather random clanks of picks upon clean,
+
undistorted electric guitar strings, then comes the sound of a plug hitting
+
its socket - a prelude creating anticipatory tension. Quite suddenly, we are
+
washed into a rampant distorted storm - a shriek of guitar noise, cymbals run
+
amok, a cheap-sounding synth chord from Poncho, and this rumble-rumble-rumble
+
shooting through it all. This is the general sound of most of the piece.
+
Cymbal crashes, guitars, and that distinctively dense rumble of random tom
+
toms and bass cut through most of Arc like a verse melody. At 3:07 we hit the
+
first words, most of a verse from "Like a Hurricane." The phrase:
+
+
"Once I thought I saw you, in a crowded hazy bar / Dancin' on the light
+
from star to star"
+
+
comes through clearly and beautifully while the rumble subsides to hum and
+
echo. Surreal blips of noise peek through, then squeaks and burps, then a
+
crash and a buildup into a dive bomb of feedback. This word portion of the
+
piece serves as a coda and is repeated at ten minute intervals - at 13:00 the
+
same verse returns and at 23:05 it is back again. Between these bits of
+
"Hurricane" and their associated crashes, sung lines of "I want love," and
+
"...love and only love..." appear and fade into the din like some strange
+
bobbing memory. At times these phrases are strangely vulnerable, like a plea,
+
and at other times they are more strident and declarative. When the noise
+
dips to a whisper (every eight minutes or so) the crowd suddenly appears like
+
a breath of fresh air, screaming over the top of everything, only to be
+
deluged by the next burst of swooping whammy-bar dive bombs. Things really
+
freak out at the very end of the piece. At around 26:34 it begins to tatter
+
with a smash of Poncho noise, a crash and a distant echo that sounds like
+
"Aww...I'm sorry...so sorry...," then noise and another crescendo, then back
+
down again. There are whammy-bar swoops and noises through 28:00. At 28:30 a
+
regular insistent bass line picks up, easy drums come behind, Neil noodles
+
with a spacy guitar sound then gives a "Yeah!" in the background. All gets
+
very phased and weird and the crowd comes through again for a moment. There
+
is a cut in the sound and another crash, then more "Sorry man...sorry..." from
+
Poncho(?). More crashes into more "Love and only love..." choruses occur, now
+
like a mantra of strength. At 30:57 some real melody notes are played,
+
recalling the figures from "Like a Hurricane," then finally a coda of "Take a
+
chance, take a chance on love...," and a fade down.
+
+
It seems over, until at 32:00 there is a thrash of one chord, crashes, and a
+
buildup to a chant of "no more pain!" Then it's off again with a shout of,
+
"Hey mom, hey mom, I'm hungry mom!" The music gets martial again, with Neil
+
jamming away on real notes while Poncho slams chords. The rant goes on with
+
"Get in the car...go to the post office..." The whole thing comes to a jammy,
+
slamming, rumbling close. There is a brief final repeat of "I want love," a
+
distorted explosion, a couple of clear bass chords, and a fadeout - end. The
+
overall effect is, again, mostly tidal. Noise lifts you like a wave only to
+
smash apart. There are moments of calm, then all hell breaks loose. Drawing
+
conclusions from this piece seems nearly impossible. Not exactly an
+
experiment in tolerance and irritation, like Lou Reed's Metal Machine Music,
+
Arc is more of an organic piece reflecting the chaos of life, or at least of
+
electricity. The real meaning here is anyone's guess. A soundtrack for the
+
growth of fractals? A sonic portrait of a Gulf War annihilation? Nothing at
+
all? Arc is a strange beast. Not a piece for the casual listener, it seems
+
only recommendable to completists and those out for a weird, joyless,
+
difficult experience. Arc is in the end interesting, but not much fun.
+
+
+
WELD
+
1991 - Reprise 26671
+
Hey Hey, My My (Into the Black) / Crime in the City / Blowin' in the Wind /
+
Welfare Mothers / Love to Burn / Cinnamon Girl / Mansion of the Hill /
+
F*!#in' Up / Cortez the Killer / Powderfinger / Love and Only Love / Rockin'
+
in the Free World / Like a Hurricane / Farmer John / Tonight's the Night /
+
Roll Another Number
+
+
by Gary A. Lucero
+
glucero@wordperfect.com
+
+
"Sparks Be Flyin'"
+
+
Weld is one of those incredibly wonderful albums that comes along rarely.
+
When it first came out, I happened upon it by chance. I didn't listen to the
+
radio, I wasn't a member of the N.Y.A.S., and I didn't belong to Rust@Death,
+
so the only way I was able to find out about new releases was from the CD
+
store where I bought my music. The place I used to buy CDs, a big book store
+
in Albuquerque, also sells books, software, newspapers, and other stuff. My
+
wife worked there, and in the afternoon, when I would come to pick her up, I
+
would rummage around in the music department. I would check out the Neil
+
Young section every day, even though it almost never changed. I guess I hoped
+
a new CD would be released, the Archives would ship, or something. Anyway,
+
one day I walked into the store, wandered over to the music department, and
+
checked out the Neil Young section. Arc-Weld was sitting there. I was blown
+
away. I couldn't believe it, a new Neil Young CD. And actually not just one
+
CD, but three...incredible! I could not believe it. I of course bought it
+
immediately. I liked Arc-Weld right away. I thought Arc was a good CD, and I
+
thought Weld was too, but I didn't like either of them then as much as I do
+
now. "Hey, Hey, My, My (Into the Black)" opens, and Neil and Crazy Horse
+
thunder into this staple. The crowd comes up, and then "Out of the Blue," the
+
song, begins. It is performed with as much energy as in its original version
+
or the Live Rust version, and its musical and vocal qualities seem clearer
+
than in those versions. It's brighter, and Neil's voice seems more solid. It
+
is an outstanding rendition of a great song, and a nice way to kick off the
+
album.
+
+
One of the real highlights of Weld is "Crime In The City." The Freedom tour
+
boasted the acoustic version of this incredibly moving song, and the Freedom
+
album gave us a Bluenotes-influenced rendition. But Weld gives us a
+
rock-and-roll version, complete with driving guitar work, clear drums, and
+
screaming vocals. Crazy Horse proves to be an excellent band to back Neil on
+
one of his most delicate and sincere songs. From there it moves to "Blowin'
+
in the Wind," the Dylan classic. Sirens, machine gun fire, rockets flying by,
+
explosions, and Neil's lone guitar begin the song. It is reminiscent of
+
"Mother Nature (Natural Anthem)," except with special effects and Neil's
+
feedback-drenched guitar looming overhead while he belts out the lyrics. The
+
backing vocals work well to provide synergy, and to hone the otherwise
+
unweilding song. The real standout for this reviewer is "Welfare Mothers."
+
Never before had this song affected me so much. I've always loved Rust Never
+
Sleeps, and enjoyed "Welfare Mothers," but I never understood it until Weld.
+
The song begins simply enough, and isn't really any different than the
+
original version for several minutes. It is not until it begins to wind down,
+
and Billy Talbot and Neil Young begin their interchange of dialog, that the
+
song takes on real new meaning. Neil sings "beautiful" at the end of every
+
chorus, and his guitar screams out the lead. Then the song begins to slow up,
+
and Neil says "take care." You hear "no more pain," and when Neil asks Billy,
+
"Where's the check Billy?," the classic response is "The check's in the mail."
+
The message conveyed is the cycle of starvation, child abuse, false love, and
+
the false relief brought when the check comes. Chaos takes place, with the
+
guitar and drums sounding wildly, and then it dies into the crowd. Before you
+
know, it another song starts. "Love To Burn" is one of the most gorgeous
+
songs from Ragged Glory. Neil does it justice here. The guitar soars,
+
reminiscent of "Cortez The Killer" or "Dangerbird," but the lyrics are surreal
+
and touching:
+
+
"Why'd you ruin my life? / Where you takin' my kids?"
+
+
The rest of the first disc, "Cinnamon Girl," "Mansion On The Hill," and
+
"F*!#in' Up," are standard fare. They are good versions of good songs, but
+
let's move on to disc two.
+
+
"Cortez the Killer" is slow and plodding, careful and meticulous, almost like
+
a prayer or incantation. Each words carries forth the emotion of a man who
+
seems in awe of the Aztecs and the Incas. Neil's guitar work is beautiful,
+
and the drums and backup vocals are clear and concise. Neil Young and Crazy
+
Horse provide us with one of their most moving versions of this song. When
+
Neil sings "killer!" it just about rips out your heart. It is followed by
+
"Powderfinger." This has never been one of my favorites, though the lyrics
+
are entertaining and the song is a lot of fun to listen to. On Weld, it is
+
sung well, and Neil and the band do an excellent job. "Love and Only Love,"
+
another of my favorites from "Ragged Glory," is also performed beautifully.
+
Like all of the songs on Weld, it is sung with clarity and feeling. "Rockin'
+
in the Free World," "Farmer John," and "Roll Another Number," the fourth,
+
sixth and last song of disc two, are all performed well, but I want to discuss
+
the remaining songs, "Like a Hurricane" and "Tonight's the Night." These
+
songs are standards, and the versions presented here are exceptional. "Like a
+
Hurricane" has some of the most outstanding guitar playing since the Berlin
+
version. Neil squeezes sounds from Old Black that are incredible, and brings
+
the song to an orgasmic level. After the first verse, the guitar is slow and
+
careful, and then with each subsequent verse it becomes more chaotic and
+
fierce. Chords and notes are sounded with feeling, and though they are
+
familiar to anyone who has heard more than one version of this song, they are
+
yet new and revealing. This is the best rocker on the album, and one that
+
should be remembered for a long time to come. There is no way Neil Young can
+
top the version(s) of "Tonight's the Night" that appear on the album of the
+
same name, but on Weld he provides a good electric rendition. Whereas the
+
original had Neil's great piano work, Nils Lofgren's solid guitar, a great
+
bass line (which you hardly ever hear in Neil's music) by Billy Talbot, and
+
wonderful harmonies coming from the group, on Weld it is quite different. The
+
bass is distinguishable at the beginning, and the drums are clearer - you can
+
hear the tom toms and the cymbals. Neil's guitar sort of wails, even as his
+
voice does, and what starts out as a slow rocker soon becomes a scorcher.
+
Again, the emotion in his voice is undeniable. He sings the song with
+
feeling. When it takes off, after a couple of verses, Neil sings "oh Bruce"
+
and launches into a frenzy of guitar solos. They start off slow, but soon,
+
after a bit more vocals, some being improvisational, and some great bass
+
playing by Billy Talbot, it really begins to fly. The drums are pounding, the
+
guitar is screeching, and you can hear screaming in the background ("oh Bruce,
+
oh Bruce, oh Bruce"). The song then dies out, and Neil gives his thanks with,
+
"And a word of thanks for all of our families, and for the great crew that we
+
got out here for the last fifty-four shows; the best; thank you." The show,
+
and the album, finish with "Roll Another Number."
+
+
I have not compared Weld to bootlegs or concert tapes, but only to officially
+
released albums and video tapes. You may know of unofficial concert
+
recordings which have superior versions of many of these songs, but for the
+
money there is no better live CD than Weld. I'm not saying there aren't
+
better LPs, cassettes or DAT tapes, but on compact disc you will not find a
+
better value. Weld is an incredible album, and if you can find Arc-Weld, buy
+
that - it is even better.
+
+
+
HARVEST MOON
+
1992 - Reprise 45057
+
Unknown Legend / From Hank to Hendrix / You and Me / Harvest Moon / War of
+
Man / One of These Days / Such a Woman / Old King / Dreaming Man / Natural
+
Beauty
+
+
by Uncle Dave
+
covey@lts.sel.alcatel.de
+
+
After the angst of his early work and the metallic thrashing of the later
+
albums, Harvest Moon reveals the true Neil Young. The Neil Young that was
+
left behind in the post-hippie trauma that was seventies rock. With Harvest
+
Moon, Neil finally grows up! Ragged Glory was Young at his snarling best -
+
plenty of volume on the guitar and powerful lyrics to match. Arc was an
+
epitaph to that period, an exercise in self-indulgent exorcism. Harvest Moon
+
is mature. This is music not from the heart or the head, but from, and for,
+
the soul. Neil's music is always fresh, often surprising, sometimes maudlin,
+
intense and perplexing, but never until this quite so (aw shucks!)
+
heart-warming. Harvest Moon is the quintessential down-home-mom's-apple-pie
+
American folk album. It's one of the few Neil Young albums that you can share
+
with the one you love, along with a bottle of something nice, without having
+
to apologetically hit the fast forward button or move the tracking arm
+
forward. The fact that it has undoubtedly won new admirers of Neil's work is
+
due just as much to its refusal to conform to what you might expect, as to its
+
undoubted wider appeal. "You and Me" could easily have been on Harvest, the
+
other NY album to enjoy a mass audience, while "Old King" is probably too
+
country for Country Music Television. The title track is one of the most
+
evocative songs from the most evocative of songsmiths. It is pure beauty, one
+
of those songs which you live, recalling long lost summer nights and inducing
+
that sad nostalgia that comes from knowing you'll probably never quite get
+
there again. If it has a theme, Harvest Moon is about love, and love in its
+
many guises. That is love of nature, love for old friends, love for a
+
favorite pet, and yes, even the standard boy meets girl is expressed here, and
+
in a refreshing fashion to boot. While probably not the most favored album
+
among Neil's hardcore fans, this is nevertheless a masterpiece. There is not
+
a single weak track, and from the very first listen you get the feeling that
+
you're seeing the real man stripped bare for all. Some people have found it
+
very easy to be cynical about Harvest Moon, but then they've probably never
+
been in love, and if you have then you'll know. This album would make such a
+
fitting epitaph for Neil Young that it's scary. Whilst hoping that it won't
+
be, it's difficult to see where he can go from here. But of course, this is
+
Neil Young we're talking about.
+
+
+
LUCKY THIRTEEN
+
1993 - Geffen GEF 24452
+
Sample and Hold / Transformer Man / Depression Blues / Get Gone /
+
Don't Take Your Love Away From Me / Once an Angel / Where Is the Highway
+
Tonight / Hippie Dream / Pressure / Around the World / Mideast Vacation /
+
Ain't It the Truth / This Note's for You
+
+
by Gary A. Lucero
+
glucero@wordperfect.com
+
+
"Excursions Into Alien Territory"
+
+
Lucky Thirteen is an eclectic collection of music made by Neil Young from 1982
+
through 1988. Many of Neil's fans appreciate little from these years, which
+
the artist spent with the David Geffen Company. The albums he released during
+
this segment of his career include Trans, Everybody's Rockin', Old Ways,
+
Landing on Water, and Life. He also toured with the Bluenotes while with
+
Geffen (before releasing This Note's For You on Reprise Records in 1988).
+
These albums represent some of the best music Neil has ever made, though, and
+
Lucky Thirteen is a good sampling from them. Lucky Thirteen opens with
+
"Sample and Hold." This is not the original version that appeared on the
+
Trans LP, though it does appear on the Trans CD that Geffen released in Europe
+
and Japan last year. It does not have the rock 'n' roll bite that the
+
original had. It is longer and slower, but is well worth listening to. Next
+
is "Transformer Man" from Trans, and it is a good song about Neil's youngest
+
son Ben. "Depression Blues," "Get Gone," and "Don't Take Your Love Away From
+
Me" follow. All are previously unreleased, and all are excellent.
+
"Depression Blues" is a slightly country number that is very pretty, and the
+
other two are blues songs recorded live on the Neil Young and the Shockin'
+
Pinks tour. Except for "Ain't It the Truth," which is a previously unreleased
+
Neil Young and the Bluenotes song, and "This Note's For You," which is a
+
tremendous, previously unreleased, live version of the song from the album of
+
the same name, the rest of the songs on Lucky Thirteen are the original
+
versions from the albums Old Ways, Landing on Water, and Life. Their order
+
and selection are very pleasing. Lucky Thirteen can be considered not only as
+
a sampler of what Neil Young did in the eighties, but it also hints at how he
+
will prepare his long awaited Archives, and the Lucky Thirteen liner notes
+
suggest that many tracks on this album will appear on Archives when they are
+
finally released. While you're waiting for Neil, who is careful but slow, to
+
put together and finally release that boxed set, you can put Lucky Thirteen on
+
and understand that it's his varied styles, wonderful guitar playing, and
+
wondrous songwriting that sets him apart from the crowd.
+
+
+
UNPLUGGED
+
1993 - Reprise 45310
+
Old Laughing Lady / Mr. Soul / World on a String / Pocahontas / Stringman /
+
Like a Hurricane / The Needle and the Damage / Helpless / Harvest Moon /
+
Transformer Man / Unknown Legend / Lookout for My Love / Long May You Run /
+
From Hank to Hendrix
+
+
by Uncle Dave
+
covey@lts.sel.alcatel.de
+
+
I like to be at the office by seven, so the World Cup is not my favorite
+
tournament - and not just because England isn't there. I live in Germany
+
where they're football mad - and have a team which makes the "luck of the
+
Irish" look almost unfortunate. Trying to sleep when they are playing is out
+
of the question in my neighborhood, so I lay in the dark and listened to
+
Unplugged instead. It's that kind of album - crisp and clear and the digital
+
sound definitely enhances some of those older songs. This could be subtitled
+
"Greatest Hits," and it's certainly as close as you'll come to a marketing
+
exercise from Neil Young. It succeeds in that because it is a well-chosen,
+
well-performed set that spans the whole of NY's career. I tuned in to
+
Unplugged on MTV the other day to remind myself what it's all about.
+
Aerosmith were on and sounded like, well, Aerosmith "sans electrique." They
+
were even more mind-numbingly boring than usual. That seems to be the way of
+
it, and I wonder whether, with such groups, there's a point as their music
+
relies on power. People like Neil Young can do it with or without the wall
+
sockets, and it shows. The marketing idea is enhanced by the fact that the
+
lyrics are printed on the insert, but then destroyed by the failure to mention
+
the albums that they come from. Strange, but when you're listening to someone
+
who can write (from "Pocahontas"):
+
+
"I wish I was a trapper, I would give a thousand pelts / To sleep with
+
Pocahontas and find out how she felt"
+
+
normal rules don't apply. As a showcase for his astonishingly consistent song
+
writing abilities, Unplugged is ideal, and the opportunity is taken
+
professionally and consummately. The scope for invention in an acoustic
+
environment is somewhat less than can be achieved electronically, but there
+
are still things here to send a shiver down your spine. "Harvest Moon" is so
+
much like the original track that it's scary, and the use of a pump organ for
+
a gothic start to "Like a Hurricane" is one of those moments of musical genius
+
rarely witnessed, which some artists go their whole lives without seeing. I
+
like Unplugged a great deal. The only question mark is why, in this age of
+
Hi-Fi video machines and the ease with which you can feed digital sound
+
through your speakers while watching TV, should someone buy the record instead
+
of the video. It's a thoroughly good album, and if after reading some of
+
these reviews you'd like to try a Neil Young sampler, then this is it.
+
+
************************************
+
+
As a point of reference, here are the results of the Rust@Death list's "First
+
Annual Favorite Neil Young Album Poll," as published in Broken Arrow no. 55,
+
from May, 1994 (compileds by Keith "The Thrasher" Bonney):
+
+
Rust Never Sleeps - 35 points
+
Everybody Knows This Is Nowhere - 32 points
+
Tonight's the Night - 26 points
+
Ragged Glory - 25 points
+
After the Goldrush - 24 points
+
Freedom - 23 points
+
On the Beach, Zuma - 21 points
+
Decade - 16 points
+
Time Fades Away - 13 points
+
Weld - 12 points
+
Harvest, Live Rust - 10 points
+
Trans, Harvest Moon - 8 points
+
Comes A Time, This Note's For You - 7 points
+
American Stars 'n' Bars - 6 points
+
Hawks and Doves, Unplugged - 5 points
+
Re-ac-tor - 4 points
+
Neil Young, Old Ways, Eldorado, Arc-Weld - 3 points
+
Landing On Water, Arc - 1 point
+
Journey Through the Past, Everybody's Rockin', Life - 0 points
+
+
+
The FUNHOUSE! Hot 100 - The One-Hundred Most FUNHOUSE! LPs of All Time
+
----------------------------------------------------------------------
+
+
The following albums communicate the FUNHOUSE! sensibilities. They weren't
+
"crafted," no surveys were done, and no close adherence to the demographics of
+
the commercial radio audience or the tastes of arrogant DJs were considered.
+
That's more the style of Toto, Journey, or Skid Row. As I interpret it, most
+
of the music below came from the guts of some dweeb or dweebs who were making
+
noise that communicated their excitement or anxiety - they made it because
+
they liked it. In a couple of cases (Kiss?), they may have just got lucky in
+
capturing something more real than was intended, but some of the best "art"
+
comes from twisted and failed attempts to create something that, if
+
successful, would have been altogether lame. Just watch the movie AIRPORT '70
+
- THE CONCORD to get an idea of what I mean. This is no "best-of" list, and
+
as any issue of FUNHOUSE! is just a snapshot in time I may laugh hysterically
+
or be disgusted about something below in the future. You may even read about
+
it in these pages. What follows is the soundtrack for the FUNHOUSE!
+
experience. These are the tunes that go with watching a Russ Meyer flick or
+
reading an EC comic. The goal is to turn you on to something that you might
+
like but haven't yet discovered, and if that happens I'd love to hear about
+
it. One stipulation going in was that nothing released later than 1992 was
+
considered. Music didn't mystically get generally worse at that point, but
+
this was just to prevent an overvaluation of something currently sitting on my
+
turntable. Undoubtedly, records have come out since then which would make it,
+
but a little distance is required to get a more honest picture of where they
+
stand.
+
+
100.NEVER MIND THE BOLLOCKS - The Sex Pistols (1977, Warner Brothers
+
BSK-3147)
+
I had to fit it in somewhere. Although a bit overrated, it still has
+
some monster riffs from Steve Jones, who also plays the bass parts.
+
Don't think that Vicious had anything to do with the music in this
+
band. Punk 100 - this serves as an intro to the scene for fourteen year
+
old kids and thirty year old come-lately rock critics alike.
+
+
99. METAL MACHINE MUSIC - Lou Reed (1975, RCA CPL2-1101(S))
+
Lou during his most bitter period created his most caustic joke. The
+
best part occurs when the feedback between the tube amps in series
+
and the arbitor distorter (Jimi's) achieve a little variation in the third
+
minute of side C. There's a Yoko effect. Lou claims the presence of a
+
harmonic build up in one channel - I'll take his word for it. 64:04
+
minutes of heaven and hell. Is this partially responsible for Masana?
+
+
98. PARANOID or MASTER OF REALITY or VOLUME FOUR or SABOTAGE [pick one] -
+
Black Sabbath (1971-75, Warner Brothers WS-1887 or BS-2562 or BS-2602
+
or BS-2822)
+
The bottom-heavy psychometal acid rock pioneers tread on ground that only
+
Blue Cheer also walked at the time. Sabbath had better hooks however,
+
and anyone who's actually listened to these knows that intriguing
+
instrumental acoustic passages can also be found. The first six
+
albums all pack a wallop and make Soundgarden possible. Numbers one
+
and five slip a bit below those above, and thus any of these four will
+
do. Purist might go for Paranoid, but that would skip over "Sweat Leaf"
+
(Master), "Snowblind" (Vol. 4), and "Hole in the Sky" (Sabotage).
+
+
97. REVOLVER (UK version) - The Beatles (1966, Parlaphone 3075 [UK])
+
The Fab Four at their peak of creativity as a band. The stretch of LPs
+
Help-Rubber Soul-Revolver (UK versions!) is where they matured as
+
musicians and songwriters, and hadn't yet disintegrated into one
+
songwriter and three-studio musicians. This is their most psychedelic /
+
feedback drenched effort. Listen to your early Beatle albums sometime
+
and imagine how intense they would be if the guitar was mixed up there
+
with the vocals and drums.
+
+
96. DOREMI FASOL LATIDO - Hawkwind (1972, United Artists UA-LA001-F)
+
This is everything that Rush wish they could be. The music of this
+
English trio is the sonic representation of a trip - a trip on a spaceship
+
that is. The seven tracks are built on a surging and driving heavy sound,
+
interspersed with guitar created SFX noises, to try to translate the
+
science fiction scenario described in the record's liner notes and its
+
inner sleeve, which looks as if it could have been taken from the Mighty
+
Thor. Lemmy contributes the fatalistic "The Watcher," which may be the
+
mellowest thing with his name attached to it, and which was given a harder
+
treatment on Motorhead's first.
+
+
95. LOLA VS. POWERMAN AND THE MONEYGOROUND - The Kinks (1970, Reprise
+
RS-6423)
+
In the period between the hits, The Chairman's label decided to allow the
+
Davies brothers to continue producing a series of concept albums that now
+
comprise their best work. This one is a notch ahead of Something Else
+
on the basis of its added energy. "Lola" emerged as the most well known
+
song, but the rest is up to that level.
+
+
94. BEACH BOULEVARD - Compilation (1979, Posh Boy PBS 102)
+
Back in high school in Orange County, Beach Blvd through Huntington Beach
+
was the road to the party, and in the late seventies the kids carved a
+
niche in the punk scene with roots in Dick Dale and the Lonely Ones.
+
Beach Punk had the energy of the Ramones, with a more melodic overtone.
+
The best of the bunch, the Crowd, the Simpletones, and Rik L. Rik, are
+
collected here.
+
+
93. CATHOLIC BOY - The Jim Carroll Band (1980, Atco SD 38-132)
+
The gutter poet gets a rock band, and lucky for him they were a good one.
+
Carroll translates his blasts of consciousness tales of Big City life on
+
the Mean Streets of NYC through an energetic but cleaned-up noise that was
+
typical of the post-punk movement of the time. There's a definite dose of
+
fatality, but it seems honest, as opposed to the pretentiousness of
+
today's fashionably in-style negative kids. In the adolescent days of
+
video rock, JC claimed he'd never make one, but that may be irrelevant as
+
he probably wouldn't have been given the chance. And even then, the
+
corporate stiffs at Music Telejism couldn't handle observations of the
+
like that, "It's too late to fall in love with Sharon Tate."
+
+
92. PURE MANIA - The Vibrators (1977, Epic 82097 [UK])
+
Power pop punk from the UK. Not as angry as some of their contemporaries
+
but still quite energetic. The precursor for bands like the Dickies in
+
the US.
+
+
91. I FOUGHT THE LAW - The Bobby Fuller Four (1966, Mustang MS-901)
+
The title track has become a classic due to renditions from the likes of
+
Lou Reed, the Clash, and the Dead Kennedys, but the original packs just as
+
much power as those later remakes. Power-chording rhythm guitar work
+
provides a much fuller sound than was common in the early sixties. "Never
+
to be Forgotten" stands up with the big hit on this one.
+
+
90. DIGGIN' OUT: TWENTY SURF BLASTS - Compilation (1992, Mr.Manicotti
+
MM 329)
+
THIS is surf music, not the pop pabulum put out by vocal groups like the
+
Beach Boys and Jan and Dean. If you're into "Pipeline," "Wipeout,"
+
"Miserlou" etc. grab this - it's those tunes with extra reverb and
+
distortion. Avenger VI, Newport Nomads, the Lonely Ones - definitely
+
punk man.
+
+
89. NUGGETS - Compilation (1972, Elektra 7E-2006)
+
Lenny Kaye opened the door in 1972 for the likes of Pebbles, Boulders,
+
Highs in the Mid-Sixties, Back from the Grave etc. Sneering attitude from
+
post-Stones American sixties garage cretins like the Count Five, the
+
Shadows of Knight, the Standells, the Chocolate Watchband, and the Music
+
Machine. Proof that punk didn't start in London / 1976.
+
+
88. SURFIN' BIRD - Trashmen (1964, Garret GAS-200)
+
The title track alone insures this record's placement. The bird will
+
never die, and the song copped from the Rivingtons and covered by the
+
Cramps and the Ramones is surrounded by some equally crazed surf ravers
+
from a group of Minnesota boys who never set foot an a beach
+
+
87. OUT OF THE TUNNEL - MX-80 Sound (1980, Ralph MX-8002)
+
Imagine one of those late seventies new wave / power pop bands that were
+
always on the radio back then (an aside - my dix refers to new wave as
+
with, "...lyrics which express anger and social discontent." Would that
+
be the B-52s?) and then imagine if the guitar was mixed WAY out in front.
+
Now imagine it with a speeded up Asheton-like intensity. Bruce Anderson's
+
fluid but intense string thrashing leads these unfortunately underrated
+
nouveau-metal Hoosiers.
+
+
86. PSYCHOCANDY - The Jesus and Mary Chain (1985, Reprise 25383-1)
+
It's Metal Machine Music with melodies. What do you do if you're a young
+
angst ridden teen with great tunes running through your head but no
+
ability to play an instrument? You get your bro to plug in a guitar, turn
+
all the knobs on ten, and sing along with the distortion.
+
+
85. FREAK OUT! - Mothers of Invention (1966. Verve V6-5005-2)
+
In the first double studio LP rock record, Frank Zappa lets everyone know
+
that he's a little weird. The debut has the Mothers at their best,
+
trudging through all the usual styles (garage, doo wop, R & B, esoteric
+
cacophony) at their most succinct. "Trouble Every Day" is still relevant
+
to today's world.
+
+
84. BEGGAR'S BANQUET - Rolling Stones (1968, London PS-539)
+
Poor Stones; after coming up with their first record that really defined
+
them as a band with a sound of their own (not just great renderers of
+
Chuck Berry's or Elmore James' sounds), they thought that they would
+
finally move ahead of the Beatles as Kings of Rock. It's too bad for them
+
that that other group came out with their "Revolution" / "Hey Jude" single
+
at the same time. This albums got more balls, though.
+
+
83. BOOKER T. AND THE MG'S - Best of Booker T. and the MG's (1968
+
Atlantic 8202)
+
The Stax / Volt house band in the sixties delivered an amazing series of
+
groovable soul-rock instrumentals on their own as well. Limited to organ,
+
guitar, bass, and drums, the foursome produced a more complete sound than
+
any larger ensemble. "Green Onions" was the biggest hit, and this collec-
+
tion is filled with songs which carry just as much rhythm as anything with
+
a vocalist. It's from an era when an wordless tune could still climb the
+
charts.
+
+
82. WILD GIFT - X (1981, Slash 107)
+
X in their early raw and unrefined era, which is highlighted by stinging
+
Billy Zoom punkabilly guitar, and vocal harmonies telling of the decadent
+
world of LA hype club life. Unique punk rock that gets the edge over their
+
first LP (Los Angeles) based on greater length.
+
+
81. AVENGERS - CD presents (1983, CD Records CD 007)
+
A compilation of singles etc. from SF's greatest punk band. Penelope
+
Houston's vocals are powerful without being screamed or shrill, and the
+
music is delivered in the Cal punk style without sacrificing the hooks.
+
It's too bad that Penelope sings today as if she thinks that she's a
+
Judd - someone get some real guitars behind her.
+
+
80. RAGGED GLORY - Neil Young and Crazy Horse (1990, Reprise 26315-2)
+
The Godfather of Grunge revives himself once again after a period of wacky
+
experimentalism, which took him from techno to rockabilly to country to
+
R & B. There's no filler on this record, which is the result of Neil and
+
the Horse shacking themselves up in his mountain spread and working out
+
each song to perfection. The guitar cuts loose better than anything heard
+
on the Headbangers Ball.
+
+
79. KINGS OF OBLIVION - Pink Fairies (1973, Polydor )
+
Bands like Blue Cheer, Dust and Sir Lord Baltimore hinted to Cream
+
followers what the "power trio" concept was all about, but it took this
+
version of this limey band to define it for the early seventies (before
+
Motorhead would assume the throne three years later). It's fast, it's
+
got drive, it rocks.
+
+
78. SANDINISTA! - The Clash (1981, Epic 37037)
+
Everything including the kitchen sink is thrown in over this six side /
+
thirty six song follow up to the hit "London Calling" album. Some
+
complain that the record would be better had they trimmed it up a bit
+
(those who hold that view should seek out the promo sampler, "Sandinista
+
Now!" single LP,) but I enjoy digging through the funk-tinged punk of
+
"Magnificent Seven," the country-tinged punk of "Loose this Skin," the
+
ska-tinged punk of "Police on my Back," the gospel-tinged punk of
+
"Sound of the Sinners," the jazz-tinged punk of "Look Here," the reggae-
+
tinged punk of "One More Time / One More Dub," as well as "hits" like
+
"Somebody Got Murdered," Hitsville UK," "Charlie Don't Surf," "Lightning
+
Strikes," and "The Call Up."
+
+
77. IN A PRIEST DRIVEN AMBULANCE - Flamin' Lips (1989, Restless 7 72359-1)
+
One of the last two Lips LP's might just as well have been included as a
+
representative of the group's high volume acid trip rock-and-roll, but
+
that would violate the post-'92 rule, and this record stands up to those.
+
Every guitar effect is utilized to produce the extreme fuzz tone sound.
+
Half of the song titles have "Jesus" in them.
+
+
76. A WORLD APART - The Crowd (1980, Posh Boy PBS 108)
+
The Huntington Beach punk band who ushered in the modern face of surf
+
music. This is a full album of the best band from the Beach Boulevard
+
compilation.
+
+
75. TOO TOUGH TO DIE - The Ramones (1984, Sire 25187)
+
The bros slipped a bit after the huge success (artistically) of their
+
first four releases. They started getting back on track with 1983's
+
"Subterranean Jungle," and with Tommy Ramone returning as producer on this
+
one, they delivered a collection with a harder and tougher sound without
+
sacrificing their mutant-pop tendencies. The Ramones' best post-
+
seventies album.
+
+
74. TURN ON THE MUSIC MACHINE - The Music Machine (1966, Orignal Sound
+
5015(M),8875(S))
+
The band wears all black clothes and a single glove - and they're not
+
poseurs. Sean Bonniwell delivers the vocals with the expected sixties
+
garage-band sneer, and the music has more fuzz guitar than anything
+
outside of Davie Allan. Even the cover tunes, which tend to drag down
+
albums from this era, are interesting and serve as more than filler.
+
The ubiquitous "Hey Joe" as a dirge and Neil Diamond's "Cherry, Cherry"
+
are examples.
+
+
73. AND JUSTICE FOR ALL - Metallica (1988, Elektra E2 60812)
+
The best of the new metal bands and their best record. Extended workouts
+
stretch these tunes out to maximum length. This is proof that not every
+
long-hair band gigging the LA clubs in the early-to-mid eighties was
+
worthless. Most were though, as for every Metallica there were a handful
+
of Ratts, Great Whites, Armored Saints, Poisons, and Quiet Riots.
+
+
72. THE MADCAP LAUGHS/BARRETT - Syd Barret (1974, Harvest SABB-11314 [UK])
+
This should be required listening for all psychiatry students; a peek
+
into the mind of an acid casualty. After leading Pink Floyd through
+
the Brit-psych sounds of their debut, The Piper at the Gates of Dawn,
+
a combination of Barrett's wackiness and Roger Water's ego forced his
+
ouster. This is a double-LP compilation of the two record payback
+
from Waters and Gilmore, who hauled their portable studio over to Syd's
+
crash pad and turned on the tape. The result is a barely-produced
+
collection a songs that are sometimes goofy and sometimes display
+
some offbeat philosophy. The original records were put out in 1969
+
and 1970.
+
+
71. NOBODY'S HEROES - Stiff Little Fingers (1980, Chyralis CHR 1270)
+
Irish ramalama punk rockers who displayed a progression from hardcore to
+
raw rock-and-roll over the course of their four albums, and always with a
+
bit of a reggae influence. This LP is number two, and strikes the best
+
balance between white guitar noise and more complex compositions. A cover
+
of the Specials "Doesn't Make it Allright" is a highlight.
+
+
70. BORN INNOCENT - Red Cross (1982, Smoke Seven SMK-7-103)
+
A pair of 12 and 15 year old brothers from the LA suburbs sing tributes to
+
Russ Meyer, Linda Blair, The Brady Bunch, and Charley Manson - with the
+
utmost in trash rock sensibilities. Charley's "Cease to Exist," which can
+
be heard on his Lie album, is the unlisted final track.
+
+
69. OSMIUM/RHENIUM - Parliament (1970, Invictus 7302/H.D.H. HDH LP 008 [UK])
+
Osmium (that's a pretty heavy metal!) is essentially the first
+
Funkadelic record. The is the initial LP after George Clinton's doo wop
+
group recruited a gang of young Hendrix freaks to back them up with a
+
heavy-funk-psychedelic-Delta Blues-soul-acid overamplified rock sound. A
+
great forecast of things to come, when for legal reason the group's name
+
was temporarily retired. Rhenium is the reissue, which is improved by the
+
inclusion of some single only releases from the same period. Check out
+
the original recordings of "I Call My Baby Pussycat" and "Red Hot Mama."
+
+
68. BRAIN CAPERS - Mott the Hoople (1972, Atlantic SD-8304)
+
If you've only heard the post-Bowie version of this band you might be
+
surprised at how hard they rocked before his emasculation job (as he did
+
with Lou and Ig). This is the last of the four Atlantic albums before
+
they took the glitter edge on Columbia, and it's their best. Ian Hunter's
+
raspy croak delivers on songs with titles like "The Wheel of the Quivering
+
Meat Conception" and "Death May be your Santa Claus."
+
+
67. STAND! - Sly and the Family Stone (1969, Epic BN-26456)
+
Sly reached his happy / groovy peak here, just before the big bummer led
+
him to the introspection of "There's a Riot Going On." The wah-wah jamming
+
on the 13:48 minute "Sex Machine" is the greatest rock-soul fusion this
+
side of Brother George.
+
+
66. I AGAINST I - Bad Brains (1986, SST 065)
+
As it was once said, "Spyz kicks Color's ass, but Brains kicks them both."
+
Explosive hard rock from these former DC part-time rastamen, part-time
+
punks, which is the indisputed successor to the ground broken by Sly and
+
Funkadelic in the seventies. Dr. Know roars.
+
+
65. BLANK GENERATION - Richard Hell and the Voidoids (1977, Sire SR-6037)
+
Dick Hell could never be happy until he was calling the shots, and thus he
+
jumped ship from both Television and the Heartbreakers before getting his
+
own name in the title of a group. It took him the previous four years in
+
those bands to come up with the compositions found here, and some can be
+
followed on their developmental path through the years. The music thus had
+
time to evolve, which is good as Hell's greatest talent is as a clever
+
lyricist. Future Lou Reed sidekick Robert Quine helps things along
+
considerably with his unique guitar talents, and Marc Bell pounds the
+
between stints with Dust and the Ramones.
+
+
64. ACE OF SPADES - Motorhead (1980, Mercury SRM-1-4011)
+
Full throttle, balls out, take no prisoners, and all knobs to the right -
+
one of the most intense record I've ever heard. The songs are catchy to
+
boot. Lemmy plays bass chords and shouts from the back of his throat.
+
+
63. SONGS THE LORD TAUGHT US - The Cramps (1981, IRS SP 007)
+
Mutant rockabilly meets sixties garage noise meets horror movie sound-
+
tracks tracks, all backed with liberal doses of fuzz guitar and no bass to
+
be found. Motley Crue and Judas Priest should realize that this is what a
+
leather clad band is supposed to sound like.
+
+
62. NEW YORK DOLLS - New York Dolls (1973, Mercury SRM-1-675)
+
Not even Todd Rungren's production could muddy the kick of these songs. A
+
raw updating of the Rolling Stones rock-and-roll ethic, that easily
+
surpasses attempts by Aerosmith and Guns and Roses, presented by Johnny
+
Thunders (RIP), Jerry Nolan (RIP), Arthur Kane (MIA), David Johannson (aka
+
Buster Poindexter), and Sylvain Sylvain, whose guitar was lifted by Malcom
+
MacLaren and strummed by Steve Jones in the Sex Pistols. Don't let the
+
cover picture fool you.
+
+
61. THIS YEAR'S MODEL - Elvis Costello (1978, Columbia BL 35331)
+
Elvis used to have energy overload to back up the anger he still carries
+
around like a badge of honor. This is his first outing with the
+
Attractions, and the hopped up attitude demonstrates what a bunch of hacks
+
Huey Lewis' News are, who walked through the backing band roll on the
+
previous, debut album. "Radio Radio" is one of a handful of the greatest
+
rock songs of all time.
+
+
60. DUB HOUSING - Pere Ubu (1978, Chrysalis)
+
On the first listen, this record sounds as if it is a discordant mess,
+
with two guitars, bass, drums, and a synthesizer meeting head on with
+
David Thomas' aka Crocus Behemoth's (no, he's not in Gwar) sort of alto
+
warble singing style. But close listening, especially with headphones,
+
quickly reveals that there is a place for everything and everything is in
+
its place. It's a masterpiece of composition, as well as of mixing and
+
production, and after picking it apart you can put the whole back together
+
and find that the mesh produces some great rock-and-roll rhythms.
+
+
59. NUMBER ONE RECORD - Big Star (1972, Ardent ADS-2803)
+
Alex Chilton shows his real musical side after bailing on his forced Eric
+
Burdon imitation as the singer of the Box Tops. The music is clean, it's
+
it's sharp, it's clever, and it rocks. This is what REM wish they could
+
sound like.
+
+
58. SUPERFLY SOUNDTRACK - Curtis Mayfield (1972, Custom CRS-8014)
+
Superfly is high grade cocaine, not a guy in pimp drag. It's great that
+
when Sly finally went into the toilet, Curtis was there to carry on with
+
this great, groovy sound.
+
+
57. STANDING ON THE VERGE OF GETTING IT ON - Funkadelic (1974,
+
Westbound 1001)
+
The heaviest of the Funkadelic albums, and thus it's also the most Eddie
+
Hazel-influenced. I still haven't heard Sir Ed's solo album however, and
+
and if anyone can help me out please let me know.
+
+
56. FLIP YOUR WIG - Husker Du (1985, SST 055)
+
Du is another group whose recorded career can be placed on a sort of
+
linear progression. They moved from badly-recorded dissonant noise, to
+
above average punk, to the new rock sound, to an overproduced attempt
+
at major label success. This album, along with its predecessor "New Day
+
Rising," represents the midpoint, at which the distorted frenzy of the
+
music isn't cleaned up, but is tempered with catchy melodies. This is
+
their last independent label release. Husker Du made it possible for
+
bands like Nirvana and Smashing Pumpkins to be successful today.
+
+
55. SOUND EFFECTS - The Jam (1980, Polydor PD-1-6315)
+
The "new Who" start to expand their sound with touches of sixties soul for
+
this fourth record. The songs are still loaded with energy, which would
+
all but disappear by the time Paul Weller was into the Style Council and
+
his solo career. He's been trying to repeat the sound of this album
+
unsuccessfully throughout all of those later recordings.
+
+
54. HUEVOS - Meat Puppets (1987, SST 150)
+
Grab a giant brain dart, bake in the desert sun, and let your mind take
+
control. This has intricate but powerful picking, and truly psychedelic
+
lyrics from the Kirkwood boys. This is MY Grateful Dead.
+
+
53. $100 FINE - The Litter (1968, Hexagon HX-681)
+
An obscure Minnesota band who recorded on an obscure Minnesota label.
+
This has recently been reissued by none other than K-Tel. It is very
+
much the result of heavy duty guitar effects and studio experimentation,
+
which resulted in something on the border between sixties punk and heavy
+
psychedelia.
+
+
52. PLEASED TO MEET ME - The Replacements (1987, Sire 25557-1)
+
The last record with any integrity from Paul Westerberg. It's solid from
+
beginning to end and should have fit easily into rotation on AOR radio.
+
When that format proved too conservative to try anything that wasn't
+
completely contrived formula or twenty years old, a desperate for success
+
Westerberg attempted to give then what they wanted and sunk this band with
+
two terrible final releases.
+
+
51. SPECIALS - The Specials (1980, Chrysalis CHR 1265)
+
Most ska is like most reggae, it's great in the background but any attempt
+
at close listening reveals most bands to be largely indistinguishable from
+
each other. The Specials are absolutely an exception. Not only are their
+
beats backed up with bursts of punk derived guitar, but lyrically their
+
social commentaries provide added punch.
+
+
50. GO GIRL CRAZY - The Dictators (1975, Epic KE 33348)
+
This isn't punk rock, but rock made by punks - the closest thing to a real
+
Spinal Tap to crawl from the wreckage. At the time of this power chord
+
dominated debut the 'Tators could only barely play their instruments, but
+
the knew exactly what they wanted to say. A testament to idle youth and
+
their obsessions with cars, girls, wrestling, partying, and rock-and-roll.
+
+
49. ROAD TO RUIN - The Ramones (1978, Sire SRK-6063)
+
The early chainsaw pop style of the Ramones reached its peak with Rocket
+
to Russia, the LP which came before this. Wisely, rather than risk
+
retread, the boys added a bit of hard rock crunch to their sound and at
+
the same time came up with their most diverse collection of songwriting
+
styles to date. The lack of success commercially was extra unfortunate
+
(and to this day only "I Wanna Be Sedated" gets any attention from this
+
collection) as they continued to reach for a more saleable sound on their
+
next two records, End of the Century and Pleasant Dreams, with pretty
+
poor results. Marky graduates from the Voidoids and Dust to take the drum
+
chair for the first time.
+
+
48. THE EVIL ONE - Roky Erickson and the Aliens (1981, 415 Records 415A-0005)
+
The second acid casualty of this list (see Syd Barrett), Roky's decline
+
into his own cerebral cortex took more of a gradual path. Here he is, ten
+
years after the dissolution of the Thirteenth Floor Elevators, giving his
+
distinctive form of vocalizing to tales of demons, alligators, bloody
+
hammers, and the Creature with the Atom Brain. Roky has the unique vocal
+
ability to cram as many words as needed into a lyrical line without
+
destroying the meter or going out of tune. Interestingly, this proto-punk
+
sounding album was produced by Stu Cook from Creedence Clearwater Revival.
+
+
47. DAYDREAM NATION - Sonic Youth (1988, Enigma/Blast First 75403-1)
+
I'd seen Sonic Youth a few times over the years, thought that they ripped
+
live, but was never that much of a fan of theirs on record. Albums like
+
Bad Moon Rising and EVOL seemed to get a little to bogged down under their
+
own pretensions, so I wrote off SY as a studio band - until I heard
+
Daydream Nation. The starting point for this is Cale era VU, but through
+
out the layers upon layers of guitar noise the band definitely define
+
themselves. This double album is their most accomplished work. It's one
+
of those that takes a few listens to get into, but after digging in you'll
+
find a plethora of hooks and melodies within the chaos. Favorites:
+
"Teenage Riot" and "Total Trash."
+
+
46. MACHINE GUN ETIQUETTE - The Damned (1979, Chiswick 0067.068 [UK])
+
The Captain switches to guitar and shows that there's room for some
+
demented wailing within the confines of the Brit-punk genre. Brian James'
+
departure (soon to turn up in the Lords of the New Church with Dead Boy
+
Stiv Bators [RIP]) shipped out his power chord songwriting and replaced
+
it with Sensible's more garage styled leanings. The new sound makes much
+
better use of Vanian's undead vocals and Rat's Moonesque skin pounding.
+
+
45. SAFE AS MILK - Captain Beefheart (1967, Buddah BDM-1001(M),5001(S))
+
Van Vliet's LP debut isn't as convoluted as the weirdness heard on his
+
most notorious record, Trout Mask Replica, but it still veers all over the
+
rock spectrum, and displays Beefheart's distinctive multi-octave growl on
+
raw takes on blues, soul, psych, garage, and R & B. This one anchors his
+
singing to the most charged musical background on all of his albums.
+
+
44. CYCLE-DELIC - Davie Allan and the Arrows (1968, Tower DT-5094)
+
The king of the fuzz guitar on the last of his three sixties albums
+
featuring his band exclusively (not soundtrack LPs). The double neck
+
Mosrite roars through two sides of buzzing instro madness. "Cycle-Delic"
+
is probably the best thing that he did.
+
+
43. MEATY, BEATY, BIG AND BOUNCY - The Who (1971, Decca DL 79 184)
+
Bands such as the Buzzcocks and the Clash mirrored their elder countrymen
+
in that they delivered their primary musical statements early in their
+
careers, through series' of frequently-issued singles rather than a
+
cohesive album. This is the ancestor of Singles Going Steady and the
+
American version of the Clash, where UK issued 7"-ers are collected
+
together for US consumption. If "Call me Lightning" or "Disguises" had
+
replaced "Boris the Spider," this one might have hit my top twenty.
+
+
42. YOUNG, LOUD, AND SNOTTY - Dead Boys (1977, Sire SR-6038)
+
I was once making a compilation tape for a friend and included some things
+
from this record. A roommate's response was, "So you're bringing him down
+
huh?" Critics who are fans of seventies "punk" frequently rave about the
+
clever artiness of Talking Heads or Pere Ubu while retching at the fact
+
that the Dead Boys had to exist. When Cleveland's Rocket from the Tombs
+
disbanded there was a parting of the more avant-garde wing and the devoted
+
hard rockers. Crocus Behemoth and Peter Laughner started Pere Ubu while
+
Stiv Bators and Cheetah Chrome paid tribute to the Stooges with this band.
+
Liberal doses of hedonism and misogyny (even if tongue-in-cheek) make
+
this early metalcore dangerous for the overly sensitive.
+
+
41. KILLING JOKE - Killing Joke (1980, Malicious Damage EGS 109)
+
An early attempt to put an industrial edge onto hard rock. It sounds
+
incredibly angry before any lyrics even begin, with heavy, churning music
+
backing distorted vocals through a very overmodulated recording. Most
+
subsequent attempts to harness this much chaos fail, but this one doesn't.
+
Fans of Ministry, Prong, and Nine Inch Nails should give this a spin to
+
find out from where their heroes copped their sound.
+
+
40. NEVERMIND - Nirvana (1991, DGC 24425)
+
A groundbreaking record in that no previous punk rock album (and that's
+
what it is) ever hit number one in America. This is a descendent of
+
Black Flag and Husker Du, and achieved success unimaginable for its
+
style only a few years previous. Much more significant than anything
+
put out by Pearl Jam, the Grand Funk Railroad of the nineties. (If you
+
know what I mean by that, and I think that you do).
+
+
39. RAW POWER - Iggy and the Stooges (1973, Columbia KC-32111)
+
James Williamson offers no substitute for Ron Asheton's guitar emanations
+
from the deepest caverns of an LSD soaked mind, but Iggy's sneer has never
+
sounded better. One of the most influential recordings of all time,
+
despite David Bowie.
+
+
38. KICK OUT THE JAMS - MC5 (1969, Elektra EKS-74042)
+
A live debut album designed to catch the fury of the Motor City Five on
+
stage. It does a pretty good job. Elektra was stepping out on a limb
+
with the signing of the Doors and Love a few years earlier, but somebody
+
must have put something in somebody's drink to inspire the signings of the
+
Five and the Stooges. Neither Detroit combo lasted long, with the MC5
+
getting the boot after just this album when they didn't wish to cooperate
+
with the censoring of their trademark slogan "kick out the jams mother-
+
fuckers" in the recording, or some liner notes with a similar use of
+
the vernacular. What ever happened to the rest of the tapes from these
+
shows which didn't make it on to this record?
+
+
37. ORIGINAL RUMBLE - Link Wray (1989, Ace CH 924 [UK])
+
If the Meat Puppets are my Grateful Dead, then Link Wray is my Elvis. The
+
true king of rock-and-roll pioneered an electric guitar sound that is
+
omnipresent today. This collects the best of his mostly instrumental
+
output from his start in 1958, up through some recordings of new composi-
+
tions from 1989, which maintain his special verve. There are numerous
+
Link compilations and reissues made available in recent years, but this
+
one has the best collection of old and new tracks that I've seen.
+
+
36. IN TOO MUCH TOO SOON - New York Dolls (1974, Mercury SRM-1-1001)
+
The energy of Johnny Thunders' playing is even more apparent without the
+
muddy production found on the debut LP. Trashy good fun with elements of
+
everything from early sixties R&B to the Sticky Fingers era Stones to the
+
MC5 tossed into the mix.
+
+
35. L.A.M.F. - The Heartbreakers (1977, Track 2409 218 [UK])
+
Thunders and Nolan from the Dolls' next band packs on even rawer punch,
+
with a couple of years of NY punk behind them and David "Buster
+
Poindexter" Johnansson on his way to Vegas. The sound on the Track label
+
recording is pretty poor though, so look for the remixed version (with a
+
slight variation in songs) put out under the title L.A.M.F. Revisited by
+
Jungle (Freud 4) in 1984. Compare "Chinese Rocks" here with the
+
Spectorized mess on the Ramones End of the Century album.
+
+
34. TEENAGE HEAD - The Flamin' Groovies (1971, Kama Sutra KSBS-2031)
+
A unique Groovies sound that was brewing on the earliest records, and
+
which almost completely emerged on Flamingo, finally pops through on their
+
third LP. The roots music influences of Roy A. Loney and the guitar rock
+
influences of Cyril Jordan synergize into a sound with heavy doses of the
+
then current Detroit style kicking in as well. This is the last LP for
+
the original band, as after 1972's Slow Death EP, Loney was out and
+
Jordan led SF's best ever band in a Dave Edmunds produced sixties pop
+
meets new wave direction.
+
+
33. THE VELVET UNDERGROUND AND NICO - The Velvet Underground (1967, Verve
+
V6-5008)
+
Nothing had ever been heard like this before in 1967, and thus it was
+
almost completely ignored, with only a small contingent of degenerate
+
psychotics, paranoids, and dope heads knowing exactly where Lou was
+
coming from. Rock's greatest writer invites you along with him through
+
his world of smack, bondage, degradation and death. The music is lyric-
+
ally frightening and musically groundbreaking, with innovative uses of
+
distortion and dissonance that many have tried to imitate over the years
+
but none have succeeded in doing so. This is Lou's band and Lou's album,
+
and anyone who thinks John Cale or (especially) Andy Warhol was the
+
creative force has been in art school for too long.
+
+
32. BACK DOOR MEN - The Shadows of Knight (1966, Dunwich 667)
+
What if the Rolling Stones were even louder and snottier? Then they might
+
sound like this gang of teen primitives from suburban Chicago. The So'K
+
take the basic Stones rock-and-roll update of classic blues and R & B
+
and crank up the volume and distortion. This second release gets the nod
+
over the debut, which highlighted a minor hit cover version of Them's
+
"Gloria," due to better original material to go with the Jimmy Reed and
+
Willie Dixon covers. A live, sound board recording from a 1966 show at
+
the group's home base The Cellar, on the Sundazed label, has recently
+
surfaced - grab it while you can.
+
+
31. BEST OF THE STANDELLS - The Standells (1983, Rhino RNLP 107)
+
The Standells have been covered extensively in FUNHOUSE! #2, and more is
+
said about them in the garage punk article in this very issue. To briefly
+
summarize, they were the best of the LA based mid-sixties punk bands, and
+
accompanied their songs of sneering youthful defiance with some raw rock
+
and roll rave-ups. "Dirty Water" was the hit, and kicks off this
+
collection.
+
+
30. ALIVE - Kiss (1976, Casablanca NBLP-7020)
+
Wouldn't it be funny if these guys and their macho sexist swagger were
+
serious? Wait a minute, they are! Unlike like the Dictators, Spinal
+
Tap, or the Dead Boys, Kiss' musical bragging of scoring with the babes
+
and partying down weren't done tongue in cheek, and that's part of the
+
kick. There are plenty of heavy riffs in classics like "Strutter,"
+
"Hotter than Hell," "Black Diamond," and "Rock and Roll All Night" to
+
add to the fun. The best material from the group's first three records
+
is recycled with a rawer and less muddy sound, in a calculated and
+
career saving move. It was all downhill after this, a slow roll until
+
Alive II and then off the cliff.
+
+
29. EXILE ON MAIN STREET - The Rolling Stones (1972, RS COC-2-2900
+
The final offering from the '68-'72 period in which the Stones truly were
+
The World's Greatest rock-and-roll Band. They came full circle here, as
+
their early R & B swagger finally collides with their distinct style which
+
matured on Let It Bleed and Sticky Fingers. The Five were dissolved,
+
Iggy was on hiatus, the Modern Lovers' tapes were gathering dust in the
+
vaults, the Dolls were still slaving in the Bowery, and Townshend was
+
committed to excessive "rock operas," if such a thing can truly exist.
+
Exile was the only game in town at the time, and if this period hadn't
+
been so productive, the RSs probably wouldn't have carried through into
+
today's ca$h-in, megabuck$ $tadium tours.
+
+
28. NO WAY OUT - The Chocolate Watchband (1967, Tower DT-5096)
+
Garage punk acid rock psychedlia might sum it up, but it might be more
+
accurate to say that they just dropped some L, plugged in, put all knobs
+
to the right, and let everything else sort itself out. Ed Cobb's other
+
project ranges from tripped out instrumentals, to feedback doodlings, to
+
distorted chords, and even to a cover of "The Midnight Hour," all carried
+
with that Jaggeresque vocal sneer that so many American mid-sixties angst
+
combos went for.
+
+
27. PINK FLAG - Wire (1977, Harvest ST-11-757 [UK])
+
The first record from the British proto-Minutemen is a collection of brief
+
sonic outbursts of angular intensity whose sly observations should make
+
Devo proud. Don't confuse the sound of the reformed group with this, as
+
before the '79-'86 time of inactivity it was strictly guitar-bass-drums.
+
In fact, when the group toured the US after reforming, they hired an
+
interviewer's band whose only experience was in some college ghetto,
+
dubbed them Ex-Lion Tamer, and had them open the show with a performance
+
of this entire record, start to finish, to get it out of the way. Like
+
the Ramones, the bare bones approach may have been a technical necessity,
+
but also like those glue sniffers Wire make it work.
+
+
26. PLASTIC ONO BAND - John Lennon (1970, Apple SW-3372)
+
Lennon liked to play out his neuroses in public, and on this first solo
+
album (well, with music anyway) he puts his internal pain and suffering
+
on record for all to hear. It's confession time, but it's also raw,
+
primal, stripped down, no BS rock-and-roll which makes it clear who had
+
the edge in the previous band, when stacked up against Mr. McCartney's
+
wimp infested nonsense such as the contemporary "The Lovely Linda." Mac's
+
cover of "Mary Had a Little Lamb" was right around the corner. - 'nuff
+
said.
+
+
25. NEW DAY RISING - Husker Du (1984, SST 031)
+
A perfect pairing of Husker Du's twin driving forces occurs on this LP -
+
sheets of highly amplified layered guitar noise backed by a pounding
+
rhythm section, and compositions of hook driven pop songs that could make
+
it as bubblegum hits on AM radio if laid down by a commercial band. Their
+
unrelenting punk energy had been refining itself in the direction of this
+
marriage in their two previous records, the EP Metal Circus and the double
+
album Zen Arcade, but New Day Rising strikes the perfect balance.
+
Guitarist Bob Mould's later band Sugar achieve a similar balance with
+
their records, and would have probably cracked this list somewhere if they
+
weren't just a bit too recent.
+
+
24. EASTER EVERYWHERE - The Thirteenth Floor Elevators (1967, International
+
Artists IALP 5)
+
The next time some poser tries to tell you that the Jefferson Airplane or
+
the Grateful Dead is acid rock, toss this platter on and prove them wrong.
+
The grooves ooze trippines, with weird guitar noises, pro freak out
+
lyrics, and an electric jug backing up Roky Erickson's right on space
+
vocals - and it all rocks straight out of the garage, something those
+
hippie bands couldn't even comprehend. This sophomore release has the
+
edge over the even spacier debut, Psychedelic Sounds, for its slightly
+
better songwriting.
+
+
23. MORE FUN IN THE NEW WORLD - X (1983, Elektra 60283)
+
The Exene / John Doe harmonies are a unique diversion from most of the
+
third wave of punk bands, but it is Zoom's punk-o-Billy guitar which gives
+
this group the upper hand over most of the other LA late 70s / early 80s
+
punks and wavos. By the time of this fourth album they had learned to
+
stretch and diversify their early dark, urban, hard folk groove in a
+
variety of directions. Because all of these style experiments work, this
+
is a great album, and the clever lyrical twists are an added bonus.
+
+
22. MY GENERATION - The Who (1966, Decca DL-4664)
+
The teenage Who deliver a sound wound around slashing guitars and youthful
+
angst which was really unprecedented for its time. During this period
+
Townshend and company were truly the most innovative of the Brit invasion
+
era crew, as while there are hints of an R & B influence through such
+
touches as a couple of James Brown covers, this band was less beholden to
+
a blues or early rock-and-roll foundation than their peers. The explosive
+
energy of the Who's formative music really wasn't matched at the time, and
+
serves as one of the early pillars on which punk zeitgeist was built.
+
Shell out import prices and get the addition of "I'm a Man" and a longer
+
"The Kids Are Allright."
+
+
21. ZUMA - Neil Young and Crazy Horse (1975, Warner Brothers MS 2242)
+
The first LP with the Poncho Sampedro line-up of Crazy Horse to back Neil
+
serves up the clean and raw sound that would come to represent the sound
+
of Young at his most loud and primitive, up to the present day. The
+
intricate electric interplay of the two guitars continues on in the
+
releases Rust Never Sleeps, Re-ac-tor, Life, Ragged Glory, and Sleeps With
+
Angels, but this is where it began.
+
+
20. THE DAYS OF WINE AND ROSES - The Dream Syndicate (1983, Ruby JRR807)
+
While most members of LA's revivalist "paisley underground" were mining
+
Beatles-Yardbirds-Easybeats, or at their most adventuristic, Seeds
+
territory, the Dream Syndicate went straight back to the Velvet
+
Underground. They're much more guitar oriented than the retro-psych bands
+
they often shared bills with. The twin attack of Steve Wynn and Karl
+
Precoda, with their TV styled Fender-Marshall intensity, provides a
+
powerful backing for Wynn's haunting vocal Louisms.
+
+
19. ENTERTAINMENT - Gang of Four (1979, Warner Brothers BSK 3446)
+
The Marxist sympathies in the lyrics of these British post-punks don't
+
come off as annoyingly preachy, as they mainly serve as a framework for
+
some caustic and humorous observations on American cultural hegemony and
+
the British social condition. Commentary on corrupt governments, mindless
+
followers, unchecked consumerism and a deteriorating social order accomp-
+
any music which brings a heavy, funky bottom to a slash and burn guitar
+
sound that would fit in well on a Voidoids record.
+
+
18. THERE'S A RIOT GOING ON - Sly and the Family Stone (1971, Epic KE-30986)
+
If Sly's Stand! album is Woodstock, then this is Altamont. Sly woke up
+
the up morning after the flower power party, where everything and every-
+
body was groovy, and saw Nixon, Vietnam, and the ghetto. While Mr.
+
Stewert didn't "leave that bummer behind," he did produce a powerful if
+
subdued record, which is relentless in both its soulful funk and its
+
honest telling of the truth about "Luv n' Haight."
+
+
17. PRETENDERS - The Pretenders (1979, Sire SRK 6083)
+
Chrissy Hynde puts to rest the notion that a woman's place in a rock-and-
+
roll band is as some Laurie Partridge / tambourine player / go-go dancer.
+
Anybody whose roots are in White Light/White Heat and Raw Power has to
+
have her attitude in order. The songs are sharp statements of sexuality,
+
but one where Chrissy is in control and isn't adverse to a sharp FU if
+
necessary. The cover attempts to represent a spanning of the rock and
+
roll era through the dress of Farndon (50s), Hynde (60s), Honeyman Scott
+
(70s), and Chambers (80s).
+
+
16. MAGGOT BRAIN - Funkadelic (1971, Westbound 2007)
+
A spacified Eddie Hazel lays down acid soaked I-wanna-be-Jimi-isms with
+
his guitar to accompany George Clinton's most satisfying achievement from
+
the early stage of the P-Funk universe's existence. After George's
+
freak-out intro spiel and Eddie's emotional ten minute guitar work out on
+
the instrumental title cut, there are bits of funk, soul, gospel,
+
punk-metal, and a chaotic end of the world enactment called "Wars of
+
Armageddon." A perfect fusion of the riddum of Funkadelic's eponymous
+
debut, and the over-the-edge weirdness of their second, Free Your Mind and
+
Your Ass Will Follow. It was onto a more refined, but still great, sound
+
after this. There's nothing else like it.
+
+
15. RADIO CITY - Big Star (1974, Ardent ADS-1501)
+
Alex Chilton's post-Box Top band delivers some straightforward, non-agro,
+
basic rock-and-roll, which is thankfully free of the sappiness, over
+
production, and pretentiousness that all to often infiltrated the more
+
reserved rock music of the time. There are just a couple of clean
+
electric guitars, bass, drums, and some incredibly earnest singing to
+
translate the great songwriting. Like the Lennon album above, this is a
+
testament to the fact that it's possible to rock with a pared down
+
approach.
+
+
14. HIGH TIME - MC5 (1971, Atlantic SD-8285)
+
Each of the first two MC5 records have their problems. On the first, the
+
live format certainly demonstrated the intensity of the band, but that
+
format had its reservations as to production possibilities. The follow-
+
up, Back in the USA, suffers from too much production, as future Boss
+
manager Jon Landau tried too hard to score a radio hit for Atlantic, their
+
new label after the Five were dumped from Elektra for encouraging a
+
boycott of their own record (over the label's censoring of the word "fuck"
+
- still a no-no at the time). On High Time, (from which the dope mag took
+
its name), the dudes knew that the end was near, and the expectations borne
+
of the hype were gone. Without the pressure, they assembled their most
+
complete work, which best captures the twin blast rock-and-roll assault
+
of guitarists ("Let me tell you 'bout") Wayne ("and his deals with
+
cocaine") Kramer and Fred "Sonic" Smith, which was the essence of the
+
band's sound.
+
+
13. LET IT BE - The Replacements (1984, Twin Tone TTR-8441)
+
Another record which is a songwriting triumph. After the raunchy trash
+
punk of their first two records, the 'Placements began to show some
+
diversity on Hootenanny, their third. This album takes another giant
+
leap forward, and demonstrates Paul Westerberg's new found ability to
+
balance his comic angst rock approach with bits of subtlety and craft,
+
without losing the music's rawness, its humor, or its honest energy. It
+
was on to the majors after this, and a great deal more production. Two
+
more quality records came out before a final pair, which represent one of
+
the most disappointing collapses in recorded history, as Westerberg
+
cranked out AOR dreck in a sad attempt at FM radio acceptance.
+
+
12. LONDON CALLING - The Clash (1979, Epic E2 36328)
+
The Clash were more successful, artistically and eventually commercially,
+
than their Brit First Wave competitors as they were able to harness their
+
punk attitude and intensity and progress in their music. This double LP
+
is the validation of this move, which had been suggested in the band's
+
preceding seven inchers. Keeping the angry sociopolitical lyrics, they
+
refined their musical attack, relying on more rhythms and especially the
+
heavy beat of Paul Simonon's bass. It was recorded with the production
+
of Guy Stevens, who oversaw the early, hard rock days of Mott the Hoople
+
(a Mick Jones favorite). There's not a bad track over the four sides, and
+
it even opened the door for the group in America with the top forty hit
+
"Train in Vain."
+
+
11. WALK AMONG US - The Misfits (1982, Ruby JRR 804)
+
Earth Vs. the Flying Saucers meets The Angry Red Planet on the cover, and
+
inside Vampira can be found hooking up with The Brain Eaters and The Astro
+
Zombies on The Night of the Living Dead. Proof that Glen Danzig can use
+
his powerful vocal skills for more than the phony satanic metal that gets
+
him on Beavis and Butthead these days. The horror flick schlock rock pose
+
is backed up by hardcore music, with a considerable amount of satisfying
+
hooks, that keeps your head banging.
+
+
10. MARQUEE MOON - Television (1977, Elektra 7E-1098)
+
The is one of the best guitar records of all time. If you're stuck in a
+
Yngwie Ray Satriani glut it may not be your cup of tea, but these songs
+
offer some of the most exciting interplay of twin leads that you can find.
+
Rather than being self serving, as is the style of those "guitar heroes,"
+
the playing on this by Tom Verlaine and Richard Lloyd is built around the
+
creation of a good song - and you can dance to it. Verlaine's quivering
+
vocals are definitely secondary to the music.
+
+
9. MODERN LOVERS - Modern Lovers (1974, Home of the Hits HH-1910/Beserkley
+
BZ-0050)
+
Jonthan Richman is the godfather of straight edge. These John Cale
+
produced tracks were recorded three years before they were finally rescued
+
by the HOTH label. Perhaps in the time of Floyd, Yes, and the Mighty Led
+
Zep, no one thought that the stripped down rock of the Modern Lovers, with
+
Richman's musings on the joys of being straight, looking for a girlfriend,
+
living in the suburbs, and driving to the sounds of the car radio, were of
+
any interest to anyone. A respite from all of the pseudo-seriousness for
+
some good clean fun would have done everybody some good. Future T-Head
+
Jerry Harrison is on keys.
+
+
8. SINGLES GOING STEADY - Buzzcocks (1977-80, IRS SP 001)
+
It takes a lot for me to convince myself to put a compilation record in a
+
list like this, especially when a group's albums are indeed quality stuff.
+
However, like the Who with Meaty Beaty Big and Bouncy, the music on this
+
comp is made by a definite singles band. Each track is a blast of hyper-
+
melodic, raw angst, but each is also a skillfully crafted pop song. The
+
Buzzcocks had the volume and distortion, and the timing of their exist-
+
ence, to warrant their lumping in with the Damned, the Sex Pistols, and
+
the Clash as the first of the British punk bands, but their University
+
background, separation from London (as they were Manchester based), and
+
their penchant for taking LSD in the recording studio all contribute a
+
certain detachment from those angry youth.
+
+
7. NEUROTICA - Redd Kross (1987, Big Time 6034-1-B)
+
Tommy Ramone's production brought out the real essence of this band,
+
previously hinted at on the cover tune EP Teen Babes From Monsanto. It's
+
not quite metal, not really psychedelic, almost garage, and rooted in
+
punk. This album would be at home in 1966, in 1977, in 1992 - but not
+
really in 1987, which might be why it was barely noticed other than by
+
long time fans. Guitars charge, riff, wail, jam, solo, and create a
+
cranking rock-and-roll backdrop to hysterical pop culture observations on
+
Sunset Blvd. hair-metal types ("move to Fresno, grow a mutant afro"),
+
McKenzie Phillips ("McKenzie baby you blew your mind..."), and the caste
+
conscious LA scene ("no metal sluts or punk rock ruts for me").
+
+
6. DAMAGED - Black Flag (1981, Unicorn/SST 9502)
+
All you Hank-haters out there have to give it to him for his performance
+
on this. After Dez moved from vocals to second guitar, Flag rescued
+
Rollins from behind the counter of an ice cream shop, and used him on
+
Damaged where his vocal intensity registers a ten. Being basically
+
nothing previous other than a fan, as his DC band SOA were strictly local,
+
meant that no rock star attitude had yet taken over, and being young meant
+
that his anger was real rather than a pose. It is still Greg Ginn's
+
writing and jackhammer guitar blasts which drives this thing throughout.
+
It's a document of pent up youthful anxiety so real that MCA, who were the
+
record's original distributors, dropped it; and act which led to a court
+
case which kept new Black Flag material off the shelf for three years.
+
One exec's comment, "As a parent I found it to be an anti-parent record,"
+
was plastered onto some early copies. Some import versions have the
+
band's excellent take on "Louie Louie," from a Posh Boy single, tacked on.
+
+
5. LOADED - The Velvet Underground (1970, Cotillion SD 9034)
+
Having defined themselves, redefined themselves, and then reached a point
+
where the end was undoubtedly near, and with the pressure off, the VU
+
recorded their most accomplished, most mature, and most complete album.
+
After the experimentation of the first record, the attempt to push beyond
+
the boundaries broken there with the follow-up White Light/White Heat, and
+
the subtle reaction to those two in the understated Velvet Underground LP,
+
Lou Reed was in a mood to establish that he was, after all, a true rock
+
and roller. And as much as Doug Yule may have thought otherwise, he was
+
not the force that John Cale had been in driving the music in a certain
+
direction, and thus the sound of this album is all Lou. It is the most
+
conventional and structured of all of the group's records, but to make
+
an album that is the pinnacle of a style one must work with in that
+
realm, and this is the only example of the VU dedicating themselves
+
completely to straight rock. In fact it is so much as stated so in the
+
third track, the second most well known Velvet Underground song "Rock and
+
Roll," which follows their most well known song, "Sweet Jane." These are
+
amongst the mellower moments on a trip which includes "Head Held High,"
+
"Cool It Down," and "Train Comin' 'Round the Bend." Artier types may miss
+
the rule breaking of the Cale era stuff, but this album rocks hard, and
+
it's right on target the whole way.
+
+
4. DOUBLE NICKELS ON THE DIME - The Minutemen (1984, SST 0028)
+
On the cover Mike Watt is cruising 55 in the fast lane, heading for the
+
Pedro turnoff - that sets the pace for a record which always goes the
+
limit. There are 45 songs over four sides with an average length of
+
somewhere around a minute and a quarter each. These dudes are the
+
absolute antithesis of Yes and their pretensions. The trio are lead by
+
the sharp, jagged guitar of D. Boon, which is all over the place stylis-
+
tically but never slows down. The rhythm section of Watt and drummer
+
George Hurley is both intense and complex. The sound of the Minutemen
+
is really impossible to describe, except to say that they produce concen-
+
trated sonic blasts which musically and lyrically get right to their
+
points and then move on to the next. Elements such as choruses or intros
+
are treated as superfluous by a band for who economy is a key word. Their
+
to-the-point nature can be summed up by the fact that the lyrics to every
+
song, except for a handful of covers and instrumentals, are printed on one
+
half of the back cover. They jam econo.
+
+
3. ROCKET TO RUSSIA - The Ramones (1977, Sire SR-6042)
+
All of the first three Ramones albums are essential for their high energy,
+
chainsaw, sledgehammer, minimalist PR from which so much do-it-yourself
+
inspiration was drawn. Rocket to Russia is the third of these, and repre-
+
sents the boys getting everything just right before moving out of their
+
initial mode for better (Road to Ruin) or worse (End of the Century).
+
This is the best because everything clicks, the playing, Tommy's hand in
+
the production, and a great batch of tunes. If you ain't hip to the
+
Ramones beat I can't clue you in with words, if you are, a run down of the
+
tracks will tell you why this is the best: "Cretin Hop," "Rockaway Beach,"
+
"Here Today, Gone Tomorrow," "Locket Love," "I Don't Care," "Sheena is a
+
Punk Rocker," "We're a Happy Family," "Teenage Lobotomy," "Do You Wanna
+
Dance?," "I Wanna Be Well," "I Can't Give You Anything," "Ramona,"
+
"Surfin' Bird," and "Why is it Always This Way?"
+
+
2. THE CLASH (US version) - The Clash (1979, Epic JE 36060)
+
The US version wasn't released until two years after the UK debut by The
+
Only Group That Matters, leading to the latter holding the title of all
+
time best selling import for awhile in America. Epic's ignorant opinion
+
that the sound was too raw and unrefined for Yank tastes is laughable (in
+
fact, they opted to bring in BOC studio main man Sandy Pearlman to clean
+
the band up for their US debut with Give 'Em Enough Rope), but it did
+
lead to a better record when some material from singles issued over the
+
intervening years was substituted for a few of the weaker cuts. "Clash
+
City Rockers," "Complete Control," "White Man In Hammersmith Palais," "I
+
Fought the Law," and "Jail Guitar Doors" replace "Deny," "Cheat," "Protex
+
Blue," and "48 Hours." The seven inch version of "White Riot" is also
+
substituted for the British LP cut, and original copies contained a white
+
label bonus single with "Gates of the West" and "Groovy Times" from the
+
Cost of Living EP. It is raw and underproduced by the standards of the
+
typical corporate A & R hack, but it also is the greatest British punk
+
record of all time.
+
+
1. FUN HOUSE - The Stooges (1970, Elektra EKS-74101)
+
This zine isn't named for it because I don't like it! It builds, it
+
surges, and it piles on intensity, as the tripped out, extra-amplified
+
Asheton guitar psychosis and the Ig's guttural growl reach toward some
+
peak, through "Down on the Street" to "TV Eye" to "Loose" to "Dirt" to
+
"1970," after which the ONLY result possible is self-implosion on top of
+
the album's own excesses. Everything comes crashing down in the form of
+
the dissonant "Fun House," which is the point where the angst finally
+
succumbs to its own weight, and finally the cacophony of "L.A. Blues,"
+
which represents the hazy confusion of the next morning's hangover. Steve
+
Mackay's Coltrane inspired sax comes in and out of the mix, and somehow
+
after the build up of the record's first side and a half it all seems
+
right - there's nothing else that COULD be done. This record is the roots
+
for all of the punk and post-punk metal that is heard today.
+
+
+
Jeff Frentzen's Sleaze Film Source List
+
---------------------------------------
+
+
First edition - August 28, 1994
+
+
By Jeff Frentzen
+
+
Contributors: Jeff Dove, Jan Borgelin, Stuart Lerner, and Bernd Backhaus
+
+
+
TRASH CINEMA SOURCES is a response to one of the most common questions on the
+
Internet's alt.cult-movies newsgroup: "Where do I find it?" Information about
+
obscure horror / sci-fi / fantasy movies not covered in the mainstream press,
+
as well as sleaze/cult movies, is hard to find. You can't go down to the
+
local Waldenbooks magazine rack and pick up the latest issue of, say,
+
Psychotronic Video. For those of you in the U.S. who live near a Tower
+
Records / Video store, consider yourself lucky - Tower carries some of the
+
publications listed here.
+
+
We've also compiled a list of sources for the trash-movie collector. For
+
example, you can't find an uncut version of Dario Argento's PHENOMENA (aka
+
CREEPERS) at Blockbuster Video; they only carry the R-rated, cut version. But
+
if you wanted to own (or rent) that uncut version, there are places to get it,
+
and we've listed some of those places here.
+
+
Most of this list is North America-centric, although Europe is represented
+
slightly. We know there are more international sources than we've listed. If
+
you don't see a trash-cinema source that you feel ought to be here, drop us a
+
line. We'll include it in the 2nd edition. Prices are listed for U.S.
+
dollars and British pounds, where appropriate.
+
+
Every attempt was made using limited resources to verify information or
+
double-check sources. There are bound to be mistakes, so please let us know
+
when you find them. Some listings include information about content and
+
quality of service. If you have anything to add, please write. We've included
+
some sources for Hong Kong, Japanese, and other Asian films. We have included
+
only a few Anime sources. Steve Pearl's extensive Anime sources document is
+
posted in the Usenet newsgroup rec.arts.anime.
+
+
---------------------------
+
Contact us on the Internet:
+
---------------------------
+
+
Jeff Frentzen (jfrentzen@pcweek.ziff.com)
+
Jeff Dove (jeffdove@well.sf.ca.us)
+
Jan Borgelin (jborge@sara.cc.utu.fi)
+
Stuart Lerner (lerner@netcom.com)
+
Bernd Backhaus (bbbo.ping.de!bernd@jwd.ping.de)
+
+
========================================================
+
CONTENTS
+
+
Publications -
+
+
Magazines / fanzines / special publications
+
+
Video -
+
+
Obscure horror / sci-fi / fantasy / trash on tape that you can purchase
+
+
Video rentals by mail -
+
+
Obscure horror / sci-fi / fantasy / trash on tape that you can rent
+
+
Looking for more information -
+
+
Sources we've heard of but could not confirm for inclusion in this issue
+
========================================================
+
+
Publications
+
+
Magazine/fanzine name and address is followed by the price. Sometimes the
+
only price we've been able to confirm is the per-single-issue price. It's
+
likely that a few of these pubs have bitten the dirt, so if you know that one
+
has gone away, please let us know and we'll take it off the list.
+
+
------------------------------------
+
+
3AM
+
152 W. 3rd St.
+
Oil City, PA 16301
+
$2.00
+
+
#15 -- Movie reviews
+
+
+
Alternate Cinema
+
Tempe Press
+
P.O. Box 6573
+
Akron, OH 44312
+
+
Fanzine devoted by low-budget filmmaking
+
#1 -- Ozone; Bookwalter films
+
+
+
Asian Eyes
+
253 College St. #108
+
Toronto M5T 1R5, Ontario
+
Canada
+
+
Hong Kong action flicks (May have ceased publication)
+
+
+
Asian Trash Cinema
+
P.O. Box 5367
+
Kingwood, TX 77325
+
+
Digest-sized magazine devoted to Far East sleaze
+
+
+
Blood Feast Inc.
+
6506 Glencoe Ave.
+
Brooklyn, OH 44144
+
$4.50
+
+
"News from the world of filmic gore and musical gore-core."
+
+
+
Blood Times
+
P.O. Box 3340 Steinway Station
+
Long Island City, NY 11103
+
$3.00
+
+
Vol 2, No 2 -- Edgar Wallace; Jean Rollin; Ultra Q
+
+
+
Bloody Horror Fanzine
+
P.O. Box 243
+
Winnetka, IL 60093
+
$2.00
+
+
#1 - Movie reviews
+
+
+
Book of the Dead
+
Media Publications
+
26 Salford Rd., Old Marston
+
Oxford OX3 0RY
+
U.K.
+
UK�6.00
+
+
#4 - Living Dead movies; Armando De Ossorio interview
+
+
+
Bruce on a Stick
+
P.O. Box 416
+
Tarrytown, NY 10591
+
$3.00
+
+
Bruce Campbell fanzine; Includes movie reviews
+
+
+
Camera Obscura
+
Kloosterstraat 38
+
9717 LE, Groningen
+
The Netherlands
+
$5.00
+
+
#5 -- Jean Rollin; Laura Betti; Asian films; Movie reviews
+
+
+
Children of a Far Greater God
+
221 Ashmore Rd., 2nd floor
+
Queens Park, London, W9 3DB
+
U.K.
+
UK�4.00
+
+
+
China in Your Hand
+
M.J. Simpson
+
Flat 3, 113 Litchfield St.
+
Hanley, Stoke-on-trent, Staffs ST1 2EB
+
U.K.
+
UK�2.00
+
+
#1 - Extensive Frankenstein filmography
+
+
+
Cinefantastique
+
P.O. Box 270
+
Oak Park, IL 60631
+
$10 or so per issue
+
+
Still going strong
+
+
+
Cineraider
+
P.O. Box 240226
+
Honolulu, HI 96824
+
$4.00
+
+
Formerly "Skam" magazine
+
#1 -- Asian movie reviews; HK films; Sex and Zen; American theatres that
+
show HK films
+
#2 -- 1993 HK movie round-up
+
+
+
Critical Condition
+
215 B Overmount Ave.
+
W Paterson, NJ 07424
+
$9/4 issues
+
+
#6 -- Harry Novak; Retitled movies
+
+
+
Crud Bomb
+
103 Boulton Hall
+
S.U.N.Y. New Paltz
+
New Paltz, NY 12561
+
$1.00
+
+
#1 -- Bigfoot movies
+
+
+
Cult Characters
+
1799 Batview Dr.
+
Fort Wayne, IN 46815
+
$4.00
+
+
Devoted to little-known character actors
+
+
+
Cult Movies
+
6201 Sunset Blvd.
+
Los Angeles, CA 90028
+
$18/4 issues
+
+
#11 -- Ed Wood interviewed by Fred Olen Ray; Movie reviews
+
+
+
The Dark Side
+
Stray Cat Publishing
+
P.O. Box 146
+
Plymouth PL1 1AX
+
U.K.
+
UK�2.50
+
+
#41 - Mummy movies; Paul Naschy interview; Sam Sherman. One of the
+
better British-made magazines, with the accent on accurate info and
+
wild color layouts.
+
+
+
Dark Terrors
+
Ventor Tce
+
St. Ives, Cornwall TR26 1DY
+
U.K.
+
+
Devoted to Hammer films
+
+
+
Delirium
+
Media Publications
+
26 Salford Rd., Old Marston
+
Oxford OX3 0RY
+
U.K.
+
UK�8.00
+
+
#2 -- Italian exploitation films
+
+
+
Delirious: The Fantasy Film Magazine
+
1326 Cleveland Hts Blvd.
+
Cleveland, OH 44121
+
$3.50
+
+
Academic look at space / horror / fantasy / B movies
+
+
+
Dreadful Pleasures
+
650 Prospect Ave.
+
Fairview, NJ 07022
+
$10.00/5 issues
+
+
"Concentrating on films released in the 70's to backwoods drive-ins and
+
sticky-floored downtown rundown theaters."
+
+
+
Draculina
+
P.O. Box 969
+
Centralia, IL 62801
+
$3.75
+
+
#18 -- Norman Thaddeus Vane; Scott Shaw
+
+
+
Dragon Fury
+
332 Ocean Ave.
+
Ocean City, NJ 08226
+
$3.00
+
+
Devoted to Asian action flicks
+
+
+
Eastern Heroes
+
P.O. Box 409
+
London SE18 3DW
+
U.K.
+
US$6/issue (for U.S. customers)
+
+
Asian action flicks.
+
+
+
Ecco
+
Kill-Gore Productions
+
P.O. Box 65742
+
Washington, DC 20035
+
$12/4 issues
+
+
#18 -- Barbet Schroeder
+
#19 -- Mexi-movies and dubbing
+
+
+
Epi-Log
+
P.O. Box 1322
+
Dunlap, TN 37327
+
(615) 949-4443 (fax)
+
$5.95/$30 for 6 issues
+
+
"The Television Magazine of Science Fiction, Fantasy, Comedy, Drama,
+
and Adventure"
+
Full episode listing and detailed plot summaries of all types of shows;
+
Thorough and detailed
+
+
+
Essential Cinema
+
2011 5th Ave., #301
+
Seattle, WA 98121
+
$3.75
+
+
+
The Exploitation Journal
+
40 S. Brush Rd.
+
Valley Stream, NY 11581
+
$3.00
+
+
#16 -- Paul Naschy; Leon Klimovsky; Rene Cardona; Santo
+
+
+
Exploitation Retrospective
+
P.O. Box 1155
+
Haddonfield, NJ 08033
+
$1.75
+
+
#37 -- Zoe Lund; Danzig; Movie reviews
+
+
+
European Trash Cinema
+
P.O. Box 5367
+
Kingwood, TX 77325
+
$20/4 issues
+
+
Vol 2 No 8 -- Trauma; Jean Rollin interview and filmography; Brigette
+
Lahaie; Claude Chabrol
+
+
+
Famous Monsters of Filmland
+
P.O. Box 9669
+
N. Hollywood, CA 91609
+
$5.95 plus $2.00 postage
+
+
They're up to #202. The magazine that would not die.
+
+
+
Fangoria
+
475 Park Ave. S.
+
New York, NY 10016
+
$4.95
+
+
Long-running magazine devoted to horror / gore / special effects.
+
+
+
Fatal Visions
+
P.O. Box 133
+
Northcote, Victoria 3070
+
Australia
+
$4.50 ($6.00 for U.S. residents)
+
No subscriptions available outside of Australia
+
+
#15 -- Ringo Lam; Ari Roussimoff; Movie reviews
+
#16 -- Lance Henrikson; Ren & Stimpy; Betsy Blood; Asian movies
+
+
+
Femme Fatale
+
5023 Frankford Ave.
+
Baltimore, MD 21206
+
(410) 488-8147
+
published quarterly, annual subscription $18
+
+
Full-color; "Insider" articles on B-film "scream queens;" With
+
interviews and photos
+
+
+
Filmfax
+
P.O. Box 1900
+
Evanston, IL 60204
+
$25/6 issue
+
+
Slavish devotion to classics and old B-movies. Sometimes they
+
reprint articles from other publications. Sinister Cinema advertises
+
their catalog here. Filmfax has an extensive list of TV shows / movies /
+
serials for sale.
+
+
+
Film Threat
+
Film Threat Video Guide
+
P.O. Box 3170
+
Los Angeles, CA 90078
+
$12/4 issues
+
+
The Film Threat Video Guide is a "must-have" review of obscure and
+
independent productions. The monthly, Film Threat, is a routine
+
Hollywood movie magazine.
+
+
+
Flesh and Blood Media Publications
+
26 Salford Rd., Old Marston
+
Oxford OX3 0RY
+
U.K.
+
UK�7.00
+
+
#2 - British horror films (1970-72)
+
+
+
G.A.S.P. etc.
+
P.O. Box 661
+
Brockton, MA 02403
+
$3.00
+
+
#1 -- Gunnar Hansen; Sepultura
+
#2 -- Bruce Campbell; Whoregasm
+
#3 -- Night of the Living Dead; Emtombed
+
#4 -- Kane Hodder; Henry Manifredi; Gwar; Prong
+
+
+
Giallo Pages
+
On Line Publishing
+
P.O. Box 134
+
West PDO, West Nottingham, Ng7 7Bw
+
UK�2.50
+
$9.00 US (Cash only for sample issue)
+
+
#3 -- John Morghen; Quentin Tarantino talks trash movies; Movie reviews;
+
Lucio Fulci and Franco Nero interviews; Barbara Steele
+
#2 is sold out; #1 is available
+
+
+
Gore Gazette
+
643 Bloomfield Ave.
+
Nutley, NJ 07110
+
$13/12 issues
+
+
+
Grind House
+
P.O. Box 1370
+
Murray Hill Station
+
New York, NY 10156
+
$7/6 issues
+
+
#13 -- Movie reviews; Ultra-low budget schlock
+
+
+
Headpress
+
P.O. Box 160
+
Stockport, Cheshire, SK1
+
4ET
+
U.K.
+
UK�7.00
+
+
+
Highball
+
Kronos Publications
+
MPO Box 67
+
Oberlin, OH 44074
+
(216) 774-1825
+
+
"A heady cocktail of pleasure and pain." It focuses on sixties nudie /
+
/ kinky / roughie films.
+
#1 -- Dave Friedman; Lee Frost; Barry Mahon; Ted V. Mikels; Lots of
+
reviews.
+
#2 -- David McGillivray contributes; free flexi featuring the Mono Men
+
plus another band
+
#2/#4 of Monster! International -- A different #2; A dual issue which
+
focuses on sleazy / nudie horror; Jean Rollin, Jess Franco, Man or Astro
+
Man flexi; $6.95
+
+
+
Hong Kong Film Connection
+
P.O. Box 867225
+
Plano, TX 75086
+
$12/10 issues
+
+
#4 -- Clarence Ford; Wong Fei Hong; Asian movie reviews
+
+
+
Hong Kong Film Monthly
+
601 Van Ness Ave. #E3728
+
San Francisco, CA 94102
+
+
HK movie articles, mainly concentrated on what's playing in San
+
Francisco and Berkeley (Calif).
+
+
+
Horror Pictures Collection Series
+
Gerard Noel
+
90 Rue Ghandi
+
46000 Cahors, France
+
$6.00
+
+
Best to order this through Fantaco, Titan, or Psychotronic Video
+
+
+
Imagi-Movies
+
P.O. Box 270
+
Oak Park, IL 60303
+
+
Journal covers the making of fantasy films; Spin-off of Cinefantastique
+
+
+
The Joe Bob Report
+
P.O. Box 2002
+
Dallas, TX 75221
+
Free issue on request
+
+
16-page bi-weekly full of charm
+
+
+
The Kaiju Review
+
301 E. 64th St. Suite 5F
+
New York, NY 10021
+
$10/4 issues
+
+
For serious lovers of Japanese monster-movie films and collectibles.
+
#4 -- Japanese monster movie memorabilia; Utraman trivia
+
+
+
Killing Moon
+
Draculina Publishing
+
P.O. Box 969
+
Centralia, IL 62801
+
(618) 532-8813 phone/fax
+
+
#1 -- interviews, articles, and many photos
+
+
+
Kinokaze Exploding Cinema
+
295 Wendover St.
+
London SE17
+
2UW
+
U.K.
+
UK�1.50
+
+
Underground movie magazine.
+
+
+
Laser's Edge
+
P.O. Box 1092
+
N. Baldwin, NY 11510
+
+
Laserdisc review zine.
+
+
+
Magazines of the Movies
+
45 Killybawn Rd.
+
Saintfield, Ballynahinch
+
Co Down NI BT24
+
7JP
+
U.K.
+
UK�6.95
+
+
Annual guide to magazines and fanzines about movies.
+
+
+
M.A.M.A.
+
6635 DeLongpre #4
+
Los Angeles, CA 90028
+
$10/4 issues
+
+
#32 -- Steve James; Movie reviews
+
+
+
Midnight Marquee
+
9721 Britinay Lane
+
Baltimore, MD 21234
+
$5.95
+
+
One of the oldest fanzines, previously known as Gore Creatures, and
+
getting a bit repetitive.
+
#45 -- 70s vampire films; Christopher Lee interview; Erotic horror
+
movies; Murray Kinnell; Movie reviews
+
+
+
Monster! International
+
Kronos Publications
+
MPO Box 67
+
Oberlin, OH 44074
+
(216) 774-1825
+
$5.95
+
+
"100% creature features - no slashers." A pretty dense and well-written
+
zine centered on monster pics from Asia, Europe, and Mexico.
+
#3 -- Very detailed Jose Mojica Marins article; Exorcist films
+
#4/#2 Highball A dual issue which focuses on sleazy / nudie horror; Jean
+
Rollin, Jess Franco, Man or Astro Man flexi; $6.95
+
+
+
Monster Maker Journal
+
The Organization of Amateur and Professional SPFX Make-up Artist's Magazine
+
Davis Enterprises
+
75 Driftwood Lane
+
Stafford, VA 22554
+
$24/year
+
+
Detailed photos, with many tips for practical application.
+
+
+
Necronomicon
+
15 Jubilee Rd
+
Newton Abbot, Devon, TQ12 1LB
+
U.K.
+
$20/3 issue subscription to U.S. residents;
+
+
Tower Records carries this at $5.75 per quarterly issue
+
#4 -- Matador; Enzo Castellari; Cicciolina; Movie reviews; BBFC censors
+
#5 -- Venus in Furs (Dallamano version); Umberto Lenzi interview;
+
Monika M; Movie reviews
+
+
+
Oriental Cinema
+
P.O. Box 969
+
Centralia, IL 62801
+
$15/4 issue
+
$3.25
+
+
#2 -- Live-action robots; Super heroes; Asian films; Amy Yip; Angelo Mao
+
+
+
Oriental Cinema and Video
+
Damon Foster
+
P.O. Box 576
+
Fremont, CA 94537
+
$6/issue
+
+
More Asian action flicks.
+
+
+
Parts
+
451 Moody St. #134
+
Waltham, MA 02154
+
$10/4 issues
+
+
The world's only Jeffrey Combs fanzine, it covers other subjects too.
+
+
+
Peripheral Visions
+
28 Hillside Ave.
+
Kilmacoln, Renfrewshire
+
PA13 4QL Scotland
+
UK�2.95
+
+
#1 -- Movie reviews
+
+
+
Phantom of the Movies' Videoscope
+
Phanmedia
+
P.O. Box 31
+
Keyport, NJ 07735
+
$4.00/sample issue
+
+
Vol 2 #10 -- Serial Mom; Spaghetti westerns; Nightmare Alley
+
+
+
Psychotic Reaction
+
50 Wingfield Rd.
+
Great Barr, Birmingham, B42 2QD
+
U.K.
+
UK�5.50
+
+
+
Psychotronic Video
+
3309 Rt. 97
+
Narrowsburg NY 12764
+
(914) 252-6803
+
$22/6 issues
+
+
One of the best
+
#18 -- Robert Clarke; Dario Argento, Steve James; William Rotsler;
+
Movie-music-book reviews; Most back issues available
+
+
+
Quatermass
+
Javier Romero
+
Apdo. 5100
+
48009-Bilbao, Spain
+
$7.00
+
+
#0 -- Spanish-language; Hammer movies; Naschy
+
+
+
Samhain
+
77 Exeter Rd.
+
Topsham, Exeter, Devon, EX3
+
0LX
+
U.K.
+
US$20/5 issues
+
U.S. customers send $1 cash for a sample issue
+
+
One of Britain's longest-running magazines; Glossy but thin
+
+
+
Savage Underground
+
P.O. Box 4011
+
Capitol Heights, MD 20791
+
$4/4 issues
+
+
Reviews of unusual underground films and banned educational films like
+
LSD-25.
+
+
+
Scarlet Street
+
P.O. Box 604
+
Teaneck, NJ 07666
+
(201) 836-1113
+
$5.95/$20 for 1 year subscription
+
+
Good quality, loaded with in-depth articles and interview; Latest
+
issue includes a good piece on director Val Guest
+
+
+
Schlock
+
3841 4th Ave. #192
+
San Diego, CA 92103
+
$3.00
+
+
#10 -- First half of biker flick article from FUNHOUSE! #2, which will
+
conclude in #12; Movie reviews
+
+
+
Scream
+
409 S. Franklin St.
+
*** NOTE: other sources give this address:
+
490 S. Franklin St.***
+
Wilkes-Barre, PA 18702
+
$5.50
+
+
#1 -- Uncle Ted; John Russo's Booby Hatch Manifesto; Blaxpolitation.
+
Limited ed.; May be sold out.
+
#2 -- The Man Who Laughs; Peter Jackson interview; Zacherley; Tetsuo 2;
+
Jorg Buttgereit
+
#3 -- Jodorowsky films; Danny Mills interview; GG Allin.
+
#4 -- Sam Sherman; Dario Argento; Bloodsucking Freaks; Brian Yuzna.
+
+
+
Scream Queens Illustrated
+
Imagine Inc.
+
20 Market Street
+
Pittsburgh, PA 15222
+
(412) 921-8777
+
quarterly $5.95
+
+
The title tells all -- Glossy photos of topless actresses, also with
+
brief articles.
+
+
+
She
+
20 St. Patrick St. #1004
+
Toronto M5T 2Y4 Ontario
+
Canada
+
$4.00
+
+
#5 -- HK femme stars
+
+
+
Shemp
+
1919 Evergreen Park Dr. SW Apt. 79
+
Olympia, WA 98502
+
Send SASE for sample
+
+
#6 -- 76-page reviews of music / video / etc.
+
+
+
Shock Cinema
+
P.O. Box 518
+
Peter Styvesant Station
+
New York, NY 10009
+
$4.00
+
+
#6 -- Wall-to-wall movie and book reviews; HK films; Thorough and
+
well-researched
+
+
+
Shocking Images
+
P.O. Box 7853
+
Citrus Heights, CA 95621
+
(916) 334-7026
+
$3.95
+
+
Vol 1 # 3 -- Movie reviews; Nick Zedd; Coffin Joe; Rudy Ray Moore;
+
Asian videos
+
+
+
Sticky Carpet Digest
+
163 Third Ave., Suite 235
+
New York, NY 10003
+
$1.50
+
+
+
Strange Adventures
+
13 Hazely Combe
+
Arreton, Isle of Wight
+
PO30
+
3AJ
+
U.K.
+
UK�5.00
+
+
#46 -- Horror / SF media review zine
+
+
+
Sub-terrenea
+
47 Thorncliff Pk. Dr. #609
+
Toronto M4H 1JS Ontario
+
Canada
+
$4.00
+
+
#9 -- Peter Jackson; Quentin Tarantino; Dr. Lamb; Movie reviews
+
+
+
Tame
+
P.O. Box 742 Station Q
+
Toronto M4T 2N5 Ontario
+
Canada
+
$6.00
+
+
Formerly "Killbaby" magazine
+
#1 -- Jack Taylor interview; movie reviews
+
+
+
Trash Compacter
+
253 College St. #108
+
Toronto M5T 1R5
+
Ontario
+
Canada
+
$3.75
+
+
Detailed journal devoted to exploitation movies
+
Vol 2 No 6 -- Blaxploitation issue
+
Back issues have dealt with hippie flicks, John Ashley, rubber-monster
+
suit movies, Ed Wood and the like. (May have ceased publication).
+
+
+
2000 Maniacos
+
Apdo.
+
5251
+
46009 Valencia, Spain
+
450 ptas.
+
+
#12 -- Tobe Hooper; Peter Jackson; Narcisco Ibanez Serrador;
+
Spanish-language
+
+
+
Ungawa!
+
P.O. Box 1764
+
London NW6 2EQ
+
U.K.
+
US$6/sample issue
+
+
Enthusiastic mix of true crime, trashy movies, and sex.
+
+
+
Vampyres
+
Tim Greaves, Palmyra
+
118 High St.
+
Eawstleigh, Hants S05 5LR
+
U.K.
+
UK�7.00
+
+
One-shot devoted to lesbians in vampire films.
+
+
+
Video Ooze
+
P.O. Box 9911
+
Alexandria, VA 22304
+
$5.00
+
+
#5 -- Elizabeth Bathory films; Movie reviws; Suzy Kendall
+
+
+
Video Watchdog
+
P.O. Box 5283
+
Cincinnati, OH 45205
+
(513) 471-8989
+
$24/6 issues
+
+
Movie reviews; Retrospective articles on "buried classics"; Extensive
+
devotion to tracking down video retitlings; Well-written. Get the
+
Video Watchdog book.
+
+
+
Wonder
+
The Children's Magazine for Adults
+
2770 Fairlane Drvie
+
Atlanta, GA 30340
+
$15/4 issues
+
+
Long, well-researched articles for the afficionado; Detailed articles
+
on classic horror and sci-fi; Published twice annually
+
+
+
World of Fandom
+
P.O. Box 9421
+
Tampa, FL 33604
+
(813) 933-7424
+
(813) 238-4643
+
+
Articles, reviews and interviews; Mostly an insider's view of fandom;
+
Some movie-related information
+
+
+
Xenorama
+
4540 Maple Ave. #141
+
La Mesa, CA 91941
+
$9/6 issues
+
+
The Journal of Heroes and Monsters
+
+
+
Zine Shock
+
Ap. 16056
+
08080 Barcelona,
+
Spain
+
350 ptas.
+
+
#4 -- Mondo movies; Henenlotter; Tetsuo
+
+
===================================================
+
+
Video
+
+
Same format as above - Company name followed by address. Phone numbers are
+
listed, when we could verify the info. Each company has a different policy
+
regarding payment, returns, etc. All offer NTSC-format VHS tapes unless
+
otherwise noted. Many of these firms do not accept credit cards. Nearly
+
all of the U.S. firms charge an outrageous amount of money to overseas
+
buyers.
+
+
----------------------------------------------------
+
+
Aardvark Video
+
612 N. High St.
+
Columbus, OH 43215
+
(614) 461-6302
+
+
Foreign, classic, and cult titles; They also rent
+
+
+
Absolute Beta Videos
+
P.O. Box 130
+
Remington, VA 22734
+
(703) 439-3259
+
+
Beta-format titles only; Catalog / club membefrship $9.95; Newsletter;
+
$3.95 p/h per order; Credit cards accepted
+
+
+
Alternative Videos
+
837 Exposition Ave.
+
Dallas, TX 75226
+
(214) 823-6030
+
+
Specializes in Afro-American titles; Free catalog; Rental service
+
available (expensive); Has rental store in Dallas
+
+
+
Astral-Ocean Cinema
+
P.O. Box 931753
+
Los Angeles, CA 90093
+
+
Erotic; Asian; 85-page Asia-Blue catalag for $3.00
+
+
+
Audubon Film Library
+
P.O. Box 7883
+
New York, NY 10150
+
+
Radley Metzger; Exploitation titles
+
+
+
Blackest Heart Video
+
1275 Washington Ave., Suite 360
+
San Leandro, CA 94577
+
+
+
Blood Times Video
+
P.O. Box 3340 Steinway Station
+
Long Island City, NY 11103
+
(718) 972-6737
+
+
Eurpoean and import titles; Catalog $2.00; Prices $12-25; $2.00 p/h
+
per title; They carry some titles that no one else has; Slow to respond
+
+
+
Bosko Video
+
3802 E. Cudahy Ave.
+
Cudahy, WI 53110
+
+
Animation; Classics; Free catalog
+
+
+
Cape Copy Center
+
631 Main St
+
Hyannis, MA 02601
+
+
Free catalog; Specializes in out-of-print titles; Good service; Titles
+
shipped immediately; Seventies porn specialists; Prices from $12-80.
+
+
+
Captain Bijou
+
P.O. Box 87
+
Toney, AL 35773
+
(205) 852-0198 (phone)
+
(205) 859-8946 (fax)
+
+
Sales, VHS/laser; 9-5 CST Mon.-Fri; VHS and laser monster movies /
+
serials / B-movies / westerns / animation / TV, Catalog $3.00; Credit
+
cards accepted
+
+
+
Central Park Media
+
250 W. 57th St., Suite 250
+
New York, NY 10107
+
(212) 977-7456
+
+
U.S. Manga Corps. is a label under Central Park Media; They sell anime
+
titles.
+
+
+
Chainsaw Video
+
Oudegracht A/D
+
Werf 265
+
3511 NN Utrecht
+
The Netherlands
+
+
"Cult-horror-SF-underground-sexploitation; Uncut versions; Magazines;
+
T-shirts; US $1.00 for catalog
+
+
+
Chas Balun
+
8456 Edinger Suite 111
+
Huntington Beach, CA 92647
+
+
Euro / Asian / US gore-trash-sleaze titles from the publisher of the
+
defunct Deep Red zine; Reasonable quality dupes for $14.95 + $2.05 p/h
+
each; SASE for info.
+
+
+
Cinefear Video
+
40 S. Brush Dr.
+
Valley Stream, NY 11581
+
+
European and import titles; Catalog for $3.00
+
+
+
Cinemacabre Video
+
P.O. Box 10005
+
Baltimore, MD 21285
+
+
Trailers; Old TV shows; Catalog $1.00; Most titles $19.95; Fanzine
+
available; No phone orders
+
+
+
Cinema Classics
+
P.O. Box 174
+
Village Station
+
New York, NY 10014
+
(212) 675-6692 (phone)
+
(212) 675-6594 (fax)
+
+
Boxed originals or dupes made from 16mm; Free catalog ($3.00 overseas);
+
Covers a number of PD titles; Suspense / cult / sci-fi / horror; Credit
+
cards OK
+
+
+
Dave's Video
+
The Laser Place
+
12144 Ventura Blvd.
+
Studio City, CA 91604
+
(818) 760-3472 (phone)
+
(800) 736-1659 (outside L.A. county)
+
(818) 760-3818 (fax)
+
+
Laserdisc sales; "The mecca for Hollywood's laser buffs"; Credit cards
+
accepted
+
+
+
Eddie Brandt's Saturday Matinee
+
6310 Colfax Ave.
+
North Hollywood, CA 91606
+
(818) 506-4242
+
+
Sales and rentals; Specializes in locating rare videos; Free catalog
+
+
+
Dark Dreams
+
6228 Sandpoint Way NE
+
Seattle, WA 98115
+
+
Horror / sci-fi / silents; Two 29-cent stamps for latest catalog
+
+
+
Discount Video Tapes
+
P.O. Box 7122
+
Burbank, CA 91510
+
(818) 843-3366
+
+
"Rare and unusual" titles; Classics; Westerns; Horror; Sci-Fi; Cartoons;
+
TV; Free catalog; Long catalog for $2.00
+
+
+
Facets Video
+
1517 W. Fullerton Ave.
+
Chicago, IL 60614
+
(800) 331-6197 (orders only)
+
(312) 281-9075
+
(312) 929-5437 (fax)
+
+
The best source for independent / out-of-print / foreign; Sells
+
laserdiscs and videos; $9.95 for large catalog; Credit cards OK
+
+
+
Far East Flix
+
59-13 68th Ave.
+
Ridgewood, NY 11385
+
(718) 381-6757 phone/fax
+
Mon-Sat 11am-7pm
+
+
Good quality dupes $20 each; Factory boxed titles $39.95 each; They
+
now sell new laser discs; New catalog free with order; HK and Japanese
+
titles
+
+
+
Feature Creature Theatre
+
MAP Video Productions
+
P.O. Box 222321
+
Dallas, TX 75222
+
+
Horror / sci-fi / B-movies from the 50s and 60s; Catalog $2.00; Tapes
+
$18.95 plus $2.50 p/h for the first tape, $1.00 per each additional tape;
+
Specializes in PD titles and trailers
+
+
+
Filmfax Products
+
P.O. Box 1900
+
Evanston, IL 60204
+
+
Forgotten / B-movie / horror / silents / TV shows; Mostly PD stuff; Buy 5,
+
get one free policy; Most titles are $15-30; $4.00 p/h first tape, $1.00
+
each additional tape; Offers VHS and Beta
+
+
+
Film Threat Video
+
P.O. Box 3170
+
Los Angeles, CA 90078
+
+
Advertises in its own monthly magazine; Good source for amateur and
+
independent films
+
+
+
Foothill Video
+
7732 Foothill Blvd.
+
Tujunga, CA 91043
+
(818) 353-8591
+
+
Specializes in silents / early talkies / some horror films; 40-page
+
catalog $4.95; Price per tape usually under $10; Takes credit cards;
+
$3.50 p/h first tape, 50-cents each additional tape
+
+
+
Ken Crane's Laserdisc Superstore
+
15251 Beach Blvd.
+
Westminster, CA 92683
+
(800) 624-3078
+
(714) 892-8369 (fax)
+
+
Laserdisc sales only; Over 100,000 titles; Call or write for free
+
catalog; New release list faxed on demand; Credit cards OK
+
+
+
Laser Blazer
+
2518 Overland Ave.
+
Los Angeles, CA 90064
+
(310) 558-8386 (phone)
+
(310) 558-3255 (fax)
+
(800) 488-DISC (orders only)
+
+
Laserdisc sales; Free catalog; Mastercard and Visa accepted; COD's
+
accepted (!) "We stock every title currently available"; Offers
+
discounts
+
+
+
Laser Cinema
+
2258 Market St.
+
San Francisco, CA 94114
+
(415) 621-2462 (fax only)
+
+
Specializes in finding out-of-print laserdiscs
+
+
+
Laser's Edge
+
2103 N. Veteran's Parkway, Suite 100
+
Bloomington, IL 61704
+
(309) 662-9347
+
+
Import and U.S. laserdiscs; Catalog for $9.95
+
+
+
Le Video
+
1239 9th Ave.
+
San Francisco, CA 94122
+
(415) 566-3606
+
+
Rare and out-of-print video and LDs; A walk-in video rental store that
+
does some mail order; If you're anywhere in the San Francisco Bay area,
+
go there! Just about every film that has been mentioned in FUNHOUSE!
+
can be rented from them. A primary FUNHOUSE! source.
+
+
+
Loonic Video
+
2022 Taraval St. #6427
+
San Francisco, CA 94116
+
(510) 526-5681
+
+
Commercial distributor; Carries some unusual and imported titles;
+
Catalog for $1.00
+
+
+
LS Video
+
P.O. Box 415
+
Carmel, IN 46032
+
+
"Eclectic mix" of older titles; Mostly rare and forgotten films; Free
+
catalog, Send a 29-cent stamp; Prices $9.95-around $20; $2.05 p/h per
+
tape
+
+
+
Mangamania Club
+
P.O. Box 85
+
New York, NY 10023
+
(800) 626-4277
+
+
Anime distributors; Free catalog
+
+
+
Media Man
+
Reinhold G. Schmidt
+
Postfach 23
+
91584 Lichtenau
+
Germany
+
09827-6536 (phone)
+
09827-6832 (fax)
+
+
Mostly books and magazines (US-imported); also NTSC videos, LDs and
+
toys; Prepaid only to foreign countries; Very reliable and they have
+
booths at many conventions and movie-market bashes
+
+
+
Midnight Video
+
5010 Church Dr.
+
Coplay, PA 18037
+
(610) 261-1756
+
+
Rare and import titles; Best source for uniformly good quality PAL /
+
SECAM transfers; 2-week service on orders paid via Postal Money Order;
+
Longer wait for payment by personal check; Detailed catalog for $3
+
($5 overseas); Most titles are $19 plus p/h ($4 for the first tape, $1
+
each additional); Some special orders are $22-25.
+
+
+
Milestone Film and Video
+
275 W. 96th St., Suite 28C
+
New York, NY 10025
+
(212) 865-7449
+
+
+
Monday-Wednesday-Friday Video Club
+
73 E. Houston St.
+
New York, NY 10012
+
(212) 219-0765
+
+
Underground films; Catalog for $1.00
+
+
+
Mondo Movies
+
255 W. 26th St.
+
New York, NY 10001
+
(212) 929-2560
+
+
Experimental / trash / sexploitation / sleaze; Free catalog
+
+
+
Movie Club Video
+
12 Moray Ct.
+
Baltimore, MD 21236
+
(410) 256-5944
+
+
Commercial distributor; Free catalog
+
+
+
Pagan Video
+
Box 763
+
Valatie, NY 12184
+
+
Obscure films from the silents to the 1970s; Catalog for $3.00
+
+
+
Pagoda Video
+
2 Holworthy Terrace
+
Cambridge MA 02138
+
+
More HK dupes; $15.00 each plus $3.00 p/h first tape, $1.50 each
+
additional tape
+
+
+
Phoenix Distributors
+
6253 Hollywood Blvd. #818
+
Hollywood, CA 90028
+
(800) 356-4386
+
(213) 469-7041 (fax)
+
+
Horror and classics; Free catalog; Visa / Mastercard
+
+
+
RM International
+
PO Box 3748
+
Hollywood, CA 90078
+
+
Russ Meyer's company which sells his films and new video projects on
+
video tape. Currently available are: THE IMMORAL MR. TEAS, EVE AND THE
+
HANDYMAN, WILD GALS OF THE NAKED WEST, LORNA, MOTOR PSYCHO, MUDHONEY,
+
FASTER PUSSYCAT KILL! KILL!, MONDO TOPLESS, GOOD MORNING AND GOODBYE,
+
COMMON-LAW CABIN, FINDER KEEPERS LOVERS WEEPERS, VIXEN, CHERRY HARRY AND
+
RAQUEL, SUPERVIXENS, UP!, and BENEATH THE VALLEY OF THE ULTRAVIXENS;
+
$79.95 each or $40.00 for six or more; Free glossy, slick, adults only
+
brochure
+
+
+
Rhino Video
+
10635 Santa Monica Blvd.
+
Los Angeles, CA 90025-4900
+
(800) 432-0020
+
+
Sci-fi / horror / JD / serials / TV / rock; 132-pg. catalog (music +
+
videos) for $2.49 (I called and got it free)
+
+
+
R.T.S.
+
P.O. Box 93897
+
Las Vegas, NV 89193
+
(702) 896-1300
+
+
Exploitation / horror / action / Euro-trash; Prices range from $30-60;
+
Occasional $19.98 per tape sales; $5.00 p/h per order; B-movie catalog
+
$1.00, "big catalog" for $9.95
+
+
+
Savage Cinema
+
Post Box 8887
+
1006 JB Amsterdam
+
Holland
+
Internet: peterzir@hacktic.nl
+
+
Exploitation / horror / Euro / U.S.; PAL format only, NTSC "maybe soon.";
+
Two titles per tape, $19.50 plus $3.50 p/h for the first tape, $2.50 for
+
each additional tape; High-grade tape, $2.00 extra each; U.S. currency
+
and postal money order OK; No bank checks; Catalog available free via
+
Internet.
+
+
+
Scarecrow Video
+
5030 Roosevelt Way
+
Seattle, WA 98105
+
(206) 524-8554
+
+
Rare and import titles, in NTSC and PAL; Finder service; Free catalog
+
+
+
Scorched Earth Productions
+
P.O. Box 101083
+
Denver, CO 80250
+
+
"Cult films on video;" All tapes $14.95 plus p/h
+
+
+
Sight and Sound
+
27 Jones Rd.
+
Waltham, MA 02154
+
(617) 894-8633
+
+
U.S. and imported videos and Laserdics; Walk-in rental service; BBS
+
service with membership; Free catalog
+
+
+
Sinister Cinema
+
P.O. Box 4369
+
Medford, OR 97501
+
(503) 773-6860
+
(503) 779-8650 (fax)
+
+
Sci-fi / horror / peplum / serials / westerns / drive-in double features;
+
Free catalog; Prices range from $12.95 to under $30; $2.00 surcharge for
+
beta; Credit cards OK; Pre-records
+
+
+
Snappy Video
+
P.O. Box 3206
+
Ann Arbor, MI 48106
+
Something Weird Video
+
P.O. Box 33664
+
Seattle, WA 98133
+
(206) 361-3759
+
(206) 364-7526 (fax)
+
+
Commercial distributor, similar to Sinister Cinema; "The nation's
+
consummate collection of eclectic exploitation and sexploitation";
+
Carries dozens of old sex films; Catalog $3.00; All titles $20 plus
+
$3.00 p/h plus $1.50 each additional tape; Visa / Mastercard; Pre-records
+
+
+
Starlight Video
+
520 W. Fullerton Pkwy., #201
+
Chicago, IL 60614
+
+
Specializes in horror and sleaze; Catalog with an SASE and two 29-cent
+
stamps
+
+
+
Stephen M. Russo
+
Box 3250
+
McCormack Station
+
Boston, MA 02101
+
+
Rare TV series (U.S. and international)
+
+
+
Tai Seng Video Marketing
+
170 S. Spruce St., Suite 200
+
San Francisco, CA 94080
+
(800) 888-3836
+
(415) 871-8118
+
+
Hong Kong titles; Free catalog; Sometimes subtitles are cut off or
+
hard to read; Pre-records; Prices: $50.00 each less than six month
+
old, $35.00 each more than six months old; Tapes in both Mandarin
+
and Cantonese.
+
+
+
Tapes of Terror
+
P. Riggs
+
6226 Darnell Dept. PS
+
Houston, TX 77074
+
+
Reportedly sells boxed originals
+
+
+
Tempe Video
+
P.O. Box 6573
+
Akron, OH 44312
+
(216) 628-1950
+
(216) 628-4316 (fax)
+
+
B-movies / horror /sci-fi / Euro sleaze; Catalog $1; "B's Nest"
+
newsletter for $10/4 issues
+
+
+
Threat Theatre International
+
P.O. Box 7633
+
Olympia, WA 98507
+
(206) 866-3593
+
+
Rare U.S. and import titles; Specializes in Asian; Catalog for $5.00;
+
The catalog is hokey but their service is reliable
+
+
+
Twonky Video
+
19 W. Main St.
+
Somerville, NJ 08876
+
+
Cult, animation, rare films; Also sells memorabilia; Videos and
+
laserdiscs; Free catalog
+
+
+
Video by Mail
+
P.O. Box 1515
+
Whitney, TX 76692
+
(800) 245-4996
+
(817) 694-4865 (fax)
+
+
Sales and rentals; Cult / independent / international; Credit cards OK
+
+
+
The Video Den Collection
+
40 Kilmer Rd
+
Vestal, NY 13850
+
(800) RARE-VHS
+
+
"Hard-to-find videos"; Catalog for $4.95; Accepts Mastercard and Visa;
+
These folks advertise ERASERHEAD for $50; Call for catalog
+
+
+
Videodrom Mail Order
+
Fuerbringer Str. 17
+
10691 Berlin
+
Germany
+
030-69213311 (phone)
+
030-6913787 (fax)
+
030-6923361 ("info phone")
+
+
Large selection of books, magazines, PAL and NTSC videos and LDs;
+
Catalog for DM $8 (maybe US $5); Includes updates; Accepts Mastercard
+
+
+
Video Madman
+
P.O. Box 40094
+
San Diego, CA 92164
+
+
Imports and cult titles; Free catalog
+
+
+
Video Oyster
+
62 Pearl St
+
New York, NY 10004
+
(212) 480-2440
+
+
Specializes in rare or out-of-print titles; Three catalogs based on
+
type of film you're looking for ($3 for a sampler); One-person operation;
+
COD is okay
+
+
+
Video Search of Miami
+
P.O. Box 16-1917
+
Miami, FL 33116
+
(305) 279-9773
+
+
Hundreds of rare U.S. and import titles; Free catalog; Two-day service
+
in many cases; Quality of video transfers vary wildly and they don't
+
take criticism very well; Prices $25 plus p/h; Very fast service
+
+
+
Video Specialists International
+
182 Jackson St.
+
Dallas, PA 18612
+
(717) 675-0227
+
+
Specializes in exhuming lost films, from 1900 to 70s; TV shows; Adult
+
titles; Prices average $14.95; Catalog for $3.00; Credit cards OK
+
+
+
The Voyager Company
+
1 Bridge St
+
Irvington, NY 10012
+
(800) 446-2001
+
(914) 591-5500
+
+
+
Whole Toon Catalog
+
P.O. Box 1910
+
Seattle, WA 98111
+
(206) 441-4130
+
+
Specializes in hundreds of animation titles; Free catalog (takes a long
+
time); Send $2.00 to get it right away; Credit cards OK
+
+
==========================================
+
+
Rentals by Mail
+
+
These companies specialize in renting trash movies to mail-order customers.
+
Usually, there's some kind of membership fee, and some require credit cards.
+
The ones that don't require credit cards require a cash deposit. You join,
+
they send you a catalog, you mail or phone-in your order, they send it in a
+
reusable carboard mailer, you return the tapes by the due date.
+
+
-------------------------------------
+
+
Home Film Festival
+
P.O. Box 2032
+
Scranton, PA 18501
+
(800) 258-3456
+
(717) 344-3810 (fax)
+
+
Foreign / U.S. / independent /cult; Membership $15/year; Rentals: $4.50-6
+
per tape/three nights plus postage (both ways); Catalog w/membership
+
+
+
Movies Unlimited
+
6736 Castor Ave.
+
Philadelphia, PA 19143
+
(800) 523-0823
+
(215) 725-3683 (fax)
+
+
Mostly mainstream and foreign films for rent; An occasional cult movie
+
(like older John Waters films and other proven moneymakers); Call for
+
membership info; Enormous catalog (30,000+ titles); Credit cards OK
+
+
+
Video by Mail
+
P.O. Box 1515
+
Whitney, TX 76692
+
(800) 245-4996
+
(817) 694-4865 (fax)
+
+
Sales and rentals; Cult / independent / international; Rental fee: $4.00
+
+
+
Video Library
+
7157 Germantown Ave.
+
Philadelphia, PA 19119
+
(800) 669-7157
+
+
VHS / laserdisc rentals; $5 per title/three nights; Specializes in
+
cult and out-of-print titles; Catalog $8.95; Postage varies; Credit
+
cards OK
+
+
+
Video Vault
+
323 S. Washington St.
+
Alexandria, VA 22314
+
(703) 549-8848
+
+
Three films for one week $19.95, includes one-way shipment via UPS; Huge
+
selection of cult and mainstream titles; Membership fee; Friendly service
+
but a bit expensive
+
+
+
Video Wasteland
+
214 Fair St
+
Berea, OH 44017
+
(216) 891-1920
+
(800) 532-1533
+
+
Three films for 4-5 days $18.95, includes one-way shipment via Priority
+
Mail; Ever-growing catalog of rare U.S. and import titles; Membership
+
fee; Ken the owner answers the phone; Personalized service and quick
+
response to phone orders
+
+
=============================================
+
+
Looking for more information on. . .
+
+
Magazines:
+
+
DROP OUT
+
Andrea Giorgi
+
Via Atene 6
+
20132
+
Milan, Italy
+
+
EYEBALL
+
14 Kintyre Court
+
New Park Rd., Brixton Hill
+
London
+
SW2 4DY
+
U.K.
+
+
KILLING MOON
+
1265 Pollokshaw Rd.
+
Glasgow G41
+
3RR
+
Scotland
+
+
SPROCKETS FALL
+
7735 Attingham Lane
+
St. Louis, MO 63119
+
+
+
Video sources:
+
+
GIALLOMAINA
+
D.J. Pieplow
+
13579 Calico Place
+
Chino, CA 91710
+
+
NYUE Enterprises/Rainbow Video and Audio
+
Address?
+
+
WORLDSHOP
+
3665 29th St.
+
Grand Rapids, MI 49512
+
+
WORLD VIDEO
+
Address unknown
+
+
+
A Survey of Essential Sixties Garage Punk Albums
+
------------------------------------------------
+
+
Sixties garage punk is a common thread running through FUNHOUSE!, and it is a
+
crucial link in the great continuum that runs from Link Wray to the Jesus
+
Lizard. These snot-nosed, do-it-yourselfers connect the Who and the Stones to
+
the MC5 and the Stooges in the chain of raw, primitive, and honest
+
rock-and-rollers. They serve an additional function as a reminder to us that
+
the Woodstock-"San Francisco scene" boring hacks weren't the only thing going
+
at the time, despite what the curators of popular culture today might believe.
+
What follows is a run-down of some of my favorite groups to issue LPs of this
+
sort. For each group, all relevant contemporary albums and a brief synopsis
+
is given to aid you in your digging pleasure. Most of these have been
+
reissued on CD (and some on vinyl), so you don't have to shell out those
+
collector's prices. Check out European labels, such as Eva, Edsel, Line, and
+
Decal for pressings of questionable legality. A good source for mail order is
+
Midnight Records in NY (PO Box 390, Old Chelsea Station, New York, NY, 10011,
+
212-675-2768; Fax, 212-741-7230). This list represents the most successful,
+
and to some extent accomplished, Sixties garage bands, as most never got much
+
further than locally issued 45s. However, thanks to dedicated and even
+
obsessive archivists, a lot of these singles have been collected onto albums
+
in such series' as Pebbles, Highs in the Mid-Sixties, Boulders, Beyond the
+
Calico Wall, Girls in the Garage, ad infinitum - check those for many
+
terrible, and some great, obscure tidbits.
+
+
+
THE STANDELLS
+
Dirty Water (Tower 5027, 1966)
+
Why Pick On Me / Sometimes Good Guys Don't Wear White (Tower 5044, 1966)
+
Try It (Tower 5098, 1967)
+
+
There are three additional Standells LPs, but these are the records that
+
demonstrate their punk aesthetic. Two earlier albums were live recordings
+
from a time when the Standells were a clean-cut cover band, and the third was
+
released between Why Pick On Me and Try It, and is made up of more limp
+
covers of then-current hits. The band was profiled in detail in FUNHOUSE! #2.
+
When Ed Cobb (ex-Four Preps) took over management of this L.A. group, he
+
brought to them a style of sneering defiance and chord-driven garage rock.
+
Cobb wrote a number of the group's best songs, and contributed greatly to
+
their new Stones-derived sound. The lyrics reflect an attitude of rebellion,
+
characterized by growled vocals from drummer Dick Dodd; he tells his
+
adversaries to "flake off." Russ Tamblyn's brother Larry on keyboards, Tony
+
Valentino on guitar, and bass players Gary Lane or Dave Burke make up the rest
+
of the band. The big hit was "Dirty Water," with "Sometimes Good Guys Don't
+
Wear White" and "Why Pick On Me" having modest success. Other ripping tunes
+
include "Little Sally Tease," "Why Did You Hurt Me," "Rari," "Mr. Nobody,"
+
"Mainline," "Try It" (banned for encouraging loose morals), "Barracuda," and
+
the amazing "Riot On Sunset Strip," from that film's soundtrack. Several
+
compilations have come out in recent years, the best being from Rhino. Get
+
all of the info you could ever need on these kings of the sixties punks from
+
the previous FUNHOUSE! article.
+
+
+
THE CHOCOLATE WATCHBAND
+
No Way Out (Tower 5096, 1967)
+
Inner Mystique (Tower 5106, 1967)
+
One Step Beyond (Tower 5153, 1968)
+
+
Another Tower band, also produced by Ed Cobb, who are from San Jose rather
+
than Los Angeles. There are some similarities to their label-mate's style,
+
but there's more of a chemical-induced haze over these proceedings. A little
+
more trippy and a little less raw and angry, the Watchband still make guitar
+
rock untainted by the more tedious trappings of hippie psychedelia. Having no
+
hits whatsoever, the originals of these albums are quite difficult to find
+
(and expensive). No Way Out rocks the hardest of the group, with
+
over-amplified cuts such as "Are You Gonna Be There (At the Love-In?)" and
+
"Let's Talk About Girls." The band also slips into instrumental jams, always
+
with a steady beat, such as the title cut, "Expo 2000," and the appropriately
+
titled "Dark Side of the Mushroom." Inner Mystique goes a little further
+
into trippy terrain, with more feedback and extended instro jams. Check out
+
"I Ain't No Miracle Worker," a good cover of Dylan's "It's All Over Now Baby
+
Blue," and a rave-up rendition of the Kink's "I'm Not Like Everybody Else."
+
The group came up with many freaked-out tunes; a sitar and flute could mix
+
with harmonica and singer Dave Aguilar's deep, heavily echo-chambered sneer to
+
make for a great doobie-and-black light soundtrack. I don't go for the more
+
pretentious and overproduced psychedelic stuff, so don't think that, despite
+
this weirdness, the Watchband don't keep things firmly grounded in a heavy,
+
heavy beat. The Cobb penned experimental cuts "Voyage of the Trieste" and
+
"Inner Mystique" from the second LP are good examples of this. He also gave
+
them his drug anthem "Medication," also heard on the Standells Dirty Water
+
album. Unfortunately, with Aguilar out of the picture, One Step Beyond fails
+
to click, so track down the first two. These guys are also featured live in
+
RIOT ON THE SUNSET STRIP and are heard on the soundtrack album. There they
+
deliver two of their wildest numbers, with the intense "Don't Need Your
+
Lovin'" and the major-distorto "Sitting There Standing." The Chocolate
+
Watchband's second single was a cover of Davie Allan and the Arrow's "Blue's
+
Theme," recorded under the name the Hogs, and produced by Frank Zappa. A comp
+
from Rhino has been put out also.
+
+
+
THE SHADOWS OF KNIGHT
+
Gloria (Dunwich 666, 1966)
+
Back Door Men (Dunwich 667, 1966)
+
+
The scene in the sixties which produced the rawest, grungiest, and most
+
distorted variety of punk was not found in California nor in New York, but in
+
the midwest's Second City. These monsters of the midway actually hailed from
+
the Chicago suburb of Arlington Heights. Many of their fellow bands from the
+
Cellar club were just as loud and rude, but the Shadows o' Knight were the
+
best, and the only group to put out an album. Their influences are straight
+
from Muddy, John Lee, Elmore, and Willie, but all knobs are to the right and
+
the tempos are way up. The first record yielded a hit with a cover of Them's
+
"Gloria," and contains only three originals. The influences are apparent from
+
renditions of Chuck Berry ("Let It Rock"), John Lee Hooker ("Boom Boom"), Bo
+
Diddley ("Oh Yeah"), and three from Willie Dixon ("You Can't Judge a Book [By
+
the Cover]," "[I'm Your] Hoochie Coochie Man," and "I Just Want to Make Love
+
to You"). The second LP moves more toward rock-and-roll rave-ups and is
+
better for it. It has even more punk intensity, which blasts through in great
+
cuts like "Bad Little Woman," "Gospel Zone," "I'll Make You Sorry," and
+
Dixon's "Spoonful." The snarling, Jagger-esque vocals that characterize sixo
+
garage bands are in full force, and the Shadows of Knight may have the most
+
charged up sound of them all. Maybe the easiest way to pick up this music now
+
is through the recently released Raw and Alive in the Cellar record, which
+
proves that punk rock was alive and well in Chicago '66. These guys, along
+
with the Standells and the Chocolate Watchband, are my picks of this list.
+
The Dunwich label put out some seven-inchers by bands with equivalent levels
+
of volume and distortion, and some of them can be found on the in-print The
+
Dunwich Story and The Dunwich Story comps (Sundazed). The best songs are by
+
the Del-Vetts, the Things to Come, the Knaves, and the Pride and Joy.
+
+
+
THE LITTER
+
Distortions (Warick UR-5M-1940, 1967)
+
$100 Fine (Hexagon HX-681, 1968)
+
Emerge (ABC Probe CPLP-4504, 1969)
+
+
With the Trashmen in their past, and Husker Du and the Replacements in their
+
future, the Litter occupy an important niche in the Minnesota, white boy,
+
guitar noise, angst music fraternity. It must have something to do with the
+
weather. They are either the most psychedelic of sixties metal bands or the
+
most metal of sixties psychedelic bands. The independent releases are
+
preferred. $100 Fine is the less conventional of the two, being character-
+
ized by loud and spacey guitar effects, which highlight Warren Kendricks'
+
off-kilter production. High volume trip-outs such as the spacified
+
"Mindbreaker," "Morning Sun," and "Blues One" line up with a more obscure
+
selection of cover material than turned up on most sixties LPs: "Here I Go
+
Again" (Small Faces), "Tallyman" (Yardbirds), "She's not There" (Zombies), and
+
"Kaleidoscope" (Procol Harum). The debut, Distortions, is a more conventional
+
affair, but it is still filled with monster heavy riffs. It leads off with
+
the band's kick-ass masterpiece, the raging "Action Woman." The weird "The
+
Mummy," as well as "The Egyptian" and "Soul Searchin," give a taste of what
+
was to follow, but the covers are a bit more standard fare (they include the
+
Who's "Substitute" and "A Legal Matter," as well as "I'm a Man"). Both of
+
these albums showed up as reissues in 1990-91 on the K-TEL (!) label, but I
+
haven't yet seen them advertised on TV! The $100 Fine reissue contains the
+
addition of "Confessions of a Traveler Through Time," which the band are seen
+
playing in the film Medium Cool (1968), but are not heard as the producers
+
decided to dub a Mothers cut over them. Emerge is a major label release which
+
features a new singer and lead guitarist. It rocks pretty hard, but is
+
inferior to the other two. A cover of the Love-styled version of "Little Red
+
Book" is interesting. The French Eva label dug through the vaults and came up
+
with a record called Rare Tracks, which fills out the group's recorded
+
career for completists.
+
+
+
THE THIRTEENTH FLOOR ELEVATORS
+
The Psychedelic Sounds of the 13th Floor Elevators (International
+
Artists 1, 1966)
+
Easter Everywhere (International Artists 5, 1967)
+
Live (International Artists 8, 1968)
+
Bull in the Woods (International Artists 9, 1968)
+
+
"What is that funny little noise in that record?" reads a quote from an
+
anonymous DJ on the liner notes to Psychedelic Sounds. That noise is the
+
sound of an electric jug, and it's the second most distinct sounding thing on
+
"You're Gonna Miss Me," the minor hit which leads that first album off - the
+
most distinct being the haunted blues meets space cadet vocals of Roky
+
Erickson. Toss out those Pink Floyd records, this is the most acid-soaked
+
music you'll find, and despite that it doesn't lose its rock-and-roll edge.
+
Coming out of Houston in 1966 on the upstart International Artists label, the
+
Elevators concocted a record blatant in its drug induced sound, lyrics, and
+
album cover, which would become more usual in a few years, but which was
+
pioneering in its time. Some of the later period psyche bands would slip into
+
a little too much hippie-dippy mysticism with woodwinds, sitar, and other out
+
of place instruments, but these guys were all garage rock, and they never
+
loose their edge thanks to Stacy Sutherland and Roky's dissonant and driving
+
guitars. "Reverberation," "Fire Engine," and "Monkey Island" are probably the
+
other strongest cuts from the debut, but the whole thing melds together into
+
one long, continuous, trip out, which preaches to the temple of the Vitamin A
+
through both words and music. The follow up, Easter Everywhere, takes right
+
up were the previous record lets off, and is probably the stronger of the two.
+
It kicks off with what may be the group's best song, the eight minute opus
+
"Slip Inside This House," which again is crafted from a mind melting collision
+
of the eerie emotion of Erickson's singing, the peculiar blowing of Tommy
+
Hall's electric jug, and the unmatched driving weirdness of the electric
+
guitars. "Slide Machine" and Dylan's "Baby Blue" also stand out, but again
+
this is a work to be experienced in its entirety. It's hard to give a
+
description to these records as nothing else sounds like them, but
+
unquestionably key is Roky's vocals, and thus Bull In the Woods is to be
+
avoided as it was recorded while he was locked away in the state mental
+
hospital after a pot bust. The live album above is one of a few available,
+
but it was released while the group was active. Erickson's late-seventies and
+
early-eighties recordings with the bands the Aliens and the Explosions are
+
also highly recommended. From an appearance on The Bandstand - Dick Clark:
+
"Who is the head of the band?," Roky: "We're all heads."
+
+
+
THE MUSIC MACHINE
+
Turn on The Music Machine (Original Sound 8875, 1966)
+
+
Dark, brooding, and very, very fuzzy. The Music Machine are the soundtrack
+
for 4:00 AM on Sunday morning following a sixer plus and multiple BTs.
+
Distorted instruments are complimented by Sean Bonniwell's distorted vocals,
+
which create a sound which is perfect for the darkest, dankest, most
+
subterranean stage you can imagine. The originals mostly carry their sound
+
with an uptempo punk beat. "Wrong," "The People in Me," "Masculine
+
Intuition," and especially "Trouble" and the single "Talk Talk" are chord
+
driven rockers. An interesting collection of covers range from "Taxman," "96
+
Tears, and "See See Rider," to the unusual in selection with Neal Diamond's
+
"Cherry Cherry" and the common "Hey Joe" - done as a mega-slow dirge. The
+
boys dress head to toe in black - boots, pants, turtlenecks and a single
+
leather glove. Listen for some of the most extreme stereo you'll ever hear!
+
Reports are that the mono version (reviewed here) is much more raw than the
+
stereo one, but I can't verify that myself. The singer later put out a self
+
titled record with his new band Bonniwell's Music Machine (Warner Brothers
+
1732, 1967), and Rhino put out a Music Machine compilation.
+
+
+
COUNT FIVE
+
Psychotic Reaction (Double Shot 5001, 1966)
+
+
Count Five achieve greatness for two reasons: 1) They somehow came up with the
+
most fantastic single song of any of the bands mentioned in this article (and,
+
with apologies to Neil Young, maybe anywhere in this issue) with "Psychotic
+
Reaction." That cut builds on an amazingly captivating, and yet simple beat,
+
until it finally explodes into chaos, only to be brought back under control
+
with a steady riff and heavy drumbeat combo. 2) The wacked cover art which
+
has the fellas, complete with checkered and striped double knits, starring
+
maniacally into the camera from around the edge of what appears to be a
+
freshly dug grave. The music is pretty simplistic, and the guitar playing is
+
of a cleaner Byrds / Beatles style rather than the Stones / Kinks influence
+
which drives most of the American garage punks of the era. However, the kooky
+
lyrics of songwriter / rhythm guitarist Sean Byrne do add a certain extra
+
something, especially when he speaks of his girl "from the deep, deep south"
+
who also is equipped with a "pretty big mouth," and when he takes on the
+
ranting voice of the committed in the paranoid "They're Gonna Get You." Byrne
+
does write all but two tracks (a rarity then, as you have read), and while the
+
covers are pretty straight renditions of the Who's "My Generation" and "Out in
+
the Street," remember that it was the pretty cool group who drew their
+
influences from Townshend and Co. in 1966 when the Who were hitless, virtual
+
unknowns in America with only a just released debut album. Some of the tracks
+
on Count Five's singles of the time (especially "Revalation in Slow Motion"
+
and "Contrast") are as good as anything (save "Psychotic Reaction") on the
+
album. Look for the Edsel reissue which replaces the cover tunes and a couple
+
of lesser tracks with these. Gonzo Rock Journalist King Lester Bangs elevated
+
this group of San Jose, CA teens by creating a mythical catalog for them,
+
which contained four additional releases (the compilation of Bangs' work,
+
"Psychotic Reactions and Carburetor Dung," draws its name from this record and
+
the second one he made up for them). Bangs got to pondering what would happen
+
if a bunch of low-talent punks, like these guys, actually developed a career,
+
and thus went ahead and created one for them that included psychedelic
+
experimentation and seventeen minute tracks - it's like he wished it did
+
happen. For the record, the band members were attending the following
+
educational institutions at the time of this release: Los Altos Foothill
+
College, San Jose City College, San Jose State College, and San Jose Pioneer
+
High School. There's even a live CD out there from a reunion show a few years
+
ago.
+
+
+
THE SEEDS
+
The Seeds (GNP Crescendo 2023, 1966)
+
A Web of Sound (GNP Crescendo 2033, 1966)
+
Future (GNP Crescendo 2038, 1967)
+
A Full Spoon of Seedy Blues (GNP Crescendo 2040, 1967)
+
Merlin's Music Box Raw and Alive (GNP Crescendo 2043, 1967)
+
+
Brother Sky Saxon was one groovy cat who was so far out man that he still
+
hasn't come back. The Seeds had hair way past their shoulders on their 1966
+
debut, spoke openly and without crypto-innuendo about the joys of things for
+
the head when others only hinted at such notions, and had the 14:27 minute
+
freak out "Up in Her Room" on A Web of Sound a year before "Sister Ray." As
+
ahead of their time as they were, the LA based group was still dominated by
+
Sky's throaty and warbling singing and his loopy bass playing, along with dual
+
fuzz guitars and Daryl Hooper's cheesy organ. But along with the kooky
+
lyrics, therein lies the charm. "Pushin' Too Hard" from the debut was the
+
hit, and that cool tune sets the pace for the rest of the music. "Evil
+
Hoodoo," also from The Seeds, rises above most of the rest with its powerful,
+
loud, and driving fuzz guitar and organ lead which sustains over the course of
+
5:15 minutes, and the abovementioned "Up in Her Room" makes the second LP
+
worth checking into - you put it on and it keeps going, and going, and
+
going... A bit more subtle approach on Future does nothing to hide Sky's
+
wacko sensibilities, but A Full Spoon... is something altogether different.
+
Yep, the Seeds play the blues, but surprisingly it's pretty good. The Seeds
+
proper rounded things out with the live album, recorded at one of the Sunset
+
Strip's coolest night spots, which is a good representation of what they were
+
all about, and with the inclusion of "Two Fingers Pointing on You," one of
+
their best songs, on the soundtrack to Richard Rush's Jack Nicholson-in-
+
the-Hashbury exploitation classic PSYCH-OUT. The band can be seen live in the
+
film, as well.
+
+
Sky moved to Hawaii and spent the seventies as the guru of a church that
+
worshipped his dog. During the course of things, he kept various versions of
+
the Seeds together, and issued a number of albums under the "New Seeds"
+
moniker. Among these are Sunlight and the New Seeds (1976, Expression), Stars
+
New Seeds Live at the Orpheum Theatre (Sunbow, 1977), In Love With Life
+
(Expression, 1978), and Lovers Cosmic Voyage (Golden Flash, 1978). In between
+
those were many obscure, low numbered pressings of mystic chant records. By
+
the eighties he was resurrected from Hawaii by his old pal, L.A. DJ and
+
hipster Rodney Bingenheimer. First out was Starry Ride (Psycho, 1984) were he
+
was backed by other burn-outs, late of the bands Iron Butterfly, Steppenwolf,
+
and Fraternity of Man. He then made the rounds of the early-eighties paisley
+
underground scene, appearing as Sky and Purple Electricity while ranting over
+
the MacDonald bros playing classic rock (see last ish's Redd Kross piece) or
+
in Firewall, a group he headed made up of members of the Dream Syndicate, the
+
Plimsouls, and the Droogs (A Groovy Thing [New Rose, 1986] and Destiny's
+
Children [PVC, 1986] are records of the same Firewall material). ...In Search
+
of Brighter Colors (New Rose, 1988), World Fantastic (Skyclad, 1988), and
+
Private Party (Voxx, 1986) are even more new material, these being
+
post-Firewall. If anyone could supply me with a tape of any of the seventies
+
material I would gladly trade a tape of anything mentioned in any FUNHOUSE!
+
for it.
+
+
+
THE SONICS
+
Here are the Sonics (Etiquette ALB-024, 1965)
+
The Sonics Boom (Etiquette ALB-027, 1966)
+
Introducing the Sonics (Jerden JRL-7007, 1967)
+
+
Seattle's original garage band have a sound that might be called agro frat
+
rock. Raw guitars keep a pace with the simplest of chords, accompanied by
+
piano or organ, and occasionally interrupted with a psycho-solo from a six
+
string or a sax. What makes these guys pretty damn cool is singer /
+
keyboarder Jerry Roslie's manic, I-wanna-be-Screamin' Jay growls, snarls, and
+
screams. Plenty of covers are present, and the performances on them are good
+
("Do You Love Me," "Shot Down," "Keep a Knockin'" - even "Louie Louie" keeps
+
you interested). An A for effort and for several classic, crazed originals
+
("Psycho," "Strychnine," and "Witch") make at least a comp from the Sonics
+
worth checking out. But, despite their reputation, there are a few groups on
+
this list that are a bit more original. An additional problem lies in the
+
fact that the Etiquette label did a pretty lousy job of recording most of this
+
music.
+
+
+
THE OTHER HALF
+
The Other Half (Acta 38004, 1968)
+
+
Teetering on the edge of prog metal, this record bridges the gap between the
+
group's earlier drug punk classic single "Mr. Pharmacist" and guitarist Randy
+
Holden's later ear shattering white noise in Blue Cheer (for a truly warped
+
experience seek out his solo guitar opus, Population II [Hobbit, 1968]). It's
+
noisy, it's fuzzy, and it's as much a precursor to seventies heavy metal as to
+
seventies punk rock. All original except for a cover of fellow Frisco friend
+
Country Joe's "Feathered Fish," this one demands that it be played at maximum
+
volume.
+
+
+
THE LEAVES
+
Hey Joe (Mira 3005, 1967)
+
All the Good That's Happening (Capitol 2638, 1967)
+
+
Another LA band, they operate at their best in the style of the earliest
+
Stones, and at their worst somewhere in Herman's Hermits land. They have a
+
dual guitar attack, with the classic chugging chord rhythm and clean picking
+
lead combo. The Leaves' superior musicianship elevates their better numbers,
+
and the best of these kick along pretty well and above the level of some of
+
their contemporaries who were mired in Brit-clone boredom. (Let's face it,
+
only the Beatles, the Stones, the Who, and the Kinks were consistently good,
+
as most sixties limey music just plain sucked). The guitar may be cleaner and
+
the vocals less angry and snotty than most of the other groups here, but their
+
roaring take on the ubiquitous "Hey Joe" is definitive. This garage staple
+
was also covered by (at least) the Standells, the Music Machine, Love, the
+
Shadows of Knight, and the Byrds. The best stuff on the Hey Joe record is
+
well worth having. "Get Out Of My Life Woman" recalls the Beatles in their
+
Help / Rubber Soul period, only angrier. "War of Distortion" goes for a
+
trippy effect by including sound effects and extreme stereo separation, and
+
"Words," written by Boyce and Hart and more well known from the Monkees
+
version, is great high energy pop. Along with "Hey Joe," the shredding
+
instrumental "Back on the Avenue" and the album closer, "Too Many People," an
+
original with a great punk beat supporting outbursts of lead guitar and
+
harmonica over the singer's statement of defiance, are incredible sonic
+
explosions. The weaknesses of tracks like "Girl From the East," He Was a
+
Friend of Mine," and a sappy version of the Searchers "Good Bye, My Lover" are
+
even more glaring when stacked up against these. The Leaves' "Hey Joe" was
+
also the version that was the biggest hit, and that earned them a promotion to
+
the majors with the Capitol issued All the Good That's Happening. It's an
+
undistinguished record, thrown together just as the band was splitting up.
+
+
+
THE RISING STORM
+
Calm Before the Rising Storm (Remnant BBA-3571, 1968)
+
+
These Andover prep schoolers in coats and ties seem to be equally influenced
+
by the Booker T and the MGs Stax / Volt sound, and Love's SoCal psych-punk (in
+
fact they cover both "In the Midnight Hour" and "A Message to Pretty," but you
+
wouldn't need to hear those two to catch these influences). The tunes chug
+
along at a good pace, like British Invasion music with an edge. Keyboards and
+
occasional fuzz guitar punctuate a sound which fans of the Jam and their
+
revivalist peers might groove to. Highlights include "Don't Look Back," an R
+
& B influenced rave-up that probably got the crowd on its feet at MA keggers.
+
It features some wild leads, multiple tempo changes, and a rap in the middle
+
that would make Peter Wolf proud. "I'm Coming Home," another driving rocker
+
which breaks for a spastic solo, and "She Loved Me," which has a fuzzy lead
+
driving its soulful vocals, round out the best material. Cover versions of
+
the popular "Big Boss Man," whose definitive sixo version was delivered by the
+
Syndicate of Sound, and "Baby Please Don't Go" (yep, that one) are used for
+
padding. A few of the slower numbers are rather rote. This LP circulates
+
these days for more cash than any other mentioned here (it can be over $500).
+
While it's a fun spin, it doesn't warrant that much scratch in my book.
+
+
+
THE SYNDICATE OF SOUND
+
Little Girl (Bell 6001, 1966)
+
+
Yet a third band from the mid-sixties period who emerged from San Jose, CA.
+
While SF to the north was stuck in the Beau-Quicksilver-Airplane-Grape flower
+
child morass, its mega suburban sprawl neighbor was cranking out garage bands
+
dedicated to the true spirit of rock-and-roll. It must be something with the
+
tract housing. The title track was the big hit for these guys, with its
+
ringing, driving guitar propelling its tell off vocals. If you've never
+
caught this on oldies radio you can always check into the Dead Boys live
+
knock-off on their Young, Loud and Snotty LP. Following closely on the tail
+
of that classic is a raving cover of the Sonics "Witch," but once you get past
+
those straight rockers the dominant style is a fifties sound similar to what
+
the early Flamin' Groovies did. The choice of covers should clue you in as to
+
what to expect: "Big Boss Man," "Dream Baby," "I'm Alive," "Lookin' For the
+
Good Times," and "Is You Is or Is You Ain't My Baby." While not as wild, in
+
the garage style, as some of their peers, there's still plenty of volume in
+
these sax featuring tunes. Even if the old rock-and-roll sound isn't up your
+
alley don't pass up this vinyl slab if you run across it cheap, especially for
+
"Little Girl" and "Rumors," another jammin' original which credits one member
+
with "fuzz bass." My copy has a peace sign drawn on the label, which is
+
covered by a price sticker for 50 cents from Record House Inc (I think that I
+
actually shelled out $1.98!) If you're out there Terry Mello, you should have
+
hung on to this baby.
+
+
+
THE FIRE ESCAPE
+
Psychotic Reaction (GNP Crescendo 2034, 1967)
+
+
A real SF garage band or a Kim Fowley / GNP Crescendo throw together? The
+
liner notes tell a probably bogus story about the producers finding the group
+
in The Gutter, "a club so far 'in' that the 'in-kids' didn't know where it
+
was." The album is mostly well played covers of garage rock classics, but it
+
gets extra points for its subtle collection of LSD references. Covers are of
+
"Psychotic Reaction" (Count Five), "Talk Talk" (Music Machine), "96 Tears" (?
+
and the Mysterians), "Trip Maker" and "Pictures and Designs" (both by label
+
mates the Seeds), and "Fortune Teller." In addition to the Seeds' acid
+
tributes, Fowley's fantastic "The Trip" and the bad trip ode "Love Special
+
Delivery" add to the fun. The playing is fast and charged, but not heavy on
+
the distorto content which drives the best music of the genre.
+
+
+
? AND THE MYSTERIANS
+
96 Tears (Cameo 2004, 1966)
+
Action (Cameo 2006, 1967)
+
+
And mysterious they were (and are). ? took the name "Rudy Martinez" for a
+
songwriting credit, but reports are that that name was phony too. What's
+
known about the group is that they were a mutant crossing of sixo-styled
+
Tex-Mex with Detroit angst. "96 Tears," with its retard piano lead, should be
+
known to all, but that hit is just the jumping off point. ? himself was a
+
warped presence slithering across the stage, and the music is loaded with
+
charged chords and lyrics which hide messages of sexual want. The record
+
company said it was "Girl, You Captivate Me" but on stage that tune took its
+
true form as "Girl, You Masturbate Me." Both LPs are equally recommended, but
+
no reissues exist, as they are owned by Allen Klein and he refuses to let them
+
out (probably for no other reason than that people want to hear the music).
+
You can however pick up the ROIR / Danceteria reunion show live album, which
+
rocks just as if these cinco dudes never went away.
+
+
+
THE TROGGS
+
Wild Thing (Atco 33-193, 1966)
+
The Troggs (Fontana SRF-67556, 1966)
+
Love Is All Around (Fontana SRF-67576, 1968)
+
+
Though the Stones and the Who were a major influence on the American garage
+
punks, once they had moved on to superstardom there weren't many English bands
+
to carry on with the noise (things degenerated to the level of Herman's
+
Hermits, the Hollies, and the Dave Clark Five). The Troggs are the major
+
exception. If you haven't heard these cave dwellers kick out their most
+
famous tune, I don't know what interest you have in reading this far, but that
+
three chord classic is only the begining for these guys. Each of their early
+
records is filled with the snotty vocals and crunchy guitar noise which makes
+
"Wild Thing" one of the most covered rock-and-roll creations of all time.
+
There's probably no band mentioned anywhere in FUNHOUSE! who hasn't played it
+
at some time (well maybe Phil Collins, it probably wouldn't even occur to
+
him). Loud bar chords and feedback rave-ups are all over the sixties
+
material, with just a few of the highlights being "From Home, "With a Girl
+
Like You," "I Want You," and "66-5-4-3-2-1." Wild Thing and The Troggs are
+
actually the same record, released by different labels. It's a version of
+
this which gets the nod for its first record level of angst and intensity.
+
Either of the above will do, but these guys carried on far longer than any of
+
the other bands here, so enter the seventies with them at your own risk.
+
+
-----------
+
EOFunhouse!
+
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+FUNHOUSE!
+
+The cyberzine of degenerate pop culture
+
+
+vol. 1 - no. 1; March 22, 1993
+editor: Jeff Dove (jeffdove@well.sf.ca.us)
+
+
+
+This issue of FUNHOUSE! was released on the day of Russ Meyer's 70th
+birthday!
+
+FUNHOUSE! is dedicated to whatever happens to be on my mind at the time
+I'm writing. The focus will tend to be on those aspects of our fun-filled
+world which aren't given the attention of the bland traditional media, or
+which have been woefully misinterpreted or misdiagnosed by the same.
+FUNHOUSE! is basically a happy place, and thus the only real criteria I
+will try to meet is to refrain from rants, personal attacks, and flames -
+and thus FUNHOUSE! is an apolitical place. Offbeat films, music,
+literature, and experiences are largely covered, with the one stipulation
+that articles are attempted to be detailed and well documemnted, although
+this is no guarantee of completeness or correctness, so that the
+interested reader may further pursue something which may spark her
+interest. Correspondance and contributions are thus encouraged, and any
+letters will by printed in future issues. Please send a short message to
+the above address, and arrangements will be made for the submission of
+larger items. The only other item is that FUNHOUSE! is Free-Free-
+Freeware! PLEASE copy and distribute as you wish, however please do
+not alter any text.
+
+
+Table Of Contents:
+
+* Confessions Of A Meyerologist - One perspective on the films of
+ Russ Meyer
+* The Punk Who Finally Died - A FUNHOUSE! evaluation of the Lou Reed
+ catalog
+* Pezography - An (almost?) complete listing of Pez dispensers
+* The Greatest Philosophical Question Answered - What REALLY happens
+ when a tree falls in the forest and no one is there
+* Fanzine Forum - Some recommended literature for your further education
+* Reviews - Comments on selected books, records, periodicals, etc. etc.
+ etc.
+
+
+Confessions Of A Meyerologist - One Perspective On The Films Of Russ Meyer
+--------------------------------------------------------------------------
+
+When one is watching a film of Russ Meyer's, there can be no question as
+to the source. Russ' style is one of the most uniquely recognizable of
+all filmmakers, and as director, producer, cinematographer, editor, and
+co-writer on the preponderance of his films, he is someone who deserves
+the title auteur. Initially a purveyor of the "nudie-cutie" style, Russ
+brought a degree of quality of production, and elements of plot, that were
+largely missing in that usually pretty bleak niche of cinema. His initial
+effort, the groundbreaking THE IMMORAL MR. TEAS (1959), was a major
+financial success on the nudie circuit, and for better or worse sparked a
+great degree of mostly inferior imitations. Commonly the first aspect of
+Russ' work which is mentioned is the mammary excesses of the female stars
+he employs. While this is a definite aspect, his photography, editing,
+and sound also stand out as trademarks. Fast paced editing is
+omnipresent, with the average shot seeming to be around five seconds.
+Camera angles are often times extreme, with much use of tracks, pans, etc.
+to add to the feel of a scene, and many times to inject humor, angst, or
+other emotions. Great use is made of colors in the set designs of his
+films (four are in black and white), and the soundtrack is almost non-stop
+with nondiegetic blips of music and sound effects meant to highlight and
+emphasize the action on the screen. Bridges between scenes frequently use
+exaggerated matches on action, sound matches, and effects like fast pans
+or wipes, to keep things at a frenetic pace. It would be a good bet to
+say that the makers of the Batman TV show learned some tricks from Meyer's
+work. Every aspect of a Meyer narrative is amplified and extreme; there
+are no mild characters or scenes, everything is played to the nth degree.
+The world of a Meyer film is one of super-realistic fantasy, and one
+should not try to impose the normal rules of society or behavior to his
+situations. While females are undeniably played as ultra-sexual
+superwomen, they are also always the strong characters, largely in control
+of their situations, for good or evil, better or worse. An argument for
+Russ' having feminist credentials can be made, however I doubt that the
+more vocal activist would agree, at least on initial viewing. These women
+spend a good portion of the film manipulating weak men of both positive
+and negative bents. The stories are frequently melodramas, framed by
+tongue-in-cheek speeches, defining and resolving some amplified moral
+dilemma. This is often to the backdrop of a highly exploitable, and often
+lurid, plot. As Russ' selected his female stars more for their appearance
+and "stature", many times picking them out in topless bars, his editing
+techniques probably originated out of necessity due to the lack of acting
+skills. He was able to hone this necessity to a finely mastered craft.
+The large breasts of the heroines become symbolic of their fantastic
+status, and the fantasy world through which they move. Meyer's career
+stretched from 1959 to 1979, frequently setting standards in the
+sexploitation genre, and always producing superior product over his
+competitors. He made films which easily transcended the limits of that
+genre, and stand on there own as unique and entertaining films of quality
+and style.
+
+Phase One: The Early Color "Nudies" -
+
+Russ Meyer's film THE IMMORAL MR. TEAS was a breakthrough film in the
+realm of on screen nudity. Up until the time in which it was released in
+1959, nudies were still largely relegated to the under-ground sleaze
+circuit, or to venues such as the traveling tent shows perpetuated by the
+disciples of Kroger Babb. TEAS is a color film without synch-sound,
+containing voiced over narration. While the film was not an expensive
+endeavor, it's production values were much improved over what was typical
+of the genre at the time. The women are actually somewhat attractive to
+boot! The film was quite successful, and enjoyed play dates at many
+theaters which were not of the "Times Square" variety. TEAS thus launched
+an avalanche of films which would come to make up what would be called the
+"nudie-cutie" genre. These were silly and irreverent stories, which
+usually involved some comically oafish male stumbling across naked women
+in his everyday life (no frontal below the waist shots). TEAS is the
+story of Bill Teas, played by Meyer's army buddy Sgt. Bill Teas, who wakes
+up one day to find that he sees women through their clothes. He then
+proceeds to adjust to his situation while riding around on his bicycle.
+The film isn't actually all that particularly entertaining, however the
+editing makes sense, the camera is in focus, there is correct continuity,
+and the acting isn't horrible. As TEAS was the first of it's type to
+actually make some sense as a film, it brought a new sort of
+"respectability" to the style, and was quite influential, inspiring many
+imitators. H.G. Lewis' and David Friedman's ADVENTURES OF LUCKY PIERRE
+borrows heavily from it. As a Meyer work it is principally a curiosity,
+and Russ probably included it with his initial group of video releases for
+historical purposes. Early signs of the Meyerian humor, especially in
+regards to the use of editing, are apparent.
+
+EROTICA and EUROPE IN THE RAW remain largely unavailable, however
+according to press at the time they seem to follow the same basic
+nudie-cutie format. In EROTICA a filmmaker editing his work is the
+framework for viewing six different nudie shorts through the moviola.
+EUROPE IN THE RAW is a mondo style travelogue, showing strip clubs and
+sex shops in various European cities. MONDO TOPLESS is said to contain
+some of this footage recycled.
+
+The recently released on video EVE AND THE HANDYMAN is however a bit more
+adventurous. The film stars Meyer's wife Eve as a trench-coated spy type
+on the trail of a bumbling handyman, as he pursues his trade in and around
+San Francisco. There is actually no nudity in the movie, however plenty
+of ample cleavage abounds. The evolution of his style can be seen here,
+with excellent cinematography and some good slapstick humor. It's
+certainly not a bad film, but it isn't the stuff that made Russ a legend
+either. The early color nudie period is rounded out by HEAVENLY BODIES,
+also not now available, and WILD GALS OF THE NAKED WEST. WILD GALS was
+one of a troika of films that Meyer put out on video last year, a number
+of years after his initial set of video releases (EVE and MOTOR PSYCHO are
+the other two). It is easily the best of this early period. Also with no
+nudity beyond pasties, it's a crazily shot slapstick filled joke-fest.
+There's hardly a plot, but basically it portrays risqu high jinx in an
+old west town setting. This is a good place to get started on your
+enjoyment of the early period, as it is definitely the cream of the
+(available) crop. HEAVENLY BODIES is described as a pseudo-documentary of
+the world of fashion photography, where we see a series a shorts depicting
+"glamour" photographers at work with their nude models. Russ appears as
+"Russ Meyer, one of Hollywood's best known glamour photographers". These
+works are all a bit removed from much of what was to come, and apparently
+Russ feels they are dated now, as he only initially released TEAS to video,
+and this, as said before, probably had some historical extenuating
+circumstances backing it. All are in color, and I believe that all have
+narration over silent footage, rather than synched dialog. They do
+however contain early experiments with the style that would become his
+trademark, most noticeably in the areas of editing, sound (especially
+non-diegetic music), and breasts. Along with the humorous elements that
+abound, these traits put Meyer's early works well ahead of those of his
+contemporaries.
+
+Phase Two: The Violent Melodramas -
+
+One should not forget that above all else, Russ was in it for the money.
+He by no means intended to be a starving artist trying to get his message
+out, but lucky for him (and for us!) his particular vision was salable to
+the masses. This is mentioned in the context of the state of the nudie in
+1964. At this point, any fool with a camera could turn it on and shoot
+some women willing to drop their drawers, and many a fool did just that.
+With the trail blazed by Meyer, the flood of imitators that followed were
+fast making the style blas. Russ thus cast an eye away from the art house
+circuit and toward the drive-in circuit. The emphasis became on action,
+violence, and lurid tales of good verses evil. The production values went
+up, with larger casts and crews. Synch-sound was now utilized, and Meyer
+employed varying levels of assistance with directing, cinematography,
+editing, sound, and music. To offset these costs, the subsequent four
+films were shot in black and white, which was a perfect vehicle for their
+genre anyhow. The works that emerged, LORNA, MOTOR PSYCHO, MUDHONEY, and
+FASTER PUSSYCAT KILL! KILL! are arguably the best that he produced.
+
+A note concerning FANNY HILL should be made. This movie was shot in
+Germany and was produced by Albert Zugsmith (HIGH SCHOOL CONFIDENTIAL
+(1958), SEX KITTENS GO TO COLLEGE (1960), COLLEGE CONFIDENTIAL (1960)).
+Meyer had little artistic control over it, and thus this rather mundane
+film reflects little of the style one looks for in a Meyer film. He never
+made another movie which he didn't hold absolute creative control over.
+
+The black and white films all contain elements of exaggerated good verses
+evil, with characters moving through worlds of confrontation involving
+overblown elements of good, evil, ignorance, victimization, and of course,
+sexuality. The presence of an opening narrative defining the terms of the
+story is utilized in LORNA. This is a technique that would frequently be
+used in later films, almost always extremely tongue in cheek. LORNA is
+framed by the sermon of Prophet, with a fire and brimstone speech
+addressing moral shortcomings. This leads into Lorna Maitland, in the
+title role, seeing her new husband off to work in the salt mines, from
+their home on a swamp. He leaves in a boat with two co-workers, including
+the sleazy and mean Hal Hopper. Lorna goes for a skinny-dip in the swamp.
+This water setting would occur very frequently throughout subsequent films.
+The cost-conscious choice of outdoor settings led to a Meyer signature
+effect. Style emerging out of necessity led to many of his most
+recognizable film traits. A nude Lorna is accosted by an escaped convict,
+and what begins as rape turns into a mutual acquiescence. The sexually
+unsatisfied Lorna moves the action back to the house. Meanwhile her
+simple husband is forced to defend her honor against the sleazy comments
+of Hopper. When he leaves work early to celebrate Lorna's birthday with
+her, he encounters the affair. In the confrontation both Lorna and the
+convict are killed. This biblical retribution is dutifully pointed out by
+Prophet the narrator. The framework that emerges here, where a morality
+play is defined and acted out, was a useful vehicle for displaying the
+requisite sex and violence, and for allowing Meyer to also inject his
+caustic humor through the vehicle of the extreme melodrama. The frame
+work would serve him well over the series of films that followed.
+
+LORNA was tame in it's action compared to the next three films. MOTOR
+PSYCHO depicts a trio of cycle-thugs who travel around attacking and
+molesting just about every woman they come across (they in fact ride
+mopeds!). They rape the shapely, bikini-clad wife of a fisherman, and
+then proceed into town where they go after the wife of the local animal
+doctor, who had earlier chased them away from her. Russ appears as the
+small town sheriff who responds to the crime (he is billed as "E.E.
+Meyer"). While riding in the ambulance with the vet and his beaten wife,
+he leers at her and suggests that she "got what she asked for". The action
+really picks up when the husband chases after the hoods through the
+desert, and hooks up with the amazing Haji, making her first appearance in
+a Meyer flick. She plays a Cajun shrew who's traveling with her obnoxious
+older husband. They have an encounter with the gang, in which the old man
+is killed, before she hooks up with the vet. In the end the ringleader of
+the punks starts having 'Nam flashbacks while he's got the other two
+pinned down with a rifle. This gives the hero the opening to blow the nut
+up with dynamite and escape. MOTOR PSYCHO is the most action packed of his
+efforts to it's date, and is highly recommended. It's also got a great
+guitar-jammin' rock score.
+
+MUDHONEY takes the exploration of the backwoods "hick" culture which Meyer
+had touched upon in his previous two works, and goes all out with it. In
+a Steinbeck-like depression era setting, it is the story of Calif, a
+reformed ex-con, now a good guy, on the road to California. On the way he
+hears of work at a nearby farm, however all the locals warn him not to go
+there. He's hired on by the patriarch, played by Stu Lancaster, who is a
+tough, solid old guy who's now in ill health. His daughter lives with
+him, as does her brutal, drunken, lecherous husband, played by Hal Hopper,
+who is the reason for the warnings. Hopper is waiting around for
+Lancaster to kick off so that he can sell off the farm and take off with
+the cash. Meanwhile he spends allot of time at the farmhouse next door
+where a crazy old lady pimps her two buxom young daughters. One is a deaf
+mute, and the other is played by Lorna Maitland. The story develops as
+Hopper gets meaner and crazier, and Calif and the daughter become closer.
+There's another crazy fundamentalist preacher and his wife, who Hopper
+kisses up to and deceives into condemning Calif, and thus turning the town
+against him. A showdown is emerging between Hopper, the preacher, and the
+town folks, against Calif, the daughter, and the father, when Hopper in a
+drunken, delusional stupor rapes and kills the Brother's wife. Lancaster
+dies, Hopper gets what he deserves, and Calif and the farmer's daughter
+are able to get the proceeds from the sale of the farm with the help of
+the sheriff, an old family friend, who now knows the truth. Another
+melodrama ends with good triumphing over evil, as the lovers head off for
+California.
+
+All of this led up to what has to be Meyer's finest moment, his crowning
+achievement, the incredible FASTER PUSSYCAT KILL! KILL!. Tura Satana,
+the most unforgettable of all his starlets, is featured along with the
+return of Haji, and Lori Williams. They're a trio of reckless go-go
+dancers by night, who race around the desert in souped up hot rods by day.
+Tura is Varla, the ringleader with a Porsche, dressed entirely in tight
+black clothes right down to her leather gloves. She's a kung-fu kicking,
+bisexual, super-bitch, who reels off some of the funniest one liners in
+the history of cinema. Haji is Rosy, her jealous lover, while Williams is
+Billy Boom-Boom, who's more or less along for the ride. After a wet cat
+fight between Rosy and Billy, a clean cut high school type and his
+cheerleader girlfriend show up to time his laps around a car track. After
+some rousting, Varla goads the guy into racing her around the oval. The
+girlfriend is played by Playmate Sue Bernard, who looks like a skinny kid
+next to the overwhelming figures of the anti-heroines. After a near crash
+on the track, a fight between Varla and the kid ensues, in which after
+some well placed fu, Varla breaks his neck. The girlfriend is then doped
+to sleep while they figure out how to handle the situation. While gassing
+up their "bombers", the go-go chicks hear about a father (Stu Lancaster),
+and his two grown sons who live out on a nearby road. Lancaster is in a
+wheelchair, and was injured as he helped a girl climb up on a train. One
+son is studying so as to get out and make something of himself, while the
+other is a huge, super-strong, mentally deficient hulk. The mother was
+killed during his birth due to his size. Old Stu has consequently got a
+messed up head, and some bad attitudes toward women and trains. Varla
+hears about the large amount of money he's got stashed from the accident
+settlement, and decides to try to get her hands on this "long green".
+They thus head out to his house with bikini clad Sue Bernard in tow.
+Billy seduces the hulk son, while the father makes plans to capture the
+young girl for his own perverted purposes. Varla seduces the straight son
+in an attempt to get at the money while Rosy fumes jealously. When it
+eventually hits the fan, Varla throws a knife in Billy's back when she
+tries to leave. She has a strength duel between her Porsche and the strong
+son, and she runs over Stu in his wheelchair. Rosy is stabbed by the hulk
+son before he dies, when he has pulled the knife from Billy's back. It
+eventually ends with a duel in the desert between Varla, the good son, and
+good girl Sue. As Varla and the son grapple, Sue runs her over with the
+truck. Good has again triumphed over evil. What makes this film a step
+above the previous ones is the fantastic dialog, and the figure of the
+incredible Tura Satana. She's an overwhelming presence, and her character
+alone makes this a must see. The intro sequence is classic Russ. His
+extra-dramatic narration (the opening line is, "Ladies and gentlemen,
+welcome to violence..."), leads into the great theme song by The
+Bostweeds, as the girls are shown dancing in their club. Meanwhile the
+drunken patrons leer and yell at them with contorted faces - "Go baby go!,
+Come on let's go!!!". Look for The Cramps cover of the theme.
+
+MONDO TOPLESS, a departure of form, doesn't fit well into any of these
+categories. Apparently a sort of updated EUROPE IN THE RAW, it's a series
+of nude dances by women in a variety of surroundings, from the stage of a
+club to rolling in the mud. Intermingled between these strips is Russ'
+trademark crazy narration, and short travelogue type pieces on the cities
+in which the women perform. The opening extended segment on San
+Francisco, leading to the then burgeoning Broadway strip club scene, is
+interesting for checking out the town in 1966. Actresses Lorna Maitland
+and Babette Bardot, who starred in some of his films, are among the
+featured performers. The music is great guitar rock.
+
+The melodrama format was used as a vehicle for displaying all sorts of
+highly exploitable elements of sex and violence, while incorporating the
+excuse of delivering a message on good vs. evil - a kind of a built-in
+"square-up reel". The format also gave Meyer the ability to use the
+introductory and ending narration as a vehicle for his extremely
+sarcastic, over-exaggerated, comical diatribes.
+
+Phase Three - The golden period and the emergence of the Meyer signature
+ style
+
+The films of this period take place in worlds where the narrative is
+basically out of the realm of reality. In phase two the characters were
+exaggerated, while here reality is exaggerated. There is a cohesion of
+all styles he utilized up to this point. The fantasy of the narrative was
+emphasized by the filmmaking style, making full use of quick edits, wild
+sounds, ultra-fast pacing, and unique camera angles.
+
+COMMON LAW CABIN is a transition between these two film styles, and is
+close to a color version of the melodrama era efforts. Jack Moran lives
+out on a broken down resort island in the middle of the Colorado river.
+He's out there with his chick Babette Bardot, and his (fully) grown
+daughter, Adele Rein. It seems papa is having unnatural desires at the
+sight of the buxom young girl. Frank Bolger is a drunken old boat driver
+who rounds up suckers on the mainland for a trip out to the island for
+lunch, a drink, and show of Babette leaping topless off a cliff into the
+water as a screaming "native". Here he rounds up superbitch Alaina Capri,
+her fed-up, uptight husband, and Ken Swafford as a violent felon on the
+run posing as a cop. Alaina's got nothing but insults for her husband,
+and come-on's for all of the other men. Things get violent when Moran
+refuses to sell the place to Swafford, who wants to use it as a hideout.
+He eventually seduces, and finally kills, Alaina, and attacks Babette.
+Alaina's husband dies from stress and a bum ticker, and Swafford sets his
+sites on the young daughter. She's rescued by a young heir on the run who
+motors on the scene. Swafford's head is smashed to a pulp in the final
+confrontation, and the young couple fall in love, leaving the family
+happier (and richer). CLC has more of a violent bent then a sexual one,
+without even any actual nudity (but they come close). While the narrative
+is much in the mode of the black and whites, the use of color and the
+styling definitely show the first sign of things to come. GOODMORNING AND
+GOODBYE takes the first big step into the new era. The script abandons
+the violent elements of it's immediate predecessors, and greatly picks up
+on the elements of sex and nudity. There is a major leap from the earlier
+nudies. Here the creative elements and character development from the
+violent melodramas led to a much greater emphasis on a defined plot line
+and conflict examinations between characters. In GAG, Alaina Capri
+revives her caustic wife role, this time antagonizing her older, impotent
+husband, Stu Lancaster. Meanwhile Karen Ciral, as the daughter from his
+first marriage, is tooling around in her Khaman Ghia, sunbathing and go-
+going, while filling out nicely. She contemplates taking the big step with
+her new surfer-dude, Don Johnson. When Alaina isn't berating her husband,
+she's cheating on him with construction stud Pat Wright. Russ utilizes
+old fave Haji as a naked nymph running through the woods, who
+"revitalizes" Stu so that he is able to pummel Wright, and keep his wife
+in line with his new found prowess in bed. Always one with an eye on the
+bottom line, Russ saw the over saturation of the "roughies", and decided a
+return to a direction with a more sexual content was the way to go. When
+he applied his recently developed techniques to the new more allowable
+sexual contents, his fans learned that they could count on Russ' flicks to
+deliver quality with the kicks.
+
+FINDERS KEEPERS, LOVERS WEEPERS has the most fully developed script of
+Meyer's more sexual films. The action takes place here in a bar run by
+Paul Lockwood. He neglects his wife at home, played by Anne Chapman, and
+instead is called away to the local bordello for some action, where his
+buddy Lavelle Roby thinks that the new girl, played by Jan Sinclair, would
+be much to his liking. In a drunken stupor, he agrees to some fun and
+games in which is stomach is shaved clean, something which tips his wife
+off that he's been up to no good when he finally stumbles home. Great
+tension develops in the household, which eventually forces the abused wife
+into a wild encounter with the bartender in the bar's back room hot tub.
+Meyer plays this seen to the hilt, as shots of their naked bodies wildly
+slamming into each other under water are intercut with stock cars crashing
+together. It turns out that the Madame is luring Lockwood away from his
+bar in order to set it up for a rip-off by her cohorts, Duncan Mcleod and
+Robert Rudelson. These guys are great as a couple cartoonish louts
+hanging out in the bathroom waiting for the time to make their hit. The
+film reaches a violent climax as the crooks make their move, and Chapman
+and the bartender, Gordon Wescourt, are still in the bar after their romp.
+They're bound while the crooks attempt to blow the safe. Owner Lockwood
+walks in on the scene and is captured. His wife is threatened with rape
+on the pool table unless Lockwood reveals the safe combination, something
+which he is tempted to let happen as he has just become aware of the hot
+tub episode. Eventually, of course, the bad guys get theirs, and the path
+to reconciliation is set. While most directors working in the
+sexploitation genre at the time were content to allow the sex on the
+screen to sell the tickets, Russ produced a movie with genuine plot twists
+and tension to boot. The presence of Lavelle Roby as a strong black
+character, who is also presented as sexually exciting, was a development
+that Russ would incorporate into every one of his films henceforth. The
+follow up is arguably the most influential film of the whole lot. VIXEN
+not only was a landmark in it's use of on screen sex, it also helped to
+free up the market from censorship by surviving obscenity charges in
+court. The film's great success and repeat business helped to move the
+genre into the more mainstream theaters, and the profits also got the
+attention of the studios, leading to Russ getting a deal with Twentieth
+Century Fox. Erica Gavin in the title role is absolutely unforgettable.
+She one-ups the Alaina Capri character and gives the best performance of
+any Meyer starlet. In playing the title character, named so due to her
+sharp tongued attitude reflecting the true meaning of that word, her
+sexual escapades have given a new interpretation of the term in the
+vernacular as a woman with an overactive libido. The film is loaded with
+softcore action, but the violent elements usually present are replaced
+with both political platitudes and humor. Vixen lives in a Canadian
+mountain resort with her pilot husband. He's a naive guy who flies
+vacationers in for a visit, which allows Vixen to take a roll on the
+ground with a mountie while he's gone. Also hanging out are her motorcycle
+riding brother and his friend. The friend is a black man, played by
+Harrison Page, who is a US draft dodger, and who feels that due to the
+way he's been treated in his country, he shouldn't be compelled to go to
+war. Vixen makes her way through both the husband and wife who come to
+visit, her husband, and even her brother, through the course of the film.
+The only problem with Vixen is that she's got a real racist streak, which
+leads to some heated exchanges with Page. The (non-sexual) action picks
+up when a left wing agitator shows up on the scene and convinces Page that
+he should participate in a highjacking of the plane to Cuba. After some
+coercion, Page agrees to participate, and a scene with Vixen and husband
+being held at gunpoint by these two on the plane ensues. Political
+discussions follow in which it develops that Page eventually helps capture
+the gunman. The closing shot is of a smiling Vixen who is beginning to
+see a new side to Page. Meyer has described the sex depicted in this film
+as the way he likes to have it. Hard, heavy, and right to the point,
+getting straight to it with no foreplay. This film makes great use of the
+opening monologue, recited by Russ himself, which would be extensively
+used from this point out. This lead-in technique would develop into a
+distinct trademark
+
+The wildest of all Meyer's films has got to be CHERRY, HARRY, AND RAQUEL.
+All of the expected, previously mentioned, stylistic effects show up here
+in spades. There's plenty of sex, plenty of violence, rapid fire editing,
+a pseudo moralistic intro spiel, and the presence on many inserts not
+related directly to the main narrative that keep it moving along. Cherry
+is a nurse played by Linda Ashton who is the girlfriend of sheriff Harry,
+played by Charles Napier. Larissa Ely is Raquel, currently shacking up
+with Bert Santos, but she's not adverse to hitting the sack with many she
+encounters. Santos, Napier, and ringleader Frank Bolger are running a pot
+smuggling ring, and have problems with the double crossing gang member
+Apache. Bolger meets a violent demise in a shocking scene that is hard to
+forget. There's a dual finale of sex and violence that ends the story.
+As Napier and Santos engage in a bloody shootout in the desert with The
+Apache, Cherry and Raquel finally get together, and over a couple of tokes
+discover the joys of sex-de-lesbo. Meyer ends as he begins, with a
+moralistic speech concerning the frailties of mankind and the evils of
+wacky weed. The string which runs through the film is the character of
+Soul, played by Uschi Digard, who amplifies on the Haji wood nymph from
+GOODMORNING AND GOODBYE. Soul appears intermittently throughout the
+story, acting out some sort of nudist symbolism regarding the development
+of the narrative. Tom Wolfe wrote this story with Meyer. To really get a
+taste of the complete level of wildness that Russ can achieve, this film
+can deliver most of his trademark stylings all in one place.
+
+Phase four - The Seventies -
+
+This period can actually be divided into two subgroups. The decade begins
+with Meyer being hired by Twentieth Century Fox, and given the ability to
+spend allot of other peoples money in the production of his vision. After
+two works that met with a moderate degree of success, the big studio and
+Russ mutually decided to go their separate ways. When he returned to
+working independently, Russ initially had some hits and misses, involving
+difficulties with completing productions due to censorship worries, and
+a questionable choice of material. After getting past these rougher
+times, Russ' final three projects emerged as almost conscious parodies of
+himself. By the mid-seventies, the section of his audience which he could
+count on coming out to the theater purely for the titillation were less
+impressed by softcore features in a world of hardcore. Russ pushed his
+material closer to the porno edge in these movies, without actually
+crossing the line. While not explicit in the fashion of hardcore films,
+these final three nevertheless are the only among all his works which
+almost certainly would be rated X by today's standards. An interesting
+note on these three is that Russ gives attention to the over-sized bodily
+features of his actors as well as his actresses. This is accomplished
+with the help of a few quick edits and the aid of size XXL rubber
+prosthetics.
+
+BEYOND THE VALLEY OF THE DOLLS was the first of the Fox features. The Fox
+execs, being impressed with the quality of product and return on
+investment of Meyer's late sixties works, felt he would be a good addition
+at a time when the studio was looking to expand beyond the constraints
+they'd been under before the newly found freedoms. At the same time they
+were looking to develop a sequel to their trash hit version of the Jackie
+Susann novel VALLEY OF THE DOLLS, and they felt that Russ would be a
+perfect match. Film critic Roger Ebert had been giving the thumbs up to
+Russ in print for a few years, giving particular praise to both VIXEN and
+CHERRY, HARRY, AND RAQUEL in the mainstream press. Roger and Russ became
+friends, and Ebert was brought on board by Russ to write his first
+screenplay. (Russ has said of Ebert that they have allot in common,
+stating that "He's a tit man"). They basically chucked out any pretense
+of a real sequel to VALLEY OF THE DOLLS, instead going "beyond" that
+story, and largely relating to it in name only. Susann would contest an
+unsuccessful lawsuit with Fox after the film's release, attempting to have
+it's name changed. The premise of the story is of an all-girl rock trio
+who head out to Hollywood to make it big. The line-up has playmate Dolly
+Read as Kelly, the singer and guitar player, Cynthia Meyers as Casey, the
+bassist and daughter of a US Senator, and Marcia McBroom as the drummer,
+Pet. The group, originally dubbed "The Kelly Affair" is re-christened
+"The Carrie Nations" by rock impresario Ronnie "Z-Man" Barzell. Z-Man is
+an effeminate take-off on Phil Spector, who takes the girls under his
+(her?) wing after they jam at his party using the equipment of The
+Strawberry Alarm Clock. As they rise up the ladder of success, they sink
+into the cesspool of Hollywood. Kelly drops her faithful boyfriend/band
+manager for and egomaniacal face-man actor, played by Michael Blodgett,
+Pet cheats on her good-guy law school student dude (Harrison Page, from
+VIXEN) with the heavyweight champ, and Casey falls for lesbian Erica
+Gavin. Other characters moving throughout their world of decadence are
+Edy Williams (the then Mrs. Meyer) as a presently in vogue sex actress,
+Phyllis Davis and Charles Napier as Kelly's high society aunt and her
+lover, Duncan McLeod as sleazy lawyer Porter Hall, and Henry Rowland as a
+Nazi. When the hi-jinx really kicks into gear, Kelly's jilted boyfriend
+jumps from the rafters of a TV show that The Carrie Nations just performed
+on, in a suicide attempt. In the grand finale, at a sleazy party, Z-Man
+ties up Blodgett while trying to have his way with him, and pulls off HER
+shirt revealing HER breasts. Yes, Barzell was not effeminate, but female -
+The 'Whining' Game has nothing on Meyer. The scene ends with Blodgett's
+head being lopped of by Z-Man to the tune of the Fox theme. The most
+bizarre scene has Erica Gavin asleep, when a 45 is stuck into her mouth.
+In a half sleep, she starts "performing" on the gun with her mouth. She
+then wakes into consciousness, is shocked at what she sees, and then
+Blaaaaam! (off camera). Russ was able to utilize a large cast and
+elaborate indoor sets for the first time, and the results are something to
+see. He does manage to fit in a couple of outdoor sex scenes, including
+Edy Williams on the beach, just to maintain the streak. The industry
+reaction to BVD was extremely negative. Fox initially shelved the film,
+and the critic community closed ranks around them. Even "Murf", the long
+time Russ reviewer and praiser in Variety, pans the movie, calling it
+"grotesque" and "extreme". Don't believe them - this is a Meyer must see!
+And if this was "extreme", well "they ain't seen nothing yet".
+
+THE SEVEN MINUTES is the second of the Fox flicks, and is the only
+post-LORNA film that I have yet to see. This is an adaptation of Irving
+Wallace's best seller about censorship, and again has the benefit of
+studio financing to provide a large cast, and (supposedly) elaborate
+sets. Notables that appear are Edy Williams, John Carradine, Yvonne De
+Carlo, and Tom Selleck. The critics were a little kinder to this film
+than to BVD, giving it moderate to good reviews, but it was nevertheless
+the first Meyer film to not bring in a profit. This and BVD are the only
+films that Russ had artistic control over (thus excluding FANNY HILL)
+which he doesn't have ownership of today. While DOLLS has been released
+on video, I don't think that this one has been, however it is possible
+that Fox may come around some day. Once back in the realm of independent
+production, RM started working on various projects that would get back to
+the more explicit content which Meyer fans had come to know and love. A
+project designed to highlight Edy was shelved at the last minute due to
+censorship worries possibly endangering some of his investor's money.
+Eventually Meyer decided to produce his next film entirely with his own
+funds, and opted for a story which went back to relying on action and
+violence over sexual content. BLACKSNAKE emerged, and it is a mistake.
+Moving on the edges of the blaxploitation genre, it's the tale of a
+Caribbean slave colony in the mid-19th century, run by a sadistic blonde
+plantation boss-bitch (Anouska Hempel). The film is loosely constructed
+around the story of a man traveling from Britain to go undercover in
+looking for his brother, who was married to Hempel. The husband appears
+as a castrated zombie, who Hempel had disposed of, played by David "Darth
+Vader" Prowse. Everything you'd expect from a slave colony film is here,
+including a murderous male overseer, rebellious slaves, a turncoat black
+security chief (who's also gay), and a female love slave. The final
+take-over by the slaves has some rather effective violent scenes,
+including a shot of the murdered traitor immersed in a bathtub filled with
+his own blood. The film has very little sex, and virtually no nudity. It
+resembles a Meyer film in it's styling, especially in sound and editing,
+but hardly at at all in the storyline and message. BLACKSNAKE also didn't
+turn a profit, however this and THE SEVEN MINUTES were the only two not to
+do so.
+
+After a couple of years off, Russ came back with what serves as his
+ultimate statement on his career, his de facto swan song, SUPERVIXENS.
+This film is the longest independent he made (105 minutes!), and presents
+a wild overview of his works up to that point. SUPERVIXENS is also the
+most explicit film of his up to this time. In the movie's set-up, Shari
+Eubanks does her best Alaina Capri imitation as SuperAngel (Capri was
+"Angel" in GOODMORNING AND GOODBYE) a demanding, insulting, insatiable,
+obnoxious woman, who insists that Clint (Charles Pitts), her gas station
+attendant boyfriend, leave his job to come home and satisfy her urges.
+Clint works at "Martin Boorman's Super Service", where Henry Rowland plays
+the Nazi, as he did as "Otto" in BEYOND THE VALLEY OF THE DOLLS. Before
+heading home, Clint is enticed by customer SuperLorna. When Clint gets
+home he can't perform, and that leads to a wild fight between Clint and
+SuperAngel, witnessed by a neighbor, in which SuperAngel takes an axe to
+Clint's truck. This causes Charles Napier to show up as Harry the cop, in
+a reprise of his character from CHERRY, HARRY, AND RAQUEL. What comes of
+it is a planned liaison between Harry and SuperAngel. When Harry can't
+"get in the mood", SuperAngel throws down Harry's 15" rubber prosthetic
+stand-in in disgust. This sends Harry into a rage, leading to an
+incredibly violent rampage in which SuperAngel is murdered in a bathtub.
+With this film Russ began giving equal time to his male actors in the
+enlarged body part department, with quick shots of jumbo imitation members
+between their legs. Clint is framed for the murder, and is forced to take
+it on the lamb. From here the movie shifts into it's much lighter middle
+section, and becomes a sort of wacky road picture. Clint has a series of
+run-ins with the SuperWomen as he thumbs across the country, each one more
+hot to seduce him than the last. He first encounters SuperHaji (Haji
+herself) tending bar in her pastie tops and bottoms. When he refuses her
+come-on's, she refuses to provide his alibi. Clint is picked up
+hitchhiking by Calif McKinney (from MUDHONEY), and his partner
+SuperCherry. SuperCherry tries to entice Clint to help her with her
+desires right there in the cab of the truck, while Calif drives. When he
+rejects her, the two of them kick his butt and mug him. While Clint lays
+out on the ground, a direct scene lift from MOTOR PSYCHO occurs. Calif is
+bitten by a snake, and while SuperCherry is siphoning the venom with her
+mouth, his hand is on the back of her neck, while her head bobs up and
+down, and he yells, "Suck it! Suck it!". Clint is next picked up by Stu
+Lancaster, as Lute, the farmer in overalls from MUDHONEY. At his farm we
+meet Uschi as SuperSoul (CHERRY, HARRY, AND RAQUEL), his Austrian mail
+order bride. When SuperSoul traps Clint and gets his pants down in the
+hay loft, Lute catches them and chases Clint away by javelin throwing a
+pitch fork at him. Next on the escapades is the deaf SuperEula, who is
+derivative of the deaf prostitute Eula in MUDHONEY. Clint's escapade with
+her is after a dune buggy ride in the desert, where they are discovered by
+her overprotective father and the sheriff. From there Clint is picked up
+by Garth Pillsbury, who is Tom the pilot from VIXEN. Before dropping
+Clint off, Tom invites him to come out to their fishing lodge for a
+vacation. With this we see a quick cut to a mimic of the wire bed scene
+between Vixen and her brother from VIXEN. At this point the film comes
+full circle, when Tom drops Clint off at SuperVixen's Oasis, a diner/gas
+station run by SuperVixen, a woman with a striking resemblance to
+SuperAngel. This may have something to do with the fact that she is also
+played by Shari Eubanks. This whole affair is overseen by a spiritual
+SuperAngel, who is perched up on top of a hill amongst bursts of fire, in
+an imitation of the Haji wood nymph spirit from GOODMORNING AND GOODBYE.
+Clint's back to happiness pumping gas and sleeping with Shari, until a
+vacationing Harry roles through one day. Harry stays in a motel were the
+proprietor is played by "E.E." Meyer, as Russ also billed himself for his
+cameo in MOTOR PSYCHO. When he calls the operator, he is connected to a
+naked Indian woman straddling train tracks, in a flashback to CHERRY,
+HARRY, AND RAQUEL. When SuperVixen, Clint, and Harry go out for drinks,
+the bar is a close match to the watering hole from FINDERS KEEPERS, LOVERS
+WEEPERS. All this time Harry is laying low, waiting for the right time to
+eliminate Clint once and for all. He gets his chance when he tricks Clint
+into leaving town, while he nabs SuperVixen. Harry calls on the cb to
+alert Clint of his identity and of SuperVixen's predicament. When Clint
+rushes back, what he is met with is Harry slingshotting lit sticks of
+dynamite at him from atop a hill. SuperVixen is then bound to the ground,
+and a lit stick of dynamite with a long fuse is stuck into the dirt
+between her legs. While Clint tries to rescue her, Harry takes shots at
+him from above. SuperVixen is eventually rescued, and Harry blown up, in
+an unlikely manner, but this is entirely beside the point. SUPERVIXENS is
+one of Russ' better films, and is greatly entertaining in itself. However
+for maximal enjoyment, it is recommended that the hardcore Meyer fans
+become familiar with the body of his previous work, to get the most
+appreciation to the humorously reflective elements of this movie. The
+film was eliminated of roughly 30 min. of it's running length in Britain,
+where the opening brutal murder was snipped, leaving an indecipherable
+story.
+
+Russ might have been wise to end his film career here, having basically
+achieved cloture with the previous film. He instead produced two more
+movies, which are both hit and miss affairs. UP! has even more sexual
+activity and violence than the previous film, however as is Meyer's style,
+the violence is so cartoonish that it's hardly offensive as it's so
+unbelievable. UP! returns to the cabin in which VIXEN was filmed, and is
+set up as a murder mystery with a sort of Shakespearean format.
+Girlfriend Kitten Natividad appears as the "Greek Chorus", where she
+appears intermittently frolicking nude in the forest, and giving updates
+and commentary concerning the story so far. (Her dialog is overdubbed by
+another actress). The murder victim here is "Adolph Schwartz" who appears
+to be Der Fuhrer living in America under an assumed name. After being
+homosexually sodomized, Adolph is killed when a piranha is tossed in his
+bath. As the investigation develops, Raven De La Croix, as Margo, is
+accosted while out for a rather bouncy jog. When she is raped, and
+subsequently kills her attacker, she is forced to succumb to the whims of
+the local hick Sheriff, Homer. In Russ Meyer's fantasyland, they become
+just a normal, loving couple, without regard to how they were forced
+together. As the investigation continues, married couple Alice and Paul,
+who was also Adolph's secret sodomizer, run a diner where Margo starts
+working. From there we go through various sexual romps and we are
+periodically interrupted by Kitten presenting the evidence to that point,
+to a montage of clips from the film so far. It reaches a climax when a
+huge, dumb, lumberjack named Rafe takes a liking to Margo. When she's
+performing in the diner one night, Rafe has too many drinks and tosses her
+on the floor to have his way with her. When Alice attempts to stop him,
+Rafe throws her on top and starts in on her too. When Homer shows up to
+handle the situation, the ensuing battle involves a chainsaw being thrust
+into an abdomen, which is then pulled from it's bloody receptacle and
+thrust back. This type of unreal activity takes place throughout, and
+thus is more ridiculous than offensive. After a few more sexual romps we
+learn who the killer was, but we also learn that we don't really care as
+there was never any real suspense developed around this story line. As
+hard as this film tries, it really isn't much fun. The violence and
+sexual content are greater even than in SUPERVIXENS, but it's starting to
+appear that with the new extremes in general that film had gone to, and
+with Russ already having parodied himself, he really doesn't have much
+left to say. UP! is a disappointment. With BENEATH THE VALLEY OF THE
+ULTRAVIXENS Russ began to parody himself in the title of his film. The
+stamp of Kitten Natividad is all over this one, where not only is the most
+explicit sex of any Meyer films shown, but it is also of a much kinkier
+variety. Russ had been heard to pronounce that the way he likes to do it
+is to get right in there fast, hard, and without delay. When interviewed
+together, Russ and Kitten tell of how his living with her got him to
+expand his horizons a bit, and he expanded his cinematic horizons as well.
+The story is completely comedic and often borders on the silly. It also
+depicts virtually no violence. The format is basically "Our Town", where
+narrator Stu Lancaster takes us through the story of the insatiable
+Lavonia (Kitten) and her dimwitted husband Lamar, who is only able to work
+up a good carnal urge when he can engage in intercourse of an unnatural
+sort. Russ employs a boinging-spring sound effect while this act is
+depicted. The story takes us through Lavonia's efforts to cure him of his
+peculiarity. She traps him and attempts to seduce him in the guise of
+stripper "Lola Langusta". They go for counseling to a Psychiatrist/
+Dentist, who turns out to be gay and goes after him while Lavonia gets it
+on with his female assistant. And eventually he is healed by radio
+evangelist Eufaula Loop in her "tub of joy", in a ceremony broadcast over
+the air. Lavonia intermittently satisfies her needs with various denizens
+of the town. Narrator Lancaster returns home to his Austrian mail order
+bride SuperSoul, again played by Uschi Digard, Henry Rowland returns as
+Martin Boorman, and Russ himself comes out from behind the camera for an
+extended cameo at the end of the film. There's a definite shift from the
+intense action that was dominant in Russ' films since the black and
+whites, toward a sort of zany comedy. If Meyer wasn't shacked up with
+Kitten, I believe that this film would have taken a different angle.
+While not a terrible movie, it doesn't present the elements of his style
+that have created the aura around his cinema that came to exist, and as
+his last true film, it isn't representative of the best of his work.
+
+
+filmography:
+
+THE IMMORAL MR. TEAS (1959); A Pad-Ram Enterprises release, Pr: P.A.
+De Cenzie, Dr/Wr/C/Ed: Russ Meyer, Cast: W. Ellis (Bill) Teas, Marilyn
+Wesley, Ann Peters, Michele Roberis, Dawn Dinielle, Narration and music:
+Edward Lasko, 63 min.
+
+EVE AND THE HANDYMAN (1960); A Pad-Ram Enterprises release, Pr: Russ
+Meyer, Dr/Wr/C/Ed: Russ Meyer, Cast: Eve Meyer, Anthony-James Ryan,
+64 min.
+
+EROTICA aka EROTICON (1961); A Pad-Ram Enterprises release, Pr: P.A.
+De Cenzie and Russ Meyer, Dr/Wr/C/Ed: Russ Meyer, Cast: Donna Townsend,
+Peggy Martin, 68 min.
+
+WILD GALS OF THE NAKED WEST aka THE IMMORAL WEST-AND HOW IT WAS LOST aka
+THE NAKED WEST-AND HOW IT WAS LOST, aka THE IMMORAL WEST, aka THE IMMORAL
+GIRLS OF THE NAKED WEST (1962); A Pad-Ram Enterprises release, distributed
+by Pacifica Productions, Pr: P.A. De Cenzie and Russ Meyer, Dr/Wr/C/Ed:
+Russ Meyer, Music: Marlin Skiles, Cast: Julie Williams aka Goldie Nuggets,
+Jack Moran, Teri Taylor, Sammy Gilbert, Frank Bolger, Topanga Gulch
+Players, 62 min.
+
+HEAVENLY BODIES aka HEAVENLY ASSIGNMENT; (1963); An Eve Productions
+release, Pr: Russ Meyer, Dr/Wr/C/Ed: Russ Meyer, Cast: Ken Parker, Gaby
+Martine, Marian Milford, Russ Meyer, Don Cochran, Werner Kirsch, Fred
+Owens, Billy Newhouse, Orville Hallberg, Bill Cummings, Althea, Monica,
+Rochelle Kennedy, Charles Schelling, Nancy Andre, Don Goodwin, Ivana
+Nolte, 60 min.
+
+EUROPE IN THE RAW (1963); An Eve Productions release, Pr: Russ Meyer,
+Dr/Wr/C/Ed: Russ Meyer, Narrator: Franklin L. Thistle, Cast: Denise
+Duval, Heidi Richter, Yvette Le Grand, Greta Thorwald, Abundavita, Gigi La
+Touche, Veronique Gabriel, Fred Owens, 70 min.
+
+LORNA (1964); An Eve Productions release, Pr: Russ Meyer, Dr/C/Ed: Russ
+Meyer, Wr: James Griffith and Russ Meyer, Sound: Charles G. Schelling,
+Music: Hal Hopper and James Griffith, Cast: Lorna Maitland, Mark Bradley,
+James Rucker, Hal Hopper, Doc Scortt, James Griffith, 78 min.
+
+FANNY HILL: MEMORIES OF A WOMAN OF PLEASURE (1964); A Favorite Films
+release of Famous Players Corporation production, Pr: Albert Zugsmith, Dr:
+Russ Meyer, Wr: Robert Hill from John Cleland, C: Heinz Hilscher, Ed:
+Alfred Srp, Music: Erwin Halletz, Cast: Miriam Hopkins, Letitia Roman,
+Walter Giller, Alex D'Arcy, Helmut Weiss, Chris Howland, Ulli Lommel, Cara
+Garnett, Karin Evans, Syra Marty, Albert Zugsmith, Christiane Schmidtmer,
+Heide Hansen, Erica Ericson, Patricia Houstoun, Marshall Raynor, Hilda
+Sessack, Billy Frick, Jurgen Nesbach, Herbert Knippenberg, Susanne Hsiao,
+Renate Hutte, Ellen Velero, 134 min.
+
+MOTOR PSYCHO (1965); An Eve Productions release, Pr: Russ Meyer, Dr/C/:
+Russ Meyer, Wr: W.E. Sprague and Russ Meyer, A.Dr: George Costello, Ed:
+Charles G. Schelling, Music: Igo Kantor, Sound: Carl G. Sheldon Cast:
+Stephen Oliver, Haji, Alex Rocco, Holle K. Winters, Joseph Cellini, Thomas
+Scott, Coleman Francis, Sharon Lee, Steve Masters, Arshalouls Aivasian, F.
+Rufus Owens, E.E. Meyer, George Costello, Richard Brummer, 73 min.
+
+MUDHONEY aka ROPE OF FLESH (1965); An Eve Productions release, Pr: Russ
+Meyer and George Costello, Dr: Russ Meyer, Wr: Raymond Friday Locke and
+William E. Sprague, C: Walter Schenk, Ed/Sound: Charles G. Schelling,
+Music: Henri Price, Cast: Hal Hopper, Lorna Maitland, Antoinette
+Cristiani, John Furlong, Stu Lancaster, Rena Horten, Princess Livingston,
+Sam Hanna, Nick Wolcuff, Frank Bolger, Lee Ballard, Mickey Foxx, F. Rufus
+Owens, 92 min.
+
+FASTER, PUSSYCAT, KILL! KILL! aka LEATHER GIRLS, aka MANKILLERS, aka
+PUSSYCAT (1966); An Eve Productions release, Pr: Russ Meyer and Eve Meyer,
+Dr/Ed: Russ Meyer, A.Dr: George Costello, Wr: Jack Moran, C: Walter
+Schenk, Music: Paul Sawtelle and Bert Shefter, Cast: Tura Satana, Haji,
+Lori Williams, Susan Bernard, Stuart Lancaster, Paul Trinka, Dennis Busch,
+Ray Barlow, Mickey Foxx, 84 min.
+
+MONDO TOPLESS aka MONDO GIRLS aka MONDO TOP (1966); An Eve Productions
+release, Pr: Russ Meyer, Dr/C/Ed: Russ Meyer, Cast: Babette Bardot, Sin
+Lenee, Diane Young, Donna X, Pat Barringer, Darla Paris, Darlene Grey,
+Lorna Maitland, Veronique Gabriel, Greta Thorwald, Denise Duval, Gigi La
+Touche, Abundavita, Heidi Richter, Yvette Le Grand, 61 min.
+
+GOOD MORNING AND GOODBYE (1967); An Eve Productions release; Pr: Russ
+Meyer, Dr/C: Russ Meyer, A.Dr: George Costello, Wr: John E. Moran and
+Russ Meyer, Ed: Russ Meyer and Richard Brummer, Sound: Richard Brummer and
+John E. Moran, Music: Igo Kantor, Cast: Alaina Capri, Stuart Lancaster,
+Pat Wright, Haji, Karen Ciral, Don Johnson, Tom Howland, Megan Timothy,
+Toby Adler, Sylvia Tedemar, Carol Peters, 78min.
+
+COMMON-LAW CABIN! aka HOW MUCH LOVING DOES A NORMAL COUPLE NEED aka
+CONJUGAL CABIN (1967); An Eve Productions release; Pr: Russ Meyer and Eve
+Meyer, Dr/E: Russ Meyer, Wr: Jack Moran and Russ Meyer, C: Wady Medawar,
+Jack Lucas, Sound: Richard Brummer and Irwin Cadden, Music: Igor Kantor,
+Pr. mngr: George Costello, Cast: Ken Swofford, Alaina Capri, Jack Moran,
+Adele Rein, Andrew Hagara, Frank Bolger, Babette Bardot, John Furlong,
+70 min.
+
+FINDER KEEPERS, LOVERS WEEPERS (1968); An Eve Productions release, Pr:
+Russ Meyer, Ex.Pr: Eve Meyer, Dr/C: Russ Meyer, A.Dr: George Costello, Wr:
+Richard Zachary and Russ Meyer, Ed: Russ Meyer and Richard Brummer, Sound:
+Richard Brummer, Music: Igo Kantor, Cast: Anne Chapman, Paul Lockwood,
+Gordon Wescourt, Duncan McLeod, Robert Rudelson, Lavelle Roby, Jan
+Sinclair, Joey Duprez, Nick Wolcuff, 71 min.
+
+VIXEN (1968); An Eve Productions release; Pr: Russ Meyer, D/C/Ed: Russ
+Meyer, A.Dr: George Costello, Wr: Robert Rudelson, Russ Meyer, and Anthony
+James Ryan, Sound: Richard Brummer and John Koester. Music: Igo Kantor and
+William Loose, Cast: Erica Gavin, Harrison Page, Garth Pillsbury, Michael
+O'Donnell, Vincene Wallace, Robert Aiken, Jon Evans, Peter Carpenter,
+Jackie Illman, John Furlong, 71 min. Soundtrack on Beverly Hills Records.
+
+CHERRY, HARRY, AND RAQUEL (1969); An Eve release of a Panamint Film
+production; Pr: Russ Meyer, D/C: Russ Meyer, Wr: Tom Wolfe and Russ Meyer,
+Ed: Russ Meyer and Richard Brummer, Sound: Richard Brummer, Music: Igo
+Kantor and William Loose, Cast: Larissa Ely, Linda Ashton, Charles Napier,
+Bert Santos, Franklin H. Bolger, Astrid Lillimor, Michele Grand, John
+Milo, Robert Aiken, Michaelani, John Koester, Daniel Roberts, 71 min.
+Soundtrack on Beverly Hills Records.
+
+BEYOND THE VALLEY OF THE DOLLS (1970); A Twentieth Century-Fox release,
+Pr: Russ Meyer, Dr: Russ Meyer, A.Dr: David Hall, Wr: Roger Ebert and Russ
+Meyer, C: Fred J. Koenekamp, Ed: Dann Cahn and Dick Wormel, Sound: Richard
+Overton and Don Minkler, Music: Stu Phillips, Art Dr: Jack Martin Smith
+and Arthur Lonergan, Set Dr: Walter M. Scott and Stuart A. Reiss, Cast:
+Dolly Read, Cynthia Meyers, Marcia McBroom, John LaZar, Michael Blodgett,
+David Gurian, Edy Williams, Erica Gavin, Phyllis Davis, Harrison Page,
+Duncan McLeod, Jim Iglehart, Charles Napier, Henry Rowland, 109 min.
+Soundtrack on Twentieth Century-Fox.
+
+THE SEVEN MINUTES (1971); A Twentieth Century-Fox release, Pr: Russ Meyer,
+Dr: Russ Meyer, A.Dr: David Hall, Wr: Richard Warren Lewis from Irving
+Wallace, C: Fred Mandi, Ed: Dick Wormel, Sound: Don J. Bassman and
+Theodore Soderberg, Music: Stu Phillips, Art Dr: Rodger Maus, Set Dr:
+Walter M. Scott and Raphael Bretton, Cast: Wayne Maunder, Marianne
+McAndrew, Philip Carey, J.C. Flippen, Edy Williams, Lyle Bettger, Jackie
+Gayle, Ron Randell, Charles Drake, John Carradine, Harold J. Stone, John
+Sarno, Billy Durkin, Robert Moloney, Berry Kroeger, Olan Soule, Stanley
+Adams, Tom Selleck, Alex D'Arcy, David Brian, Yvonne De Carlo, 115 min.
+Soundtrack on Twentieth Century-Fox.
+
+BLACKSNAKE aka SWEET SUZY aka SLAVES (1972); A Signal 166 Inc. release,
+Pr: Russ Meyer, Dr: Russ Meyer, Wr: Russ Meyer, Len Neubauer, and Anthony
+James Ryan, C: Arthur Ornitz and Russ Meyer, Ed: Fred Baratta, Art Dr:
+Rick Heatherly, Sound: Richard Serly Brummer and Producers Sound Service,
+Music: Bill Loose and Al Teeter, Cast: Anouska Hempel, David Warbeck,
+Percy Herbert, Milton McCollin, Thomas Baptiste, Bernard Boston, Vikki
+Richards, Dave Prowse, 82 min.
+
+SUPERVIXENS (1975); A Semptember 19 production presented by R M Films
+International Inc., Pr: Russ Meyer, Dr/C/Ed/Wr: Russ Meyer, Cast: Shari
+Eubanks, Charles Napier, Uschi Digard, Charles Pitts, Henry Rowland,
+Christy Hartburg, Sharon Kelly, Deborah McGuire, Glenn Dixon, John LaZar,
+105 min.
+
+UP! (1976); An R H M Distributors release of a Russ Meyer production; Pr:
+Russ Meyer, Dr/C/Ed: Russ Meyer, Wr: B. Callum, Art Dr: Michele Levesque,
+Sound: Dan Holland, Richard Anderson, and Fred Owens, Muisc: William Loose
+and Paul Ruhland, Cast: Robert McLane, Edward Schaaf, Mary Gavin, Elaine
+Collins, Su Ling, Janet Wood, Linda Sue Ragsdale, Harry, Monte Bane, Raven
+De La Croix, Larry Dean, Marianne Marks, Bob Schott, Foxy Lae, Fred Owens,
+Wilburn Kluck, Ray Reinhardt, Francesca "Kitten" Natividad, 80 min.
+
+BENEATH THE VALLEY OF THE ULTRAVIXENS (1979); An R M Films International
+Inc. release of a Russ Meyer production; Pr: Russ Meyer, Dr/C/Ed: Russ
+Meyer, Wr: R. Hyde, B. Callum and Russ Meyer, Cast: Francesca "Kitten"
+Natividad, Anne Marie, Ken Kerr, June Mack, Lola Langusta, Pat Wright,
+Michael Finn, Steve Tracy, Sharon Hill, Henry Rowland, Robert E. Pearson,
+De Forest Covan, Don Scarbrough, Aram Katcher, Uschi Digard, Mary Gavin,
+Stuart Lancaster, 93 min.
+
+Meyer has alluded to other projects throughout his career which were
+halted at various levels of completion. Those I'm aware of are listed
+below:
+
+CHOICE CUTS - For Darryl Zanuck at Warner Brothers circa 1971.
+
+ELEVEN - A horror project for Tempo productions, that was to be filmed in
+the south circa 1972.
+
+BEYOND...BEYOND - Russ was talking of this BVD "non-sequel" around 1972.
+
+FOXY - To feature then wife Edy Williams. In 1973 some censorship
+decisions from courts caused Russ to drop production for fear of losing
+his investors money. Russ produced BLACKSNAKE that year completely with
+his own funding.
+
+UP THE VALLEY OF THE BEYOND - A project co-written with Roger Ebert, which
+was being planned around the time of UP! and BENEATH THE VALLEY OF THE
+ULTRAVIXENS (also co-written by Ebert using a pseudonym).
+
+WHO KILLED BAMBI? - Another project to be co-written by Ebert, in 1980.
+This was a planned feature on the Sex Pistols. Meyer quit after some
+early shooting over disagreements with Malcom McLaren. The film
+eventually emerged as THE GREAT ROCK AND ROLL SWINDLE.
+
+THE JAWS OF VIXEN and THE JAWS OF LORNA - Projects sometimes alluded to in
+the post-BTVOTUV period. THE JAWS OF VIXEN was promoted at the end of
+that film.
+
+MONDO TOPLESS II - A sequel spoken of in the mid-80's which is still
+being listed as available "someday". According to Russ' current
+literature, some of the featured talent appears to be Eva "Tundi" Horvath,
+Tami Roche, "Baby Doll" Devereaux, and Kristine Mills.
+
+THE BREAST OF RUSS MEYER - A twelve hour videography incorporating
+segments from all of his films, and newly shot footage organized into a
+biographical form. This labor of love is frequently referred to in
+interviews over the last ten years, but it has yet to be released.
+
+Other 80's projects by Russ are a video for the LA metal band Faster
+Pussycat, and a video feature on stripper Melissa Mounds, coming soon as
+VOL. A in THE BREAST OF RUSS MEYER series. It looks as if Pandora Peaks
+will be the featured performer in VOL. B. Russ also served as
+photographer on a pre-IMMORAL MR. TEAS project with producer Pete De
+Cenzie called THE FRENCH PEEP SHOW or FRENCH POSTCARDS, which featured
+stripper Tempest Storm. He was the cinematographer on the film THE
+DESPERATE WOMAN (1954), which was produced by Samuel Newman and directed
+by Louis Appleton Jr. Russ was also a photographer during WWII, and
+footage that he shot was later used in PATTON.
+
+A 1954 film titled ROOGIE'S BUMB has been falsely identified as starring
+Meyer. This was a movie featuring the Brooklyn Dodgers, and one of the
+players was named "Russ Meyer". The "RE/SEARCH" filmography lists THIS IS
+MY BODY (1959) and NAKED CAMERA (1960), which are not included in any
+other filmographies, and I haven't found any other references to them.
+I seem to recall having read a mention of NAKED CAMERA elsewhere, in which
+I believe it was described as being made with a hidden camera in a
+suitcase, but I can't now locate this reference.
+
+Some reference books have listed the film KISS ME QUICK aka DR. BREEDLOVE
+aka HOW I LEARNED TO STOP WORRYING AND LOVE (1964) as a Russ Meyer film.
+This is incorrect; it was a Harry Novak/Box Office International release
+directed by Peter Perry using the pseudonym Seymour Tuchas. This film is
+now available from Something Weird Video, and watching it leaves no doubt.
+The AFI Catalog also lists a film titled STEAM HEAT (1961) as being
+produced and directed by Meyer. I have never seen this mentioned in any
+other source. The confusion may have stemmed from the fact that it was a
+Pad Productions release starring Bill Teas (alternate title: MR. TEASE AND
+HIS PLAYTHINGS).
+
+Meyer has full ownership of all of his films as director with the
+exception of FANNY HILL, BEYOND THE VALLEY OF THE DOLLS, and THE SEVEN
+MINUTES. An interesting side note is that every film he made was
+profitable with the exception of THE SEVEN MINUTES and BLACKSNAKE. Meyer
+has put out the following titles on video, which are currently available
+from him on his RM International label: THE IMMORAL MR. TEAS - EVE AND THE
+HANDYMAN - WILD GALS OF THE NAKED WEST - LORNA - MOTOR PSYCHO - MUDHONEY -
+FASTER PUSSYCAT KILL! KILL! - MONDO TOPLESS - GOODMORNING AND GOODBYE -
+COMMON-LAW CABIN! - FINDERS KEEPERS LOVERS WEEPERS - VIXEN - CHERRY, HARRY
+AND RAQUEL - SUPERVIXENS - UP! - BENEATH THE VALLEY OF THE ULTRAVIXENS
+
+RM International is at: P.O. Box 3748, Hollywood, CA 90078. Word has it
+that when you call to place an order, Russ himself answers the phone.
+Tapes are currently $79.95 each, or $40.00 each when ordering six or more.
+
+BLACKSNAKE can be obtained from Video Search Of Miami in a letterboxed,
+French language version, with English subtitles ("SERPENT NOIR"). Video
+Search is at P.O. Box 16-1917, Miami, Florida, 33116-1917.
+
+BEYOND THE VALLEY OF THE DOLLS was put out by Magnetic Video in 1980, and
+The Video Watchdog has recently reported that Fox video was planning a new
+release. FANNY HILL has also been put out on video, but I don't have the
+information as to by who and when.
+
+Also look for Russ' cameo as the video store clerk in the late-80's AMAZON
+WOMEN ON THE MOON.
+
+some further reading:
+
+books-
+
+A Clean Breast-The Lives and Loves of Russ Meyer (2 vol.); by Adolph A.
+Schwartz (aka Russ Meyer), 1989, Hauck, 1007 pp., ISBN: 0-96217-972-8,
+$79.50
+
+Russ Meyer-The Life and Films: A Biography and a Comprehensive,
+Illustrated, and Annotated Filmography and Bibliography; by David K.
+Frasier, 1990, McFarland & Co., 236 pp., ISBN: 0-89959-475-2, $39.95
+
+For One Week Only: The World of Exploitation Films; by Richard Meyers,
+1983, New Century Publishers, 270 pp., ISBN: 0-83290-142-3, $12.95
+
+Sinema: American Pornographic Films and Those Who Make Them; by Kenneth
+Turan and Stephen F. Zito, 1974, Praeger, 244 pp., ISBN: 0-27550-770-X
+
+Kings of the Bs-Working Within the Hollywood System: An Anthology of Film
+History and Criticism; ed. Todd McCarthy and Charles Flynn, 1975, E. P.
+Dutton, 561 pp., ISBN: 0-52514-090-5/0-52547-378-5 (paperback), $12.50
+
+Incredibly Strange Films; Ed. V. Vale and Andrea Juno, 1986, Series:
+RE/SEARCH #10, 220pp., ISBN: 0-85965-161-4, $15.00
+
+Shock Value; by John Waters, 1981, Dell, 243 pp., ISBN: 0-44057-871-X,
+$9.95
+
+Russ Meyer, Ou Trente Ans de Cinema Erotique a Hollywood; by Jean-Pierre
+Jackson, Series: Collection "Grand Ecran", Paris: PAC, 1982, 109 pp.
+
+Russ Meyer, Der Konig des Sexfilms; by Rolf Thissen, Series: Heyne
+Filmbibliothek Nr. 32/87, Munchen: W.Heyne, 1987, 252pp.
+
+A Clean Breast is Meyer's comprehensive self-told story, with a great
+collection of photos and illustrations from his personal collection, and
+is the best reference above. It does however have a limited availability,
+and isn't in many libraries or book stores. It can still be ordered
+directly from Russ from his RM International address. The introduction is
+by Roger Ebert. Russ Meyer-The Lives And Films is a collection of
+references, broken down into categories, and extensively indexed, and is
+also recommended. The European citations are the only other works above
+devoted solely to Meyer, but they are in French and German respectively.
+Both books are reportedly riddled with errors, and in fact Meyer got a
+court injunction preventing the Thissen book from being distributed
+outside of Germany. Frasier reports that this inspired Meyer to write his
+autobiography. The other books contain chapters devoted to Meyer amongst
+other material, many times with interviews.
+
+Russ is currently advertising a new edition of A CLEAN BREAST, scheduled
+for release in December 1993, which will be three volumes, in an
+"over-sized, deluxe-bound set". This is to be released in a serially
+numbered, autographed, 5000 copy run. The listed price is $500.00.
+
+articles-
+
+There have been many articles and interviews concerning Russ or particular
+aspects of his work, in mainstream news sources, highbrow film journals,
+and fanzines devoted to sleaze. The great majority of these are
+chronicled in Frasier's excellent work cited above (over 1100 of them),
+and should be consulted. It is still in print, and can probably be found
+in a good sized library. There are a couple of articles which are a
+little more in depth, and deserve mention:
+
+"Sex, Violence and Drugs: All in the Name of Fun", by S. Berkowitz, FILM
+COMMENT, vol. IX, no. 1, Jan-Feb 1973, pp. 47-51
+
+"Russ Meyer: King of the Nudies", by R. Ebert, FILM COMMENT, vol. IX, no.
+1, Jan-Feb 1973, pp. 34-45
+
+"Russ Meyer: Ten Years After the 'Beyond'", by R. Ebert, FILM COMMENT,
+vol. XVI, no. 4, Jul-Aug 1980, pp. 43-48
+
+CINE-ZINE-ZONE; no. 8, 1987, 70p special Russ Meyer issue by Jean-Pierre
+Jackson.
+
+
+The Punk Who Finally Died - A FUNHOUSE! evaluation of the Lou Reed catalog
+--------------------------------------------------------------------------
+
+All good deviants are most likely aware of the inspired decadence that Lou
+Reed was responsible for with The Velvet Underground. With the 1984
+re-issue of three of their four classic studio albums (The "Velvet
+Underground And Nico" [1967], "White Light/White Heat" [1967] , and "The
+Velvet Underground" [1969]) the public was easily allowed to see that
+pretenders like REM and Echo And The Funnymen had nothing on the original.
+Since then the entire Velvet catalog has become available, including the
+fourth studio album ("Loaded" [1969]), the two albums of unreleased studio
+material ("VU" and "Another View"), and various live recordings. When
+enjoying these albums make no mistake about one thing, Lou Reed was the
+auteur - the rest of the band were guest stars in his movie. It thus goes
+without saying that "Squeeze" (1972) is not considered a Velvet
+Underground album by us at FUNHOUSE!, much like "Cut The Crap" is not
+considered to be a Clash album. When you attempt to enter the world of
+Lou's solo material things begin to get fuzzy, with a large number of
+records covering more than twenty years, and multiple bands, producers,
+and attitudes. FUNHOUSE! will thus attempt to evaluate this material from
+a fan's perspective.
+
+Comments are, of course, entirely subjective. I'm not trying to say that
+a certain record is "good" or "bad", but rather that >I< "like" or
+"dislike" it. Grading will thus be done on the one to four syringe scale:
+" -[==]-I ". Officially released albums only are evaluated, and
+compilations are left off.
+
+LOU REED (1972)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: I Can't Stand It / Going Down / Walk And Talk It / Lisa Says /
+Berlin / I Love You / Wild Child / Love Makes You Feel / Ride Into
+The Sun / Ocean
+
+Lou comes out of the box with his first post-Velvet's release having many
+songs carried over from the previous band. I Can't Stand It, Lisa Says,
+Ride Into The Sun, and Ocean would all later turn up on Velvet albums of
+live and outtake material. Lou co-produced with Richard Robinson, and the
+studio band includes Rick Wakeman and Steve Howe of Yes. Despite the
+presence of those two, the record rocks along at a pretty good pace. It's
+interesting to hear Lou play these songs with a really tight, musically
+advanced band. This isn't necessarily a plus, but here it isn't a
+negative.
+
+
+TRANSFORMER (1972)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: Vicious / Andy's Chest / Perfect Day / Hangin' Round / Walk On
+The Wild Side / Make Up / Satellite Of Love / Wagon Wheel / New York
+Telephone Conversation / I'm So Free / Goodnight Ladies
+
+Lou hooks up with Bowie, who co-produces this LP. At least Bowie didn't
+do to him what he did to Iggy. This is one of Lou's more upbeat albums,
+lacking allot of the desperate attitude that permeates much of his work.
+Bowie side hack Mick Ronson and Sixth-Beatle Klaus Voorman are amongst the
+back-up band. The production makes this tribute to NY 70's gay culture
+sound allot like some of the contemporary Ziggy LP's. A good intro for
+new listeners. Andy's Chest came out in a Velvet version on the VU album.
+
+
+BERLIN (1973)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: Berlin / Lady Day / Men Of Good Fortune / Caroline Says I / How
+Do You Think It Feels / Oh Jim / Caroline Says II / The Kids / The Bed /
+Sad Song
+
+Lou makes up for the upbeat feel of his previous release with what has
+been referred to in some quarters as "The most depressing album ever
+made". Bob Ezrin produces, and Lou takes us on a journey with the tortured
+souls in the city with the wall. My suggestion is to get a version with
+the lyrics intact, and read this thing like a book along with the songs.
+Musically Lady Day and How Do You Think It Feels stick out. The sound is
+very grand, with lots of piano, build-ups, and crescendos, with the
+exception of the acoustical "Oh Jim". It's the story of a prostitute who
+hangs out in the bars of Berlin, takes allot of drugs, gets beaten, has
+her kids taken from her due to her character, and commits suicide. Fun
+huh?
+
+
+ROCK AND ROLL ANIMAL (1974)
+rating: -[==]-I, -[==]-I
+contents: Intro / Sweet Jane / Heroin / White Light White Heat / Lady Day
+/ Rock And Roll
+
+The first live album of Lou without the Velvet's, and four of five songs
+are tunes initially put out on Velvet albums. Lou's performance is not
+lacking, however he should have ditched the hotshot guitar duo who attempt
+to overshadows Mr. Reed with their needless six string doodling. For a
+better sampling of Lou live from the period, seek out the 1972 recorded
+boot "Stiff On His Legend".
+
+
+SALLY CAN'T DANCE (1974)
+rating: -[==]-I, -[==]-I
+contents: Ride Sally Ride / Animal Language / Baby Face / N.Y. Stars / Kill
+Your Sons / Ennui / Sally Can't Dance / Billy
+
+After the unique styles of "Transformer" and "Berlin", Lou went looking
+for a follow-up, and came up with this somewhat weak attempt at
+perpetuating that Reed style. The music is basically straight ahead rock,
+and Lou seems less interested in that aspect of the album than the lyrics
+and songwriting. A pattern will seem to develop with Lou's records in
+which they are better when he gets himself involved in the playing and
+arranging of the tunes. Lou sounds like he just showed up and sang here.
+Ride Sally Ride and Baby Face appear to be "Berlin" leftovers/rehashes,
+while "Sally Can't Dance" makes an attempt at funk; he almost pulls it
+off. The standouts here are Kill Your Sons and N.Y. Stars, but the rest
+don't reach their level. Lou co-produced with Steve Katz.
+
+
+LOU REED LIVE (1974)
+rating: -[==]-I, -[==]-I
+contents: Walk On The Wild Side / I'm Waiting For The Man / Vicious /
+Satellite Of Love / Oh Jim / Sad Song
+
+See "Rock And Roll Animal" entry. Only one song here was previously
+recorded by the Velvets.
+
+
+METAL MACHINE MUSIC (1975)
+rating: -[==]-I, -[==]-I, -[==]-I, -[==]-I
+contents: Metal Machine Music A-1 / Metal Machine Music A-2 / Metal
+Machine Music A-3 / Metal Machine Music A-4
+
+Wow!, what huevos, what chutzpah, what nerve! Lou delivers a giant middle
+finger to the record industry, the critics, and yes even his fans! The
+album rates four syringes on shear attitude alone. The record has NO
+instruments. Lou hooks up a series of amps, effects, filters, and other
+electronic devices, lets the feedback roar, and records the whole thing.
+The exact line-up of devices is noted in detail by Lou in the liner notes.
+Each of four sides starts with the tape being turned on, and exactly 16:01
+later, turned off. Proof positive that RCA, the label who released this,
+didn't even listen to material before they put it out. The question is
+actually how serious was Lou when he made this. Interviews with Lester
+Bangs at the time, since reprinted in the book "Psychotic Reactions And
+Carburetor Dung", suggest that in his drug induced state Lou might have
+actually felt he was making serious art; he's not talking these days. The
+big joke is that someone has actually recently re-released this on CD,
+which misses the whole point completely. Easily the most audacious album
+ever made.
+
+
+CONEY ISLAND BABY (1976)
+rating: -[==]-I, -[==]-I
+contents: Crazy Feeling / Charley's Girl / She's My Best Friend / Kicks /
+A Gift / ooohhh Baby / Nobody's Business / Coney Island Baby
+
+Most of the songs which emerged on this album were culled from a group
+that Lou was working on when he conceived and executed "Metal Machine
+Music". After that episode, he decided to make a record of sensitive and
+introspective songs. The music here is different than on any of his other
+records, being a simple guitar/bass/drums format, played in a tight and
+clean manner. The music isn't boring, but it's also not too adventurous.
+Lyrically however, that Lou edge is mostly missing. She's My Best Friend,
+which can be heard in a Velvet Underground version on the "V.U." LP, has a
+really good guitar jam, and Kicks has some of the more familiar Reed
+themes. Lou even strikes a delicate and reserved pose on the cover. It's
+interesting to note that this was his last album for RCA for six years.
+They probably wanted to get rid of him after "MMM", but went ahead with
+this mostly complete, commercial attempt first. Lou co-produced with
+Godfrey Diamond.
+
+
+ROCK AND ROLL HEART (1976)
+rating: -[==}-I
+contents: I Believe In Love / Banging On My Drum / Follow The Leader / You
+Wear It So Well / Ladies Pay / Rock And Roll Heart / Chooser And The
+Chosen One / Senselessly Cruel / Claim To Fame / Vicious Circle / A
+Sheltered Life / Temporary Thing
+
+This first Arista release came out the same year as "Coney Island Baby",
+and the impression I have is that after being shown the door by RCA, he
+wanted something out quickly on the new label. Most of this sounds
+like "Coney Island Baby" leftovers, with the musical effort of "Sally
+Can't Dance". The lyrical content is almost nonsensical, with themes in
+line with "C.I.B." While the music isn't all that unique in it's
+composition, this was Lou's first collaboration with Michael Fonfara, and
+a sound begins to emerge here that would develop into some real exciting
+things in the future. There's more feedback and overlaid guitars, a
+denser sound, and a wider variety of instruments, including subdued horns
+and keyboards. Ladies Pay and Rock And Roll Heart, with it's great
+feedback guitar part, are the standouts. This is a Lou Reed solo
+production.
+
+
+STREET HASSLE (1978)
+rating: -[==]-I, -[==]-I, -[==]-I, -[==]-I
+contents: Gimme Some Good Times / Dirt / Street Hassle / I Wanna Be Black
+/ Real Good Time Together / Shooting Star / Leave Me Alone / Wait
+
+Two years is an eternity in this guys world; his drugs of choice, relative
+level of cynicism, and sexual preference can all greatly shift, and any of
+these can have an impact on his work. Whatever happened, the results are
+astonishing. The attitude which was missing on "Coney Island Baby" and
+the sincerity that was missing from "Sally Can't Dance" turn up here in
+spades. While both were present on "Metal Machine Music", not many people
+were, or could be, listening; neither were present on "Rock And Roll
+Heart". Gimme Some Good Time makes reference to Sweet Jane and "Rock And
+Roll Heart" in it's opening lines. Real Good Time Together can be heard
+in Velvet form on the "1969 Velvet Underground Live" album. Dirt, and
+maybe some others, are set asides from when Lou went the direction that
+resulted in "C.I.B." Street Hassle is in the form of a three part suite,
+which in one section Lou gives us his interpretation of I Fought The Law.
+The music is original and exciting, and for the first time in a long while
+Lou sings like he means it. This was his first experiment with Stereo
+Binaural Sound recording, and he co-produced with Richard Robinson, who he
+had worked with on his first album.
+
+
+THE BELLS (1979)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: Stupid Man / Disco Mystic / I Want To Boogie With You / With You
+/ Looking For Love / City Lights / All Through The Night / Families / The
+Bells
+
+A solid follow-up to "Street Hassle" in much the same vein. Another
+stereo binaural sound effort, this time produced by Lou in collaboration
+with Michael Fonfara. A steady layer of feedback guitar permeates most of
+the tracks, with intermittent alto sax wailing, and occasional guitar
+soloing, coming up in the mix. The first side is good throughout, with
+tunes incorporating bits of the new wave, disco-rock (don't worry - it
+works, much like The Stones played with on parts of "Some Girls"), and
+rock and roll. Almost every song is co-written with someone else,
+something unusual for Reed. Stupid Man, co-written by previous Neil Young
+and future Boss sidekick Nils Lofgren, carries the disco beat, followed by
+the fantastic Disco Mystic, in which only that phrase is said, repeated
+over a driving, wailing beat. Lofgren also co-wrote "With You" and "City
+Lights", while Fanfara co-wrote "Boogie". If side two matched side one,
+this would be a four-syringer. The three last tracks, co-written by Don
+Cherry, Ellard Boles, and Marty Fogel respectively, try for the same
+extended experimental piece effect as in Street Hassle. While interesting
+in its sound, it doesn't consistently come up with solid songwriting.
+
+
+GROWING UP IN PUBLIC (1980)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: How Do You Speak To An Angel / My Old Man / Keep Away / Growing
+Up In Public / Standing On Ceremony / So Alone / Love Is Here To Stay /
+The Power Of Positive Drinking / Smiles / Think It Over / Teach The Gifted
+Children
+
+Another good album from Lou, working with a great band and great
+production. With Michael Fonfara co-producing, and with his piano and
+occasional synthesizer a prominent element of the music, the record has a
+real clean and uptempo rock beat throughout it. You can always count on
+Lou to deliver clever, funny, and insightful lyrical quips, and they are
+abundant here. "Keep Away" and "Love Is Here To Stay" are the best songs,
+while in "The Power Of Positive Drinking" Lou informs us why he's a scotch
+drinking man, "Teach The Gifted Children" contains the chorus from Al
+Green's "Take Me To The River", and "Smiles" reprises the
+dum-da-dum-da-dum chorus from "Walk On The Wild Side". "So Alone" even
+slips into a disco/rap/rock mode where Lou intones, "Get up and boogie,
+Get up and dance, Shake your booty mamma...". If a few of the songs went
+beyond some of their somewhat formula tendencies, in music not in playing,
+this may have been a four-syringer. It's still a good album worth picking
+up.
+
+
+THE BLUE MASK (1982)
+rating: -[==]-I, -[==]-I, -[==]-I, -[==]-I
+contents: My House / Women / Underneath The Bottle / The Gun / The Blue
+Mask / Average Guy / The Heroine / Waves Of Fear / The Day John Kennedy
+Died / Heavenly Arms
+
+The first album back with the old label, RCA, and it's a real winner. Lou
+put together a quality group of musicians from working New York bands,
+made up of Robert Quine on guitar (ex of Dick Hell + Voidoids), Fernando
+Saunders on bass, and Doane Perry on drums. Perry would be replaced by
+Fred Maher for the next couple of albums and a tour. This band would
+produce the best music Lou ever had backing him. He worked with these
+guys to create a unique sound which was integral to the music. The tunes
+here range from the the gentle story telling of My House and John Kennedy,
+to the rockers Bottle and Average Guy, to the wailers Blue Mask and Waves
+Of Fear. Lou found himself a new label, a new band, and a new wife (who
+he frequently references in songs over the next few years - here Heavenly
+Arms is his tribute), and the result is a happy guy making some of his
+best music. Co-produced with Sean Fullan.
+
+
+LEGENDARY HEARTS (1983)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: Legendary Hearts / Don't Talk To Me About Work / Make Up My Mind
+/ Martial Law / The Last Shot / Turn Out The Light / Pow Wow / Betrayed /
+Bottoming Out / Home Of The Brave / Rooftop Garden
+
+The continuation of "The Blue Mask", with Fred Maher now on drums. The
+band creates the same tight, clean, sound, which is in itself enough to at
+least warrant giving this one a listen. The songs are mostly fine,
+however they lack the sort of "edge" which makes "The Blue Mask" a great
+record. That leaves the impression that allot of these may have been
+leftovers from the previous album. Overall however, if the previous album
+was to your liking, you'll probably enjoy this one also. Legendary
+Hearts, Martial Law, and Pow Wow are the highlights. The production was
+by Lou Reed by himself.
+
+
+LIVE IN ITALY (1984)
+rating: -[==]-I, -[==]-I, -[==]-I
+contents: Sweet Jane / I'm Waiting For My Man / Martial Law / Satellite Of
+Love / Kill Your Sons / Betrayed / Sally Can't Dance / Waves Of Fear /
+Average Guy / White Light White Heat / Some Kinda Love-Sister Ray / Walk
+On The Wild Side / Heroin / Rock And Roll
+
+Following the release of "Legendary Hearts", Lou takes advantage of his
+working band to hit the road on the only extended tour he's done in the
+last fifteen years. This is a well played and well recorded set, taped
+from shows on September 7 and September 10, 1983. A nice retrospective,
+with Sweet Jane, I'm Waiting For My Man, White Light White Heat, Some
+Kinda Love, Sister Ray, Heroin, and Rock And Roll representing some of the
+best from the Velvets, Satellite of Love, Kill Your Sons, Sally Can't
+Dance, and Walk On The Wild Side representing earlier parts of his solo
+career, and Martial Law, Betrayed, Waves Of Fear and Average Guy being
+from the then current period. Lou has always made no distinction between
+songs written early in his career from those on his current record, often
+treating older songs as if the were new and fresh. This is evident from
+this recording. This is a good starting point for the uninitiated,
+however I don't think it ever had a US release so you might have to pay
+import price.
+
+
+NEW SENSATIONS (1984)
+rating: -[==]-I, -[==]-I, -[==]-I, -[==]-I
+contents: I Love You Suzanne / Endlessly Jealous / My Red Joystick / Turn
+To Me / New Sensations / Doin' The Things That We Want To / What Becomes A
+Legend Most / Fly Into The Sun / My Friend George / High In The City /
+Down At The Arcade
+
+Lou must have been invigorated by his touring, and he used the opportunity
+to fine tune these songs while he was at it. Fred Maher on drums, and the
+amazing fretless bass of Fernando Saunders remain, but Lou takes over all
+of the guitar parts himself. It's his best guitar work in a LONG time,
+and along with that which he would later put down on "New York", probably
+the best he's recorded. Sharp, exciting riffs abound. I Love You
+Suzanne, which he once referred to as a "stupid pop song", was a minor hit
+for him. This tune, coming at the same time as the re-issue of the
+Velvet's catalog and Walk On The Wild Side being used in a phony-scooter
+TV ad, gave a big boost to this dudes career. A good record throughout,
+My Friend George, Down At The Arcade, and especially Doin' The Things That
+We Want To are standouts. The production was by Reed along with John
+Jansen.
+
+
+MISTRIAL (1986):
+rating: -[==]-I
+contents: Mistrial / No Money Down / Outside / Don't Hurt A Woman / Video
+Violence / Spit It Out / The Original Wrapper / Mama's Got A Lover / I
+Remember You / Tell It To Your Heart
+
+Lou tries for an '80's AOR hard rock sound, with the result sounding
+musically like something hacks like Def Leppard might make. Coming in the
+midst of so many quality releases, this one should be overlooked.
+
+
+NEW YORK (1989)
+rating: -[==]-I, -[==]-I, -[==]-I, -[==]-I
+contents: Romeo Had Juliette / Halloween Parade / Dirty Blvd. / Endless
+Cycle / There Is No Time / Last Great American Whale / Beginning Of A
+Great Adventure / Busload Of Faith / Sick Of You / Hold On / Good Evening
+Mr. Waldheim / Xmas In February / Strawman / Dime Store Mystery
+
+Reed must have spent the previous three years staring out his window, as
+he came up with an incredible document of the state of that megalopolis in
+the late 80's. Lou has a history of coming up with his best work when he
+takes some time off after a weak effort, and this certainly follows that
+pattern. The music is inspired, the production with Fred Maher is
+outstanding, and every song gives graphic description of usually bleak
+characters and situations. It's difficult to analyze any song or songs
+individually, as they all fit together into one piece. Lou writes on the
+album jacket that the record is meant to be listened to in one continuous
+58 minute sitting. Right up there with the best Velvet Underground
+albums, and probably the best solo record Lou made. He even had somewhat
+of a rock radio/MTV hit with Dirty Blvd. A label switch to Sire started
+with this release.
+
+
+SONGS FOR DRELLA, BETWEEN THOUGHT AND EXPRESSION, MAGIC AND LOSS, and
+various EP's etc (1990-192)
+collective rating: -[==]-I
+
+Seems like Lou shot his whole wad with "New York", as this is mostly
+uninspired dreck. Punk wasn't dead until the Godfather put out these
+recent works. Basically safe and middle of the road. Maybe he'll rise
+from the grave, he has in the past.
+
+
+Pezography - An (almost?) complete listing of Pez dispensers
+------------------------------------------------------------
+
+The following is a nearly complete listing of the Pez Candy dispensers
+that have been manufactured. There are apparently some color variations
+within individual items listed below. The next series is reported to be
+of The Flintstones, and thus other Hannah-Barbara characters could follow.
+This was received from a secondary source by me, with the primary
+reference being: PEZ BOOK, by David Welch, P.O. Box 714, Murphysboro, IL,
+62969, (618) 687-2282. The list price is $22.95
+
+CHRISTMAS: Angel, Rudolph, Santa (A), Santa (B), Santa (C).
+
+CIRCUS: Big Top Elephant, Clown with collar, Clown with chin, Gorilla,
+ Li'l Lion, Mama Giraffe, Mimic the Monkey, Monkey Sailor,
+ Pony Go Round, Roar the Lion
+
+CRAZY FRUIT: Orange, Pear, Pineapple
+
+DIE-CUTS: Bozo, Casper, Donald Duck, Easter Bunny, Mickey Mouse
+
+DISNEY: Baloo, Bambi, Captain Hook, Chip, Dalmation Pup, Dewey (blue),
+ Donald Duck, Donald Duck (1989), Dopey, Duck Child, Dumbo,
+ Goofy, Goofy (Remake A), Goofy (1989), Huey (red), Jiminy
+ Cricket, King Louie, Li'l Bad Wolf, Louie (green), Mary
+ Poppins, Mickey Mouse, Mickey Mouse (remake A), Mickey Mouse
+ (remake B), Mickey Mouse (1989), Mowgli, Peter Pan, Pinocchio,
+ Pinocchio (Remake), Pluto (A), Pluto (B), Practical Pig (1),
+ Practical Pig (2), Scrooge McDuck (A), Scrooge McDuck (B),
+ Snow White, Thumper, Thinkerbell, Winnie the Pooh, Zorro,
+ Zorro with "Z" logo
+
+EASTER: Bunny (A), Bunny (B), Bunny (C-fat ears), Chick in Egg
+ (No Hat), Chick in Egg with hat (Green nest), Chick in Egg
+ with Hat (Red nest), Duckie, Lamb (A), Lamb (B), Rooster
+
+
+EERIE SPECTORS (ALL SOFT HEADS): Air Spirit, Diabolic, Scarewolf,
+ Spook Vamp, Zombie
+
+FULL BODY: Santa Claus, Space Trooper
+
+HALLOWEEN: Blob Octopus, Dr Daedhead, Dr Skull, Fishman, Mr Ugly,
+ One Eyed Monster, Pumpkin, Witch (A), Witch (B-1 piece),
+ Witch (C-3 piece), Witch (D)
+
+HUMANS: Astronaut (A), Astronaut (B), Cowboy, Football Player, Pilot,
+ Spaceman, Stewardess
+
+BI-CENTENNIAL: Betsy Ross, Captain, Daniel Boone, Indian Brave, Indian
+ Chief, Indian Squaw, Uncle Sam, Wounded Soldier
+
+KOOKY ZOO: Cockatoo, Crocodile, Cow (A), Cow (B), Panda (A), Panda (B)
+ Panther, Fuzzy Cat with Derby, Raven, Yappy Dog
+
+CHARACTERS: Annie, Asterix, Bozo, Bullwinkle, Casper, Green Hornet,
+ Mueslix, Peter PEZ, Flintstones: Barney, Dino, Fred,
+ Pebbles,
+
+GARFIELD: Aelene, Garfield, Garfield with Green Hat, Garfield with
+ teeth, Nermal
+
+MGM: Barney Bear, Droopy Dog, Jerry (A), Jerry (B), Muscle Mouse,
+ Spike, Tom (A), Tom (B), Tyke
+
+MOVIE MONSTERS: Creature from the Black Lagoon, Frankenstien, Wolfman
+
+MUPPETS: Fozzie Bear, Gonzo, Kermit the Frog, Miss Piggy
+
+PEANUTS: Charlie Brown, CB (Frowing), CB (Tongue), CB (Eye closed),
+ Lucy, Snoopy, Woodstock
+
+POPEYE: Brutus, Olive Oyl, Popeye (A), Popeye (B), Popeye (C-with
+ pipe)
+
+SMURFS: Papa Smurf (A-large eyes), Papa Smurf (B-small eyes), Smurf
+ boy (A-no tongue), Smurf Boy (B-painted tongue), Smurf boy
+ (C-no country on base), Smurfette
+
+SUPERHEROS: Batgirl (soft), Batman (A-with cape), Batman (B-soft),
+ Batman (C-"DC Comics 1965"), Capt America, Hulk (A), Hulk
+ (B-1989 Marvel), Joker (soft), Penguin (soft), Spiderman
+ (A), Spiderman (B-1989 Marvel), Thor, Wonder Woman (A-soft),
+ Wonder Woman (B-"DC Comics 1979")
+
+WARNER BROS: Bugs Bunny, Cool Cat, Daffy Duck (A), Daffy Duck (B),
+ Foghorn Leghorn, Henry Hawk, Merlin Mouse, Petunia Pig,
+ Roadrunner, Speedy Gonzales, Sylvester, Tweety (A),
+ Tweety (B- Warner Bros Inc 1990), Wile E. Coyote
+
+MERRY MUSIC MAKERS: Camel, Clown, Dog, Donkey, Duck, Frog, Indian,
+ Koala, Lamb, Monkey, Panda, Parrot, Penguin,
+ Pig, Rhino, Rooster, Tiger
+
+MISCELLANEOUS: Baseball Glove, Hippo, 1962 Lions Club Lion, Make
+ A Face, Personalized, Psychedelic Eye, Psychedelic
+ Flower, Regular, Regular with Advertising, Scarecrow,
+ Whistle
+
+OLYMPICS: 1972 Alpine Man, 1976 Snowman, 1984 Wolf (Vucko),
+ 1984 Wolf with cap, 1984 Wolf with Helmet
+
+PEZ PALS: Boy, Boy with Cap, Bride, Doctor, Engineer, Fireman, Girl,
+ Groom, Knight, Maharajah, Mexican Boy, Nurse, Pirate,
+ Policeman, Ringmaster, Sailor, Sheik, Sheriff
+
+PREMIUMS: Arithmetic, Candy Shooter Gun, Cocoa March, Donkey Kong Jr.,
+ Golden GLow, Icee Bear, Pif The Dog, Silver Glow, Stand By
+ Me, 1950's Space Gun, 1980's Space Gun
+
+TRUCKS: Single Rear Axle: Cab #1, Cab #4, Cab #16
+ Double Axle Indented Fender: Cab #8, Cab #9, Cab #13
+ Double Axle No Indentions: Cab #1, Cab #2, Cab #3, Cab #4,
+ Cab #5, Cab #16, Cab #R1, Cab #R2, Cab #R3, Cab #R4
+
+VALENTINE: Valentine Boy (A-Brown Hair), Valentine Boy (B-Blode hair),
+ Valentine Girl (Blond hair)
+
+
+The Greatest Philosophical Question Answered - What REALLY Happens When a
+--------------------------------------------------------------------------
+Tree Falls In The Forest And No One Is There.
+----------------------------------------------
+
+The scenario of the tree falling in the unoccupied forest has long been
+metaphorically held up as a philosophical quandary. It is the position of
+FUNHOUSE! that this debate is not a valid situation to be held up as an
+example of an unanswerable question. FUNHOUSE! believes that the question
+of a tree making or not making a noise whilst toppling in the woods
+without a living being present can be easily defined in physical terms,
+and thus is not susceptible to the metaphysical debate for which it is
+held up as example. It is not on the level of the merits of the
+teleological argument for the existence of God.
+
+When a tree is felled, there is the same disturbance of molecules in the
+air, producing sound waves, whether or not anyone or anything is present.
+When a person, or other organism with a hearing organ is present, the ear
+through it's anatomical make-up (the workings of which are not the scope
+of this commentary) convert the sound waves into the physiological nerve
+impulses that carry the representation of the sound to the brain, where it
+is "heard". The question of whether or not a noise is made is thus
+explained by what one means by "noise". The sound waves, through the
+displacement of air molecules, exist independent of anyone or anything
+else's presence. What we are referring to as "being heard" only exists
+within our brains; it is a matter of the interpretation of the waves by
+our nervous systems. Therefore just as a television station is
+broadcasting whether or not your set is turned on to see the image, a
+falling tree produces the exact same physical changes to the environment,
+or sound, whether or not your head is there to tune it in.
+
+So there.
+
+
+Fanzine Forum - Some Recommended Literature For Your Further Education
+----------------------------------------------------------------------
+
+Below is a sampling of fanzines of various topics which I can recommend as
+entertaining and informative to read. As far as I know all are still
+active, and have at least some back issues available. Look for them at
+your local alternative newsstand, or send a self addressed stamped
+envelope to the publisher, and ask for information.
+
+ANSWER ME! - Wow!, a 'zine with ATTITUDE! A no quarter, no fears delving
+into some of the most hard core social issues and news figures of the day.
+100 pages with a graphic color cover. Issue number two has articles on
+Jeffrey Dahmer, The Geto Boys, David Duke, Anton LaVey, El Duce, Al
+Goldstein, Vietnamese gangs, and more. Not for the faint of heart. $4.50
+from: 6520 Selma Ave., Suite 1171, Hollywood, CA 90028.
+
+ASIAN TRASH CINEMA - Dedicated to the wild, and sometimes bizarre and
+strange, film culture of the far east, mostly Hong Kong. Issue number
+three is the latest, and has reviews of titles from Japan, Indonesia, and
+India, as well as Hong Kong. There are articles on John Woo's
+"Hardboiled", Japanese "Yakuza" films, "Godzilla Vs. King Ghidora", a Jade
+Leung interview, laserdisc reviews, a good letters section, and more. The
+back cover girl in this issue is Maggie Cheung. Sister publication to
+European Trash Cinema (see below). This one is 38 pages of slick paper,
+with a fantastic full-color cover of Godzilla in action. $6.00 an issue
+from PO Box 5367, Kingwood, TX 77325.
+
+BLACK TO COMM - Issue number 18 from Spring 1991, the latest that I have,
+is 86 pages of densely packed text and illustrations in black and white.
+The cover price is $4.50. The editors worship at the alter of The
+Stooges, The MC5, and The Velvet Underground, and all things derivative of
+them. Plenty of record reviews, book reviews, and commentary. Issue 18
+has articles on Link Wray, Stiv Bators, Handsome Dick Manitoba, Amon Duul
+I, and The Hampton Grease Band, as well as Iggy, and the Velvets. Write:
+714 Shady Ave., Sharon, PA 16146.
+
+CULT MOVIES AND VIDEO - Issue number 6 is current, and is 80 pages with
+many photos and illustrations in black and white, with a color cover. A
+really good effort devoted to sleazy horror and sexploitation movies,
+mostly from the 50's and 60's. Subjects they have covered are Ed Wood
+Jr., Tor Johnson, Dave Friedman, Harry Novak and Boxoffice International,
+Bela Lugosi, and Boris Karloff, as well as many detailed looks at
+individual films. Cover price is $4.95, write: 11225 Magnolia Blvd.,
+Suite 200, North Hollywood, CA 91601.
+
+ECCO - What began as a magazine devoted to the "Mondo" genre of films,
+those which purport to expose the strange and weird factual wonders of the
+world, has since expanded to review and chronicle weird horror and sleaze
+films of all stripes. What makes Ecco unique to me is that they
+consistently come up with titles that I haven't seen referenced in any
+other publications. Issues aren't very large, only about 24 pages, for a
+cover price of $3.50. Write: P.O. Box 65742, Washington, DC 20035.
+
+EUROPEAN TRASH CINEMA - Concentrates on the horror and thriller films
+produced in Europe, especially the unique styling that come out of Italy
+and Spain. The latest issue I've seen, vol. 2 no. 6, is dedicated entirely
+to reviews of the Italian "Giallo" genre. These are stylish murder
+mysteries, sometimes with elements of the fantastic, that are probably
+best known in the US in some of the works of Dario Argento. Regular
+issues have feature articles and many reviews. This is an area of cinema
+that any horror who isn't now familiar with it, should definitely
+investigate. Copies are $5.00 each, from P.O. Box 5367, Kingwood, TX
+77325.
+
+FACTSHEET FIVE - Not just a 'zine, but a huge listing of 'zines.
+Literally hundreds of fanzines are broken down by categories, reviewed,
+and information is given regarding subscriptions, size, advertising,
+trades, etc. If your interested in exploring any aspects of the world of
+independent publishing, this is a must. The latest is issue #46, 96 pages
+with a $3.95 cover price. A on-line version is coming, and may already
+exist. For more info email at jerod23@well.sf.ca.us. Hard copy address
+is: P.O. Box 170099, San Francisco, CA, 94117-0099.
+
+FLIPSIDE - This long lasting punk and post-punk hard rock 'zine is still
+going strong, and is still a good source of info on that particular aspect
+of the rock underground. Starting as a fanzine for the LA punk subculture
+in the late 70's, they're now approaching their 80th issue. The latest
+issue is 110 pages for $2.50 - that punk idealism even keeps the price
+down. Each has interviews and features on bands and the lifestyle
+surrounding them, along with numerous reviews, letters, etc. Write: PO
+Box 60790, Pasadena, CA 91116.
+
+FANTASYNOPSIS - A nice, slick, well-illustrated fanzine from England
+focusing primarily on the horror film. I have issue number four from
+1991, which is 54 pages with a full color cover, and a price of 2.50
+pounds. It also has a pull-out color poster from THE HOUSE OF WHIPCORD.
+The contents of this issue include interviews with Dario Argento, David
+McGillivray, and Alex Gordon, features on "Lifeforce" and Frank Langella's
+"Dracula", and many reviews of videos, books, and magazines. There's even
+some original fiction. Contact them at: 1 Bascraft Way, Godmanchester,
+Huntingdon, Cambs, PE18 8EG, England.
+
+HIGHBALL - A new publication focusing on the sleaze/sexploitation films of
+the sixties. A heavy stock, slick, 66 page 'zine, with many fine photos
+and illustrations. Issue number one is from September 1992, and has a
+$6.95 cover price. Contained in the first ish are interviews with Lee
+Frost and with Dave Friedman, features on Barry Mahon and Brigitte Bardot,
+as well as many reviews and analysis of films and of the genre. Highly
+recommended for anyone interested in this unique segment of filmdom. The
+address is: MPO Box 67, Oberlin, OH 44074-0067.
+
+KICKS - A very well produced 'zine covering wild early sixties rock and
+roll and the culture surrounding it. Issue number 7 is 100 pages of dense
+text and illustrations, all meticulously researched. The interior is
+black and white, and the cover is heavy stock full color. Number seven
+has The Trashmen, The Iguanas, Esquerita, The Del-Aires (from Horror Of
+Party Beach), and the amazing tale of actor/singer/comic and sleaze
+writer/horror fanzine publisher Ron Haydock. Very detailed articles.
+$5.00 at: Box 646, Cooper Station, New York, NY 10003.
+
+MONSTER! INTERNATIONAL - Issue number 2 is $3.50, and is dated October
+1992. This is 42 black and white pages, with a black and white slick
+cover. The focus here is obviously on (mostly old) horror movies. There
+are many reproduced stills and movie ads, with the focus being on foreign
+films which haven't yet been covered as well as they should. Articles are
+very complete. Number two discusses Mexican monster movies, Jesus Franco,
+Santo, and a special column dedicated to Asian horrors. A sister
+publication to HIGHBALL; the slogan is "100% pure creature features, no
+slashers allowed!" Write: MPO, Box 67, Oberlin, OH 44074-0067.
+
+MOTORBOOTY - This 'zine mainly documents aspects of the Detroit / Ann
+Arbor rock scene, with articles on places, culture, and bands past and
+present. Number five is 72 pages of black and white, with heavy stock and
+color cover. Inside are interviews with Rob Tyner of the MC5, and Ron
+Asheton of The Stooges. There's a history of Detroit rock, a feature on
+the Stooges Wax Museum, an interview with psychedelic poster artist Gary
+Grimshaw, and other comics and articles. This issue is $3.00 from winter
+1990, and I believe is still out on some newsstands. There is an issue
+six out, which I don't own, with stories on Miles Davis and The Firesign
+Theater among others. Write: P.O. Box 7944, Ann Arbor, MI 48107.
+
+PYSCHOTRONIC VIDEO - The granddaddy of all offbeat movie fanzines.
+Published by the editor of the (highly recommended) Psychotronic
+Encyclopedia Of Film. The latest issue is number 14, and is 72 pages in
+black and white. Every issue has a fantastic color cover, and all except
+number one are available as back issues. Each issue has many reviews of
+movies on video and books about films. Regular features are on
+underground records, fanzines, a lengthy letters section, and obituaries
+of recently deceased psychotronic personalities. In addition there are
+several articles per issue on actors, producers, writers, or directors of
+movies in genres such as horror, biker, drug, sexploitation, mondo, or any
+other strange commodity. Write: 151 First Avenue, Department PV, New
+York, NY, 10003.
+
+VIDEO WATCHDOG - A publication absolutely obsessed with detail. This is
+heavy stock, slick paper in an 8 1/4 x 5 3/4 format. It is published
+regularly on a bi-monthly basis, with a $4.95 cover price. Each issue is
+loaded with intricate information as to the various titles, running times,
+screen dimensions, soundtracks, video releases, and just about any other
+information that may pertain to films in the horror, SFX, or fantasy
+genres. Each issue has complete videographies of selected artists, and
+usually a feature or two on a particular actor or director. Very valuable
+for learning about the re-titling of old films in new video releases.
+Write: P.O. Box 5283, Cincinnati, OH 45205-0283.
+
+WE ARE THE WEIRD - A collection of Joe-Bob Briggs rants which are too far
+over the line for his weekly syndicated newspaper column. Frequently
+published, and the subject matter can cover any of Joe-Bobs unique and
+varied interests, not just sleaze flicks. Subscriptions are $35.00 for 52
+issues, but Joe-Bob has been known to mail out free samples if you ask
+him. Write: P.O. Box 2002, Dallas, TX 75221.
+
+ZONTAR THE MAG FROM VENUS, ZONTAR'S EJECTO-POD, and ZON-TOWER - It's
+difficult to describe these other than - hysterical. ZONTAR is a way of
+life! The blurb on the cover states, "Dedicated to the intensive study of
+the most obscure and disreputable cultural manifestations of the decaying
+hu-man empire!" The main Zontar mag is into it's ninth issue, while
+spin-offs Ejecto and Zon-Tower have reached issues two and four
+respectively. Subjects covered have been Larry Buchanan, Bozo, Bob
+Tilton, the Bakkers and other TV preacher-thieves, "Michael Medved -
+Golden Turkey Or Neo-Fascist", sleazy comics, "Yellow Ribbonism: Symbol Of
+Shame", "The Great Bad-Film Debate", the indispensable All-Nixon issue,
+and the chronicled re-printing of Ed Wood Jr.'s sleaze/porn novel "Drag
+Trade". Issue sizes vary, but the main mag is around 60 wildly
+illustrated pages for $6.00, and the spin-offs about half that at
+$3.50-$5.00 each. Also ask about the two hour video "Pervert Preachers,
+Fascist Fundamentalists, and Kristian Kiddie Kooks". The address is: 29
+Darling St. #2, Boston, MA 02120.
+
+And while not a fanzine, I'd also like to recommend the LOOMPANICS
+UNLIMITED MAIN CATALOG. This organization publishes or distributes a
+large number of provocative and controversial books, without fear or
+hesitation. A maverick operation from which titles covering privacy,
+security, protection, fake ID, weapons, avoiding government intrusion,
+dropping out, and other topics of an anarchist or libertarian bent can be
+obtained. The catalog has detailed descriptions of each book that is
+offered, and is interesting in itself. Ask about their "greatest hits"
+book, with reprints of original articles. Their slogan states, "You are
+what you know, you are what you do to help yourself. No more secrets. No
+more excuses. No more limits." The catalog is over 250 pages for $3.00
+from: PO Box 1197, Port Townsend, WA 98368.
+
+
+Reviews - Comments on Selected Books, Records, Periodicals, Etc. Etc. Etc.
+--------------------------------------------------------------------------
+
+Items described below are not necessarily new, however they are new to me,
+and thus the majority are relatively recent releases or publications.
+They all are available at the time of this writing.
+
+recorded music:
+
+DINOSAUR (JR.) - WHERE YOU BEEN; The "Jr." is in parenthesis as I still
+refuse to acknowledge this addition that was foisted upon this great group
+by some bar band hacks. This is a fantastic album, the best I've heard
+yet this year, and it will be difficult to be topped. This is the first
+really good item from J. Mascis and co. since 1988's BUG. Something got
+lost when he tried to play every instrument on the last record, but
+there's a return to a full band here, including old drummer Murph. WHERE
+YOU BEEN has all of the grinding, distorted, swirling guitar crunch that
+one would expect from good Dinotunes, and some great melodies to go with
+it. Heavy riffs, wild jams, and the pained and strained vocalizing of
+Mascis are present amidst a batch of well crafted songs. A good Dinosaur
+record is as good as anything, and this is a good Dinosaur record. News
+is that drummer Lynn Perko from Sister Double Happiness is recording with
+J. for the next record. The mini-hit is "Start Choppin", and it deserves
+to be. If there were justice in the world, or if things were like they
+were at the birth of Rock and Roll, this tune would be in the top ten.
+(Sire/Warner Bro.s 9 45108-2)
+
+FLAMING LIPS - HIT TO DEATH IN THE FUTURE HEAD; If WHERE YOU BEEN may be
+the best record of this year, H.T.D.I.T.F.H. (along with The Beastie Boys
+CHECK YOUR HEAD) was probably last year's best. These hyper-amplified
+acid rocker Okies have put out another great collection of sounds for
+trippin'. The sound is part metal, part psychedelia, part garage, and
+part pop, and a great mixture of wild sounds, making full use of stereo
+effects. What makes music like that put out by The Flaming Lips and
+Dinosaur so great is that you get the loud, driving, guitar crunching
+distortion that you need to get your ya-ya's out, without sacrificing
+melodies, beats, and subtleties in the music, that are too often lost in
+much of the punk, sludge, and metal that we get these days. If you're
+unfamiliar, and the musical description above isn't clear enough, perhaps
+song titles like "Talkin' 'Bout The Smiling Deathporn Immortality Blues",
+"You Have To Be Joking (Autopsy Of The Devil's Brain)", and The Magician
+Vs. The Headache" will give you an idea of where these guys are coming
+from. (Warner Bro.s 9 26838-2)
+
+SUGAR SHACK - CHARMER; This is a heavy, heavy, heavy band out of Houston,
+who sound like a bunch of metal mutants weaned to the beat of early
+Sabbath. 19 songs of upbeat pinhead posturing, consisting of mostly two
+to three minute crankers that you can beat you head against the wall to.
+The musical philosophy may be on the order of the Ramones, with the band
+getting right to their riff heavy point, without messing around with allot
+of guitar solo posturing. Musically they don't have the creative gonzo
+pop sensibilities of that classic band, but if your full of angst, or
+spend most of your time in a cave, you may get off on these guys. The
+shortcoming are that there isn't enough distinction of sound between some
+of the songs, but the best of them with have you jumping, and even
+laughing, if your sense of humor is somewhat warped. The highlight is a
+ditty called "You're A Freak And You Don't Even Know It". (Cargo Records
+FIST 006)
+
+L7 - BRICK ARE HEAVY; I used to be somewhat dubious as to the talents of
+these all-female hard rock wailers, but the MTV hit "Pretend We're Dead"
+caused me to give them a second look with this latest release. That track
+is one kick-ass, God-jam, monster of a tune - an instant classic. While
+no other tunes on the album are as good as that one, the rest are good
+enough to be enjoyable to anyone who likes the post-Runaways,
+hard rocking, monotone, slams that these dudettes specialize in. I'm
+enjoying listening to it now, but I'm not sure of the lasting power of
+anything outside of "Pretend We're Dead". (Slash/Reprise 9 26784-2)
+
+JELLYFISH - SPILT MILK; Man these guys suck! They remind me of some of
+those seventies, TV show type, bubblegum pop bands, in a mutant cross with
+the kings of corporate hack rock, Journey. I don't know if the rock critic
+hype I keep hearing around these guys is a local angle due to their coming
+from this area (SF), or if it's a widespread effect. I suspect it's local
+because there's a long history amongst some of the critics around here of
+sucking up to bland commercial morons like Huey Lewis and Starship,
+probably in excahnge for free tickets, or the honor of being in the
+presence of such "greatness". Don't believe the hype! These wimps are
+boring and trite! (if you really want this crap, I'm not going to help
+you!)
+
+BEYOND THE VALLEY OF THE DOLLS - SOUNDTRACK; Some outfit called Media
+Archives has re-released this hard to find soundtrack from the RM classic.
+To those who have seen the film, you should be happy to add the fun tunes
+of The Carrie Nations to your collection. If you're a Strawberry Alarm
+Clock fan, I'm not, then you get their tracks from the film, "Girl From
+The City", and "I'm Comin' Home" also. The songs are written by the hard
+working film composer of that era, Stu Phillips, and the non-Carrie
+Nations stuff really isn't any good. But if you were pumped by the great
+"Look On Up At The Bottom", "Sweet Talkin' Candy Man", and "Find It" from
+watching the film, you'll want to seek this out. Six Carrie Nations songs,
+the two Strawberry Alarm Clock tracks mentioned above, the title song by
+The Sandpipers (done twice), and two instrumentals round out the
+collection. As a bonus to the twelve BVD songs, this also has a six song
+version of one of the multitude of soundtrack releases from the film
+VALLEY GIRL tacked onto the end. The liner notes say "limited edition of
+1000 copies", but I've seen it in just about every non-chain record shop
+in my area. Look in Goldmine ads if it's not available in your locale. I
+have a strong suspicion that this is in fact a bootleg release. (Media
+Archive MF-9201-2)
+
+FREEDOM OF CHOICE: YESTERDAY'S NEW WAVE HITS AS PERFORMED BY TODAY'S STARS
+- COMPILATION; Well I hear we're in the midst of a "new wave" revival.
+When we have nostalgia for ten years ago, you know the world's moving
+fast. For that matter didn't we just get past the seventies disco
+revival? What's next, a Guns And Roses flashback craze? Anyway, more to
+the point of the music, what we have is 18 songs recorded by 1992 bands of
+tunes ranging roughly from the years 1978-1983. Some of the bands here,
+such as Sonic Youth, Redd Kross, and White Flag, were even contemporaries
+of some of the groups covered. Nothing is really bad here, and some of it
+is actually pretty good. The key to good cover songs is either taking a
+crappy tune and turning it into something at least interesting, or in
+taking a good song and giving it a radically new sounding. The problem
+with some of the covers here are that they're either not very distinct
+from the original, or the original is such a good song that the cover
+version doesn't come close to it. The latter is the case with Mudhoney
+doing Elvis' "Pump It Up", Das Damen with a version of The Pretenders "The
+Wait", and Tiny Lights covering "5' 1" originally done by Iggy. I like
+Sonic Youth with the Plastic Bertrand song "Ca Plane Pour Moi" and Redd
+Kross' wailing on The Go-Go's "How Much More". Other items include
+Erectus Monotone covering Missing Persons "Destination Unknown" (an
+interesting choice as that bands "Words" is the only even semi-decent song
+that they did, and would have been a better cover), Big Dipper with Pete
+Shelley's "Homosapien", Polvo with Wall Of Voodoo's "Mexican Radio",
+Superchunk doing Devo's "Girl U want", and Permanent Green Light with The
+B-52's "Hero Worship". This record is probably better if your a fan of the
+bands here, rather than if your a fan of the songs they're doing. You've
+probably got the original albums anyway. (Caroline Carol 1715-2)
+
+THE PHANTOM SURFERS - PLAY THE MUSIC FROM THE BIG-SCREEN SPECTACULARS!; A
+surf rock band that draws from the likes of The Lonely Ones rather than
+Jan And Dean. A three guitars/bass/drums line-up who wail away on their
+Fenders like it was 1965 all over again. There isn't much new or original
+here, but if you're into the REAL surf music sound of jammin' guitar
+romps, you might want to play this at your next party. The premise of
+this record is 14 remakes of songs which originally were heard in movie
+soundtracks in the 50's and 60's. Highlights are "Bikini Drag" from
+BIKINI BEACH, "Pursuit Of The Leather Girls", from BLOOD ORGY OF THE
+LEATHER GIRLS, "Geronimo" from THE GHOST OF DRAGSTRIP HOLLOW, "Eaffin' And
+Surfin'" from RAT PFINK A BOO BOO and a jam from the Mexi-classic THE WILD
+WORLD OF BATWOMAN. Misses include "Bali Hai" from SOUTH PACIFIC and the
+theme from HUSH, HUSH SWEET CHARLOTTE. There's also an Ennio Morricone
+song, a Frank Sinatra ditty, and even a Phantom Surfers original. (Estrus
+ES125)
+
+books:
+
+GEEK LOVE by Katherine Dunne - One of the more bizarre novels that I've
+had the pleasure of reading. It's the story of The Binewski family and
+their traveling "Carnival Fabulon". Papa Al Binewski and Mama Crystal Lil
+Binewski work on producing offspring that are their planned little
+creations for the show. Al concocts recipes consisting of drugs,
+insecticides, and radioisotopes for Lil to ingest while pregnant in order
+to produce the most "special" children possible. What sounds like a
+morbid and horrible plot really doesn't come off that way once the story
+gets rolling. What emerges is a portrait of a loving family that revels
+and rejoices in their uniqueness, and a vehicle for the reader to really
+contemplate what it means to be different or atypical in the world we're
+all moving through. Dunne uses the framework of the family and their
+characteristics, and the carnival atmosphere, to weave in a variety of
+anecdotes about how people perceive themselves and others, and the insec-
+urities they have about themselves and their positions in the world. A
+great deal of it is actually quite humorous as well as insightful. You'll
+read about Arturo The Aqua Boy, with fins instead of arms and legs, who
+callously manipulates the development of a religious cult of personality
+around him as he preaches from his tank, about Electra and Iphigenia the
+piano playing Siamese twins who eventually turn to prostitution for
+experimental purposes, Fortunato the telekinetic boy who uses his powers
+to perform surgery, and the protagonist Olympia, who only being a bald,
+hunchback, albino, dwarf is considered a little to "norm" by the family to
+have a major performing role in the show. If you do read it , it won't
+soon leave your mind. (1983, 1990; Warner Books, 355 pp., $9.95 in
+softcover, ISBN: 0-446-39130-1)
+
+FEAR AND LOATHING: THE STRANGE AND TERRIBLE SAGA OF HUNTER S. THOMPSON by
+Paul Perry - Perry, who knows Thompson personally, describes this as a
+"violently unauthorized biography". As the book covers a span of roughly
+thirty years in 274 pp., it is not especially dense in it's details.
+There's some new material regarding Thompson's early days in Louisville
+and New York which hasn't yet been covered in much detail, and which is
+culled from interviews with Thompson's cohorts from the time. Details
+provided from interviews with artist and sidekick Ralph Steadman, and work
+that Perry himself did as editor on a Thompson piece additionally offer
+some interesting insights as to the methods to his madness. Other than
+that, most of this material has been covered before, and should be known
+by any dedicated gonzo fanatics. One other good thing that can be said
+for Perry is that he avoids the sort of "awe" or "hero worship" that some
+other chroniclers of Thompson's escapades fall victim to. Some of the
+truly uncomplimentary tales we are told of involve Thompson's threatening
+a group of gays with Dobermans and a baseball bat, and his physical abuse
+of his wife Sandy. This book in conjunction with William McKeen's HUNTER
+S. THOMPSON volume of TWAYNE'S UNITED STATES AUTHORS series (Twayne,
+1991), which has a detailed bibliography, and the Hunter sections of
+Robert Drapers ROLLING STONE MAGAZINE: AN UNCENSORED HISTORY (Doubleday,
+1990) can provide all of the hard facts regarding his life, but the best
+way to enjoy this material is straight from the horses mouth, especially
+in THE GREAT SHARK HUNT (1979), and SONGS OF THE DOOMED (1990). (1992,
+Thunder's Mouth Press, 274 pp., $22.95 in hardback, ISBN: 1-56025-012-7)
+
+THE VIDEO WATCHDOG BOOK by Tim Lucas - Lucas is the editor by The Video
+Watchdog Magazine (see 'zine section), and this is a self-published
+collection of Video Watchdog columns that were originally written between
+1985 and 1992, in the magazines VIDEO TIMES and GOREZONE. The format is
+similar to the magazine, in which video releases of mostly horror, science
+fiction, and fantasy films are scrutinized for re-titling, screen ratios,
+running lengths in comparison to the original release, edited scenes,
+changed soundtracks, etc. There are additionally feature length articles
+on the video releases of Dario Argento, Terence Fisher, Jess Franco, and
+Edgar Wallace. Each column is followed by an update correcting anything
+from the original column that needs to be, and giving more current (as of
+1992) information regarding video releases of films mentioned. Where else
+can you find out that there have been four different versions of EXORCIST
+II - THE HERETIC on video, or that there exists a 121 minute (!) Italian
+language only version of Argento's PROFONDO ROSSO, which is 16 minutes
+longer than the most complete English language version, a Japanese
+subtitled, letterboxed release. There's plenty of interesting reading
+beyond just the raw data, and you can stumble across allot of films you'll
+want to run out to see for yourself. Almost every page has a still or
+some poster art from one of the movies being written about. All of the
+information regarding the companies that put out the films is given, and
+there is an index to both the book and the first twelve issues of the
+magazine. Another valuable feature is 32 pages of retitling information
+of films onto video, both by original title and by retitle. The forward
+is by Joe Dante. (1992, Video Watchdog, 391 pp, $19.95 in softcover, ISBN:
+0-9633756-0-1)
+
+THE WILD WORLD OF THE CRAMPS by Ian Johnston - The only English language
+bio of the seminal psycho/sleazo/fuzzo primitive rock and roll band. This
+book is densely illustrated with photos, drawings, cover art, poster art,
+ads, backstage passes, and a wide variety of other interesting
+brick-a-brack. The story of the band is told from the beginning through
+1990. The biographical track largely follows the music, with all band
+member changes, recordings, and major tours documented. We learn that Lux
+was hatched Erik Lee Purkhiser in Akron, Ohio, and that he is old enough
+to have run around The Hashbury during The Summer O' Luv. We even get to
+see his high school yearbook picture. Poison Ivy, aka Kristy Marlana
+Wallace, was picked up hitchhiking by Lux in 1972, and a new form of
+musical bizarreness was conceived. There's a discography with every song
+they ever recorded, complete with pictures of all the LP, 12", and single
+covers, and a description of some of the better bootlegs. Interviews are
+utilized throughout, and we get listings of both Lux and Ivy's favorite
+songs and films (at the time at least, this list is probably mutating
+constantly). Topping Ivy's tune list are Wanda Jackson's "Funnel Of
+Love" and Tommy Jim Beam And The 4/5ths "Golden Boy", while Lux is partial
+to Alfred E. Neumann's "It's A Gas", and The Rivington's "Mama Oow Mow
+Mow". Among their celluloid pleasures are THE PHANTOM OF SOHO (1964), THE
+WORLD'S GREATEST SINNER (1962), and DERANGED (1974). Any Cramps fanatic
+should enjoy this work. (1990, Omnibus, 128 pp, softcover, ISBN:
+0-7119-2350-7)
+
+
+----------------------------------------------------------------------------
+----
+----
+Thanks for coming! See you next time!!
+
+
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+FUNHOUSE!
+
+The cyberzine of degenerate pop culture
+
+
+vol. 1 - no. 2; July 22, 1993
+Released on the day of George Clinton's 53'rd birthday.
+editor: Jeff Dove (jeffdove@well.sf.ca.us)
+
+
+
+
+FUNHOUSE! is dedicated to whatever happens to be on my mind at the time
+that I'm writing. The focus will tend to be on those aspects of our
+fun-filled world which aren't given the attention of the bland traditional
+media, or which have been woefully misinterpreted or misdiagnosed by the
+same. FUNHOUSE! is basically a happy place, and thus the only real
+criteria I will try to meet is to refrain from rants, personal attacks,
+and flames - and thus FUNHOUSE! is an apolitical place. Offbeat films,
+music, literature, and experiences are largely covered, with the one
+stipulation being that articles are attempted to be detailed and well
+documented, although this is no guarantee of completeness or correctness,
+so that the interested reader may further pursue something which may spark
+her interest. Correspondence and contributions are thus encouraged, and
+any letters will by printed in future issues. Please send a short message
+to the above address, and arrangements will be made for the submission of
+larger items. The only other item is that FUNHOUSE! is Free-Free-
+Freeware! PLEASE copy and distribute as you wish, however please do not
+alter any text. I will be happy to try to clarify anything contained
+herein, and to provide additional information if I can, so don't hesitate
+to contact me.
+
+
+Table Of Contents:
+
+* Letters, commentary, and other stuff you'll probably skip over
+* Degenerate and anti-social behavior for the masses - the biker
+ genre of exploitation film
+* How sleazy did sexploitation get? Harry K. Novak and Boxoffice
+ International on video
+* Mutant rocker profiles: The Standells and The Flamin' Groovies
+* Reviews: books, 'zines, and music (George Clinton and the P-Funk
+ Allstars and Neil Young with Booker T and the MG's reviewed live)
+
+
+Letters, Commentary, and Other Stuff...
+---------------------------------------
+
+Thanks for the 'zine. It was a great read. I just had a couple things to
+add (perhaps you knew this stuff already and didn't think it was important
+enough to add, but if not, well then, you learn something new every
+day...=)
+
+*Roger Ebert's pseudonym for his Russ Meyer scripts was R. Hyde, I
+think.
+
+*Have you ever seen the CD+G graphics on the CD version of Lou Reed's _New
+York_? I've heard that, along with lyrics to the songs, there's digitized
+photos along the same vein as the cover art.
+
+On a semi-related note, I've heard two different rap songs in the past
+year (although one is several years old) that sample _Walk on the Wild
+Side_:
+
+*_Wildside_ by Marky Mark: To me, it's almost supposed to be some kind of
+remake, except where Lou glorifies the local drag queens (that _is_ what
+it's about, isn't it?), Marky tells sensationalist
+good-people-get-ruined-by-drugs stories...sticks pretty close to the
+original musically, at least compared to:
+
+*_Can I Kick It_ by A Tribe Called Quest: Samples a brief part of _Walk_,
+during the chorus, when Q-Tip shouts "Can I kick it?" and the chorus
+replies "Yes, you can!". For some reason, I've heard critics say Quest
+sampled _Walk_ to much better effect. I don't have much of an opinion
+one way or the other, frankly.
+
+Oh well, if you put in a letters column, feel free to use the above...
+
+Looking forward to the next issue,
+Brit
+bwoodman@emunix.emich.edu
+
+* * * * * * * * * * * * * * * *
+
+Enjoyed FUNHOUSE! Apparently there were a lot of things I didn't know
+about Russ Meyer. Great reviews too. How did you find the time to do
+a the research? Yes, very well done.
+
+Regarding the tree conundrum: I'll have to find fault with the TV broadcast
+analogy. You equate a transmitter "broadcasting" to the existence of
+a tree-produced sound (at least that's my take). But "broadcasting" is an
+*action* whereas a "sound" is a *product of an action*. Thus your analogy
+implies that, just as a lone transmitter "broadcasts," a lone tree "rever-
+berates." The question of whether the tree makes a sound is more on par
+with the question of whether that transmitter produces a *program*, or
+whatever.
+
+Don't these silly philosophical things make you want to go out and kill?
+
+Later,
+mike wooldridge
+mwool@UX5.LBL.GOV
+
+* * * * * * * * * * * * * * * *
+
+As a dedicated and lifelong fan of Russ Meyer and his boob brigade, I must
+say your FUNHOUSE! article did a good job. I would however like to point
+out a couple of things:
+
+1) With regards to WILD GALS OF THE NAKED WEST, there is indeed actual
+dialog coming from a person on the screen, not just looped over narration.
+This however only occurs during the narration scenes which are
+interspersed throughout the film by the old drunk, played by Jack Moran
+(also the star of COMMON LAW CABIN. There is also a bit of complete
+toplessness, where you stated that there wasn't.
+
+2) 20th Century Fox has set May 19, 1993 as the date for the new video
+release of BEYOND THE VALLEY OF THE DOLLS. It is being put out in tandem
+with VALLEY OF THE DOLLS.
+
+Well, off to watch SUPERVIXENS for the 34th time,
+Paul Chinn
+loomer@cs.ucsb.edu
+
+* * * * * * * * * * * * * * * *
+
+More Russ Redux:
+
+In her book "Invasion of the B-Girls" (Eclipse), Jewel Shepard interviews Haji.
+Haji claims (apparently honestly) that her father was an alien. She talks
+of dropping out of school to be an exotic dancer at age 14, claims that
+she named the film GOODMORNING AND GOODBYE, has many good things to say
+about Russ and John Cassevetes (whose film was her only non-Meyer role),
+and is found to be an ardent animal rights activist. Haji recently
+appeared with Russ and Roger Ebert at a screening of BEYOND THE VALLEY OF
+THE DOLLS at UCLA, where she took questions from the audience. She'd also
+like to act again.
+
+And on the season finale of the TV series "Seinfeld", both the characters
+Jerry and Elaine make reference to Russ. They're speaking of a situation
+where all of the waitresses in a coffee shop are well endowed, and say
+something to the effect of, "I haven't seen that many large breasts
+outside of a Russ Meyer film". Meyer's notoriety is growing. Could wide-
+spread respectability be around the corner? Elaine did however describe
+him as "making really bad films in the seventies", Oh well...
+
+And while I don't wish to bitch too much in the spirit of keeping
+FUNHOUSE! rant-free (I promise to at least do so in the political sense),
+there was an amazing juxtaposition on June 15 of people/organizations that
+have exhibited obnoxious behavior that I can't resist commenting. On
+that night Fox presented none other than the "cute one" himself, ex-Beatle
+Paul McCartney and his warbling wife. I'm not going to go into the music
+other than to say that Paul's singing was good but his band was very weak.
+My gripe with him is the heavy-handed behavior bordering on fascism he's
+now exhibiting. The story is that the vegetarian Mr. McCartney WILL NOT
+ALLOW the vendors in the arenas in which he's playing to sell any meat
+products. Meatless hot-dogs are however allowed. It doesn't end there.
+The hired crew for the tour (taken on through a contract with a service
+provider, they are not his regular employees) were required to sign a
+contract that forbids them from eating meat, with the penalty of being
+fired. Supposedly the granola patrol even searches wastebaskets for
+evidence. There can be no gripe if the Eastman-McCartney's wish to modify
+their own diets, but to attempt to control the eating of everyone
+surrounding them, including their audience, is ridiculous. If John Lennon
+were around I hope he'd kick some ass over this. The second, and far more
+pernicious half of that nights duo of shame, is that right-wing sponsor of
+football games and gigs by former Beatles, Blockbuster Video. BOYCOTT
+BLOCKBUSTER VIDEO AT ALL TIMES! This is much more than the standard
+complaint against larger corporate entities, like major record labels
+etc., "just 'cause". This chain is guilty of evil behavior. They are the
+worst form of censors and use their power as a huge purchaser to influence
+what you the video viewer watch, regardless of whether or not you are
+their patron. They are known to go to distributors preparing a film for
+release and to demand changes of titles, box art, and worst of all editing
+of the movie, based on their (fundamentalist Christian motivated) beliefs.
+This is done under the threat of dropping the huge order for every one of
+their stores. The end result is that not only does the Blockbuster patron
+get shafted, but the independent video renter does also, as the
+Blockbuster approved version is all that is available to her. It is
+company policy that the stores will not stock Martin Scorcese's work of
+art, THE L AST TEMPTATION OF CHRIST. If you must utilize one of these
+outlets, ALWAYS ask about the availability of this title. It's also fun to
+point out such "wholesome family" entertainment that they do carry, such
+as I SPIT ON YOUR GRAVE or PINK FLAMINGO'S, when they tell you that they
+don't have the Scorcese film.
+
+
+Degenerate and Anti-Social Behavior For the Masses - The Biker Genre Of
+Exploitation Film
+-----------------------------------------------------------------------
+
+EASY RIDER IS NOT A BIKER FILM! That needed to be said before this
+discussion got underway. The biker flick genre is made up of those movies
+which portray the cyclists as degenerate outcasts from society, who are
+depicted indulging in their every foul impulse for our voyeuristic
+pleasure. Some of the early producers framed their showings of
+anti-social shenanigans in the context of a portrayal of outcasts from
+society who are victims of it's intolerance. (Or at least they pretended
+to). Eventually the need for this phony moralizing gave way to simple
+vehicles for showing the exploitation ticket buyers of the late sixties/
+early seventies the sex, violence, and hooliganism that they wanted to
+see. The paradigm for the cycle movie basically consisted of a gang of
+scum bags rolling into Smalltown USA, some innocent young local yokel high
+school girl getting aroused and interested, and then they do/don't
+molest/have voluntary sex with her. The hometown rednecks get riled up
+and go after the gang, which results in a big rumble in which the filth is
+wiped out, or the town is leveled. Now this of course sounds pretty
+meager and uninteresting. It is the need for the filmmakers to make the
+basic sex and violence chrome opera a little more interesting that allows
+us to get perverse kicks from these titles today. The creative twists put
+into these epics involved bikers on drugs, bikers in 'Nam, women bikers,
+black bikers, gay bikers, and even monster bikers. Motorcycle films
+featured such later notables as Russ Tamblyn, Jack Nicholson, Peter Fonda,
+Dennis Hopper, Bruce Dern, Nancy Sinatra, Harry Dean Stanton, Diane Ladd,
+Casey Kasem, John Cassavetes, the first appearance of Tom Laughlin as
+Billy Jack, and the REAL Hells Angels (San Berdoo chapter in THE WILD
+ANGELS, and Oakland chapter in HELL'S ANGELS ON WHEELS and HELLS ANGELS
+'69).
+
+The starting point for this contemporarily ubiquitous celluloid series was
+Roger Corman's classic for AIP, THE WILD ANGELS (1966). After the rising
+notoriety of The Hell's Angels and other outlaw cyclists in the
+mid-sixties through the publication of the famous Life magazine article
+and Hunter Thompson's best selling HELL'S ANGLES: A STRANGE AND TERRIBLE
+SAGA, the always exploitation conscious Corman saw some ripe material for
+a film. Corman and screenwriter Charles Griffith set up an interview with
+some of the local boys, and while Corman poured brews down their throats,
+Griffith absorbed their tales of misbehavior and used them for the basis
+of many of the events that would be acted out in the movie. This flick is
+more than just the best movie of the genre, it is in fact a great movie in
+it's own right. Peter Fonda is Heavenly Blues, the leader of the gang,
+and Nancy Sinatra is his ol' lady Mike. Bruce Dern plays the whacked out
+role of The Loser, while real life wife Diane Ladd is his main squeeze.
+The Loser role was originally to be played by Fonda, but when Corman found
+that original star George Chikaris couldn't ride a motorcycle, Fonda took
+over the part on the condition that the character's name be changed from
+Jack Black to the above mentioned morning glory seed reference. In the
+course of the movie, the gang heads south of the border to take on a
+Mexican gang who has stolen a bike. In the cop chase after the brawl, The
+Loser is seriously injured in an incident in which a lawman is killed. He
+thus is laid up in the hospital, healing and awaiting trial. The Angels
+decide on a hospital break out, and in the middle of the night bust him
+loose, stopping only for the brief molestation of a nurse. Under Angel
+care back at the crash pad, The Loser kicks from his injuries. It is
+decided to return him from which he came for his burial, and the gang thus
+brings his body to his small home town in the mountains. The most bizarre
+section of the movie then occurs, in which the gang invades a tiny church
+and forces the pastor to perform the service under the threat of violence.
+After that, it's party time in the chapel! The pastor is tied up, beers
+are busted out, some of the scoundrels drop acid and even slip some to the
+widow. In the boisterousness that follows, The Loser is replaced in his
+casket with the conked out preacher. He is propped up with sunglasses on
+and a joint in his mouth, causing his tripping and freaked out wife to
+think that he's alive. She starts groping him until she is attacked by
+the others in an (offscreen) gang rape. The local yokels eventually show
+and the results are a melee in the graveyard outside. As the film closes
+with the cyclers heading off on their iron horses fleeing the arriving
+police, Blues hangs back, pensively muttering that "There's nowhere to
+go". The confused leader has come to terms with the futility of it all.
+Also seen in this film are Dick Miller, assistant director Peter
+Bogdanovich, and The San Bernadino Hell's Angels. Many amusing stories
+have been told surrounding the reactions of distributors to this movie at
+the Venice Film Festival, the feelings of the public and critics at the
+premier, the treatment of the Hell's Angel containing crew by the local
+fuzz while filming, and the lawsuit and death threats against Corman by
+those real life bikers who felt that they had been defamed in the final
+product. Amongst the books with details are "How I Made a Hundred Movies
+in Hollywood and Never Lost a Dime" by Roger Corman (1990, Delta, ISBN:
+0-385-30489-7), "The Films of Roger Corman" by Ed Naha (1982, Arco, ISBN:
+0-668-05312-7), "Fast and Furious: The Story of American International
+Picture" by Thomas McGee (1984, McFarland, ISBN: 0-89950-091-9), and
+"Flying Through Hollywood by the Seat of My Pants" by Sam Arkoff (1992,
+Birch Lane, ISBN: 1-55972-107-3). The fuzz guitar title track
+instrumental, "Blue's Theme" by Davie Allan and the Arrows, was a minor
+hit. Davie Allan's music and records will be covered in a future issue of
+FUNHOUSE!.
+
+THE WILD ANGLES was a cut above most of it's imitators which followed, and
+due to it's huge boxoffice success there were many. AIP themselves were a
+major producer of cycledelic cinema over the next five or so years, and
+their first follow up was Daniel Haller's THE DEVIL'S ANGELS (1967).
+Produced by Corman and again written by Griffith, this time John
+Cassavetes is Cody, the leader of The Skulls. In this one the boys ramble
+through a small desert town and draw the attentions of some local young
+girls. After a false accusation of rape by the town hicks, the gang is
+rescued by a fellow group of outlaws. In the course of trashing the
+place, the hoods get the locals to admit that there were false
+accusations. The gang's response is, "It looks like we got one coming!",
+after which a sexual attack is initiated. In a plot move similar to it's
+predecessor's, Cody is disturbed by the savagery and abandons his
+followers. Cassavetes acted in this and other low budget fair against his
+desires, but out of necessity to finance his own film projects. Davie
+Allan again did the soundtrack, and again it was release on the Capitol
+Records owned Tower label. Also from the studio that year was THE BORN
+LOSERS (1967), which has the distinction of being the first "Billy Jack"
+flick. Tom Laughlin directs under the pseudonym "T. C. Frank", and also
+produced and co-wrote under still different names. Co-writer, co-star,
+and stewardess Elizabeth James plays a neglected rich girl, who's off on
+her motorcycle for spring break after being blown off by her father.
+Riding down the road in a white bikini and go go boots, she is an obvious
+target for the biker scum. Laughlin plays the expected role of a half
+breed coming to her rescue, who due to prejudice becomes a target for both
+the bikers and the sadistic cops. Bike flick regular Jeremy Slate is the
+leader of a gang with members named "Crabs" and "Gangrene", and also look
+for Jonathan Haze (star of LITTLE SHOP OF HORRORS) and Russ Meyer regular
+Stu Lancaster. Laughlin was rather nonplused, and attempted to sue, when
+AIP brought this back out after the success of BILLY JACK (1971), a
+project he was originally to have done for them. This one is a cut above
+most. Also of interest from AIP that year is THE GLORY STOMPERS (1967).
+In a tale of rival gangs from director Anthony M. Lanza, Dennis Hopper is
+the leader of the evil Black Souls, while Jody McCrea is a member of the
+not quite so evil Stompers. When Hopper's gang snatches McCrea's girl
+with plans to sell her off to slavery in Mexico, McCrea teams up with an
+old non-biker pal after the Hopper group. This one is a little thinner in
+story than the above efforts, however Hopper as an amazing psycho and a
+great party/orgy scene make it interesting. Casey Kasem is a member of
+Hopper's Black Souls, and again the soundtrack features Davie Allan.
+
+AIP wasn't done there. The next year THE MINI-SKIRT MOB (1968) again had
+Jeremy Slate along with Harry Dean Stanton as sleaze balls terrorizing an
+ex-member who now wishes to settle down with his new straight wife. THE
+SAVAGE SEVEN (1968) is another of the better efforts, from the team of
+producer Dick Clark and director Richard Rush (who also collaborated on
+PSYCH-OUT with Jack Nicholoson, Bruce Dern, Dean Stockwell, and Susan
+Strasberg that year). In this movie Adam Roarke is a biker who along with
+his Indian girlfriend bring the cyclists and natives together against
+evil. Sam Arkoff and Jim Nicholoson continued along with HELL'S ANGELS
+'69 (1969), in which director Lee Madden gives us Tom Stern and Jeremy
+Slate playing two rich kids rather than the outlaws that they usually
+were. The lowlifes in this story are played by the real Oakland Hell's
+Angels, including Sonny Barger and Terry the Tramp (most recently spotted
+on Morton Downey Jr.'s newest shoutshow), made (in)famous from Hunter
+Thompson's book. This pair hoodwink the Angels into taking the fall for a
+Las Vegas casino rip-off that they pull for kicks, and then suffer the
+gang's revenge. HELL'S BELLES (aka GIRL IN THE LEATHER SUIT, 1969)
+depicts gangleader Adam Roarke doing battle with good guy rancher Jeremy
+Slate in the desert over a stolen bike. It was directed by Maury Dexter.
+Director Bill Brame, also responsible for the incredible FREE GRASS with
+Russ Tamblyn in his initial portrayal as an outlaw, made THE CYCLE SAVAGES
+(1969). Bruce Dern is a whacked out psychopath who heads up a gang of
+sicko two-wheelers who are in the business of kidnapping and dosing up
+young girls before selling them off into slavery. Another guy who often
+plays one of the grubs in these films, Scott Brady, is a cop. Producer
+Casey Kasem can again be seen as one of the gang. American International
+would carry on into the next decade by producing ANGEL UNCHAINED (1970),
+directed by Lee Madden. In a unique plot twist Don Stroud is Angel from
+the gang The Nomads, who is a cycler taking a break from gang life through
+a solo road trip. He runs across hippy pacifist Tyne Daly, and hangs out
+with her and the other flower children at their commune. When the local
+rednecks start up trouble with the peace loving freaks, our biker hero
+calls in his buddies for a confrontation of the hippies and outlaws verses
+the hicks. In Burt Topper's THE HARD RIDE (1971), Robert Fuller returns
+from 'Nam with the body of his buddy, who's last request was to be buried
+with full biker honors. A run in with a rival gang leads to the need for a
+funeral for Fuller as well. The noted sleazemeisters, producer Wes Bishop
+and director Lee Frost, weighed in with CHROME AND HOT LEATHER (1971).
+The story has a gang lead by William Smith being tracked down by a troupe
+of Rambo-like green beret vets, in retaliation for the scumbag's brutal
+attack and murder of one of the vet's girlfriend.
+
+Of the original post-WILD ANGELS product, probably the best of the lot not
+made by AIP was HELL'S ANGELS ON WHEELS (1967). Producer Joe Soloman put
+this one together for US Films, and it was directed by the above mentioned
+Richard Rush. Laszlo Kovacs was behind the camera. Jack Nicholoson stars
+as "Poet", an introspective gas station attendant who starts hanging
+around some Hell's Angels after they roll through for some fuel one day.
+After a confrontation between Poet, Angel leader Adam Roarke, and a couple
+other members of the gang with some sailors at an amusement park in which
+one of the sailors is killed, Poet takes it on the lam with the gang. He
+rolls with them, not ready to join but enjoying his position as an
+accepted hanger. All hell breaks loose however when Poet takes up an
+interest in the gang leader's abused and neglected woman. Things come to
+a head at a party in which Roarke winds up going down in flames from a
+cycle crash during a showdown with Nicholoson's character. We're left
+with Poet contemplating what he's to do next with his life. Sonny Barger
+and his Oakland Angels are featured in a cycle cavalcade, and Barger is
+credited as "technical advisor". Everyone's favorite actor Bruno Ve Sota
+can also be seen. The movie is made better than most by Nicholson's
+greater than one dimensional performance, which is unusual for the hog
+jockeys in most of these pics. This movie was the most successful of the
+genre released that year, and exploitation veteran Soloman didn't hesitate
+to continue making product. Next up for him was ANGELS FROM HELL (1968),
+which was actually made in conjunction with American International
+Pictures, and was directed by Bruce Kessler. Tom Stern is a hardassed
+biker back from 'Nam who wants to funnel the warrior mentality he's
+acquired over there into organizing a huge gang of outlaw bikers, headed
+by him, to take on "the establishment". This is pretty shoddy in
+comparison to it's predecessor, suffering not only from poorer acting and
+direction, but also from a much greater general cheapness. Soloman has a
+cameo as a movie producer who discusses a film deal out around his
+backyard pool with Stern and the gang. In RUN ANGEL RUN (1969), Jack
+Starret directs for Soloman and Fanfare the story of ex-Devil's Advocates
+leader William Smith. When he leaves behind his old cronies, he sells out
+to "Like" magazine who put his face on their cover and tell his story as
+an expose inside. When the former cohorts find out what he's said, and
+more importantly how much he was paid to say it, they set out after him.
+Smith shaves and cuts his hair, shacks up with his girlfriend, and takes a
+job as a farm hand in an attempt to lead the straight life. But when the
+farm bosses young son exposes the new hand to the biker scum when they
+roll through town, it sets up a confrontation with bad results along the
+way for both the girlfriend and the bosses grown daughter. The Vietnam
+fixation shown in several of these movies reaches it's nadir in the next
+offering from the Soloman/Starrett/Fanfare team. In THE LOSERS (1970), a
+CIA operative recruits his biker gang leader brother and four of his
+fellow hooligans for a special operation behind enemy lines in Cambodia.
+William Smith and Adam Roarke are back as two of the recruits. The group
+is set up with dirt bikes fitted with armor and weapons, and are turned
+loose in the jungle on a rescue mission. Before meeting their demise
+during the attempt due to the traitorous pseudo-captive, one of the gang,
+an apparent vet, stops in on his whorehouse he's left behind to see how
+things are being managed.
+
+Many independent producers attempted to cash in on the new trend as well.
+Probably the first one out of the gate following Corman's ground breaker
+was Florida director William Greffe's THE WILD REBELS (1967). Greffe, who
+was to bring us THE HOOKED GENERATION next, delivered the cheap and shoddy
+movie that you would expect. Here a car racer infiltrates The Satan's
+Angels at the behest of the police as their driver in a bank robbery.
+This film was used for parody on Mystery Science Theatre 3000. Future
+pornographer and former co-star as Boo Boo in Ray Dennis Steckler's RAT
+PFINK A BOO BOO, Titus Moody, produced and directed OUTLAW MOTORCYCLES
+(1967) for Gillman. Titus has claimed that he suggested the idea of a
+motorcycle film to Roger Corman, and that this film was in production
+before THE WILD ANGELS; I doubt it. OUTLAW MOTORCYCLES has been described
+as a mondo style feature, and footage from it was recycled in the Moody
+produced and David Hewitt directed (for Thunderbird International) HELL'S
+CHOSEN FEW (1968). The later is another returning 'Nam vet drama, this
+time with Joey Daniels as a guy coming back to free his falsely imprisoned
+brother with the aid of the brother's cycle gang buddies. Hewitt's
+previous foray into these waters was with THE GIRLS FROM THUNDER STRIP
+(1966). This American General obscurity features Casey Kasem and Jody
+McCrea in a tale of a motorcycle gang's involvement with moonshine running
+and hillbilly battles. The team of Florida producer K. Gordon Murray and
+director Joseph Prieto made SAVAGES FROM HELL (aka BIG ENOUGH AND OLD
+ENOUGH, 1968) in which a naive young migrant farmworker girl falls prey to
+gang leader "High Test", played by William P. Kelley. After getting
+turned on when they go to the swamp buggy races together, the bad guy
+abducts the girl and shoots her father, and her brother and his buddy are
+forced to come to the rescue in a pursuit that includes air boats. This
+pair made the much better SHANTY TRAMP the same year. The most amazing
+entry in the early independent fare is Martin B. Cohen's THE REBEL ROUSERS
+(1967) from Four Star Excelsior. Cameron Mitchell and pregnant wife Diane
+Ladd (Does this mean that Laura Dern also deserves a screen credit?) run
+into trouble when they encounter a gang of biker scum on a beach. The
+leader of the gang is Bruce Dern, who turns out to be an old high school
+buddy of Mitchell's. This at first appears as if this will spare the
+couple from terror, until sadistic number two Jack Nicholson shows up and
+has other ideas. Harry Dean Stanton is also amongst the chopper riders.
+Dern attempts to secretly steer his old buddies wife away from harm, but
+is foiled when he loses a drag with Nicholson on the sand, where the
+winner's prize is Diane Ladd. The day is saved however when a gang of
+Mexican farmers with pitchforks arrive to the rescue. For some reason
+this star studded spectacle wasn't given a theatrical release until 1970.
+
+Eventually the straight format of biker thugs and their antisocial
+lifestyles became a little old hat, and producers found it necessary to
+introduce new wrinkles and gimmicks to maintain the genre. Some of these
+are so outrageous that they produce wonderfully hysterical film watching
+experiences, while others appear to be intentionally mocking themselves.
+The first logical step was to tell us stories of roving bands of female
+marauders. The value of including that sense of perverse sexuality
+present when women are lashing out against Middle America wasn't lost on
+exploitation filmmakers. Producer Anthony Cardoza, who had given us
+possibly the worst film ever made in THE BEAST OF YUCCA FLATS, created THE
+HELLCATS (1968) with director Robert F. Slatzer for Crown International.
+This movie, which actually isn't all that bad, tells of Dee Duffy playing
+an infiltrator into the gang, who are involved in drug trafficking and are
+suspects in the murder of her policeman boyfriend. Tough girls rolling on
+mattresses with their studs out in the forest and another soundtrack with
+the great Davie Allan and the Arrows are high points. THE MINI-SKIRT MOB
+featured both men and women gang members and was discussed previously.
+The most far out example of chopper chicks is The Maneaters gang in The
+Amazing Herschell Gordon Lewis' sleaze classic SHE-DEVIL ON WHEELS (1968).
+H.G. produced and directed for his Mayflower company, and this was made in
+Florida coincidentally, and with largely the same cast, as his JUST FOR
+THE HELL OF IT. If you've seen an H.G. Lewis epic (BLOOD FEAST, TWO
+THOUSAND MANIACS, SOMETHING WEIRD, SUBURBAN ROULETTE, THIS STUFF'LL KILL
+YOU and many more), you know what to expect. If you haven't I don't know
+if I can do justice to the experience with my description. I'll just say
+that you get to see Harley riding women select drooling slobs from a
+"stud-line", initiate a new member with motor oil and lesbianism, force
+one member to drag her boyfriend on the ground behind her bike until he's
+a bloody pulp, and decapitate a guy by stringing a piece of wire across
+the road in the path of his motorcycle. The theme song "Get Off the Road"
+is hysterical and can be heard in a cover version by The Cramps on the
+back of their "Kizmiaz" 12" single. SISTERS IN LEATHER (1969) follows a
+similar theme, but that's all I know of it. Shlock master Al Adamson (his
+genre efforts are discussed below) also contributed with the late in the
+cycle ANGELS' WILD WOMEN (1972). The movie shows four tough chicks
+terrorizing any obnoxious males who dare to get in their way. If they
+could put woman into the biker mold why not blacks? The result is THE
+BLACK ANGELS (1970) by director Lawrence Merrick for Merrick
+International. A black gang, The Choppers (played by a real biker gang of
+that name), are rivals with the white Serpents. A light skinned Choppers
+member infiltrates The Serpents for reasons of espionage, and the movie
+concludes with the expected rumble. Someone even went so far as to
+produce THE PINK ANGELS in which the bikers are indeed homosexual, but
+this rarity is hard to track down these days. Things eventually went to
+the level of horror/biker crossovers. Joe Soloman and Fanfare's last
+cycle epic was WEREWOLVES ON WHEELS (1971), directed by Michel Levesque.
+The gang here busts in on a satanic service in progress, and the results
+are members changing into beasts and killing each other. The much slower
+British release PSYCHOMANIA (aka THE DEATH WHEELERS, 1972) is Don Sharp's
+story of a leader into the occult, who directs his followers into suicide
+and an eventual rising from the grave.
+
+All time worst director candidate Al Adamson was always willing to try his
+hand at any form of exploitation which was currently selling. Al's first
+attempt for his Independent International was HELL'S BLOODY DEVILS (aka
+OPERATION M, aka THE FAKERS, 1967). Not released until 1970, Adamson
+regulars Robert Dix and John Carradine are joined by Scott Brady,
+Broderick Crawford, and Col. Sanders. The typically confusing plot has
+something to do with the cycle maniacs teaming up with an ex-Nazi and The
+Mafia in a battle with The FBI and Israeli intelligence. It's another
+feature shot by the hard working Laszlo Kovacs. There's not very many
+things which the evil Medved boys were correct about in their snide,
+condescending little books, but one of them was the declaration of SATAN'S
+SADISTS (1969) as The Worst All Time Biker Film. The Rugged Russ Tamblyn
+fleshes out his roll as a biker, which would be repeated in Adamson's more
+widely seen next film DRACULA VS. FRANKENSTEIN. This movie is the first
+actual release from Adamson's Independent International. Tamblyn is
+"Anchor", the leader of a gang which also has Scott Brady and Robert Dix
+as members. They spend their time roaming the dessert, tripping on acid,
+and kidnapping, dosing, raping, and killing young women. With them is the
+unforgettable Regina Adamson Carroll as "The Freak Out Girl". They meet
+their match in a loner Vietnam vet after raping and killing a cop and his
+wife. Tamblyn's speech to the camera in which he pleas for understanding
+for being a misunderstood outcast is memorable, but what really sets this
+one apart is an ad campaign designed to exploit the then current Manson
+murders by pointing out the similarities between the real and celluloid
+tales of LSD obsessed killers cruising the desert. The soundtrack song of
+"Satan (Theme)" features the lines, "I was born mean. By the time I was
+twelve I was killing, killing for Satan". Al wasn't done yet, with ANGELS
+WILD WOMEN discussed above still to come.
+
+There were plenty more features which attempted to prolong the format.
+WILD WHEELS (1969) was another Fanfare release, this time produced by Budd
+Dell and directed by Kent Osborne. Robert Dix is the leader of The
+Roadrunners, who are the rivals of a dune buggy gang and take part in the
+usual mayhem in this cheapie, which also featured Casey Kasem. Roger
+Corman returned to production of biker fare with NAKED ANGELS (1969),
+directed by David R. Dawdy for Crown International. In a fairly average
+story, Michael Greene is the leader of The Angles who do battle with The
+Hotdoggers in a typical desert setting. One of my favorites of the later
+period projects is director Richard Compton's ANGELS DIE HARD! (aka THE
+VIOLENT ANGELS, 1970), with old Corman actor Beach Dickerson producing for
+New World. Tom Baker is the leader of The Angels in the story, and
+William Smith is again one of the riders. It would be hard for me to
+believe that this wasn't at least a veiled attempt at parody of the genre.
+The thin story revolves around tensions with the local cops, and the
+funeral which follows a comrade's fatal fall in a road accident. He is
+killed when he accidentally runs into a sign while turning around to flip
+the bird at a driver. The high jinx involve the molesting of a woman in a
+bar which involves the dumping of spaghetti on her, an effeminate
+undertaker who comes to ride with the boys on the back of one of the hogs
+while wearing an old leather aviators helmet, and the ceremonial pissing
+into the open grave of their dead friend as a method of paying last
+respects before burial. Much comic dialog abounds as well. Scott Brady
+and Robert Dix are seen in Kent Osborne's CAIN'S WAY (aka CAIN'S
+CUTTHROATS aka THE BLOOD SEEKERS, 1970) from Fanfare, which also features
+John Carradine in a violent revenge story set in the civil war. The
+action is intercut with modern bikers on a rampage to prove some point.
+Avco-Embassy gave us Joe Namath and Ann Margret doing battle with William
+Smith's hoods in C.C. AND COMPANY (1970). In THE JESUS TRIP (1971),
+Robert Porter is the leader of a gang of bikers framed for drug smuggling
+who are being chased by an evil cop. They take refuge in a convent before
+kidnapping the Sister who hid them. The plot of this Eve Meyer(?!)
+production sounds like it has some vicious potential, but Steve Puchalski
+describes it as "Tame, lame and strictly PG level". Roger Corman's New
+World took two final stabs at the genre with ANGELS, H ARD AS THEY COME
+(aka THE SAVAGE ANGELS 1972), and BURY ME AN ANGEL (1973). The later is
+the only known bike feature directed by a woman. Barbara Peters, who
+later did HUMANOIDS FROM THE DEEP, gives us the story of Dixie Peabody as
+the shot gun toting leader a gang out to avenge her brothers death. Beach
+Dickerson is seen in front of the camera. Fanfare also tried again that
+year with THE LONERS (1972). In this Sutton Roley directed effort, Dean
+Stockwell is the leader of a hippy/biker gang which also has Scott Brady
+as a member. They are on the run through the desert, while spouting hippy
+platitudes, after accidentally offing a cop. The swan song for the genre
+is a film which has a conclusion depicting the graphic murder of a whole
+platoon of cycle riders at the hands of dirty cops and rural dweebs. THE
+NORTHVILLE CEMETARY MASSACRE (1974) was directed by William Dear, and in
+it we are treated to his story of a grubby group called The Spirits who
+get hassled, locked up, and framed for rape by the crooked law in the town
+of Northville. This gets the bumpkins riled, and the result is a
+vigilante massacre of the gang which takes place in the local boneyard
+(hence the title). The snuffing of the characters here can be looked at
+as symbolic of the end of the cycle-cycle.
+
+Many later movies would of course be made with nasty bike gangs featured,
+but these were either parodies, lame attempts at using the visual image to
+immediately connote hooliganism, or just sorry attempts to capture a style
+from a cinematic era which no longer existed. With today's mega budgets
+and narrow demographic focus, as well as the near disappearance of
+drive-in fare, there isn't much place for the pure exploitation of the
+biker film, nor for it's gratuitous depictions of rudeness, grubbiness,
+and violence, along with the occasional attempt to deliver a message of
+rugged individualism and of being misunderstood for a desire to live the
+free life. Exactly defining what is to be called a "biker" film is,
+needless to say, a bit of a fuzzy proposition. I chose to begin to
+categorize the genre with the release of Corman's THE WILD ANGELS, as this
+film pioneered the format and displays the bikers in the outlaw style
+which I believe defines the form. It's success was additionally largely
+responsible for a flood of mostly inferior product. Before this release
+movies were made which featured motorcycle gangs, but they weren't of the
+Hell's Angels/living on the fringes of society mentality which I believe
+is necessary for inclusion. Likewise there were films which fell in the
+1966-1974 boundaries which depicted some of the ugliest and meanest
+leather clad chopper jockeys imaginable, but in which they weren't the
+primary focus of the story. I've included an appendix of some of the
+titles which fall into these categories. There was no attempt to make
+these borderline film lists complete, but to supply some additional
+information just for the hell of it. I've also included a list of titles
+which (I believe) qualify for inclusion by my criteria, but about which my
+information is spotty and thus they weren't mentioned in the body of the
+article. Any help with these would be welcomed, as would any additions or
+corrections to the above. The newly acquired data will be put into the
+next issue of FUNHOUSE! (as will some comments on THE PEACEKILLERS, which
+is sitting on the shelf of my video store but didn't find it's way into my
+VCR before this was all put together). Stay free!
+
+Additional biker genre title:
+
+THE PEACEKILLERS
+ROAD OF DEATH
+THE TAKERS
+CHUBASCO (1968)
+FIVE THE HARD WAY (1969)
+THE PLAY PEN GIRLS (1967)
+WHERE ANGELS GO...TROUBLE FOLLOWS! (1968)
+WEEKEND WITH THE BABYSITTER (1970)
+THE DIRT GANG (1972)
+
+Featuring, but not focusing on primarily, biker gangs:
+
+THE ANGRY BREED (1968)
+FREE GRASS (1969)
+MONDO DAYTONA (1968) re-worked as WEEKEND REBELLION (1970)
+MONDO MOD (1967)
+THE SWEET RIDE (1968)
+RIDE HARD, RIDE WILD (1970)
+SHANTY TRAMP (1967)
+THE UNDERTAKER AND HIS PALS (1968)
+HEX (1973)
+SCORPIO RISING (196 )
+
+Pre-genre:
+
+MOTORPSYCHO! (1965)
+THE WILD ONE (1953)
+MOTORCYCLE GANG (1957)
+DRAGSTRIP RIOT (1958)
+
+More recent attempts at portraying roving gangs of two-wheeled maniacs,
+such as the credible starring vehicle for "The Boz", aren't mentioned here
+as they are out of this article's scope. One ridiculous effort that is
+worth mentioning was a made for TV joke that comes tagged onto some tapes
+of DEVIL'S ANGELS. In RETURN OF THE REBELS (1981), Jamie Farr and Barbara
+Eden are amongst the members of an old gang of outl aws who return to
+action in order to chase out souped-up van driving young punk
+troublemakers from Barbara's campsite business. Laughable. And if you'd
+like a taste of the real thing, don't forget the late-eighties documentary
+HELL'S ANGELS FOREVER, produced by the club themselves.
+
+
+How Sleazy Did Sexploitation Get? Harry K. Novak and Boxoffice
+International On Video
+----------------------------------------------------------------
+
+Harry Novak and his company Box Office International were a prime producer
+of sexploitation films in the 1960's. Movies from this period were the
+first American films to be made and distributed "above ground" that
+depicted nudity and elements of sexuality. With the pioneering work of
+the great Russ Meyer (see FUNHOUSE! no. 1), screen nudity began to creep
+into films shown in established theaters starting around 1959. While
+people were able to shed their duds on the big screen, there were still
+limits as to what could be depicted, although we can see that these are
+being challenged continuously during this time. As a consequence of the
+remaining legal questions as to how much actual sex was allowed to be
+shown, filmmakers started to show sex or sexual situations in weirder and
+stranger surroundings. This helped to keep the audiences interested,
+titillated, and buying tickets as they became bored with just seeing
+breasts and butts in a nudist camp or some other "wholesome" surrounding.
+Contemporary observers tagged these styles with titles like
+"nudie-cuties", "kinkies", and "roughies". Nudie-cuties usually involve,
+or at least attempted to, elements of silly humor. Excuses for women to
+get naked could be such things as guys with "see-through" devices, the
+women being robots built by a "mad-doctor", or the setting being something
+unreal or other-worldly where the nudity could just be a natural
+occurrence in the world in which some lucky, hapless fellow finds himself.
+Kinkies often tell of the more adventurous elements of sex which the
+typical Mr. America might not experience in his safe suburban home.
+Kinkies might depict, or at least suggest, such activities as lesbianism,
+group sex, bondage, prostitution, or spouse swapping. In these films the
+activities may be looked at moralistically or judgementally, but the
+characters are usually acting voluntarily and for their own pleasure, even
+if they are sometimes forced to pay for their sins in the end. Roughies
+on the other hand can be down right seedy. They usually incorporate
+elements of violence or coercion, and feature characters who fall prey to
+creepy sleazoids who manipulate or abuse them. Women on the run or
+otherwise in trouble, rape, torture, drugs, kidnapping, or murder can be
+elements in the plot of a roughie.
+
+The descriptions given above may trigger all sorts of unappetizing
+depictions from their sounds. But while these films would certainly never
+be labeled "wholesome", you must keep in mind that this is the film world
+of the 1960's, not the 1990's. As was said above, it was still not yet
+the post-DEEP THROAT era where it had finally been established that
+anything could be put on film for public display. In order to get around
+the limitations on on-screen sexual activity, the stories surrounding the
+sex were taken to extremes of weirdness and bizarre behavior so as to keep
+them enticing to the masses. Thus most of the sickness or kinkiness in
+the narrative is implied, worked around, or off-screen, especially in the
+earlier films. It is true that most of this material could not be
+tolerated by the overly moralistic today, and is mostly still a bit too
+strong for most broadcast TV situations. It is also the case however that
+allot of the actual carrying out of the sex acts or dastardly deeds is
+left for the viewer's own twisted mind to conjure up. There is rarely any
+frontal below-the-waist nudity, and the farthest the sex gets is usually a
+couple of people rolling around on each other, mostly filmed from the
+waist up. There is however a definite sleazy quality that hangs over
+these, and that is what makes them worthy of exploring today. The acting
+is many times extremely overplayed, the plot lines are frequently
+implausible, and the victims are often played as either utterly naive or
+deserving of their situations. In our brave new world where anything can
+be seen on video from a rental shop down the street, it is fun to watch
+the limits of what a sex hungry public was allowed to see 25 years ago,
+and to laugh at what was presented to excite before actual sex acts were
+able to be shown. In addition many of the directors of these movies had
+some strange, original, or funny ideas outside the realm of sexual
+activity which they wished to incorporate into their art, and the culture
+and style of the times is mirrored by what was considered then to be
+provocative.
+
+Box Office international was one of the major producers of this
+entertainment fare. From 1964 until 1978 they distributed a huge number
+of films for the sex circuit theaters. Unlike most of his contemporaries
+who didn't foresee any sort of reflective or nostalgic interest in this
+material, and who obviously weren't aware of the video boom, Harry Novak
+maintained the ownership of all of his movies and kept a collection of
+good quality copies. Luckily for us, and for him, this foresight has now
+paid off. Mike Vraney and Something Weird Video have recently entered
+into an exclusive deal with Novak to reproduce on video and distribute a
+large number of these works. Something Weird is a fantastic supplier of
+psychotronic fare which was thought lost, or is otherwise not available
+elsewhere. Their illustrated catalog is well worth acquiring, is fun to
+read, and includes a good selection of interesting films at reasonable
+prices. Fans of Herschell Gordon Lewis should check it out for the
+largest selection of films directed by him that I've seen from any source,
+and people interested in Dave Freidman produced sexploiters and soft core
+features should know that Something Weird also has an exclusive license
+for his productions. The catalog is $3.00 from Something Weird Video,
+ Dept. F.U.N., PO Box 33664, Seattle, WA, 98155. .
+
+The following lists productions of Box Office International, and films
+that were distributed by Box Office International Film Distributors, Harry
+Novak, Harry H. Novak, and Harry Novak and Associates. Additionally some
+titles are referenced as being distributed by Harry Novak by Mike Vraney
+in the Something Weird Video catalog, or by Charles Kilgore in his article
+in Cult Movies And Video #6. "" following the entry indicates that it
+is currently available from Something Weird Video.
+
+The Touchables (1961)
+The Ruined Bruin (1961)
+Queens' Wild (1963)
+Hawaiin Thigh ( )
+Kiss Me Quick aka Dr. Breedlove (1964)
+Artist's Studio Secrets (1964)
+The Beautiful, the Bloody, and the Bare (1964)
+My Tale is Hot (1964)
+Raw Weekend (1964)
+Nudes Inc. (1964)
+The Beast That Killed Women (1965)
+Crazy, Wild and Crazy (1965)
+Nude Scrapbook (1965)
+Flesh and Lace (1965)
+The Wonderful World of Girls (1965)
+Tales Of A Salesman (1965)
+The Agony Of Love (1966)
+Always on Saturday (1966)
+Indiscreet Stairway (1966)
+Naked Fog (1966)
+Mondo Keyhole aka Rape, The Worst Crime Of All (1966)
+Hot Hands of Love (1966)
+Cool It, Baby (1967)
+Diary of a Swinger (1967) Free Love Confidential (1967)
+The Girl With Hungry Eyes (1967)
+Mini-Skirt Love (1967)
+Pain and Pleasure (1967)
+Venus in Furs (1967)
+Mundo Depravados (1967)
+My Body Hungers (1967)
+Red Roses of Passion (1967)
+Mondo Mod (1967)
+Devil in Velvet (1968)
+Four Kinds of Love (1968)
+Kitten in the Cage (1968)
+Mantis in Lace aka Lila (1968)
+Suburban Pagans (1968)
+Women of Desire (1968)
+Acapulco Uncensored (1968)
+The Love Clinic (1968)
+Behind Locked Doors (1968)
+Naked Pursuit (1969)
+The Secret Sex Lives of Romeo and Juliette (1969)
+Weekend Lover (1969)
+The Concubines aka The Notorious Concubines (1969)
+Dracula, The Dirty Old Man (1969)
+Riverboat Mama aka Muddy Mama (1969)
+Escapades in Mexico (1969)
+Wanda (The Sadistic Hypnotist) (1969)
+Erika's Hot Summer (1970) (with Erika "Vixen" Gavin)
+Judy (1970)
+Machismo-40 Graves for 40 Guns aka Revenge of the Wild Bunch (1970)
+Substitution (1970)
+2,000 Weeks (1970)
+Wild, Free and Hungry (1970)
+The Notorious Cleopatra (1970)
+Tobacco Roody (1970)
+Wilbur and the Baby Factory (1970)
+Sandra, Making of a Woman (1970)
+Overdose of Degradation (1970)
+Roseland (1970)
+Country Cuzzins (1971)
+The Exotic Dreams of Casanova (1971)
+The Toy Box (1971)
+I Drink Your Blood (1971)
+The Black Alley Cats (1971)
+Below the Belt (1971)
+The Takers (1971)
+The Godson (1971)
+Sweet Georgia (1971)
+Please Don't Eat My Mother aka Glump! (1972)
+The Pigkeepers Daughter (1972)
+The Mad Butcher (1972)
+A Scream in the Streets aka Girls in the Street ( )
+Midnight Plowboy (1973)
+The Dirty Mind of Young Sally (1973)
+Frankenstein's Castle of Freaks (1973)
+Just the Two of Us (1973)
+Caged Virgins aka Dungeon of Terror ( )
+The Sinful Dwarf (1974)
+Booby Trap aka Ten Seconds to Murder (1975)
+Behind Locked Doors aka Two Girls for a Madman aka Anybody, Anyway (1975)
+The Rattlers (1976)
+The Child aka Hide and Go Kill (1976)
+Axe (1977)
+Kidnaped Coed (1978)
+Hitch Hike to Hell (1978)
+Toys are Not for Children ( )
+
+Most of the seventies (post-hardcore) titles are horror, action, thriller
+etc., or something other than sexploitation. They are listed here just
+for reference. All of the Something Weird releases fall into the
+softcore/sleaze category. A number of the seventies titles have been put
+out on video by other labels over the years.
+
+With the recent excavation of this trashola by Something Weird, FUNHOUSE!
+has undertaken the task of viewing a selection of titles and providing
+synopses and commentary. Additionally, a "sleaze factor rating" is
+presented (one to four "AO's" - that's as in "Adults Only!"). Note that
+this rating is based on the seediness, creepiness, and weirdness of the
+productions, not their quality or even overall entertainment level.
+
+
+KISS ME QUICK aka DR. BREEDLOVE OR HOW I LEARNED TO STOP WORRYING AND LOVE
+(1964), dir: Seymour Tuchas aka Peter Perry, color, 67 min.
+sleaze factor rating = AO
+
+This is basically a nudie-cutie, but it's theme is so ridiculous that it
+makes it much more fun to watch than the standard IMMORAL MR. TEAS rip-off
+or nudist camp feature of the period. Cinematography here is by "Lester"
+(aka Lazlo) Kovacs, and Russ Meyer IS NOT affiliated as is stated in the
+Psychotronic Encyclopedia. The story is about a bumbler who is from the
+"Buttless Universe" on the planet "Drouppeter", where there are no women,
+being sent to earth to bring back a perfect specimen (the basic MARS NEEDS
+WOMEN theme, although pre-dating that Larry Buchanan classic by two
+years). He appears in the lab of "Dr. Breedlove", who is conducting
+experiments to create the ideal woman. This would be one who is perfectly
+endowed and completely serves and obeys men. The bumbler tries to talk
+and act like Stan Laurel, while the doc attempts to talk like Bela Lugosi,
+and the narrator speaks in a Peter Lorre voice. We proceed to watch the
+doc try to provide this perfect woman, which involves looking at allot of
+nude females. On occasion a vampire, a mummy, or the Frankenstein Monster
+makes on appearance, and we are informed that these are "failed
+experiments". A talking skull also throws it's two cents in from time to
+time. Highlights are the "sex bombs" go going to some ripping surf tunes
+by The Gall Stones, and a nude in the exercise room using one of those
+vibrating belt machines. In the end the visitor, given his choice of all
+of Doctor Breedlove's creations to take back with him, opts for a vending
+machine. All the monster make-up is ridiculous, especially the doc's who
+has drawn-on stitches on his face. This film was actually pretty racy for
+the year 1964, showing a good deal more nudity than was contemporarily
+conventional. It would make a great triple feature with HOUSE ON BARE
+MOUNTAIN by Lee Frost, and ORGY OF THE DEAD by A.C. Stephens. William
+Rotsler (see THE AGONY OF LOVE and MANTIS IN LACE) was a still man on this
+movie. This is considered a great find for Something Weird by some fans,
+as allot of people have known about it and been anxious to see it for some
+time. This notoriety is probably due to a G-rated spread which was
+printed in "Famous Monsters Of Filmland" at the time of it's release.
+
+
+THE AGONY OF LOVE (1966), dir: William Rotsler, black and white, 83 min.
+sleaze factor rating = AO AO
+
+Boxoffice's first diversion from nudie-cuties, this black and white kinky
+is raised above it's peers by the relative talents of it's creator,
+William Rotsler. Rotsler, a writer for Adam Film World, wrote, produced,
+edited, and directed it. Also greatly benefiting the film is the starring
+role of Pat Barrington, who was recruited after being spotted in the A.C.
+Stephens/Ed Wood classic ORGY OF THE DEAD. She has a great build, and is
+FAR more attractive than the typical starlets of films of this sort.
+Barrington is "Barbara" by day, and "Brandy" by night. Rotsler gives us a
+psychological study, told through Barrington's visits to her shrink (who
+has Groucho greasepaint eyebrows). She talks of feeling unwanted and
+unloved by the men in her life: her moralistic father and her workaholic
+husband. Her neurosis leads her to a night life of prostitution where the
+customer's pay her for her time and love - she thus feels useful and
+wanted. While wearing shades she confesses her escapades to her
+psychiatrist. In one she meets with a fat sweaty guy, another has a slob
+watch her strip while he stuffs his face with food, and there's an
+encounter with political conventioneers from Utah who speak with
+>southern< accents. She herself pays to be with a bearded artist, as she
+is buying attention. With him she has a roll involving another woman,
+foot fetishism, and he slaps her around because, as she says to her
+doctor, "I need to be punished". Every paid encounter begins with her
+saying, "Now that you've bought me, what do you want to do?" At another
+point she looks in her mirror and says, "Whore!". A great scene has her
+describing her nightmare, where we go to that "fuzzy camera of dreamland"
+effect, and see strings of dollar bills come at and wrap around her as
+voices say, "Barbara - Brandy - Barbara - Brandy". The whole sordid tale
+comes to an end when her husband sets up a liaison for a client in from
+Houston. When the client says, "get yourself one", he reluctantly agrees.
+Well you can guess what happens is that he goes into a room and finds his
+wife rolling around with one of these guys. When they see each other she
+dresses and runs out of the room with him chasing. We then watch her
+running down Hollywood Boulevard, which is the same scene that opens the
+film, and we have that old "wrap-around" effect. The movie closes as she
+jumps in front of a car and dies. This film is similar to others in that
+most of the actual sex act are implied or off camera. The extent of the
+on camera action is almost always a topless women in her underwear rolling
+around on a bed with a guy in HIS underwear, or just as commonly, in his
+long pants - that's it, they're done! Like others the sets are sparse and
+the extras few here, but Rotsler's direction and editing makes some sense,
+and the camerawork is competent.
+
+
+COOL IT, BABY (1967), dir: Lou Campa, black and white, 75 min.
+sleaze factor rating = AO AO AO
+
+Lou Campa makes William Rotsler look like Russ Meyer. This seedy little
+roughie oozes from the very beginning. It's almost all done in medium
+shots or close-up to save on the need for sets or extras. It opens with a
+woman, Eleanor, being shown a loop of herself engaged in a sexual
+encounter. The villainous Monica (Beverly Baum), and her sidekick Herman,
+are using the film to blackmail Eleanor into "joining our club", else her
+husband be shown the evidence. In silhouette the evil Monica states,
+"Cooperate - You have no choice". After the titles we are in a courtroom
+where the woman is testifying. All we see is a desk shoved into a corner
+next to a file cabinet with a judge sitting at it. The witness is sitting
+at the side of the desk and the prosecutor crowds into the scene. The
+rest of the film is made up of footage shown over the words of the various
+witnesses giving incriminating evidence against Monica. The woman of the
+opening scene is an aspiring actress who was picked up in a bar by Herman,
+with the promise of introducing her to a producer at a party. Once there
+she is drugged and drunked up, and then is enticed to strip in order to
+show her figure for some potential "beach scenes". When the drugs take
+effect she winds up rolling around semi-nude with a guy with "spare tires"
+and tattoos. From Herman's testimony we learn of the strange,
+controlling, sexual power that Monica has over him. They were arrested
+for taking nudie pictures, during which a flashback shows Monica becoming
+over excited and taking a belt to the model. A crooked Asst. DA sets up a
+deal with them where he drops charges and they manage his house of ill
+repute. The next testimony comes from a 17 year old orphan who was
+arrested for shoplifting, just so that she could eat after becoming broke
+from the expense of burying her parents. The dirty Asst. DA sends her to
+live with "foster parents" Monica and Herman. She is shown smoking, "...a
+strange cigarette, it was a marijuana". Monica punishes her by towel
+wrapped soap, and then she is prepared for "the ritual". This
+satanic-like weirdness, for some reason, gets the girls ready to "work" in
+the house. The teen then testifies that some of the sex was "not normal",
+and we see close-ups of a plug being inserted in and out of a socket,
+after which the victimUs head and shoulders are shown to contort. We are
+additionally treated to the spectacle of Monica and Herman catching an
+undercover policewoman from the Asst. DA's tip. While she is chained up
+by her hands Monica gets too rough and kills her. The final witness is
+the cop who busted the place. He says that everyone was so zonked out
+that they thought it was a game. He recalls the really bizarre things he
+found, the dead policewoman and the woman on the alter, who was ... his
+wife! Yes the blackmailed woman from the beginning of the film is this
+cop's spouse. Things get wrapped up as sentencing is passed down. The
+Asst. DA is said to have committed suicide but Monica is still on the
+loose. We close with her reclining on her bed in full body tight lingerie
+and plotting her revenge. The end credits say, "The End (Or is It?)".
+Again there are only slight bits of toplessness, and mostly women in their
+underwear. All of the real strange stuff is described or off screen. This
+one still is a pretty lurid affair.
+
+
+FREE LOVE CONFIDENTIAL (1967), dir: Gordon Heller, black and white, 70 min.
+sleaze factor rating = AO AO
+
+This mild roughie opens with two mod looking girls cruising through
+Hollywood in a convertible. They buy a copy of the LA Free Press from a
+hippy on the street, and then the credits role. Kaye (Karen Miller) is in
+bed sharing a common experience with many of the female characters in
+these movies; sheUs a sexy woman who wants to have some fun, but is
+rejected by her husband whose mind is on other things. He pushes her away
+and says, "Save it for the weekend". As Kaye and her husband sunbathe by
+their pool, he reads The Wall Street Journal and she reads her Free Press,
+her French friend Gieselle (Yvette Corday) drops by. After the husband
+leaves, Gieselle talks Kaye into answering an ad in the paper to pose for
+a "hip" photographer. Kaye becomes a little apprehensive, and Gieselle
+tells her, "Why can't we have some kicks - don't be a square". When they
+get there the photographer (John Warner as Robin) asks them if they "turn
+on", and after putting some tunes on tells them that "this music and a
+little grass and we'll wailS. He tells Gieselle that his gr ass is "250
+Special" (whatever that is!). As you can imagine, this leads to the three
+of them having a roll on the bed. As the fun winds down, the girls take
+turns photographing the other undressed with Robin. When they leave they
+think that they have the film, but when it's developed the roll they took
+is found to be blank. Gieselle calls the studio but finds that Robin is
+out of town. The person she talks to tells her to come down the next day
+to work it out. The girls meet up with Mickey, a "guy" in a loose fitting
+suit, leather gloves, sunglasses, and an unlit cigar. Kaye and Gieselle
+are told that they can buy the film for $500, but if they don't have the
+cash they can earn it. They're blackmailed with the threat of the photos
+being printed in a sex mag. As Mickey cracks the whip, literally, the
+women are told, "Daddy needs a kiss". It doesn't take long before the hat
+comes off, and what was obvious to all of us becomes known to Kaye and
+Gieselle; Mickey is a woman. They opt to get the $500 another way. In a
+panic it is decided that they will break into Kaye's husband's office to
+steal the dough - a caper at which they succeed. Kaye is able to score
+some more coin from her man when, for some reason, he gets an urge for
+her. She offers to sell herself for $500! When she inquires what he
+wants to do with her now that she is bought, the response is, "something I
+read about in a magazine and always wanted to try". Now set with the
+money, Mickey arranges to meet the girls in a go go club called The Mojo.
+A real freak scene is going down at this psyche-out joint. A Leary type
+roams with his flock and there is fluorescent body painting. The "Leary"
+gives the girls some electric kool-aid, or as he calls it some "love
+cosmology". Just as the trip is getting underway, Mickey takes the stage
+with big leather boots and whip. Through the fuzzy camera acid blur
+effect we watch her performance backed by wild guitar. At this point Kaye
+freaks out and attacks Mickey yelling, "Die you bitch, damn it die!".
+Mickey falls to the stage with blood oozing from her mouth. We flash
+forward to the morning after, where the club is littered with crashed
+burn-outs. Kaye wakes screaming to Gieselle, "I bashed her head in like a
+melon". But no, it was all just a hallucination. As they trip out the
+front door, Robin pulls up, just back in town with the film they want. He
+gives it over and the ordeal is done. "I'd give anything to be just a
+bored housewife again" comments Kaye, and at story's end it looks like
+she'll get her wish. This is a not too bad of an effort as far as these
+flicks go. You've got acid, sex, blackmail, hipsters, a go go club, and a
+little blood - everything you could want! The direction isn't terrible
+either.
+
+
+MINISKIRT LOVE (1967), dir: Lou Campa, black and white, 74 min.
+sleaze factor rating = AO AO AO
+
+I don't know where this title comes from, as there isn't a miniskirt
+(miiiiny skiirt Jerrwy) in sight. Another Lou Campa cheapo, but this one
+is more incompetent than COOL IT BABY. It opens with the standard husband
+ignoring the wife scenario. As she criticizes his lack of attention, he
+states that he's got allot on his mind thinking of a business deal. We
+then flashback to his pulling into a motel with a girl he is setting up
+for his client, who winds up seducing him. The girl is black, which is a
+rarity in movies from this period of this sort. When we return to the
+present, the 15 year old son Billy (who looks to be about 25) comes into
+the room. He's a bit simpleminded. He shows his pop the pictures he's
+taken that day, and when pop sees a certain set he slaps the kid and sends
+him to his room. As the mother consoles him upstairs and wonders why this
+happened, Billy's reply is, "All I did was show him the pictures of you
+and Mr. Johnson playing in bed today". We go to the husband throwing down
+shots and staring at the pictures. As his wife kneels before him and begs
+forgiveness he slaps her and pushes her away. This is the intro! We are
+now flashed about five seconds of credits - Cam-Scope presents Miniskirt
+Love starring Miss Marie Brent - and then back to the action. We find
+that the woman has stabbed her husband in the chest, and Billy is snapping
+photos of the mother and the bloody body. The main story gets underway
+with Aunt Janet coming to take care of Billy, after his mom is locked away
+in the psychiatric ward. Aunt Janet first appears with spinster style
+clothes and hair, but after her initial encounters with the authorities
+she goes to a mod look which she sports throughout the rest of the movie.
+When Janet first sees Billy he's asleep, and she pulls some pictures out
+of his pocket. She takes these and later looks at them while in bed, but
+we never have any idea what's going on with them. The next section
+depicts Janet's meeting Billy as he comes home from school by rolling on
+the lawn with him, some totally irrelevant and unexplainable footage of a
+bunch of squares dancing to a clean cut rock combo wearing ties, and
+Janet's eventual climbing into bed with Billy while naked. All of a
+sudden across the screen comes - 5 Years Later -. Janet is seeing "Bill"
+off to work, with him wearing a goofy plaid jacket and tie. After a
+cosmetic sales girl shows up and seduces Janet, while Bill returns, finds
+them, and winds up taking photos and then joining in, news comes that
+Bill's Mom is returning from the mental ward. There's some concern
+between Janet and Bill that the return will mess up their situation, and
+Bill agrees to "put her up in my old room to keep her out of the way". It
+turns out that the mother is still a little loopy, and at one point talks
+about the father being away in Boston for the weekend. Mom wakes up from
+a rough sleep, in the nude, and starts moaning "Peter I want you" while
+staring out the window, to the sounds of strange loud noises. There is
+then another unexplained insert of silent footage of her rolling in bed
+with a guy we've never seen before. Back in reality she rushes downstairs
+and pulls the milkman into the house. As she rips his clothes off and
+they squirm on the kitchen floor, Bill emerges and starts snapping
+pictures. Janet follows, watches, cracks a big smile, and - The End - is
+flashed. This movie is pretty poorly made, with lots of sloppy edits and
+inserted footage that make no sense. The extra scenes were probably used
+to try to pad this thing out, as in the version I saw it seemed to run
+about ten minutes short of the stated time. The sex scenes are entirely
+the standard as has already been described, but here the men drop their
+drawers a couple of times, however never while rolling with a woman, and
+nothing frontal is seen.
+
+
+MANTIS IN LACE aka LILA (1968), dir: William Rotsler, color, 73 min.
+sleaze factor rating = AO AO
+
+MANTIS IN LACE is one of the most well known of all of the Something Weird
+releases. This movie was originally put out under the MANTIS title in an
+R-rated version for drive-in type situations, and in an unrated version
+titled LILA with more nudity and blood for release on the
+exploitation/grind house circuit. The version that had been previously
+put out on tape was the edited version, however Something Weird's is the
+first ever video release of the more graphic one. The story is very
+basic: go-go dancer (Susan Stewert as Lila) picks up goon, brings goon
+home, takes acid, and stabs goon while having simultaneous sex and bad
+trip (she never has a good trip, but keeps dropping the dope). But what a
+way-out concept! This is basically along similar thematic lines as an
+H.G. Lewis film; a weird thread with some sex and gore thrown in for good
+measure (though I will say the direction [Rotsler] and cinematography
+[Oscar winner Lazlo Kovacs] is MUCH better than in any of Herschell's
+films). Good scenes are of the Sunset Strip were we see The Youngbloods,
+Things To Come, and Procol Harum on the Whiskey A Go-Go marquee,
+Gazzari's, and a sign advertising an "LSD Review". Also all of Lila's
+strange trips. In one she cuts into a sandwich, which changes to a knife
+cutting through a bloody arm. Referring to this scene Rotsler notes, "The
+lab lost a vital 400-foot roll and Peter Perry (of KISS ME QUICK) did a
+magnificent job of editing without anything to edit." Other highlights
+are Lila saying, "My law says groove baby, stay up and don't come down",
+and the shocking scene of blood splattering on her bare chest as she
+brings down the meat cleaver. It has been reported by some that it was
+producer/writer Sandford White who desired more gore, but Rotsler himself
+says, "It was not the producer's idea to add the extra blood to MANTIS IN
+LACE, but that of a man in the Washington, DC area who had a number of
+theatres -- HE wanted more blood. So we rented the same stage and used my
+grandfather's meat-axe, and every time she chopped down two fat guys threw
+paper cups full of blood on her." Rotsler employs a number of those
+cheapo drug use effects, such as kaleidoscope lenses, spinning cameras,
+colored lights, and visages of such items as bananas in place of a
+victim's head. One of the victims is Stu Lancaster, star of many a Russ
+Meyer epic. While the bodies continue to disappear the bumbling cops
+begin to investigate. This allows us to follow them into various topless
+bars and sunset strip type psychedelic go go clubs, which gives us the
+opportunity to watch a number of other topless dancers. Among those
+featured is Pat Barrington (see AGONY OF LOVE). It isn't the cops who
+solve the crime, but a real estate agent who comes to show the thought to
+be unoccupied warehouse in which Lila is staying, and stumbles across the
+mayhem. That's about it, but the general shallowness of the development
+of the plot is more than made up for by the crazy combination of topless
+go go dancing, acid tripping, and bloody murder. The movie is still
+however more of a nudie flick than a gore flick, with an ample showing of
+female breasts, and the displayed violence being actually minimal. With
+the budget he had to work with, Rotsler turned out a film a step above
+others of it's type in quality.
+
+
+SUBURBAN PAGANS (1968); dir: Shannon Carse, black and white, 75 min.
+sleaze factor rating = AO AO AO
+
+The operative word with this kinky is CHEAP. It is one of the emptiest in
+story and shoddiest in production value of any films of this sort that I
+have yet experienced. We start with a TV reporter (James Brad), with the
+seemingly obligatory fake mustache, interviewing Lt. Art Grennell about
+the latest case he's wrapped, an evil group of San Fernando Valley
+swingers. The headlines scream, "EXTRA - VALLEY WIFE SWAP CLUB EXPOSED".
+We are never really informed about just why it is illegal for a group of
+consenting married adults to get together and trade spouses, but the Lt.
+does give us a bit of his moralizing as to the cause. He describes "a
+lower standard of morality because of tensions over war and our religion
+proving to be inadequate". He philosophizes that we are "going back to
+the hedonism of Greece and Rome". When he states that, "Man being then
+kind of animal he is, there are undoubtedly other clubs like this
+functioning at this moment", we cut to the action. After a sweep of the
+city, we see a group picking each other's house keys from a wastebasket to
+determine the current pairings. The featured actresses are Cara Peters,
+Kathleen Williams, Christine Thomas, and Carole Sanders. The rest of the
+plot is mostly taken up with the featured couples going through a variety
+of the swinger motions. The film is incredibly badly made. There is
+voiced over dialog when the actors supposedly saying it aren't actually
+talking on screen. The men are particularly scummy, being mostly hairy
+and overweight. As is the convention, most of the sex involves women
+stripped down to their underwear, and guys that usually don't get out of
+their long pants. Half the time their shirts are only unbuttoned - such
+hedonism! This film does show more female nudity, and does so for more
+extended periods of time, than many others. It also at least partially
+depicts activities such as group sex and lesbianism. The only diversions
+from the devious group activities are depictions of how the wives lure a
+new woman into the group, the attempted blackmail of one member (even
+though his wife also participates) by a guy with a camera stuck through a
+picture hanging on the wall, and a strip poker game where the men bet
+their wives clothes, and the wives. This film qualifies as a
+three-sleazer mostly by the fact that it's so shoddy. The direction is
+horrible, there's no continuity, the overdubbing is atrocious, and the
+dialog and story line are comical. Along with the relatively greater
+explicitness of the sexual situations, this ultra cheapness knocks it up a
+sleaze level. H.G. Lewis did this story better, however without any
+nudity, in his SUBURBAN ROULETTE (1968). The best part of the movie is
+the overdubbed garage rock score. At one point, while Magical Mystery
+Tour is shown spinning on the record player, the instrumental section of
+The Leaves doing "Hey Joe" is heard on the soundtrack.
+
+All of the films above, as well as many other Something Weird releases and
+like titles from other distributors, are available for rent from Le Video,
+at 1239 Ninth Ave (between Lincoln and Irving) in San Francisco.
+
+
+Mutant Rocker Profiles: The Standells and The Flamin' Groovies
+---------------------------------------------------------------
+
+THE STANDELLS:
+
+The Standells were one of the more productive, and one of the best, of the
+California mid-sixties garage punk bands. Their three albums containing
+original material for the Capitol Records Tower subsidiary contain some of
+the growlingest, in your face, don't mess with me messages of youth angst
+and rebellion from the period. The best songs always contain heavily
+danceable tunes carried by loud, feedback punctuated guitar riffs, wild
+organ wailings, and choruses which demand your participation. The
+inspiration was definitely from the Rolling Stones, as it was for many of
+their contemporaries of both good and poor quality. The Standells were
+however able to add their own distinct mark to that base, and over about
+three years created some standout material which still holds up today.
+Their beginning wasn't so auspicious however. The original line-up of
+Larry Tamblyn (brother of actor Russ Tamblyn, himself star of such films
+as SATAN'S SADISTS, FREE GRASS, and THE FEMALE BUNCH [see Biker Films
+article in this issue] as well as TWIN PEAKS) on keyboards and lead
+vocals, Tony Valentino on guitar, Gary Lane on bass, and Gary Leeds on
+drums formed in 1962, and existed as a working, clean cut, cover band,
+playing the hits of the day. When in 1963 Dick Dodd, a former Mickey
+Mouse Club member, replaced Leeds with the sticks, the first seeds were
+sown for what was to come. It would still be a little while in arriving.
+They were actually rather successful at their chosen occupation, making
+appearances in the movie GET YOURSELF A COLLEGE GIRL (1964), and being
+heard on the soundtracks of the films WHEN THE BOYS MEET THE GIRLS (1965),
+and ZEBRA IN THE KITCHEN (1965). In addition the TV shows THE MUNSTERS,
+BEN CASEY, THE LLOYD THAXTON SHOW, SHINDIG, AMERICAN BANDSTAND, and local
+to Los Angeles SHEBANG, SHIVAREE, HOLLYWOOD A GO GO, and HOLLYWOOD
+DISCOTHEQUE featured appearances. Here they were seen, and on the film
+soundtracks heard, laying down standard cover version of such hits as
+"Louie Louie" and "Boni Maroni". They even put out a couple of live
+albums of like material recorded at trendy Hollywood go gos, from which
+several unsuccessful singles were culled (see additional discography
+section below). 1965 was rounded out by a brief stint at VeeJay records,
+a label infamous for acquiring the rights to the Beatle's PLEASE PLEASE ME
+album prior to American Beatlemania, and then subsequently re-issuing it
+under four or five different titles. For this label they put out a pair
+of seven inchers produced by Sonny Bono. The first, written by Mr. Cher,
+was "The Boy Next Door" backed with the instrumental "BJ Quetzal". The
+second Bono production was a cover of "Big Boss Man" backed with "Don't
+Say Goodbye". Reportedly none of this is particularly noteworthy.
+
+Things picked up however with the band's signing to the Tower label in
+late 1965. There they hooked up with songwriter and producer Ed Cobb, who
+himself had formally been a member of The Four Preps, and the punk rock
+which makes this article worth writing was created. Cobb gave them a tune
+he penned in homage to his hometown of Boston, and encouraged them to cut
+loose and find their own more hard rocking style in the recording of it.
+"Dirty Water" wasn't initially a hit, and there was even a brief period
+when drummer Dodd left the band out of frustration to be replaced with
+future Buffalo Springfield member Dewey Martin. Dodd's departure was
+short lived however, and he returned in time to be part of "Dirty WaterUs
+delayed take off in mid 1966 to #11 on the national charts. The tune is
+still heard on AM "oldies" stations to this day. The uptempo beat, loud
+guitar, sneering vocals, and attitude displayed on that hit track would
+characterize the group's best material throughout the rest of their
+career. Ed Cobb and his Green Grass productions would continue to handle
+the production chores the rest of the way, and would supply them with many
+of their better songs as a writer as well. The albums that follow are
+similar to many LP's of the sixties, in which a single or two is
+highlighted and the other material is second billed. Most groups would
+fill out the rest of their twelve inch records with limp cover tunes or
+filler that wasn't given much thought to in it's composition. While there
+is a little of that here, what causes The Standells to stand out is the
+large number of quality songs that take up a great deal of the space on
+these records. That same edge which was unveiled in the first Tower
+single was carried on throughout many of their subsequent recordings. Ed
+Cobb also produced the great Chocolate Watchband for the Tower label at
+this time, and their recordings are likewise strongly recommended. If
+you're curious as to what a "Standell" is, so am I. The source of the
+name was something the band always refused to name when they were
+together, and I have yet to hear it defined.
+
+The Tower LPUs are discussed individually below:
+
+DIRTY WATER
+Tower 5027, 1965
+Medication / Little Sally Tease / There Is a Storm Coming / 19th Nervous
+Breakdown / Dirty Water / Pride and Devotion / Sometimes Good Guys Don't
+Wear White / Hey Joe, Where You Gonna Go? / Why Did You Hurt Me / Rari
+
+This album was recorded and released with only the "Dirty Water" single
+under their belt for Tower, and there is thus a wealth of material here
+that could have been put out over a series of singles. The opening track,
+which tells of the pleasures of woman as drug, lets you know right away
+that these guys had completely given up on lyrics with safe themes in
+their early cover band days. The track is also included in a more
+psychedelic version on the Cobb produced Chocolate Watchband album "Inner
+Mystique". Sexual tension carries over in the raging vocals and
+mid-section rave-up of the self-evidently themed "Little Sally Tease". The
+Cobb written "There Is a Storm Coming" won't let you sit down if you've
+been dancing to the first two tracks. The weak spots on this record are
+the covers of "19th Nervous Breakdown" from the Stones, and "Hey Joe"
+which was done by just about every garage band from this period. It must
+be said that with the relatively quick production time of this album, and
+the common practice of utilizing cover tunes by most artists, the presence
+of these is excusable, and they are in fact quite respectable versions.
+The complaint is the standard one that these recordings don't at all
+improve on those that were already out. You'll in no way be reaching for
+the tone arm to skip over them however. The rest of the LP is mostly hard
+rocking solid. The title track winds up the first side with it's sing
+along chorus worthy of oi, while Larry Tamblyn's mid-tempo "Pride and
+Devotion", a song that doesn't quite stand by itself, opens up the second.
+Things get going hard and fast after that with my pick for the best
+Standells song of them all, "Sometimes Good Guys Don't Wear White".
+Tamblyn growls through the Ed Cobb composition with conviction. It's a
+defense of rebellious youth against clean cut trendy jock attitudes, where
+such lyrics as "If you don't like this long hair get yourself a crewcut
+baby", and "If you think those guys in the white collars are better than I
+am baby, *flake* off!" are delivered to a woman over a monster guitar riff
+and loud organ fill. Fans of hard core music may have heard the cover by
+Minor Threat on their "Salad Days" EP. This was the next single and it
+reached #43. "Hey Joe" follows, and is wild enough to carry you into the
+final two hard edged winners. "Why Did You Hurt Me" picks up a theme of
+angst over rejection that is common in Standells compositions, while
+Cobb's "Rari", the B side of "Dirty Water", is equally solid. The boys
+look extremely mod on the cover, decked out in attire such as plaid pants,
+big belt buckles, a red turtleneck, and a burgundy denim jacket. With
+mostly outstanding material and without a real stinker in the bunch, this
+is the best of the original albums.
+
+* note - If you're aware of a cover version of "Hey Joe" send in to
+FUNHOUSE! the artist or group by email, and you'll be rewarded (if you
+please) with a return listing of the entire output of American
+International Pictures!
+
+WHY PICK ON ME - SOMETIMES GOOD GUYS DON'T WEAR WHITE
+Tower 5044, 1966
+Why Pick On Me / Paint It Black / Mi Hai Fatto Innamorare / Black Hearted
+Woman / Sometimes Good Guys Don't Wear White / The Girl and the Moon / Mr.
+Nobody / My Little Red Book / Mainline / Have You Ever Spent the Night In
+Jail
+
+In the Summer of 1966 The Standells got the opening slot on The Rolling
+Stones tour, and in the course of it bassist Lane quit and was replaced by
+Dave Burke, who's heard on this album. The LP has some of the best songs
+the group recorded, but coming so quickly after the previous one, some of
+the filler tracks suffer from second albumitus. "Why Pick On Me", written
+by Ed Cobb, was the next single and was promoted here as the title cut in
+conjunction with the inclusion (again) of the next most recent single,
+"Good Guys". "Why Pick On Me" is an excellent example of that anguish
+over the lost woman theme, containing torture filled cries such as, "Do
+you get your kicks when you see men cryyyyyyy!?" It went to #54 on the
+charts. "Paint It Black" is another example on the non-improved on cover,
+and "Mi Hai Fatto Innamorare" is a bone thrown to Italian guitarist
+Valentino that doesn't really work. "Black Hearted Woman" is a
+magnificent pick up from where "Why Pick On Me" left off, with a slow
+feedback laced growl building to a rant about a woman making a fool out of
+singer Tamblyn. Man these guys had bad luck with the dolls. Side one is
+closed out with the previously discussed, and still amazing, "Good Guys".
+Opening side two, "The Girl and the Moon" is a rather light pop song for
+this band, but "Mr. Nobody" gets things back on the right track. Larry
+Tamblyn's song tells of his proud triumph over his vanquished foe in their
+competition for a girlUs attention, much in the braggart style of "Good
+Guys". A wild guitar solo with vocals of "Mr. Nobody, that's who you are"
+layered over it are a highlight. A decent enough cover of "My Little Red
+Book", most well known from it's hit version interpretation by Love is
+next, but the final two cuts end the record in the same spectacular
+fashion as the last LP. "Mainline" is a fun and uptempo track concerning
+the quest for a good time in a boring town, while Ed Cobb's "Have You Ever
+Spent the Night In Jail" is a funny retelling of his bust in a protest, to
+the tune of an almost country rock heavy beat. The top songs here are as
+good, and maybe even better, than any other Standells material. But the
+weaker material isn't up to the level of the lesser tracks on the other
+two non-cover Tower LP's. On DIRTY WATER and TRY IT the secondary cuts
+are still quite listenable and do just fine in the context of the rest of
+the album, but some of the throwaways on WHY PICK ON ME are just as well
+skipped. "Why Pick", "Black Hearted Woman", "Mr. Nobody", "Mainline", and
+"Night In Jail" are however all essential.
+
+THE HOT ONES!
+Tower 5049, 1966
+Last Train to Clarksville / Wild Thing / Sunshine Superman / Sunny
+Afternoon / Lil' Red Riding Hood / Eleanor Rigby / Black Is Black / Summer
+In the City / 19th Nervous Breakdown / Dirty Water
+
+What did I say were the weak links in the above two albums? So what must
+I think of this LP which is ALL covers of contemporary hit songs
+(Including their own "Dirty Water")? The answer is that again their
+version are competently done and don't sound bad at all, but the
+performances are echoes of the originals and don't add to them in any way.
+Skip to the next release.
+
+TRY IT
+Tower 5098, 1967
+Can't Help But Love You / Ninety-Nine and a Half / Trip to Paradise / St.
+James Infirmary / Try It / Barracuda / Did You Ever Have That Feeling /
+All Fall Down / Poor Shell Of a Man / Riot On Sunset Strip
+
+In between this album and the last The Standells put out the two singles
+which tie for second place behind "Good Guys" in the ranking of their best
+stuff. "Try It" is a call to a woman who looks like she wants some
+action, and according to the vocalist, "action is my middle name!". As it
+was beginning to catch on, radio programmers decided that this driving
+rocker was a call for young innocent girls to give up their virginity and
+it was axed from radio rotation. Angered that a potential hit was yanked
+away, the group attempted to defend it in an infamous appearance of "The
+Art Linkletter Show". When their case couldn't be made with either Art or
+the radio censors, the answer was to record the Valentino composed single
+"Don't Tell Me What to Do", which came out on the Tower label under the
+name "Sllednats". It wasn't a hit, even without any censorship. With
+that episode behind them the next move was to compose two tracks,
+including the title song, for the AIP hippy exploitation film RIOT ON
+SUNSET STRIP. The Sam Katzman production framed a story involving
+Hollywood disco teen clubs and rebellious LSD and booze infested mod kids
+around actual footage from the Sunset Strip riots of that year. The film
+opens with The Standells performing their theme song live in one of the
+hip spots. Possibly the loudest tune they recorded, this tale of teen
+anger and defiance against "the man" features the great chorus, "It just
+doesn't seem fair, to bug you 'cause you got long hair, even the parents
+are beginning to scare, because of the sirens on our streets, they used to
+be neat, but now it's just a place for black and white cars to race, it's
+causing a riot!". Sirens wail over the words which lead into a guitar
+solo. The group is also seen performing the Tamblyn composition "Get Away
+>From Here" in the film, which features live performances by The Chocolate
+Watchband as well. These singles and their B-sides made up a large chunk
+of this final album. The "Try It" situation was used as a promotional
+gimmick, with the word "Banned!" slapped across a cover depicting the
+dudes in their corduroy, plaid trousers, and big belt buckles. The
+sub-title states, "The most talked about record of the year!". The
+remaining tracks feature the group expanding their sound just a bit,
+bringing in some additional styles to their songs. "Can't Help But Love
+You" goes for an uptempo soul sound, complete with horn refrains during
+the verses. With Tamblyn's defiant voice fitting the composition it works
+pretty well. The Wilson Pickett song "Ninety-Nine and Half" goes for an
+h ard edged R & B sound, also featuring a horn arrangement. These two
+tracks made up the first single from the LP, which went up to #78 in late
+1967. "Trip to Paradise" tries to follow in the same vein as the first
+two cuts while also using a strong org an accompaniment, but it doesn't
+quite click like they do. The heavy blues rock growl of the standard "St
+James Infirmary" (essentially the same music as "House Of the Rising Sun")
+follows, with some amazing power drumming and fuzz guitar, and then the
+great "Try It" rounds out side one. Side two kicks off in fantastic
+fashion with a blast back to the best sounds from the previous two albums
+in Ed Cobbs "Barracuda", another great Standells uptempo rocker tale of
+the wicked woman variety. While this record opened with a slew of tunes
+with an R & B/soul edge, it slips now into the then hot sound of
+psychedelia. "Did You Ever Have That Feeling" has sitars and a droning
+background chorus, while in the Dick Dodd composition "All Fall Down",
+which he sings, they use a spacy feedback sound and background harmonies.
+"Poor Shell Of a Man" was the other half of the "Try It" single, and it is
+a well written pop rock style tune which isn't bad but doesn't utilize
+that great Standells sound. Unlike the "Why Pick On Me" album, the
+secondary songs on "Try It" are not throwaways, and the covers that are
+picked make a little more sense. These songs are definitely different in
+style, and in the cases of "Can't Help But Love You", "Ninety-Nine and a
+Half", and "St. James Infirmary" they works into some good material. "Try
+It", "Riot on Sunset Strip", and "Barracuda" are top flight rockers in the
+best Standells tradition, and should be acquired however possible.
+
+Each of the above four albums have recently been re-issued on vinyl on the
+French Eva label. Also now available are double CD's containing either
+"Dirty Water" and "Why Pick On Me" or "The Hot Ones!" and "Try It" on a
+single disc.
+
+THE BEST OF THE STANDELLS
+Rhino RNLP 107, 1983
+Dirty Water / Sometimes Good Guys Don't Wear White / Why Pick On Me /
+Little Sally Tease / Mr. Nobody / Mainline / Have You Ever Spent the Night
+In Jail / Try It / Medication / Barracuda / Black Hearted Woman / Can't
+Help But Love You / All Fall Down / Animal Girl
+
+Rhino usually does a good job with their re-issue records in selecting
+groups who have recorded some of the greatest music which has slipped out
+of print in it's original form, and producing compilations of their very
+best work. They keep up that tradition with this record, putting
+together an absolutely solid (with one exception) collection of all the
+very best and most essential Standells classics. "Animal Girl" was the
+last record put out by the group, and it's a sappy, sitar laced ballad,
+that appears to be a final shot at a hit single. According to liner
+notes, "Riot On Sunset Strip" was left off of this edition due to
+contractual problems. This explains it's absence, but I would have opted
+for "Rari", "There Is a Storm Coming", or "Why Did You Hurt Me" over
+"Animal Girl". Nevertheless, this easy to find comp album is the best
+(and cheapest) way to get a hold of a great batch of classic garage rock.
+
+GOLDEN ARCHIVE SERIES: STANDELLS
+Rhino 70176, 198?
+Riot On Sunset Strip / Dirty Water / Sometimes Good Guys Don't Wear White
+/ Why Pick On Me / Mr. Nobody / Mainline / Have You Ever Spent the Night
+In Jail / Try It / Medication / Barracuda / Rari / Can't Help But Love You
+/ All Fall Down / Animal Girl
+
+This is basically the same record as the previous Rhino comp, but it
+substitutes that now available "Riot", plus "Rari", for "Little Sally
+Tease" and "Black Hearted Woman". Why take off those great songs though?
+Why they didn't just remove "Animal Girl" I'd like to know.
+
+RIOT ON SUNSET STRIP
+Eva
+
+Another eighties compilation, this time however tracks are included
+from the pre-Tower albums. In my opinion this makes one of the above
+two collections preferable.
+
+Additional Standells discography:
+
+singles -
+
+Ooh Poo Pah Doo / Help Yourself (1964, Sunset 61000)
+Peppermint Beatles / The Shake (1964, Liberty 55680)
+Help Yourself / I'll Go Crazy (1964, Liberty 55722)
+Linda Lou / So Fine (1964, Liberty 55743)
+The Boy Next Door / B.J. Quezal (1965, Vee Jay, 643)
+Don't Say Goodbye / Big Boss Man (1965, Vee Jay, 679)
+Zebra in the Kitchen / Someday You'll Cry (1965, MGM 13350)
+Dirty Water / Rari (1966, Tower 185)
+Sometimes Good Guys Don't Wear White / Why Did You Hurt Me (1966, Tower
+257)
+Why Pick on Me / Mr. Nobody (1966, Tower 282)
+Try It / Poor Shell Of a Man (1967, Tower 310)
+Don't Tell Me What To Do / When I Was a Cowboy (1967, Tower 312) [as The
+Sllednats - that's "Standells" backwards]
+Riot on Sunset Strip / Black Hearted Woman (1967, Tower 314)
+Ninety-Nine and Half / Can't Help But Love You (1967, Tower 348)
+Animal Girl / Soul Drippin' (1968, Tower 398)
+
+Albums -
+
+Live in Person at PJ's (Liberty)
+Live and Out of Sight (Sunset SUM-1136 [mono], SUS-5136 [stereo])
+
+soundtracks:
+
+Get Yourself a College Girl (MGM) - with "So Fine" and "Boni Maroni". It
+has tracks by other sixties pop rock bands and has been re-issued on CD.
+
+When the Boys Meet the Girls (MGM)
+Zebra In the Kitchen (MGM)
+Riot On Sunset Strip (Tower 5065) - with "Riot On Sunset Strip" and "Get
+Away From Here". The Chocolate Watchband, The Mugwumps, and Mom's Boys
+are also included.
+
+Drummer Dick Dodd put out a couple of solo efforts just prior to the
+splitting of The Standells. No other members are known to have
+persued a subsequent musical career.
+
+A good reference for Standells music and other like-styled bands is
+"Voices Green and Purple: A Comprehensive Guide to California's Amazing
+Garage and Freakbeat Bands Of the Sixties" by Beverly Patterson. It's a
+self-published 67 page booklet so it may be hard to find. Check out your
+local library. I may be able to find the author's address at the time of
+publication, so email me if you're interested.
+
+
+THE FLAMIN' GROOVIES:
+
+What is the best rock band to emerge from the San Francisco scene of the
+1960's? For that matter what is the best rock band to ever emerge from
+that area? In the audacious opinion of FUNHOUSE! this honor is given to a
+group that many have never heard of. The group in question is The Flaming
+Groovies. Groovies' tunes have been being cranked out on record from 1968
+up until last year, amongst several changes in style and in line-up.
+Despite changes, a sound of regular quality has emerged covering styles
+from hard edged rockabilly influenced R & B to guitar based pop rooted in
+the sixties stylings of The Beatles and The Stones. At the helm
+throughout all of these years has been guitarist and sometime singer Cyril
+Jordan, with bass player George Alexander always in tow. In the early
+years of the band Jordan was joined in songwriting and vocal duties by Roy
+Loney, who left around 1972. It is the goal of FUNHOUSE! to give exposure
+to artists of worth who many would be listeners may not as of yet had the
+pleasure of discovering. As the Groovies have produced seven LP's and
+several EP's of original and exciting material over the course of the last
+25 years, and as these tunes are capable of rousing any brain dead slough
+off their ass and into a guitar jam frenzy, FUNHOUSE! presents this
+discography with the hopes of furthering our goal of rescuing rock music
+fans from the bland corporate rehash which people in some quarters would
+have you believe is the only option open to you.
+
+A frequent observation of the Flaming Groovies by those who have taken the
+time to do such is that they're usually recalling sounds from at least ten
+years before their time - they're right! In the mid 1960's the band was
+influenced by original singer and principal songwriter Roy Loney into a
+sound recalling a sort of early Elvis/Jerry Lee roots based rock and roll.
+Their early releases in fact contained a smattering of cover tunes from
+that era to go along with the mostly Loney penned originals. Cyril Jordan
+was however always there to keep a strong guitar based crunch in the mix,
+and by their third and fourth albums in 1970-1971, a great balance had
+emerged between styles as the two teamed up for most of the songwriting
+chores. As a consequence the best material that the band was to produce
+emerged. After the release of a final four song EP, which represents the
+final efforts of the Loney-Jordan collaboration, the band split. They
+would in fact re-emerge without Loney, and with Jordan now holding the
+role of principle songwriter. A relocation to England for the later half
+of the 1970's led to their hooking up with retro producer Dave Edmunds.
+Covers of Beatles, Rolling Stones, and Byrds songs pop up on these albums,
+along with some of the greatest rock guitar based pure pop music that has
+been produced. With the circumstance of Jordan being the sole leader of
+the band in the seventies, and of his calling upon his sixties based
+influences, the rap of the Groovies always looking back to a previous era
+was founded. While it could be said that the tunes here definitely are
+derived from the previous decade, it could also be said that the
+groundwork for the power pop explosion that was part of the new wave boom
+a few years later was also being laid. This music is very much in line
+with that of people like Graham Parker, the early Elvis Costello, and
+Edmund's and Nick Lowe's Rockpile in England, as well as American groups
+such as The Plimsouls, 20/20, and The Rubber City Rebels.
+
+First Generation: Roy A. Loney (lead vocals), Cyril Jordan (lead and
+rhythm guitar, vocals), Tim Lynch (rhythm and lead guitar, vocals), George
+Alexander (bass, vocals), Danny Mihm (drums) [replacing Ron Greco prior to
+this recording]
+
+SNEAKERS
+Snazz Records LSLP 4003, 1968
+The Slide / I'm Drowning / Babes In The Sky / Love Time / My Yada / Golden
+Clouds / Prelude In A Flat To Afternoon Of A Plaid
+
+A self-produced 10 inch record which is half-way between LP and single in
+structure as well as in size. Side one contains "The Slide" at 45 rpm,
+while the rest of the songs are stuffed onto side two at 33 1/3 rpm. If
+"The Slide" was meant to be showcased, it was a good choice as it's a
+fantastic fuzzed out garage rock gem that is in many ways a slightly more
+sophisticated offering of what many sixties punk bands had been putting
+out. "I'm Drowning" and "Golden Clouds" are feedbacked rockers that are
+similar to, and almost as good as, "The Slide". "Babes In The Sky" and
+"My Yada" foreshadow the uptempo rockabilly beat that Loney would come to
+heavily favor on their next record, while "Love Time" is a ballad that may
+have been influenced by Buddy Holly. "Prelude In A Flat..." is the only
+track that is not a Roy Loney original, and it is a short, goofy,
+instrumental, complete with chicken squawking guitar, that is as strange
+and disjointed as it's title. The jacket art reflects the self-produced
+nature of the record, with the cover consisting of pen drawn band name and
+title amongst pasted in pictures of the dudes. Originally selling a
+reported 2000 copies (FUNHOUSE! recently saw one go for $60.00), this has
+now been re-issued by the German Line label, so it can be found with a
+little looking. Not near as developed in sound as some of the later
+stuff, but the rockers here will make this enjoyable to fans of sixties
+garage rock.
+
+SUPERSNAZZ
+Epic BN 26487, 1969
+Love Have Mercy / The Girl Can't Help It /
+Laurie Did It / A Part From That / Rockin' Pneumonia And The Boogie Woogie
+Flu / The First One's Free / Pagan Rachel / Somethin' Else-Pistol Packin'
+Mama / Brushfire / Bam Balaam / Around The Corner
+produced by Stephen R. Goldman
+
+The move to a major label brought about better production values. The
+sound on this album is distinctly of the boogie-woogie nature, with
+Loney's raunchy vocals backed up by tunes carried along with pianos,
+saxophones, harmonicas, and Jordan's guitar, which is featured in some
+great cranking solos midway through many of these tracks. The cover tunes
+selected, "The Girl Can't Help It", "Rockin' Pneumonia And The Boogie
+Woogie Flu", "Somethin' Else", and "Pistol Packin' Mama" are a good
+indication of the direction taken here. Of the originals, highlights are
+the uptempo "Love Have Mercy" and "Brushfire", which foreshadow the next
+couple of records when a more distinct Groovies sound emerged. "Laurie"
+Did It" is a pretty good slower song, while tracks like "The First One's
+Free", "Bam Balaam", and "Around The Corner" are very similar in style to
+the cover tunes included. Of the original compositions, "Love Have
+Mercy", "Laurie Did It", "The First One's Free", and "Pagan Rachel" are by
+Roy Loney, while the others are Loney-Jordan team efforts. SUPERSNAZZ is
+a good album, but the best music that this band would make is contained in
+the next few records, which would build on this style with a more hard
+rocking original interpretation. If you're a fan of American roots music,
+you'll definitely want to get a hold of this one. The Groovies are drawn
+as hip and hairy Mickey Mouse derivatives on the cover, jammin' with a
+pyrotechnic frenzy that includes lit sticks of dynamite for drumsticks and
+a bucket of fire ready to be doused with gasoline. The cover was drawn by
+Jordan, who now is a Disney illustrator, under the signature "Zoell". This
+was re-released in 1986 on the European Edsel label.
+
+FLAMINGO
+Kama Sutra 2021, 1970
+Gonna Rock Tonite / Comin After Me / Headin For The Texas Border / Sweet
+Roll Me On Down / Keep A Knockin / Second Cousin / Childhood's End /
+Jailbait / She's Falling Apart / Road House
+produced by Richard Robinson
+
+While in NY The Groovies hooked up with future Lou Reed producer Robinson,
+who arranged for a contract with Kama Sutra and produced their next two
+records, arguably the best of their catalog. The American roots music of
+the 1950's is still a major influence, but with this first outing for the
+new label the sound is more derivative of the hard edge rockabilly that
+would later be mined by such new wave era bands as The Blasters, or of the
+early black rock cross over artists like Little Richard, as is evidenced
+by the covering of his "Keep A Knockin". "Gonna Rock Tonight" and "Sweet
+Roll Me On Down" are the closest to the sound of SUPERSNAZZ. "Comin'
+After Me" is also similar, but it is carried by a great, wild, guitar
+hook. "Headin' For The Texas Border", "Second Cousin", and "Roadhouse"
+are great uptempo rockers that'll keep you slammin' against the walls at
+the party. "Texas" and "Roadhouse" approach a punk rock level of energy
+and feature monster guitar riffs and rave-up solo's. "Childhood's End" is
+close to straight country (of the Hank Williams Sr. variety), while
+"Jailbait" takes a direction near pure blues. "She's Falling Apart" is a
+ballad that is interesting in that it draws more from a sixties style,
+which would be prevalent in later Jordan only releases. It thus has a
+distinct sound for this record. Interestingly it is a Loney composition,
+as are "Gonna Rock Tonight", "Second Cousin", "Childhood's End", and
+"She's Falling Apart", while the rest with the exception of "Keep A
+Knockin" are Loney-Jordan collaborations. The combination of Loney and
+Jordan influences on the music is really beginning to emerge with this
+record, as there is much more of a driving rock beat and loud guitar sound
+emerging. The mixture of these with Loney's rootsy vocals and songwriting
+produced a unique mix which had been hinted at on some of the previous
+releases. One of their better record - recommended.
+
+THE FLAMIN' GROOVIES IN TEENAGE HEAD
+Kama Sutra 2031, 1971
+High Flyin Baby / City Lights / Have You Seen My Baby? / Yesterday's
+Numbers / Teenage Head / 32-02 / Evil Hearted Ada / Doctor Boogie /
+Whiskey Woman
+produced by Richard Robinson
+
+The second Kama Sutra release is the best to carry the Flamin' Groovies
+name. This record is presented as a sort of unified work, with the liner
+notes reading like motion picture credits. While the individual songs
+don't make up any sort of "concept-album" of the type that was common from
+groups like The Kinks, The Who, or Pink Floyd at the time, it does present
+the most unified style among the tracks of any of their records up to this
+time. A Flamin' Groovies sound emerges which goes beyond the previous
+raving interpretations of retro-rock. The sound on TEENAGE HEAD might be
+best described as similar to what The Rolling Stones were doing with their
+more contemporary workings of R & B on such records as STICKY FINGERS and
+EXILE ON MAIN STREET. The first five tracks are all jammers perfect for
+cranking to maximum volume and getting your ya-ya's out. Loney has now
+completed the transformation (with a couple of exceptions) from Frisco
+hillbilly to growling madman in his vocalizing. "High Flyin Baby" kicks
+things off with him snarling over an over-amplified guitar attack filled
+with slides, twangs, and grunts, which gives way to some heavy blues
+styled acoustic jamming on "City Lights". "Have You Seen My Baby?" is a
+riff-heavy working of a Randy Newman composition, and "Yesterday's
+Numbers" keeps things jamming along at the same pace. After this
+exhausting sonic build-up the whole thing explodes into what is probably
+the greatest Groovietune of them all. In "Teenage Head" Loney gives
+himself over to expressing the ultimate tale of teen angst through a nasty
+sneer of pent-up emotions and frustrations that have you believing that he
+knew what he was singing about. After the dust settles from the first
+half of the LP, things slip back into a bit of the more American roots
+rock trip that is heard throughout these early recordings. "32-02" is a
+rendition of a Robert Johnson song with a bluesy acoustic guitar and piano
+accompaniment. "Evil Hearted Ada" is the only track that Loney penned by
+himself, and in it he goes back to his early Elvis impersonation. This is
+a song which he would re-record on a solo record as late as 1992. "Doctor
+Boogie" follows in the same style as it's predecessors, and then gives way
+to "Whiskey Woman" which returns to the more electrified guitar based rock
+sound which opened the album. This song is slower, somewhat similar in
+style to something like the Stones' Wild Horses, with great guitar
+interplay throughout it's beginning giving way to a wild rave-up at the
+end. Overall the original Flamin' Groovies line-up never sounded better
+than on this record. Each instrument had really adapted it's own sound
+and place in the music - something which probably emerged out of the
+extensive live performances of the preceding years. The maturity of the
+band's sound, and especially of Loney's singing, that was emerging on
+FLAMINGO really show through here. Additionally the songwriting is
+exciting, and even the throwback tunes all work well. A highly
+recommended album - get it!
+
+SLOW DEATH EP
+United Artists REM 406, 7" (UK), 1972
+Slow Death / Tallahassee Lassie / Married Woman / Get A Shot Of Rhythm and
+Blues
+produced by Dave Edmunds
+
+This four song import only disc is notable for two reasons. The first is
+that it represents the final collaborative efforts of the Loney-Jordan
+songwriting team. Secondly if "Teenage Head" is the best song the band
+recorded, then "Slow Death" is a real close second. Loney painfully
+describes the turmoil of heroin addiction in a manner that has only been
+approached in it's honesty by Lou Reed in The Velvet Underground's
+"Heroin", and on the Johnny Thunders/Dee Dee Ramone team-up of "Chinese
+Rocks", recorded by both The Heartbreakers and The Ramones. The psychosis
+is backed by a monster guitar grind for extra effect. The record is
+rounded out by three covers, of which "Tallahassee Lassie" with it's
+over-distorted interpretation is the best. "Married Woman" is a straight
+ahead mid-tempo rocker that is done in a style that is not usual for the
+Groovies, while "Shot" is reminiscent of the SUPERSNAZZ material. This is
+kind of tough to track down these days, but a studio version of "Slow
+Death" in some form is mandatory. After breaking with Kama Sutra and
+Robinson, the band headed for England under the production wing of Dave
+Edmunds. Before heading overseas, rhythm guitarist Lynch was forced to
+leave after his arrest for drug possession and draft evasion. He was
+replaced by James Farell, who makes his recorded debut here. It has been
+reported that in fact Cyril Jordan overdubbed much of the second guitar on
+the TEENAGE HEAD album. Originally released by UA as two separate
+singles.
+
+YOU TORE ME DOWN / HIM OR ME (7")
+Bomp 101, 1973/1992
+Him Or Me / You Tore Me Down
+produced by Cyril Jordan and Greg Shaw / Dave Edmunds
+
+A return to SF resulted in the departure of Roy Loney over that old
+standby, "creative differences". Reportedly he was producing too many
+ballads in his songwriting efforts. His replacement on lead vocals, who
+also played some guitar and harmonica, was Chris Wilson. Greg Shaw put
+this single out on his Bomb label, and "You Tore Me Down" became a minor
+hit. This Edmunds produced tune helped land their next recording deal
+with Sire, where it was included on the SHAKE SOME ACTION debut album.
+These songs really gave a suggestion as to how the new configuration would
+sound, with both being well played uptempo rockers with a prominent clean
+guitar sound and good pop beat, and with many harmonies in the vocals.
+Bomp has recently re-released this.
+
+SHAKE SOME ACTION
+Sire SASD-7521, 1976
+Shake Some Action / Sometimes / Yes It's True / St. Louis Blues / You Tore
+Me Down / Please Please Girl / Let The Boy Rock 'N' Roll / Don't You Lie
+To Me / She Said Yeah / I'll Cry Alone / Misery / I Saw Her / Teenage
+Confidential / I Can't Hide
+produced by Dave Edmunds
+
+Over the years between the Kama Sutra and Sire contracts The Flamin'
+Groovies only put out the above mentioned seven inchers of new material,
+in addition to several EP's worth of live recordings. They also lost
+three members from the original line-up. Drummer Danny Mihm was the next
+to go, being replaced first by Terry Rae, and then by David Wright who is
+heard on this album. The only two original members left were Cyril Jordan
+and bass player George Alexander, who would form the axis for all
+subsequent Groovies projects through the present day. New singer Chris
+Wilson also emerged as a regular songwriting partner with Jordan. This
+record in it's best moments reflects the great songwriting of "You Tore Me
+Down" (included here), especially in the title cut. "Shake Some Action"
+was a hit, and to this day it is one of the most popular of all Groovies
+songs. It's a great uptempo tune that incorporates all the best qualities
+that are characteristic of the Jordan/Alexander period of the band; a
+strong beat, loud rhythmic guitars, and harmonious vocals rooted in The
+Beatles. A precursor to the coming New Wave, "Shake Some Action" is
+probably the best post-"Slow Death" song that the group has come up with.
+The rest of this album follows along stylistically in much the same mode,
+however not all of the songs are up to the level of "Shake". Jordon and
+Wilson collaborated on "Shake Some Action", "Yes It's True", "You Tore Me
+Down", "Please Please Girl", "I'll Cry Alone", "Teenage Confidential", and
+"I Can't Hide". "I Saw Her" is a Jordan/Willhelm/Hunter effort, while the
+rest are cover tunes. It is an overall enjoyable album highlighted by the
+two essential classics discussed above. Some of the songs however lack a
+distinctive edge, and thus tend to merge into each other.
+
+FLAMIN' GROOVIES NOW
+Sire SRK 6059, 1978
+Feel A Whole Lot Better / Between The Lines / Up's And Down's / Move It /
+Take Me Back / Reminiscing / Good Laugh Mun / Yeah My Baby / House Of Blue
+Lights / Blue Turns To Grey / Paint It Black / All I Wanted / Don't Put Me
+On /There's A Place
+produced by Dave Edmunds
+
+This second Sire album suffers more from the ailments which somewhat held
+back it's predecessor; that is some songs which lack a certain degree of
+distinction, and some covers which don't add much. Paying tribute to The
+Beatles ("There's A Place") and The Rolling Stones ("Paint It Black") by
+doing very similar renditions of their songs doesn't work, as those bands
+interpretations of their own material is just fine. Cover versions that
+are successful need to re-work the original (a good example in regards to
+The Stones is Social Distortion's "Under My Thumb"), or bring an obscurity
+to a new audience (as in all the early Cramps albums). These covers offer
+us very similar treatments to the originals. The Byrd's "Feel A Whole Lot
+Better" rises above this a bit, as The Groovies really energize it and the
+original band doesn't reside at the same level as The Beatles or The
+Stones. The Groovie originals are "Between The Lines", "Take Me Back",
+"All I Wanted", and "Don't Put Me On" (Jordan/Wilson) and "Good Laugh Mum"
+and "Yeah My Baby" (Jordan/Wilson/Edmunds). While none are terrible, with
+the exception of "Yeah My Baby" they rarely rise above the average. Mike
+Wilhelm had replaced James Farrell on lead and rhythm guitar.
+
+JUMPIN' IN THE NIGHT
+Sire SRK 6067, 1979
+Jumpin' In The Night / Next One Crying / First Plane Home / In The U.S.A.
+/ Down Down Down / Yes I Am / Werewolves Of London / It Won't Be Wrong /
+Please Please Me / Tell Me Again / Absolutely Sweet Marie / 5D /
+Ladyfriend
+produced by Cyril Jordan and Roger Bechirian
+
+Now this is more like it. By 1979 the New Wave was in full bloom in
+England, and as The Groovies had always had somewhat of a following
+amongst these bands and their fans they became inspired more in that
+direction. Elvis Costello producer Roger Bechirian came on in place of
+Dave Edmunds, and a much sharper and more modern sounding record was the
+result. With the uptempo beat of the title track you know that you're in
+for something good this time around. "Next One Crying" has them going for
+a rock sound reminiscent of the early John Lennon solo albums rather then
+the 1965 Beatles. "First Plane Home" and "In The U.S.A." keep things
+pumping in a good way to keep the record moving along at a steady pace.
+All four are Jordan/Wilson compositions, as are "Yes I Am", and "Tell me
+Again". Most of the covers work well here, with the exception of The
+Beatles "Please Please Me" which slips back into the negative aspects of
+the previous album. "Werewolves Of London" does justice to the Warren
+Zevon original, and even Dylan's "Absolutely Sweet Marie" comes off OK.
+However good this album is, apparently the sales level suggested by "You
+Tore Me Down" and "Shake Some Action" wasn't achieved, and the band's
+relationship with Sire was severed. Pick this one up if you see it.
+
+This would essentially be the end of the Flamin' Groovies also, until
+Jordan and Alexander surfaced with the one shot project ROCK JUICE in
+1992, for the newly formed San Francisco based National label. After
+returning to America the two of them would occasionally put together a
+version of The Groovies for selected live shows and mini-tours. Interest
+among the faithful remained high to support such endeavors, and as a
+result some of this live material, and some older material, would be put
+out from time to time during the lull. FUNHOUSE! has on a couple of
+occasions had the opportunity to see Cyril Jordan and Roy Loney perform
+together again in their home town, where we were treated to renditions of
+such classics as "Teenage Head" and "Slow Death" amongst others.
+
+ROCK JUICE
+National NAT-030-2, 1992
+Way Over My Head / Sealed With A Kiss / Hold On Me / Somebody's Fool/ Stay
+Away / I'm Only What You Want Me To Be / Shakin' / Give It Away / Thanks
+John / This Could Be The Night / Ainsley's Song / Little Girl / When She's
+In Town / Flyin' Saucers Rock 'N' Roll
+produced by Cyril Jordan and Kari Derfler
+
+Out of nowhere in late 1992 we were caught by surprise with a brand new
+Flamin' Groovies record. The only clue to the line-up here is that the
+majority of songwriting credits are to Cyril Jordan alone, and a one line
+note which reads, "All vocals: Cyril Jordan and George Alexander".
+"Ainsley's Song" suggest that studio drummer and corporate rock hack-band
+veteran Ainsley Dunbar (Jefferson Starship and Journey amongst others) is
+probably involved. Despite that somewhat questionable resume he drums
+well, and all of the music here is top notch. Good playing and clean,
+sharp production abounds. It's not a bad record and some of the tunes
+actually rise up to a higher level. The better tracks found interspersed
+here are "Hold on Me", "Stay Away", "Shakin', Give it Away", "Little
+Girl", and the non-Jordan penned "Flying Saucers of Rock and Roll". They
+give a decent rendition of the old Modern Folk Quartet number "This Could
+Be the Night" (which LA area people may recognize as being the theme song
+for the "Rodney on the ROQ" radio show). The music is tight and upbeat,
+and is distinguished by the use of an uncommon 10 string Rickenbacker 360
+guitar. The shortcomings of the record come from the same thing that has
+plagued many talented composers in the past; the taking of a batch of new
+songs into the studio with hired musicians and recording them straight.
+Without the fleshing out of new material by repeated playing with a
+regular band, the tracks don't develop the edge, or the certain nuances,
+which bring quality material up another level. Still the material here is
+good if not great, it's fun to listen to, and it's good to have the band
+still working at some level. The National Records logo contains a drawing
+of a vinyl record and my disc lists "side one" and "side two", but I have
+never seen this available except on CD. Could this be a Groovies record
+not available on LP? Regardless of that, get this quick if you are so
+inclined because it may already be out of print.
+
+Other releases:
+
+In addition to the main output containing studio recordings of new
+material which are listed above, a number of LP's and EP's of live
+recordings and studio outtakes, and repackagings have been issued. Those
+that are known by FUNHOUSE! are listed below, with the pertinent
+information given when it is available.
+
+FLAMIN' GROOVIES '68 (LIVE)
+Eva (France), 1983
+
+FLAMIN' GROOVIES '70 (LIVE)
+Eva EV 102 (France), 1984
+Carol / Comin' After Me / I'm A Man / Jam Sandwich / Rockin' Pneumonia And
+The Boogie Woogie Flu / Shakin' All Over / Headin' For The Texas Border /
+American Soul Spiders / Louie Louie
+
+A recording from a nightclub soundcheck in 1970. Above average sound for a
+live taping from the time, and the performance is excellent.
+
+GREASE (EP) (LIVE)
+Skydog 66001, 1974
+
+MORE GREASE (EP) (LIVE)
+Skydog 66002, 1974
+
+Skydog is a Dutch label that released material all through Europe.
+
+THE GOLD STAR TAPES
+Skydog SKI 2224 (France), 1984
+River Deep Mountain High / So Much In Love / Rough Tapes / And Your Bird
+Can Sing / She Don't Care About Time / Do I Love You
+
+Outtakes from the Sire period which includes a number of cover songs.
+
+A BUCKETFULL OF BRAINS (LIVE)
+Voxx (US), 1983
+released as SLOW DEATH LIVE! in France on the Lolita label.
+
+After Bill "The Bozo" Graham abandoned the Fillmore West for a larger
+(read greater profit$) venue, the Groovies took it over. They booked many
+shows featuring local and touring groups, with them opening as the house
+band. This is a recording of them playing there in 1971. (The Fillmore
+West at Geary and Fillmore streets in SF was still hosting the occasional
+live show up until the October, 1989 earthquake. The FUNHOUSE! editors
+caught The Cramps there on New Year's Eve 1987/88. After the quake it
+became unsafe for live performances, and today serves as offices for the
+inheritors of the Graham promotional empire.)
+
+ONE NIGHT STAND (LIVE-AUSTRALIA 1984)
+AIM Records AIM 1008 (Australia), 1986
+Kicks / Bittersweet / I Can't Hide / Money / Call Me Lightning / Shake Some
+Action / Slow Death / Teenage Head / Slow Down / Tallahassee Lassie
+
+A performance with a Groovies line-up that included Jordan and Alexander,
+and has Jack Johnson on guitar/vocals, and Paul Zahl on drums/vocals.
+
+THIS IS THE FLAMIN' GROOVIES
+Metronome 201 707 (Europe), 1975
+
+Kama Sutra's release of FLAMINGO throughout Europe.
+
+COLLECTOR'S ITEM
+Kama Sutra 940 106/7, 1976
+
+A double album re-issue of FLAMINGO and TEENAGE HEAD.
+
+STILL SHAKIN'
+Buddah 5683 (Philips 940541 in Europe), 1976
+
+Buddah, Kama Sutra's sister label, released this single LP of tracks culled
+from FLAMINGO and TEENAGE HEAD.
+
+STEP UP
+
+A recent Australian release which Midnight Records describe in their ads as,
+"13 new recordings". Anyone know about this?
+
+GROOVIES GREATEST GROOVES
+
+The 1991 greatest hits CD from Sire, it contains material from the earlier
+records as well. All the best stuff is here, and along with a copy of
+TEENAGE HEAD would be a good place to get started.
+
+Loney has put out a number of records since his departure, by himself and
+with his band The Phantom Movers, most of which headed straight for the
+cut-out bins. Most recently he's on the Norton label backed by The
+A-Bones, and with a band including Danny Mihm.
+
+
+Reviews: Books, 'Zines and Music
+---------------------------------
+
+Some books, new and old, that may be of interest:
+
+
+BABOON DOOLEY ROCK CRITIC! by John Crawford; 1988, Popular Reality
+Press, ISBN: 0-94520-900-2, $9.95
+
+When I was reading Flipside back in the early 80's, one of the highlights
+of each issue were the "Baboon Dooley Rock Critic" strips regularly
+featured. Baboon gets around quite a bit, as the back cover lists over
+100 mostly 'zines and underground pubs which he's appeared in. Dooley is
+the prototypical pompous, mooching, obnoxious, egotistical, know-it-all
+rock critic boob. This provides plenty of yucks in itself, but also gives
+a platform for jokes centered around trends, styles, and subcultures of
+the times the strips were drawn. Not all of them are great, but there are
+plenty which are hysterically on the mark. Perhaps there's so much inside
+humor, or jokes which concern personalities that are only known to those
+who move through a small scene, that different strips appeal to different
+people who may in a certain case be "in the know". I know that those for
+which I'm "in the know" can be really insightful. Intros are by Bob
+Black, Byron Coley of "Forced Exposure", and the Rev. Ivan Stang. I only
+wish that some of the brilliant "Baboon Dooley meets Henry and Dez from
+Black Flag" series were included here, but with so much material, maybe it
+will turn up in a subsequent collection.
+
+
+DOING RUDE THINGS: THE HISTORY OF THE BRITISH SEX FILM 1957-1981
+by David McGillivray; 1992, Sun Tavern Fields (UK), ISBN: 0-95170-122-3
+
+This book traces the history of an area of cinema which most American film
+fans know almost nothing about. The development of nudies in England
+occurred roughly parallel to those in the US, and McGillivray highlights
+the specific British nature of these films which he attests to the Brits
+Victorian attitudes toward sex. The progress of the genre is traced as it
+developed through the sixties, with emphasis placed on the major figures,
+specifically Stanley Long, Arnold Louis Miller, Harrison Marks, and Pete
+Walker, who the author has had a hectic relationship with going back many
+years. Starlets such as Diana Dors, Fiona Richmond, and Pamela Green are
+also given their due for their roles in these films. Pamela Green, long
+time partner of Harrison Marks and for a while a sort of Betty Page of
+England (in stature, not form in my opinion) writes the introduction.
+McGillivray takes us up through the end of the British sex film industry,
+which he attributes to the conservative Thatcher government's censorship
+and the repeal of the Eady fund subsidy, as well as to the Soho
+community's (the Times Square/Hollywood Blvd./Tenderloin section of
+London) attempts to eject the sex theatre operators who they felt were
+eroding the bohemian character of their neighborhood. The author is
+honest in his evaluations, regarding these films mostly as pretty poor,
+which makes his praise of those few found to be of quality more valuable.
+Despite the quality of the product, the development of the industry makes
+for some interesting stories. Some of the bits of information gleaned
+from the text include the participation of famous American directors, such
+as Jack Arnold and Jonathan Demme, who might wish that these efforts were
+removed from their resumes. McGillivray himself authored a handful of
+sleazy horror films in the seventies. These were HOUSE OF WHIPCORD
+(1974), FRIGHTMARE (1974), THE CONFESSIONAL MURDERS aka HOUSE OF MORTAL
+SIN (1975) and SCHIZO (1976) with director Pete Walker, and SATAN'S SLAVE
+(1976) and TERROR (1978) for director Norman J. Warren. Anyone who has
+seen any of these violent and sometimes sicko movies should be amazed with
+the realization that they were *subsidized* by the British government.
+(Likewise amazing is that Peter Jackson's BRAIN DEAD/DEAD ALIVE was
+subsidized by the New Zealand government - just try to get that one by
+Jesse Helms here in the US!)
+
+
+LOU REED AND THE VELVET UNDERGROUND by Diana Clapton; 1982, Bobcat Books,
+ISBN: 0-71191-067-7, ($9.95 [softcover] as ISBN: 0-86276-055-0 originally)
+
+This book was originally put out in 1982 and having wished that I bought
+it then, I was glad to see that it had been reprinted. The structure is
+to chronologically follow the albums issued by The Velvet Underground, and
+then by Lou Reed as solo projects. On top of this framework is a good
+deal of information regarding the exploits of Lou and the V.U. It's a
+work that is greatly weighted toward the period from 1966 to 1975, with a
+pretty complete description as to the contents, and the story of the
+making of, the five V.U. LP's put out while the band was together (VELVET
+UNDERGROUND AND NICO, WHITE LIGHT/WHITE HEAT, THE VELVET UNDERGROUND,
+LOADED, LIVE AT MAX'S KANSAS CITY), and the Lou Reed solo projects up
+through CONEY ISLAND BABY (LOU REED, TRANSFORMER, BERLIN, ROCK AND ROLL
+ANIMAL, LOU REED LIVE, SALLY CAN'T DANCE, METAL MACHINE MUSIC, and CONEY
+ISLAND BABY). The recordings from the Arista years are touched on
+lightly, and the return LP for RCA, THE BLUE MASK, which was recently
+released when the book was published, appears to be included at the last
+minute. For the years that are looked at in detail however there is a
+wealth of interesting information that hasn't been written about too
+extensively despite the growth in popularity and influence of the music.
+The formation of The Velvet Underground is described and the early
+association with Andy Warhol discussed. We get a good idea as to the
+contributions of various band members, and we learn about the causes for
+the various personnel changes. Interviews with Sterling Morrison and
+Maureen Tucker provide some of the facts; Tucker's negative opinion of
+Nico and her manipulative powers is rather interesting. Other interviews
+with producers of solo albums such as Richard Robinson (LOU REED, STREET
+HASSLE) and Geoffrey Diamond (CONEY ISLAND BABY), band member Chuck
+Hammer, and tour manger Barbara Fulk give a picture as to the state of the
+ever changing Lou personality that produced LP's from certain periods. The
+author does a good job of being explanatory as to the style and of the
+various recordings, without being too judgmental herself. Being on
+obvious fan she keeps her distance with critical analysis, letting
+interviewees and reactions of the public and people connected with Lou
+give you a good idea as too any individual project's merit. There are
+also a good number of photos (some in color), and despite being rather
+light in detail for the later years, this book serves as a good reference
+for those all too little chronicled early years.
+
+
+NIGHTMARE OF ECSTASY: THE LIFE AND ART OF EDWARD D. WOOD JR. by Rudolph
+Grey; 1992, Ferral House, ISBN: 0-92291-504-0, $14.95
+
+With the Ed Wood film bio by Timmy "Batman" Burton in the works (which
+will probably cost more, even adjusted for inflation, then all of Wood's
+movies combined), anyone planning on seeing it should first read this
+exhaustively researched account of his life. Grey tracked down just about
+every surviving associate of the eccentric filmmaker, sleazy sex novel
+author, and transvestite, and constructs this book around interviews
+strung together in succession to tell the story of particular aspects of
+the subject's life. Childhood through death are traced in the words of
+Maila Nurmi (Vampira), Karl Johnson (son of Tor), A.C. Stephens, Valda
+Hansen, Paul Marco, Timothy Farrell, Lyle Talbot, Aldo Ray, Dolores
+Fuller, Dudley Manlove, Mona Mckinnon, Conrad Brooks, Wood makeup man
+Harry Thomas, filmmaker "peers" Sam Arkoff, Dave Friedman, and Alex
+Gordon, Wood's mother Lillian Wood and wife Kathy Wood, Forrey Ackerman,
+and many others. Never before has such a wealth of Wood information been
+collected in one place. Detailed accounts of the making of such well
+known classics as GLEN OR GLENDA, THE SINISTER URGE, JAILBAIT, BRIDE OF
+THE MONSTER, PLAN NINE FROM OUTER SPACE, and NIGHT OF THE GHOULS are of
+course included, but Grey also gives the scoop on X-rated directorial
+efforts such as TAKE IT OUT IN TRADE (1970), NECROMANIA, (1971) and THE
+ONLY HOUSE (1971). The filmography list 31 titles from 1948 to 1976 which
+Wood worked on as either director or writer, including a slew of seventies
+sex films written for director A.C Stephens, Wood's partner on ORGY OF THE
+DEAD (1965). There is even a listing with descriptions of loops, TV
+productions, and 34 unrealized scripts/projects envisioned by Wood. But
+that's not all. Grey also amassed about fifty trash novels Wood authored,
+including descriptions of the text for most, as well as references to his
+short stories which appeared in various men's magazines. Many of these
+were later used as the basis for screenplays. The author has recorded
+more data than many Wood fans even thought existed, and the text is mixed
+with a large number of photographs of Eddy and his cohorts, movie stills,
+and artwork from books and films. The sections which tell of Wood's work
+and friendship with horror film icons Bela Lugosi, Criswell, and Tor
+Johnson (my greatest curiosity about the Burton film is who will play The
+Swedish Angel) are especially entertaining.
+
+
+PSYCHOTIC REACTIONS AND CARBURETOR DUNG by Lester Bangs; 1988, Vinatge
+Books, ISBN: 0-67972-045-6, $9.95 (softcover)
+
+The iconoclastic Bangs was always one of the most outrageously
+entertaining rock critics, particularly in his CREEM period of the
+seventies, striking that fine balance of interjecting himself into his
+articles without the results coming off in the pretentious "critic more
+important than the music" style of a Robert Hilburn, Dave Marsh, or Greil
+Marcus. Bangs, the man who consensus generally gives credit to as the
+inventor of the term "punk rock", rambles along in a gonzo style in which
+his story telling gives you a feeling for what the music is doing to him,
+without spelling it out in so many words. This is a posthumous collection
+from the years 1971-1981 (Bangs died in 1982). The Hunter Thompsonesque
+style comes through most noticeably in the title article, in which Bangs'
+discussion of the San Jose sixties garage rockers The Count Five credits
+them with four albums more than the one they actually issued. In 1971 he
+is in full H.S.T. style writing about their mythical c atalog, essentially
+saying that although the group had disappeared four years previously, if
+they HAD continued this is what they WOULD have done. He's using this
+format to give an idea of his own, as well as countless low level band's,
+evolution through the period. PSYCHOTIC REACTION is in fact the true
+title of the lone real Count Five album, while CARBURETOR DUNG is their
+Bangs created mythical second release. In the course of this narrative he
+takes the opportunity to interject his opinions of other groups and tunes
+that excited him at the time, such as The Shadows Of Knight, Question Mark
+and the Mysterians, The Rivingtons, and Capatin Beefheart, while subtly
+blasting the corporate rock of the day, CCR and CSN&Y. In other words
+every article gives you much more than the titles suggest. Lester's
+diatribe is so convincing, to the extent of giving details of phony tracks
+from the phony albums, that when the English Edsel label issued a Count
+Five comp in 1987 they included this article on an insert sheet as a band
+bio. The humorous Bangs style is applied in detail to Iggy/Stooges, The
+Clash, and especially his long time "adversary" Lou Reed. Lou's attitude
+toward METAL MACHINE MUSIC at the time of it's creation is really amusing.
+Other groups and people touched on are The Godz, John Coltrane, Richard
+Hell and the Voidoids, Peter Laughner, and Sham 69.
+
+
+RESEARCH #14: INCREDIBLY STRANGE MUSIC VOL I ed. V. Vale and Andrea Juno;
+1993, Re/Search Publications, ISBN: 0-94064-222-0, $17.99
+
+I hope that all FUNHOUSE! readers are already familiar with the Re/Search
+monographic series. If not you should look into their past publications,
+especially the essential #10: INCREDIBLY STRANGE FILMS (write: 20 Romolo
+#B, San Francisco, CA, 94133). This latest edition doesn't focus on punk,
+garage, doowop, psychedelic, etc., but on REALLY strange music. The
+format is to interview collectors and aficionados of crazed rockabilly and
+R & B, instrumental rock, sound effects records, synthesizer effects
+records, recorded musical rants, and recordings of film and TV stars.
+Highlights are discussions with The Cramps, Eartha Kitt, the owners of
+Norton Records, The Phantom Surfers, and Martin Denny. The articles
+consist of ramblings where the interviewees continuously go on about
+whatever enters their minds. Many tell interesting anecdotes about some
+special finds or new musical discoveries, and about their experiences
+building their collections. Their enthusiasm for the material really
+shows through. A comment here is that unlike in INCREDIBLY STRANGE FILMS,
+allot of the material discussed is fun to hear about but you don't get an
+immediate urge to run out and track it down (SONGS FOR CANARY TRAINING by
+example). However there is plenty that you will be turned onto, and other
+things which give you a big laugh just to know that they exist (YOU'RE MY
+GIRL: ROMANTIC REFLECTION BY JACK WEBB, THE ADDICTS SING: NINE FORMER
+ADDICTS [complete with depiction of a smack injection on the cover]). The
+many record covers re-printed greatly add to the fun.
+
+
+STAIRWAY TO HELL: THE 500 BEST HEAVY METAL ALBUMS IN THE UNIVERSE
+by Chuck Eddy; 1991, Harmony Books, ISBN: 0-51757-541-8, $14.00
+
+Don't let the title or the Led Zep cover of this book fool you. There's
+plenty of the Circus/Rip style poseur metal in here, but crazy man author
+Eddy expands his horizons and his definition of metal way beyond the
+standard interpretations. Places one through four are awarded to the
+usual suspects, Led Zeppelin ("Led Zeppelin"), Guns 'N' Roses ("Appetite
+for Destruction"), Alice Cooper ("Greatest Hits"), and Aerosmith ("Toys in
+the Attic"), but lurking just past those are The New York Dolls ("New York
+Dolls") at no. 6, Funkadelic ("Maggot Brain") at #22, The Beastie Boys
+("Rock Hard") at #79, The Chambers Brothers ("Time Has Come") at #141,
+Black Flag ("Damaged") at #191, and Redd Kross ("Neurotica") at #217.
+Don't worry, Black Sabbath, Van Halen, Def Leppard, and Motorhead have
+many entries, but you're also hit with many surprises such as Roky
+Erickson and the Aliens (#193), "Metal Machine Music" (#199, which is
+described as "the most dauntless 'fuck-you' move/hype/tour de force/sham
+in the history of history") and even Teena Marie (#9 for "Emerald
+City"). The author's prose is pretty whacked, sometimes taking a couple
+of re-readings just to make sense of what you just took in, but many times
+leaving you rolling on the floor after you've deciphered it. There's such
+a wide range of material that is lumped under "heavy metal", that I've
+picked up on many great records that I'd never heard (or even heard of)
+before. There haven't been too many other books that I've had so much FUN
+reading in awhile. The craziness is epitomized by the appendix which
+carries a section titled, "25 Reasons Disco-Metal Fusion Is Inevitable In
+The Nineties". In case you were wondering, the 500th best heavy metal
+album of all time is Death Angel's "The Ultra-Violence".
+
+
+STEP RIGHT UP!: I'M GONNA SCARE THE PANTS OFF AMERICA by William Castle;
+1976, Pharos Books, ISBN: 0-88687-657-5, $12.95
+
+William Castle was a horror film director from the fifties and sixties who
+is not only well known for some pretty good terror movies, but also for
+the outlandish gimmicks which he concocted in order to promote them. The
+recent Joe Dante film MATINEE with John Goodman was based on Castle and
+his tricks. This autobiography was originally published in 1976 by
+Putnam, but was re-issued last year. Castle takes us through his career,
+which began as a house director for Columbia on run of the mill Hollywood
+output, included production duties with the difficult Orson Welles on THE
+LADY FROM SHANGHAI (1948), and his most well known work as producer,
+director, and promoter on a string of horror titles ranging from MACABRE
+(1958) through LET'S KILL UNCLE (1966). Castle ended his career producing
+mostly horror films in the late sixties and seventies, including
+ROSEMARY'S BABY (1968) with director Roman Polanski. Easily the most
+enjoyable sections of the book are those in which he tells of his coming
+up with and carrying out the promotional gimmicks for which he is most
+well known. Things began subtly with MACABRE, in which a life insurance
+policy was taken out to protect patrons from dying of fright while
+watching the film. Eventually it picked up when he used "Emergo" for THE
+HOUSE ON HAUNTED HILL (1959) where a skeleton on a wire flew from above
+the screen out over the audience's head at the proper moment, "Percepto"
+in THE TINGLER (1959) where after star Vincent Price tells the audience
+that The Tingler is loose in the theatre the lights go out and selected
+seats deliver a shock to it's occupants arse (in this film Price trips out
+after injecting himself with a hallucinogenic drug), and "Illusion-O"
+where viewers of 13 GHOSTS (1960) where given special glasses which
+allowed them to visualize the spooks on the screen. My personal favorites
+are the "Fright Break" from HOMICIDAL (1961) in which the film is stopped
+a few minutes from the end and those too afraid to continue were allowed
+to leave the theatre and receive a money back guarantee. To do so however
+they were forced to stand in "Coward's Corner". And also the "Punishment
+Poll" from MR. SARDONICUS (1961) in which before the film ended the
+audience was allowed to vote with a fluorescent card with a thumb up
+saying "mercy" if they wished the villain to live, or a thumb down saying
+"no mercy" if they wished him to die. The projectionist would then mount
+the appropriate closing reel. Castle claims that they stopped even
+bringing the survival reel to the theatres as it was never needed. These
+movies actually stand alone as quality horror films without the gimmicks,
+especially THE TINGLER and HOMICIDAL, and are periodically featured on the
+cable channel TNT. The introduction to the repressing is by John Waters,
+and the filmography is by Michael Weldon of "Psychotronic", two people who
+have been singing the praises of Castle's work for a long time.
+
+
+A YOUTH IN BABYLON: CONFESSIONS OF A TRASH FILM KING by David F. Friedman
+with Don De Nevi; 1990, Prometheus Books, ISBN: 0-87975-608-X, $19.95
+David Friedman was one of the pioneers of the exploitation film. Here he
+tells the first half of his life story, beginning as a distributor and
+promoter of traveling roadshows featuring material such as the infamous
+MOM AND DAD, and concluding with his association with the amazing
+Herschell Gordon Lewis and their production of early nudies and the
+infamous "gore trilogy", BLOOD FEAST, TWO THOUSAND MANIACS, and COLOR ME
+BLOOD RED. The second part of this autobiography, to be titled "Kings of
+Babylon", is yet to come out, but when it does it will cover Friedman's
+involvement with the creation of numerous sexploitation titles from the
+mid-sixties through the seventies. What's really interesting about the
+book is Friedman's many tales of promotional tricks and hucksterisms from
+the early days of film exploitation. He worked with the pioneering Kroger
+Babb and the anecdotes surrounding this character are quite amusing. The
+book gives allot of insight as to the tricks of the trade, and the text is
+littered with "carny", the slang of the carnival crowd. There's even a
+glossary defining such terms as "half a yard" (fifty dollars) and a
+"skygrifter" (a con man preacher). Stories on the shenaningans of such
+early figures as Irwin Joseph, Dwain Esper, Louis and Dan Sonney, Floyd
+Lewis, Gidney Talley, and S.S. Millard are scattered throughout the text.
+Friedman also details his association with H.G. Lewis and their creation
+of such classics as THE PRIME TIME, SCUM OF THE EARTH, and DAUGHTERS OF
+THE SUN, as well as the above mentioned original gore flicks. While
+learning about specific movies is an interesting part of this book, what's
+even more fun is the many stories of how these things were made and sold
+to a gullible public.
+
+
+On the fanzine front:
+
+CULT MOVIES AND VIDEOS #7 ($4.95 cover, four for $18.00 by subscription at
+6201 Sunset Blvd., Suite 152, Hollywood, CA, 90028) continues to offer 80
+densely packed pages of valuable information and good, fun reading. The
+new issue devotes much attention to Godzilla, but also finds space to
+include a masked Mexican wrestler movie feature, an interview with 30's
+and 40's horror flick character actor Turhan Bey, reports on rare film
+finds with Boris Karloff and Betty Page, Craig Ledbetter on "Death Laid an
+Egg", Bela Lugosi, George "Superman" Reeves, and plenty of letters and
+book and record reviews. ECCO, THE WORLD OF BIZARRE VIDEO has taken on a
+new expanded format with issue #18 ($3.00 cover, four for $10.00 by
+subscription at P.O. Box 65742, Washington, DC, 20035). The 'zine used to
+be shorter and carry brief descriptions of obscure films, but it now has
+branched out to a full ad-free 30 pages, with lengthier features on
+artists and individual films in addition to shorter reviews of books and
+videos. This issue contains stories on director Barbet Schroeder and
+Florida exploitation film make-up man and promoter Doug Hobart, a look at
+the British teensploitation sleazer "Beat Girl", discussion of a pair of
+roughies on video, "Aroused" and "Evil Come Evil Go", plus additional book
+and video reviews, commentary, and even Idi Amin. EUROPEAN TRASH CINEMA
+#6 ($6.00 cover, four for $20.00 by subscription at P.O. Box 5367,
+Kingwood, TX, 77325) is finally out, and it was worth the wait. The all
+interview issue has 42 pages of conversations with Riccardo Freda,
+Lamberto Bava, Ruggero Deodato, Lee Van Cleef, Antonio Margheritti, and
+Sergio Stivaletti. Also included is a an homage to actress Barbara
+Bouchet, and a discussion of the increasingly controversial Thomas Weisser
+book "Spaghetti Westerns-The Good, the Bad, and the Violent". FILMFAX is
+a slick that FUNHOUSE! usually passes on from a lack of interest, but
+issue #38 ($4.95 cover, six for $25.00 by subscription at P.O. Box 1900,
+Evanston, IL, 60204) caught my eye with an interview and film history of
+the greatest of the badfilm auteurs, Dallas' Larry Buchanan. The issue's
+98 pages are fleshed out by a Joe Dante interview, a Lon Chaney Sr.
+article, and an interesting talk with Tommy Kirk (star of Buchanan's "Mars
+Needs Women" and "It's Alive") in addition to other stuff outside of
+FUNHOUSE!'s interest. FREAKOUT U.S.A. ($5.00 cover at 1204 East 12th St.,
+Tucson, AZ, 85719) is a new 'zine with an emphasis on garage and punk
+bands of the sixties, and their modern derivatives. This is a successor
+to PSYCHEDELICATESSEN, and #1's main feature is a fantastic, lengthy
+interview with MC5 bassist Michael Davis. The article, which is heavily
+illustrated with pictures and items from Davis' personal collection, is
+the best feature on that great band that I've yet read. Also of interest
+is a first hand account of the neo-psychedelic band scene in Japan. The
+64 pager is filled out with many short articles on various genre bands
+(including an incomplete short one on Davie Allen and the Arrows, who will
+be profiled to a much greater extent in a future FUNHOUSE!) and book and
+record reviews. THE LAST PROM is a work of literature from editor Ralph
+Coon (no cover price, write to 137 S. San Fernando Blvd. #243, Burbank,
+CA, 91502). #2 is a well researched 40 page biography of television kook
+preacher Dr. Gene Scott, a regular feature on the FUNHOUSE! editor's TV
+screen throughout a Southern Cal adolescence. If you've ever been
+fascinated with this intense character get this immediately. All of his
+well publicized exploits are explained in detail, as well as a look into
+his origins. Even if you've never heard of Scott this expose on a
+fascinating character is an intriguing read. PSYCHOTRONIC VIDEO #15
+($3.50 cover, six issue subscription for $20.00 from 3309 Rt. 97,
+Narrowsburg, NY, 12764-6126) is 72 pages of the usual great collection of
+many video reviews, informative letters, and book, fanzine and record
+reviews. This issue's features are interviews with Antonio "Huggy Bear"
+Fargas, John "Animal House" Vernon, British sixties nudie filmmaker
+Harrison Marks (see FUNHOUSE! book review section), and Peter Jackson, as
+well as a follow up to last issue's "Spook Show Racket" feature discussing
+Donn Davison. With many video reviews and great feature articles,
+FUNHOUSE! considers PSYCHOTRONIC to not only be a bargain but the best
+oddball film mag of them all. SHOCK CINEMA #5 ($3.00 cover, $4.00 ppd by
+mail from P.O. Box 518, Peter Stuyvesant Station, New York, NY, 10009) is
+40 pages of many (over 60) medium length reviews of horror/weirdo/sleaze
+films covering a wide range of styles and periods. Also thrown in are a
+few pages of informative letters, themselves filled with strange movie
+reviews, and a record, book, and 'zine section. I like this one. SNAKE
+OIL #1 ($2.00 from 6102 East Mockingbird #374, Dallas, TX, 75214) is
+Brother Randall's continuation of his "Robert Tilton Fan Club Newsletter".
+After eight issues of that title dedicated exclusively to Brother Bob, he
+widens his scope with this 'zine to cover a larger selection of Bob's TV
+brethren. This 12pp/no ads issue has a testimonial from a visit to Benny
+Hinn's healing crusade, the first hand scoop on the marriage of Bob
+Tilton's daughter Amy, details from a wet David Koresh T-shirt contest at
+the Cod Club in Waco, and tips for blending in when visiting the faith
+healing/fundamentalist/ Pentecostal crowd's get togethers. Also included
+is a listing of TV preacher related items for sale by mail. VIDEOOZE #4
+($3.00 cover, four for $10.00 by subscription from P.O. Box 9911,
+Alexandria, VA, 22304) comes in at a somewhat short 28 pages. The focus
+is primarily on (mostly) foreign horror films from (mostly) the sixties
+and seventies. It is largely made up of longer reviews of about ten
+rather obscure terror films, and a detailed comparison of Mario Bava's
+"Lisa and the Devil" and it's bastardized retooled release "The House Of
+Exorcism". The rest consists of a short article on actress Helga Line and
+the usual letters and fanzine profiles.
+
+FUNHOUSE! would like to recommend the newsstand at Naked Eye Video, 533
+Haight St. (at Fillmore) in San Francisco, as a great source of 'zines and
+oddball publications, as well as many of the videos we all crave. If
+you're in the neighborhood you're encouraged to check them out.
+
+
+Music:
+
+Rather than talk about some recordings this time out, FUNHOUSE! will
+give descriptions of two outstanding live performances recently
+attended.
+
+GEORGE CLINTON AND THE P-FUNK ALLSTARS - May 21, at The Circle Star
+Theatre in San Carlos, CA.
+
+Many times during the last election season I was struck by the wisdom of
+tossing out GEORGE Bush and Bill CLINTON, and supporting the one man
+capable of bringing about One Nation Under A Groove, GEORGE CLINTON. Well
+that didn't go down, but a wild and frenzied four and a half hour
+extravaganza of everything P-Funk did. The venue itself added to the
+weirdness. The Circle Star is a place that usually hosts older comics,
+country singers, and Las Vegas acts on tour, and thus I hadn't previously
+had the pleasure of visiting. It appears to be all that's left of a past
+suburban "passion pit" (that's a drive-in for you more sophisticated
+types), which is the circular concession stand/restroom area/projection
+building situated in the middle of the theatre so as to serve all of the
+screens that surrounded it. Inside the stage is "in the round", meaning
+that it's circular and is surrounded on all sides by about twenty rows of
+seats. As the show proceeds, the stage rotates around so that at
+different times different sections of the audience are facing the front.
+The band composition ranged from the stripped down fivesome of two
+guitars/bass/keyboards/drums for "Maggot Brain" (Where the combo was
+introduced by "THIS IS FUNKADELIC!"), to greater than twenty musicians,
+singers, and boogiers for the most elaborate Parliament dance tunes. It
+was good to be situated in what was the first front of the stage, as it
+took a good half hour just to get the whole gang assembled before they
+actually began to rotate. The show was amazing. Brother George showcased
+all aspects of his empire. He delivered many of his psycho-spiels at one
+point, he rapped, and he allowed the musicians to tear off into the mind
+melting guitar frenzy and keyboard wizardry that us Funkadelic fans came
+for. After attempting to rouse the audience into applauding one
+particular mind numbing sonic jam solo (I know I was already screaming),
+George admonished the dance music oriented spectators that they didn't
+just get the hits, they had to hear it all! - I think this was good for
+allot of them. Of course all the hits you'd expect to hear were played,
+from "P.Funk (Wants To Get Funked Up)" to "Atomic Dog" to "Up From The
+Down Stroke" to "Give Up The Funk (Tear The Roof Of The Sucker" to
+"Flashlight". But what the good folks at FUNHOUSE! came for were the
+mighty Funkadelic cuts. Interspersed early in the show were "Cosmic
+Slop", "Let's Take It To The Stage", "Alice In My Fantasies", "I Call My
+Baby Pussycat", and the above mentioned "Maggot Brain", but after midnight
+Sir Noise kept calling for the band to follow him in a string of
+Funkadelic songs seemingly pulled from the top of his head. One after
+another us hanger-onners were treated to "Standing On The Verge Of Getting
+It On", "Red Hot Mama", "Hit It And Quit It", "One Nation Under A Groove",
+and "No Head No Backstage Pass". Another interesting aspect of the whole
+experience was the audience. It was a close to even mix of black folks
+and white folks, but the real contrast was amongst the personalities from
+those groups. The majority of the blacks were slightly older (thirties to
+forties and many beyond that), mostly dressed sharply, with allot of
+husbands and wives, families with children, and couples on dates. The
+white kids however could have just as well been at a Dinosaur Jr. show.
+Big hair and leathers abounded. It must be said that there were many
+twentyish black kids in attendance, but virtually no (obviously) fortyish
+whites. I guess they were all waiting for the upcoming Manilow gig.
+Needless to say it was an exhaustive evening that I was damn glad that I
+didn't miss. In the Bill Clinton department, I've been informed of a
+campaign trail interview he gave in Portland in which he discusses his
+favorite P-Funk tracks with the interviewer. Yet one more reason why I
+feel that I did in fact make the correct choice last November.
+
+
+NEIL YOUNG WITH BOOKER T. AND THE MG'S - June 12, at The Concord
+Pavillion in Concord, CA.
+
+The ever eclectic Mr. Young has spanned the range of his styles of late,
+from the Crazy Horse collaboration RAGGED GLORY and the 1990/91 tour with
+them which resulted in the ARC/WELD live triple record, to his last LP
+HARVEST MOON which reunited him with the mellower sounds of The Stray
+Gators who had last worked with him on 1972's HARVEST. Neil's latest
+group of musicians provide him with the perfect compliment for all the
+various aspects of his career, none other than the greatest back-up band
+of all time Booker T and the MG's. Booker T. Jones (organ), Steve Cropper
+(guitar) and Duck Dunn (bass) were all there, along with Jim Keltner
+joining on drums in place of the late Al Jackson. The group, rounded out
+by a pair of female backup singers, were announced along with Neil on June
+9 for a gig that night at the (I'm guessing) 2-3K seat Warfield Theatre in
+San Francisco. Well that show was an impossibility as it sold out in ten
+minutes after the press/radio/Bill Graham leeches got a hold of their
+seats through their connections. A second show at that venue was
+announced from the stage for the next night and I of course didn't make
+that one either. After some brooding, I was stoked to hear a Saturday
+morning announcement for a gig that night at the Concord Pavillion for the
+very reasonable admission price of $12.50. After hauling it down to the
+boxoffice for the ten o'clock start of ticket sales, I secured my pass for
+that evening's rocking sold out night under the stars. The Concord is one
+of those amphitheater places with a couple thousand seats in a semi-circle
+arrangement around the stage, backed up with a sloping grass general
+admission area. Relaxing on the lawn amidst the marijuana haze after an
+upper 80 degree day had cooled with the sun set was the perfect setting to
+groove to the founder of grunge rock. Booker T and the MG's were the
+house band at the Memphis based Stax/Volt soul label, writing songs for
+and backing up such greats as Otis Redding and Sam and Dave. They put out
+a number of great instrumental records themselves, and had hits with songs
+such as "Green Onions" and "Tic-Tac-Toe". While this collaboration with
+Neil was a new thing, these guys are sharp enough as a band that they were
+able to slide right in with exciting grinds and jams behind songs from the
+most subtly beautiful to the hardest rocking feedback drenched tunes Mr.
+Young has written. The FUNHOUSE! offices like nothing better than putting
+on the mayhem of N.Y. and Crazy Horse at eleven on the stereo, but we like
+the acoustic guitar and piano accompanied songs as well. When Neil's with
+Crazy Horse as on ARC/WELD, there's no other place to go than full blast.
+The MG's however can provide him and his Gibson with the loud crunch he
+needs at one point, but they can then come back with a clean, quiet
+backing for the slow ones. The two and a half hour show kicked off with
+"Mr. Soul", "The Loner", and "Southern Man", filled with top form vocals
+and crazy solos that had the crowd on it's feet after each one. Neil's
+enjoyment of the show can be directly correlated with the length and
+intensity of his guitar wails, and based on these he was REALLY into this
+one. The concert had a heavy dose of the high watt numbers mostly
+recorded with Crazy Horse. Loud songs such as "Like a Hurricane" and
+"Powderfinger" were mixed with more mid-tempo rockers like "This Note's
+For You", "Everybody Knows This Is Nowhere", and "Motorcycle Mama". The
+organ wails from Booker T which accompanied "Love To Burn" and "Down By
+the River" added a great element to these compositions which hasn't been
+heard before. Steve Cropper picked out some great rhythms, and occasional
+leads, to hold things together while Neil went off on his electric, or
+strummed the melody on his acoustic to the hit "Harvest Moon" from his
+latest LP. An occasional venture to the piano for songs like "Only Love
+Can Break Your Heart" and "Helpless" were also interspersed. I never
+thought that the concept of contact high was actually possible, but by the
+encore of the Otis Redding classic "Sitting By the Dock Of the Bay"
+(written by Cropper) and Dylan's "All Along the Watchtower" I was heading
+for munchyville courtesy of my neighbor's second hand dope smoke. I had
+flashbacks of my previous experience at a Young concert at the indoor
+Universal Amphitheater in L.A., where the atmosphere was like Spicolli's
+van in "Fast Times At Ridgemont High". I was waiting for a repeat of my
+most vivid memory from that date, Neil's vocalizing of "And I felt like
+getting high..." from "After the Gold Rush" which was met my hoots and
+hollers plus countless flicked bics from the turned on crowd.
+Unfortunately as that great tune wasn't on the nights schedule there was
+no repeat from this audience. This collaboration appears to have been
+recently put together, but it worked so well and seemed to be so enjoyable
+for the musicians that I wouldn't be surprised if a tour emerged. If it
+happens you're advised to not miss it.
+
+
+And finally, a video tape of a live show:
+
+LOU REED - THE NEW YORK ALBUM
+Recorded August 13, 1989 in Montreal at Theatre St. Denis
+Lou Reed (vocals, guitar), Mike Rathke (guitar), Rob Wasserman (bass),
+Robert Medici (drums)
+
+Lou records his NEW YORK album live, in order, and in it's entirety with
+the guitarist and bass player who worked with him on that record. Old
+drummer and LP producer Fred Maher wasn't on this tour, but Medici is a
+fine replacement. The band sounds really good, doing justice to some of
+Lou's best songs, and the recording is excellent. The idea of playing an
+entire album doesn't make sense unless it's a solid work without filler,
+and this one qualifies ("Romeo Had Juliet" - "Halloween Parade" - "Dirty
+Blvd." - "Endless Cycle" - "There Is No Time" - "Last Great American
+Whale" - "Beginning Of A Great Adventure" - "Busload Of Faith" - "Sick Of
+You" - "Hold On" - "Good Evening Mr. Waldheim" - "Xmas In February" -
+"Strawman" - "Dime Store" Mystery). Rhythm guitar king Lou takes some
+pretty cool sounding leads on "There Is No Time", "Great Adventure",
+"Busload", "Strawman", and "Dimestore", with Rathke supplying many others.
+Wasserman plays a weird looking six string stand up electric bass that in
+some cases gives a jazzy sound, and allows him to take leads in a couple
+of places. They really crank it up on the rockers "There Is No Time",
+"Sick Of You", "Hold On", and "Strawman". For the more introspective back
+to back songs "American Whale" and "Great Adventure" Lou sits at a stool
+with his ashtray next to him while the spotlight goes off of the other
+musicians (Rathke sits at the edge of the stage). Lou takes drags off of
+his smoke between verses and guitar licks. On "Dime Store Mystery"
+Wasserman plays his bass-thing with a bow and gets a sound that harkens
+back to the John Cale viola noise of the early Velvet Underground. The
+band appears all dressed in black and look like a sort of single-gloveless
+Music Machine. Lou has some really ridiculous looking hair, with his
+curly style giving way to one of those trendy soap opera/Mikey Bolton
+tale-things in the back. At one point Lou banters that all the music
+heard is live - no samples. As he says, "It's not ripped off from someone
+dead or in jail." On the tape liner notes Lou states that they wanted to
+be as straightforward as possible, with no choreography or back up
+singers. The recording is all taken from one show with no overdubs. One
+rather annoying aspect of the video production is the way in which it
+breaks in between songs. As this is one live show, and Lou delivers a
+little intro before every tune, there is no need for this interruption.
+During this time the sound goes off and a graphic is displayed with the
+title, album position, and length of the song. It was probably an effort
+to remind you that this is one cohesive set. Also in his liner notes Reed
+speaks of a NEW YORK PART II in the vaults of Sire and urges fans to
+encourage them to release it. I know that I'd like to hear that. All in
+all the tape presents a gig that was a great showcase for some great
+music. As FUNHOUSE! has said before, Mr. Reed is at his best when he's
+into his music, and at this time he had a quality, exciting back up band
+rather than a bunch of studio hacks working with him.
+
+On my cable system there is a channel operated by SF State University
+called SCOLA which is a download of direct, unedited, satellite feed
+showing newscasts from around the world. I recently saw a report on a
+French news show (amazingly with English subtitles) of a recent Velvet
+Underground reunion. Lou Reed, Sterling Morrison, John Cale, and Moe
+Tucker were all spoken with briefly, and they were shown playing "We're
+Gonna Have A Real Good Time Together. I think that it may have been
+taking place in Russia but I'm not sure. I'd like to see this show, but I
+somehow doubt that the tour hating Lou Reed or recluse Sterling Morrison
+would take it on the road. Maybe a performance will be but out on video.
+
+
+Next Issue: Funkadelic on CD, EC comics in re-issue, and the FUNHOUSE!
+self-indulgence section.
diff --git a/textfiles.com/magazines/FUNHOUSE/v1n3.jan b/textfiles.com/magazines/FUNHOUSE/v1n3.jan
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+
+FUNHOUSE!
+
+The cyberzine of degenerate pop culture
+
+
+vol. 1 - no. 3; December 29, 1993
+Released on Barbara Steele's 56th birthday
+editor: Jeff Dove (jeffdove@well.sf.ca.us)
+
+This issue is dedicated to Frank Zappa. He fought for your freedom whether
+you know it or not.
+
+
+
+
+FUNHOUSE! is dedicated to whatever happens to be on my mind at the time
+that I'm writing. The focus will tend to be on those aspects of our
+fun filled world which aren't given the attention of the bland traditional
+media, or which have been woefully misinterpreted or misdiagnosed by the
+same. FUNHOUSE! is basically a happy place, and thus the only real
+criteria I will try to meet is to refrain from rants, personal attacks,
+and flames - and thus FUNHOUSE! is an apolitical place. Offbeat films,
+music, literature, and experiences are largely covered, with the one
+stipulation being that articles are attempted to be detailed and well
+documented, although this is no guarantee of completeness or correctness,
+so that the interested reader may further pursue something which may spark
+her interest. Correspondence and contributions are thus encouraged, and
+any letters will by printed in future issues. Please send a short message
+to the above address, and arrangements will be made for the submission of
+larger items. The only other item is that FUNHOUSE! is Free-Free-
+Freeware! PLEASE copy and distribute as you wish, however please do not
+alter any text. I will be happy to try to clarify anything contained
+herein, and to provide additional information if I can, so don't hesitate
+to contact me.
+
+
+Table of Contents:
+
+* Letters, Commentary, and Other Stuff You'll Probably Skip Over
+* Three Italian Masters: Mario Bava, Sergio Leone, and Dario Argento
+ Defy Hollywood Conventions. The Critics Balk! Part 1 - Bava
+* A Parliafunkadelicment Thang - FUNHOUSE! Evaluates the Albums of
+ Funkadelic
+* The Original KISS Rate Their Own Records - Read What the World's
+ Richest Cartoon Characters Think of Themselves
+* REVIEWS - Zines, Books, Records, and Live Shows
+
+
+Letters, Commentary, and Other Stuff...
+---------------------------------------
+
+Whew, it's been a long time since number two! Numbers three and four will
+thus come out rather close together and will serve as a double issue. Our
+Italian Masters article begins here with King Mario Bava, and part two next
+time will pick it up with Dario Argento. The review section is likewise
+split, with printed matter being covered now and recorded materials being
+the dominant items the next time around.
+
+First off a big thanks to Jon Labovitz and his e-zine list, and Jason Snell
+at InterText for the publicity they've given this cyberzine. Has anyone
+caught the show "Drive-In Reviews" on Comedy Central? (It airs Sundays at
+midnight here on the west coast.) Two knuckle heads watch slasher and gore
+flicks while commenting sarcastically over them MST3K style. One show I saw
+had a "family" theme in which a crazed member tortured and hacked up the
+others. While knives and hatchets were being buried into bodies and guts
+and blood were spilling, what appeared to be the word "shit" was bleeped
+out. Censorship works in weird ways. As this show is a product of the need
+to fill air time at the present number of channels, I can't wait for what
+will occupy space in the expanded future. Last issue we picked on Mr. Paul
+McCartney in this forum for his fascist tactics, and in this issue the
+target is a far more obvious villain of the corporate rock world - MTV. I
+know those wannabe hipsters are an easy target, but something I came across
+concerning them, Nirvana, and the 1993 MTV Video Music Awards deserves
+comment. (In "The Dark Side of Innocence: Nirvana and the Rise of the
+Seattle Sound" by Gillian G. Gaar in Goldmine, Vol. 19, No. 25, Issue 349,
+Dec. 10, 1993 - a pretty good overview of the band's career and recording
+history. Fans are recommended to check it out.) It is reported that the MTV
+suits wanted Nirvana to perform the song "Lithium" live on the broadcast,
+while the band wanted to do "Rape Me". When told it had to be "Lithium" they
+were set to walk out, until being informed that if they didn't stay and do
+the desired performance that not only would Nirvana never again be played
+on MTV, but any bands on their record label (DGC) and with their management
+company (Gold Mountain) might also have trouble finding a place on the channel.
+Nirvana gave in and coercion is seen to still work. Mojo Nixon had it right
+about Music Television until he $old out to them. Guns and Roses should
+also note that the inclusion of a Charly Manson composition unlisted on the
+end of their Spaghetti Incident album, generating controversy (and record
+sales) for themselves, is not without precedent. Red Cross (now Redd Kross
+- more in a future FUNHOUSE!) included Manson's "Cease to Exist" unlisted at
+the end of their 1982 Born Innocent record. You can hear The Beach Boys
+perform this one, if you care to, under the title "Never Learn Not To Love"
+where the words were altered to "cease to resist". Look for the hard copy
+Clash / Davie Allen and the Arrows complete and illustrated double
+discography in 1994 from FUNHOUSE! publications. Clash fans with knowledge
+of oddities, promotional items, and uncommon picture sleeves are encouraged
+to contact me with your information about them at the email address above.
+I could also use a copy of the soundtrack album to the film KILLERS THREE.
+Credit will be given for any contributions in the finished work. Look for
+periodic postings of the Clash discography that I have as it grows in the
+newsgroups alt.music.punk, alt.music.alternative, alt.music.rock-and-roll,
+and alt.music.marketplace.
+
+How much credibility does the Rock and Roll Hall of Fame have when they
+overlook The Velvet Underground and The Mothers of Invention and induct The
+Grateful Dead?
+
+Don't ever go to see a band where the cost of admission exceeds the cost of
+their latest record (unless it's The Ramones).
+
+***********************************
+
+I really enjoyed reading Funhouse... Here's a spelling tip (which I send
+'cuz it drove me nuts to see it repeated): "allot" means to 'assign a share
+or portion', while "a lot" (two words!) means 'a large amount'.
+
+Eli Messinger
+tekbspa!ebm@uunet.uu.net
+
+***********************************
+
+I've enjoyed your FUNHOUSE! muchly and have distributed it to a couple of
+pop-culture fans. I found great writing and amazing research.
+
+May I offer a suggestion? Your apostrophes need cleaning up.
+
+The most common problem I spotted was the confusion between the "it's"
+contraction and the "its" posessive. It's useful to remember that "it's"
+means "it is".
+
+Some other occasional problems I spotted:
+
+1> to the source. Russ' style is one of the most uniquely
+
+Singular nouns, even proper names, always almost take "'s" as their
+posessive. See Chicago Manual of Style for exceptions.
+
+2> as I SPIT ON YOUR GRAVE or PINK FLAMINGO'S, when they tell you
+
+These are wrong unless the movie is about something that belongs
+to a pink flamingo.
+
+[I realize this is wrong - I just missed it. -JD]
+
+3> run posing as a cop. Alaina's got nothing but insults
+
+As a contraction this is OK, but you should be aware that it resolves to
+"Alaina has got nothing ... ", which is gramatically "casual" or else
+"Alaina is got nothing ..."
+
+4> come-on's, she refuses to provide his alibi. Clint is picked
+5> sound allot like some of the contemporary Ziggy LP's. A good intro
+6> Released on the day of George Clinton's 53'rd birthday.
+7> Also look for Russ' cameo as the video store clerk in the late-80's
+
+Abbreviations may use apostrophe in a plural if it avoids the confusion of
+simply ending with "s". Numbers shouldn't need to do so.
+
+So "come-on's" is probably OK because the idiom is "come-on", and "come-ons"
+would look unfamiliar and thus not work. But, for example, you'd get into
+trouble with "hard-on's", right? What does it mean?
+
+And "Ziggy LP's" is still OK because there was a time when people might have
+wondered what was an "LPs" (as with TVs, VCRs, MUXs, etc.) and so the "LP's"
+form has become sort of traditional.
+
+The "late-80's" is probably not OK. To justify it, you'd have to claim that
+it prevents reader from thinking, for example, that you're talking about a
+soviet missle no longer in production (e.g., "The late 80s was planned for
+submarine use...").
+
+And "53'rd" is just plain bad befuddlement. There is no "s" in sight to get
+confused over! The structures, "1st", "2nd", ... "87th" ... are quite
+traditional and accepted.
+
+8> out on tape was the edited version, however Something Weird's is
+
+Running uncontrolled here, I think. This resolves to "Something Weird is is
+the ..."
+
+============================================================================
+The apostrophe has become a "thing" with me. I've been seeing more and more
+of them in places they shouldn't be. Thanks for your patience if you've read
+this far.
+============================================================================
+Thanks again for your 'zine.
+
+George Klima
+klima@vnet.ibm.com
+
+***********************************
+
+Although I didn't have time to read the whole of both of them, I did
+get my interest piqued in Russ Meyer. Your Lou Reed reviews were excellent
+although I beg to differ with your dismissal of "Magic and Loss". I felt
+that it was one of Lou's most compelling works overall. There isn't much
+music out there with that much soul and feel.
+
+Thanks for the review of Neil Young because I'll be seeing him on the 25th
+w/ Blind Melon and Dinosaur Jr. (and of course the most excellent MGs).
+
+FUNHOUSE! is the zine I'd like Trigger Cut to become if I had more time.
+
+Mike Jordan
+goo@pwrtools.wariat.org
+
+[call up Mike at The Last Stand BBS at 216-228-0462]
+
+***********************************
+
+I've very much enjoyed reading both issues of Funhouse!, especially the
+articles on Meyer and the biker movies. Both are topics of particular
+interest for me (a note: though I find most of Meyer enormously interesting
+from a historical and technical viewpoint, the only one of his movies that I
+can say I'm a genuine fan of is "Faster, Pussycat!", which is a _wonderful_
+work. [A couple of weekends ago, I rented Mikel's "The Astro-Zombies" and
+"The Doll Squad", just to see Tura Satana again...)
+
+I ran across a fairly serious (though quite funny) goof in your listing of
+"Additional biker genre titles":
+
+"Where Angels Go... Trouble Follows!" (1968) is, ahem, not really a biker
+movie, though it would be entertaining to remake it within that genre. It's
+a sequel to the 1966 "The Trouble With Angels" (starring Ida Lupino,
+Rosalind Russell, Hayley Mills, etc.). Both are about (very) mildly comic
+goings-on at a convent school: the girls driving mother superior Russell to
+distraction with their wacky adolescent excesses. The sequel stars Russell,
+Stella Stevens, don't think Hayley is in it, with guest shots by Milton
+Berle, Van Johnson. I saw it once on a late-night movie show: I recall that
+the girls go on some kind of road trip (in a bus, not on bikes). There's a
+lot of singing (including a zippy title song, the chorus of which is oft
+repeated as a bridge between the episodic turns in the plot), and Stevens
+plays a young, hip nun who's confused about her commitment to the Church.
+
+Terry
+tharpold@mail.sas.upenn.edu
+
+[whoops! -JD]
+
+***********************************
+
+I like the FUNHOUSE! but try to be sensitive to your women readers, most of
+whom are rather disgusted by pornography, and the exploitation of women,
+strong characters or not. We like to be thought of a more than a pair of
+mammary glands. _Very_ itchy subject. If he picked his actresses on the
+basis of their breasts, then he was interested in his hormones and in money,
+not art, and definitely not in a positive portrayal of women. I'm not
+suggesting censorship on your part, but perhaps a little consideration.
+
+Thanks,
+
+Sarah Aist
+sa930211mcis@messiah.edu
+
+***********************************
+
+Well thank you for causing me to miss class. OK that's mis-directed blame,
+it is my fault, but the Meyer piece had me glued in place... Funhouse is my
+favorite pinball game. "Go get yourself a hot dog"
+
+just another bloodthirsty spectator,
+
+julie atomic
+shapiroj@ucsu.colorado.edu
+
+[julie publishes the wonderfully distasteful Seduction of the Innocent (which
+is much more interesting than the 1950's censorship tirade of the same name)
+and adds...]
+
+ I've been enjoying the J. Kevorkian soap opera and am considering putting
+ together a sticker pack dedicated to the man. (I've been combating
+ insomnia at Kinkos creating "Atomic Stickers" with themes like Women In
+ Prison, Woody Allen, Violent Crime Statistics, The College Scene (1967),
+ Classic Sitcoms, etc...)
+
+[for SOTI or these other fine products, "send a buck or two to cover
+shipping costs" to Julie Atomic/2010 19th st./Boulder, CO/80302. When in SF
+you can play Funhouse pinball at The 500 Club on Guerrero and 17th st. -JD]
+
+***********************************
+
+I noticed in your Boxoffice Int'l (BI) roundup that the Novak-sponsored
+films of the 70s were not discussed in much detail. I assumed you simply
+hadn't gotten to them yet and would review them soon. As an aside, I've seen
+a few of them in their pre-Something Weird versions and so here come some
+unsolicited ramblings about them. . . First, I seem to recall that the BI
+films were always kind of "knocking around" theaters, and even the titles
+from the 60s would pop up unexpectedly years later to round out the lower
+half of a "fleahouse" double-bill. For example, I say "The Toy Box" on the
+bottom of a triple-bill at the now-defunct Airport Drive-in in Oakland (CA)
+in 1977. "Axe" (which is now out on video under a number of monikers) was at
+the Concord Drive-In (Concord, NH, where I moved to in 1981) as late as
+1982.
+
+The Toy Box (1971) -- Reminded me of those Doris Wishman films, where
+the words didn't quite match the movements made by the mouths, and there's
+no story. My memory is hazy, but it's mostly a softcore porn flick with a
+subplot involving aliens that eat people's brains. A lot of people sitting
+around on couches; the only jolt in the film is a cutaway to a decapitated
+corpse -- sitting on a couch, of course -- my notes say that it looked like
+the actress pulled her sweater up and leaned her head back over the side of
+the couch to get the shot.
+
+I Drink Your Blood (1971) -- Is this the David E. Durston film? If so,
+Jerry Gross' Cinemation was the distributor and it played nationally on a
+double-bill with "I Eat Your Skin" (aka "Zombies," another transplant from
+the 60s).
+
+The Mad Butcher (1972) -- This one, if it's the one I'm thinking of -- a
+German-made version of "Sweeney Todd," with Victor Buono -- is in one of
+those Continental Video packages that sit gathering dust on many video store
+shelves. I recall that Buono is good, but that it's an Edgar Wallace-type
+murder mystery with slasher overtones.
+
+Frankenstein's Castle of Freaks (1973) -- An embarrassment for Rossano
+Brazzi, Michael Dunn. The video version I saw was stickered PG but there's a
+lot of skin in this opus.
+
+Caged Virgins aka Dungeon of Terror (1971) -- Jean Rollin? If not, I think
+this was a French import. (Again, I'm not close to my handy ref books)
+
+[aka Requiem pour un Vampire aka Vierges et Vampires aka Sex Vampires aka
+Requiem for a Vampire aka Virgins and Vampires aka The Virgins and the
+Vampires aka The Crazed Vampire. Yes it is from Jean Rollin - JD]
+
+Behind Locked Doors aka Two Girls for a Madman aka Anybody, Anyway (1975) --
+This one's part of a Continental Video double-bill. Two young women go to a
+party, meet up with crazy hillbilly types, are kidnapped and humiliated
+before they get away.
+
+The Rattlers (1976) -- I remember seeing this one at a hardtop in the 70s,
+PG-rated horror thingie patterned after Willard and Stanley, et. al.
+
+The Child aka Hide and Go Kill (1976) -- Fred Freidel's sleazy little gem
+from, I believe, the Carolinas. I don't have my reference books handy, but I
+believe this film kind of tosses its underdeveloped story to the wind in the
+last ten minutes and becomes a rather good Night of the Living Dead rip-off.
+
+[Jeff later informed me that he had confused The Child with Friedel's
+The Axe aka Lisa aka California Axe Massacre (1977) -JD]
+
+Hitch Hike to Hell (1978) -- With the Professor, from Gilligan's Island!
+
+Just some quick notes. I would like to find a video store like to one you
+mentioned in a news message -- the one in San Francisco. I've been all over
+the Boston area and there aren't too many that would carry these
+obscurities.
+
+*note: update list of BO titles available from SW!
+
+Jeff Frentzen
+jfrentzen@pcweek.ziff.com
+
+Updated list of titles available from Something Weird:
+
+Indian Raid, Indian Made (1969) *
+The Pigkeepers Daughter (1970)
+Country Hooker (1970) *
+Teenage Bride (1970) *
+Tobacco Roody (1970)
+Country Cuzzins (1971)
+Midnight Plowboy (1971) *
+Below the Belt (1971)
+Southern Comfort (1971) *
+Sassy Sue (1972) *
+
+* Not listed in previous filmography
+
+Additions to the filmography, not now on video from Something Weird:
+
+Massage Parlor Wife
+Wham Bam Thank You Spaceman
+Notorious Concubines
+
+***********************************
+
+I retrieved both of the FUNHOUSE! issues from the FTP site. Lot's of
+interesting reading, I especially liked the article on Russ Meyer. Since
+you seem to be somewhat of an expert on the topic of Mr. Meyer, I'll have to
+ask you a question. I borrowed CHERRY, HARRY, AND RAQUEL from a friend some
+years ago, and I seem to remember that somewhere on the video box it said
+something about "THE MEGAVIXENS". Like some kind of subtitle. You don't
+mention any alias for CH&R in your filmography but I'm positive I didn't
+dream this up with THE MEGAVIXENS thing.
+
+Marten Sahlen
+etxsahm@eua.ericsson.se
+
+[CH&R was released in the UK theatrically under the title THREE WAYS TO
+LOVE. MEGAVIXENS was a title that UP! was released under in France.
+Marten later confirmed that UP! was indeed the film that he was thinking
+of. - JD]
+
+***********************************
+
+
+Three Italian Masters: Mario Bava, Sergio Leone, and Dario Argento Defy
+------------------------------------------------------------------------
+Hollywood Conventions. The Critics Balk! Part 1 - Bava
+--------------------------------------------------------
+
+Mario Bava, Sergio Leone and Dario Argento are auteurs in areas of film
+which many "cinemaphiles" of the type who probably write for your local
+paper look down their noses at. These directors primarily focused their
+efforts in the areas of horror, thriller, western, science fiction, and
+crime dramas, however each employed a style which broke the paradigm that
+had been established by the traditional Hollywood approach in the execution
+of these genres. Not only did the Italians challenge the accepted formats
+for the films which they made, but they also used expectations of such
+formats to their advantage in bringing to their audiences feelings of
+tension, terror, anxiety, insight, or even humor. The Hollywood style of
+continuity editing was not only ignored, but the editing and camerawork
+employed by these directors was designed to in some ways have opposite
+effects. The Hollywood theory says that the editing shouldn't be noticed,
+that there should be a seamless flow from shot to shot and from one scene to
+the next. These filmmakers use the camera intrusively. It may linger on
+objects, points of view may vary without warning, or it may travel to places
+that the eye of a human observer couldn't, or wouldn't, see. The
+messages in the films are often driven by some underlying psychology, and
+the methodologies employed in the filmmaking process serve to emphasize
+these. Not only are traditional ideas pertaining to plot, characters, and
+notions of good and bad toyed with, but styles of presenting a story which
+had been refined through decades of output from American studios were also
+altered. The most noticeable example of this is in the reliance on elements
+other than pure narrative to carry the films. Stories aren't necessarily
+presented in the traditional manner, that being: 1) characters are
+introduced and defined, 2) a dilemma is presented, and 3) that dilemma is
+resolved at the film's end. Linearity of time is sometimes not adhered to.
+In addition to the actions of the camera, the sound and art direction are
+also relied upon to further a story, or even just an emotion, to a much
+greater extent than in more standard movies. The use of a musical score can
+be particularly striking, and serve as an important element in the
+presentation. This movement away from the norms of commercial studio
+filmmaking had of course been utilized by many prior directors. Europeans
+such as Goddard and Bergman, and even American Orson Welles, are examples of
+those who broke convention, but these and other "art film" directors
+applied their efforts to dramas. What makes Bava, Leone, and Argento
+enticing is not only the quality of their work, but that they were pioneers
+in applying the above mentioned techniques to genre films. The success which
+they achieved also led them to be quite influential, as each spurred on many
+imitators who produced works of varying degrees of quality. Another element
+which they have in common is that each of the three was met with a large
+amount, at least initially, of hostile critical reaction from American
+reviewers. Some of this undoubtedly arose from the sheer fact that the
+genres in which they worked were automatically looked at as inferior, but
+some of it must also arise from these reviewers trying to "read" the films
+as if they were the product of the Hollywood style. Many seemed confused in
+their analysis. There is no doubt that these films can be enjoyed on a
+purely visceral level, and while that approach would shortchange the
+observer, it undoubtedly contributed to some of the success that they did
+enjoy, especially in the case of Leone in America.
+
+The influence of the three directors on others was mentioned above, but the
+influence of the two older men, Bava and Leone, on Argento should not be
+overlooked. Indeed much of Argento's work can be observed to be a synthesis
+of techniques pioneered by the other two, with a good deal of Poe and German
+Edgar Wallace films thrown in as well. Leone directed only eight films
+himself, and produced a ninth while being heavily involved in it's creation.
+Six of these films, those for which he was most well known, represent the
+most classic examples of the "spaghetti western". It was the films of
+Leone, and the character of "The Man with No Name" in some of these films,
+which helped catapult Clint Eastwood into stardom. A couple of epics early
+in his career and a gangster saga at the end frame his more famous efforts.
+Bava is most well known by those who are aware of him as a creator of horror
+films. He did in fact have a great influence in ushering in "The Golden Age
+of Italian Horror Cinema", which loosely ran from the late fifties through
+the early seventies. His body of work is actually quite varied, with
+efforts in the areas of science fiction, giallo (Italian styled murder
+mysteries), a Hercules adventure, and even comic tinged fantasy and spy
+films. Argento, the only living and currently active member of the troika,
+has been more consistent in theme with his films. He is often times seen as
+a horror director, but in fact almost all of his projects have been giallos.
+Argento is the master of this area of filmmaking, but he has also ventured
+into the realm of horror (twice as director but frequently as producer) and
+his giallos sometimes incorporate supernatural elements. He once strayed
+from fright films entirely with a satirical political period piece early
+in his career.
+
+part I - Bava:
+
+Mario Bava made the jump from prolific cinematographer to prolific director
+midway through his career. Between the years 1938 and 1962 he lensed at
+least 27 Italian made films. There were early directorial efforts, but
+these consisted entirely of shorts shot on film no larger 16mm. However by
+the mid-fifties Bava was getting work as an uncredited assistant on several
+projects, including Pietro Francisci's LA FATICHE DE ERCOLE (aka HERCULES,
+1957) and ERCOLE E LA REGINA LIDIA (aka HERCULES UNCHAINED, 1960), and was
+credited on Henry Levin's THE WONDERS OF ALADDIN (1961). The event which
+would serve as his introduction into the world of fantastic film was his
+work on what is considered to be the first in a new wave of Italian horror
+productions, Riccardo Freda's I VAMPIRI (1957, released as THE DEVIL'S
+COMMANDMENT in edited form in the US). This film was the start of a cascade
+of works which generally featured eerie tales of torture and evil, often
+dealt with dark forces, and were mostly set in baroque or gothic
+surroundings. Many of the techniques familiar from the classic Universal
+films were incorporated, but they were also updated with a flair for the
+excess that often times occurs in Italian cinema. Dark lighting, musty
+castles, fog, and graveyards abound. I VAMPRIRI was scheduled for a 12 day
+shoot with Freda directing and Bava behind the camera. After 10 days Freda
+walked off the project and Bava stepped in to finish, supposedly filming
+greater than half of it in the remaining two days. The film has a 1930's
+feel to it, with short and sharply edited scenes backed by an old style organ
+score. The Bava look, which would become very recognizable in the future,
+shows through in many places however, especially in the areas of set design
+and the use of the camera to convey a message through the visuals
+surrounding the action. The story is good, telling of a 100+ year old
+Duchess who rejuvenates herself into the young Gieselle through blood
+transfusions from selected victims. She is aided by a mad scientist
+relative. Gianna-Maria Canale plays the dual role of young woman/old woman
+which foreshadows the role Barbara Steele will play in BLACK SUNDAY. The
+film's strong points are its visuals, and with both Freda (sculpting) and
+Bava (painting) having artistic training, their approach is just as much to
+create something stunning to look at as to tell a story. The Duchess' manor
+has a hidden laboratory annex and a secret passageway to a crypt (also
+foreshadowing BLACK SUNDAY), all of which allow for intricate set design.
+Bava's fluid camera is prominent, and is especially so in scenes in which a
+victim awakes in the lab and escapes to the tomb, and in the finale where
+the police comb the castle premises. The American version, which is much
+more likely to be seen these days, has several extra scenes shot in the
+States which are easy to spot by anyone familiar with Bava's work, including
+the opening abduction. These were inserted to make the film more "adult"
+and they feature scantily clad victims being apprehended. A nudie version
+was even put out under the title LUST OF THE VAMPIRE, which features an
+insert of "Grandpa" Al Lewis standing in for a European actor and pulling a
+woman's top off. I VAMPIRI is a watershed film much the way that Russ
+Meyer's THE IMMORAL MR. TEAS (1959) and Roger Corman's THE WILD ANGELS
+(1966) were, in that it served as an inspiration for a slew of imitators,
+and thus instigated a complete subgenre.
+
+Several more projects as cinematographer followed, including additional
+uncredited second unit direction with Jacques Tourneur on LA BATTAGLIA DI
+MARATONA (THE GIANT OF MARATHON, 1959). This was another project which was
+saved by Bava, who used his frugal abilities to finish it. He also again
+teamed up with director Freda on a horror project. In this film, CALTIKI,
+THE IMMORTAL MONSTER (1959) a situation similar to that with I VAMPIRI
+occurred in which Freda quit the project midway through and Bava took over
+the director's role. Caltiki is an angry Mexican god who directs his wrath
+toward some snoopy scientists who are desecrating his temple. The monster
+is a rolling mass of tissue that resembles The Blob. The producers felt
+that Italian names in the credits of previous films had diminished their box
+office draw, even domestically, and thus the names were anglicized. Freda
+became "Robert Hampton" and Bava was "John Foam". CALTIKI was sold in Italy
+as a US production. Bava would take on pseudonyms on several projects in
+the future, but this was usually the result of his hiding his real name when
+working in different genres, or was due to his displeasure with the final
+editing of the film.
+
+Producers took notice of Bava's skill in saving troubled projects on budget,
+and thus Nello Santi of Galatea Films offered to back any project that he
+wished to direct. Bava settled on the horror genre and produced one of the
+finest examples of that form ever made, LA MASCHERA DEL DEMONIO (BLACK
+SUNDAY, 1960). He also served as co-writer and co-cinematographer, and
+designed the special effects. Barbara Steele, who would develop a career in
+Euro-horror in the sixties in the wake of this movie, was selected for the
+lead based solely on her appearance . She had only had a few minor roles in
+non thriller's in her native England up to that time. (See Appendix:
+Barbara Steele filmography). Here she plays both the part of the evil witch
+Asa, and of Katia the innocent daughter of the local lord. Steele would
+also play double roles in the Italian gothic horror pictures AMANTI
+D'OLTRETOMBA (aka NIGHTMARE CASTLE, 1965, dir: Mario Caiano) and UN ANGELO
+PER SATANA (aka AN ANGEL FOR SATAN, 1966, dir: Camillo Mastrocinque). Asa
+is "killed" during the film's intro, along with her demon lover Dominici, by
+having the masks of the film's title driven onto their faces. These masks
+contain large, sharp spikes on their inner sides, and the hammering of them
+onto the faces is a shocking beginning. Before death Asa places a curse on
+her family as it is her brother who is disposing of her. The remainder of
+the story takes place in 1830, 200 years later to the day. It is a day in
+which historically the dead rise to seek retribution on the living, and it
+is then which the witch attempts to fulfill her curse. Katia bares a
+striking resemblance to her ancestor, whose portrait hangs on the wall of
+her home. When the Katia character is first encountered she emerges through
+the misty graveyard robed in black and holding large black dogs on a leash.
+The visual suggestion of evil when being introduced to the story's heroine
+is but one bit of trickery encountered. 100 years ago exactly another
+family member, who also resembled Asa, met an early demise. Katia's father
+and brother are aware of the curse, and that it is one in which a descendant
+of Asa is given the gift of her striking beauty but is to be punished for
+this gift with an untimely death. The circumstances around Asa's revival
+this time are a pair of skeptical doctors who happen across her grave after
+breaking down on their way to a professional conference. When the
+analytical non believers stumble through the graveyard and onto the tomb of
+the witch, they remove a cross fixed over her head which is designed to keep
+her contained. When the spiked mask is pulled off of the witch's face a
+hole filled skull swarming with spiders is revealed, and when the senior
+doctor is bitten on the finger by a bat, he drips blood onto the body and
+the resurrection is set in place. Asa calls to her lover to rise from his
+grave, and he pulls his mask from his head in one of the best sequences. He
+then aids her revival by capturing locals and bringing his victims to Asa so
+that she can consume their blood as a means to her revival (shades of I
+VAMPIRI). She is shown to gradually reconstitute, and at one point is
+depicted with skin that has returned, but with the spike holes remaining, in
+her face. As the victims mount, young doctor Andrej takes an interest in
+Katia, and with the aid of the village priest attempts to squelch the demon
+before Katia is destroyed by Asa as the ultimate victim in her revival.
+Steele is assigned the dual role not only to make use of her striking
+features, and as an element of the narrative, but also to emphasize the
+dialectical image of the female in society. There is a struggle between the
+whore like role of Asa, who has an insatiable appetite for men demonstrated
+on screen by her need for their blood, and the virginal Katia who is
+virtuous and in danger of violation. Andrej desires Katia, who diverts him,
+and Katia is herself desired by Asa for the witch's own evil purpose. He is
+forced to confront both women at the end, as when Asa has regained her human
+form she places an unconscious Katia in her coffin and encourages the young
+man to kill "the witch". The crucifix hanging from the real Katia's neck
+identifies her, and Andrej and the priest destroy and burn the witch to
+hopefully kill her spirit forever. Themes of inter familial violence occur,
+and will reoccur in Bava's work. An uneasy incestuous suggestion happens in
+this story when the zombified father attempts to suck out the blood of his
+daughter, only to be thwarted by Dominici, as Katia is to be saved for Asa.
+Psychological subtexts like this, intended to induce an extra disturbance in
+the audience, would become a Bava hallmark. This is also one of Bava's most
+dense films in terms of the images on screen. A fog filled graveyard with
+an eerie crypt and a vast medieval castle complete with secret passages and
+trap doors provide a fine framework for the artist in Bava to present the
+ocular imagery, that he saw as a vital part of cinema, with a free hand. As
+director he also is given free reign with the motion of the camera, and his
+liberal use of tracks and zooms draw out images which in many ways help to
+make this a sort of moving painting. AIP picked it up for US distribution
+and gave it the BLACK SUNDAY title. They also made a few edits of the more
+graphic images and replaced the score with one by ubiquitous American film
+composer Les Baxter, actions which detract from the viewing experience.
+Bava said prior to working on this film that he didn't wish to direct as he
+didn't feel that he had the total vision necessary for creating a story on
+that level. Watching BLACK SUNDAY shows this belief to be false.
+
+While Bava is best known as the creator of horror and giallo style crime
+thrillers, he actually was active in a wide range of film genres. Based on
+his previous experience with the Francisci HERCULES films, he was hired to
+direct an installment in the then popular Hercules series. His ERCOLE AL
+CENTRO DELLA TERRA (aka HERCULES IN THE HAUNTED WORLD, 1961) also gave him
+his first opportunity at directing a color feature on his own. It has been
+stated already that Bava's use of art direction and camera movements are
+central elements to his style, but arguably the most important element would
+come to be color composition, particularly with regards to lighting. In
+HAUNTED the techniques which would appear over and over again are presented
+for the first time. The complexity and subtleness that would be present in
+the art direction of later films isn't as developed in HAUNTED with it's
+minimal budget, but the concept is very apparent. Bava essentially made a
+horror movie within the pretense of a sword and sandal epic. Christopher
+Lee stars as the evil Lychos, a servant of the dark God Pluto. He captures
+Hercules' lover Dianara and plans to rule over the city that she should be
+queen of by consuming her blood and keeping that city in eternal darkness.
+Hercules learns from the animated oracle Medea that he and pal Thesius must
+travel to Hades itself in order to retrieve the Rock of Light to save
+Dianara and her people. The darkness of Hell, Lychos' evil lair, and the
+Kingdom of Darkness where the Hesperides live, are all created convincingly.
+Deep reds and misty layers of fog on the sea to Hell, the carefully placed
+green, red, and blue lights in the Hesperides' land, and the bubbling lava
+pits of the underworld all create a spooky atmosphere of the sort that would
+be perfected in the depiction of an alien planet's terrain in PLANET OF THE
+VAMPIRES. A rampaging stone creature, bleeding vines carrying the souls of
+damned men, and ghouls crawling from their coffins and out of the ground to
+battle Hercules provide some of the horrific elements. Extended fights are
+kept to a minimum, and the eerie plot contributes to this film being
+commonly referred to as one of two Hercules films, along with the original
+Steve Reeves entry, that is worth watching today. It was released in the
+US by the Woolner Brothers, who shortened it a bit by cropping some scenes
+at the beginning and the end. GLI INVASORI (aka ERIK THE CONQUEROR, 1961)
+was made at the behest of Galatea head Nello Santi in an attempt to jump
+onto a trend of Viking pictures that were popular in Italy at the time. It
+stars Cameron Mitchell as a Viking child abandoned after his people's defeat
+at the hands of the English in the 10th century. Queen Alice of Britain
+adopts the boy and raises him as Erik, Duke of Helfort. His brother Iron
+becomes leader of the Vikings, and after the English Queen is betrayed by
+her top aide Gunnar, the Vikings have control over her land. When Erik
+returns home to reclaim England, his must do battle with the Viking guards
+who protect the traitor Gunnar. A duel between Erik and Iron follows in
+which Iron identifies his brother by a tattoo on his chest. Iron is however
+killed by Gunnar, who hopes to blame Erik for the deed and bring the full
+wrath of the Viking people down on him, but Erik's men and the Vikings see
+their common interest and unite to dispose of Gunnar. I haven't been able
+to see this yet, but it seems to be most notable for the director's ability
+to shoot elaborate scenes and effects on a shoestring budget, utilizing his
+photographic legerdemain. This is a talent that will be quite valuable on
+future projects such as PLANET OF THE VAMPIRES and DANGER: DIABOLIK, where
+convincing futuristic visuals were made for next to nothing. One impressive
+example of this skill on ERIK is in the way Bava filmed the battle scenes
+with only twenty extras. He covered the lens with twelve strips of paper
+and filmed his actors with multiple exposures of the same stock, each time
+having the warriors in a different space, and each time removing a different
+one of the twelve strips. The final shot thus looked to contain 240 people.
+He masked the bareness of his sets by engulfing them in clouds of colored
+smoke. ERIK was the second Bava film distributed in the US by AIP. They
+sold it with the ad line, "Perhaps the only Viking movie to use pasta
+battleships", which in fact it did.
+
+Like many other European directors Mario Bava would have his share of
+problems having his films shown in their intended form in the United States
+and other English speaking countries. Not only did the Americans have a
+more prudish attitude at the time towards certain subject matter and
+graphical images on screen, but they also took genre films less seriously,
+feeling that they needed to direct them toward children rather than adults
+to achieve profitability. This problem continues to the present day where
+American fans of such directors such as Dario Argento are lucky to see
+stories the way in which they were intended. The greatest injustice done to
+Bava's artistry probably occurs with BLACK SABBATH and LISA AND THE DEVIL
+(both discussed below) and to two titles produced in 1963. The subject
+matter in both LA FRUSTA E IL CORPO (THE WHIP AND THE BODY aka WHAT!, 1963)
+and LA RAGAZZA CHE SAPEVA TROPPO (THE GIRL WHO KNEW TOO MUCH aka THE EVIL
+EYE, 1963) were definitely strong for the time, but the complete alterations
+in theme given them by the American distributors is so extensive as to
+seriously hamper two of Bava's better films, and to mask their importance as
+influences on the progression of the genre. THE GIRL WHO KNEW TOO MUCH is
+generally considered the starting point for the Italian film murder mystery
+dubbed the giallo. These stylistic thrillers tend to rely on bizarre plot
+twists and focus on the how and why of crimes equally as much as on the who
+and what. In THE GIRL WHO KNEW TOO MUCH, Bava applies his style to an
+homage to Hitchcock. Leticia Roman is Nora Dralston, an American visiting
+an aunt in Rome. After a chaotic chain of events that occurs when she
+seeks a doctor to treat her heart attack suffering relative, she witnesses a
+man stabbing a woman to death. Nora is a suspicious and jittery sort who is
+fearful and distrustful of all men, and her confused state over what she
+thinks she has seen, on top of her natural neurosis, casts a question on
+these events. When the body can't be found the police and the doctor,
+played by John Saxon, don't believe her claims. She moves in with another
+doctor, Dr. Terrani, and his wife Laura, who were friends of her aunt and
+are now living in the aunt's house. When Nora learns of a series of murders
+that have gone unsolved in the area, dubbed "the alphabet murders" as the
+victims are selected in sequence that way, her panic increases over the
+killing she believes she saw as she thinks that she will be the next victim.
+Dr. Terrani becomes her prime suspect, and a reporter named Landini helps
+her to investigate. All evidence is shown to point toward Terrani, while
+Nora herself begins to be directly threatened through phone calls and
+strange deliveries. Our suspicions are shattered when Terrani is found
+stabbed and dying. As he reveals to Nora that it is his wife Laura who is
+the guilty party, Laura attempts to finally eliminate Nora, who is saved at
+the last minute by the near death Terrani. Bava has said that even though
+his previous project ERIK THE CONQUEROR was profitable, with the then
+current success of horror films, in his next movie "l had to continue to
+kill." Little did he know that this method of depicting killings would take
+root as a common style over the next fifteen or so years in his homeland.
+This story is Bava's first set in contemporary times, and in fact the stark
+surroundings of the modern big city would become a staple of the giallo. The
+settings are in contrast to most of those in Bava's future projects as well.
+Those which aren't set in the past frequently have their characters move
+through older buildings with elaborate antique surrounding which serve to at
+least elicit an atmosphere of past times. Bava played on Nora's perceptions
+of the events that occur around her, how they effect her psyche, and how
+that altered psyche effects the activities of the killer. Portraying the
+film's protagonist as a person who stumbles into the world of the criminal
+and alters it would also be utilized in future imitations. Some specific
+plot devices later picked up on by Dario Argento in his films, which would
+elevate giallos from exciting thrillers to works of art, are worth noting.
+The influences of some other Bava films on Argento in the areas of style and
+technique will be discussed later, but THE GIRL WHO KNEW TOO MUCH is
+important for some elements of the narrative that will be built upon. The
+concept of Nora being a person who is not only an interloper to the world of
+the criminal, but is a complete foreigner in her surroundings (she is an
+American), allows for an extra sense of both her vulnerability and naivete.
+Argento's protagonists would often fit this mold, most notably the American
+writer Peter Neal in TENEBRAE. The method of using the disposition of the
+true culprit as a form of subterfuge until the story's end is also notable.
+Argento would be greatly influenced by this plot device when he began his
+giallos in 1969 with L'UCCELLO DALLE PIUME DI CRISTALLO (THE BIRD WITH THE
+CRYSTAL PLUMAGE). That story would also involve a witness to an act of
+violence who is confused to it's actual circumstance upon investigation due
+to his preconceived notion that a woman could not be responsible. Argento's
+heavily crafted thrillers are made with multi layered stylistic devices. By
+the time he produced his first masterpiece, 1975's PROFONDO ROSSO (DEEP
+RED), he had begun utilizing not only plays on his viewer's senses through
+manipulating their expectations of story lines, but would also begin to
+incorporate the artistic devices of color composition, soundtrack, and camera
+placement and movement, to convey his uneasy and nightmarish visions to his
+audience. THE GIRL WHO KNEW TOO MUCH is a definite influence upon the
+narrative style of these films, but it was another Bava creation, BLOOD AND
+BLACK LACE from 1964, which provided the visual springboards. Thus while
+THE GIRL WHO KNEW TOO MUCH doesn't ultimately come across as completely
+successful as a mystery, it is important in being the genesis for the notion
+that elements other than strict "whodunit" could drive a crime drama. One
+important factor which is missing from THE GIRL WHO KNEW TOO MUCH, and which
+distances it from future giallos, is that it's in black and white. Color
+photography would serve as an important part of the films to come. When AIP
+picked this up for showings in the US they were uneasy with the subtleties
+of the plot, and with those subtleties being so dominant throughout the
+story AIP decided to attempt to play them off as humor through re-editing
+and dubbing. The result came out as THE EVIL EYE, and the features which
+make this movie influential as well as interesting are buried. They also
+again dubbed on a new Les Baxter score.
+
+LA FRUSTA E IL CORPO (THE WHIP AND THE BODY aka WHAT!, 1963) is Bava's first
+gothic horror film since BLACK SUNDAY, and it is his first in color. It is
+also one of his masterpieces. WHIP uses sado-masochistic and psycho-sexual
+themes to present a series of intense contrasts within the framework of a
+ghost story. Bava makes his only attempt at a substitute for Barbara
+Steele, something many other directors would do with varying degrees of
+success, with Daliah Lavi in the lead role as Nevenka. She is up to the
+challenge both as an actress and in appearance. The plot has Christopher
+Lee as the evil Kurt, returning to the castle of his father Count Menliff
+for the occasion of his brother Christian's marriage to Nevenko. Kurt is
+unwelcome by the residents and there is considerable unease as to his
+presence. Years earlier he had been run out after his lover Tania had
+killed herself over his rejection. Tania's mother is the housekeeper and
+has sworn retribution upon Kurt. She keeps the blood stained dagger encased
+in glass to remind her of his crime. Kurt had been the lover of Nevenka
+also, and was at one time engaged to marry her. The attraction/repulsion
+she felt for him continues at the time of his return, straining her new
+marriage to Kurt's brother which was arranged by the Count. Soon after his
+return Kurt encounters Nevenka on the beach and whips her violently. He
+lectures "You always loved violence" before lashing out. What seems to be a
+horrible encounter takes on a perverse sexuality as she is seen to clearly
+enjoy the beating, and the encounter ends in an embrace after the whip has
+torn away her clothing. This tension between love and hate, and between
+pleasure and pain, amongst the two main characters is the driving dialectic
+of the film. Later that night while all the other occupants of the castle
+are searching for the missing Nevenka, Kurt is killed with the bloody dagger
+after hearing a ghostly voice call to him. This event and his subsequent
+entombment by red hooded pallbearers is the true starting point for the
+movie. Up until Kurt's death it had been shot in a fairly conventional
+style, but with this scene the direction takes on a very stylistically eerie
+quality. The scene leading up to Kurt's stabbing is the first of many
+intricate and drawn out episodes, containing very little dialog and
+involving the camera precisely moving through and exploring the carefully
+constructed settings. Before the knifing it follows him as he travels
+stealthily through the building, tracking behind him and sweeping ahead, as
+he goes through a secret passage and spies in on his father on the way to
+his quarters. The scenery is dark and backlit with deep blues and with
+occasional red and green accents. A moody classical score carried by subtle
+piano helps to develop of sense of unnaturalness, suggesting occult
+possibilities at this early juncture. While Kurt is clearly alive at this
+point, we are introduced to the possibility of him as specter, and when he
+is stabbed it is after an otherworldly female voice calls out to him,
+solidifying this image. From this point forward the film is a series of
+increasingly lurid intervals of this nature, rarely moving out of the dark
+and moody confines of the castle. Soon the father is killed with the same
+dagger in a similar fashion, and behind the murder mystery which develops
+within the mise en scene of the film, there develops a mystery to the
+viewers concerning whether Kurt's ghost is present or if he is actually alive.
+Nevenka is startled by a series of incidents in which she is drawn to the
+lurking presence of Kurt, and her psyche becomes disturbed to a greater
+extent after each one. At first she only hears the sounds of his whip, but
+eventually he emerges with it in hand to administer his sexual torture.
+When she first actually encounters his visage it is peering into the house,
+framed within a window. Bava liked using this technique to throw back upon
+the audience a sense of their spying in on something which will lead to
+frightening results. Similar scenes would be used effectively in both BLACK
+SABBATH and KILL, BABY KILL during this period. There is always set up a
+contrast between the victim's fear as her attacker approaches, and her
+eventual ecstasy over the results. One effective scene has Kurt's
+menacingly green lit hand reaching toward the camera and at a screaming
+Nevenka, only to eventually caress her head upon reaching it. Bava had set
+up this scene by using false scares earlier in the film in which a hand
+comes from out of the frame to grab a startled victim, only to be quickly
+revealed to belong to a harmless friend. After another beating Kurt's face
+is shown to move in toward Nevenka's, changing from being lit in blue to
+green and to red as it gets closer, finally being only a set of lips that
+approach her. When the whipping is performed on the bare back of Nevenka it
+is always shown from the perpetrator's point of view, giving the audience
+the chance to perceive themselves as administering the act as the reaction
+changes from one of torture to one of pleasure. This is another technique
+that Argento would come to incorporate into his projects frequently and with
+great effect. The film resolves into a tense final 20 minutes in which
+Christian and the groundskeeper find muddy boot prints leading into Kurt's
+tomb while frantically searching for the missing Nevenka. When they open it
+they find her half unconscious inside, and get a notion that Kurt may not be
+dead. A great scene has them open the casket to reveal a decomposed and
+unidentifiable body, which is burnt in hopes of insuring Kurt's destruction.
+Nevenka slips away, and during her final encounter with the lurking evil
+brother reveals the deepness of her love to him, but also the intensity of
+her dislike. While embracing she moves a knife around his back to stab him,
+and when she thrusts it in, Christian and the groundskeeper have arrived and
+are staring through a window as they watch her alone piercing her own
+stomach. There thus seems to be a further dilemma with the conclusion. The
+lust and guilt filled mind of Nevenka drove her to the killings, but we must
+decide if her encounters with the evil brother are the products of her
+mind's desire for perverted pleasure, or if the spirit of the dead man was
+continuously returning, visible only to her, and allowing for each to
+fulfill their own particular sadistic or masochistic urges. The final shot
+zooms in on the lash in flames amongst the burning corpse; the whip and the
+body destroyed. Naturally, this juxtaposition of eroticism and violence, with
+suggestions of pleasure both by the giver and receiver of such treatment,
+was too much for the American distributors. They edited out the more lurid
+elements and titled what was left WHAT!, which was then sold using Chris
+Lee's name. While this version, without the depiction of the posthumous
+Kurt's acts, makes little narrative sense having been stripped of it's
+subtext, it is still fascinating to watch the frightening atmosphere that
+Bava was able to develop with his technique. It's no wonder that most
+American critics expressed confusion over it, and it's incidents like these
+which lead to not only Bava, but many of his peers, not getting the respect
+they deserve as directors in The States. In another attempt to anglicize
+the credits Bava took the alias "John M. Old" on WHIP.
+
+I TRE VOLTE DELLA PAURA (aka BLACK SABBATH, 1963) was another AIP
+collaboration, and their input allowed them to again do a hatchet job on a
+Bava film. BLACK SABBATH is a trilogy of tales highlighted by the
+appearance of Boris Karloff, who was secured for the project by AIP. The
+English language version has Karloff delivering introductory talks to each
+segment, culminating in his own appearance in "The Wurdalak" which ends that
+variation of the film. Bava plays on many subtexts to provide the chills
+throughout, and Karloff's vampire story is the only true horror tale.
+Contrary to most US viewers my favorite section has always been "The
+Telephone", number two in AIP's cut. This story was stuck into the middle
+as the US producers felt that the other segments, which have a higher
+supernatural element to them, were needed to scare the audience both coming
+and going. "The Telephone" is appealing to me in that it is a visual
+precursor to Bava's soon to be made masterpiece BLOOD AND BLACK LACE, which
+I consider to be his best film. In "The Telephone" the camera
+voyeuristically explores the sexuality of its female leads, especially the
+very beautiful Michele Mercier. In this story Rosy, played by Mercier, is
+tormented by phone calls from a dead former lover, who threatens retribution
+against her. She summons Mary, an acquaintance played by Lydia Alfonsi, to
+stay with her for comfort. When the evil intruder arrives he strangles Mary
+with a stocking, but Rosy is able to catch him by surprise with a concealed
+knife before he can kill her too. This version presented the former lover
+as a ghost returned from the grave hungry for revenge. What is interesting
+is the manner in which the victims are depicted, especially in the final
+confrontations. Bava lingers seductively over their attractive features and
+plays sexual mind games with the viewers before the temptresses are
+"punished" by some independent act of violence. This segment has distinct
+similarities to the classic BLOOD, and some of the ideas that went into that
+film are worked out here. In one shot Mary's black gloved hands are focused
+on while she teasingly handles a large kitchen knife. Thanks to the
+research of The Video Watchdog (issue no. 5) who translates and compares the
+two versions of the movie, it is shown that this segment was intended to be
+a prototypical giallo proper. The original dialog and editing reveal that
+Mary is in fact using the prison escape of prostitute Rosy's ex-lover pimp
+to seduce Rosy into bed with her. Mary is shown to be making the
+threatening calls posing as the pimp, who is never portrayed as being dead.
+There is no supernatural presence whatsoever, and the killer's arrival at
+the end is a surprise. While suggestions of lesbianism remain for the
+observant viewer, and thus still allow for some suggestions of "guilt" on
+the women's part, Arkoff and Nicholson were uncomfortable with its
+overtness and altered the plot accordingly. Feeling that their younger
+target audiences needed more horror, they used this opportunity to introduce
+the ghost. They even included a new final shot of the telephone again
+ringing ominously after Rosy has killed her pursuer. The other segments are
+more horrific. "The Wurdalak" also has a subtext to elicit uneasiness. In
+it Karloff if the patriarch of a family, who in killing a local vampire (he
+keeps its severed head as a trophy) attracts the condition himself. When
+he returns home he sets about converting his family to vampiric ways through
+both violence and seduction; this is the way of a Wurdalak. Eventually
+Vlad, a family visitor, is converted by his lover, the Karloff character's
+daughter. The visuals are classic Bava with darkly lit blue backgrounds,
+swirling fog, and foreboding surroundings - visuals similar to those
+concocted for HERCULES IN THE HAUNTED WORLD and the later PLANET OF THE
+VAMPIRES. Karloff is excellent, and a plot containing violence against
+one's own family, incestuous underpinnings, and the final conversion of all
+to evil without pain or punishment, are all unique and unsettling. The third
+section of BLACK SUNDAY is "The Drop of Water" and it makes use of
+psychological torment to portray a woman sinking into psychosis from her own
+fear and guilt. A nurse steals a ring from the finger of a just deceased
+mystic and the ghastly figure haunts her for the crime - or is it just in
+the nurse's mind? The story is short and well constructed, and the director
+uses many devices, both visual and aural, to suggest the haunting presence
+of the dead woman to the nurse. Roaming cats, discarded baby dolls, and the
+innocent dripping of water from various sources are a constant reminder of
+the croaked medium. The protagonist's contorted face, with her hands
+clinging around her own neck when the police find her dead, is macabre. They
+conclude she died of fright, but was she murdered by the specter as we the
+viewers saw? The Video Watchdog piece also reports that AIP altered the
+intended order of the segments so as to provide the monsters of "The Drop of
+Water" and "The Wurdalak" first and last. Bava created stories with an
+intentionally defined running order, that is obvious to the careful viewer,
+by utilizing match on action shots which end and begin the various segments.
+"The Telephone" was intended to start the film, as its stabbing death
+matches the depicted death by stabbing of the original Wurdalak by Karloff
+in that section which originally ran second. "The Wurdalak" ends with
+three family members staring through a window as the final person is
+converted into the evil clan (the "Three Faces of Fear") and "The Drop of
+Water" then begins with the Nurse's face staring through a window. Without
+this linkage, AIP had Bava direct Karloff's narrative intros to each segment,
+which don't appear in the European version. These short pieces are amusing
+and worth looking at. The US producers also snipped out a few of the more
+graphic shots from "The Wurdalak" and again pulled one of their favorite
+tricks by having Les Baxter rescore the soundtrack. The original cut has
+been put out on LD in Japan, in Italian with Japanese subtitles. Hopefully it
+will one day be subtitled into English.
+
+While THE GIRL WHO KNEW TOO MUCH laid the groundwork for the giallo, the
+film which most expertly introduces the elements which would come to define
+that style is SEI DONNE PER L'ASSASSINO (aka BLOOD AND BLACK LACE, 1964).
+Bava had previously explored the place of women in a patriarchal society in
+BLACK SUNDAY, THE GIRL WHO KNEW TOO MUCH, and THE WHIP AND THE BODY, but the
+idea of women being the objects of both a voyeuristic fetishism and the
+victims of punishment for this role by men is most completely developed in
+this effort. He creates a series of highly developed and visually complex
+"set pieces" where the principal function is not what will happen, but how
+it will be carried out. Bava saw the story as written as a mundane crime
+drama, and thus decided to use that story to convey something different
+altogether. If the script as filmed were read it would still seem a bit
+trite, but in the actual completed work the crimes are elevated to a level
+as to be the elements around which it revolves. This is a film in which the
+images on the screen far more convey the experience to the viewer than does
+the narrative. The Italian title literally translates to "Six Women for the
+Murderer", and accordingly the viewer is left with no question as to what
+will happen through the first 80% of the movie. The story takes place in a
+fashion salon where one of the models, who is involved in some scandalous
+activities involving drugs and sex, is murdered. In the wake of the killing
+it is discovered that she has kept a diary which may implicate some other
+employees in various illicit activities. Their scrambling for control of
+the diary allows for a background upon which one woman after another is
+eliminated. Models are chosen as victims as they are beautiful and their
+role in society is to be objects of adoration. While none of the victims is
+herself involved in any killing, each is depicted as being tainted in some
+way prior to meeting up with the villain. The story around the murderous
+set pieces is intentionally bland, filmed in a straightforward fashion and
+being carried by a rather uneventful police investigation. When the set
+pieces begin however things shift into stylistic overload. An opening
+sequence in which the credits role against a background of a skull and
+flashing colored lights sets the style. When a murder scene takes place the
+soundtrack heats up, the sets become complexly and colorfully lit, and the
+settings used are intricately designed. The camera becomes fluid as it
+lingers and then tracks and pans through the decor. Color schemes are
+complex and the extended scenes are constructed to not only highlight the
+beauty of the women, who are fully made up and in their best model garb, but
+also to develop a sense of cinematic beauty. This is of course directly in
+contrast with the fact that a violent and horrible murder is being
+approached. There is no question in the audience's mind as to what will be
+the end result of the scene being viewed, yet they are still asked to be
+aesthetically pleased as it unfolds. After introducing this style Bava even
+indulges in a bit of subterfuge with his viewers. One model enters into her
+home, which has not yet been shown. As a dark coated figure is seen hunched
+over the fireplace with its back to us the music becomes animated and
+amplified, the room has a darkly lit look, and the camera zooms in. We are
+set for violence, when the figure is revealed to be the elderly woman
+housekeeper. After the false alarm the more conventional, brighter lit,
+style returns. While void of any nudity or of much blood, the killings are
+still carried out in gruesome and torturous fashion, and the victims are often
+posed provocatively, and reveal skin and undergarments while the act is being
+executed. As a substitute for actual grue the filmmaker utilizes bright red
+objects intruding into the camera's space at key moments for graphic
+suggestiveness. Tension is developed between the attractiveness of the
+initial images, and the repulsion of the acts which follow. This is
+magnified by the garb of the killer. He wears a cloak and hat, with black
+gloves, and a cloth wrapped around his head, producing the image of a man
+with a completely blank face. The killer is thus not "him", an ugly or evil
+beast who can be despised, but a blank faced "anyone" who could be the
+viewer himself. At one point a cop states that the crimes are "obviously
+the work of a sex maniac". This turns out to be incorrect in the world of
+the film, but it could be true when reflected upon the audience. When the
+story resolves it is not the police who uncover what has happened, but
+events are allowed to unfold for the camera only to see. There is actually
+a good deal of complexity in the conclusion, where we find there to be two
+killers (a man and a woman) rather than one, and where we are led down a
+twisting path toward motivations and the eventual outcome. The influence of
+this work not only on the giallo films in general, but on their leading
+practitioner Dario Argento in particular, is noteworthy. Argento's giallos
+will not only make extensive use of the sexual attraction/violent repulsion
+dichotomy, but will frequently portray his killer with a black gloved hand
+as Bava does here. Argento will make use of gender confusion with women
+killers in key works of his such as BIRD WITH THE CRYSTAL PLUMAGE, FOUR
+FLIES ON GREY VELVET, and DEEP RED, and will also use dual murderers in his
+masterpiece TENEBRAE. BLOOD AND BLACK LACE stands with BLACK SUNDAY as
+Bava's finest work. It was released unedited in the US by The Woolner
+Brothers.
+
+Never one to stagnate, Bava next accepted a directing role in the newest
+wave of exploitation to hit Italy - the spaghetti western. These European
+westerns are divorced of the folklore which often hampers their American
+predecessors, and this allowed for some unique twists on the genre, with the
+unsettled, libertarian, American west providing a framework for some
+nontraditional movie making ideas. These films were coming out more
+frequently at this time, and Bava's first of three efforts in the field, LA
+STRADA PER FORT ALAMO (aka THE ROAD TO FORT ALAMO, 1964) emerged the same
+year as the film which would launch European made westerns into a major
+creative and economic force, Sergio Leone's PER UN PUGNO DI DOLLARI (aka A
+FISTFUL OF DOLLARS, 1964). THE ROAD TO FORT ALAMO was directed under the
+"John M. Old" alias used in THE WHIP AND THE BODY. While a gang of outlaws
+are holding up a bank dressed as federals, their sadistic leader kills an old
+woman unnecessarily. When one member complains of this viciousness he is
+abandoned in the middle of the dessert with another outcast. An army wagon
+train escorting a female prisoner picks them up, even though some of the
+soldiers are suspicious as to the pair truly being feds. The wagon is on
+its way to Fort Alamo when it is attacked by Indians. The two impostors
+turn into heroes when they first risk their lives in fighting off the
+Indians, and then track down the old gang members and turn in the stolen
+bank loot. I've yet to see this film, however it does seem to incorporate
+some of the drawn out violence that characterizes this segment of filmdom,
+and Bava's directing style should fit this mold well. The good vs. bad
+elements and happy ending go against the ambiguity of character that would
+later be staples in the oat operas however. Shifting gears once again,
+Bava's next project was in science fiction. This field is one in which the
+more drawn out and introspective style of European cinema hasn't been as
+effective as in others, and Bava's TERRORE NELLO SPAZZIO (aka PLANET OF THE
+VAMPIRES, 1965) suffers from some of the similar problems as do its
+companions. Shocks which are drawn from emotional manipulation rather than
+bombastic effects don't play as well in the realms of aliens, space travel,
+and advanced gadgetry, and thus most Continental offerings in this area are
+a bit slow paced and dull. However Bava's strength as a master of visuals
+does play well here, and a film that could use a some faster pacing and a
+little more action in its script is made enjoyable by the space ship
+interiors and alien landscape exteriors that the director creates. The
+screenplay was co-written by SFX film veteran writer Ib Melchior, and is
+based on the story "One Night of 21 Hours" by Renato Pestriniero, originally
+published in "Interplanet #3". Barry Sullivan is the pilot of one of two
+ships called by an SOS signal to a foreboding planet while traveling through
+space. The crew of the other ship is apparently wiped out in the descent,
+but they are revived through a strange foreign possession which drives them
+into bloodthirsty pursuits of the survivors. When exploring the planet's
+surface, a previously destroyed craft is found with the huge skeleton of
+its deceased monstrous occupant pilot inside. It is a previous victim of
+the planet's evil creatures. The story develops that the ships were drawn
+to the world by its bloodthirsty occupants, and unfolds around the attempts
+of the remaining living crew to escape alive. In doing so they must deal
+with the dead and possessed posing as human. Victims are encased in upright
+body bags from which the space vampires emerge. (Yes it does sound a bit
+like THE THING and ALIEN). There is an EC-like ending were the survivors
+make their escape to an empty Earth and become its colonizers. Bava's knack
+for cleverness in the color composition in his shots contributes greatly to
+the creation of an effective looking hostile planet surface. Blue lighting
+dominates, with spots of carefully placed red and green, amidst swirling fog
+and eerie and unnatural geography. This foreshadows a similar lighting
+scheme that Bava would employ on his last project, as a set designer on Dario
+Argento's INFERNO (1980). Bava uses his lighting and camera skills to
+adequately transcribe a feeling of agitation in the characters, resulting
+from their surroundings, with a only low budget and a sound stage at his
+disposal. The sleek and metallic interiors of the ships and the tight black
+suits which the crew wear, complete with emblems resembling Nazi SS
+insignia, add to a movie which is a pleasure to look at. AIP again handled
+US distribution.
+
+1966 was a busy year, with the maestro being involved in three very different
+projects. AIP were anxious to work further with Bava, and through their
+Italian contact Fulvio Luciano they hired him to make the sequel to their
+minor hit DR. GOLDFOOT AND THE BIKINI MACHINE. Vincent Price was signed to
+play the lead role in LE SPIE VENGONA DEL SEMIFREDDO (aka DR. GOLDFOOT AND
+THE GIRL BOMBS, 1966), Bava's only outright comedy. The project was
+troubled from the start, and AIP chief Sam Arkoff attributes much of this to
+problems with the Italian cast, which included model Laura Antonelli and the
+comic duo of Franco and Ciccio. Fabian was also on hand. The poor script
+and disorganized production probably had as much to do the failure of the
+project as did its not being a style which best suited the director's
+talents. The story has Price as a mad scientist working on the side of the
+Chinese government. He attempts to coerce the Americans and Soviets into a
+nuclear war. He creates bikini clad female robots with bombs in their
+navels who are sent to seduce UN members and blow them up. Not only is this
+Bava's worst film, but it is also probably the worst soundtrack to feature
+Davie Allan and the Arrows. Price is quoted as expressing dismay with the
+outcome after hearing buddy Karloff's praise of Bava's work on BLACK SABBATH.
+Bava made his only on screen appearance as an angel near the movie's end.
+RINGO DEL NEBRASKA (aka SAVAGE GRINGO, 1966) is another entry into the
+growing spaghetti western field, and is officially credited to Antonio Roman
+under the alias Anthony Roman. The Video Watchdog has reported, from an
+interview with Fulvio Luciano, that screenwriter Roman (who had previously
+worked with Bava on PLANET OF THE VAMPIRES and THE ROAD TO FORT ALAMO) was
+listed as director of the AIP production to secure a subsidy from the
+government of Spain. It's difficult to track down today, and thus I can't
+comment on it artistically or offer information as to its story line.
+
+By 1966 Bava had created wholly on his own only two real horror films,
+BLACK SUNDAY and BLACK SABBATH, and by this time the Italian renaissance
+which he had defined was in full swing. OPERAZIONE PAURA (aka KILL, BABY
+KILL, 1966) is his best looking horror title (beating out BLACK SUNDAY by
+the virtue of its color photography) and would be Bava's last true entry in
+this area until 1972. KILL, BABY KILL returns to the gothic atmosphere of a
+19th century village haunted by an evil spirit who resides in a local
+castle, a setting common in this contemporary horror revival. A coroner
+comes to the village to aid the local police in determining whether a recent
+death was due to suicide or if it involved foul play. This killing, which
+opens the film, expertly captures a terrified woman fleeing from an evil the
+audience doesn't yet know. Her death by back to front impalement after
+falling atop a spiked fence is a startling way to begin, and when it is
+followed by a shot of what appears to be the feet of a watching little girl,
+some suggestion of things to come is made. The outsider doctor finds a
+fearful and suspicious town who are resentful of his presence. Bava lets
+the source of their fear develop gradually, and thus the viewer doesn't fully
+become aware of the form the evil takes until the film's end. As the story
+proceeds we see that death has come quickly to residents who cross the
+demon. A local sorceress is shown to apply barbaric magical treatments to a
+young girl who has been given the sign of impending demise, and she is also
+found to be responsible for a coin discovered buried in the heart of the
+doctor's autopsy subject. She inserts the coin with a knife to protect the
+souls of the departed. The death sign is to see the image of a female child,
+recalling what was shown following the opening death. We see small
+hand prints, a bouncing ball, and then a face peering through a distant
+window. The way that these object are filmed tells us that they are linked
+to the killings, but we aren't yet told how. The doctor and a young woman,
+who has just returned to the village after leaving at the age of two,
+uncover the source of the curse, and locate it to a crumbling castle shunned
+by the villagers. The young girl is revealed to be the ghost of a small
+child who had been trampled by horses and then bled to death while chasing
+after her ball, as the drunken villagers watched without aid. She now
+forever exacts her revenge on them by causing her victims to themselves
+bleed to death. The story is not complex and was in fact written in a very
+short time, as the entire production was carried out on an accelerated
+schedule. The sets are again quite intricately designed, a deep golden
+color dominates most scenes, and there are an abundance of dark corridors
+and hidden corners suggesting a lurking unknown. Bava's best work as
+cinematographer is probably in KILL, BABY KILL. He first captures the
+claustrophobic paranoia of the citizens of the burg, and then slowly allows
+the viewers in on the source of their troubles through selective shots.
+There aren't the outright graphically shocking scenes which occur in most of
+the director's horror and thriller works, but he still elicits a creepy feel
+with his ability to create on screen images quite artistically. The castle
+itself is given an otherworldly essence by its occupying non logical filmic
+space. Movements from room to room do not always put characters in places
+that reality would dictate them to be, a technique mimicked to a great
+extent by Argento in his witch's lairs in SUSPIRIA and INFERNO. At one
+point the young doctor chases a fleeing figure through a series of closed
+doors. As he passes through the next one we see him entering the room he had
+just left. He gains ground on the figure he pursues, and upon catching up to
+it finds it to be himself. The interplay of family is prominent again as
+the heroine, who returned from college to pay homage to her dead parents, is
+revealed to actually be the daughter of the castle's matron and the sister
+of the now ghostly killer. She had been sent away as a child for her own
+protection. Women of differing strengths and character are given dominant
+roles in the story while the men are mostly observers. The violent ghost
+girl, her grown and more sophisticated sister, the befuddled and disheveled
+old mother, and the darkly pretty sorceress who offers both the living and
+the dead some protection from the curse, play off of each other. KILL, BABY
+KILL had very limited US distribution, showing most widely as one third of
+an "Orgy of the Living Dead" trilogy in the early seventies under the title
+THE CURSE OF THE LIVING DEAD. It was co-billed with REVENGE OF THE LIVING
+DEAD (aka THE MURDER CLINIC, 1966, dir: Elio Scardamaglia aka Michael
+Hamilton) and FANGS OF THE LIVING DEAD (aka MALENKA, THE VAMPIRE, 1968, dir:
+Armando De Ossorio).
+
+After all of that activity things slowed a bit over the next two years. The
+director's only 1967 release was another Cameron Mitchell Viking epic titled
+RAFFICA DI COLTELLI (aka KNIVES OF THE AVENGER, 1967). Bava received his
+credit under the pseudonym "John Hold". KNIVES is more violent than the
+first Mitchell Nordic saga. Harald, the king of the Vikings, has been away
+at sea for three years, worrying his wife Karen. She consults a mystic
+about his condition who informs her that Harald is alive, but that there are
+bad times of some other sort ahead. Aghen, a banished Viking, fulfills
+this prophecy when he and his marauders overrun the kingdom, and he attempts
+to solidify his position as king by forcing Karen to marry him. While her
+abduction is being attempted she is rescued by Rurik, played by Mitchell, an
+outsider who had raped Karen on the night of her wedding years earlier
+because of his hatred for her people. He now wishes to make amends, and he
+manages to keep his identity hidden from her. Rurik also wishes revenge upon
+Aghen for the villain's brutal murder of his wife and son. Rurik defeats
+Aghen in combat but the latter is able to escape, and he then engages in a
+second battle when Harald returns and recognizes him. Before either emerges
+victorious the news comes that Aghen has kidnapped Harald's son, and the two
+set out together against their common enemy. Rurik slays Aghen, achieving
+his revenge, and leaves the proper ruling family of the tribe intact on
+their throne. KNIVES is a competent, and rather straightforward for Bava,
+action flick which comes rather late in the Viking cycle. The use of an
+alias suggests that Bava looked at this project as a job, and he didn't
+devote as much effort in developing it into an artistic statement as with
+some other films from around this time. Producer Dino De Laurentiis wished
+to cash in on the success of Roger Vadim's comic like fantasy BARBARELLA,
+and thus obtained the film rights to the comic book super criminal Diabolik,
+which was created and written by Angela and Luciana Giussani. De Laurentiis
+is always one to go way out (witness his 1976 KING KONG remake) and he
+procured a budget of several million dollars for his goal of making an over
+the top tour de force of special effects and elaborate sets. Bava was
+signed on to direct DIABOLIK (aka DANGER: DIABOLIK,1968) with John Phillip
+Law as the black leather jumpsuit clad thief and Marisa Mell falling out of
+her skimpy clothes as his partner and lover. The story follows Diabolik as
+he cleverly outwits a determined police inspector and a Mafioso, while
+pulling off a series of audacious robberies and amazing escapes. It is well
+written and Diabolik's trickery is quite entertaining. Bava reveals himself
+to be a capable action director, and the elements of humor work despite the
+failure of GOLD BOMBS. The highlight of the film is Diabolik's mod styled,
+high-tech, batcave like lair. Bava is at his best when creating a fantastic
+surrounding for his characters to move through, and the cave fits this bill.
+The avant-garde living quarters are reminiscent of the Playboy mansion of
+the sixties mixed with computer banks and complex machinery. As in the
+BLOOD AND BLACK LACE set pieces, his use of swirling and zooming camera
+work, and soundtrack accompaniment, are most active within the cave setting,
+adding to the sense that this is a unique place. We are introduced to
+this dwelling by Bava's camera tracking Mell's character as she moves
+through it. The camera travels through windows and around walls in a method
+which reveals perspectives from places that a human intruder couldn't
+occupy. Ennio Morricone provided the score, and it is one of his best
+outside of Sergio Leone's westerns. His humorous use of aural signals on
+the soundtrack is in full force. As is the filmmaker's style, he delivered
+the project considerably under budget, using technique to achieve the
+results that De Laurentiis planned to get with elaborate sets. The producer
+was quite happy with the result and tried to convince Bava to film a sequel,
+but Bava was reported to be unhappy with De Laurentiis' meddling in the
+creative process, especially his demand for no blood to be shed, and thus
+declined. There is in fact no blood or graphic violence, and no nudity, so
+this one is strictly a PG. With a much smaller budget it's still as good or
+better than a large number of the Bond films.
+
+A return to the giallo would characterize the next few years, with three of
+the next five projects falling somewhere within that definition. The first
+of these, IL ROSSO SEGNO DELLA FOLLIA (aka A HATCHET FOR THE HONEYMOON,
+1969) is the logical successor to BLOOD AND BLACK LACE. While that earlier
+film essentially took the premise that the "who" of the story was not the
+important element, it still allowed for some plot twists at the end and thus
+maintained some suspense elements. Bava decided to dispense with any
+pretense of mystery in HATCHET, as very early on there is a monologue by the
+killer telling of his crimes. Stephen Forsyth is the henpecked husband of a
+shrewish wife who owns a wedding salon. The irony of a man driven into a
+murderous rage by his unhappy marriage, and being his wife's underling at a
+bridal gown shop, is fully played upon. He vents his rage by murdering women
+who are newlyweds or who are approaching their nuptials. The murders serve
+as devices for his recalling a deeply repressed memory, which finally
+emerges as his remembrance of his killing of his own mother. His troubled
+relationship with her is now projected onto his wife. Again a series of
+violent set pieces are the film's main ingredients, and they always take
+place with some form of wedding related backdrop. As is the Bava style,
+each murderous scene is a drawn out episode that can stand on its own, and
+is stylistically executed to deliver its thrills. One notable example has
+the killer engaging in a ballroom dance with his next victim, through a
+darkened studio of mannequins dressed in wedding gowns. As the couple glide
+through and around the dummies, leading up to the slaughter, so does the
+camera. In another the killer dons a bridal veil for the final attack on
+his wife. HATCHET attempts to play upon gender confusion by making the
+culprit's motivation derive from a his threatened manhood, due to his
+emasculation by his wife/mother. The wearing of the veil is a final and more
+obvious display of this confusion. HATCHET is similar in structure to BLOOD
+AND BLACK LACE, but the driving force behind the violence isn't as powerful
+as the former's depiction of the women being guilty of, and punished for,
+their beauty. Bava's final western was up next, ROY COLT AND WINCHESTER
+JACK (1970). It's been described as a "comedy western", and the basic plot
+concerns two outlaws battling for the leadership of their pack. After the
+loser is ejected, he becomes a lawman and is responsible for rounding up the
+old gang when they illegally go after some treasure. Tim Lucas reports that
+Bava made a sexually explicit film next, FOUR TIMES THAT NIGHT (1970), but
+I've only come across his one reference to it. He states that it is a
+variation on Kurosawa's ROSHOMON.
+
+The next giallo entry is CINQUE BAMBOLE PER LA LUNA D'AGOSTA (aka FIVE DOLLS
+FOR AN AUGUST MOON, 1970). Bava has called this his worst film, and he has
+described his work on it as essentially a walk through. The script is a
+variation on the "Ten Little Indians" theme, and Bava claimed that he was
+completely disinterested in it. His quote is, "They gave me a check on
+Saturday and shooting commenced on Monday". It tells of ten people staying
+in a large beach house, who begin to drop one by one. Bava's lack of
+interest and the very straightforward story make the goings somewhat slow,
+but it still has the maestro behind the camera and thus some creative
+flourishes emerge from place to place. The murders are committed with some
+flair, and there are touches of the expected weirdness through color
+compositions and image juxtapositions. He also introduces a twist in the
+script in which the assumed hero turns out to be the killer. FIVE DOLLS is
+not really a bad film, but it is a bad Mario Bava film, with only occasional
+high points which Bava gets through despite himself. It is interesting to
+compare the differing results which came from this lackluster screenplay
+with those from BLOOD AND BLACK LACE. There the director had a vision for
+producing thrills from elements beyond the basic story, and his best film
+emerged. With FIVE DOLLS he must have lacked the drive to create yet
+another twist in the presentation of the murder mystery plot after the
+mediocre artistic success of HATCHET, and all that remained was the
+straightforward story. A highlight is the presence of the Edwige Fenech, the
+Queen of the Giallos, who would come to be prominently featured throughout
+the seventies in the genre, notably in the works of Sergio Martino. This
+was never released in the US, but English language prints were made for
+distribution in the UK. Bava was quoted as saying, "I had to avenge myself
+somehow", and this he did with the outrageous statement of his next film.
+Rather than rely on psychological, or even visual, elements to drive a crime
+thriller, he went in the opposite direction toward excess. In this project
+he also returned to being involved with the writing. If I had to pick the
+entry which stands apart as the most unique for the director amongst this
+filmography, it would have to be ECOLOGIA DEL DELITTO (aka TWITCH OF THE
+DEATH NERVE, 1971). It has been released under at least nine different
+titles, including the ludicrous LAST HOUSE ON THE LEFT II. TWITCH has
+nothing in common with the Wes Craven torture fest. While Bava could be
+violent when necessary in his other projects, none depicted the outright
+gore that is found in this one. The story revolves around a power struggle
+for the control of an undeveloped lake between the property's heirs, some
+developers, and the lower class locals living around it. In a guessing game
+as to who is guilty of murder, suspects are knocked off one after the other.
+One perpetrator becomes the next victim like a row of falling dominos. The
+bloody excesses are actually part of a very black comedic theme, and the
+gore effects are displayed quite graphically. Ads boasted about the 13
+murders that could be seen, and that number is significant as this film has
+many striking similarities (at least in story if not in construction) to the
+first couple of FRIDAY THE 13TH installments. Amongst the murders are the
+hanging of a wheelchair bound victim, a decapitation, and scenes directly
+lifted for the first FRIDAY where a couple in bed are simultaneously speared
+through the mattress and a woman has her face split with an axe. One of the
+most effective parts has a skinny dipping girl encountering a floating,
+rotted corpse, which again precedes an Argento scene, this time in the Bava
+constructed underwater section of INFERNO. As there is a killer roaming
+free it loosely can be called "giallo", much as Argento's PHENOMENA can, but
+it doesn't strictly match the conventions of that genre. TWITCH also
+doesn't resemble much else of the director's work. It is worth seeing by
+anyone with a strong stomach and a strong sense of humor. Be ready for an
+outrageous ending when the final two victims are racked up.
+
+A return to horror and the supernatural would be his style for the remainder
+of Bava's released film projects, and he worked only sporadically throughout
+the decade of the seventies. The year 1972 saw a collaboration with
+producer Alfred Leone that was successful to a certain extent, but sad as
+Leone interfered with and muddled LISA AND THE DEVIL, which could have stood
+as one of Bava's finest efforts. Both projects feature stories which return
+to a gothic horror format, and concern an evil spiritual presence in an old
+baroque mansion. The first was LISA E IL DIAVOLO (LISA AND THE DEVIL,
+1972) as created by Bava, but unfortunately the producer forced a horrible
+alteration on it when it was finally released in 1975. Its transmutation at
+that time into THE HOUSE OF EXORCISM was designed to cash in on the then
+popular Linda Blair vomit epic. What can be seen of the original film shows
+the complex story of Lisa, played by Elke Sommer, who may or may not be the
+reincarnation of a person who was at the center of events causing death and
+tragedy at a previous time. The story is deeply surreal. In it Telly
+Savalas (sucking a lollipop for the first time) plays the Devil, who exists
+in the flesh as the butler to a perverse family whom a confused Lisa is
+forced to take refuge with on a stormy night when she is lost in Rome as a
+tourist. There has been evil in this family's past, and the confused son of
+the blind matriarch sees Lisa as the reincarnation of his long dead wife
+Elena. His also dead stepfather Carlo, who sometimes comes to life through
+a dummy resembling him, had been having an affair with Elena which led to
+both of their deaths. The crazed son and the sometimes in the flesh Carlo
+battle for the attentions of the confused and frightened Lisa/Elena, while
+the Savalas Devil character constantly lurks in the background. The story
+hinges on the concept of The Devil directing the possession of Lisa by
+Elena, for the sake of bringing torment to the family. Bava's gothic
+touches create an intriguing look in the old house, and several shocking
+deaths along the way also contribute to the horror. One sequence has the
+son chloroforming Lisa/Elena, and lying her in bed next to the rotting
+corpse of the original Elena, which he talks to while molesting the
+unconscious body. In the conclusion the son prepares for his marriage to
+Lisa, with all of the accumulated bodies of those killed throughout the
+course of the film seated at a table Last Supper style. The rotted corpse
+is at the center as the Savalas Devil is set to perform the service. The
+film as originally intended was carefully designed to strike a balance
+between questions of whether the butler was The Devil and Lisa was a
+possessed reincarnation of this woman from the past, or if she is just a
+tool being used by the Savalas character to perpetrate an earthly act of
+terror on the unstable mother and child. The Devil/butler is always shown
+to be moving around the fringes of every terrifying occurrence. What began
+as a thoughtful and carefully planned horror tale was reduced to absurd at
+the hands of producer Leone. Wishing to cash in on the popularity of THE
+EXORCIST he had Bava direct additional scenes involving Sommer and Robert
+Alda, who didn't even appear in the original story, which were inserted
+nonsensically at various points in the film. They show Lisa collapsing in
+the streets of Rome, and Alda as a priest accompanying her to the hospital
+and then performing an exorcism on her as she becomes effected by possession
+to a greater extent. She turns into a monster, pukes, spits toads, utters
+vulgarities, and contorts her body just like Linda, as Alda attempts to
+drive the demon out of her. These inserts were shot without inspiration and
+don't match the rest of the film in plot, pacing, or visual style. Every so
+often the original story is interrupted by this intruding saga taking place
+at some other location. Bava did film most of the new material, but he
+balked at some of the more extreme images over discomforts due to his
+own religious leaning, and thus Leone filmed these himself. These obnoxious
+intrusions ruined the pace and feel of a carefully constructed, atmospheric
+thriller. Lorne Marshall in Videooze #4 has documented the scenes removed
+from LISA AND THE DEVIL in it's transformation to HOUSE OF EXORCISM from a
+recently unearthed Venezuelan video of the original. Segments excised from
+LISA to make room for the new inserts total about 30 minutes. An important
+change was the substitution of endings between the two versions. LISA
+concludes with a segment resolving that the protagonist was in fact a
+ghostly creature who was reliving past guilt, and the story ends with her
+traveling back to the unknown. She emerges from the house in the morning,
+and some playing children toss a ball her way. As it bounces at her feet
+(an homage to KILL, BABY KILL) one child screams that she is a ghost as no
+one has lived in the house for 100 years. The final scene has her boarding
+a plane and discovering it to be empty. As she moves through it she
+encounters all of the occupants of the house. Eventually the pilot of the
+plane is shown to be the butler, who is euphemistically carting them all
+away. HOUSE opted for a "happy" ending, skipping all of the above for a
+conclusion with Alda exorcising the demon from Lisa's body. Bava was so
+disturbed by the hatchet job that he took his director's credit under the
+name "Mickey Lion". The ending's alteration also destroyed Bava's minor
+visual link to his next project, GLI ORRORI DEL CASTELLO DI NORIMBERGA (aka
+BARON BLOOD, 1972), also made for Alfred Leone and starring Elke Sommer; the
+second film opens on a shot of a plane flying through the air and landing.
+This story tells of a young student coming to Austria to look over an
+ancient castle once owned by his ancestor, the evil Baron Von Kleist, who is
+still remembered and despised by the townspeople as the vicious Baron
+Blood. Peter, the descendent, brings with him a parchment telling how to
+revive the Baron, and for kicks he and a local woman named Eva, played by
+Elke Sommer, try it out. Naturally the Baron comes back and the murders
+resume. Joseph Cotton plays the evil Baron who in human form is a wealthy,
+wheelchair bound developer who arrives to purchase the castle with the
+stated intention of recreating its old torture chambers as a haunting
+tourist attraction. Real tortures and murders resume when the wheelchair
+bound man transforms into his true form of a mutilated monster. Peter and
+Eva rely on an occultist to provide them with a magical amulet to dispose of
+the fiend. LISA AND THE DEVIL was a film into which Bava put a much greater
+emphasis on the plot than in most of his previous ones. He carefully
+developed a script which would allow for his introspective and artistic
+vision as a filmmaker to be utilized to its fullest extent. Perhaps the
+disappointment of that effort being diminished by the actions of Leone led
+to a lessened enthusiasm for developing more complexity in his next project
+for the producer. Or maybe it was just a natural result for the second of
+two films made in the same year. Despite its rather straightforward story,
+BARON BLOOD is not without positives. As is expected from Bava, the
+segments showing the interior of the castle, especially inside the dungeon,
+are where the greatest levels of excitement are produced. When Peter and
+Eva explore the torture chamber, one item that they run across is an upright
+coffin lined with sharp spikes on its inside. A reflection on the Mask of
+the Demon in BLACK SUNDAY. A shot of the Baron's victims hanging skewered
+on spikes atop the castle is also quite effective. AIP returned as the US
+distributor, and they again cut a few of the more violent moments out and
+changed the score to one composed by Les Baxter.
+
+Nothing emerged from the once prolific Bava over the subsequent four years.
+The project that he worked on next was CANI ARRABBIATI (aka WILD DOGS,
+1974). It is said to be a contemporary crime story dealing with kidnapping
+and organized syndicates. With the film very near completion however, it
+was seized by the producer's creditors as part of a debt settlement, and
+what was completed remains unfinished and unseen. Mario's son, director
+Lamberto Bava, has tried to purchase the film from its current owners but
+claims that the price is unrealistically high. Bava's final work for the
+big screen uniquely stands out from the majority of his output to an extent
+matched only by TWITCH OF THE DEATH NERVE. ALL 33 DI VIA OROLOGIO FA SEMPRE
+FREDDO (aka SHOCK, 1977) is another demonic horror tale, this time centering
+on the misdeeds of an evil young boy. The film is unique in its approach in
+that it was created in a much more traditional style than was seen in Bava's
+20 years of previous work. Possibly hampered with inadequate funds to
+create the elaborate scenarios that his artistic eye usually brought to
+films, SHOCK attempts to make up for this by concentrating on the development
+of a strong narrative. It was successful in that regard, and SHOCK is a
+well constructed and enjoyable horror movie. It stars Dario Argento's
+partner Daria Nicolodi as the mother of the strange child. The story is
+developed through its characters and their actions, rather than through
+cinematography and editing. Nicoldi at first appears as a happy and stable
+single mother who is moving into a new home with her son and boyfriend.
+Things begin to change however when the young boy begins to display some
+vicious behavior towards his mother, which causes her stability to weaken.
+Bava develops the story by alternating these actions with flashbacks which
+show that the mother had been the victim of torment from the boy's drug
+addicted father, and has spent the previous years in an asylum. As she
+sinks into psychosis to a greater extent, he plays on the conflicting causes
+of her slipping towards another breakdown. Is it due to her mental state or
+is she being pushed there by the demon child? Bava is at his best with
+these flashback scenes, which in a linear fashion expose the background to
+the audience. He also excels in depicting her bouts with shock,
+characterized by her strange and violent hallucinations. The last segment
+of the movie is the most powerful, where we finally learn that Nicolodi's
+character had in fact killed her former husband to protect herself from him,
+and then buried the body in the walls of their house. This is the house to
+which she has now returned. The conflict as to the cause of her breakdown
+is revealed to be supernatural, as the dead husband, through possession of
+both the boy and the house, drives her to kill her new lover and herself.
+The best scenes are the phantasmagoric flashbacks and the animation of the
+house when it helps the evil force to exact its revenge. In a switch, Bava
+may have been influenced by Argento in this production in terms of the
+soundtrack. It is a loud, gothic/prog rock one, which mimics those created
+by Goblin for some of Argento's films. The director's son Lamberto Bava had
+served as assistant dating back to PLANET OF THE VAMPIRES, and he has said
+that in aiding his aging father that he himself directed a greater portion
+of this film than any other credited to Mario. Lamberto has been active as
+the creator a number of horror titles himself since then, including MACABRE
+(1980), THE HOUSE WITH THE DARK STAIRCASE (1982), and THE PHOTOS OF JOY
+(1987), as well as DEMONS (1985) and DEMONS II (1986) for producer Argento.
+In a situation similar to TWITCH OF THE DEATH NERVE and LISA AND THE DEVIL,
+SHOCK was presented in America under the title BEYOND THE DOOR II, in an
+attempt to play it off as a sequel to an unrelated film.
+
+Daria Nicolodi would also be connected to the final two projects that Mario
+Bava was associated with. In 1978 he and Lamberto directed an hour long
+segment for the Italian television series "Il Giorno dei Diavolo" (which
+translates to "The Devil's Notebook") titled VENUS OF ILLE (or "Venus of
+Evil"). Nicolodi stars as a woman who is about to be married. The father
+of her husband-to-be discovers a buried bronze statue of Venus on his
+property, which they display for marital good luck. When the groom stashes
+the wedding ring on the statue's finger and then forgets it there, he is
+forced to use another in the ceremony. Venus comes to life and in trying to
+claim her new husband crushes him to death on his bed. The story is set in
+1837, and Bava is said to have effectively created an atmospheric depiction
+of that time. Nicolodi once told an interviewer that it may be shown on
+cable TV in the US, but I am not aware of its ever being available for
+viewing in this country. Dario Argento's INFERNO (1980), co-written by
+Nicolodi, would be the last item that Mario Bava was associated with. He
+served as an uncredited art director and special effects designer on this
+tale of a witch's occupation of a bizarre building in New York City. Anyone
+who has enjoyed such Bava creations as HERCULES IN THE HAUNTED WORLD, BLACK
+SABBATH, or PLANET OF THE VAMPIRES will immediately see his influence. The
+haunted mise en scene of the house is captured through a careful painting of
+its secret rooms, and hallways to nowhere, in combinations of deep red,
+blue, and green lights. Bava's eye for the visual and Argento's genius with
+pacing, camera movement, and editing, combine for on the best sequences in
+any of Argento's films. In exploring the nuances of the house early in the
+story, the heroine discovers a hidden basement which is completely filled
+with water. As she swims through it in an attempt to recover her dropped
+keys, the room is revealed to be an elaborate and old ballroom. As she
+moves through the water and stumbles across its hidden secrets, Argento and
+Bava fashion a beautifully choreographed trip through a strange environment.
+The scene's most shocking moment recalls Bava's TWITCH OF THE DEATH NERVE,
+when a rotted corpse is inadvertently dislodged and floats after the fleeing
+and frightened girl.
+
+Selected references -
+
+articles:
+"Terror Pioneer" by Tim Lucas, Fangoria no. 42, Feb 1985
+"Bava's Terrors Part 2" by Tim Lucas, Fangoria no. 43, Mar 1985
+"Black Sabbath: The UnMaking of The Three Faces of Fear", by Tim Lucas
+ and Alan Upchurch, Video Watchdog no. 5, May/Jun 1991
+"The Barbara Steele Interview" by Christopher S. Dietrich and Peter
+ Beckman, Video Watchdog no. 7, Sep/Oct 1991
+"Bedeviled Bava" by Lorne Marshall, Videooze no. 4, 1992
+Special Giallo Issue by Craig Ledbetter, European Trash Cinema vol. 2,
+ no. 6, 1992
+"Blood and Black Lace" by Andy Black, Necronimicon no. 2, Jun 1993 (UK)
+"Mask of Satan" by Andy Black, Necronimicon no. 3, Sep 1993 (UK)
+
+books:
+The Video Watchdog Book by Tim Lucas, Video Watchdog, 1992, ISBN:
+ 0-9633756-0-1
+The Encyclopedia of Horror Movies ed. by Phil Hardy, Harper & Row,
+ 1986, ISBN: 0-06-096146-5
+The Psychotronic Encyclopedia of Film by Michael Weldon, Ballantine,
+ 1983, ISBN: 345-34345-5
+Broken Mirrors, Broken Minds: The Dark Dreams of Dario Argento by
+ Maitland McDonagh, Sun Tavern Fields (UK), 1991. ISBN: 0-9517012-4-X
+Mario Bava by Pascal Martinet, Edilig (France), 1984, ISSN: 0294-0957.
+ A 126pp monograph in Filmo no. 6, with bibliography.
+
+As is evident from the above, Tim Lucas of The Video Watchdog has done some
+of the most extensive research into the films of Mario Bava. He has long
+spoken of writing an extensive work on the subject to be titled "The Haunted
+Worlds of Mario Bava", and the latest reports have it with a tentative
+publication date in 1994.
+
+Mario Bava filmography -
+
+The format for films which have Bava as director is to first list the most
+common title as released in the United States, followed by the original
+Italian title in parenthesis. The exceptions are with LISA AND THE DEVIL
+and SHOCK, as attempts to associate them with unrelated earlier films
+through retitlings is ridiculous. Additional titles used for release in the
+US, Italy, or the UK follow. Non English or Italian variations are
+omitted. Films not released in the US are listed by their most common
+title of release in England, or by the literal translation of the original
+Italian title.
+
+As director:
+
+BLACK SUNDAY (La Maschera del Demonio) aka The Mask of Satan aka The Demon's
+Mask aka Revenge of the Vampire aka House of Fright - 1960. A Galatea
+Films/Jolly Films (Italy), and AIP (US) release; Dr/Co-Wr/Co-C/Se/Co-Art-Dr:
+Mario Bava, Pr: Massimo de Rita, Co-Wr: Ennio de Concini, Marcello Coscia,
+Mario Serandrei, Co-C: Ubaldo Terzano, M: Roberto Nicolosi (Europe), Les
+Baxter (US), Co-Art-Dr: Giorgio Giovannini, Asst-Dr: Vana Caruso, E: Mario
+Serandrei (Europe), Salvatore Billitteri (US), Cast: Barbara Steele, John
+Richardson, Ivo Garrani, Andrea Checchi, Arturo Dominici, Enrico Olivieri,
+Clara Bindi, Antonio Pierfederici, Clara Bindi, Tino Bianchi, Germana
+Dominici, Mario Passante, Tino Bianchi, Renato Terra, b/w, 86(83) min
+
+HERCULES IN THE HAUNTED WORLD (Ercole al Centro della Terra) aka Hercules at
+the Center of the Earth aka Hercules in the Center of the Earth aka Hercules
+vs. the Vampires aka The Vampire vs. Hercules aka With Hercules to the
+Center of the Earth - 1961. A Spa Cinematografica (Italy), Woolner Brothers
+(US) release; Dr/Co-Wr/Co-C/Se: Mario Bava, Pr: Achille Piazzi, Co-Wr:
+Allesandro Continenza, Duccio Tessari, Franco Prosperi, Co-C: Ubaldo
+Terzano, M: Armando Trovajoli, Art-Dr: Franco Lolli, Asst-Dr: Franco
+Prosperi, E: Mario Serandrei, Cast: Christopher Lee, Leonora Ruffo, Reg
+Park, Giorgio Ardisson, Marisa Belli, Ida Galli, Ely Draco, Grazia Collodi,
+Franco Giacobini, Mino Doro, Monica Neri, color, 91(73) min
+
+ERIK THE CONQUEROR (Gli Invasori) aka The Invaders aka Fury of the Vikings -
+1961. A Galatea/Criterion Films (Italy), Societe Cinematographique Lyre
+(France), and AIP (US) release; Dr/Co-Wr/Co-C: Mario Bava, Pr: Massimo de
+Rita, Co-Wr: Oreste Biancoli, Piero Pierotti, Co-C: Ubaldo Terzano, M:
+Roberto Nicolosi, Art-Dr: Giorgio Giovannini, Asst-Dr: Franco Prosperi, E:
+Mario Serandrei, Cast: Cameron Mitchell, Andrea Checci, Francoise Christophe,
+Folco Lulli, Giorgio Ardisson, Ellen Kessler, Alice Kessler, Franco
+Giacobini, Joe Robinson, Raffaele Baldassarre, Enzo Doria, Franco Ressel,
+Livia Contardi, Jean-Jacques Delbo, color, 98(88) min
+
+WHAT! (La Frusta e il Corpo) aka The Whip and the Body aka The Body and the
+Whip aka Night is the Phantom aka The Way and the Body aka Son of Satan -
+1963. A Leone Film (Italy), Francinor (France), PIP/Vox Film (UK), and
+Futurama (US) release; Dr: Mario Bava (as John M. Old), Pr: Elio
+Scardamaglia (as John Oscar), Co-Wr: Ernesto Gastaldi (as Julian Berry), Ugo
+Guerra (as Robert Hugo), Luciano Martino (as Martin Hardy), C: Ubaldo
+Terzano (as David Hamilton), M: Carlo Rustichelli (as Jim Murphy), Art-Dr:
+Ottavio Scotti (as Dick Grey), Asst-Dr: Ernesto Gastaldi (as Julian Berry),
+E: Roberto Cinquini (as Bob King) Cast: Christopher Lee, Daliah Lavi,
+Luciano Stella (as Tony Kendall), Harriet White, Isli Oberon, Luciano
+Pigozzi (as Alan Collins), Jacques Herlin, Gustavo de Nardo (as Dean Ardow),
+color, 92(77) min
+
+THE EVIL EYE (La Ragazza che Sapeva Troppo) - aka The Girl Who Knew Too Much
+1963. A Galatea/Coronet (Italy) and AIP (US) release; Dr/Co-Wr/Co-C: Mario
+Bava, Pr: Massimo de Rita, Ferruccio de Martino, Lionello Santi, Salvatore
+Billitteri, Co-Wr: Ennio de Concini, Eliana de Sabata, Franco Prosperi, Mino
+Guerrini, Enzo Corbucci, Co-C: Ubaldo Terzano, M: Roberto Nicolosi (Europe),
+Les Baxter (US), Art-Dr: Giorgio Giovannini, Asst-Dr: Franco Prosperi, E:
+Mario Serandrei, Cast: Leticia Roman, John Saxon, Valentina Cortese, Dante
+di Paolo, Robert Buchanan, Gianni di Benedetto, Jim Dolen, Virginia Doro,
+Chana Coubert, Peggy Nathan, Marta Melecco, Lucia Modugno, Franco Morigi,
+John Stacy, Milo Quesada, Tiberio Murgia, Titti Tomaino, Pini Lido, Dafydd
+Havard, b/w, 92 min
+
+BLACK SABBATH (I Tre Volte della Paura) aka The Three Faces Of Fear aka
+Black Christmas aka The Three Faces of Terror - 1964. A Galatea Films/
+Emmepi Cinematografica (Italy), Societe Cinematographique Lyre (France) and
+AIP (US) release; Dr/Co-Wr: Mario Bava, Pr: Paolo Mercuri, Salvatore
+Billitteri, Co-Wr: Marcello Fondata, Alberto Bevilacqua, Ugo Guerra, C:
+Ubaldo Terzano, M: Roberto Nicolosi (Europe), Les Baxter (US), Art-Dr:
+Giorgio Giovannini, E: Mario Serandrei, Cast: Boris Karloff, Michele
+Mercier, Lydia Alfonsi, Gustavo de Nardo, Susy Andersen, Mark Damon, Glauco
+Onorato, Rika Dialina, Jacqueline Soussard (as Jacqueline Pierreux), Milly
+Monti, Harriet White, Massimo Righi, color, 100(95) min
+
+BLOOD AND BLACK LACE (Sei Donne per l'Assassino) aka Fashion House of Death
+aka Six Women for the Murderer - 1964. An Emmepi Cinematografica (Italy),
+Productions Georges de Beauregard (France), Top Film/Monarchia Films (W.
+Germany) and Woolner/Allied Artists (US) release; Dr/Co-Wr: Mario Bava, Pr:
+Massimo Patrizi, Alfredo Mirabile (as Alfred Mirabel), Lou Moss (English
+version), Co-Wr: Marcello Fondato (as Marcel Fondat), Joe (Giuseppe)
+Barilla, C: Ubaldo Terzano (as Herman Tarzana), M: Carlo Rustichelli (as
+Carl Rustic), Art-Dr: Arrigo Breschi (as Harry Brest), Ed: Mario Serandrei
+(as Mark Suran), Cast: Eva Bartok, Cameron Mitchell, Thomas Reiner, Arianna
+Gorini, Mary Arden, Franco Ressel, Massimo Righi, Giuliano Raffaelli,
+Luciano Pigozzi, Dante di Paolo, Enzo Cerusico, Mara Carmosino, Lea Kruger,
+Claudia Dantes, Harriet White, Nadia Anty, Heidi Stroh, color, 90(85) min
+
+THE ROAD TO FORT ALAMO (La Strada per Fort Alamo) aka Arizona Bill - 1964.
+A Protor Film/Piazzi Produzione Cinematografica (Italy), Comptoir Francais
+du Film (France), and World Entertainment Corporation (US) release; Dr:
+Mario Bava (as John M. Old), Co-Wr: Vincent Thomas, Charles Price, Jane
+Brisbane, C: Bud Third, Cast: Ken Clark, Jany Clair, Michel Lemoine,
+Andreina Paul, Kirk Bert, Antonio Gratoldi, Dean Ardow, color, 100(82) min
+
+PLANET OF THE VAMPIRES (Terrore nello Spazio) aka Demon Planet aka Planet of
+Blood aka The Haunted Planet aka The Planet of Terror aka Terror in Space
+aka The Outlawed Planet aka The Planet of the Damned - 1965. An Italian
+International Film (Italy), Castilla Cinematografica Cooperativa (Spain),
+and AIP (US) release; Dr/Co-Wr: Mario Bava, Pr: Fulvio Lucianso, Salvatore
+Billitteri, Ib Melchior (English version), Co-Wr: Callisto Cosulich, Antonio
+Roman, Alberto Bevilacqua, Rafael J. Salvia, Ib Melchior and Louis M.
+Heyward (English version), C: Antonio Rinaldi, M: Gino Marinuzzi Jr, Antonio
+Piere Olca, Art-Dr: Giorgio Giovannini, Cast: Barry Sullivan, Norma Bengel,
+Angel Aranda, Evi Morandi, Fernando Villena, Ivan Rassimov, Rico Boido,
+Massimo Righi, Stelio Candelli, Mario Morales, Franco Andrei, Alberto
+Cevenini, color, 88(86) min
+
+KILL, BABY, KILL (Operazione Paura) aka Curse of the Living Dead aka Curse
+of the Dead aka Operation Fear - 1966. A FUL Films (Italy) and Europix
+Consolidated Corp. (US) release; Dr/Co-Wr: Mario Bava, Pr: Nando Pisani,
+Luciano Catenacci, Co-Wr: Romano Migliorini, Roberto Natale, John Hart
+(English version), C: Antonio Rinaldi, M: Carlo Rustichelli, Art-Dr: Sandro
+Dell'Orco, Asst-Dr: Lamberto Bava, E: Romana Fortini, Cast: Enrica Bianchi
+Colombatto (as Erika Blanc), Giacomo Rossi-Stuart, Fabienne Dali, Gianna
+Vivaldi, Piero Lulli, Max Lawrence, Giuseppe Addobbati, Franca Domonici,
+Micaela Esdra, Mirella Pamphilli, Valeria Valeri, color, 85(75) min
+
+DR. GOLDFOOT AND THE GIRL BOMBS (Le Spie Vengona del Semifreddo) aka Dr.
+Goldfoot and the "S" Bombs - 1966. An Italian International Film (Italy)
+and AIP (US) release; Dr: Mario Bava, Pr: Fulvio Luciano, Louis M. Heyward,
+Co-Wr: Louis M. Heyward, Robert Kaufman, Franco Castellano, Pipolo, James
+Hartford, C: Antonio Rinaldi, M: Les Baxter, Cast: Vincent Price, Fabian,
+Franco Franchi, Ciccio Ingrassia, Laura Antonelli, Moana Tahi, Francesco
+Mule, color, 85 min
+
+SAVAGE GRINGO (Nebraska il Pistolero) aka A Gunman called Nebraska - 1966.
+An Italian International (Italy), Castilla Cinematografica release (Spain),
+and AIP (US); Dr: Mario Bava (credited to Antonio Roman as Anthony Roman),
+Wr: Antonio Roman, Cast: Ken Clark, Yvonne Bastein, Piero Lulli, Renato
+Rossini, Alfonso Rojas, Antonio Gradoli, Angel Ortiz, Livio Lorenzon, Aldo
+Sambrell, Renato Terra, Paco Saenz, color, 82 min
+
+KNIVES OF THE AVENGER (Raffica di Coltelli) aka Viking Massacre - 1967. A
+World Entertainment Release of a Sider Films production; Dr/Co-Wr: Mario
+Bava (as John Hold), Pr: P. Tagliaferri; Co-Wr: Alberto Liberati, George
+Simonelli, C: Antonio Renaldi, M: Marcello Giambini, Asst-Dr: Robert Glands,
+E: Otello Colangeli (as Othello), Cast: Cameron Mitchell, Fausto Tozzi,
+Luciana Polletin, Elissa Picelli (as Elisa Mitchell), Giacomo Rossi Stuart
+(as Jack Stewart), British, Mike Moore, Renato Terra, Sergio Cortona, color,
+86 min
+
+DANGER: DIABOLIK (Diabolik) - 1968. An S.P.A. (Italy), Marianne Productions
+(France) and Paramount (US) release of a Dino De Laurentiis Cinematografica
+production; Dr/Co-Wr: Mario Bava, Pr: Dino De Laurentiis, Co-Wr: Dino
+Maiuri, Brian Degas, Tudor Gates, Angela Giussani, Luciana Giussani, Adriano
+Baracco, C: Antonio Rinaldi, M: Ennio Morricone, Art-Dr: Flavio Mogherini,
+Asst-Dr: Lamberto Bava, Ed: Romana Fortini, Cast: John Phillip Law, Marissa
+Mell, Michel Piccoli, Adolfo Celi, Terry Thomas, Claudio Gora, Edward Febo
+Kelleng, Caterina Boratto, Giulio Donnini, Annie Gorassini, Renzo Palmer,
+Mario Donen, Andrea Bosic, Lucia Modugno, Giorgio Gennari, Giorgio
+Sciolette, Carlo Croccolo, Giuseppe Fazio, Lidia Biondi, Isarco Ravaioli,
+Federico Boito, Tiberio Mitri, Wolfgang Hillinger, color, 98 min
+
+THE ODYSSEY - 1968. One of eight 55 minute segments made for Italian TV by
+producer Franco Rossi. Bava did special effects work as well on other
+segments. This was edited down to movie length and distributed worldwide as
+THE ADVENTURES OF ULYSSES. The compressed version contained 18 minutes of
+Bava directed footage.
+
+A HATCHET FOR THE HONEYMOON (Il Rosso Segno della Follia) aka Blood Brides
+aka An Axe for the Honeymoon aka The Red Sign of Madness - 1969. A Pan
+Latina Films/Mercury Films (Spain, Italy), G.G.P. Pictures (US) release,
+Dr/Co-Wr/Co-C: Mario Bava, Pr: Manuel Cano Sanciriaco, Co-Wr: Santiago
+Moncada, Mario Musy, Co-C: Antonio Rinaldi, M: Sante Romitelli, Art-Dr: J.M.
+Herrero, Cast: Stephen Forsyth, Dagmar Lassander, Laura Betti, Jesus Puente,
+Femi (Eufemia) Benussi, Antonia Mas, Luciano Pigozzi (as Alan Collins),
+Gerard Tichy, Fortunato Pasquale, Veronica Llimera, color, 93(83) min
+
+FIVE DOLLS FOR AN AUGUST MOON (Cinque Bambole per la Luna d'Agosta) - 1970.
+A Produzioni Atlas Cinematografica (Italy) release; Dr/E: Mario Bava, Pr:
+Luigi Alessi, Wr: Mario di Nardo, C: Antonio Rinaldi, M: Piero Umiliani,
+Art-Dr: Giuseppe Aldebaran, Cast: Ira Fuerstenberg, Edwige Fenech, William
+Berger, Renato Rossini (as Howard Ross), Helena Ronee, Edy Galleani (as
+Justine Gall), Edith Meloni, Teodoro Corra, Mauro Bosco, color, 88(81) min
+
+ROY COLT AND WINCHESTER JACK - 1970 (1975 in US). A Libert production of a
+P.A.C./Tigielle release; Dr: Mario Bava, Co-Wr: Di Nardo and Agrin, Cast:
+Brett Halsey, Marilu Tolo, Charles Southwood, Teodoro Corra, color, 90 min
+
+FOUR TIMES THAT NIGHT - 1970. (Does anyone have any info on this?)
+
+TWITCH OF THE DEATH NERVE (Ecologia del Delitto) aka Bay of Blood aka
+Bloodbath Bay of Blood aka Antefatto aka Reazione a Catena aka The Ecology
+of a Crime aka Carnage aka Last House on the Left II aka New House on the
+Left aka Before the Fact-Ecology of a Crime - 1971. A Nuova Linea
+Cinematografica (Italy), Hallmark (US) release; Dr/Co-Wr/Co-C: Mario Bava,
+Pr: Giuseppe Zaccariello, Co-Wr: Carlo Reali, Giuseppe Zaccariello (as
+Joseph McLee), Filippo Ottoni, Dardano Sacchetti, Franco Barberi, Co-C:
+Antonio Rinaldi, M: Stelvio Cipriani, Art-Dr: S. Canevari, Cast: Claudine
+Auger, Luigi Pistilli, Claudio Volonte, Anna Maria Rosati, Laura Betti,
+Chris Avram, Brigitte Skay, Isa Miranda, Leopoldo Trieste, Paola Rubens,
+color, 90(76) min
+
+LISA AND THE DEVIL (Lisa e il Diavolo) aka The House of Exorcism aka The
+Devil and the Dead aka The Devil in the House of Exorcism - 1972. A
+EuroAmerica (Italy), Tecisa (Spain), Roxy (W. Germany) and Peppercorn
+Wormser (US) release; Dr/Co-Wr: Mario Bava (as Micky Lion), Pr: Alfred
+Leone, Co-Wr: Roberto Natale, Giorgio Manlini, Alberto Tintini, Alfred
+Leone, C: Cecilio Paniagua, M: Carlo Savina, Art-Dr: Nedo Azzini, Se: Franco
+Tocci, Cast: Elke Sommer, Telly Savalas, Sylva Koscina, Alida Valli, Alessio
+Orano, Gabriele Tinti, Eduardo Fajardo, Carmen Silva, Franz von Treuberg,
+Espartaco Santoni, color, 98(93,91) min
+
+BARON BLOOD (Gli Orrori del Castello di Norimberga) aka Chamber of Tortures
+aka The Blood Baron aka The Thirst of Baron Blood aka The Torture Chamber of
+Baron Blood - 1972. A Euro International Film (Italy), Dieter Geissler (W.
+Germany), and AIP (US) release; Dr/Co-Wr: Mario Bava, Pr: Alfred Leone,
+Co-Wr: Vincent Forte, Willibald Eser (as William A. Bairn), C: Antonio
+Rinaldi, M: Stelvio Cipriani (Italy), Les Baxter (US), Art-Dr: Enzo
+Bulgarelli, Se: Franco Tocci, Cast: Joseph Cotten, Elke Sommer, Antonio
+Cantafora, Massimo Girotti, Luciano Pigozzi (as Alan Collins), Dieter
+Tressler, Humi (Umberto) Raho, Rada Rassimov, Nicoletta Emmi, color, 92(90)
+min
+
+WILD DOGS (Cani Arrabbiati) - 1974. Incomplete and unreleased.
+
+SHOCK (All 33 di Via Orologio Fa Sempre Freddo) aka Shock [Transfer Suspense
+Hypnos] aka Beyond the Door II aka Suspense - 1977. A Laser Film (Italy)
+and Film Ventures (US) release; Dr: Mario Bava, Pr: Turi Vasile, Co-Wr:
+Lamberto Bava, Francesco Barbieri, Paolo Briganti, Dardano Sacchetti, C:
+Alberto Spagnoli, M: I. Libra, Art-Dr: Francesco Vanorio, Cast: Daria
+Nicolodi, John Steiner, David Collin Jnr, Ivan Rassimov, Nicola Salerno,
+color, 95(87) min
+
+LA VENERE D'ILLE - 1978. Made as a one hour segment for the Italian TV
+show "Il Giorno dei Diavolo" ("The Devil's Notebook")
+
+The director's son Lamberto Bava was a frequent (and sometimes credited)
+assistant on most films from PLANET OF THE VAMPIRES on.
+
+Short films made before features (as director and cinematographer, except
+where indicated):
+
+L'ORRECHIO - 1946
+SANTA NOTTE - 1947
+LEGENDA SINFONICA - 1947 (co-dir with M. Melani)
+ANFITEATRO FLAVIO - 1947
+VARIAZIONI SINFONICHE - 1949
+L'AMORE NELL'ARTE - 1950 (dir only)
+
+As assistant director:
+
+THE WONDERS OF ALADDIN - 1961 (dir: Henry Levin)
+
+As cinematographer:
+
+LA AVVENTURA DI ANNABELLA - 1938
+IL TACCHINO PREPOTENTE - 1939
+UOMINI E CIELI - 1943
+CHRISTMAS AT CAMP 119 - 1948
+THIS WINE OF LOVE - 1948
+QUEL BANDITO SONO IO - 1949
+ANTONIO DI PADUA - 1949
+E'ARRIVATO IL CAVALIERE (HER FAVORITE HUSBAND?) - 1950
+VITA DA CANI - 1950
+MAD ABOUT OPERA - 1950
+MISS ITALIA - 1950
+GUARDIE E LADRI (COPS AND ROBBERS?) - 1951
+GLI EROI DELLA DOMENICA - 1953
+VIALE DELLA SPERANZA - 1953
+TERZA LICEO - 1954
+COSE DA PAZZI - 1954
+VILLA BORGHESE - 1954
+LA DONNA PIU BELLA MONDO - 1955
+ADVENTURES OF GIACOMO CASANOVA - 1955
+MIO FIGLIO NERONE - 1956
+THE DEVIL'S COMMANDMENT (I Vampiri) aka Lust of the Vampire aka The Vampires
+ - 1956 (dir: Riccardo Freda, Bava uncredited assistant)
+THE WHITE WARRIOR (Agi Murad il Diavolo Bianco) - 1959 (dir: Riccardo Freda,
+ Bava uncredited assistant)
+HERCULES (La Fatiche de Ercole) - 1957 (dir: Pietro Francisci)
+CITY AT NIGHT - 1957
+LA MORTE VIENE DALLA SPAZIO - 1958
+THE DAY THE SKY EXPLODED - 1958 (dir: Paolo Heusch)
+LABORS OF HERCULES - 1958
+CALTIKI, THE IMMORTAL MONSTER - 1959 (as John Foam; dir: Riccardo Freda as
+ Robert Hampton, Bava uncredited assistant)
+GIANT OF MARATHON (La Battaglia di Maratona) - 1959 (dir: Jacques Tourneur,
+ Bava uncredited assistant director with Bruno Vailati)
+HERCULES AND THE QUEEN OF LYDIA - 1959
+HERCULES UNCHAINED (Ercole e la Regina di Lidia) - 1960 (dir: Pietro
+ Francisci, Bava uncredited assistant)
+ESTHER AND THE KING (Ester e il Re) - 1960 (dir: Raoul Walsh)
+NERO'S MISTRESS - 1962
+
+The above is by no means complete, and as it came from several sources some
+titles are in Italian and some in English. As I don't speak Italian it is
+possible that some of the above names are duplicates. Bava is reported to
+have actually directed the majority of both THE DEVIL'S COMMANDMENT and
+CALTIKI, THE IMMORTAL MONSTER, and finished GIANT OF MARATHON. He wrote THE
+YOUNG, THE EVIL, AND THE SAVAGE (1970) and was set to direct it before the
+producers replaced him with Antonio Margheriti. Bava also contributed some
+effects and photography to ROMA CONTRA ROMA (aka WAR OF THE ZOMBIES, 1965,
+dir: Giuseppe Verdi), BABY KONG (1977?), and INFERNO (1980, dir: Dario
+Argento). A couple of sources have attributed him with some camera work on
+Freda's L'ORRIBLE SEGRETO DEL DOTTORE HICHCOCK (aka THE HORRIBLE DR.
+HICHCOCK, 1962) but this is questionable.
+
+Mario Bava on video -
+
+These are titles which are available, or have been available in America. THE
+DEVIL'S COMMANDMENT, BLACK SUNDAY, KILL, BABY KILL, and the very recently
+acquired BLOOD AND BLACK LACE are all sold by Sinister Cinema (see Appendix)
+in their original forms. HERCULES IN THE HAUNTED WORLD has been put out by
+Rhino in the Woolner cut at a sell through price. HBO Video released the
+following titles in 1987: BLACK SABBATH (AIP cut), PLANET OF THE VAMPIRES,
+and BARON BLOOD (AIP cut, as TORTURE CHAMBER OF BARON BLOOD). ERIK THE
+CONQUEROR was released by Twin Tower Enterprises under the title THE
+INVADERS. Media Home Entertainment put out BLOOD AND BLACK LACE (with
+scenes removed that are reportedly in Sinister's tape), A HATCHET FOR THE
+HONEYMOON, and SHOCK (as BEYOND THE DOOR 2). SHOCK can also be found in
+discount video racks now for under $10 from Video Treasures. A HATCHET FOR
+THE HONEYMOON has also come out under the Nelson Entertainment and
+Powersports-American Video (!) labels. KNIVES OF THE AVENGER was issued
+under the title VIKING MASSACRE by Westernworld Video, and DANGER: DIABOLIK
+was put out by Paramount. MPI Home Video has released LISA AND THE DEVIL
+(as DEVIL IN THE HOUSE OF EXORCISM) and TWITCH OF THE DEATH NERVE (as BAY OF
+BLOOD). LISA AND THE DEVIL was also released under the HOUSE OF EXORCISM
+title by Trans-Atlantic and TWITCH OF THE DEATH NERVE came out from Gorgan
+Video under that title. THE EVIL EYE (as THE GIRL WHO KNEW TOO MUCH), WHAT!
+(as THE WHIP AND THE BODY), and FIVE DOLLS FOR AN AUGUST MOON are all
+available in their European forms as dupes from Video Search of Miami for
+$25 each, PO Box 16-1917, Miami FL, 33116, 305-279-9773, but the picture
+quality is probably below average. Midnight Video sells dupes, said to be
+of good quality, of the uncut European versions of BLACK SUNDAY, THE WHIP
+AND THE BODY, BLOOD AND BLACK LACE (as SIX WOMEN FOR THE MURDERER), TWITCH
+OF THE DEATH NERVE (as BAY OF BLOOD), LISA AND THE DEVIL, and BARON BLOOD
+(all in English), and BLACK SABBATH (in Italian without subtitles). $19.00
+each, at 5010 Church Drive, Coplay, PA, 18037, 610-261-1756. BLACK SUNDAY
+and BLACK SABBATH have recently been put out on one laser disk by HBO Image
+Entertainment. Redemption Video in England has recently acquired the rights
+to a number of Bava films and will be releasing complete English language
+versions, but they will be in the PAL mode. BLACK SABBATH, BLOOD AND BLACK
+LACE, PLANET OF THE VAMPIRES, and HERCULES IN THE HAUNTED WORLD have all
+been widely distributed and can be found in most large video stores,
+including Blockbuster (the last resort!). A HATCHET FOR THE HONEYMOON and
+SHOCK are also fairly common.
+
+Appendix: Barbara Steele filmography -
+
+BACHELOR OF HEARTS - 1958; Dr: Wolf Rilla
+SAPPHIRE - 1959; Dr:
+THE 39 STEPS - 1959; Dr: Ralph Thomas
+BLACK SUNDAY aka (La Maschera del Demonio) aka The Mask of Satan aka The
+ Demon's Mask aka The Revenge of the Vampire aka House of Fright - 1960;
+ Dr: Mario Bava
+ALFRED HITCHCOCK PRESENTS TV show - "Beta Delta Gamma" episode - 1961
+THE PIT AND THE PENDULUM - 1961; Dr: Roger Corman
+THE HORRIBLE DR. HICHCOCK (L'Orribile Segreto del Dr. Hichcock) aka The
+ Terror of Dr. Hichcock aka Raptus aka The Terrible Secret Of Dr. Hichcock
+ - 1962; Dr: Riccardo Freda (as Robert Hampton)
+8 1/2 aka (Otto e Mezzo) - 1962; Dr: Federico Fellini
+THE GHOST (Lo Spettro) aka The Spectre - 1962; Dr: Riccardo Freda (as
+ Robert Hampton)
+IL CAPITANO DI FERRO - 1963; Dr:
+THE HOURS OF LOVE - 1963; Dr: Luciano Salce
+CASTLE OF BLOOD (La Danza Macabre) aka La Lunga Notte del Terrore aka
+ Castle of Terror aka The Long Night of Terror aka Tombs of Horror aka
+ Coffin of Terror aka Dimensions in Death aka Terrore - 1963; Dr:
+ Antonio Margheriti (as Anthony Dawson)
+WHITE VOICES (Le Voci Bianche) - 1963; Dr: Pasquale Festa Campanile
+THE MONOCLE - 1964; Dr:
+THE LONG HAIR OF DEATH (I Lunghi Capelli Della Morte) - 1964; Dr:
+ Antonio Margheriti (as Anthony Dawson)
+YOUR MONEY OR YOUR WIFE - 1965; Dr: Anthony Simmons
+TERROR CREATURES FROM THE GRAVE (Cinque Tombre Per Un Medium) aka The Tombs
+ of Horror aka Five Graves for a Medium aka Coffin of Terror; - 1965;
+ Dr: Ralph Zucker
+NIGHTMARE CASTLE (Amanti d'Oltretomba) aka The Faceless Monster aka Lovers
+ Beyond the Tomb aka Orgasmo aka Night of the Doomed - 1965; Dr: Mario
+ Caino (as Allan Grunewald)
+AN ANGEL FOR SATAN (Un Angelo Per Satana) - 1966; Dr: Camillo Mastrocinque
+THE SHE BEAST (La Sorella di Satana) aka The Revenge of the Blood Beast
+ aka Satan's Sister - 1966; Dr: Michael Reeves
+SECRET AGENT TV show - "The Man On The Beach" episode - 1966
+I SPY TV show - title unknown - 1967
+YOUNG TORLESS - 1967; Dr: Volker Schlondorff
+THE CURSE OF THE CRIMSON ALTER aka The Crimson Cult aka The Crimson Altar
+ aka The Reincarnation aka Spirit of the Dead; - 1968; Dr: Vernon Sewell
+HONEYMOON WITH A STRANGER - 1969 (made for TV); Dr: John Peyser
+NIGHT GALLERY TV show - "The Sins Of The Father" episode - 1972
+CAGED HEAT aka Renegade Girls - 1974; Dr: Jonathan Demme
+THEY CAME FROM WITHIN aka Shivers aka The Parasite Murders - 1975;
+ Dr: David Cronenberg
+I NEVER PROMISED YOU A ROSE GARDEN - 1977; Dr: Anthony Page
+PIRANHA - 1978; Dr: Joe Dante
+PRETTY BABY -1978; Dr: Louis Malle
+SILENT SCREAM - 1980; Dr: Denny Harris
+THE WINDS OF WAR TV miniseries - 1983
+WAR AND REMEMBERANCE TV miniseries - 1988
+DARK SHADOWS TV series - 1991
+
+Mario Bava, Federico Fellini, Roger Corman, Jonathan Demme, Joe Dante,
+Riccardo Freda, Antonio Margheriti, Michael Reeves, Louis Malle, Volker
+Schlondorff and David Cronenberg. That's quite a talented list.
+
+Aid in compiling the above came from "Barbara Steele Videography" by Tim
+Lucas and Alan Upchurch in Video Watchdog no. 7 (Sep/Oct 1991), "The Diva of
+Dark Drama: Barbara Steele" by Mark A. Miller in Filmfax no. 19 (March
+1990), and The Psychotronic Encyclopedia of Film. Of the horror titles
+above BLACK SUNDAY (European cut!), THE HORRIBLE DR. HICHCOCK, THE GHOST,
+CASTLE OF BLOOD, THE LONG HAIR OF DEATH, TERROR CREATURES FROM THE GRAVE,
+NIGHTMARE CASTLE and AN ANGEL FOR SATAN (subtitled in English) are available
+from Sinister Cinema (PO Box 4369, Medford, OR, 97501-0168, 503-773-6860,
+$16.95 each). THE PIT AND THE PENDULUM is priced for sell through by Warner
+Home Video, and they also put out PIRANHA. THE HORRIBLE DR. HICHCOCK has
+also come out in edited form from Republic Home Video, and THE GHOST is
+discounted from Liberty Video. Gorgon Video released THE SHE BEAST. THE
+CURSE OF THE CRIMSON ALTAR was distributed and has since been deleted by HBO
+Video. THEY CAME FROM WITHIN was issued by Vestron Video and Media Home
+Entertainment released SILENT SCREAM. I recommend BLACK SUNDAY (no
+surprise!), THE LONG HAIR OF DEATH, NIGHTMARE CASTLE, AN ANGEL FOR SATAN,
+and THE GHOST. These releases are in the US. (Would someone PLEASE release
+Jonathan "Silence of the Lambs" Demme's first movie, CAGED HEAT, on video?
+This film which also stars Erica "Vixen" Gavin was produced by New World).
+
+Thanks to Paul White (paul.white@canrem.com) for supplying me with the
+Fangoria articles. I'll get that ZOMBIE tape to you when I'm able Paul!
+
+
+A Parliafunkadelicment Thang - FUNHOUSE! Evaluates the Albums of Funkadelic
+---------------------------------------------------------------------------
+
+Funkadelic is one of the earliest incarnations of the George Clinton led
+P-Funk universe, and they were the predominant format under which his
+twisted funk/rock/soul fusions would appear throughout the first half of the
+seventies. When Brother George decided that his doo-wop group The
+Parliaments would benefit by a rock band backing, ala fellow Detroit
+acid heads MC5 and The Stooges, he rounded up a gang of young bros for
+guitar/bass/drum/organ chores. At this time George considered these guys
+(Ed Hazel - lead guitar, Bill Nelson - bass, Lucas 'Tawl' Ross - guitar,
+Ramon 'Tiki' Fulwood - drums, Mickey Atkins - organ) to be "Funkadelic", and
+it is their mugs which form the kaleidoscope image on the cover of the first
+album. The Parliaments had issued a few sixties singles, some on Motown and
+the minor hit "I Wanna Testify" on Revilot, but interestingly the actual
+first album recorded by the full band was 1970's OSMIUM, credited to
+"Parliament" (on the Invictus label). The singers of The Parliaments
+(George Clinton, Raymond Davis, Clarence "Fuzzy" Haskins, Calvin Simon, and
+Grady Thomas) joined the above musicians with the additions of Gary Shider
+on guitar, Tyrone Lampkin on drums, and Bernie Worrell performing all of the
+keyboard chores, for the project. Worrell can be seen these days in the
+background as a member of the band on the new "Late Show With David
+Letterman". He also did a stint with the large version of Talking Heads and
+is in their film Stop Making Sense. After the first couple of LP's
+"Funkadelic" would come to signify all members of the entourage, which
+included just about everyone mentioned above plus others, in various
+combinations and formations which varied from track to track on the records.
+Due to legal arguments the Parliament title would be retired until the 1974
+album Up From The Down Stroke, and all of Clinton's visions would be
+broadcast through Funkadelic until then. When Parliament was resurrected
+that band would take on a much more dance floor oriented sound (not that you
+can't boogie to Funkadelic), and would be used for Clinton's more concept
+oriented projects. Funkadelic tended a little more toward the nasty side of
+things thematically, and almost never utilized the horn section common in
+Parliament recordings. Feedback and acid drenched guitar solos were
+featured instead. The first eight Funkadelic LP's were put out on the
+Detroit based Westbound label (1971-1975), but in the latter part of the
+seventies when the P-Funk empire reached it's zenith, Clinton would move the
+band over to Warner Brothers for the last four (1976-1980) in an attempt to
+achieve greater distribution. This move created some dissension in the
+group and started movement toward the schism which would result in the
+splitting off of some of the founders (and the to be avoided Connections And
+Disconnections phony Funkadelkic recording). During this peak period of
+activity, when P-Funk would also issue music under such labels as Bootsy's
+Rubber Band, The Brides of Funkenstein, and The Horny Horns, the musical
+divisions between bands became a little more blurred, and the last three
+Funkadelic albums (especially Uncle Jam Wants You) contain cuts designed for
+booty shaking under the mirrored ball side by side with those for mind
+melting trip outs - but still horns were mostly left off. George himself
+summed up the distinction by saying, "Parliament was the glitter, the
+commercial, and Funkadelic was the loose, the harsh. We'd take a couple of
+tabs of acid and play whatever we wanted. Parliament was more vocal, more
+disco with horns, and a bit more conservative. Funkadelic was more guitars
+- no horns, more free-form feelings, and more harsh and wild. Sometimes
+there was an overlap, but generally Funkadelic got more pussy than
+Parliament." (From an interview in Motorbooty #3). In the same discussion
+George suggests that Parliament was kept around to keep the group in the
+spotlight and earn some cash.
+
+Over the last few years the entire Funkadelic catalog has become available
+on both vinyl and CD. They have regained a larger level of popularity with
+new fans coming on board by way of both white boy funk rock bands (such as
+the Red Hot Chili Peppers, who have covered Clinton's songs, had him produce
+one of their albums, and even featured a P-Funk alumnus on guitar for a
+short time), and rap acts who have sampled P-Funk riffs with regularity
+(some of the best usage being by De La Soul and Digital Underground).
+Westbound themselves have re-issued the eight records that appeared on their
+label. These were put out sequentially over a period of time, and titles
+were able to be had as imports from England or Germany prior to US
+availability. I acquired some of the titles as imports, and I only bring
+this up to point out that I've found some of them to be of better sound
+quality than the domestic versions. The fidelity on the domestic releases
+of the first two albums is somewhat lower than average, however I haven't
+listened to the original releases so I can't say if this is an artifact of
+the original recording or if it's due to the re-mastering. There was a long
+delay before the Warner Brothers material was available anew due to that
+company's refusal to let it go. Recently these four albums have been put
+out by independent labels in both England and America, on vinyl and on CD.
+With the entire Funkadelic catalog now available again, we at FUNHOUSE! are
+presenting our evaluation of all the albums containing original studio
+recordings. Eddie Hazel died this year at the age of 44.
+
+ratings: one to four electric sugar cubes ([])
+
+FUNKADELIC
+1970 - Westbound 2000
+[], [], []
+
+Mommy, What's a Funkadelic? / I Bet You / Music for My Mother / I Got a
+Thing, You Got a Thing, Everybody's Got a Thing / Good Old Music / Qualify
+and Satisfy / What is Soul
+
+The first LP out of the box for the freak boys under the Funkadelic moniker
+is a rather subdued effort based on what was to come. There is a greater
+consistency of sound throughout the album than one would come to expect, but
+the aural treats were still like nothing else being done at the time. The
+music sounds as if it's emerging out of the depths of the swamps after
+midnight, and is dominated by steady and heavy bass lines, with oozing
+guitar lead interplay, organ chords, steady drumming, and various
+vocalizing coming in and out in the background. This style is epitomized by
+the nine minute plus lead off track. After George intones, "If you will
+suck my soul, I will lick your funky emotions" it takes off with the same
+riff being overlaid with various voices and instruments playing off of it.
+"I Bet You" and "Music for My Mother" follow the same pattern, but with a
+faster line and a stepped up chorus in the first and a country-blues feel to
+the autobiographically themed second. The gears shift with "I Got a
+Thing..." which open with a great "waka-waka" intro, and features a wild
+guitar and organ jam rave-up in the middle. "Good Old Music" gives us an
+even better taste of Eddie Hazel's worshipping at the alter of Hendrix.
+"Qualify and Satisfy" is based on an "I'm A Man" styled blues riff, while
+the closer "What is Soul" is an example of the extended experimental tracks
+which would turn up on most subsequent releases. Over weird spaceship
+noises George explains what it is that we've just experienced. After asking
+us to loan him our minds so that he can play with it, he tells us that all
+that is good is nasty, and we're off. There's not another album in the
+P-Funk universe quite like this in - listen to this voodoo rock after bong
+hits.
+
+
+FREE YOUR MIND AND YOUR ASS WILL FOLLOW
+1970 - Westbound 2001
+[], [] (three if you're really looped, or institutionalized)
+
+Free Your Mind and Your Ass Will Follow / Friday Night, August 14th / Funky
+Dollar Bill / I Wanna Know if it's Good to You? / Some More / Eulogy and
+Light
+
+This is easily the most whacked collection that George oversaw, and the
+spaced out meandering stands in the way of the production of a cohesive
+work. The title song repeats the mantra, "Free Your Mind and Your Ass Will
+Follow - The Kingdom of Heaven is Within" in various voices and intonations
+while metalish rock jams try to emerge, only to be sucked back down into the
+noisy ether. The strength of the album lies in its next three central
+songs. "Friday Night..." is an up tempo rocker featuring Spacey Eddie doing
+his thing, while "Funky Dollar Bill" brings a trio of guitars way up in the
+mix to support a tale of street capitalism that features an off the wall
+piano line coming and going. "I Wanna Know..." also utilizes the trippy
+guitar jamming that rocks you out, this time to a more soulful beat. With
+"Some More" the band takes a style reminiscent of Booker T And The MGs,
+with a subtle guitar line taking a back seat to a lead organ. "Eulogy and
+Light" is the album closing free form message carrying cut here. If you
+were listening from the beginning you might have thought that the title track
+served that purpose, but this one eclipses it in its esoterica. The music
+sounds like something backwards masked, and the vocal gives us the
+Funkadelic spin on the state of corporate America. These guys seemed to be
+tripping pretty hard while they wrote and performed this album, and if
+you're in the mood (or the proper state of mind) for a little weirdness it
+can be quite enjoyable. However the songs aren't structured quite as
+strongly as some of their other work, and subsequently it isn't amongst the
+group's disks that are in high rotation on my turntable.
+
+
+MAGGOT BRAIN
+1971 - Westbound 2007
+[], [], [], []
+
+Maggot Brain / Can You Get to That / Hit It and Quit It / You and Your
+Folks, Me and My Folks / Super Stupid / Back in Our Minds / Wars of
+Armageddon
+
+Now we're onto something! This third record is the last to carry the first
+generation, more pared down Funkadelic style. And damn they got it exactly
+right! Maybe after this sound was done to perfection they moved on to
+bigger and sometimes equal if not better things. George lets us know that
+the weirdness factor is still intact by delivering "Mother Earth is pregnant
+for the third time, for y'all have knocked her up. I have tasted the
+maggots in the mind of the universe, I was not offended. For I knew I had
+to rise above it all, or drown in my own shit" in the opening seconds. This
+then gives way to one of the most unlikely hit singles ever. Over ten
+minutes Eddie Hazel delivers the most emotional and intense recorded track
+in history that features no human voice. Over a simple rhythm guitar
+backing, Eddie cuts loose with some of the wildest six string screeching
+ever put down. Through tempo changes, volume fluctuations, feedback coming
+in and out, and movements between subtle picking to wild raves, we
+experience possibly the best recorded electric guitar performance of all
+time (did someone say "six hits of purple microdot"?). After you're drained
+from that trip, they deliver one of the more upbeat Funkadelic songs to
+date. "Can You Get to That" is a good time R&B number with vocal
+harmonizing over a heavy chording acoustic guitar. "Hit It and Quit It"
+maintains the upbeat pace with a sound that harkens back to the Funkadelic
+of the first two records. A more traditional Hazel lead carries the song
+which gives way to some of the best organ soloing and jamming we've yet
+heard. Eddie returns to his "Maggot Brain" inspirations for a feedback
+drenched solo which closes it. "You and Your Folks..." is track with a
+gospel feel and some great soul style singing, and its a perfect set up for
+the mind melting "Super Stupid". Slip this one on between Black Sabbath and
+Led Zeppelin the next time you're spinning disks with your heavy metal
+friends and see if they're shaking their asses without realizing what
+happened. Along with "Alice in My Fantasies" on the Standing on the Verge
+of Getting It On album, "Super Stupid" is the dude's heaviest cut. "Back In
+Our Minds" is in the "Can You Get to That" vein, albeit a little bit more
+off kilter. It does feature a rare horn part. This record's freakout
+effort is the album closing "Wars of Armageddon", and it features a little
+bit of everything. Crazy guitar and organ come in and out, while various
+chanted words of wisdom are delivered throughout, over the backing of such
+sound effects as cows and trains. A highlight is the wisdom of "More power
+to the people - more power to the pussy - more pussy to the people." Its
+finale is an atomic explosion, but rather than that ending it all somehow
+the music seems to fight back for a few more bars. "Wars" is a kick to
+listen to despite its idiosyncrasy, and this sets it apart from some of
+its partner pieces on other albums which can get tedious if your not in
+just the right mood. Maggot Brain is an album without a bad track, and it
+presents the perfect synergy of great rock guitar, bass and drums, heavy
+rhythms, mind melting feedback solos, power organ, and tripped out
+sensibilities, to an R&B based heavy dance beat. This was the last attempt
+to label Funkadelic as five guys playing instruments. Soon after, a whole
+gang of musicians would appear over various tracks on the records as
+everyone was brought under the Funkadelic umbrella. Maggot Brain's cover
+art is equally trippy, with a madly screaming large 'froed woman's head
+sitting on the ground on the front cover, and its counterpart on the back
+being a skull posed in the same manner. Liner notes feature literature from
+the Process Church of the Final Judgment's "Fear" pamphlet. They were a
+Satanic church which Charles Manson has been said to have had some ties to.
+
+
+AMERICA EATS ITS YOUNG
+1972 - Westbound 2020
+[], [], []
+
+You Hit the Nail on the Head / If You Don't Like the Effects, Don't Produce
+the Cause / Everybody is Going to Make it This Time / Joyful Process / We
+Hurt Too / Loose Booty / Philmore / I Call My Baby Pussycat / America Eats
+Its Young / Biological Speculation / That Was My Girl / Balance / Miss
+Lucifer's Love / Wake Up
+
+Definitely a transition album, this double LP represents a step away from
+the garage funk of the first three freak outs, but isn't quite to where the
+next series of perfected versions of metal soul will be. Most Funkadelic
+records focus their themes at some cosmic intersection between weirdo
+philosophies, sexual innuendoes, and stories of groovy good times. Good
+chunks of America however comment on the ugly politics of the post-sixties
+era. Bernie Worrell steps up with his largest contribution, and thus
+keyboards and synths emerge in front of the guitars in many places. This is
+evident on the opening track, in which a couple of minutes of jamming starts
+things out with the keyboards leading the way. Narratively the attention is
+on the deteriorating conditions in capitalist America. This takes its cue
+from the Process Church, whose writings again provide the liner notes as
+well as the record's title. Other than the consistent presence of much more
+than usual keyboards, strings, backing vocals, and horns, musically it's a
+hodgepodge of styles not unlike The Beatles or Sandinista! LPs. It
+sometimes slips into a sound more akin to The Meters ("You Hit the Nail on
+the Head, "If You Don't Like the Effects..."), there are 60's styled R&B
+ravers ("Philmore", "Wake Up") some gospel like sounds ("Everybody is Going
+to Make it This Time"), and even some over-syrupy balladeering ("We Hurt
+Too"). The rock sounds come through in the upbeat instrumental "A Joyful
+Process", the heavy "Balance" which gets close to where "Super Stupid" was,
+and "Miss Lucifer's Love" which goes for a more stripped down sound with a
+molten guitar solo in a song with a late period Beatles feel. "Loose Booty"
+achieves what they would later try on Uncle Jam Wants You, a dance track
+with punch and intensity. "Biological Speculations" may be the album's best
+effort. It gets back to rock basics in a style which recalls "Can You Get to
+That" from Maggot Brain. The two most unique songs are those which have the
+greatest presence of the nasties. These are "I Call My Baby Pussycat" which
+is a slowed down remake from Parliament's Osmium album (with a chorus of, "I
+call my baby pussy..."), and "America Eats It's Young" which has 5:52
+minutes of maggoty guitar amongst the organ and horns, accompanying the
+sounds of a woman experiencing orgasm interrupted only by Clinton reciting
+one of his philosophical spiels. This review was the last written by me for
+this article, and that reflects the difficulty in evaluating the album. It
+was recorded a few years before the resurrection of Parliament, which is
+where the horns, backing vocals, and keyboard dominance would find a home.
+The best tracks succeed in rocking out despite all of this. If America Eats
+Its Young were trimmed from a double down to a single album it might have
+been more consistently enjoyable, but like other "concept" albums it takes
+both vinyl slabs to get the whole message across, and I wouldn't want it to
+not all be there.
+
+
+COSMIC SLOP
+1973 - Westbound 2022
+[], [], [], []
+
+Nappy Dugout / You Can't Miss What You Can't Measure / March to the Witch's
+Castle / Let's Make It Last / Cosmic Slop / No Compute / This Broken Heart /
+Trash A-Go-Go / Can't Stand the Strain
+
+Here's a very straightforward recording, with a number of well crafted songs
+laid down without a lot of the weirdness and perverse philosophizing
+usually found. After the broad concept of America Eats Its Young, George
+probably decided to settle down and deliver the goods on a purely musical
+level. The spoken passages and longer offbeat pieces that are often present
+are left off here. A sacrifice in strangeness doesn't make for a bland
+album however, because all of the efforts are right on track. With this
+record a new Funkadelic sound is developed which would be largely the style
+they worked in over the next four albums. The keyboard and orchestration
+dominated music of the last record served as a bridge from the style
+displayed on the first trilogy of LP's to a more intricate and refined
+guitar based feel for this middle period. Don't worry though - it still
+rocks! The recording quality is really elevated from here on out, and one
+gets the feel that the gang took a much more fastidious approach in the
+studio. Loosely (very!) Funkadelic songs from this period fall into one of
+three stylistic categories. First are the more upbeat dance oriented
+approaches that represent the harder edge of what will be produced under
+the Parliament name. Second are slower tempoed soul numbers, many times
+accompanied by cleanly played guitar solos. The final are the straight
+ahead rockers that are closest to the sound of old . These styles would
+many times merge of course. Overall, vocal tracks as an element of the music
+in the songs are given much more attention. "Nappy Dugout" is a boogie
+number that features a great driving beat with guitars playing off each
+other while the euphemistic title is sang. The group was always good at
+spinning off clever ways of referring to private parts and sexual functions.
+"You Can't Miss..." keeps things pumping along at the same rate with another
+dance tune, this time driven by vocal interplay rather than guitars.
+"March to the Witch's Castle" may be the weakest track, with a slowed down
+tale about 'Nam vets told over a lead guitar based backing. The soulful
+style continues on in "Let's Make It Last" with a great vocal and some
+vicious guitar leads. "Cosmic Slop" is a great rocker and is easily the
+central track on the album. Everything's perfectly in synch on this raver
+tale with another suggestive title. It tells the woeful story of a woman
+whoring with the devil to make ends meet. "No Compute" continues to rock,
+although this time with a more upbeat story regarding the mating ritual
+(central philosophy: "spit don't make babies"). "This Broken Heart" is a
+soul dripper and comes as close to a ballad as the group gets. "Trash
+A-Go-Go" is the hardest rocker and features a heavy, heavy hook with great
+background guitar freak outs. "Can't Stand the Strain" gets us back to the
+feel of "This Broken Heart", in a little more upbeat soul number featuring
+multiple vocalists. "Cosmic Slop" may be the best song that they ever did,
+and this LP follows closely behind Maggot Brain as their top work. The acid
+drenched/Hendrix/psychedelia guitar noise that had been lurking is cleaned
+up here, but that instrument is still predominant and featured loudly
+throughout the mix. This is most likely due to the temporary absence of Mr.
+Hazel in the recording, although he would return. (He is represented by
+songwriting credits on "Let's Make it Last" and "Can't Stand the Strain".)
+The band is pretty constant over the whole record, which contributes to the
+consistency of the sound. Gary Shider and Ron Bykowski (the "polyester
+soul-powered token white devil") handle axe duties, while Cordell "Boogie"
+Masson is the bass player throughout. Likewise Bernie Worrell plays all the
+keyboards, and Tyrone Lampkin handles drums on all songs except "Nappy
+Dugout" where "Guest Funkadelic Maggot" Tiki Fullwood sits in. With Cosmic
+Slop the densely illustrated covers drawn by Pedro Bell depicting the crazed
+world of Funkadelica begin. His art is featured on all subsequent record
+jackets with the exception of Uncle Jam Wants You.
+
+
+STANDING ON THE VERGE OF GETTING IT ON
+1974 - Westbound 1001
+[], [], [], []
+
+Red Hot Mama / Alice in My Fantasies / I'll Stay / Sexy Ways / Standing on
+the Verge of Getting It On / Jimmy's Got a Little Bit of Bitch in Him / Good
+Thought, Bad Thoughts
+
+Fast Eddie's back! Standing has a similar feel to Cosmic Slop, but it can
+also be said to be the most pure rock and roll of all the sonic emanations
+from planet P-Funk. The musicians are identical to those on the last
+effort, except that Tiki does all the drumming and Hazel joins Shider and
+the Token White Devil on guitar. The production is cleaner than on the
+earlier records, and chord driven rockers don't leave much room for any rump
+shakers like last time. Hazel shares a writing credit with George on each
+track, using his composing pseudonym "G. Cook" on all of them except "Red
+Hot Mama". That song is in fact a reworking of a Parliament B-side which
+was conceived prior to the Cook alias. After the commercial success of
+Cosmic Slop, Sir Ileb (as George signs the liner notes) felt that a return
+of some elements of goofiness could accompany the return of the reverbed
+crunch. And thus we open with 1:22 minutes of musing d'Clinton, heard first
+at 78 speed like a hopped up Alvin Chipmunk, and then repeated in the real
+time deep tenor of the master. The one-two punch that kicks of the music of
+"Red Hot Mama" and "Alice in My Fantasies", are relentless, driving, head
+bangers. "Alice" delivers the immortal line, "Say baby can you be my dog, I
+can be your tree, and you can pee on me" over a sonic blast. Pearl Jam
+should have this cranker shoved up their asses to learn what real hard rock
+is all about. Things cool down just a little for "I'll Stay", which falls
+into the category of romantically themed, silky voiced, balladesque songs,
+and is accompanied by a subdued guitar. It's amazing that even with the
+subdued guitar there's still room for echo, feedback, and soloing behind the
+music up front. "Sexy Ways" is da funky numba in this lot, with a chooglin'
+bass and choppy chording, but alas Eddie can't resist getting off sonically
+to the beat. "Standing on the Verge..." again provides a title track which
+is a classic, and it's the song around which all the others are built. It's
+pretty complex in style. After a start which revisits the album intro with
+Alvin rehashing his pee line, the music opens itself up to you for gyrating
+your booty, banging your head, or spacing out - depending on your mood or
+your disposition. "Jimmy" is this record's carryover from Cosmic Slop's
+"No Compute", a silly and dirty upbeat ditty which informs us that "It's all
+in the angle of the dangle, increased by the heat of the meat". This line
+was recently lifted by that TV pontificator Beavis. As stated above Clinton
+felt comfortable bringing back the bizarro quotient left off of Cosmic Slop,
+and this record's avant-garde piece is the closer "Good Thoughts, Bad
+Thoughts". If "Maggot Brain" is like tracers at a brilliant sunrise,
+"Thoughts" is its counterpart for the wee hours. A haunting guitar improv
+carries on for 6:35 minutes over a light strumming rhythm, before George
+delivers some thoughts on consciousness raising and the value of the self
+over the final 6:00 minutes. You Caucasian rockers out there might look to
+this LP as a good starting point.
+
+
+LET'S TAKE IT TO THE STAGE
+1975 - Westbound 215
+[], [], [], []
+
+Good to Your Earhole / Better By the Pound / Be My Beach / No Head No
+Backstage Pass / Let's Take It to the Stage / Get off Your Ass and Jam /
+Baby I Owe You Something Good / Stuffs and Things / The Song is Familiar /
+Atmosphere
+
+A greater diversity of sounds come from these grooves than from any of those
+which preceded them. The songs are shorter and tightened up, and the first
+suggestions of some new directions appear in a few tracks. The credits
+aren't as extensive as on other records, but with E. Hazel and Ron Bykowski
+cited as "Alumni Funkadelic", I suspect that their performances are limited.
+As Michael Hampton, the guitar hero of the next wave, won't make the scene
+until Tales Of Kidd Funkadelic, it's possible that Gary Shider handled most
+of the six stringing. "Good to Your Earhole", "Better By the Pound", and
+"Stuffs and Things" contain polyrhythmic dance floor sounds with layered
+vocals and a multi instrumental sonic boogie. The electricity drenched lead
+guitar soul style is heard on "Be My Beach" which features another play on
+words in its title, and on "Baby I Owe You Something Good" which somewhat
+recalls Cosmic Slop's "March to the Witch's Castle" in its heavy plodding.
+After the loud rock 'n' rave up of "No Head No Backstage Pass", the two
+standout songs of Let's Take It to the Stage are delivered. "Let's Take It
+to the Stage" is a laying down of the gauntlet to the competitors and
+pretenders (in Funkadelic's eyes, and with tongues in cheek) who are now
+placing themselves under the label of funk. After informing us that "funk
+was a bad word" they stake their claim to the throne over heavy rhythm and
+silly nursery rhymes ("Little Miss Muffet, sat on her tuffet, smoking some
+THC"). Challenges come from the background directed at the "Godfather? -
+Godmother! Grandfather", "Slick and the Family Prick", "Earth, Hot Air, and
+No Fire", and "Fool and the Gang". "Get off Your Ass and Jam" is one of the
+purest rock 'n' groove wails ever attempted. Over the repeated phrasing of
+"Shit, goddamn, get off your ass and jam!" some of the jamminest guitar on
+any of Funkadelic's records is heard. It's one of their top rockers. "The
+Song is Familiar" is a soul ballad not unlike those regularly rolled out by
+the competitors, but the competitors don't have Gary Shider providing sonic
+craziness in the background. Another "different" track closes the album
+with "Atmosphere". If you take the tune "Good Thoughts, Bad Thoughts" from
+Standing on the Verge and substitute organ for guitar, you get "Atmosphere"
+
+
+TALES OF KIDD FUNKADELIC
+1976 - Westbound 227
+[], []
+
+Butt-To-Butt Resuscitation / Let's Take It to the People / Undisco Kidd /
+Take Your Dead Ass Home (Say Som'n Nasty) / I'm Never Gonna Tell It / Tales
+of Kidd Funkadelic (Opusdelite Years) / How Do Yeaw View You?
+
+A collection of mostly outtakes, unpolished compositions, and songs usually
+utilized in live jam sessions make up this odds and sodds collection which
+closes out the Westbound contract. Most of the tracks have a solid base to
+them, but seem to need a bit of refinement. "Butt-To-Butt Resuscitation"
+sounds as if it could have been Devo or The Tubes playing, with all of the
+quirky syntho noises popping up throughout. "Let's Take It to the People"
+is a good mid tempo tune which ends with a patented Funkadelic wild guitar
+solo. "Undisco Kidd" is a tale of dance floor politics which again relies
+on keyboard gurgling and guitar doodling to give it uniqueness, rather than
+on mind melting rock. They get back on track with "Take Your Dead Ass
+Home", a song with some drive that is reminiscent of "Let's Take It to the
+Stage" from the previous album. This track is dragged down a bit by a
+somewhat silly X-rated nursery rhyme chorus, and it does go on for a bit too
+long. It sounds like product from an above average improv. The line "turn
+that sucker out" would be recycled into one a Parliament's biggest top 40
+hits. "I'm Never Gonna Tell It" is a slow one that is a bit tame for
+Funkadelic. It's the best for last this time out with the final two cuts.
+The title track represents this album's long trip out piece. "Tales of Kidd
+Funkadelic" recalls "Atmosphere" with it's weird goth rock organ, and is
+accompanied by bongos and voices deep in the mix. It could be a horror film
+soundtrack, and if you're up for it, it might be the best cut on the record.
+If you're not into that much strangeness then "How Do Yeaw View You?" is
+probably the pick here. It's another mid tempo number but is better than
+the others on Tales as it's got a better groove and some fuzz guitar creeps
+in. It's good but it isn't a rouser. Perhaps they were saving the "A"
+material for the step up to a major label which followed.
+
+
+HARDCORE JOLLIES
+1976 - Warner Brothers BS-2973
+[], [], [], []
+
+Comin' Round the Mountain / Smokey / If You Got Funk, You Got Style /
+Hardcore Jollies / Soul Mate / Cosmic Slop / You Scared the Lovin' Out of Me
+/ Adolescent Funk
+
+The first of the Warner Brothers records is the last with the feel of the
+old Funkadelic. Michael Hampton steps in with full responsibility for lead
+guitar duties, and the result is the last P-Funk album of any kind with some
+real crunch to it. While more refined than the early acid groove disks,
+this album rocks pretty hard in many places. It's also one of their overall
+best and most consistent efforts. "Comin' Round the Mountain" begins with a
+simple groove but quickly melts into passages of heavy rock guitar and a
+pyro-solo ending. Things settle down a bit with a couple of bottom heavy
+soul numbers that keep you grooving, complete with tricky picking in the
+background. Neither "Smokey" nor "If You Got Funk..." rave up like some of
+the other cuts, but both are excellent, and are tight and groovy without
+getting monotonous. "Hardcore Jollies" is Hampton's declaration of
+independence - his "Maggot Brain". This is one intense sonic bombast in
+which the kid demonstrates that he's up to the task of handling Funkadelic's
+roar. A simple organ intro fools the listener as to the electric attack
+that quickly comes . This instrumental is amongst the top few heaviest cuts
+on any of the records, however it follows a more structured approach than
+some of the "Maggot Brain" era stuff. There's a definite sectioning between
+verse/bridge/chorus, with Hampton's lead filling in where the vocals might
+have been. "Soul Mate" returns to the more traditional soul sound of tracks
+two and three, before the young guitarist steps back up to prove his chops.
+The re-recording of "Cosmic Slop" is however the one minor misfire on this
+record. While a great performance, it's still a half a step behind the
+original interpretation, but that leaves this track infinitely more
+listenable than the majority of the dreck out there. "You Sacred the Lovin'
+Out of Me" is my favorite song of the eight, and that may have something to
+do with it being the weirdest. Not a balls out rocker, but a trippy
+almost-ballad carried buy the intermittent reoccurrence of a distorto
+keyboard playing an Indian belly dancer riff. "Adolescent Funk" closes the
+album with a voiceless track featuring keyboard doodlings, geetahr pickun,
+and machine gun sounds, and with more riddum than most experimental album
+enders in the Funkadelic universe. There's not a bad song on the record,
+and with the exception of a few select compositions to come, Hardcore
+Jollies is a swan song for the old hardcore rock elements of the band.
+After a short hiatus they would come back with three more albums that more
+resemble a rawer Parliament in style.
+
+
+ONE NATION UNDER A GROOVE
+1978 - Warner Brothers BS-3209
+[], [], [], []
+
+One Nation Under a Groove / Groovallegiance / Who Says a Funk Band Can't
+Play Rock?! / Promentalshitbackwashpsychosis Enema Squad (The Doo Doo
+Chasers) / Into You / Cholly (Funk Getting Ready to Roll!) / SPECIAL 7"
+BONUS EP: Lunchmeataphobia (Think! It Ain't Illegal Yet!) / P.E.
+Squad-Doodoo Chasers ("Going All-The-Way Off" Instrumental Version) / Maggot
+Brain (live)
+
+Some call this the pinnacle of the empire of the Parliafunkadelicment thang.
+It's definitely the album with the most uplifting message and one with a
+statement of purpose. That purpose is pledging groovallegiance to the
+united funk of Funkadelica, and promising the funk, the whole funk, and
+nothing but the funk. Pedro Bell's cover depicts Clinton's Space Maggoteers
+planting the R&B (that's rhythm and business!) flag atop the earth. The
+Funkadleic moniker was almost buried while George and the gang focused in on
+Parliament, but was revitalized for this concept album in music if not in
+lyrics. The opening two tracks are 14:33 minutes of danceable fun that
+never wear down and always stay exciting. The extended groove thing works
+better with "One Nation Under a Groove" and "Groovalleginace" than an any of
+their other attempts, over all of the records discussed here. After
+settling in with those two tracks, you're jolted back out with a blast
+recalling the old days in "Who Says a Funk Band Can't Play Rock?!". Not me,
+especially this funk band, and neither will anyone else who hears this. The
+song is similar to "Get Off Your Ass and Jam", with a rock steady beat
+backing some simple harmonious vocalizing and full blown, cranked up, guitar
+worshipping frenzy throughout. It's one of their most sonically powerful
+tunes. "P.E. Squad" slips back into a soulful beat while George leads the
+gang in a scatological discussion which equates loud mouthed pseudo
+intellectualism with a bowel movement. After all, many of those with
+"mental diarrhea" do seem to be "talking shit a mile a minute". A subtle
+but exciting lead comes in and out, which is expanded upon in the
+instrumental version contained as a bonus track. "Into You" has a slower,
+soul ballad approach while "Cholly" goes somewhere altogether different
+than the rest of the record. That place is one which is inhabited not only
+by some of the then current Parliament boogie hits, but also by the bass
+driven, story telling tracks found on the first Funkadelic release. It's a
+great dance song which was designed to be the club hit from this collection.
+The primary tracks on One Nation are all excellent, and present a balance of
+well produced styles throughout. When this LP was being prepared Clinton
+wanted it to be a double, with the second record being made up entirely of
+the more raw, exploratory compositions which usually sneak onto Funkadelic
+records one or two at a time. Warner Brothers wouldn't go for it, and thus
+Clinton self financed a three song 7" EP to be included with each copy. The
+music on the insert definitely stands out from the rest of the record, in
+that it's all much less clean and crafted than the material on the 12" disk.
+"Lunchmeataphobia" contains a monster riff which gives way to psycho noise
+caterwauling over chants of "Think! It Ain't Illegal Yet!". The above
+mentioned "P.E. Squad" instrumental version allows for the guitar lead to be
+appreciated to it's fullest extent. And finally Hampton proves his
+Hazelness once again with a live version of the wordless freak anthem
+"Maggot Brain". Being live, this version isn't quite as introspective as
+the original, but the more pronounced bass and drum backing give it a thump
+that makes it the preferred interpretation on occasion. Overall this is an
+excellent demonstration of an ability to make a commercial record which
+moves away from free for all freakouts, yet still maintains a solid rock and
+roll perspective. George felt that it had to be done, and who better to
+pull it off than Funkadelic. Reissues tack the bonus EP onto the album
+itself.
+
+
+UNCLE JAM WANTS YOU
+1979 - Warner Brothers BSK-3371
+[], []
+
+Freak of the Week / (not just) Knee Deep / Uncle Jam / Field Maneuvers
+/ Holly Wants to Go to California / Foot Soldiers (Star-Spangled
+Funky)
+
+"Eh Butt-Head...Does this suck?"
+"Uhhhhhh, well it's got George Clinton, that's cool"
+
+With the success achieved in utilizing Funkadelic to create a record with a
+specialized style on "One Nation Under a Groove", the idea was to carry on
+with that process to show that a disco album with integrity was possible.
+They wished to "rescue dance music from the blahs" as the cover slogan says.
+It almost worked, but the extended funky dance tunes this time out don't
+have the style of those on One Nation. "Freak of the Week" and "(not just)
+Knee Deep" merge together over the whole first side much like "One Nation
+Under a Groove" and "Groovallegiance" did, but there isn't enough zip in
+them, like in the previous two, to justify their length. "Knee Deep" was
+written by George Clinton Jr. It isn't too bad and its got a catchy chorus,
+but it is a bit overextended. "Uncle Jam" comes closer though. It carries
+not only a good tune, but also a call for unity under the funk that is in
+line with the theme of the preceding album. It's the only really good thing
+here, and it was co-written by Bootsy, Gary Shider and Bernie Worrell along
+with Clinton Sr. All of the other tracks share composition credit with
+outside writers. With Bootsy's and Shider's names on "Uncle Jam", it's no
+wonder that the most interesting bass and guitar lines on the album are
+found on it. "Field Maneuvers" is an instrumental which provides the only
+hint of old style wild guitar, but even here the soul-o's are confined to
+a sound bordering on seventies AOR. "Holly Wants to Go to California" has
+piano accompanied crooning which doesn't work, and "Foot Soldiers" doesn't
+really end the record on a high note. It's a mostly instrumental military
+style marching song which tries to maintain the theme of recruitment into
+Uncle Jam's army. Pedro Bell's cover art even gets relegated to the inside
+of the gatefold, thus the cover isn't his for the only time since America
+Eats It's Young.
+
+
+THE ELECTRIC SPANKING OF WAR BABIES
+1980 - Warner Brothers 3BSK-482
+[], []
+
+The Electric Spanking of War Babies / Electro-Cuties / Funk Get's Stronger
+(Part I) / Brettino's Bounce / Funk Gets Stronger (Killer Millimeter Longer
+Version) / She Loves You / Shockwaves / Oh, I / Icka Prick
+
+The last LP under the Funkadelic label (although a 12" came out in 1991
+carrying it) attempts to move away from disco, and to produce a sound that
+merges both the rhythmic and the rockin' paths followed previously. In
+entering into the eighties they came up with a good overall sound, but the
+songs are kind of nondescript in areas and can tend to linger too long. The
+lead off is a decent enough, quirky, new-wavish dance floor track complete
+with that techno drum sound. "Electro-Cuties" is a straight funker with a
+polyrhythmic approach, while "Funk Get's Stronger" starts with a good heavy
+groove, but gets stuck in it as the track seems to carry on without much
+variation; guest vocals: Sly Stone. "Brettino's Bounce" is a short segment
+of sound effects, bongos, and jungle drums occupying time before they get
+back to "Funk Get's Stronger" in a rawer reprise which now includes horns.
+"She Loves You" is a few seconds of joke where a chorus of "We Love You,
+Yeah, Yeah, Yeah" ala The Beatles is heard. The best stuff here is tucked
+near the end in "Shockwaves", a good Funkadelic take on reggae complete with
+imitation Jamaican singing, and "Oh, I" which is the one song on
+Electric Spanking which captures that great Funkadelic energy. It moves
+along at a good tempo while a guitar lead burns away incessantly in the
+background throughout. This one flashback to the rock and roll past is the
+only place here where anything really breaks loose. "Icka Prick" begins by
+stating "We're gonna be nasty this time", and that they are in traditional
+LP closing style. It's a rude discussion concerning genitalia, over weirdo
+noises punctuated by occasional metal riffs. Overall this record is OK, but
+with six outstanding, foolproof choices, wait on adding it to your
+collection until your truly committed. Things were then beginning to
+crumble in the P-Funk universe, and after this alteration of musical course
+from Funkadelic, and a similar one from Parliament on the Trombibulation
+album, it fell apart. The eighties were spotty, with several uneven George
+Clinton albums, before rap sampling encouraged the crew to get back together
+regularly as the P-Funk All-stars in the late eighties and on into the
+nineties.
+
+additional Funkadelic releases:
+
+Funkadelic's Greatest Hits - Westbound 1004 (1975)
+The Best of the Early Years - Westbound 303 (1977)
+Connections And Disconnections - LAX (1981); A phony Funkadelic album made
+ by three of the original Parliaments, Fuzzy Haskins, Grady Thomas, and
+ Calvin Simon, without Clinton or the band.
+Music For Your Mother - Westbound 1111 (1993); A double LP made of recordings
+ from singles, there are thus many alternative takes and B sides.
+Live In The Rockies - a boot from a 1976 show
+
+
+The Original KISS Rate Their Own Records - Read What the World's Richest
+------------------------------------------------------------------------
+Cartoon Characters Think of Themselves
+--------------------------------------
+
+The original members of KISS rate their own records! The scale was from one
+to five, and each member only rated albums on which he performed. In an few
+instances a member would say something like "three or four", so in this case
+the response is 3/4. A response of "NA" means "not applicable", indicating
+that that person wasn't in the group for that recording. In the few cases
+where a rating wasn't given, the space is left blank. GS = Gene Simmons, PS
+= Paul Stanley, AF = Ace Frehly, and PC = Politically Correct, uh I mean
+Peter Criss (but you're no knuckle head - you knew this!) This info was
+lifted from the October 15, 1993 issue of Goldmine. RSAG = Rolling Stone
+Album Guide (1992 edition), and is given for comparison with what some
+critic thinks.
+
+ GS PS AF PC RSAG
+ -- -- -- -- ----
+
+Kiss 3 5 5 5 3
+
+Hotter Than Hell 3 3 3.5 3 2
+
+Dressed To Kill 2.5 3.5 4 2/3 3
+
+Alive! 4 5 5 5 3.5
+
+Destroyer 4.5 5 5 3
+
+Rock and Roll Over 3 5 4 4 2
+
+Love Gun 3 4.5/5 4 4 2
+
+Double Platinum 2 3 3 2
+
+Alive II 3 4.5 4 5 2
+
+SOLO ALBUMS:
+
+Gene Simmons 1 2 3 5 1
+
+Paul Stanley 2 5 5 5 1
+
+Ace Frehley 3 3 5 5 2
+
+Peter Criss 0 0 3 5 1
+
+Dynasty 2 2/3 3.5 3 2
+
+Unmasked 1 1 3.5 NA 1
+
+The Elder 0 ? 2 NA 2.5
+
+Killers 1 1/2 NA NA NA
+
+Creatures Of the Night 4.5 5 NA NA 1
+
+Lick It Up 2 4 NA NA 1
+
+Animalize 2 4 NA NA 1
+
+Asylum 2 3 NA NA 2
+
+Crazy Nights 2 3 NA NA 1
+
+Smashes Thrashes and Hits 1 5 NA NA 3.5
+
+Hot In the Shade 2 NA NA 1
+
+Revenge 4.5 5 NA NA
+
+Alive III 5 NA NA
+
+The December 1993 issue of the Tower Records freebie magazine Pulse reports
+that there's a new Kiss tribute album (not Hard To Believe) for which Gene
+Simmons is soliciting bands. It is to be called Kiss My Ass. Already
+confirmed are: Lenny Kravitz and Stevie Wonder - "Deuce" (but can they
+surpass the Redd Kross or 69 Eyes covers?), Garth Brooks - "Hard Luck
+Woman", Choad (I mean Toad) The Wet Sprocket - "Rock and Roll All Night" (I
+saw this band play their first ever show at a place called Pat's Grass Shack
+in Goleta, CA, in September or October 1986. I didn't like them then and I
+don't like them now), Nine Inch Nails - "Love Gun", Extreme - "Strutter",
+Megadeth - "Strange Ways", Anthrax - "She", Lemonheads - "Plaster Caster",
+and Galactic Cowboy - "Black Cowboy". Yet to be confirmed possibilities
+include Dinosaur Jr. (who would have to be the highlight), Naughty By
+Nature, Axl Rose, Bell Biv Devoe (who would have to produce the strangest
+cut), Soundgarden, Alice In Chains, Soul Asylum, House Of Pain, and Ice
+Cube. The idea of Wonder and Kravitz teaming up is intriguing to me. Lenny
+Kravitz is a guy who has some good ideas about what constitutes real rock
+and roll but has troubles writing good songs. Stevie Wonder on the other
+hand is a master songwriter whose work can sometimes come out too wimpy.
+There are possibilities here for something good.
+
+
+REVIEWS - Zines, Books, Records, and Live Shows
+------------------------------------------------
+
+As this FUNHOUSE! is essentially a split issue with number four, the
+following review section will focus on literature, while recorded material
+will be covered next time.
+
+Beginning with some new fanzines -
+
+The long awaited third issue of ANSWER ME! has come out. This most
+ballsiest of zines continues its focus on the dark underbelly of society
+with a "Doctor Death" Jack Kevorkian interview, articles on Al Sharpton,
+Nambla, Russian serial killer Andrei Chikatilo, Mexican deformity comic
+books, 100 spectacular suicides, a rant section, and tons of other fun. 130
+pages for $5 (1st) or $4 (3rd) from Goad to Hell, 1608 N. Cahuenga Blvd.
+#666, Hollywood, CA, 90028, 213-462-8252. The incredibly dense BLACK TO
+COMM has put out its 20th issue. Like usual it's loaded with reviews,
+articles, and commentary which favor the rock and roll of The Velvet
+Underground, The Stooges, and everything which springs from them. The
+latest has 106 highly illustrated, small type filled pages. Highlights are
+interviews with Roky Erickson (13th Floor Elevators), Mick Farren (Pink
+Fairies) and Adny Shernoff (Dictators) plus pieces on the New York Dolls,
+Shadows of Knight, Lenny Kaye, Seeds, and Kim Fowley. Highly entertaining
+except for the reoccurring snotty political shots which appear throughout (we
+know that you don't like Clinton Chris, but leave the silly cheap shots to
+Rush Fathead). $7.50 (ppd) from 714 Shady Ave., Sharon, PA, 16146. Back
+issues are available. CULT MOVIES #8 maintains the regular appearance of
+this mag which usually covers horror/exploitation films from the 50's and
+60's. Among the many features here are a Ray Dennis Steckler interview, a
+Harry Novak interview (who's selling original posters from B.O.
+International films), and stories on Vampira, the Coffin Joe films of Jose
+Mojica Marins, Kenneth Anger, Stan Laurel, David Freidman on Hellavision
+from his "Roadshow Rarities" series, and a new feature, Porn Queen
+interviews - in this issue it's Jade East. By the time this FUNHOUSE! was
+completed, issue #9 of CULT MOVIES had been released. This mag continues to
+improve, and is moving past European Trash Cinema into the number two spot
+(behind Psychotronic) among sleaze film zines. This time they have a Bob
+Cresse interview, Frank Henelotter speaking about discovering his "Sexy
+Shockers from the Vaults" released by Something Weird, more Coffin Joe,
+Hollywood Martian movies, Theda Bara, and alt.cult-movies regular
+contributor David Milner with three pieces on Japanese monsters; an Ishiro
+Honda interview, an Akira Ifukube interview, and a look at Japanese
+monster fanzines. $4.95 cover price from 6201 Sunset Blvd., Suite 152,
+Hollywood, CA, 90028. Some back issues available. That great teller of
+truth Zontar the Thing From Venus has issued his latest words of wisdom in
+ZONTAR'S EJECTO-POD #4. This collage of pictures and articles intended to
+keep track of those would be purveyors of The New World Order is 30 pages of
+the truth about Pat Robertson, George Bush, Bob Tilton, Larry Buchanan,
+Rutger Hauer, Ivan Stang, and other fundamentalists. $6.00 (ppd) from Jan
+Johnson, 29 Darling St. #29, Boston, MA, 02120. Also look into other Zontar
+products such as Zontar The Mag From Venus, Zontower, and a subtitled tape
+of the original cut of Godzilla (aka Gojira, 1954). EUROPEAN TRASH CINEMA
+v.2, n.8 keeps up Craig Ledbetter's exploration of the sleaziest cinematic
+output from The Continent. Here there is a lengthy analysis of Argento's
+latest, Trauma, a Jean Rollin interview and filmography, a Brigitte Lahaie
+interview and filmography, an analysis of Claude Chabrol films, and plenty
+of reviews. $6.00 (ppd) from PO Box 5367, Kingwood, TX, 77325. FACTSHEET
+FIVE #49 has Punk Rock Beth on the cover. THE GIALLO PAGES is new from
+England. Its motto is "Exploitation All Italiana" and the debut has
+interviews with Dario Argento, Lucio Fulci, Michele Soavi, and David
+Warbeck, a profile of Edwige Fenech, and a remembrance of Marisa Mell.
+Reviews fill out the 42 pages for 2.50 pounds (cover) from On-Line
+Publishing, c/o 33 Maltby Road, Mansfield, Notts, NG18 3BN, England.
+MONSTER! INTERNATIONAL #3 is highlighted by Horacio Higuchi's huge, highly
+detailed, article on Brazilian fright film auteur Jose Mojica Marins. This
+is a timely piece in light of Something Weird Video's subtitling and release
+of some of Marins' titles, beginning with four featuring his infamous Ze Do
+Caixao ("Coffin Joe") character. Also in this extremely well produced zine
+are features on possession films, Franco's Attack of The Robots, and plenty
+of reviews of works from The Philippines, Italy, Britain, and elsewhere.
+$7.95 (ppd) for 68 dense pages with a slick specialized cover from Kronos
+Publications, MPO Box 67, Oberlin, OH, 44074-0067. Its sister publication,
+the also excellent Highball, will have its second issue published as a
+double with MONSTER! INTERNATIONAL #4. NECRONOMICON is another British zine
+to hit the scene recently that deals with horror and exploitation. It's 58
+slick pages with a multi colored cover, and largely consists of detailed
+(3-5 pages with photos) reviews of all sort of Eurosploitation. Amongst the
+contents of #2 are Blood and Black Lace, Once Upon a Time in the West,
+Cannibal Holocaust, Nekromantik 2, a Richard Stanley interview, and a
+special feature on Vampire flicks. #3 checks in with Deep Red and Inferno,
+Mask of Satan (aka Black Sunday), Requiem for a Vampire, Vampyre Lesbos,
+Texas Chainsaw Massacre 2, Django and Django Strikes Again, The Torture
+Chamber of Doctor Sadism, The Church, a Jorg Buttgereit interview and more.
+Each is three pounds from Andy Black at 15 Jubilee Road, Newton Abbot,
+Devon, TQ12 1LB, England. With PSYCHOTRONIC VIDEO #16 the mag is now up to
+80 pages and a $4.00 cover price (plus $1.50 postage by mail). All the
+usual great features such as the extensive letters pages, >>many<< reviews
+of videos, music, zines, and books, and the obits, are joined this time by
+an interview with Michael "Pluto" Berryman, a Curtis Harrington interview, a
+Bob Clark interview, and a Jeff Morrow interview. PSYCHOTRONIC is still the
+king! Write them at 3309 Rt. 97, Narrowsburg, NY, 12764-6126,
+fax:914-252-3905. Most all back issues are still available. TRASH
+COMPACTOR v.2, #6 is their blaxploitation issue. It's also got a John
+Ashley interview and some reviews. $3.75 plus $1.00 postage for 42 pages
+from 253 College St. Suite #108, Toronto, Canada, M5T 1R5, but beware as I
+tried to order a back issue and couldn't get them to cough it up. Any
+Misfits fans out there? Well if you are you >>need<< UGLY THINGS #12 as it
+has the best article ever written about the monster punks. A long interview
+with Jerry Only along with many photos and other items from his personal
+collection help to tell their story from beginning to end. The zine covers
+"60's/ 70's/80's punks", and so this issue also has The Downliners Sect,
+Pretty Things, Los Cheyenes, The Barrier, Dave Wendels, and some reviews.
+Lots of good reading over the 64 pages for $6.00 (ppd) from 405 W.
+Washington St. #237, San Diego, CA, 92103.
+
+
+books -
+
+Apocalypse Culture: Expanded and Revised ed. by Adam Parfrey; Fereal House,
+1987,1990, $12.95 (softcover), 362pp, ISBN: 0-922915-05-9
+
+This is a perverse collection of essays from the nattering nabobs of
+negativism, and I don't mean the popular press. It is a much larger version
+of editor Parfrey's 1987 compendium, with expanded versions of items from
+the original book, as well as some deletions. It also contains a good deal
+of new material. The articles range from crackpot theories to intense
+journalism documenting the ugly underbelly of society - but who is to say
+which are which. The various pieces which make up Apocalypse Culture look
+at the fringe elements which are theoretically serving to undermine, and
+contribute to the eventual fall of, the popular order. They explore people
+and ideas which creep through the crevices of our world and go undocumented
+or unnoticed by the wider populace. The book is divided into two sections,
+"Apocalypse" Theologies" and "The Invisible War". The former surveys the
+philosophies and theologies of some death leaning movements, while the
+latter documents some actual fallout from these movements. There is a sort
+of cause and effect structure between the first and second parts of the
+compilation. Some of the pieces are interesting, some are disgusting, and
+all are way out of the mainstream. Among the philosophies investigated are
+those of The Abraxas Foundation, G.G. Allin (RIP), The Red Brigades, Mel
+Lyman, a necrophile, and The Process Church of the Final Judgment (which I
+found particularly interesting). Exposes cover The Christian Right's
+adopting Zionism as a means to Armageddon and The Second Coming, a history
+of the theory of eugenics and those who espoused it, and beliefs concerning
+secret conspiracies to commit genocide against Black Americans. The various
+authors approach their work from differing angles; some are advocates, some
+are critics, and some just deliver the facts objectively. A few articles
+are simply reprints of original musings by their subjects, such as those of
+Anton La Vey and Elijah Muhummad. Not recommended for the easily obsessed
+or depressed.
+
+
+Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento by Maitland
+MacDonagh; Sun Tavern Fields (UK), 1991, 9.95 pounds (softcover), 293pp,
+ISBN: 0-9517012-4-X
+
+The most analytical and detailed look at the cinema of Dario Argento yet.
+There has been much praise for Argento's heavily crafted thrillers in the
+pages of horror mags and fanzines from purely the perspective of them as
+fright films, but this book and Douglas E. Winter's "Opera of Violence: The
+Films of Dario Argento" chapter in Cut!: Horror Writers on Horror Film
+(1992, Berkley) are the only works in English that I've come across which
+discuss the depth of, and careful detail applied to, Argento's productions.
+(At least until FUNHOUSE! #4 that is!) To look at Argento's films as just
+well made slasher or horror films is a mistake, as he carefully constructs
+each scene to an extent that few thriller directors do. The author explores
+subtexts utilized in the movies which play on the viewer's inherent
+discomforts, and preconceived notions, in realms of the human psyche, such
+as the nightmare experience and sex and gender confusion. Author Maitland
+MacDonagh developed this book out of her masters thesis written at Columbia
+University. Her writing analyzes Argento's creation of multi layered films
+which utilize camera movements, color, sound, and especially editing through
+the juxtaposition of scenes and images, to frighten on levels beyond
+ephemeral shock. Broken Mirrors is more dense in its prose than is common
+in books discussing genre filmmakers. It explores the underlying meanings
+of on screen images in some detail, and thus it often slips into filmic
+language. The depth of her study is justified by the depth of Argento's
+work however. This book is recommend more for hardcore Argentophiles;
+novices are encouraged to view the films (maybe for a second time) prior to
+digging in, so that they're not lost in trying to recall the often times
+twisted story lines while exploring the subtexts. Broken Mirrors is also
+valuable for its extensive filmography and bibliography, for the author's
+discussion of influences on the director's style by such predecessors as
+Alfred Hitchcock and Mario Bava, and for the inclusion of information on
+Argento as producer to such disciples as Luigi Cozzi, Michele Soavi, and
+Lamberto Bava. An interview by the author with her subject is appended as
+well.
+
+
+>From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
+by Clinton Heylin; Penguin, 1993, $14.00 (softcover), 384pp, ISBN:
+0-14-017970-4
+
+England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond by Jon
+Savage; St. Martin's Press, 1992, $16.95 (softcover), 602pp, ISBN:
+0-312-08774-8
+
+It's great that these two histories were published so close together, as
+there is much to be said for reading them back to back. From The Velvets To
+The Voidoids chronicles the formation of the US punk scene, making (the
+correct in my mind) argument that the roots of punk rock are distinctly
+American, and that they follow a rather linear progression which runs along
+the lines of Velvet Underground - MC5 - Stooges - Modern Lovers - New York
+Dolls - Dictators, and then branches into the subsequent New York and
+Cleveland scenes encompassing such groups as The Ramones, Pere Ubu, The Dead
+Boys, The Heartbreakers, Rocket from the Tombs, The Electric Eels, and The
+Voidoids. Such non-punk but related bands as Blondie, Talking Heads, and
+Television are also given plenty of attention. The book is well written, as
+it lays out its theory as to the American origins of punk rock and the linear
+progression of the style in this country in the beginning, and then attempts
+to support the theory by tracing the histories, and describing the music, of
+the bands mentioned above. It's interesting throughout, and some very
+worthwhile information is provided for anyone into in any of these bands, as
+well as for anyone who wishes to get a sense of the nature of the
+development of the subunderground and what linkages occurred between the
+groups. The best elements are the detailed accounts of the rise and fall of
+both The New York Dolls and Television, and the attention paid to the
+Cleveland seventies scene which gave rise to Pere Ubu and The Dead Boys.
+The latter has only been very sparsely covered in the past. The book's draw
+backs lie in the author's allowing too many of his personal biases to slip
+into the story. He has a definite preference for the more "arty" creators
+of the music over the balls out rockers, and thus heaps extra praise on
+Television, Pere Ubu, and Talking Heads, while sometimes taking a derisive
+tone with the hard rock party music of The Dictators and The Dead Boys.
+It's well worth reading for both fans and the unfamiliar alike.
+
+The main difference between the English and American punk scenes of the
+seventies was that in the UK punk rock was much more of a social phenomena,
+while in America the driving force was almost entirely musical. Due to the
+nature of the British music scene, their music press, and the social
+conditions of the time, punk quickly developed into a widely known and
+popular segment of the culture, which brought about radio air play and
+large record sales. America's reactionary entertainment moguls however
+wrote punk off as worthless from the start. With almost all of the
+mainstream music and news press being negative, and with a complete
+commercial radio blackout excluding a few select exceptions, punk was always
+something which was considered disgusting and useless. England's Dreaming
+is primarily a Sex Pistols biography, but in the context of their story, the
+culture which surrounded them at the time and the careers of contemporaries
+such as The Clash, The Buzzcocks, and The Damned are given attention. Author
+Jon Savage writes from the perspective of someone who was there, and in a
+slightly excessive move attempts to prove his first hand credentials by
+reprinting entries he made into his own journal. Despite this, the birth of
+English punk is very well described and the Sex Pistol's story in particular
+is covered in great detail, from the youth of Malcom McLaren to their
+disintegration at Winterland. If I have a complaint with this book it's
+with the rather generous credit the author gives to The Sex Pistols as THE
+creators and greatest practitioners of punk. It is certainly true that the
+notoriety of English punk and its explosion in popularity there can be
+traced with the rise of The Pistols. Other groups, especially The Clash
+and The Buzzcocks who created amazingly great music, definitely rode on
+their coattails to fame. But Savage's rejection of punk rock music as an
+American creation is specious. He seems to put forth the notion that it was
+English in general, and Sex Pistolian in particular, in origin. This goes
+against accounts in the book as to the major influence on McLaren of The New
+York Dolls, who he managed for a short stint when their demise was nearly
+complete. In fact Steve Jones' Les Paul guitar was the one which Sylvain
+Sylvain played in The Dolls, procured for him by McLaren. The fact that The
+Sex Pistols chose songs by The Stooges ("No Fun") and The Modern Lovers
+("Roadrunner") to cover isn't even given a mention. A slightly lesser
+complaint is the author's dismissal of the music of The Damned, but that's
+my own personal bias. Reading both of these books consecutively (I
+recommend Velvets first) will provide a better history of pre Black Flag/
+Dead Kennedies punk rock than can be had anywhere else. Each is excellently
+researched and explores the evolution and roots of the style, as well as
+telling the stories of the bands. Both also have the added value of
+carrying useful discographies, with critical evaluations and coverage of
+some of the better bootleg material.
+
+
+The New Poverty Row: Independent Filmmakers as Distributors by Fred Olen
+Ray; McFarland, 1991, $27.95 (hardcover, library bound), 240pp, ISBN:
+0-89950-628-3
+
+Fred Olen Ray is himself working today as one the exceedingly rare people
+whom his book addresses, a completely independent filmmaker. Ray is an
+historian of exploitation cinema, in addition to being a producer/director in
+that sordid area, and he applies his knowledge to chronicling the careers of
+some of his predecessors, as well as himself. Like most McFarland books,
+this was written as a reference work as much as a story, and it is packed
+with filmographies for a select group of entrepreneurs and their companies
+from the past 35 or so years. The personalities discussed are those who
+served as individual creative forces, and had a strong influence themselves
+in guiding the direction of their companies. Chapters of the book look at
+Jerry Warren and Associated Distribution Productions, Roger Corman and
+Filmgroup, Kane W. Lynn and Hemisphere Pictures, David L. Hewitt and
+American General Pictures, Sam Sherman and Independent-International
+Pictures, Lawrence H. Woolner and Dimension Pictures, and Fred Olen Ray and
+American Independent Productions. The real value for me in the book is in
+having a source for the complete output, and descriptions of that output,
+from these producers of some of the more interesting psychotronic material
+from the great era when American drive in cinema was at its peak.
+Interviews and anecdotes do provide for fun reading as well, particularly
+with regards to how some of the films were managed to be made. Highlights
+as far as my tastes are concerned are the details behind Hemisphere's gore
+and softcore productions of the sixties and seventies, which were mostly
+made in The Philippines, and which include the classic Blood Series (THE
+BLOOD DRINKERS [1966], BRIDES OF BLOOD [1968], BLOOD FIEND [1968], MAD
+DOCTOR OF BLOOD ISLAND [1969], BLOOD CREATURE [1969], BLOOD DEMON [1970],
+BEAST OF BLOOD [1970] and BRAIN OF BLOOD [1971]), and Independent-
+Internationals work, especially with legendary badfilm director Al Adamson
+(SATAN'S SADISTS [1969], HORROR OF THE BLOOD MONSTERS [1970], HELL'S BLOODY
+DEVILS [1970], BLOOD OF GHASTLY HORROR [1971], FIVE BLOODY GRAVES [1971],
+DRACULA VS. FRANKENSTEIN [1972], and ANGELS WILD WOMEN [1972]).
+
+
+Private Parts by Howard Stern; Simon and Schuster, 1993, $23.00 (hardcover),
+447pp, ISBN:0-671-88016-0
+
+If you've listened to Stern then you fall into one of two categories,
+someone who likes him or someone who likes him and won't admit it. Stern is
+a funny guy, but his greatest appeal is his shameless honesty; he's not
+afraid to say exactly what he thinks about someone or something. That may
+seem to be a recipe for obnoxiousness, and to some extent it is, but it
+works with Stern as he applies his honesty equally to himself. People who
+accuse him of the various -isms need to stop and realize that he's no
+different than anybody else, especially themselves, he just admits his
+opinions, his prejudices, and his shortcomings freely for all to hear. In
+Private Parts what you get is an unexpurgated version of the radio and TV
+shows. With a semi-biographical format, each individual chapter is devoted
+to a different aspect of Howard's career, past or present. Fellow
+employees, former bosses, competing radio personalities, and especially
+select celebrities who have crossed paths with Howard are freely skewered.
+Chevy Chase, whose talk show bomb was predicted in the text to fail quickly
+and miserably before it even went an the air, Roseanne and Tom (Yoko)
+Arnold, Arsenio (aka Asskissio) Hall, and Kathy Lee Gifford are amongst the
+biggest recipients. Who could defend that deserving group of pompous
+characters?. While Howard is always a complete cynic, the book is far from
+all negative. He's got plenty of praise for those entertainers whom he
+likes. There are also a number of not only funny but interesting stories,
+such as events in Howard's awkward youth in a black neighborhood on Long
+Island, the college years, early radio at Boston University, in Hartford,
+Detroit, and Washington DC, and at NBC New York from which he was fired, and
+particularly regarding the FCC vendetta against him. The book is heavily
+illustrated, and the photos are almost as entertaining as the text. See just
+how much of cheeseball Howard was with a shorter permed hairdo and huge
+mustache in the mid-eighties. Long time fans will know a lot of the stories
+already but will enjoy the more detailed versions, while those outside of
+any of the radio markets will see what it is that their local governments
+and the FCC feel that they need to be protected from. There are three
+chapters on lesbians.
+
+
+Ramones: An American Band by Jim Bessman (in association with the Ramones);
+St. Martin's Press, 1993, $14.95 (softcover), 202pp, ISBN: 0-312-09369-1
+
+The Ramones stand as one of the greatest all time rock and roll bands, and
+their longevity is a tribute to their staying power with their fans. With a
+dedicated following which some might try to label "cult", it is surprising
+that it took this long for someone to publish a book on them. We seem to
+get three to four new Sex Pistols volumes annually, and they were a lesser
+band whose story covers about two years time. It seems that all those
+Rolling Stone styled rock critics who rejected the Pistols for the first ten
+years following the release of "Anarchy in the UK" are now trying to show
+their versatility of tastes by praising the group, glossing over the fact
+that they were rejected as snotty, atonal noisemakers not on a par with true
+"artists" such as Bob Segar, The Eagles, or Jackson Browne when they were
+happening. This Sex Pistol revisionism by the old boy network seems to have
+begun with Rolling Stoned's hypocritical "best of" list, published upon
+their twentieth anniversary in 1987. Some of these same critics are also
+now trying to give The Ramones their due, but most seem to feel that jumping
+onto the Sex Pistols bandwagon is enough to prove that they can relate to
+punk rock. John Savage in England's Dreaming finally told the Pistol's
+story in a coherent manner, with a critical evaluation and description of
+them in the context of the social scene from which they emerged, rendering
+unnecessary all of the knock off fan mag styled publication which preceded
+it. Unfortunately, Ramones: An American Band falls more into the latter
+category than the former. Author Jim Bessman is too enamored with the
+group, and too friendly with them, to create something which doesn't come
+across as cheerleading. As a fan rather than a writer, his prose comes off
+as simplistic and amateurish to boot. A great deal of the text is spent
+going over how innovative and important The Ramones are in the greater
+context of rock music, and how they were unfairly rejected by an
+establishment who couldn't see the raw pop energy of such radio ready tunes
+as "Sheena is a Punk Rocker" or "Rockaway Beach" (sentiments that I agree
+with). However the editorializing does get repetitive. The book is far
+from without value however, as the author's closeness to the group allowed
+for the acquisition of many interesting interviews and photos, and the
+Ramones history as chronicled here provides for some entertaining reading.
+There are not many post CBGB's era accounts of the band's activities
+available. Segments which I particularly enjoyed tell of the recording
+sessions with Phil Spector for End of the Century, and the comings and
+goings of Dee Dee, Marky, Richie, and CJ Ramone. There is also an appendix
+listing every show that the headbangers ever played, which was a fun device
+for recalling some of the blasts I've had at their gigs. My most memorable
+experience was with Black Flag and the Minutemen at the Hollywood Palladium
+in November 1984, in which a full scale police riot followed. The whole
+world should be familiar with LAPD tactics these days so no more needs to
+be said. The unobjective nature of the writing and the lack of digging any
+deeper into The Ramones or American punk scenes render this one valuable for
+fans only.
+
+
+Television Horror Movie Hosts: 68 Vampires, Mad Scientists and Other
+Denizens of the Late-Night Airwaves Examined and Interviewed by Elena M.
+Watson; McFarland, 1991, $29.95 (hardcover, library bound), 256pp, ISBN:
+0-89950-570-8
+
+This is another McFarland publication, and again it's designed to be
+primarily useful as a reference. Thus it's a book that you probably won't
+read from front to back at one time, but it is invaluable if you need the
+scoop on something specific contained within. The goofy characters who
+popped up on local television stations around the country from the fifties
+on into the eighties are an artifact of the days before infomercials and
+made for TV movies replaced the great and not so great films of the past on
+the airwaves. Just about every metropolitan area had at least one crazy who
+would dress up as a vampire, ghoul, or mad scientist and hang out in a
+haunted house, cave, or laboratory, while engaging in wacky stunts during
+the breaks in showings of monster movies shown on TV. The author has
+gathered up information on the careers of most every movie host who appeared
+in a city of at least moderate size throughout the US. After an
+introduction which sums up the origins of the phenomena in Los Angeles'
+Vampira and the Universal packaging for TV of their classic horror films
+under the Shock! label, the book dives into chapters covering each host.
+How the character was developed, his or her gimmicks, stunts, and
+personality, the station that he or she appeared on, and their years on the
+air are given in each case. Many chapters contain interviews with their
+subjects as well, and most have photos. A ghoulography lists film and
+record appearances when applicable. The creatures included range from older
+heavyweights like Zacherley in Philadelphia and New York, Ghoulardi in
+Cleveland, and Morgus the Magnificent in New Orleans, to the more obscure
+likes of Sir Cecil Creape in Nashville and Dr. Paul Bearer in St.
+Petersburg, to today's nationally known figures Elvira and Grandpa Al Lewis.
+68 fiends are covered in total, and if you're is interested in any or all of
+them there aren't many other information sources to turn to. If anyone
+expresses an interest I could list them all by city in a future issue of
+FUNHOUSE!
+
+EOF
+
+
+
+
+
+
+
+
+
+
+
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+
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+FUNHOUSE!
+
+The cyberzine of degenerate pop culture
+
+
+vol. 1 - no. 4; April 24, 1994
+Released on Iggy Pop's 47th birthday
+editor: Jeff Dove (jeffdove@well.sf.ca.us)
+
+
+
+
+FUNHOUSE! is dedicated to whatever happens to be on my mind at the time that
+I'm writing. The focus will tend to be on those aspects of our fun filled
+world that aren't given the attention of the bland traditional media, or
+which have been woefully misinterpreted or misdiagnosed by the same.
+FUNHOUSE! is basically a happy place, and thus the only real criteria I will
+try to meet is to refrain from rants, personal attacks, and flames - and
+thus FUNHOUSE! is an apolitical place. Offbeat films, music, literature,
+and experiences are largely covered, with the one stipulation being that
+articles are attempted to be detailed and well documented, although this is
+no guarantee of completeness or correctness, so that the interested reader
+may further pursue something which may spark her interest. Correspondence
+and contributions are thus encouraged, and any letters will by printed in
+future issues. Please send a short message to the above address, and
+arrangements will be made for the submission of larger items. The only
+other item is that FUNHOUSE! is Free-Free-Freeware! PLEASE copy and
+distribute as you wish; however please do not alter any text. I will be
+happy to try to clarify anything contained herein, and to provide additional
+information if I can, so don't hesitate to contact me.
+
+
+Table of Contents:
+
+* Letters, Commentary, and Other Stuff You'll Probably Skip Over
+* Three Italian Masters: Mario Bava, Sergio Leone, and Dario Argento
+ Defy Hollywood Conventions. The Critics Balk! Part II-A - Argento
+* Jeff Frentzen's All-Night Video Drive-In number one
+* Mutant Rocker Profile: Red Cross/Redd Kross
+
+
+Letters, Commentary, and Other Stuff...
+---------------------------------------
+
+New York readers: Howard Stern for governor!
+
+I don't have a lot to say up front this time, which is good because this
+issue is packed without too much excess babbling. FUNHOUSE! introduces a
+new feature with this issue. Jeff Frentzen's column "All-Night Video
+Drive-In" debuts with its first edition of video tips from the outer reaches
+of sleazedom. Check it out so you know which obscurity to grab off of the
+horror shelf at Vids-R-Us on your next trip. Jeff was also a great help in
+contributing to the editing of this issue. Our Italian maestro feature
+continues with Part II - Argento. Only it's really only part II-A this time
+as the thing is such a monster that it's spread over two issues. Below, the
+films The Bird With the Crystal Plumage through Suspiria are discussed along
+with a complete filmography. FUNHOUSE! #5 will continue with Inferno
+through Trauma, will catalog the various video releases of Argento's films
+(and what is missing from them!), and will have a soundtrack discography.
+This issue is rounded out with a look at the kings of trash/glam/pop/punk,
+the former Red Cross and current Redd Kross. Included is an interview
+ripped off from a 1982 issue of Flipside which shows the MacDonald bros
+attitude in its early stages of development, and an attempt at a (almost
+certainly incomplete) discography. As there is a lot of material either in
+the FUNHOUSE! can or in various stages of completion, you can count on the
+following topics popping up sometime in the future in these electronic
+pages: Argento part B, Sergio Leone, Davie Allan and the Arrows, Dr. Hunter
+S. Thompson, instro rock rundown, EC comics, sixties garage punk's greatest
+hits, and the FUNHOUSE! Top 100 albums of all time. And remember, if you're
+a fan of the good not-so-clean fun found in FUNHOUSE!, make Blockbuster
+Video your last resort, as once their takeover is complete they'll be making
+it a lot harder for you to track down the movies we hope to inspire you to
+see.
+
+Where did you get your copy of Metal Machine Music? Mine was had for $2.49
+from Peer Records in Cypress, CA sometime in 1980.
+
+FUNHOUSE! geetare player hall o' fame:
+Link Wray
+Mick Jones (Clash)
+Bob Mould (Husker Du, Sugar)
+J. Mascis (Dinosaur, Dinosaur Jr.)
+Johnny Thunders (New York Dolls, Heartbreakers) - RIP
+Davie Allan (Arrows)
+
+Back issues of FUNHOUSE! are available by anonymous ftp from
+etext.archive.umich.edu in the directory pub/Zines/Funhouse. Also check
+your favorite gopher for the CICnet EJournals collection. I usually have a
+few issues ready to be e-mailed so inquire from jeffdove@well.sf.us.ca if
+that's your preferred method of infotext acquisition. These will probably
+be the most recent two and an earlier favorite - most likely number one with
+its always popular Russ Meyer run down. The current issue can naturally be
+had from that address as well, and you can get also yourself on the
+subscription list for future issues.
+
+**********************************
+
+You caught my interest with your review of "Drive in Reviews" on Comedy
+Central. The "knuckle-head" who has more hair is the one and only, Buzz
+Killman, well known "local Chicago" blues harmonist and afternoon "drive
+home" sidekick from the looney "Jonathon Brandmier Show" on WLUP FM radio in
+Chicago. I like the presentation of your entertaining, straightforward, no
+bullshit cyberzine. If you need a "source" for what's happening in the
+media, news, records, sports, film, etc. in Chicago let me know - I'd love
+to contribute! By the way last week we had a real humdinger of a bout! I'm
+sure you caught wind of it on the news - Donny vs. Danny ... Danny Bonaduce
+defeated Donny Osmond in a three round decision...The rematch is in the
+works!
+
+Later,
+
+Brian Mansfield
+suree@mcs.com
+
+**********************************
+
+Dear Jeff,
+
+Thanks for FUNHOUSE #3. The Bava article is excellent, and you are right on
+about Bava-Leone-Argento representing a radical break with cinematic norms,
+both in terms of pure style and in the way style transforms the narrative.
+Bava seems to me by far the most fascinating of the three directors (even
+though none of his films, perhaps, is superior to ONCE UPON A TIME IN THE
+WEST) in exploring the way stylistic procedures affect the viewer's
+experience of the film. I choose to address a marginal point. In
+discussing Bava's work on THE BATTLE/THE GIANT OF MARATHON, you imply that
+"problems" presumably attributable to Jacques Tourneur's direction led to
+Bava's being called on to "save" the film. You might be interested in
+Tourneur's version of the story. In interviews he gave to CAHIERS DU CINEMA
+and PRESENCE DU CINEMA, Tourneur said that he had an 8 (or 10) week contract
+for the film. At the end of this period, because of the slowness of the
+Italian crew, all the dialogue scenes had been finished, but the underwater
+scenes and the race remained to be shot. Rather than pay Tourneur's
+expensive day rate, the producers chose to have a second unit finish the
+film. Producer Bruno Vailati directed the race sequence, and he and Bava
+directed the underwater scenes. Tourneur seems to have been ambivalent
+about the whole affair - in one interview he says the results were better
+than he could have done himself, but in the other he says "Why should they
+have kept me to shoot people fighting underwater or a guy running? Anybody
+can shoot that." Incidentally, Tourneur praised Bava's photography and
+considered his miniatures the best he'd ever seen. Have you heard other
+accounts of the production of this film? (I know, I know - maybe it isn't
+one of the most pressing issues confronting us, but considering all the
+woodlands sacrificed to set straight who directed what part of GONE WITH THE
+WIND, maybe the GIANT OF MARATHON controversy is worth a kilobyte or two.)
+
+Best wishes,
+
+Chris Fujiwara
+fujiwara@world.std.com
+
+**********************************
+
+Hi Jeff,
+
+Thanks for Funhouse #3's Bava article. As I haven't seen this mentioned
+anywhere before, maybe you'd like to know that the arrangement of the three
+stories in the German version of "Black Sabbath" is different from both the
+Italian/French and the AIP versions! In the German version the "Wurdalak"
+comes first, the "Drop of Water" second and the "Telephone" last. I think
+the underlying concept was to put the segments in chronological order: "The
+Wurdalak" apparently takes place in the 18th or 19th century, "The Drop of
+Water" in the 1920s or 30s, and "The Telephone" in the 60s. Apart from the
+order there seems to be no difference between the German and the French
+versions (e.g. it has Nicolosi's score, Karloff's opening narration, the
+uncut "gore" in "Wurdalak", the uncensored dialogue in "Telephone", the
+cats' meows in "Drop of Water" are left intact - but there's no Karloff on
+horseback at the end as in the Italian original).
+
+Dave,
+
+Paul David Doherty
+h0142kdd@rz.hu-berlin.de
+
+**********************************
+
+Dear Mr. Dove:
+
+>Would someone PLEASE release Jonathan "Silence of the Lambs" Demme's first
+>movie, CAGED HEAT, on video? This film which also stars Erica "Vixen"
+>Gavin was produced by New World.
+
+It *is* available... from Sultan Entertainment and New World Entertainment.
+
+The Stainless Steel Moviegoer
+masc1745@ucssun1.sdsu.edu
+
+**********************************
+
+Hi there Jeff!
+
+I finally had the time to watch Baron Blood, the new uncut release. It runs
+about 93,30 mins on PAL format, so add 4% to get the NTSC running time.
+This version includes the original soundtrack and is Bava's original cut.
+Picture quality was excellent! The distributor (Redemption) is going to
+release some more Bava titles, so far they have released Mask of Satan, Five
+Dolls for an August Moon (longer than previous releases!) and something
+else. Next title will be Blood and Black Lace and then they're going to
+release at least two more titles. Rumors say that the other will be...
+YES! The Girl Who Knew Too Much! More details will follow, as soon as I
+hear something, I'm also looking for rare Bava titles from Greece, as it
+should be easy to find 'em.
+
+Jan Borgelin,
+jborge@sara.cc.utu.fi
+
+**********************************
+
+Jeff,
+
+Some comments about your filmmography on Bava:
+
+>While THE GIRL WHO KNEW TOO MUCH laid the groundwork for the giallo, the
+>film which most expertly introduces the elements which would come to define
+>that style is SEI DONNE PER L'ASSASSINO (aka BLOOD AND BLACK LACE, 1964).
+>Bava had previously explored the place of women in a patriarchal society in
+>BLACK SUNDAY, THE GIRL WHO KNEW TOO MUCH, and THE WHIP AND THE BODY, but the
+>idea of women being the objects of both a voyeuristic fetishism and the
+>victims of punishment for this role by men is most completely developed in
+>this effort."
+
+I guess you mean this in a narrow context of Bava's film. I may be hard put
+to find something as explicit and Blood and Black Lace before 1964, but
+women as "voyeuristic fetishism and victims of punishment", surely that was
+not new to film? I mean there must be thousands of examples in film world
+wide before 1964. The only thing I really note that is different is Bava's
+approach is more like the latter day Grand Guignol theater...For instance
+one remembers Roger Vadim's erotic violence with Brigitte Bardot in EN CASE
+DE MALHEUR (1957).
+
+[Indeed the comment did refer to Bava's work as he had been building to
+BABL's complete devotion to the theme in The Whip and the Body and Black
+Sabbath. -JD]
+
+>He creates a series of highly developed and visually complex "set pieces"
+>where the principal function is not what will happen, but how it will be
+>carried out. Bava saw the story as written as a mundane crime drama, and
+>thus decided to use that story to convey something different altogether. If
+>the script as filmed were read it would still seem a bit trite, but in the
+>actual completed work the crimes are elevated to a level as to be the
+>elements around which it revolves. This is a film in which the images on
+>the screen far more convey the experience to the viewer than does the
+>narrative. The Italian title literally translates to "Six Women for the
+>Murderer", and accordingly the viewer is left with no question as to what
+>will happen through the first 80% of the movie. The story takes place in a
+>fashion salon where one of the models, who is involved in some scandalous
+>activities involving drugs and sex, is murdered. In the wake of the killing
+>it is discovered that she has kept a diary which may implicate some other
+>employees in various illicit activities. Their scrambling for control of
+>the diary allows for a background upon which one woman after another is
+>eliminated. Models are chosen as victims as they are beautiful and their
+>role in society is to be objects of adoration. While none of the victims is
+>herself involved in any killing, each is depicted as being tainted in some
+>way prior to meeting up with the villain. The story around the murderous
+>set pieces is intentionally bland, filmed in a straightforward fashion and
+>being carried by a rather uneventful police investigation.
+
+Yes but then this could be the framing of almost any European film that fits
+the B-film style of classification. Outside of top film artists, thrillers
+and horror films from Italy, France, and Spain in particular have a kind of
+daffy detachment. A kind of indifference to the narrative and composition,
+but still with things carried along with a degree of competence. (Here in
+the US there seems to be a dichotomy, either the B film maker shows a degree
+of invention and skill or they seem total incompetents!) Of course, as you
+say those parts of the story that excite Bava's imagination are more
+creatively done.
+
+>When the set pieces begin however things shift into stylistic overload. An
+>opening sequence in which the credits role against a background of a skull
+>and flashing colored lights sets the style. When a murder scene takes place
+>the soundtrack heats up, the sets become complexly and colorfully lit, and
+>the settings used are intricately designed. The camera becomes fluid as it
+>lingers and then tracks and pans through the decor. Color schemes are
+>complex and the extended scenes are constructed to not only highlight the
+>beauty of the women, who are fully made up and in their best model garb, but
+>also to develop a sense of cinematic beauty. This is of course directly in
+>contrast with the fact that a violent and horrible murder is being
+>approached. There is no question in the audience's mind as to what will be
+>the end result of the scene being viewed, yet they are still asked to be
+>aesthetically pleased as it unfolds. After introducing this style Bava even
+>indulges in a bit of subterfuge with his viewers. One model enters into her
+>home, which has not yet been shown. As a dark coated figure is seen hunched
+>over the fireplace with its back to us the music becomes animated and
+>amplified, the room has a darkly lit look, and the camera zooms in. We are
+>set for violence, when the figure is revealed to be the elderly woman
+>housekeeper. After the false alarm the more conventional, brighter lit,
+>style returns. While void of any nudity or of much blood, the killings are
+>still carried out in gruesome and torturous fashion, and the victims are
+>often posed provocatively, and reveal skin and undergarments while the act
+>is being executed.
+
+Now what I think is the most extraordinary aspect of the film. Bava must
+have gone to the Grand Guignol before it closed in Paris in 1965. One
+recalls that Paris theater (dating from the 18th century!) with its stage
+plays of the erotic and macabre. Alas it seems to be only remembered for
+its invention of 'gore-gore' stage effects. (In fact it is said film put an
+end to the Grand Guignol because it could do it better. One excludes the
+fact that the Grand Guignol also did 'straight' theater too, though I am not
+sure that survived into the late 50's and early 60's.) Above all by the
+50's and 60's the theater was doing plays of irony and sly retribution, and
+sometimes just arbitrary mayhem that contained always a strong element of
+erotic violence, sometimes without any gore at all. But always with
+voyeurism and a strip tease demise for the lady characters. First and
+foremost though, this was conceived of as >pure< fantasy, not to be taken
+seriously... and certainly not to be taken as being misogynistic. (I am
+sure this would totally blow the minds of the "politically correct"
+nowadays, or at least go way way over their heads.) So we see this in Blood
+and Black Lace (though I don't know if Bava was a fan of the Grand Guignol
+or not.) The first murder and last murder are the best examples. The lady
+who gets strangled in the park is one the strongest examples to erotic
+violence in all of Bava's films. The murder is quite brutal but above
+all...elaborated. As a technical detail it has something I have never seen
+before or after in a film. After the woman is murdered the villain drags
+her wide eyed corpse off by her high heeled feet. Raincoat, skirt and
+>slip< ride above garter hosiery way above her panties. (It has happened in
+other genre films but the camera either cuts to a close up of the woman's
+face or just cuts away altogether.) A very interesting image of almost
+inadvertent eroticism. (I mention the slip because, in film, I sometimes
+think women never wear slips.) Its also interesting, that though she is
+wearing fairly high fashion, she seems to be wearing it as everyday wear.
+I don't think anyone exposed full fashion hosiery the way Bava did in that
+scene within a macabre setting.
+
+The only other images I can think of like this are the nosy lady reporter in
+the film PIECES who gets killed on the water mattress where there is a lot
+of slow motion raised skirt action, and the strangulation at the start of
+Cronenberg's THEY CAME FROM WITHIN. The last murder has a cute take of its
+own. The actual killing is not as elaborate, but the dark haired model is
+wearing a towel from the waist down, as if Bava was sort of mindful of
+possible censorship of this scene. But no, surprise! surprise! the
+assailant unwraps the towel from the dead lady exposing here legs and
+panties. (By the by this is the closest Bava comes to nudity in the film,
+the white bra and panties become somewhat translucent in the water.)
+[actually there is full nudity in the Twitch of the Death Nerve and Five
+Dolls for an August Moon - JD] Though there are close ups Bava always has
+mid-range shots so everything can be seen. It's strange how many times I
+have seen the same kind of scene set up by somebody like Franco, Fulci or
+someone like them, only to blunt the eroticism with a close up only.
+Another interesting anti-cliche (though it's not unusual in the European
+film) is that the women victims are NOT prostitutes or bimbos or teenagers.
+They are sophisticated mature women. How different from the tiresome lineup
+that came later in the slasher films from the US. I am not sure what
+happened later to Bava's sense for this kind of erotic violence. It of
+course occurs again in BAY OF BLOOD. One especially notes the lady with her
+white turtleneck, skirt and boots who gets strangled. (Though for that one
+I always wondered if Bava shot a more 'leg-show' version that he never
+used.) I don't think I have seen his last film, but I do remember being
+disappointed with FIVE DOLLS FOR AN AUGUST MOON and HATCHET FOR THE
+HONEYMOON, unless there exist director's cuts of these films with stronger
+eroticism. And I am not sure I have ever seen 'euro' versions of LISA AND
+THE DEVIL and BARON BLOOD so I am not sure about those. Now I like Dario
+Argento for different reasons but I must admit I don't recall him having the
+same eye for this kind of Grand Guignol striptease eroticism in his films.
+There is some, but not to the degree of elaboration that Bava used. In fact
+Bava's eye for this was unlike anyone else.
+
+Al Jackson,
+al.jackson@atomiccafe.com
+
+**********************************
+
+I liked FUNHOUSE! issues #1 and #2 a lot. Anyone who goes into that much
+depth on Harry Novak is a sick, sick puppy.
+
+So, yeah, send me #3, if you would.
+
+Yours,
+
+Jacob Anderson
+janders1@cc.swarthmore.edu
+
+**********************************
+
+To the esteemed editor (hi, Jeff),
+
+Just recently I ran into FUNHOUSE while browsing cyberspace [sic], and was I
+mightily impressed? Indeed! Especially the mutant rocker profiles in
+number 2 left me positively delirious. Such a detailed account and wealth
+of information on the Standells and the Flamin' Groovies, two bands whose
+rhythm my very own heart beats to. It is in this regard I write to you,
+revered editor, with one question, one suggestion, and some additional
+information which you might enjoy. Here 'tis:
+
+In the Standells extravaganza you referred to a selfpublished booklet,
+"Voices Green and Purple: A Comprehensive Guide to California's Amazing
+Garage and Freakbeat Bands Of the Sixties" by Beverly Patterson. This
+sounds very, very, *very* interesting, and I would like to know if you have
+some information on how to contact the author?
+
+[The book was copyrighted 1987, and the author's address is listed as such:
+Beverly Paterson, P.O. Box 6612, San Mateo, CA, 94403 - JD]
+
+In addition to your excellent information on the Flamin' Groovies, here are
+some record, tracks, and reissue facts I dug out of my Groovies collection:
+
+* Sneakers: also reissued on AIM records (Collect 1).
+
+* Supersnazz: reissued on Edsel records (ED 173).
+
+* Flamingo: reissued on Big Beat CD (CDWIK 925) with 6 extra tracks which
+are outtakes from the Teenage Head recording session: Going Out Theme
+(version 2)/Walking the Dog/Somethin' Else/My Girl Josephine/Louie
+Louie/Rockin' Pneumonia and the Boogie Woogie Flu
+
+The last three were also on Still Shaking.
+
+* Teenage Head: reissued on Big Beat CD (CDWIK 926) with 4 extra tracks:
+Shakin' All Over/That'll Be the Day/Around and Around/Going Out Theme
+
+all of which were also on Still Shaking.
+
+* Step Up: AIM records CD (AIM 1030), 1991: She's Got a Hold On Me/
+Step Up/Way Over My Head/Thanks John/Little Girl/Nineteen Eighty-Four/
+Searching/Give It Away/I'm Only What You Want Me to Be/Way Down Under/
+Land of the Few/Milkcow Blues/Can't Stay Away From You
+
+Jordan & Alexander + Jack Johnson (guitar & vocals), Paul Zahl (drums)
+and Bobby Ronco (vocals)
+
+The cover states that the songs were recorded from 1984 to 1989, mixed
+in 1989 and produced by Jordan. From your information on the Rock
+Juice record (which I have not found, alas) there seems to be a rather
+large intersection between these two. Whether or not the coinciding
+songs are actually the same recordings, I have no idea.
+
+Regarding "other releases":
+
+* '68: Eva records (12044), 1984: Cabiria/The Slide/In Between/Doin'
+My Time/Night Owl Blues/Wild About My Lovin'/Local Boy Makes Good/Sportin'
+Life/My Yada/Good Morning, Mr. Stone
+
+* Grease (EP, 1974): Let Me Rock/Dog Meat/Slow Death/Sweet Little Rock 'n
+Roller
+
+* More Grease (EP, 1974): Jumpin' Jack Flash/Blues for Phyllis
+
+* Slow Death, Live!: Lolita records (5004), 1983: Sweet Little Rock 'n
+Roller/Have You Seen My Baby/Doctor Boogie/Walking the Dog/Roadhouse/
+Slow Death/Shakin' All Over/Can't Explain/Teenage Head/Louie Louie
+
+* Supergrease: Skydog MLP (SKI 2226), 1984: Grease + More Grease
+
+* Live at the Whisky-a-gogo: Lolita (5037)
+
+* Roadhouse: Edsel (XED 183), 1985: Compilation
+
+* Rockfield Sessions: AIM (Collect 2), 1989: Married Woman/Get a Shot of
+Rhythm & Blues/Little Queenie/Slow Death/ Shake Some Action (orig. version)/
+You Tore Me Down/Tallahassee Lassie (From the very first 1972 recording
+session with Dave Edmunds.)
+
+* Sixteen Tunes: Skydog CD (62247-2): Gold Star Tapes + Grease + More Grease
++ Can't Explain/Little Queenie (from Skydog 7" FG001) + Feel a Whole Lot
+Better/Paint it Black/Shake Some Action (alternate version) (from Sire-UK
+7" 4018)
+
+* Groove In: Revenge records CD (AUF 1): Cabiria/In Between/Doin' My Time/
+Night Owl Blues/Wild About My Lovin'/ Local Boy Makes Good/Sportin' Life/
+Good Morning Mr. Stone/Carol/I'm a Man/Jam Sandwich/Heading for the Texas
+Border/Louie Louie/Slow Death/ Shake Some Action/First Plane Home (Live
+compilation with tracks from '68, '70, Slow Death Live and Live at the
+Whisky-a-gogo.)
+
+And now for the suggestion: There once was a band out there with their name
+taken from a Standells song, a band who absolutely idolized the Flamin'
+Groovies, a band who had Chris Wilson playing with them for a while in the
+mid-eighties. Of course, Jeff, you guessed it: the Barracudas. And, yes, I
+know they are back. Holy holy! If you are equally packed with information
+about the 'Cudas as you are about the Standells and the Groovies, Jeff,
+please, please, please,...
+
+Kjetil Svarstad
+kjetil.svarstad@delab.sintef.no
+
+**********************************
+
+hello, please talk to us
+nv1 in sumpan
+
+Christina Hallback
+chha@tele.su.se
+
+**********************************
+
+
+Three Italian Masters: Mario Bava, Sergio Leone, and Dario Argento
+------------------------------------------------------------------
+Defy Hollywood Conventions. The Critics Balk! Part II-A - Argento
+-------------------------------------------------------------------
+
+"Simply a director of incomparable incompetence"
+- Vincent Canby on Dario Argento, from a New York Times review of Deep Red
+
+Dario Argento's career definitely allows for his labeling as an auteur.
+With a single exception his body of work consists of horror and crime
+thriller films, and that is probably the primary reason for his complete
+rejection by the motion picture establishment (at least in America) as any
+kind of "serious" filmmaker. However, rather than just being ignored by
+those who feel that no sort of aesthetic can be achieved in an exploitation
+movie, Argento has instead been rather viciously lambasted by the critics,
+commentators, and pundits. Similar to his countrymen Sergio Leone and Mario
+Bava (see FUNHOUSE! #3), Argento's films, while not unusual to Europeans,
+are made in an unconventional style by the standards the Hollywood system
+and its sycophants. These director's perspectives aren't entirely guided by
+a strict adherence to narrative, and thus reviewers who don't recognize this
+label their works with descriptions such as "confusing, "unfocused", and
+"muddled". The "spaghetti western" is still a pejorative to most American
+reviewers, even if they have come to appreciate the work of Leone over the
+years. This largely hasn't been true for Bava or Argento.
+
+The genres which they have chosen to work in compound this criticism. Leone
+is most famous for his westerns, and Bava, who worked within a wide range of
+exploitation themes, for his horror titles. With the crime thrillers/murder
+mysteries mostly created by Argento these are all areas of film where
+conventions are well established and paradigms are usually strictly adhered
+to in any studio film. The western movie paradigm is exclusively American
+in origin, and while the crime and horror genres have plenty of precedent in
+Europe (as well as elsewhere, but these directors are Italians and so
+European influences are of primary importance), there has been established
+through the Universal/Monogram/ Republic thrillers of the thirties and
+forties, and the film noir/detective stories of the forties and fifties,
+certain expectations as to what is a correct methodology.
+
+These director's films aren't motivated completely by a need to reach a
+conclusion which will answer some question established early in the story,
+and so not every scene is constructed to further the narrative in a linear
+fashion and in the direction of that ultimate goal. Thus when sections of a
+film are created to be pleasing in their own right, separate from the
+furtherance of the story, or when they serve to add to an overall subtextual
+message, the critics respond negatively. When established routines in genre
+films are not adhered to their venom is further unleashed. The most staid
+of these conservative establishments, the Motion Picture Academy, seemed to
+be showing signs of a changing attitude when for two years running they gave
+their best picture award to American projects which are closely related
+stylistically to the films of Leone and Argento. Jonathan Demme's all
+around excellent The Silence of the Lambs (1991) has many elements in common
+with an Argento film, and while Clint Eastwood's imperfect The Unforgiven
+(1992) might actually be more of a lifetime achievement award for the
+actor/director (there's precedent for this in John Wayne's best actor award
+for True Grit [1969] and Paul Newman's for The Color of Money [1986]) it's
+encouraging that a film of its style was recognized. As far as I'm
+concerned, Eastwood's best director award is in fact an award for Leone,
+whose films not only created the style mimicked by The Unforgiven (most
+notably his Il Buono, Il Brutto, Il Cattivo [aka The Good, The Bad, and The
+Ugly, 1967] and C'era una Volta il West [aka Once Upon a Time in the West,
+1968] but made a star out of Eastwood. Those two consecutive awards were an
+enigma, however, for an organization which really only considers heavy
+handed dramas or pseudo-historical epics for their top honor. I don't
+direct the "pseudo" label to last year's Schindler's List, but there's
+plenty of evidence for its accuracy in past winners such as Amadeus, Ghandi,
+and The Last Emperor (made by Leone and Argento cohort Bernardo Bertolucci).
+Note that it took Spielberg's moving away from genre films, even if only his
+fairytale versions of them, and into comfortable territory for the Academy
+voters before they could be persuaded to honor their top moneymaker. And
+Demme, the director of not only Silence of the Lambs but also Caged Heat
+(1974) and Stop Making Sense (1984), seems to have moved into a style more
+to the establishment's liking with his latest release, Philadelphia.
+
+The subject of dubbing should also be briefly addressed. Frequently the
+films of all three men, as well as many other European directors, are
+criticized for their "bad dubbing". All of Argento's films up to Opera
+(1987), and all of Leone's westerns, were filmed silent and then post-dubbed
+in a sound studio. This was a common practice in Italian cinema. Many of
+the higher budgeted films had a mixture of American stars (Charles Bronson,
+Karl Malden, Jessica Harper) with a supporting cast of Italians and other
+Europeans. Often the actors would not be able to speak the same language
+and would deliver their lines in their native tongues. This made direct
+sound recording impractical, and as the films needed to also be made in
+English for foreign distribution, dubbing after shooting was already
+necessary. Usually the voice you hear on the soundtrack is not that of the
+actor, if his or her primary language is different from that which you are
+hearing the film in. Many times the same voice actor provided the dialog
+for a number of characters. The post-dubbing process creates a noticeably
+different look, and as it is one not familiar to Americans used to Hollywood
+product, this often is interpreted as a quality of a bad film.
+
+Dario Argento came from a filmmaking family, which was almost a necessary
+prerequisite for penetrating Italy's production system at the time he began.
+His father Salvatore Argento was a producer, and served that function on
+Dario's first four films. He was forced to intervene to save Argento's
+position as director on the first, The Bird With the Crystal Plumage.
+Argento worked as a film critic for Paese Sera, a Rome newspaper, and from
+there his break into the world of actual filmmaking came when he and
+Bertolucci co-wrote the story for Once Upon a Time in the West. A prolific
+few years followed as the writer on a number of Italian films in then
+popular genres such as western (Cimitero Senza Croci aka Cemetary Without
+Crosses, 1968), war (La Legione dei Dannati aka Legion of the Damned, 1969)
+and softcore (La Rivoluzione Sessuale aka The Love Circle, 1968). When
+given the opportunity to direct on his own, in 1970, he abandoned all of
+these styles in favor of one which drew upon his literary influences, Edgar
+Wallace, Cornell Woolrich, and especially Edgar Allan Poe, and his film
+influences, most notably Alfred Hitchcock, Fritz Lang, and Mario Bava.
+
+Brother Claudio was brought in as producer after his father stepped aside,
+and he performed those duties on the films Deep Red through Tenebrae, and
+then again on Two Evil Eyes. Claudio Argento's most well known work not
+with his brother is as the producer and co-writer of Alejandro Jodorowsky's
+Santa Sangre (1990). Argento surrounds himself with regular assistants and
+collaborators. Partner Daria Nicolodi co-wrote Suspiria and Inferno and
+appeared in Deep Red, Suspiria (very briefly), Inferno, Tenebrae, Phenomena,
+and Opera. Mario Bava's son Lamberto Bava carved out a directorial career
+of his own after assisting his father back to 1965, and then later Argento
+who produced and co-wrote his Demoni (aka Demons, 1985) and Demoni 2 (aka
+Demons 2, 1986). The first of these features Argento's daughter Fiore, who
+he utilized himself in Phenomena, while the latter stars his other daughter
+Asia, who later would appear in Argento's own Trauma. Michele Soavi is
+another assistant director who eventually stepped out on his own as a
+principle director. He created the documentary Dario Argento's World of
+Horror (1985), which provides interviews with its subject and behind the
+scenes looks at the creation of Suspiria, Tenebrae, Phenomena, and Demons,
+and has footage from most of the other titles. It is a valuable source for
+Americans for some scenes edited out of releases here. Soavi directed the
+Argento produced and co-written La Chiesa (aka The Church, 1989 - originally
+Demons 3!) and La Setta (aka The Sect, 1991) as well as other Argento
+influenced films such as The Bloody Bird (aka Stagefright, 1988). Luigi
+Cozzi served as a co-writer with Argento dating back to Four Flies on Grey
+Velvet and also did some work as an assistant director. While none of his
+own projects directly involve his mentor creatively, he did create a follow
+up documentary to World of Horror titled Dario Argento: Master of Horror
+(1990), and his 1982 film The Black Cat is an homage to his pal. What began
+as Cozzi's attempt to complete the Three Mothers Trilogy, the first two
+parts being Suspiria and Inferno, shifted to a story about a director of
+horror films preparing to make a film, starring his wife in her usual
+leading role, based on the story of the Three Mothers. A witch becomes
+angered by this and seeks revenge. It even contains dialog referring to
+Argento and Suspiria by name.
+
+Much will be said in describing Argento's style in the discussions of
+individual films that follow. There are however some common themes present
+throughout. An obsession with perception permeates, both on the part of a
+film's characters and thus by extension the audience. This relationship to
+the audience is more than indirect, as Argento strives to put them into a
+position of participating in his films. This is accomplished most obviously
+through point of view shots which allow the viewer to psychologically assume
+the role of the killer. This technique is not unfamiliar today, being
+utilized successfully in John Carpenter's Argento influenced Halloween
+(1978), which then served as the influence for many "slasher" films which
+followed. While Argento uses this technique successfully he also employs
+more intricate methods. Subtextual elements apart from the main storyline
+play on the audience's psyche to provide them with a link to the action. A
+common narrative theme has the protagonist struggling to make sense of some
+puzzling bit of information that he or she has glimpsed, and in parallel to
+that theme the viewer is introduced to all sort of clues, messages, notions,
+and ideas that he is asked to evaluate, ponder, or interpret.
+
+Not only are these films complex in plot, but they are so cinematically as
+well. They are all very carefully constructed, and each scene is very
+intricately designed. Along with Mario Bava's pioneering work on the giallo
+film in general, this is another area where the influence of his work on
+Argento is evident. The films are very stylistic in their execution, making
+great use of camera angle and movement, of art and set direction, of sound
+and score, and of editing. Bava, who was a trained painter, considered the
+look of his films to be important to their overall quality, and he treated
+the visual content of a narrative film as being central to its success.
+This attitude was adopted by Argento. His films are loaded with elaborate
+shots utilizing highly mobile cameras, which often record action from very
+extreme or improbable positions. Argento has said that he likes to present
+his audience with perspectives which couldn't be had from a person in the
+world of the film, and thus the camera will explore and emphasize elements
+of the mise en scene from areas where no one in the film could be. By
+implication a film which has been described as not being primarily motivated
+by narrative must rely on other factors.
+
+In Argento's films colors, locales, and especially the soundtrack all
+contribute to the message. All of these pieces are put together to create a
+sense of the materialization of a bad dream, and the situations which the
+characters find themselves in could be seen as a realization of their worst
+nightmares. Argento has stated that many of his inspirations come to him in
+dreams, and it is this experience that he tries to project to his audience.
+A curious aspect to his tactics is that the knife wielding, black gloved
+hands seen on camera are usually Argento's. He has said that he can best
+achieve the effect he desires from his images of violence. As the depth of
+Argento's films offer some of their most enjoyable aspects much can be said
+in analyzing them. As I decide to do so liberally in this article space
+requires that it be divided into two parts. Section A follows and covers
+work from Bird With the Crystal Plumage (1970) through Suspiria (1977).
+FUNHOUSE! #5 will pick up with part B, which will cover Inferno (1980)
+through Trauma (1992). Section A includes a complete filmography while
+section B will be accompanied by a soundtrack discography and an American
+videography, which will make an attempt to detail the extensive editing done
+to Argento's films here, and will provide information as to the various
+versions available on video. Each section is followed by the complete
+reference list.
+
+Argento was approached to direct a film in 1970, and with this opportunity
+the former writer/critic departed from the western and war genres in which
+he had been working in his previous endeavors. Instead, Argento reflected
+back on the personal influences previously mentioned: Edgar Allan Poe,
+Alfred Hitchcock, Edgar Wallace, Fritz Lang, and especially Mario Bava. The
+Italian take on the crime thriller was just starting to emerge as a major
+theme. It was then represented by such titles as Giulio Questi's La Morte
+ha Fatto L'Uovo (aka Death Laid an Egg, 1967), Antonio Margheriti's
+Nude...Si Muore (aka The Young, the Evil, and the Savage, 1967), Massimo
+Dallamano's La Morte Non ha Sesso (aka Death has No Sex, 1968), and
+especially Bava, who was in the midst of creating a trio of the murderous
+dramas in succession. These were Il Rosso Segno Della Follia (aka A Hatchet
+For the Honeymoon, 1969), Cinque Bambole Per la Luna D'Agosto (aka Five
+Dolls For an August Moon, 1970), and Ecologia del Delitto (aka Twitch of the
+Death Nerve aka Bay of Blood and numerous other retitlings, 1971). Bava had
+defined this field structurally with his La Ragazza che Sapeva Troppo (aka
+The Girl Who Knew too Much aka The Evil Eye, 1963) and stylistically with
+Sei Donne per L'Assassino (aka Blood and Black Lace, 1964). All of these
+influenced the novice director's effort, and all would eventually add to
+Argento's own distinct, manic, style upon its reaching maturity. However
+his initial effort LUUCCELLO DALLE PIUME DI CRISTALLO (aka The Bird With the
+Crystal Plumage, 1970) is his most conventional project.
+
+For The Bird with the Crystal Plumage Argento surrounded himself with film
+veterans, including father Salvatore as producer and cinematographer
+Vittorio Storaro. The story is a derivative of Frederic Brown's "The
+Screaming Mimi," which it follows closely. Bird stars Tony Musante as Sam
+Dalmas, a down on his luck American writer plodding through Rome in an
+attempt to regain some direction to his career. He has been undergoing
+extensive writer's block, and the only work he can come across is ghost
+writing an ornithological text for a biologist friend. Dalmas is
+immediately portrayed as a unlikeable guy. Upon being paid for his work on
+the bird book he gruffly rejects a copy, stating that his check is all that
+he wants. With money in hand he and his Italian girlfriend Julia (played by
+Suzy Kendall) prepare to leave for the US, but on his trip home from being
+paid he stumbles across an event that alters his plans significantly.
+Dalmas spots a struggle inside an art gallery. It's night and thus the
+black clad man and the woman grappling are clearly visible to him from
+across the street. Before he can rush over to get a closer look the man
+flees. The woman has a stab wound to her stomach, and a large ceiling to
+floor glass door blocks him from entering to help. When he pushes a button
+to open this door a similar outer door closes behind him, and thus he is
+trapped at the scene of the crime, able to be observed from both inside and
+outside of the building but not able to escape. His situation is emphasized
+by an encounter with a man on the street. When the camera in between the
+glass doors we hear Dalmas' frantic screams highly amplified on the
+soundtrack, however when the camera takes the spectator's point of view
+outside we are overcome by the quiet as Dalmas tries to communicate the need
+for the police. This is a more obvious example of a reoccurring set up in
+Argento's films.
+
+Dalmas is an interloper who becomes trapped by a situation not of his
+making, and the story which follows is just as much about the effect of this
+event on the psychological stability of his unbalanced character as it is
+about the final resolution of what he has seen. The resolutions are often
+purposefully preposterous in order to more emphasize the events up to that
+point - Argento is suggesting that the conclusion is not the most important
+part of the film. This methodology is pointed to most obviously in the
+"animal trilogy." (Argento's first three films also include The Cat O' Nine
+Tails and Four Flies on Grey Velvet. These relate to animals mostly in
+title only.) In each of these films the crime is solved with the use of
+some extra-logical bit of pseudoscientific technology, thus again diverting
+attention away from the importance of the solution by reaching it through an
+exaggerated means. The writer Dalmas also carries the attribute of being
+artistically oriented, which is something common to protagonists in all of
+Argento's films, as they are in certain ways created to be extensions of the
+director himself.
+
+The stabbing victim (Eva Renzi as Monica Ranieri) does not die, and when the
+police arrive and rescue the witness from his cage he becomes a suspect in
+what appears to be a failed attempt by the perpetrator of a recent string of
+serial murder slashings. Dalmas has his passport confiscated and, at first
+very unwillingly, is forced to stay in Rome while the criminal investigation
+continues. The police in Argento's films also will match a formula set down
+here. They are dull, monotonous, and the viewer is given the impression
+that they are not capable of providing the deeply analytical and logical
+thought required to solve the crime (and they never do). That skill is
+reserved for the artistic protagonist, if he can first overcome his own
+borderline madness. As the investigation continues, Dalmas and his
+girlfriend become fascinated with the case. They dig up information on the
+past victims and begin to trace down leads. The writer becomes obsessed
+with the mystery, and in the process his mental state is uplifted and he
+comments on being able to produce his first bit of original, productive
+writing in a long time. The message of an artist being stimulated in his
+work by violence is to some degree a commentary on Argento himself.
+Meanwhile the murders continue. Dalmas receives threatening phone calls,
+and the stone faced and antagonistic husband of the gallery victim (Umberto
+Raho as Alberto Ranieri) emerges as his prime suspect. Argento throws the
+viewer some glaring evidence by showing Dalmas to figure out that Alberto
+matches the description of the black clad man by way of his height and
+left-handedness, and his attitude is hostile.
+
+Dalmas continues with his investigation by looking into the previous
+victims' circumstances, and he uncovers a grisly, child-like painting of a
+woman being stabbed to death. The painting was sold by the killer's first
+victim, who was a clerk in a curio shop, just before her murder. The
+killer's motivation, which is always a major factor in Argento's films, is
+starting to be revealed through piecemeal clues. The case is cracked by way
+of one of this story's examples of curious science. A phone threat to
+Dalmas from the killer is captured on tape, and his bird studying friend is
+able to identify the strange sounds in the background as the squawk of a
+rare species which cannot survive naturally in the climate of Rome. The
+only place that this bird exists locally is the zoo (it is in fact "The Bird
+With the Crystal Plumage") and when Dalmas, the professor, Julia, and the
+cops investigate, the film's resolution is set up. Their attention is drawn
+to a room above the bird's cage by a woman's scream. When they reach the
+room they find Alberto and Monica, the husband and wife art dealers,
+struggling over a knife, in an image that mirrors the opening moments of the
+film. Alberto recoils from the police, refuses to drop the blade, and
+finally plunges out the open window to his death. With his last breath he
+confesses to the crimes. His story is accepted by the cops but Dalmas is
+troubled, and when he realized that Monica has fled with Julia and the
+professor in pursuit he chases after them.
+
+Nothing is exactly as it seems, neither at this time nor in the earlier
+struggle. Dalmas follows Monica back to the gallery where the film's final,
+eerie set piece takes place. As he nervously edges through a darkened room
+the camera suspensfully peers into corners and crevices. The cinematography
+makes it quite clear that danger lurks, and this feeling is confirmed when
+we glimpse Julia bound and gagged under a bed as Dalmas walks by. The
+professor is found with a knife buried in his back, and then the guilty
+Monica emerges dressed in black. Dalmas pieces together the details of what
+he has been struggling to remember about the events at the art gallery.
+With his mental image now clear it is revealed that in the struggle he
+witnessed while trapped between the doors he actually saw Alberto attempt to
+take a knife away from Monica. She is the crazed serial killer, and she was
+injured accidentally in that fight. Monica now has the upper hand on
+Dalmas, and she drops a large, spiked sculpture on top of him, pinning him
+to the ground between its projections. The story has circled back on itself
+as its protagonist is again left trapped and impotent. Monica slashes at
+Dalmas while taunting him in a maniacal voice that he is going to die,
+before the police arrive and save him by clubbing her from behind. The cops
+didn't figure out the crime - Julia was able to escape and bring them to the
+rescue. A second bit of scientific nonsense serves as an epilog, when on a
+news show discussing the case a still befuddled police inspector hands over
+its explanation of motive to a stuffy psychiatrist. The psychiatrist
+pontificates that the act pictured in the painting resurrected some previous
+trauma in Monica. She recalled her own victimization of a violent crime
+upon spotting it in the shop, and her psychosis triggered from the repressed
+memories acted so that she came to identify with her attacker.
+
+This film is the most straightforward of all of Argento's work, and is the
+most reliant on plotting. While the plot is not subjugated to the mise en
+scene on a large scale, there are still some very dominant stylistic
+elements present. The most obvious are the incidents surrounding the
+murders themselves. As was the case in Bava's influential Blood and Black
+Lace, these depictions are not necessary to further the narrative, but are
+nevertheless created in a meticulous and drawn out manner so as to allow
+them to convey sensations to the viewer apart from the story. The point of
+view shot is used, as it would be quite extensively in later works. The
+opening scenes are from the killer's perspective, and show her (gender and
+identity are not known at the time) carefully going through her pre-murder
+ritual. Photos of the next victim are studied, a weapon is chosen from a
+collection of cutlery housed in an red cloth lined drawer, and the black
+gloved costume is flashed. The choice of victims helps motivate certain
+critic's who label Argento as misogynistic. Like Bava's targets, they are
+all young, female, and visually appealing. No reason is given in the story
+for this demographic, and in fact it is barely acknowledged, but it does
+allow for the creation of some deliberate sado-sexual tension. The viewer
+is put into the position of killer by the editing, and thus his own sexual
+neuroses are played upon. In one scene, which was trimmed in the US
+release, the killer confronts a victim who is dressed for bed. While the
+victim screams in terror, writhing on the sheets, the knife hovers over and
+around her flesh in a phallic exploration. The part of the scene cut by the
+US distributor shows the woman's underwear being sliced away from her body.
+This level of explicit sexual content to a murder scene is only matched, and
+in fact is actually exceeded, in the very erotically violent Tenebrae.
+
+There is a good deal of fluid camerawork on display, which is unusual to
+viewers of more conventional fare, however the playing with notions of
+cinematic space and the extreme use of visual effects, color, and sounds
+that would appear in later Argento films are largely absent. Several more
+conventions of the director's work are established. The artistic
+protagonist has been mentioned. The theme of an outsider catching a
+fleeting glimpse of some important clue, and then struggling throughout the
+story to interpret it, would become common throughout Argento's filmography.
+He often interjects bizarre, and even humorous, interludes which seem to be
+included for their own sake, and are only tangential to the principal
+message. These diversions within a multi-layered film frequently employ
+singular ideas away from a larger context. An example in Bird is Dalmas'
+pursuit of Monica's accomplice into a hotel convention room. After the
+camera tracks up to a door, depicting the pursuer anxiously preparing to
+confront the man, the door is flung open to reveal all of the conventioneers
+dressed identically, thus making identification of the fleeing individual
+impossible. There is also a wacky visit to the key painting's artist, an
+offbeat guy who makes meals of his cats. The owner of the curio shop where
+the first woman killed was employed is an obvious, openly gay character
+whose sexuality is not directly related to any other events. Argento
+frequently uses gay characters whose orientation is only germane on a
+subconscious level. The image of a killer as black gloved and black garbed
+is also established. This convention, another with its roots in Bava's
+Blood and Black Lace, immediately defined the disposition of its bearer in
+the giallo genre. It was picked up by just about every director in this
+field by the seventies, Argento included.
+
+Bird was distributed in America by Sidney Galzier who had a huge success
+with it. It was also very profitable in Europe, and thus Argento was
+quickly established as a commercially viable filmmaker. Italian film
+maestro Ennio Morricone provided a typical score, dense and with subtle
+effects, as he would for the second and third "animal" films.
+
+
+In only his second film IL GATTO A NOVE CODE (aka The Cat O' Nine Tails,
+1971) Argento starts to move away from a strong adherence to narrative.
+While Bird With the Crystal Plumage was derived from an existing story, and
+thus demanded a certain degree of fidelity to it, Cat is an original story
+written by Argento with Luigi Collo and Dardano Sacchetti. It begins a
+transition from a plot driven films to those in which plot serves as a
+framework in which to interweave other ideas, and eventually to those in
+which plot is only a necessary device to string together disparate elements,
+or where it is almost non existent (Suspiria and Inferno). Coexisting with
+the de-emphasis of the narrative is an increase in other elements, such as
+using the cinematography and editing to play with the viewer's perceptions,
+and disorienting the audience through carefully positioned manipulations of
+space and time. Cat O' Nine Tails contains the common components of all of
+his gialli, and coming in 1971 it thus begins to establish the iconography
+of his style, and also to a certain extent the iconography of the genre.
+Expected notions which came to be attached to these icons would in fact
+provide opportunities for playing on audience perceptions in later projects.
+Cat has a protagonist who stumbles across a clue which draws him into the
+world of the criminal. The twist in this film is that there come to be two
+main characters obsessed with uncovering the truth, and that the puzzle come
+across by one of them is aural, as he is blind. Cat O' Nine Tails also
+maintains the loose theme of the animal trilogy in that its eventual
+motivation is based upon a bit of exaggerated science, however its title is
+the most tenuous of the three, only coming from an observation that the nine
+leads to follow in reaching the single truth are like "a cat with nine
+tails," a comment which is followed with the correction "a cat o' nine
+tails, like the old navy whip."
+
+The twin protagonists in Cat O' Nine Tails are blind ex-newspaperman Franco
+Arno (Karl Malden) and working reporter Carlo Giordani (James Franciscus).
+Both are drawn into the suspicious activities at The Terzi Institute, a
+Genetic Research facility. Arno has a strong desire for puzzle solving and
+he passes his time creating crosswords. While walking past a parked car
+with his pre-teen niece Lori, he by chance overhears one man inside say to
+another "I have no choice, I'm not interested in blackmailing you. I have to
+pass on the information." This snippet of dialog is barely audible on the
+soundtrack, but it is curious enough to intrigue the sightless, and by
+implication more sound cognizant, Arno. Arno lives in an apartment behind
+the Institute, and becomes drawn in further when he detects a scuffle
+outside his window later that night. In front of Terzi the next day
+reporter Giordani shows up to investigate a break-in the previous night.
+After being knocked over in Giordani's haste, Arno learns of the crime from
+the reporter, which furthers his curiosity. A man is killed by an oncoming
+train and it is ruled an accident, but when Lori describes his picture in
+the paper to Arno as being one of the men overheard in the car he becomes
+suspicious and visits the author of the piece, who is Giordani. Giordani's
+photographer partner had been at the train station awaiting the arrival of a
+starlet and fortuitously shot the victim just as he was being hit by the
+oncoming locomotive. Arno, suspicious from all that he knows, has Giordani
+get the photographer to print the full, uncropped photo, and visible on its
+edge is a fuzzy image of hands pushing the man. The photographer is slashed
+to death just after reporting back his finding, and subsequently the
+photographic evidence is snatched by a black gloved person. The head of the
+Institute, Professor Terzi, reports to the police that nothing was stolen in
+the break-in, but we see one of the scientists, Dr. Calabresi, brag to his
+fiancee Bianca that he knows what has happened and is going to profit from
+it. Calabressi is the man pushed in front of the train.
+
+With two murders now centered on the break-in, Arno and Giordani join forces
+to investigate the crimes. They question those surrounding the case; Terzi
+and his daughter Anna, Bianca, the German Dr. Braun, and Dr. Casoni, who
+informs Giordani of the projects being worked on at the Institute. The two
+main avenues of research he explains are the development of a genetically
+based "wonder drug," and work with the government on "XYY syndrome," a
+chromosomal disorder in which those males who are born with it have a
+greater propensity toward violence (editor's note: XYY Syndrome has in fact
+been studied and a higher percentage of XYY men are found to be criminals
+than normal, XY men. There has also been documented a higher propensity
+toward aggression and self gratification in these people.). Suspicious
+circumstances surround all those who are associated with the Terzi
+Institute. Professor Terzi has a far too close relationship with Anna, and
+Giordani learns through some snooping into Terzi's journal that the now
+twentyish woman was adopted at age fourteen, and that Terzi has been lusting
+after her. Bianca is shown to have been engaged to Calabressi only to get
+access to information on the wonder drug in order to sell it to a rival
+pharmaceutical firm. Her partner in the scheme is Dr. Braun, a high living
+and arrogant homosexual who hangs out at a club populated by transvestites.
+Bianca knows who the killer is from what she learned from Calabressi and
+attempts to blackmail him herself. This decision causes her to wind up
+dead. When her scam with Braun is learned, the police leak his name as the
+murder suspect to the papers before they arrest him, but he also winds up
+dead while trying to flee. The curious Arno and Giordani are next
+threatened, and attempted to be killed, causing Arno to send away Lori for
+her safety. They deduce that Bianca hid her evidence in a locket which she
+was buried with, and they invade her tomb to retrieve it. The murderer
+confronts Arno outside the crypt while Giordani is inside, and informs him
+that he has kidnapped Lori. He demands the evidence and their silence in
+exchange for her safety, but Arno is able to stab him with a hidden blade in
+his cane before the criminal can get away.
+
+Arno and Giordani accompany the police on a search of the Terzi Institute,
+where the killer has Lori hidden. Before he can stab her with his knife,
+Giordani interrupts and these two engage in a dragged out battle which
+spills out onto the roof, and in which the killer is revealed to be Casoni.
+He gets the best of Giordani, who struggles with Casoni's knife stuck in his
+shoulder. In a fit of madness Casoni reveals his motivation to be his own
+infliction with XYY syndrome, something only Calabresi also knew. He
+initially sneaked into the Institute to swap his file containing this
+information with a doctored one, but when Calabresi decided to blackmail him
+the murderous chain of events began. Casoni escapes Giordani but is trapped
+by the blind Arno with his sword-cane. When Casoni claims to have killed
+Lori, Arno flies into a murderous rage himself and throws the madman through
+a skylight and into an elevator shaft, where he falls to his death while
+vainly trying to break his fall by gripping the cables, which only serves to
+flay the flesh off of his hands. As he hits bottom there is a voice over of
+Lori calling to Arno while the credits roll. The open question is whether
+Casoni's condition, or just his deepening fear of it, led to his violent
+insanity. Arno himself was driven to violence when told that Lori had been
+harmed, and thus a different motivation for killing is presented.
+
+Some of the camera effects that were explored in Bird With the Crystal
+Plumage are extended in Cat. There is a great fluidity and point of view
+shots from the killer are used throughout. There is also a step away from
+the conventional is the construction of the film. The plot is only a
+reoccurring device, and is in fact abandoned in places only to be recalled
+later when the story needed to be forwarded. The first fifteen or so
+minutes do almost nothing towards introducing a story, with only the brief
+scene of Arno overhearing something about blackmail being important to the
+narrative, and this is included early on only by necessity as it is the
+device that draws Arno into the story. The largest portion of the opening
+is used in establishing the cinematic space, and in developing a convention
+which will be recalled. The credits are accompanied by a tracking shot
+which explores the Terzi rooftop at nighttime, and then there is a cut to
+Arno and Lori strolling down the sidewalk which links them, and what they
+overhear, with the Institute. This bridges to a scene in their apartment
+where Lori goes to bed and Arno works on a puzzle. He detects something out
+his window, and in an vocalization of his recollection on the soundtrack the
+blackmail line is clearly repeated. The camera then matches Arno's window
+in the background to a struggle below, outside of the Institute. Casoni is
+seen clubbing a guard, from his point of view, which is preceded by a close
+up of his eye and a flourish on the Ennio Morricone soundtrack as a signal.
+
+What follows is a point of view exploration of the inside of the building,
+in which the camera peers through its darkened corners and crevices, all
+accompanied by more closeups of eyeballs. Thus in this opening sequence we
+have learned that Arno, the Terzi Institute, a discussion of blackmail, and
+this burglary are all linked in the story, but we have know idea how, or
+even what that story will be. The principle of conventional narrative
+filmmaking in which characters and their dilemmas are initially defined has
+already been broken. A visual indication of the Casoni's presence has also
+been created, and a flash of his eyeball and accompanying Morricone music,
+followed by a point of view shot, will be used throughout Cat to signal his
+lurking presence. The eyeball shot is significant in another way in that it
+contrasts with, and emphasizes, Arno's blindness, which in turn underlines
+his high perception of the details of the case. Almost as if by necessity a
+bit of narrative establishment follows in which, through Giordani's
+investigation of the scene of the crime, some of the principle characters are
+defined and Calabresi's plot is revealed.
+
+After Calabresi's murder solidifies the role that Arno and Giordani will
+play together, furthering the story is again set aside as Cat explores the
+guilty worlds of its characters. As each one's shortcoming is revealed
+there is an implicit suggestion of culpability, but equally this serves to
+further some of the subtextual messages of the film. Terzi and his daughter
+Anna's odd relationship is paralleled with that of Arno and Lori, who calls
+him "Cookie." When we cut to them in their apartment after they are
+introduced, the first image is of Arno kissing Lori goodnight. At first
+glance this appears a bit too passionate, but when it quickly ends the image
+subsides. On its own this scene doesn't mean much, but it will add to later
+implications. Early on Arno tells Giordani that Lori's parents are dead,
+that he has no relatives, and that they need each other. Thus like Terzi
+and Anna they are not truly related. At another time when Arno is saddened
+over having to send Lori away, Giordani describes one of their suspects as
+"fishy," to which the melancholy Arno replies, "but don't we all have
+something fishy in our lives" as Giordani's face casts an awkward look
+toward the blind man. The character of Dr. Braun is another whose
+peculiarities are explored. Argento frequently incorporates gays into his
+films, and they usually wind up killed as tragic victim's of circumstance.
+Make what you will of this, but he never portrays them in a negative light
+due to there homosexuality, and probably uses their orientation as a device
+for playing with his audience's perceptions. There is a common methodology
+in his films of furthering viewer's tension through manipulation of their
+sexual neuroses, and thus homosexuality is part of a mix of voyeurism,
+incest, and gender confusion.
+
+Bianca's initial image as a grieving victim of Calabresi's death is also
+quickly set aside when her we learn that her relationship with him was a
+scam, and when she takes up the position of blackmailer. These character
+explorations not only provide for temporary suspects, but also hint at guilt
+so as to frame the set pieces in which they are killed. Argento frequently
+includes sequences which are tangential to the story, and which are designed
+to be visual experiences which can stand on their own merit apart from it.
+The scenes of the killer in action are the most obvious example of this, and
+in Cat they take a big step forward in their depiction of gore over its
+predecessor. Bianca's murder is especially nasty and is one of the
+interludes where the hyperviolence is used in a choreographed manner. A
+tight shot of her head is shown as the killer is out of frame. Her face is
+repeatedly thrust into the ground, and eventually bits of blood stained
+drool form a line between her mouth and the ground. This sequence provides
+the clearest glimpse of the prototype black leather gloves on the fiend's
+hands. Calabresi's death is likewise highly stylized. In real time his body
+is shown making contact with the train, which is intercut with a slow motion
+close up of his head upon impact, and then a return to his decapitated body
+rolling by the wayside.
+
+A return to narrative development sets up the film's best sequence. Arno's
+and Giordani's lives are threatened, and thus the mystery takes on a greater
+urgency for them. When they decide that Bianca's information on the killer
+is held inside her locket, they decide to rob her grave to get it. As we
+track them through the graveyard at night, we also see Casoni's eyeball and
+his point of view shot as he follows them. With the blind Arno keeping
+watch outside, Giordani opens her casket and indeed finds a folded piece of
+paper that he gives to Arno. Before he can re-seal the coffin, the door to
+the crypt crashes closed over a last glimpse of Arno's cane outside. A
+panicked Giordani tries to get out, but when he realizes he can't he settles
+down to ponder his position. There is some question raised as to Arno's
+culpability, as he was last seen just outside the door. It then opens and
+Arno stumbles in with the blade at the end of his cane, revealed for the
+first time, soaked in blood. There is additionally some suspicious tension
+in Arno's voice as he calls out to Giordani. It is resolved that what
+happened was that Arno was confronted by Casoni outside, who told of Lori's
+capture and took the information from the locket before it could be read,
+but not before Arno could inflict a wound. The irony of the ultimate
+solution being in the hands of the blind man, and thus not quite being
+learned, is displayed. The struggle between Giordani and Casoni on the roof
+is the most derivative of Leone in any Argento film. The sound of their
+blows are highly amplified on the soundtrack, and the image of Giordani
+struggling with a dagger protruding from his shoulder is striking. There is
+eventually a slow pan up from the ground, past a bleeding wound to the gut,
+and to the face of the killer as he is identified for the audience. Argento
+is of course familiar with Leone's work, having co-written that director's
+Once Upon a Time in the West, a film which like Cat opens with a drawn out
+sequence which isn't narrative in function, but does set a mood for what is
+to follow.
+
+There is an attempt to incorporate segments of humor in Cat O' Nine Tails as
+well, a strategy which moves into segments of outright slapstick in Four
+Flies on Grey Velvet before the comedy film Five Day in Milan placated those
+urges in the director for good. One of the stand alone segments has
+Giordani in a barber's chair getting a shave with a straight razor. He
+reads the paper that tells of the photographer's death. The barber, who
+doesn't know that his client is the story's author, objects to the
+suggestion that due to a blade being used the culprit might be a barber. He
+dismisses this notion by saying that a barber wouldn't be so sloppy, and
+describes the cuts a one would make as he shaves Giordani's neck. Giordani
+grows nervous and eventually jumps up from the confused barber. Another
+segment introduces a character called Gigi the Loser, whom we encounter
+engaged in an insult contest. Giordani hires him to help with the break in
+at Terzi's house. The use of the soundtrack is also further developed with
+this film. Morricone's omnipresent strains of awkward music provide
+messages, especially when they shift to emphasize the killer's presence. The
+music is so constant that it causes silence to be quite effective. The
+score would eventually become a very important component to Argento's
+overall presentation. Here his ideas are in development, and they won't
+reach a high level of success until his initial collaboration with Goblin,
+on Deep Red. Argento frequently builds the character of the protagonist
+around his notions of himself. He has claimed that Suspiria's Suzy Banion
+is the character most modeled after himself, and those of Four Flies on Grey
+Velvet's Roberto Tobias, Tenebrae's Peter Neal, and Opera's Marco seem
+obvious. One can't help but notice the relation of the blind man Arno's
+name to Argento, whatever message that may contain. Cat O' Nine Tails was
+released in the US by National-General, who tried to sell it with a highly
+exploitative campaign. It didn't reach the success of its predecessor in
+Europe or America.
+
+
+QUATTRO MOSCHE DI VELLUTO GRIGIO (aka Four Flies on Grey Velvet, 1972) is
+where Argento first begins to play with both the conventions established in
+his first two films, and those of other directors working in the giallo
+genre. It also contains a greater movement toward extravagant editing and
+story construction techniques, and includes more attempts at humor than any
+of his thriller or horror films. It is one his most linear films, however
+with all of the additional plot twists and filmic devices employed it
+doesn't seem that way. Cat O' Nine Tails was criticized for indulging in
+too many details which veered away from a cohesive furthering of the plot;
+similarly Four Flies was criticized for its excesses, though mainly for its
+cinematic overindulgence. A consolidation of the best ideas from each animal
+trilogy entry would come in Argento's fourth giallo and fifth film, Deep
+Red, making for a better overall film. These techniques, while existing in
+a less refined manner, are still a joy to watch in his first three projects.
+This is true even if the film's various subsections only succeed on an
+immediate level, and apart from the whole. Few films made are so carefully
+constructed from shot to shot and from scene to scene, and watching an
+Argento film presents the viewer with an interpretative puzzle every step of
+the way.
+
+The first and most obvious deviation of Four Flies from the paradigm of the
+previous films is in the character of its protagonist. That role is filled
+by Roberto Tobias (Michael Brandon), whose artistic tendencies lie in his
+being a drummer in a prog-rock band. Past protagonists were innocent
+interlopers, either Sam Dalmas who happened upon the struggle in the
+gallery, or Franco Arno and Carlo Girodani who investigate an event that
+happened in their midst through either their instinct or profession. Tobias
+is however a guilty victim of circumstance, and it is he who is, or at least
+it initially seems, responsible for the film's opening murder. He is more
+blamable of being a dupe than viscous however, and this distances him from
+the pure guilt that Peter Neal would embody in Tenebrae. The structure of
+the lead character being drawn into something not of his making, and being
+threatened by it, is maintained even if it is on different terms. Flies
+opens with a jam session by Tobias' band. This opening utilizes some
+drastic contrasts in its editing. The band jams in a well-lit studio, while
+Tobias is distracted by a man in dark hat, glasses, and coat spying in on
+him. He recognizes the man as a person who has been following him for
+several days. The present action is cut into with flashbacks showing these
+previous encounters, and flashforwards to just after this session where
+Tobias is chasing after the dark glassed man. All of these action sequences
+are themselves interrupted by contrasting cuts to the credits, where the
+music drops out to be replaced only by the sound of a heartbeat, and the
+titles are displayed against a plain black background containing the image
+of a beating heart. The frenzied notion of some drastic event surrounding
+Tobias and this man is conveyed by the kinetic pacing of these scenes, and
+is startlingly broken with the credit sequences. The pounding heart
+maintains a link to Tobias' tension over these events. Violations of
+continuity are already introduced in the temporal construction of this
+sequence. One popular bit of odd photography during this credit sequence
+shows members of the band playing in a shot bordered by a circular blocking
+on the screen. It isn't until a hand is seen waving back and forth that the
+viewer realizes that this is from the point of view of the inside of an
+acoustic guitar.
+
+After the credits the pursuit resumes. Tobias chases the man into an
+abandoned opera house (a building with an opulent, and by association hints
+of decadent, look which would be utilized to a greater extent fifteen years
+later in Opera) where he confronts him. The dark man's surprised and
+incredulous reaction draws into question Tobias' mental stability. The man
+removes a knife from his pocket in a defensive gesture, Tobias grabs it from
+him, and quickly the man tumbles into the orchestra pit with a bloody wound.
+Tobias has accidentally killed his antagonist. Throughout the confrontation
+a figure in a wickedly smiling mask has been snapping photos from an upper
+level, and this person is glimpsed just as the body is falling to the
+ground. A twist on Argento's conventional tactic is introduced in that this
+film's central character is a killer, and it is he who has been observed by
+an unknown person while "caught in the act." This incident is the axis on
+which the story turns. The wickedly smiling, unnerving mask worn by the
+photographer provides a threatening overtone to what has happened. Its
+unisex quality is also important in a larger context as gender ambiguity
+will come to be a central theme. The black clad man's role is also a shift
+away from expectations, as he is a victim rather than a perpetrator, and
+thus the iconography of the genre is already being played with. Tobias is
+then taunted by the onlooker to his crime, causing him a great deal of
+anguish. The dead man's identification is mailed to him and photos taken by
+the masked figure turn up in his home. A theme of the breakdown of an
+unstable character when thrust into a situation not of his making is
+developed.
+
+An important element that will serve as a reoccurring comment on Tobias'
+state of mind is introduced. At a party in his home, a friend describes to
+Tobias, his wife Nina (Mimsy Farmer), and other guests an execution
+witnessed in Saudi Arabia. In detail he recalls the condemned man being
+brought to a public square in front of many onlookers, and then of the
+executioner's use of a dagger to the neck followed by a sword swipe to
+remove the head. Recollection of this story by Tobias, in a series of
+progressive and visually distinct nightmares, serves as a temporal tracking
+of the development of his psychosis. The first nightmare sequence is the
+longest. After discovering the incriminating evidence, he dreams of the
+scene described. The onscreen image is quite unusual in that it is visually
+very distinct from the contrasting real world depiction. The lighting is
+unusually bright, and there in an unnerving buzzing music on the soundtrack
+provided by Ennio Morricone. The execution is unusually slow in developing,
+as the action is displayed with a slowed down film speed. Tobias' dream is
+interrupted just as the sword is about to reach impact, and its swooshing
+sound is used as an overlapping sound match to his jolting awake in bed. He
+confides in Nina as to his predicament, and just after his confession a
+noise draws him to another room and into a direct confrontation with his
+tormentor. A knife is held to Tobias' throat and in a raspy whisper the
+intruder speaks of how easy it would be to kill him, and then disappears.
+Not only is he being threatened over his guilt, but this person is now
+threatening his life, and Tobias has no idea who it is or why.
+
+During this encounter Nina remains in bed, but the maid is shown lurking in
+the background. She had previously been seen observing Tobias find the
+planted photos. From what she has learned the maid engages in blackmail,
+but it is not made known who she is extorting. A good example of Argento's
+taste for the use of unorthodox photography is observed in this exchange.
+The maid uses a pay phone to deliver her threat, and she is shown claiming
+to someone that she knows who they are and what is going on, and that the
+person on the other end of the line should meet with her in a park with a
+payoff. Tension is built towards the revelation of who she is talking to by
+a tracking shot in which the camera slowly travels along the phone line
+which links the blackmailer and blackmailee. The camera follows a chord out
+of the booth, moves along phone lines through the city, and shows them
+arriving at the distant building. The score builds as we are forced to wait
+to see this person, who most viewers probably suspect will be Tobias. The
+construction of the scene leads the viewer to think that a big revelation is
+being built to, and the maid's prior activities around him suggest we may be
+learning more about his role in the affair. At the last instant however the
+audience is cheated, as there is a quick cut to the maid waiting in a park.
+The sequence also reflects Argento's obsession with the definition of
+cinematic space. He is precisely describing the relative positions of these
+two people to each other. The maid is seated at midday amongst some
+expected park inhabitants; playing children, young families, and a kissing
+couple. In a series of jump cuts the park is shown to gradually empty as
+the sky begins to darken. The environment appears continuously more hostile
+as the jump cuts proceed. The maid is eventually the only remaining person,
+and the shot from which this temporal progression is shown becomes a point
+of view shot of her arriving target. This person has no intention of paying
+however, and instead turns violent as is evidenced by the terrified look on
+the maid's face. She is chased through the dark corners of the park, and
+the maintenance of the point of view shot of the killer gives some clue as
+to identity, as while the thin maid struggles through a tight spot between
+two walls her attacker moves through it effortlessly. The maid reaches a
+high wall and screams frantically for help as a young couple strolls by on
+the other, well lit side. Her death comes as the male passerby haplessly
+tries to scale the wall.
+
+The scene that follows maintains the point of view shot momentum, and thus
+implies the continued presence of the killer. A major twist is introduced
+through an encounter with the man Tobias chased into the opera house. As
+with the maid, he demands a payoff, and implies that since a real murder has
+occurred his accomplice should give him more money. Also like the maid the
+blackmail causes his death, which is by hammer blows to the head. In
+showing this, a flamboyant effect is used where the point of view switches
+from the killer holding the hammer to the murder weapon itself as it lands
+on the victim's skull. All that the audience has been shown and led to
+believe to this point is revealed to be false. The viewer was under the
+presumption that Tobias had killed a man when in fact he did not. It was
+also logical to believe that it was Tobias who was the target of the maid's
+blackmail attempt, and thus was also her killer. Although he doesn't know
+it, Tobias is innocent of any wrongdoing and the only murders committed have
+been done by this other person. A bit of explanation is given by the black
+clad man, before he is killed, as to the nature of their trick. During this
+he displays the retractable blade that he used, complete with false blood.
+Argento would recycle the idea of a phony murder weapon in the hands of
+Tenebrae's Peter Neal.
+
+As Tobias has been the innocent victim of some malicious scam, the question
+becomes one of who is responsible and why. The attentive viewer should be
+able to conclude now that the perpetrator has to be Nina, and by extension
+she must be responsible for the two real slayings. The remainder of the
+film becomes driven by a revelation of her motive. The idea was previously
+presented that the technical solution of the crime is not Argento's primary
+focal point. If the theory that the preposterous methods used in reaching a
+solution are intended to emphasize this is correct, then Four Flies falls
+right in line as its methodology in drawing a conclusion is probably the
+most ridiculous of all. The remainder of the film concerns itself with a
+gradual supplying of clues as to motivation, as none is yet apparent. It is
+also concerned with Tobias' sinking mental state, as he never becomes aware
+of the truth of the opera house incident, and he continues to be stalked.
+Critics accustomed to Hollywood films frequently fault Four Flies for the
+obviousness of its villain, but again this more demonstrates their lack of
+understanding of the film's technique than its weakness, as this revelation
+is not what Four Flies is about.
+
+Argento has inserted bits of humor into all of his previous films, and in
+fact some of the excessive violence, broad analogies, and extreme subtexts
+can be viewed as humorous in their outrageousness. In Four Flies however
+there are blatant examples of slapstick and verbal silliness. A goofy
+mailman is verbally attacked by a neighbor of Tobias' for delivering
+pornography to the wrong address. Tobias later physically attacks the
+mailman in an overdrawn manner when he mistakes him for his tormentor, and
+this sets up a later comic episode where the spooked letter carrier is
+afraid to come too close. Spaghetti western vet Bud Spencer plays an
+extroverted friend of Tobias' who lives in a shack by a polluted urban
+river. In an idea left over from "The Screaming Mimi" he is named Godfrey,
+but is referred to as "God." Upon his introduction Tobias calls out to God,
+and Morricone answers on the soundtrack with a bit of the "Hallelujah"
+chorus. God's sidekick is a nutty character called "The Professor" (ala
+Harpo Marx?) who is hired by Tobias to keep watch over his house for
+"blackmailers, murderers, and the like." At one time when Tobias meets with
+God and The Professor it is at a "funeral arts" exhibition. Humor is drawn
+in relation to the theme of death, which has increasingly surrounded the
+story, but the placement of the scene provides no subtextual element or
+furthering of the narrative. It is just a comic device. These humor
+attempts are not utilized as a strategically placed tool to lighten tension,
+or give a false suggestion that tension should be lightened, as is often
+done in terror films. Tobias decides that a private eye can help him, and
+he visits one named Arrosio. His trip to Arrosio's office provides for
+another indulgence in fluid editing which is contrary to convention. Tobias
+drives his car through the streets of Rome, and there is a matched point of
+view sequence of his traveling by foot through Arrosio's building. As the
+car races forward there are intervening shots of Tobias traveling forward,
+first up some stairs, then down a hallway, and finally to the detective's
+door, which is marked by a sketch of an eye on the handle. The editing cuts
+back and forth between car and building, and the two environments are
+bridged by the continuing sound of a racing engine on the soundtrack, which
+links the events with the forward camera movement. It is another play with
+non-linearity, as the events are occurring out of sequence. Other examples
+of non-linearity in Four Flies are the opening flashbacks and flashforwards
+encompassing the black coated man's interactions with Tobias, and the
+continuing dream sequence, which on each reoccurrence begins later in its
+progression, carries further toward the final decapitation, and is of a
+shorter duration. The intensity of what is happening in the Arabian square
+is brought out to a greater extent with each succeeding depiction, just as
+the immediacy of the dangers to Tobias are becoming more and more obvious.
+
+Arrossio is this film's expected gay character, and his openness and
+flamboyance provide some additional bits of comic interjection. His
+presence also serves to underline the sexual tensions central to the film's
+principle subtext. Arrossio is hired by Tobias. He states to his patron
+rather brashly that he has yet to solve a case, bragging that he may be
+heading toward some kind of record in futility. Arrosio does eventually
+piece together an explanation, but is murdered before Tobias can be told.
+The idea of a failed investigator achieving his first success at the expense
+of the story's protagonist will be utilized more subtly with Detective
+Giermani in Tenebrae. The episode comments negatively on Tobias, as here is
+another character, along with the maid and Nina's original accomplice, who
+has been able to solve the crimes. They all die with their knowledge while
+the clueless Tobias continues to remain oblivious throughout. Arrossio also
+provides a narrative function, as it is through his investigation that
+Nina's motivation is revealed. In Tobias' family photos the detective
+comments on a remarkable similarity. He traces Nina's history back to her
+institutionalization as a child. He uncovers the fact that her father
+locked her up out of his anger over her being a girl. None of this is
+explicitly spelled out, and in fact the film has yet to admit that it is
+Nina who has done the killings, but these pieces of evidence are gradually
+dropped. They are mixed with flashback sequences containing more point of
+view shots from inside a padded cell. Over these shots a tormentor is heard
+to shout, "I wanted a son, not a weakling like you!" Arrossio's murder
+significantly is committed when he is cornered in a coed bathroom, where
+explicitly shown on the door are the interlinked male and female (mars and
+venus) symbols.
+
+The allusions to gender form the main subtext of Four Flies on Grey Velvet.
+Both Michael Brandon and Mimsy Farmer have somewhat androgynous appearances.
+He is skinny, long haired, and wears flashy clothes, much as is to be
+expected from an early seventies rock performer. She has a short haircut,
+is unshapely, and wears pants and button down shirts. The entire story
+revolves around her motivation, which is shown to be born from a psychosis
+instilled in her by her father, through his abuse due to her being born
+female. There is a definite masculine streak to her character (A reaction?
+It's not explicitly stated). The plot reveals that she has married Tobias
+as he looks like her father, and she wishes to use him as the target of her
+revenge. Tobias' masculinity is also presented with some question. He is
+propositioned by Arrossio, and subtle points such as a male friend
+comforting him with an arm tightly around his shoulders are included. None
+of these shots by themselves are significant, but taken together they play
+on the viewer's psychology. It is interesting to recall that Argento's
+artistic characters are often referred to by him as extensions of himself.
+While I know of no comments by the director as to Roberto Tobias, Michael
+Brandon's physical resemblance to him should be considered. Gender
+ambiguity is also played upon in the non-specific nature of the opera house
+photographer's mask (who was Nina), and the location of Arrosio's killing.
+Tobias' is eventually confirmed as heterosexual through his liaison with
+Nina's young cousin Dalia. She arrives to visit in the midst of the trouble
+and stays in the house even when Nina moves out over claimed stress from the
+threats. Tobias' seduces the young girl, but her build is quite slight and
+boy-like, and thus still allows for some subtle suggestions of ambiguity in
+orientation.
+
+Dalia serves several other functions. One is to re-emphasize Tobias as an
+unlikeable character, as he is quick to lure the teenager into bed soon
+after his wife has left the house. She also serves as a victim, as Nina
+kills her when she is found in the house instead of Tobias. Dalia's murder
+is the basis for Four Flies' version of weird science being used as a tool
+to move the story to a close. The legitimacy of the methodology in this
+film is the most outrageous of all, but as I said previously these
+explanations can be seen as merely a means to an end, and in fact their
+fantastical nature may be a tool to de-emphasize them. After Dalia's death
+the police inform Tobias of a new investigative technique and ask his
+permission to try it out. When he is agreeable they lead him into a room
+where Dalia's eyeball, complete with protruding optic nerve, is mounted in a
+camera device. Tobias is told that this instrument can resolve the last
+image seen by the person before they died, and when it is used what is
+projected are four flies arranged along an arc. As offbeat as the notion
+is, the mounted eyeball does provide for a strange sight.
+
+The conclusion of the film has Tobias arming himself with a gun and waiting
+out an eventual encounter with the killer in his house. There is a storm
+raging outside. As he positions himself with pistol in hand he falls asleep
+and the reoccurring Arabian nightmare is allowed to play out to its ending.
+The final segment picks up just as the sword is descending towards the neck,
+and as the head is finally shown to be lopped off, the dream is interrupted
+by a phone call from God. As that nightmare has reached its conclusion so
+must the real life one. God is cut off when the phone line is sliced, and
+as Tobias awaits the confrontation he is shocked when Nina walks through the
+door. He is still not able to identify her role and warns of the danger,
+and only upon spotting a pendant hanging from her neck containing an encased
+fly does he realize her culpability. The four flies in an arc seen last be
+Dalia was the fly hanging from Nina's neck swinging on its chain. The
+masculine Nina is still able to better the feminine Tobias when she wrests
+the gun from him. She hits him with a non-fatal shot while screeching out
+her hatred. She shouts, "You're so much like HIM!". God charges in to
+rescue Tobias, but Nina is able to flee out the door. She meets her demise
+fittingly by decapitation, being executed for her sins by an oncoming truck
+her car collides with in the rain. This final shot is another bit a
+photographic trickery, captured utilizing an extremely high shutter speed
+camera borrowed from a university and usually used in scientific
+experimentation.
+
+Four Flies on Grey Velvet offers a great deal of offbeat cinematography,
+plot construction, and editing, as has been described. These qualities,
+coupled with the humor and manipulation of convention, make it a dense film
+that can be enjoyed on many levels. The "kitchen sink" approach does
+present some coherency problems which is reminiscent of Cat O' Nine Tails
+and its convoluted script. A lack of tight cohesion amongst all of these
+techniques prevents Four Flies from being the complete achievement that Deep
+Red, Argento's next giallo, would be. Critics of the film mostly direct
+their disapproval toward the acting of Michael Brandon. While his
+performance is a bit wooden and unemotional, this isn't necessarily the
+catastrophe that it could be, as the nature of Four Flies isn't such that
+acting is the preeminent concern. A truly fine performance can improve a
+film of this sort however, as is the case with David Hemmings in his role as
+Marc Daly in Deep Red. Four Flies on Grey Velvet is a transitional film,
+especially in its look and the manner in which it is constructed. It is a
+big step forward in the maturation of the unconventional style that Argento
+is known for. Even with their eccentricities, Bird and Cat are still much
+more conventional than this film and what is to follow. A much greater use
+of intricate camera movements and angles, as well as a greater use of
+editing and non-linearity, are utilized in Four Flies. For the first time a
+strong concentration on the color composition of shots is used. Bright
+colors are used to dominate scenes, and large sections of primaries are
+played off of each other. Luxuriant art direction would continue to expand
+in the dark world of Deep Red, but would really come to be dominant in the
+carefully constructed otherworldliness of Suspiria and Inferno. A final
+element to the complete Argento milieu that is still missing from Four Flies
+is an overwhelming score. While Morricone provides some fun flourishes,
+even he is too conventional for the mature Argento vehicle. It would take
+the first collaboration with Goblin, again on Deep Red, for the director to
+take the use of the soundtrack to new hyperkinetic levels.
+
+
+Argento's next project was as the producer of an Italian television show
+titled LA PORTA SUL BUIO (aka The Door into Darkness, 1972), which was
+designed to capitalize on the popular giallo genre. Four hour long episodes
+were made, two of which Argento directed himself. The episodes are THE TRAM
+(aka Il Tram) directed by Argento under the pseudonym Sirio Bernadotte,
+EYEWITNESS (Testimone Oculare) directed by Argento under the name of Roberto
+Pariente, NEIGHBOUR (aka Il Vicino di Casa) directed by Luigi Cozzi, and LA
+BAMBOLA (aka The Doll). Argento had to take over the direction of
+Eyewitness from his assistant Pariente, but left his name on it. He also
+appeared in an introduction at the beginning of each episode Hitchcock style
+and became a recognizable star in Italy from this. Cozzi has said that
+there were plans to create two theatrical movies from the shows but nothing
+ever came of it. I haven't been able to see these and so I don't know how
+they fit in with the rest of Argento's work as to style or artistic
+achievment.
+
+After the animal trilogy, Argento took an 180 degree turn away from the
+area in which he had been working. He and writing partner Luigi Cozzi
+attempted a historical comedy set during the wars over Italian unification
+in 1848. LE CINQUE GIORNATE (aka The Five Days of Milan, 1973) resembles
+the European westerns that were reaching the end of their cycle at the
+time. It most resembles Leone's Giu La Testa (aka Duck You Sucker! aka A
+Fistful of Dynamite, 1971) in that it attempts situational humor derived
+from a couple of characters who wander through the backdrop of a chaotic
+revolution. Five Days' Cainazzo (Adriano Celentano) is a similar character
+to Rod Steiger's Juan in Duck You Sucker. He is a small time hood who is
+oblivious to any of the politics which surround him, and is much more
+interested in scheming a fast buck from the conflict than in any sense of
+patriotism. Like Juan however, his scams lead him to an active interest in
+the revolution. Argento takes a very liberal approach to the comedy
+writing, in which he essentially includes every joke that he and Cozzi could
+think up and hopes that enough of them stick. There is a lot of physical
+comedy, as well as verbal and situational jokes, which obviously are very
+Italian in nature and are designed to appeal to their compatriots. Cainazzo
+begins as a thief behind bars who is fortuitously broken out as he shares
+his cell with some captured soldiers. He grows to be "curious about this
+revolution" and eventually interjects himself into the conflict between the
+republicans, the nobility, and the Austrians. Along the way he picks up a
+completely clueless sidekick named Romolo (Enzo Cerusico) who winds up dead
+from his association with Cainazzo. The absolute chaos and the shifting
+allegiances seem to be used as a commentary on the modern Italian political
+situation. The only Argento trademark that is apparent is fluid camera
+work, and that is used in an attempt at wacky slapstick humor. A couple of
+the better scenes show a mob blindly following Cainazzo as he grabs a
+tri-color flag (which he doesn't even recognize) for protection, and a scene
+where different characters interpret Romolo's dying words according to their
+own wishes. One person hears "long live Italy", another "Austrians are
+assholes" and a third "long live the church." Five Days in Milan was never
+released outside of Italy and was not a highly successful project
+financially. Some of its comedy works for a non-Italian viewer but it is
+really for Argento completists only.
+
+
+Rosso, or red, is a shocking color which conjures up notions of perversity,
+sexuality, and violence. It is the classic color of the insides of whore
+houses and it is the color of blood. PROFONDO ROSSO (aka Deep Red, 1975) is
+Argento's return to the giallo and it is so named as it is deeply involved
+with themes of sexuality and violence. This film is a synthesis of ideas
+toyed with in the animal trilogy, but it is also a great step forward in
+terms of creativity. The structural elements introduced in the early
+sections much rely on the iconography established in the first three films,
+and thus they rely on themes common to the giallo in general. The
+experimentations with accepted conventions of cinema in Cat O' Nine Tails
+and Four Flies on Grey Velvet were exciting, but many times they detracted
+from the overall cohesiveness of those films. After a shift in style with
+The Five Days of Milan and three years since the completion of his last
+giallo, Argento was able to reflect on the most successful of his earlier
+stylistic excesses and combine them in a clear manner toward a more focused
+result. Like all of Argento's work, Deep Red can be interpreted as
+depiction of a nightmare. It is structured so that it could be the
+realization of a particularly long and intense bad dream by its protagonist.
+It is a film about deep and dark secrets, and thus the overall darkness of
+the film is both intentional and appropriate. Many of Argento's signature
+tricks are used. There is a fluid camera which explores the film's
+environment with the most careful attention to detail, there are many point
+of view shots, and there is a manipulation of editing conventions used to
+establish space and time. But while these tricks seemed quite obvious in
+their audacity in the earlier works, they are less jarring here as they are
+integral to the overall message of the film, and they work together in a
+cumulative fashion. Hollywood directors wish to use editing and cinema-
+tography to convey information to the audience without their noticing the
+process. Argento has now achieved the same effect without abandoning his
+non-traditional methodology.
+
+Deep Red also benefits from stylistic advances in the areas of art direction
+and sound. Mario Bava achieved a great deal of his effectiveness as a
+visual director by way of the color composition of his shots. Argento began
+to emulate this in Four Flies, where areas of primary color on the screen
+are set apart from each other to emphasize an aspect of the shot. An
+example can be seen in the opening opera house scene, where the brightness
+of Roberto Tobias' tormentor's mask is highlighted against the gothic reds
+of its surroundings. The color red is naturally dominant in Deep Red's mise
+en scene; it is preeminent in backgrounds throughout. Darkness is also
+omnipresent as most scenes take place at night, or within cluttered, dim,
+crowded buildings. There is a sense of darkness closing in on this world as
+a result. Deep Red is Argento's first collaboration with the Italian synth
+band Goblin. Their loud, harsh, pounding music is used to accompany the
+killer's bloody deeds. Argento would use Goblin or members of them again on
+Suspiria, Tenebrae, and George Romero's Dawn of the Dead, and would attempt
+to get similar effects from Keith Emerson in Inferno and assorted heavy
+metal acts in Phenomena and Lamberto Bava's Demons. They are used to their
+best effect, however, in Deep Red and Suspiria. It is not only the murder
+scenes that benefit from the more carefully constructed soundtrack. Bits of
+music are used throughout to signal the audience as to the context of the
+scene being viewed. It adds emphasis as well as points attention in the
+appropriate direction in a film which can make sudden jumps in space and
+time.
+
+As in Four Flies on Grey Velvet, the opening credits are interrupted by an
+interlude establishing the violent nature of what is to unfold. In contrast
+to the kinetic Goblin score, which accompanies the titles displayed against
+a dark background, there is a cut to a scene with a childish lullaby playing
+over an image of a shadowy figure stabbing someone with a knife against a
+Christmas time background. The bloody knife drops to the floor in front of
+the camera and a child's feet walk into the picture (which recalls the
+opening of Mario Bava's Kill, Baby Kill.) The viewer doesn't know where or
+when this event takes place, or what its relevance is to the scenes that
+immediately follow, but its positioning suggests that it is important to the
+story. The set up scenes of Deep Red match previous events from all of the
+animal trilogy. The opening shot, after the credits, is of Marc Daly (David
+Hemmings), a jazz pianist and music instructor, playing with his group.
+This matches the opening of Four Flies where Roberto Tobias is jamming with
+his rock band. In a subtle message Daly admonishes his pupils to bring more
+intensity to the music, as it was "born in the bordellos." This is followed
+by another sequence which matches Four Flies. From a point of view shot
+(suggesting a guilty person in Argento's world, and one whose identity is to
+be withheld from the viewer) we see a person pass through some curtains and
+enter a large theatre. This was significant in the life of Roberto Tobias
+and thus should be significant here. A lecture is taking place inside and a
+table seating three speakers is on the stage. Red is the dominant color as
+it is used for the tablecloth, the seats, and the curtains that hang around
+the multi-story building. The principal speaker is Helga Ulman who is to
+demonstrate her psychic powers. In the midst of her talk she is overcome by
+violent reactions and spits out that she senses the presence of an intensely
+evil person in the room. The point of view shot resumes as the target of
+this reaction, suggested to be so by the editing, rises and moves out of the
+auditorium. This person enters a rest room where a man inside offers that
+the person does not look well. The perception encouraged is that this is a
+man, but that would be to ignore the lesson of Arrosio's death in Four
+Flies.
+
+Apart from the eerie quality of this scene, its use for an early emphasis of
+the color red, its play on gender notions, and its narrative match to Four
+Flies on Grey Velvet, it also serves to provide some plot information as to
+the story of Deep Red. In the midst of her reaction Helga mutters things
+about a house, secrets, and a song (and a specific song has been presented
+to us as the background to a significant, and evil, event), and while this
+doesn't mean much to the viewer yet, it will as the mystery of Deep Red
+unravels. Deep Red is the Argento film that works best as an actual
+mystery, and along with Bird With the Crystal Plumage it is really the only
+one of his gialli in which the killer either isn't obvious, or is so arcane
+that he isn't able to be identified. While this may sound like a
+condemnation of many of Argento's films that depends upon your perspective,
+as most were not designed to be vehicles in the Conan Doyle/Agatha Christie
+mode. When Helga mentions that she knows who the evil person was it doesn't
+foretell good things for her. Another symbolic interlude follows
+accompanied by throbbing Goblin music. Against a dark background the camera
+tracks over a series of peculiar objects, which suggest both childhood and
+violence. It moves in close-up, examining a doll with pins stuck in it, a
+childish sketch of a bloody, stabbed figure, and figurines that include a
+red demon, and after exploring this layout it reaches a black gloved figure
+selecting a pair of switchblades. The final shot of the sequence recalls
+Casoni in Cat O' Nine Tails, as the black gloved hands are shown to apply
+black eye liner in a close up of a single eye. The images of black gloves,
+blades, and the eye are used to tie a villain in with images of a violent
+childhood, and to associate him or her with a signaling piece of Goblin
+music.
+
+The story now shifts to Helga in her apartment that night. This room is
+strange looking and is also red dominated. The decor is unusual and odd
+paintings line the walls. Helga is recording her earlier experience when
+she again detects the lullaby in her head. This is replaced by the sound of
+the music outside, shown to be played by the black gloved person on a tape
+recorder. When there is a knock on the door and the Goblin music rises on
+the soundtrack. It is a signal that Helga is in danger, and when the door
+bursts open Argento's most bloody depiction of murder to date unfolds. The
+black clad figure brings a meat cleaver down on Helga, which slices into her
+body accompanied by flowing bright red blood. The gory scene and its music
+are then interrupted by a return to character development. We see Marc exit
+the building in which he was performing and encounter Carlo, a very drunk
+friend, out on the street. It is revealed that Carlo is also a pianist, and
+certain similarities and differences between the two men begin to be
+established. Carlo suggests that while they are both talented with their
+instrument, Marc is bourgeois while he, who plays in a male dominated club
+called Blue Bar, is proletarian. This is a notion which Marc doesn't
+dismiss. When the interior of Blue Bar is shown images of Braun's club in
+Cat O' Nine Tails are recalled. The defining of their relationship is
+interrupted by a return to visual dominance when a piercing scream distracts
+them. In an shot establishing a spatial relationship, the camera quickly
+pulls up and away from Marc and Carlo and in the direction of their stare, a
+window above the street. In another subtle nod to sexual perversion, the
+drunken Carlo toasts the "deflowered virgin" in what he deems to be a rape
+in progress, just before Helga's bloody body is thrust through the window
+and lies impaled by shards of glass. The black gloved hands are seen
+grabbing Helga's notes.
+
+Non-linearity has been persistent up to this point. The film began at night
+with Marc in rehearsal, shifted to the day time lecture at which Helga
+spoke, and then moved back to night time just before her murder. When the
+murder is in progress there is a cut to a parallel event, which actually
+began before the attack, where Marc emerges from his building and encounters
+Carlo. In a purely linear sense this event follows the film's opening
+scene, but here a number a previously occurring activities have been
+interjected. Likewise Marc's conversation with Carlo, which by necessity of
+its duration begins temporally previous to the start of the attack on Helga,
+is located in the film wedged within the depiction of her killing.
+Unsignalled jumps forward and backward in time between scenes are unusual in
+conventional films, and their presence may lead to some complaints as to
+Deep Red being confusing. What is achieved by them is to inextricably tie
+the two characters of Marc and Carlo to the child related violence which has
+surrounded Helga. Their seemingly simple conversation is framed by riveting
+action, and thus focuses the viewer's attention strongly on this
+conversation. Argento's standard convention of a glimpsed and confusing bit
+of evidence is next introduced. Marc rushes upstairs to investigate but
+when he arrives he doesn't find the murderer. He becomes bothered by what
+he thinks is something missing from the wall, which was there when he first
+entered the room but soon after can't be found. His intuition is that one
+of the many odd paintings that line the apartment's wall has disappeared.
+What he does see for sure is a fleeing, black garbed figure when he peers
+out of the window. Marc is convinced that the missing artwork is a vital
+clue.
+
+When the police arrive, he is questioned and brought to the station, and
+thus in pure structure the opening of Deep Red strongly reflects The Bird
+With the Crystal Plumage. But Marc Daly's involvement with Helga's murder
+is far more complex on a subtextual level than Sam Dalmas' was with the
+crime that he witnessed. At the crime scene reporter Gianna Brezzi (Daria
+Nicolodi) arrives. She is brash and forward, and her personality
+immediately is contrasted with the cautious reservation of Marc Daly. When
+she publishes his photo on the next day's front page with an exaggerated
+story that he will identify the killer, another similarity to Bird is set up
+as he becomes a target. Marc, at first reluctantly, forms an investigative
+team with Gianna and their contrasting personalities contribute to the
+subtext, which like in other Argento films is a sexual one. In Deep Red,
+Marc's masculinity is questioned throughout by comparisons of the parallel
+characters of he and Carlo, and Gianna contributes to this with their
+interactions. She is aggressive, extols her femininity, and all but forces
+a date upon him. Marc is hesitant to her advances and appears somewhat
+intimidated. His masculinity is threatened when she taunts him for his
+reply of "neither do I" to her statement of being without a boyfriend,
+terrifies him with her aggressive driving through the streets of Rome, and
+beats him in arm wrestling after he lectures her about the fallacy of an
+equal standing between the sexes.
+
+An interesting stylistic technique has the scenes of character development
+between Marc and Gianna as the only ones in bright light and open space, and
+except for of a few establishing or transitional shots they are the only
+ones which occur outside during the daytime. Now immersed in the crime,
+Marc is intrigued by a drunken observation of Carlo's. Carlo had mentioned
+that Marc's perception of the missing painting suggests something
+significant and he expounds upon finding "the truth." An increasingly
+obsessed Marc wishes to further discuss Carlo's thoughts on the matter, and
+the following night goes to his home. Carlo is not there but his mother
+Marta is. She is ghostly looking and heavily made up for her age, which
+creates a somewhat monstrous image. She appears to size him up as a mother
+would a suitor for her daughter, before she informs him where Carlo can be
+found. When Marc goes to the address he is taken back by the transvestite
+who answers the door, which reveals Carlo's homosexuality. Carlo had been
+depicted with many symbolic traits associated with heterosexuals, and even
+had compared his piano playing with his handling of a woman. After Marc's
+initial surprise he treats the situation as perfectly normal. Marc's
+cinematic alter ego is however seen in a whole new light. His self-
+destructive alcoholism is heavily emphasized, and he is now shown to be a
+troubled person living with a strange and overbearing mother. These are, at
+least in popular perception, traits connected with gay men. As they stroll
+to the Blue Bar, Carlo reverses himself on his previous advice. He warns
+Marc away, but is rebuffed as Marc explains that his intrigue arises from
+being "attracted to madmen." The scene closes with a visual reinforcement
+of their connection when they are depicted playing the same piano side by
+side in the club.
+
+With both its structural and subtextual foundations now established, the
+film next shows an artistic cat and mouse game, which emphasizes the
+structural elements while being highly intriguing in its own carefully
+crafted excessiveness. The murderer arrives outside of Marc's door playing
+the childish music. Only a call from Gianna scares away the attacker, who
+hisses through the closed door that Marc will be killed. Marc finds a
+record of the song he heard and brings it to Giordani, Helga's colleague on
+stage. Argento uses a non-diegetic to diegetic switch in sound, a trick
+which will be expanded upon in Tenebrae. A scene of Marc walking down the
+street with a record in his hand uses the lullaby in the background. It is
+bridged to his meeting with Giordani where the record plays on a turntable.
+Giordani speaks of the killer as a "paranoid schizophrenic" who might appear
+normal but is triggered to violence by some thing or event. Giordani's
+partner offers a more supernatural suggestion when he links Helga's comments
+about a song, a house, and violence to an account in a book on modern ghost
+lore. Unfortunately for the book's authoress, the killer's zeal in stopping
+the investigation's progress leads to her house. Argento creates one of
+this films beautifully executed set pieces in depicting this murder. The
+woman finds a red tinged doll hanging in a noose from her ceiling. The
+taped lullaby is played and we glimpse another shot of a single, black
+circled eye appearing out of a black background in the darkened recesses of
+a closet. Recognition of the tune comes to the victim and she fearfully
+grabs some knitting needles, but the only result is to spear her frenzied
+pet raven as it flies into them. The image of ghostly evil associated with
+that black bird is ingrained in our minds from tales dating back to Poe, and
+a raven's use here foreshadows the much greater extent to which Argento will
+use them in Opera. The authoress' death comes when her head is thrust
+repeatedly under scalding water in a bathtub, each time emerging a deeper
+red in color. The killer grabs something from a bookshelf and leaves. With
+her last bit of life the victim attempts to write a clue in the steam. When
+Marc arrives to seek her assistance he finds her dead, and interprets her
+intended message as her pointing at the wall. He realizes that his being
+the first to arrive at another murder scene will not look good in the eyes
+of the police, and as his fingerprints are in the house he is now on a
+deadline to solve the crime. He has an additional motivation apart from his
+being stalked and his morbid curiosity.
+
+>From a copy of the ghost book Marc gets a photo of the house, and by
+quizzing nursery owners he is able to locate it through the identification
+of some rare trees in the picture. The exploration of this house is the
+film's best section. The photography of its interiors brings about a
+quality of living evil, with techniques which recall Bava at his best.
+Marc's explorations are intercut with the resolution of Giordani's fate. He
+visits the scene of the authoress' death and is able to correctly interpret
+what Marc could not. By turning on the hot water in the bathroom he sees
+that she wrote a clue in the steam, but his knowledge is deadly and sets up
+another great extended set piece. Giordani sits in his darkened and
+ominously quiet study, and is startled by a maniacal mechanical doll that
+comes charging from a dark corner. He is then descended upon by the black
+clad slasher who kills him by repeatedly and violently smashing his teeth
+against the corner of his desk, in graphic close up, before pinning his head
+to the desk with a knife through the back of the neck. The evil house
+scenes in Deep Red are a fleshing out of ideas that would be expanded into
+the central themes of both Suspiria and Inferno, Argento's next two films.
+The set up builds expectations of significance. Marc obtains the keys from
+the landlord, who has a peculiar daughter who tortures animals and warns of
+ghosts in the house (Nicoletta Emmi from Bava's Torture Chamber of Baron
+Blood). When Marc approaches the house and we view its exteriors the Goblin
+score is heard for the first time not directly associated with the killer.
+Inside it is dark, old, and strange. Objects fall and a window shatters
+above him raining down glass, which suggest an organic quality to the
+building, and that it is attacking him. His exploration reveals a flooded
+basement, a concept that will be key to Inferno's mise en scene. The theme
+of perception returns when Marc notices something strange about some paint
+peeling away from a wall. He is now able to make the correct inter-
+pretation, and chips it away to uncover a large child's drawing of a bloody
+knife attack, thus linking this house with the images introduced early in
+the film. With more foreshadowing of the next two films, Marc discovers a
+hidden room. A window shown in his photo is missing, and he finds it
+covered by a makeshift wall, which hides the house's secret. In this hidden
+room lies a rotting corpse and the remnants of a Christmas tree, indicating
+that the events depicted in the opening credits occurred here. Just as he
+makes his discovery Marc is clubbed from behind and left to die as the house
+erupts in flames around him. It is Gianna who arrives to save him, dragging
+him from danger as the flames in the background produce an eerie and
+illogical glow on his unconscious face.
+
+The identification of the killer is set up when Marc notices a similar
+drawing in the landlord's house to that which was painted over. The weird
+little girl tells of copying it from something she found in her school's
+archives. Marc and Gianna break into the school and find the original
+pictures. When they hear another person in the building Gianna calls the
+police. She is attacked by the same person whose name Marc finds attached
+to the drawings - Carlo. He's near psychotic as he raves to Marc about his
+warning to leave things alone. It seems to be that Carlo is revealed as a
+homicidal maniac whose torment drove him to kill as a child, and again now,
+as well as to bring on his other "problems" of alcoholism and homosexuality.
+Gianna is wounded, but the police arrive before Carlo can kill Marc, and he
+flees out onto the street to meet an especially gruesome end. Carlo trips
+as he runs and becomes entangled behind a truck. He is dragged in the
+street behind it until it makes a turn which causes his head to smash into
+the curb. Just as his body comes to rest, another car speeds over his head
+and smashes it to a bloody pulp. The police are incompetent, as is usual in
+an Argento film, and accept Carlo as the culprit. Even Marc initially fails
+to realize that this would be impossible. It is not until he is later
+walking in front of the building in which Helga was killed that he recalls
+that Carlo was with him then. Back upstairs in Helga's apartment Marc
+pieces together the puzzle left over from his first visit. It wasn't a
+picture missing from the wall but the reflection of a face in a hanging
+mirror. The camera moves so as to re-examine this phenomenon when it shows
+a mirror on the wall reflecting three faces - two ghastly images from
+paintings across the hall, and perfectly matched with them that of the old
+and overly made up Marta. She attacks Marc with a cleaver and seriously
+wounds him. The weak Marc appears to succumb to the killer whom he couldn't
+identify. A complete version of the opening flashback is played out. It
+reveals that Carlo's father was preparing to have an insane Marta committed,
+but rather than go away she stabs him with a kitchen knife while their young
+son looks on. Before she can finish Marc off, her necklace is caught in an
+elevator mechanism, and when Marc starts the car moving it results in her
+decapitation as the chain slices through her neck in detailed close up.
+The film's final image is of Marc's reflection as he ponders himself,
+significantly in a pool of Marta's red blood.
+
+There are two main subtextual themes that run through Deep Red. The first
+draws a parallel between Marc and Carlo and uses the more obvious psychosis
+and personality traits of Carlo to reflect upon Marc. Marc's masculinity is
+continuously called into question, such as when the police first interrogate
+him and the inspector questions the legitimacy of a man earning his living
+by playing music. The image of Marc being a head shorter than Gianna as he
+sits in her car's broken passenger seat gives a definite visual image of her
+dominance. It is also she who saves him from the burning house. Even Marta
+overpowers him, and it is only through a lucky circumstance that he escapes
+from her. Marc's unstable psyche is the larger theme at work. His mental
+state is shown to slip to a greater extent as he is drawn into investigating
+the crimes. The terrors in Marc's own mind compound the terrors that he is
+experiencing, which build upon the overall anxiety of his experience, and by
+extension the audience's. The second subtext deals with perception. The
+use of Marta's eyeball throughout underlines the process of seeing, and
+clearly in the world of Deep Red things often are different than they may
+initially seem. Marc struggles for the correct interpretation of what he
+saw in Helga's apartment, he misinterprets the clue from the dead authoress
+in her bathroom, and he initially misdiagnosis the guilt of Carlo even
+though they were clearly together at the time of Helga's death. The
+perception theme is materialized in a series of tighter and tighter shots on
+Marc's head, his face, both eyes, and finally a single eye as he first
+encounters the old house, which is a key link to the resolution of the
+mystery.
+
+There are a number of illogical leaps of faith in the progression of Deep
+Red's story. It is quite a coincidence that the man who imported the trees
+is found and can identify the location of the house, and that the landlord's
+strange daughter happened to dig out Carlo's drawing from the school
+archives to copy. (Her oddness probably is used to de-emphasize this
+unlikely coincidence. Her character masks it by the occultishness of her
+personality.) Marc's encounter with Carlo in the vicinity of Helga's
+murder is likewise coincidental, and why Marta was at Helga's lecture is
+never explained. None of this matters, as the effect of the film is not
+achieved through its ability to tell a complete story. These are just links
+from one important element of it the to the next. The dismissal of
+narrative as no more than a necessary means for delivering more subtle
+messages is one of the traits of Argento and Leone that make them
+interestingas filmmakers. It is at the same time one of the principal
+driving forces for the rabidly angry negative criticism of their work from
+American reviewers. Deep Red's use of horrific elements is interesting.
+The supernatural is constantly invoked: in Helga's demonstration, by
+Giordani's partner, by the strange little girl, and by the occurrences
+inside the house. Argento is careful however to always offer a logical and
+scientific explanation after the fact. He clearly implies by the end that
+all the events of the story were the results of a twisted criminal mind and
+not of magic, but the point where one begins and the other ends is so gray
+that he seems to be making at least a subliminal comment as to the
+relationship between the two. Ventures into spiritualism, or at least hints
+of it, is another watershed event in Deep Red. The animal trilogy is
+comprised of films that fit well into the giallo mold, even if they are more
+extravagant examples of it. After Deep Red, elements of horror enter into
+Argento's films, ranging from a complete dedication to them in Suspiria's
+and Inferno's tales of witchcraft, a mixing of the giallo and the
+supernatural in the insect communication theme of Phenomena, or in Trauma's
+use of a technique similar to, but more ambiguous than, Deep Red's.
+
+Deep Red was distributed in America by Mahler Films, who issued it under the
+exploitative title The Hatchet Murders. The level of violence begins to
+increase greatly with this release, which influenced their trimming of it
+down to 100 min from its original 121 min running time. The gore was
+lessened and a number of scenes of dialog between Marc and Gianna, as well
+as some between Marc and Carlo, were cut out. This editing and a shock
+value ad campaign attempted to play it up for its more horrific elements,
+but it mostly succeeded only in making a convoluted film quite confusion by
+taking out some defining sequences. Details of the cuts can be found in the
+summation of Argento on video in part B.
+
+
+In the United States, Argento is usually referred to as a director of horror
+films. This somewhat erroneous classification is probably largely due to
+the success of SUSPIRIA (1977), his most well known work here. The wide
+release given to Phenomena (1983), in its edited form as Creepers (by New
+Line Cinema), and to Two Evil Eyes (1990), as well as his production roles
+on George Romero's Dawn of the Dead (1979) and Lamberto Bava's Demons
+(1985), solidify this image. While Suspiria is markedly distinct from it's
+predecessors, it still contains some structure similar to the gialli. In
+fact, Suspiria's follow-up, Inferno, which was shelved by Twentieth Century
+Fox and never theatrically released in America, and Phenomena are much
+closer to true horror films. Suspiria incorporates themes of supernatural
+evil and magic, and thus it does stand apart from the pure crime thrillers.
+It is a film in which the mise en scene is absolutely dominant, and one in
+which everything is purposely done to excess in pursuit of its desired
+effect. Argento's previous work, as has been discussed, did not adhere to
+the idea of narrative preeminence, and each project veered further away from
+a traditional use of it than its predecessor. Another huge step in this
+direction is taken with Suspiria, as its narrative is almost completely
+subjugated to its reliance on visual and aural effects.
+
+The story concerns American ballet student Suzy Banyon, who travels alone
+to the Tanz Academy in Freiberg, Germany in order to continue her dance
+studies. The Academy is an awkward place, habituated by superficial
+students and a frightening collection of instructors and servants. Suzy is
+very much played as the outsider within this eerie realm. Concurrent with
+her arrival, a series of brutal murders surrounding the Academy take place.
+Most of her fellow students are aloof to the matter or hostile to its
+investigation, and the two who are concerned by the violence are killed
+themselves in horrible ways. The only distinct plot has the curious
+American newcomer unearthing the secrets the Academy. It is found to be the
+home of a coven of witches, comprised of the instructors and the head
+mistress, and headed by the Academy's powerful founder Helena Marcos. Her
+living but decrepit 100+ year old body is kept hidden away within the
+building. Suzy is able to expose them by piecing together bits of
+information from an encounter upon her arrival, from learning secrets
+uncovered by her inquisitive roommate before she mysteriously disappears,
+and from an awkward research psychiatrist who believes in witches. Upon
+discovering the witches' existence and finding their hidden lair within the
+old house, Suzy destroys them by destroying their leader. There is a basic
+plot developed through her ordeal, but the real strength of the film is in
+its representations of Suzy's struggle against the coven, of her position as
+an outsider within the creepy environment, and of the presence of a lurking,
+pure evil.
+
+The elements of the giallo utilized are a part of Suzy's investigation into
+the strange deaths that occur around her. The opening approximately twenty
+minutes are some of the most striking cinema ever created by the director.
+Anyone put off by the cliched methodologies of some of the more mundane
+"slasher" films should observe that acts of violence can be built up to and
+executed in a thrilling and beautiful manner, and one in which all elements
+of film construction, both in their presence and their absence, are
+masterfully manipulated. The opening of Suspiria probably represents
+Argento's best work. The film begins with Suzy arriving at the airport in
+Freiberg. She is by herself in a foreign land, and a threatening storm is
+raging outside. The color scheme of the film is demonstrated immediately;
+it is one in which lights bathe sections of the mise en scene with deep
+dominant reds and blues, and less prominent yellows as greens. This
+unnatural lighting and the overamplified sounds of the storm create the
+feeling that Suzy is vulnerable and in a hostile environment. Taxis zoom by
+without stopping for her as the rain pours down. She is forced to jump in
+front of one, and when it pulls over the driver is rude and refuses to help
+her with her bags. Suzy is yet to be identified but her situation is
+alluded to immediately. When she exits the airport, the camera tracks
+toward the doors leading outside from her point of view. When they open,
+the contrasting darkness and loud, raging storm on the other side meta-
+phorically represent what she will be stepping into. The world seems odd,
+with a subtle, strange character to it. Suzy's face is bathed in blue light
+of indeterminable source as she slumps in the corner of the cab's back seat.
+The surly driver sarcastically questions her not-perfect-enough German when
+the American gives her destination, and then they begin speaking in English
+to each other without explanation or reflection on his previous supposed
+inability to understand her. Throughout Suzy remains sturdy and confident,
+and in no way is she presented as someone who is frail or easily defeated.
+
+The primary nature of the color scheme is maintained upon reaching the
+Academy, as the building itself is solid red. The front door opens just as
+she arrives and a young woman is shown arguing with someone inside. The
+woman runs into the night after frantically warning Suzy to stay away.
+This encounter supplies a clue which Suzy will struggle to interpret, and
+eventually will use to solve the building's puzzle. The only thing that she
+could understand from the conversation are the words "secrets" and "irises,"
+and the meaning of this utterance is immediately intriguing to her. With
+this plotting Argento has preserved a key element of his style, even while
+moving into a story of a completely different sort. Suzy can't get anyone
+to let her in and so she returns to the cab. As they drive away the eerie
+image of the woman she encountered is shown running terrified through the
+forest from a shot through the car window as they pass her. The story now
+follows the woman. She arrives at the home of a classmate living away from
+the Academy. This building maintains the film's look with its two story
+lobby painted a solid green, and in its angular and modern design. The
+visitor is still highly excited and informs her hostess that she is leaving
+Tanz the next morning. She is allowed to stay overnight and uses an
+upstairs bathroom. There has been a constant assault on the senses in all
+areas of perception up to this point, through the extreme colors, an
+intensely loud soundtrack, and Argento's usual frenzied direction. This
+makes the eerie silence and steady mid-range camera that is now adopted
+somewhat striking. Accompanied by the spooky silence her attention is drawn
+out the window she is standing next to. She peers into the darkness and
+then uneasily pulls back. A flash of demonic eyes comes from outside, she
+returns to the window, and then the shrieking Goblin score returns in a
+startling fashion to accompany the inhuman hands which smash through the
+window and get her in their grasp. Her screams are ultra-amplified on the
+soundtrack to accompany the attack. The camera switches its perspective to
+outside the window with a brutal shot, which shows her face being pulled
+forcefully against a pane of glass in an unbroken section, until it smashes
+through amongst flying pieces. A knife is buried in her chest, and in a
+match to Four Flies on Grey Velvet's beating heart credits, her own beating
+heart is exposed and penetrated with the blade. The finale has her bound by
+a rope at the feet and thrown through a skylight from the roof. Her body
+comes to a rest, bloodily hanging inches from the floor below, as her
+hostess lies dead nearby, impaled by debris falling from the broken
+skylight. Argento realized the disturbing feeling induced by the image of
+multiple wounds inflicted by numerous pieces of sharp, shattered glass. He
+developed this idea with Helga's murder in Deep Red, and a variation is
+later employed in the opening murder of Phenomena.
+
+>From this point the film is mostly a series of carefully constructed and
+sensually striking sequences which serve to demonstrate the evil presence.
+The film world is dark and peculiar looking in all its aspects, and its
+inhabitants are mostly unlikeable and threatening. Suzy returns to the
+Academy the next day, arriving in the middle of the police investigation
+into the previous night's events. As in other Argento films the detectives
+are completely unsuccessful in their work. The environment is hostile. Suzy
+is scolded by the headmistress, Madame Blanc (Joan Bennett), for not
+arriving the night before. The instructors are terse and masculine,
+especially Miss Tanner (Alida Valli) who has a stereotypical stern manner
+and appearance with her large frame, tightly constrained hair, and
+unfeminine style. The students are almost all petty and greedy, and they
+bicker constantly. Other odd characters inhabiting the house are a giant,
+monstrous-looking, mute servant, a blind piano player, and Madame Blanc's
+annoying, prissy young nephew. As in the filmic elements of Suspiria, these
+characters are all purposefully exaggerated to emphasize the strangeness of
+their world.
+
+Suzy is told that her room is not yet ready, and so she will have to stay in
+an older student's apartment, which she is glad to do. After one night
+Madame Blanc informs her that her room at the Academy is prepared, but Suzy
+resists the headmistress' angry pressure for her to move in. Already
+tension is developing between the new student and the establishment, and a
+tense Miss Tanner is driven to hiss a comment at Suzy concerning her strong
+spirit. At her first practice session she mysteriously collapses, and when
+she awakes she finds that she has been moved into the Academy, and is being
+treated by a questionable doctor who prescribes red wine to "build up the
+corpuscles." Her new roommate is Sara (Stefania Casini), an American who
+had been the only student friendly to her previously. Sara reveals that she
+was the person to whom the frightened woman Suzy encountered on her first
+arrival was speaking, and she tells of her suspicions of the presence of a
+coven at Tanz. Sara has detected footsteps while lying in bed at night
+which lead to somewhere other than the house's exit, at a time when the
+staff is supposed to be going home. When she is driven to investigate one
+evening, she never returns. It is explained to Suzy that her roommate
+simply decided to leave the school and promptly did so. Suzy's suspicion of
+this explanation leads her to contact a psychiatrist who Sara had been
+discussing her fears with. She arranges to meet him at a professional
+conference he is attending. Their encounter is interesting for the
+contrasting style in which it is filmed. She meets him outdoors within the
+city. This is one of the only scenes is Suspiria that takes place in the
+daytime, and it the only one which is brightly lit, set against a modern
+background, and is not dominated by an overwhelming color scheme. Sara's
+psychiatrist is skeptical of the occult, but he introduces Suzy to his
+colleague, an author and expert on the subject who tells her the history of
+Tanz. It was built and founded by Helena Marcos, a powerful and evil witch,
+in the 19th century. He explains that she was destroyed and that her coven
+was broken apart long ago, and since then the dance school has occupied the
+space that was designed as the housing for the practice of black magic. He
+informs her that a coven draws all of its power from its leader, and if the
+leader is destroyed the coven's head will be removed, and then the remaining
+members will be rendered powerless. This scene invokes logic, science, and
+reason, apart from the mysticism that has been dominating the story, and the
+look of it may be designed to underline this contrast. It also provides an
+important narrative link from the establishment of the film's environment to
+its method of conclusion.
+
+Suzy uses this information, along with that which she learned from her
+roommate, and her solution as to the meaning of the words "secrets" and
+"irises," to uncover the witches' hidden lair. In typical Argento style,
+she is convinced that the overheard words are very important, and she
+struggles first to figure out exactly what was said, and then to interpret
+its meaning. When she awakens one night to find everyone supposedly gone to
+a concert she is spurned into action. The final sequence builds upon the
+effect Argento created with Marc Daly's exploration of "The House of the
+Screaming Child" in Deep Red. A full sense of foreboding and uncertainty as
+to what will occur next is created by the set decor, the lighting, and the
+camera movement, while the house is being explored. She deciphers the
+meaning of "secrets" and "irises" when she studies the painted wall behind
+Madame Blanc's desk. The words are a clue to the location of a secret door,
+opened by manipulating a switch hidden in the flowers pictured there. When
+Suzy passes through the hidden door into the outer reaches of the witches'
+lair logical space ceases to exist. The geometry of the areas she moves
+through is confusing. Hallways circle about in seemingly impossible
+directions, and hidden rooms are found in spaces that they should not be
+able to occupy. The deep, bathing blue and red light and the Goblin
+soundtrack add to the sense that there is something otherworldly to her
+surroundings. When she finally reaches the inner sanctum, she spies on a
+meeting in progress. All of the Academy's strange inhabitants are present,
+and Madam Blanc is raving that Suzy knows too much and must be destroyed.
+Her attention is drawn away however by some heavy breathing, which she
+believes belongs to Helena Marcos, who she suspects is still living
+somewhere in the house. Suzy stealthily creeps past the meeting room and
+toward the lair of the powerful leader. She enters a room in which the
+heavily breathing figure is hidden in a bed behind a translucent white
+curtain. An odd looking glass statue of a peacock dominates the room's
+decor, and when Suzy knocks it over Argento uses this as a device to draw
+attention toward the figure in the bed. It shatters loudly and the camera
+tracks several balls, which were part of the figure as they roll on the
+ground, drawing Suzy, and the audience, toward Helena's bed. She grips a
+sharp spike from the peacock in her hand as she approaches. The blackened,
+crusty, old face of the ancient woman is horrific when she makes herself
+visible to the intruder. Suzy is able to stab her with the glass spike,
+which kills her and thus destroys the coven. The house explodes into flames
+and collapses around her as she flees, and the final shot has her running
+out into the rain through the familiar front red door of Tanz as it burns
+brightly behind her.
+
+The story is very straightforward, but it only serves as a framework for the
+cinematographically over the top depiction of an evil and illogical world.
+Apart from the persistent sensual overload there are diversions away from
+the main plot which further this depiction. The red wine served nightly to
+Suzy makes her gag, and when she tosses it into the sink it has a thick,
+opaque, blood-like appearance for which no explanation is given. During one
+evening the girls are preparing for bed when one finds maggots crawling
+through the brush she is using on her hair. Quickly there are more of them
+as they fall down through the cracks in the ceiling until they cover every
+exposed surface. This is explained away by the discovery of some rotted
+food stored in the attic, but clearly it is designed to increase the level
+of uneasiness perceived by the audience toward the Academy.
+
+A classic Argento set piece revolves around the death of the blind piano
+player. He is abruptly fired after his seeing eye dog attacks Madam Blanc's
+creepy nephew. As he strolls home with his dog and red tipped cane, we see
+him emerge within the center of a vast plaza. It is night time, the place
+is deserted, and the surrounding buildings are many meters away. They are
+large, dark, of an old styled architecture, and they completely encompass
+the flat open space that he is in. The camera reveals from a long shot that
+he is absolutely alone within this space between buildings, but this sense
+of aloneness can't be perceived by the sightless man. While standing there,
+his dog becomes agitated, and barks and snaps in all directions. He senses
+something around him, but the audience can see that there is nothing visible
+there. An extravagant shot follows in which the camera takes a point of
+view from atop one of the buildings where a demonic statue is located. In
+one continuous take it swoops down at the piano player from about fifty
+meters away, giving the image of an unseen entity attacking. The blind
+man's dog then turns against him and grabs him by the throat until he dies.
+In another night time sequence, a bat unexpectedly charges at Suzy through
+her bedroom window. The first appearance of its ghostly eyes matches the
+ghoul's appearance outside the window at the film's beginning. When Sara
+explores the house just prior to her death, she passes through areas of
+unusual and illogical design, until she eventually is killed by the evil
+force after stepping down into a room improbably filled with barbed wire.
+
+All of these diversions are more important to the construction of Suspiria's
+twisted mise en scene than is any portion of the story. Much has been said
+about the color scheme and the shrieking Goblin music in Suspiria, but their
+effect has to be experienced to be completely understood. No other film
+that I have seen uses these components to such extremes. Color is
+everywhere. The practice rooms at the Academy are named the "red room" and
+the "yellow room" in a subtle nod to the photography; virtually every scene
+is dominated by, and saturated with, rich colored light. Faces may be
+bathed in blue and the background in red while a bright yellow shines
+through from beyond a nearby doorway. Bava is again an obvious influence,
+as he used a similar technique to great effect in films such as Hercules in
+the Haunted World, The Whip and the Body, and Planet of the Vampires. As
+with all aspects of Suspiria, Argento amplifies the effect to a level
+designed to contribute to an overall sense of unreality. Argento describes
+the filming process this way: "I...used out-dated old Kodak stock, a formula
+nearly forty years old. Then when the film was processed it was processed
+using the old three-pack process, again very old and never used these days.
+You can alter the look of the film in the lab by those means. The same
+process was used a lot in the early fifties, as in War of the Worlds.
+Republic Films and their 'Trucolor' process. Very striking. I can't use it
+again because Suspiria used up the last of the stock. There's no more left
+anywhere in the world, except in China..." The cinematography of Luciano
+Tovoli contributed greatly to Suspiria's look. He again worked with Argento
+on Tenebrae, a film drastically different from Suspiria visually.
+Suspiria's look is recalled in Tovoli's recent work on Obsession: A Taste
+for Fear (1988, dir: Piccio Raffanini). The score of Suspiria was actually
+composed and recorded prior to the actual shooting. Argento has said that
+he played it loudly and continuously on the set during filming, as he
+"wanted the cast to really feel the terror."
+
+Suspiria was co-written with Daria Nicolodi, whom Argento met when she
+co-starred in Deep Red. Nicolodi recalled a story told to her by her
+grandmother involving a girl's school occupied by witches, and together they
+created a script inspired by this concept. Argento originally intended to
+have the students be young children who are abused by the older women, but
+this was decided to be too excessive. The basic plot is enriched by a theme
+which Argento took from the work of Thomas DeQuincy, a 19th century British
+writer most well known for his "Confessions of an English Opium Eater" (see
+the interesting film adaptation starring Vincent Price titled Confessions of
+an Opium Eater [aka Souls for Sale, 1962, dir: Albert Zugsmith]). DeQuincy
+wrote a hallucinatory tract, while under the influence of his favorite
+substance, titled "Levana and Our Lady of Sorrows," in which he sketched out
+a fable of "The Three Mothers". They are a trio of evil witches comprised
+of Mater Suspiriorum (Our Lady of Sighs), Mater Lachrymarum (Our Lady of
+Tears), and Mater Tenebrarum (Our Lady of Darkness). This story loosely
+forms the basis of The Three Mothers Trilogy, of which Suspiria is the first
+part and Inferno the second, with the third installment yet to be made. Not
+much of this theme is evident in Suspiria, but the fable is spelled out in
+Inferno, where Helena Marcos as Mater Suspiriorum is referred back to. The
+specifics of the Three Mothers story will be outlined when Inferno is
+addressed in FUNHOUSE! #5, as it basically provides the only narrative to be
+found in that film. Suspiria is a great departure from Argento's previous
+work, but it also contains some of the unique styles developed in those
+films taken to their extremes. It was released by Twentieth Century Fox in
+America, who snipped a few of the more graphic bits of gore from the first
+killing, under their International Classics subsidiary. They had great
+success with it commercially, which led them to contribute to the financing
+of Inferno.
+
+references:
+
+books -
+
+Broken Mirrors Broken Minds: The Dark Dreams of Dario Argento by Maitland
+ McDonagh, Sun Tavern Fields (UK), 1991, ISBN: 0-9517012-4-X
+"Opera of Violence: The Films of Dario Argento" by Douglas E. Winter in
+ Cut!: Horror Writers on Horror Films, edited by Christopher Golden,
+ Berkley, 1992, ISBN: 0-425-13282-X
+Il Cinema dei Mostri : Da Godzilla a Dario Argento by Luigi Cozzi, Fanucci
+ (Italy), 1987, ISBN: 8-834-70018-X
+"Dario Argento: Myth and Murder" by Todd French in The Deep Red Horror
+ Handbook edited by Chas. Balun, Fantaco Enterprises Inc., 1989, ISBN:
+"The Butchering of Dario Argento " by Tim Lucas in The Video Watchdog Book,
+ Video Watchdog, 1992, ISBN: 0-9633756-0-1
+The Encyclopedia of Horror Movies ed. by Phil Hardy, Harper & Row,
+ 1986, ISBN: 0-06-096146-5
+The Psychotronic Encyclopedia of Film by Michael Weldon, Ballantine,
+ 1983, ISBN: 345-34345-5
+Profondo Thrilling (Italy), 1975, (scripts for first three films)
+The International Dictionary of Films and Filmmakers: vol. IV - Writers
+ and Production Artists, entry by Anthony Ambrogio, St. James Press, 1984,
+ ISBN: 0-912289-09-0
+
+articles -
+
+Dario Argento Special by Jean-Paul Aubry, Cine 2000 (special issue),
+ Sep 1977
+"La Paura la Musica il Cinema" by E. Ghezzi and M. Giusti, Filmcritica,
+ Feb 1981
+"Nel Mio Spettacolo di Festa Sanguinario" by F. Bettelli and A. Grimaldi,
+ Filmcritica, Feb/Mar 1983
+"Europe's Master of Horror" by Martin Coxhead, Fangoria no 34, Mar 1984
+"The Italian Hitchcock" by Martin Coxhead, Fangoria no 35, Apr 1984
+"Dario Argento by Luigi Cozzi" by Martin Coxhead, Cine-Zine-Zone no 8,
+ Autumn 1981
+"Dario Argento Profile" by Alan Jones, Cinema no 5, Sep 1982
+"Argento" by Alan Jones, Cinefantastique, vol 13 no 8 , Dec 1983
+"Argento" by Alan Jones, Cinefantastique, vol 14 no 1, Jan 1984
+"Dario Argento" by E. Caron-Lowins, Revue du Cinema, Mar 1986
+"Magic All Around Us: A New Approach to the Films of Dario Argento, Part 1",
+ by John Martin, Samhain no 6, Nov/Dec 1987
+"Magic All Around Us: A New Approach to the Films of Dario Argento, Part 2",
+ by John Martin, Samhain no 7, Jan/Feb 1988
+"Magic All Around Us: A New Approach to the Films of Dario Argento, Part 3",
+ by John Martin, Samhain no 8, Mar/Apr 1988
+"Retrospective: Dario Argento" by Maitland McDonagh, Horror Fan vol 1
+ no 4, Winter 1989
+"Dario Argento Interview", The Dark Side, Dec 1990
+"Argento: In at the Deep End" - Dario Argento interview, Fantasynopsis no 4,
+ 1991
+"Valdets Maestro" by R. Svenson, Chaplin vol 33 no 3, 1991
+Special Giallo Issue by Craig Ledbetter, European Trash Cinema vol 2,
+ no. 6, 1992
+"Profondo Argento" - Dario Argento interview, Giallo Pages no 1, 1992
+Directed by Dario Argento, Fantasy Film Memory no 4 and 5 (UK, special
+ edition) by John Martin, 1993
+"The Elegant Brutality of Dario Argento" by Maitland McDonagh, Film
+ Comment vol 29 no 1, Jan/Feb, 1993
+"Three Italian Masters: Part I - Bava" by Jeff Dove, FUNHOUSE! cyberzine
+ vol 1 no 3, Dec 29, 1993
+"Daria Nicolodi on..." - Daria Nicolodi interview, Giallo Pages no 2, 1993
+
+filmography:
+
+as director -
+
+THE BIRD WITH THE CRYSTAL PLUMAGE (L'uccello Dalle Piume di Cristallo) aka
+The Phantom of Terror aka The Gallery Murders aka The Bird With the Glass
+Feathers - 1970. A Seda Spettacoli (Italy), CCC (W.Germany), Sidney
+Glazier/UMC Pictures (US) release; Dr/Wr: Dario Argento, Pr: Salvatore
+Argento, C: Vittorio Storaro, M: Ennio Morricone, E: Franco Fraticelli,
+Art-Dr: Dario Micheli, S: Carlo Diotavelli, Asst-Dr: Roberto Pariente, Cast:
+Tony Musante, Suzy Kendall, Eva Renzi, Enrico Maria Salerno, Mario Adorf,
+Renato Romano, Umberto Raho, color, 98 min
+
+THE CAT O' NINE TAILS (Il Gatto Nove Code) - 1971. A Seda Spettacoli/
+Mondial Films (Italy), Terra Filmkunst (W.Germany), Labrador Films (France),
+National-General Pictures (US) release; Dr/Co-Wr: Dario Argento, Pr:
+Salvatore Argento, Co-Wr: Luigi Collo, Dardano Sacchetti, C: Enrico Menczer,
+M: Ennio Morricone, E: Franco Fraticelli, Art-Dr: Carlo Leva, S: Luciano
+Vittori, Asst-Dr: Roberto Pariente, Cast: Karl Malden, James Franciscus,
+Catherine Spaak, Cinzia de Carolis, Carlo Alighiero, Vittorio Congia, Pier
+Paolo Capponi, Corrando Olmi, Tino Carraro, Aldo Reggiani, Horst Frank,
+Emilio Marchesini, Tom Felleghy, Rada Rassimov, color, 112 min
+
+FOUR FLIES ON GREY VELVET (Quattro Mosche di Velluto Grigio) aka Four Flies
+on Gray Velvet aka Four Patches of Grey Velvet - 1972. A Seda Spettacoli
+(Italy), Marianne/Universal Productions (France), Paramount Pictures (US)
+release; Dr/Co-Wr: Dario Argento, Pr: Salvatore Argento, Co-Wr: Luigi Cozzi,
+Mario Foglietti, C: Franco di Giacomo, M: Ennio Morricone, E: Francoise
+Bonnot, Art-Dr: Enrico Sabbatini, Angelo Jacono, S: Nick Alexander, Asst-Dr:
+Roberto Pariente, Luigi Cozzi, Cast: Michael Brandon, Mimsy Farmer,
+Jean-Pierre Marielle, Francine Racette, Carlo Pedersoli (as Bud Spencer),
+Calisto Calisti, Marisa Fabbri, Oreste Lionello, Fabrizio Moroni, Stefano
+Sattaflores, Constanza Spada, color, 101 min
+
+THE TRAM (Il Tram) - 1972. An episode of the TV series The Door of
+Darkness (La Porta Sul Buio). Directed under the name Sirio Bernadotte.
+
+EYEWITNESS (Testimone Ocular) - 1972. An episode of the TV series The Door
+of Darkness (La Ports Sul Buio). Directed under the name Roberto Pariente.
+
+THE FIVE DAYS OF MILAN (Le Cinque Giornate) - 1973. A Seda Spettacoli/Euro
+International Films/Salvatore Argento Presentation release; Dr/Co-Wr: Dario
+Argento, Pr: Salvatore Argento, Ex-Pr: Claudio Argento, Co-Wr: Vanni
+Balustrini, Vincenzo Ungari, Luigi Cozzi, C: Luigi Kuveiller, M: Giorgio
+Gaslini, E: Franco Fraticelli, Art-Dr: Giuseppe Bassan, Cast: Adriano
+Celentano, Enzo Cerusico, Marilu Tolo, Sergio Graziani, Carla Tato, Luisa
+DeSantis, Glauco Onorato, Ivana Monti, color, 100 min
+
+DEEP RED (Profondo Rosso) aka The Hatchet Murders aka Dripping Deep Red aka
+The Sabre Tooth Tiger aka Suspiria 2 - 1975. A Seda Spettacoli/ Salvatore
+Argento (Italy), Lea J. Marks/Radcliffe Associates/Howard Mahler/TriStar
+Distributors (US) release; Dr/Co-Wr: Dario Argento, Pr: Claudio Argento,
+Co-Wr: Bernardino Zapponi, C: Luigi Kuveiller, M: Giorgio Gaslini, Goblin,
+E: Franco Fraticelli, Art-Dr: Giuseppe Bassan, S: Mario Farrami, Sp-Ef:
+Germano Natali, Carol Rambaldi, Cast: David Hemmings, Daria Nicolodi,
+Gabriele Lavia, Macha Meril, Clara Calamai, Glauco Mauri, Eros Pagni,
+Giuliana Calandra, Nicoletta Elmi, Piero Mazzinghi, color, 121/105/100 min
+
+SUSPIRIA - 1977. A Seda Spettacoli (Italy) and Twentieth Century Fox (US)
+release; Dr/Co-Wr/M: Dario Argento, Pr: Claudio Argento, Ex-Pr: Salvatore
+Argento, Co-Wr: Daria Nicolodi, C: Luciano Tovoli, M: Goblin (The Goblins in
+English print), E: Franco Fraticelli, Art-Dr: Giuseppe Bassan, S: Mario
+Dallimonte, Asst-Dr: Antonio Gabrielli, Sp-Ef: Germano Natali, Cast: Jessica
+Harper, Stefania Casini, Joan Bennet, Alida Valli, Flavio Bucci, Udo Kier,
+color, 100/98 min
+
+INFERNO - 1980. A Produzioni Intersound (Italy) and Twentieth Century Fox
+(US, unreleased) release; Dr/Wr: Dario Argento, Pr: Claudio Argento, Ex-Pr:
+William Garroni (US), C: Romano Albani, M: Keith Emerson, E: Franco
+Fraticelli, Art-Dr: Giuseppe Bassan, S: Francesco Groppioni, Luciano and
+Massimo Anzellotti, Asst-Dr: Lamberto Bava, Mario Bava (uncredited), Sp-Ef:
+Germano Natali, Cast: Irene Miracle, Leigh McCloskey, Eleonora Giorgi, Daria
+Nicolodi, Sacha Pitoeff, Alida Valli, Veronica Lazar, Gabrielle Lavia,
+Feodor Chaliapin, Leopoldo Mastelloni, Ania Pieroni, James Fleetwood,
+Rosario Rigutini, Ryan Hilliard, Paolo Pauloni, Fulvio Mingozzi, Luigi
+Lodoli, Rudolfo Lodi, color, 107 min
+
+TENEBRAE (Sotto Gli Occhi Dell'Assassino) aka Unsane - 1982. A Salvatore
+Argento/Sigma Cinematografia (Italy) release; Dr/Co-Wr: Dario Argento, Pr:
+Claudio Argento, Co-Wr: George Kemp, C: Luciano Tovoli, M: Simonetti,
+Pignatelli, Morante (all of Goblin), E: Franco Fraticelli, Art-Dr: Giuseppe
+Bassan, Maurizio Garrone, S: Mario Dallimonti, Luciano and Massimo
+Anzellotti, Asst-Dr: Lambert Bava, Michele Soavi, Sp-Ef: Giovanni Corridori,
+Cast: Anthony Franciosa, Daria Nicolodi, John Saxon, Giuliano Gemma, Eva
+Roberts/Roberto Coatti, Mirella D'Angelo, John Steiner, Veronica Laria, Ania
+Pieroni, Lara Wendel, Carola Stagnaro, Christian Borromeo, color, 101/100/89
+min
+
+PHENOMENA aka Creepers - 1985. A Dacfilm (Italy) and New Line Cinema (US)
+release; Dr/Co-Wr/Pr: Dario Argento, Co-Wr: Franco Ferrini, C: Romano
+Albani, M: Bill Wyman and Terry Taylor, Iron Maiden, Motorhead, Andy Sex
+Gang, Simon Boswell, Claudio Simmonetti, Fabio Pignatelli, Piero Bozza,
+E: Franco Fraticelli, Art-Dr: Maurizio Garrone, Nello Giorgetti, Luciano
+Spadoni, Umberto Turco, S: Franco Fraticelli, Nick Alexander, Asst-Dr:
+Michele Soavi, Bettina Graeba, Sp-Ef: Sergio Stivaletti, The Corridori
+Brothers, Cast: Jennifer Connelly, Daria Nicolodi, Dalia di Lazzaro, Donald
+Pleasance, Patrick Bauchau, Fiore Argento, color, 110/82 min
+
+PHENOMENA - 1985. A music video by Claudio Simonetti, produced and directed
+by Argento.
+
+OPERA aka Terror at the Opera - 1987. A Cecchi Gori Group/Tiger Cinema-
+tografica/ADC Production/RAI Radio Televisione Italiana (Italy) release:
+Dr/Co-Wr/Pr: Dario Argento, Ex-Pr: Ferdinando Caputo, Co-Wr: Franco Ferrini,
+C: Ronnie Taylor, M: Brian Eno and Roger Eno, Claudio Simonetti, Bill Wyman
+and Terry Taylor, Steel Grave, Northern Light, Giuseppe Verdi, Vincenzo
+Bellini, Giacomo Puccini, E: Franco Fraticelli, Art-Dr: Davide Bassan,
+Gianmaurizio Fercioni, S: I.M. Anzelotti, Asst-Dr: Michele Soavi, Paulo
+Zenatello, Antonio Gabriella, Alessandro Engamgiola, Sp-Ef: Renato Agostini,
+Sergio Stivaletti, Barbara Morosetti, Antonio and Giovanni Corridori,
+Germano Natale, Cast: Cristina Marsillach, Ian Charleson, Urbano Berberini,
+Antonella Vitale, Barbara Cupisti, Coralina Cataldi Tassoni, Daria Nicolodi,
+Francesca Cassola, William McNamara, 100/98/?. min
+
+FIAT CROMA - 1987. A television commercial for a car, the Fiat Croma.
+
+TRUSSARDI ACTION - 1988. A fashion show for Trussardi.
+
+TWO EVIL EYES (Due Occhi Diabolici) aka Due Occhi Malocchio, the segment The
+Black Cat (Il Gatto Nero) - 1990. A Penta Film (Italy) and Taurus
+Entertainmanet (US) release. Black Cat segment: Dr/Co-Pr/Co-Wr: Dario
+Argento, Co-Pr: Achille Manzotti, Ex-Pr: Claudio Argento, Co-Wr: Franco
+Ferrini, Edgar Allan Poe, C: Peter Reniers, E: Pat Buba, Art-Dr: Fernando
+Franchi, Cletus Anderson, Asst-Dr: Luigi Cozzi, Nick Mastandrea, Maria
+Melograne, Fred Donatelli, Sp-Ef: Tom Savini, Everett Burrell, John Vulich,
+Will Huff, Gerald Gergely, Cast: Harvey Keitel, Madeleine Potter, John Amos,
+Martin Balsam, Kim Hunter, Sally Kirkland. color, 115 min (both segments).
+The other segment is The Facts in the Case of M. Valdemar, directed by
+George A. Romero.
+
+TRAUMA - 1993. A Penta Film (Italy) and Overseas Filmgroup (US) release:
+Dr/Pr/Co-Wr: Dario Argento, Co-Wr: Franco Ferrini, T.E.D. Klein, Giovanni
+Romoli, C: Raffaele Mertes, M: Pino Donaggio, Paul Vincent. E: Bennett
+Goldberg, Art-Dr: Billy Jett, Simone Bergmann, Sp-Ef: Tom Savini, Cast: Asia
+Argento, Piper Laurie, Brad Dourif, Frederic Forrest, Hope Alexander,
+Sharon Barr, Gregory Beech, Ira Belgrade, E.A. Violet Boor, David Chase,
+Stephen D'Ambrose, Kevin Dutcher, Cory Garvin, Laura Johnson, Jacqui Kim,
+Isabell Monk, Peter Moore, Bonita Parsons, Terry Perkins, Lester Purry,
+Kathy Quirk, James Russo, Christopher Rydell, Tony Saffold, Dominique
+Serrand, Rita Vassallo, color, 115 min
+
+
+as writer (but not director) -
+
+Once Upon a Time in the West (C'era una Volta il West) - 1968, Dr: Sergio
+ Leone (co-writer)
+Cemetery Without Crosses (Cimitero Senza Croci) - 1968, Dr:
+ (co-writer)
+One Night at Dinner (Metti una Sera a Cena) - 1968, Dr: Giuseppe Patroni-
+ Griffi (co-writer)
+The Love Circle (La Rivoluzione Sessuale) - 1968, Dr: Ghione
+Today It's Me...Tomorrow You! (Oggi a Me...Domani a Te!) - 1968, Dr: Tonino
+ Cervi (co-writer)
+Probability Zero (Propabilita Zero) - 1968, Dr: (co-writer)
+The Five-Man Army (Un Esercito di Cinque Uomini) - 1969, Dr: Don Taylor
+Legion of the Damned aka Battle of the Commandos (La Legione dei Dannati)
+ - 1969, Dr: Umberto Lenzi (co-writer)
+Commandos - 1969, Dr: Armando Crispino (co-writer)
+La Stagione dei Sensi - 1969, Dr: Franciosa (co-writer)
+Comandanti Per un Gangster - 1969, Dr:
+Dawn of the Dead (Zombie) - 1979, Dr: George Romero (co-writer)
+Demons (Demoni) - 1985, Dr: Lamberto Bava (co-writer)
+Demons 2 (Demoni 2...L'incubo Ritorna) - 1986, Dr: Lamberto Bava (co-writer)
+Giallo: Gli Incubo di Dario Argento (Italian TV series) - 1987 (contributor
+ and creative consultant)
+Turno di Notte (Italian TV series) - 1988 (contributor and creative
+ consultant)
+The Church (La Chiesa) - 1989, Dr: Michele Soavi (co-writer)
+The Sect (La Setta) - 1991, Dr: Michele Soavi (co-writer)
+
+as producer (but not director) -
+
+Er Piu - 1971, Dr: (co-producer)
+The Man Upstairs aka Neighbour (Il Vicino di Casa) - 1972, Dr: Luigi Cozzi
+ (episode of Italian TV show The Door of Darkness [La Porta Sul Buio])
+The Puppet (La Bambola) -1972, Dr: (episode of Italian TV
+ show The Door of Darkness [La Porta Sul Buio])
+L'Albero Dalle Foglia Rosa - 1973, Dr: (co-producer)
+Carioca Tigre - 1973, Dr: (co-producer)
+Dawn of the Dead (Zombie) - 1979, Dr: George Romero
+Valley (a music video by Bill Wyman) - 1985
+Demons (Demoni) - 1985, Dr: Lamberto Bava
+Demons 2 (Demoni 2...L'incubo Ritorna) - 1986, Dr: Lamberto Bava
+The Church (La Chiesa) - 1989, Dr: Michele Soavi
+The Sect (La Setta) - 1991, Dr: Michele Soavi
+
+about Dario Argento -
+
+Dario Argento's World of Horror - 1985, Dr: Michele Soavi
+The Making of Opera - 1987, Dr: Giovani Torinesi
+Dario Argento: Master of Horror - 1990, Dr: Luigi Cozzi
+
+Argento is also credited with "figuration" on Scusi Lei e' Favorevole o
+Contrario? (1966)
+
+write to Argento at: via Annone 20, 00199, Rome, Italy
+
+
+All-Night Video Drive-In number one
+-----------------------------------
+
+by Jeffrey Frentzen (jfrentzen@pcweek.ziff.com)
+
+STRANGERS IN PARADISE (1984)
+Produced and directed by Ulli Lommel
+Written by Lommel and Suzanna Love
+With: Lommel, Ken Letner, Thom Jones, Geoffrey Barker
+
+German-born Ulli Lommel matured from light leading man of 1960s Deutschland
+cinema to an apprenticeship with filmmaker Rainier Werner Fassbinder, then
+onto the United States to produce and direct films. His first American-made
+film, COCAINE COWBOYS (1979), was a strange intersection of Andy Warhol,
+rock 'n roll and Jack Palance. THE BOOGEYMAN (1981), his second attempt,
+was a strong ghost story somewhat inspired by THE EXORCIST. Prior to
+that, he played numerous roles in his homeland - even a lead part in Russ
+Meyer's 1965 version of FANNY HILL - and, in Fassbinder's hands, was one of
+the adulterers in CHINESE ROULETTE. He directed a few films in Germany
+(notably the rare TENDERNESS OF THE WOLVES). After the financial success of
+THE BOOGEYMAN, Lommel made a mark with a series of offbeat horror movies,
+including THE DEVONSVILLE TERROR, TASTE OF SIN (aka OLIVIA), BRAINWAVES, and
+the abortive BOOGEYMAN II. His films stand out from the norm, with their
+mixture of American horror movie staples and a unique European perspective.
+None is more "different" than STRANGERS IN PARADISE, which follows Jonathan
+Sage, mesmerist and master of mind control, who finds himself repeatedly
+courted and controlled by the power-mad.
+
+Part musical romp, science-fiction, comedy, and anti-fascist rant, STRANGERS
+IN PARADISE emerges as an extended put-down of the politics of power, as
+well as an admonishing comparison between present-day America and Nazi
+Germany. Although Lommel's obvious low budget keeps him from successfully
+pulling off this uneasy combination, STRANGERS IN PARADISE deserves praise
+for its energy, and is better than most of the political science-fiction
+Hollywood has attempted. In a black-and-white prologue, Sage (played by the
+director) visits Hitler (also played by Lommel) in 1939 Berlin. Drafted to
+mesmerize the Allied forces at the Russian front, Sage instead flees to
+London, where he performs at a smoke-filled hall while an energetic emcee
+sings, "Nobody's gonna put me down." Almost immediately, war planes start
+dropping bombs and he must again seek refuge. This time, though, he places
+himself in a cryogenic tube. The movie turns color, advances to 1984, and
+doctors nearly fail to wake him. Sage is taken to a Los Angeles suburb
+called Paradise Hills, a nameless tract development filled with "good"
+families. Some of the parents chastise their children for liking "horrible,
+aggressive music" and dyeing their hair. For a while, Sage is still groggy
+from his thawing out, but retains his unusual abilities. He's brought under
+the control of the reactionary parents, right-wingers who want to fulfill a
+"master plan" that includes brainwashing and vanquishing anyone who doesn't
+agree with them. The group's leader, Staggers (Ken Letner), rants about the
+country being overrun by a "horde of perverted cretins." The usual targets
+- including homosexuals, rock 'n roll music, and drugs - are blamed for
+America's decline. However, Lommel scores points (perhaps accurately, in
+this suburban setting) by portraying the "perverts" as normal and the
+upstanding citizens as ludicrous nuts. This covert group has money and
+connections in high places, and communicates via computer between cities,
+country and suburbs.
+
+The centerpiece of their activities is a subterranean bomb shelter in
+Staggers' back yard. Here a small group of sympathetic scientists
+experiment with undesirables hooked up to a computer called a Repentogram.
+Using this comically anachronistic array of flashing lights mounted on
+control panels, they try to literally de-program the various gays, gamblers,
+druggies and rockers they have locked up in a makeshift jail. Lommel
+doesn't take the story very seriously. Staggers and his group are lampooned
+throughout the film, and the Repentogram turns out to be a total failure.
+The message behind Lommel's put-on, though, seems serious enough. Someone
+in Staggers' grassroots network identifies Sage as a possible pawn in their
+scheme. Upon arriving at the bomb shelter, Sage turns two homosexuals
+"straight" just by looking at them. However, he gradually grows more aware
+of the big picture and, after spending some time with Staggers' punker
+daughter, discovers who's sane and who's mad. Staggers, ecstatic over these
+mind-bending successes, stages a telethon to broadcast his message of
+law-and-order and "moral responsibility," but Sage has something else in
+mind for this TV debut. The movie ends on an upbeat note, although Sage's
+newfound fascination for the TV enables him to somehow control others'
+behavior over the airwaves - a hitherto unknown property of the medium. All
+this aside, STRANGERS IN PARADISE is foremost a musical, although there's
+way too much singing and dancing, and some of it is really bad. Most of the
+14 MOR rock songs were composed and performed by a forgotten band called
+Moonlight Drive, with the lyrics mouthed by the actors. Their songs propel
+the plot but are not very good, with some imitation Beatles and Doors songs.
+Additional tunes by Richard Green and Sukey are better. Nearly all the
+songs play out as fantasies in characters' minds, and this formula is
+overused.
+
+Most of Lommel's films are vivace, tightly plotted and edited; STRANGERS IN
+PARADISE gets bogged down by these interludes. Nonetheless, the movie is
+compelling and has quite a few amusing and ironic moments. For example,
+Sage's encounter with Hitler is funny - he cannot get Der Fuehrer to look
+him in the eye, so he hypnotizes a young soldier to run off-camera yelling
+about how one should never wear a Nazi uniform. Also, Staggers and his
+coterie of moralists sing, "All we ever wanted was the world," as they wash
+dishes, roll hair in curlers and prance around Paradise Hills; while
+watching a televised newscast, Sage turns his head to one side and the
+commentator unaccountably mimics the movement; on a more grim note, a one
+rock singer is "transformed" to a bland country-and-western crooner who
+finishes a song by casually tossing his guitar into a bonfire, followed by
+onlookers who throw some LPs into the blaze. STRANGERS IN PARADISE has its
+share of idiotic moments, too. For some reason, Sage carries a TV remote
+wherever he goes, pointing it at everyone and everything; and for his
+entrance at the telethon, he inexplicably pops into a room out of thin air,
+an effect that is supposed to hint at his vast power, but is just poorly
+done. The choreography doesn't always appear in synch with the songs. I
+think this disconnect is intentional, and is underscored by Lommel the
+actor, who looks very intelligent and underplays Sage to the point where the
+character is little more than a cipher. This oddball performance contrasts
+with the other actors, who overcompensate by mugging uncontrollably. The
+results are disorienting and add to the film's off-kilter tone. Director
+Lommel does well with what was no doubt a rushed schedule - some of the
+scenes have that "one-shot wonder" quality - and you gotta admire a guy who
+can do interesting dramatic things by re-using some footage two or three
+times.
+
+
+FUTURE SHOCK (1994)
+Sequences: "Jenny Potter"
+Directed by Eric Parkinson
+Written by Vivian Schilling
+Produced by Parkinson and Randolph Turrow
+With: Schilling, Brion James, Sydney Lassick
+
+ "Future Shock"
+ Written and directed by Eric Parkinson
+ Produced by Parkinson and Turrow
+ With: Martin Kove
+
+ "The Roommate"
+ Written and directed by Francis G. "Oley" Sassone
+ Produced by Frederick Baron
+ With: Scott Thompson, Bill Paxton, James Karen
+
+ "Mr. Petrified Forest"
+ Written and directed by Matt Reeves
+ Produced by Bryan Burk and Gary Grunberg
+ With: Sam Clay, Amanda Foreman
+
+Even though I knew FUTURE SHOCK's packaging was a scam - "The Roommate"
+short subject has made the "tournee" circuit a couple of times since 1987 -
+this three-part anthology is still pretty good. "The Roommate" is by far
+the best segment. Bill Paxton excels as a squirrely, abrasive con artist
+who barges his way into a roomie relationship with meek apprentice coroner
+Scott Thompson. He rips off, torments and abuses Thompson who, in a fit,
+tries to kill his unwelcome roommate, with ironic results. The short's
+black humor saves it from being a thoroughly unpleasant experience. James
+Karen has a fun welcome supporting role as one of Thompson's co-workers.
+The least successful entry, "Mr. Petrified Forest," was a USC master thesis
+and is predictably filled with arty composition and paper-thin sentiment.
+The title character is a "chicken little" type who waits nervously for a
+predicted earthquake to hit L.A. It never hits, but he falls in love with
+another paranoid. He relates the whole story from a heavenly "wait
+station," as doctors on earth frantically try to revive him from a
+mysterious accident. Another examination of paranoia, "Jenny Potter," stars
+and was written by interesting actress Vivian Schilling. She lives in a
+Malibu house decked out like a fortress, with silent alarms and a
+computerized security system that talks. Her husband (Brion James) leaves
+her alone one night and her nightmare fears of being attacked by dogs edges
+into her real world. The episode is scary but pointless. As you might
+expect, the weakest link in FUTURE SHOCK is its framing sequence, in which
+doctor Martin Kove interviews each segments' protagonists. He uses a funky
+strobe light thingie to hypnotize them and lead into each of the stories.
+
+
+STEPSISTERS (1974)
+Written, produced and directed by Perry W. Tong
+With Hal Fletcher, Bond Gideon, Sheryn Talbert
+
+Filmed near Peaster, Texas, STEPSISTERS opens with incoherent, jarring cuts
+between an ambulance's flashing light, a glum-looking cop, and a spooky old
+house. When this first-year film student collage subsides, we get our first
+view of down-and-out charter pilot Thorpe Russell (Hal Fletcher): He
+stumbles out of a cottage, looks back at a woman he spent the night with,
+and squeezes into his beat-up Hudson for a ride across the prairie to his
+home. When he arrives, he spots one of his wife Norma's gigolos leaving by
+the front door. Seeming to forget where's he been, Thorpe accuses Norma of
+being a slut and angrily threatens her with a gun, but she looks down her
+nose at this red-eyed pig and calmly walks away. These two do nothing but
+tell the other to fuck off for the rest of the movie. Enter Diana, Norma's
+half-sister, who at first resents Thorpe's bad attitude but eventually sides
+with him. We're deep in the heart here, folks, and it's messy business.
+Perry Tong's crude melodrama doesn't do a whole lot for 90 minutes, but the
+atmosphere is delightfully sleazy, the surprisingly good music score is
+straight from a honky tonk, and the photography is appropriately washed-out.
+I knew STEPSISTERS was a wayward winner when, after the main characters
+scrape through another argument, Thorpe tackles and starts molesting Diana,
+and she likes it! Unbelievably, she becomes his lover and they conspire to
+kill Norma. With Norma out of the way, Thorpe can sell off their
+dilapidated farm and maybe buy himself a better plane. Tong unsuccessfully
+tries to generate a murder mystery out of the situation - one of Diana's
+boyfriends ends up with an ax in his chest, and Norma is repeatedly visited
+by a mysterious, new lover who wears slick boots. Loyalties are unclear
+until the finale, which should wake up most viewers long enough to finish
+their popcorn. This is one of those movies in which people pour wine out of
+a jug, smoke a ton of cigarettes and talk about how things have gotten
+really bad lately. Everything and everyone is in decay - the beautiful
+gothic mansion Thorpe inherited from his father is falling apart, and it's
+no shock when one of the characters literally goes insane. A lot of footage
+is devoted to people driving around in cars and flying airplanes, and some
+of it is in focus. The acting is a bit shrill but not bad - Fletcher in
+particular makes Thorpe more vulgar and cold than the script could possibly
+have suggested - and the locations are excellent. Peaster is not too far
+outside Dallas, but Tong's camera renders it as remote as the Australian
+outback
+
+
+DON'T PANIC (1977)
+Directed and Written by Carlos Puerto
+With: Angel Aranda, Sandra Alberti, Marian Karr, Jose Maria Guillemo
+
+Andy and Thelma, an urbanite couple living in Madrid, leave their apartment
+for a pleasant day around the city with their dog, and on their way home
+meet up with a Bruno and Anne, a strange couple who invite them to their
+foreboding country estate. The man claims he knew Andy in college, but his
+story doesn't add up. A storm hits that evening and the two stay overnight.
+At first, the couples engage is a bit of harmless communication with spirits
+via a Ouija board, but past conflicts arise - Thelma had an affair with
+Andy's brother, and Bruno is lambasted by Anne for an attempted suicide. As
+this surprisingly effective thriller opens with a nasty rape-murder in a
+Satanists' coven, lead by a black-robed, Sam Jaffe-lookalike, you know the
+estate is probably the muder scene and Andy and Thelma will soon be dog
+meat. The first victim, though, is the dog, who ends up strung up in a
+walk-in meat locker. The film quickly moves away from plotted motivations
+and the remaining action shifts uneasily between reality and fantasy - Bruno
+and Anne are bonafide devilworshippers who engage the other couple in a
+fuzzy-lensed orgy on the living room floor; Andy and Thelma seemingly don't
+recall the event in the morning, and try several times to leave but don't;
+Bruno apparently kills himself, followed by Anne, and both appears later as
+the living dead, who must be killed again. A creepy, "walking" life-size
+porcelain child doll strolls out of Thelma's dreams and into a room at one
+point, trying to keep the terrified couple from leaving the estate. After
+they make their way back home, their furniture is gone and an old couple who
+live in a neighboring apartment invite them back into the Satanic nightmare.
+An unusual and creepy Spanish horror film, co-produced by Juan Piquer
+(Simon) and well-directed by Carlos Puerto.
+
+
+THE DEMONS (1972)
+Directed by Clifford Brown (Jesus Franco)
+Written by Franco
+Produced by Victor deCosta
+With: Anne Libert, Britt Nichols, Doris Thomas, Karin Field, John Foster,
+Howard Vernon
+
+This is Unicorn Video's rare U.S. video release of Franco's LES DEMONS, also
+known as SEX DEMONS. It's a follow-up to Franco's earlier NIGHT OF THE
+BLOOD MONSTER, with John Foster (real name, Cihangir Gaffari) taking the
+role of witch-hunter Lord Jeffreys, previously limned by Christopher Lee.
+THE DEMONS is a cut above the usual Franco film, with some good acting and
+production values. However, the numerous torture scenes make it difficult
+to watch. As a witch burns at the stake, she puts a curse on Jeffreys and
+her accusers, claiming her daughters will avenge her death. Jeffreys, his
+lieutenant Renfield and the wicked Lady de Winter search for the witch's two
+daughters at a convent lead by Mother Superior Rosa Linda, who is concerned
+that some of her nuns are playing with themselves too much. (Naturally,
+Franco's voyeuristic camera provides ample evidence of the problem.) When
+Lady de Winter arrives at the convent, she must (of course) personally
+inspect the two daughters to see if they are virgins. When one of them,
+Kathleen (Anne Libert), is not, they conclude that she must be a witch. Not
+only is Lady de Winter a lesbian, she's a closet sadist as well - after a
+few minutes of watching Kathleen's first torture session she coos, "She's
+exquisite, such tender flesh," and demands that Renfield keep her posted on
+any "fun and games" he has planned.
+
+Later, the two play "inquisition games," in which she is the witch and he
+whips a confession out of her. What she doesn't know is that Renfield wants
+to keep Kathleen to himself. He falls deeply in love with her, at first
+suspicious she's a witch and later convinced that she is not. He helps her
+escape the de Winter castle, but the Lady and Jeffreys suspect the truth.
+Kathleen stumbles around the "English" forest - THE DEMONS was filmed in
+Portugal - and eventually collapses into the arms of a hermit painter who
+hobbles her into his "sad house." In a direct rip-off of a sequence out of
+Franco's own JUSTINE AND JULIET (aka DEADLY SANCTUARY), Kathleen lounges
+around his home, posing for paintings, and gets healthy. Not for long,
+though. To save face with Jeffreys and to be with her, Renfield tracks her
+down and Franco once again has a good excuse for showing Anne Libert bound
+in chains and abused. Luis Barboo, the chief torturer, played a sinister
+doctor in DON'T PANIC (see above) and looks like an older Charlton Heston.
+At the nunnery, the second daughter, Margaret, is raped by Satan and tries
+to seduce the Mother Superior, who refuses to submit and jumps to her death.
+Margaret later visits a "mistress of the master Satan," a blind crone who
+gives her a few tips on how to get even with the de Winters and Jeffreys.
+Later, Lady de Winter gives Margaret a ride to the castle. Renfield finally
+succumbs to his earthly desires - "I despise you, you made me experience
+sensations I did not know could only find in a Franco film.
+
+During a feast at which Renfield and Kathleen are supposed to be tortured to
+death in public, Lady de Winter and Margaret sneak off for an extended sex
+scene. We get to see more of Britt Nichols and Karin Field than we ever
+asked for, in a sequence punctuated with the director's trademark
+out-of-control zooms and blurry close-ups. In the film's most surprising
+scene, Margaret thanks the Lady with a kiss that kills her and turns her
+into a skeleton. The Lord Malcolm de Winter, who throughout the movie is
+too kind and noble to get wrapped up in all the barbarity, is played by
+Howard Vernon, who wears a Mickey Mouse-type astrologer's cap. His plans to
+help overthrow the King of England (and Jeffreys) go on hold when he
+discovers that Kathleen and Margaret are his daughters (!). In an attempt
+to flee his own castle, the Lord is killed by Jeffreys. Renfield, Margaret,
+and Kathleen hightail it for the forest again. They get about 3 miles this
+time, when Margaret lays a kiss on Renfield - he was one of her
+witch-mother's accusers - and he's ready for the boneyard. Kathleen turns
+in her own sister. Margaret has one dying request at the stake, that
+Jeffreys grace her pardon with a ... kiss. Despite THE DEMONS' fairly
+strong storyline, it's never explained how Margaret and Kathleen can be the
+daughters of both the witch and Lord de Winter. Franco's attention to
+detail is more apparent in the unpleasant torture and rape scenes, and there
+are several drawn-out moments of women screaming in agony. THE DEMONS
+doesn't improve on a sub-genre already well represented by films like MARK
+OF THE DEVIL and THE CONQUEROR WORM; nevertheless, it does have a decent
+music score made up of 70's rock (complete with "wawka-wawka" guitar riffs),
+lyrical guitar interludes and cool jazz themes.
+
+
+ARCADE (1994)
+Directed by Albert Pyun
+Produced by Cathy Gesualdo
+Screenplay by David S. Goyer
+With: Megan Ward, Peter Billingsley, John DeLancie, Sharon Farrell,
+Norbert Weisser
+
+After being disappointed by TRON several years ago, I've been waiting for an
+"adventures in an arcade game" where something exciting happens. Looks like
+I'm still going to have to wait. The people at Full Moon Video, who seem to
+put out a new movie every three weeks, claim to have been hard at work on
+ARCADE for three years. Judging by the results, it must have taken a long
+time to generate the extensive computer graphics, while principal
+photography looks like the familiar rush job. Megan Ward plays Alex, one of
+several teenagers who test-market Arcade, a virtual reality game with a
+sinister personality, which boots up and automatically knows their names.
+It threateningly invites them to a chase through cartoonish dungeons and
+alien worlds, but if a player is captured by the game's resident monster -
+the Screamer - they're absorbed into Arcade for real. When Alex's boyfriend
+disappears, and another kid evaporates in front of a TV after losing a game,
+Alex and a skeptical buddy (Billingsley) don power glove and eyewear to
+rescue the victims and destroy Arcade. Director Pyun, an old hand at
+science-fiction B-movies, does little to pump up the excitement. The whole
+second half of the film, in which Alex single-handedly races through virtual
+worlds, is surprisingly dull. However, there's one effective scene in which
+Alex Is "killed" by Arcade and revisits her mother's suicide, only to see
+her mom's bloodied corpse get up and use a gun on her. Besides that, a
+fairly good cast is overcome by the script's teenage swill and TV-style
+happy ending. Ward convincingly swats at swooping metallic hawks and other
+two-dimensional menaces, and Norbert Weisser does well as the thankless
+inventor of Arcade, who knows his creation has a mind of its own and doesn't
+quite know what to do about it.
+
+
+FEAST FOR THE DEVIL (198?)
+Directed by Joe Lacy (Jose Maria Elorrieta)
+Written by Jose'Luis Navarro, Marino Girolami, Micael Skife
+With: Krista Nell, Espartaco Santoni, Teresa Gimpere, Thomas Moore, Julio
+Pena
+
+Other than a suspenseful opening scene - in which a frightened woman eludes
+a black-robbed man through a dense thicket - there's hardly anything to
+recommend in this trance-inducing modern-day witch story. The woman is
+brought to a hospital more or less catatonic, except she spazzes out
+whenever she sees the junk-jewelry-like medallion worn by a jet-setting
+witch (Espartaco Santoni, who is credited with the original story). Her
+sister (Krista Nell), bent on getting to the bottom of the mystery, unwisely
+falls under Santoni's spell. After interminable talk, she is taken to his
+mansion, with its basement full of chained women, and realizes she's to be
+the next butterfly in his collection. Thing is, Santoni's partner (Teresa
+Gimpere) takes an unhealthy liking to Nell and thwarts the bad guy with a
+well-placed rubber stage knife in the back. Nell is rescued, both witches
+die, and by the film's end she's a dead-eyed wreck like her sister. I felt
+the same way by the time a long overdue "Fin" plopped onscreen.
+
+
+BUMMER (1973)
+Produced by David F. Friedman and William Allen Castleman
+Directed by Castleman
+With: Kipp Whitman, Connie Strickland, Dennis Burkley, Carol Speed
+
+In the early 1970s, as sex movies moved away from the wink-'n-jiggle genre
+prevalent in the 60s to outright pornography, drive-in mogul David Friedman
+fashioned some R-rated programmers to compete in the mainstream movie
+markets. One of these attempts, BUMMER, shows why the formula didn't work.
+The film's themes include rebel youth, rock 'n roll and vicarious drug use -
+which conceivably could "play" to the teenage movie audience of the time -
+but BUMMER is really intended for the conservative audiences who might have
+secretly attended a Friedman sex flick in the button-down 60s. The hippie
+members of a rock band, called The Group, labor over a decision to stop
+playing dance clubs in LA and hit the road. After about 40 minutes of
+talking, dancing and casual sex, the musicians and a small circle of female
+groupies journey to Bakersfield and Las Vegas to see if they can get their
+act together. On the way, they are sidetracked by Butts (Dennis Buckley),
+the big-bear bassist who can't land a woman on account of he's a
+short-tempered psycho. During a house party in LA, he forces two of the
+women to strip and take a shower while he plays with himself (offscreen).
+On the road, he kills one the groupies, which mobilizes the fuzz to round up
+the whole gang. The finale is extraordinary. The dead girl is wheeled in
+on a stretcher, Butts grabs a shotgun from a police cruiser and starts
+blasting, killing Duke, the band leader (Stuart Whitman's actor son); one
+girl (Carol Speed, later in ABBY) takes the gun from Butts and blows a hole
+in his gut. Meanwhile, a bunch of cops stand around scratching their heads.
+The camera pans up to the sky and zooms out to a shot of a moon's-eye view
+of planet earth. Wow, man, what does it all mean? This post-"summer of
+love" flick displays considerable contempt for its hippie protagonists - the
+mad-dog bassist is only a hair more crazed than Duke. True to form,
+Friedman and director Castleman don't have enough plot to sustain the whole
+movie. Early in the film, an embarrassed-looking Connie Strickland performs
+a gratuitous, unending striptease (a nod to the button-down crowd).
+Actually, whenever the story wanes his actresses strip or dance, or both.
+
+
+DEMON QUEEN (1986)
+With: Mary Fanaro, Dennis Webster
+Produced by Donald Farmer and David Reed
+Written and Directed by Farmer
+
+A vanity production, running about an hour long and shot on tape in
+Tennessee and Florida by ex-horror magazine editor Farmer, armed with about
+ten bucks, half a script and gallons of stage blood. Lucinda (Mary Fanaro),
+immortal witch-bitch with a lot of time on her hands, enjoys ripping out the
+hearts and necks of her victims. Some of them get back up again and run
+around Nashville looking for flesh to munch on. Meanwhile, Lucinda hooks up
+with an obnoxious street-punk cocaine dealer (Dennis Webster) and beds down
+at his apartment. Webster's couch-potato girlfriend objects, for which she
+ends up in the bathtub with a tap in her neck. By the time Webster figures
+out what's up, Lucinda is attacked by one of her own victims and supposedly
+killed. One of Farmer's early look-I'm-a-gorehound quickies, DEMON QUEEN
+features a sleazy video store owner who tries to talk a customer into
+renting MAKE THEM DIE SLOWLY ("I counted 24 acts of mutilation"). Over the
+last year or so, I've watched a bunch of amateur-hour horror flicks
+containing gratuitous "let's visit the video store" sequences, or one of the
+main characters works at a video store...it's become a hallmark of bad,
+low-budget gore movies. You also know you're getting screwed by a movie
+that announces a "special guest star" with a name no one's ever heard of.
+The make-up effects are so-so, and include lumbering, drooling zombies and a
+gooey monster mask that appears to slip off an actor's face in mid-shot.
+
+
+DUNGEON OF TERROR (1971)
+Written and directed by Jean Rollin
+With: Marie Pierre Castel, Mireille D'Argent, Philippe Caste
+
+Rollin's REQUIEM FOR A VAMPIRE was first released in the U.S. as CAGED
+VIRGINS, then THE VIRGINS AND THE VAMPIRES (in 1975 by Boxoffice
+International). Now it's packaged by Best Video under the name DUNGEON OF
+TERROR, part of a VHS double feature with THE CHILD (1977). While the
+latter is a tepid reworking of BAD SEED crossed with NIGHT OF THE LIVING
+DEAD cliches, DUNGEON OF TERROR is a sentimental, nearly plotless and
+one-of-a-kind vampire film that is more concerned with gloomy imagery than
+suspense. As the movie opens, a car careens down a French back road.
+Inside, two young women and a male friend elude a car-full of gun-toting
+pursuers, and the man is killed by a stray bullet. Wandering through the
+countryside, the two stumble across an atmospheric but dilapidated castle
+fortress inhabited by vampires, led by a tall, solemn bloodsucker who
+eventually admits his family line has come to an inglorious end. The girls
+are temporarily recruited into his harem, relieved of their virginity, and
+kill off most of the vampire's commune (with guns) before running off into
+the rising sun (and still armed). Although DUNGEON OF TERROR doesn't make
+sense, Rollin has a knack for horrific imagery - a struggling hand pushing
+through the dirt of a premature grave; the head vampire makes his entrance
+by lifting his cape and releasing a cache of bats (there are some excellent
+close-ups of bats); in the castle dungeon, skeletons are arranged in absurd,
+inquisitive poses. When the arty tedium starts to wane, Rollin throws in
+some red-tinted scenes of unnamed virgins being mauled by the vampire's
+grunting henchmen. The first half of the film is practically without
+dialogue, and when the characters start interacting, the vampires are
+revealed to be melancholy, ostracized creatures who look sad and wait for
+death. Imagine going to a drive-in to watch this. Best Video's master
+print looks like it's been around through all those title changes, and as
+this is the R-rated version, the more explicit sex and violence found in
+Rollin's European cut has been noticeably chopped out.
+
+
+MURDERLUST (1988)
+With Eli Rich, Rochelle Taylor, Dennis Gannon, Bonnie Schneider
+Written and Produced by James Lane
+Directed by Donald Jones
+
+Steve Belmont, Sunday school teacher and part-time security guard, has a big
+chip on his shoulder towards the opposite sex, and moonlights as a serial
+strangler. "The Mojave Murderer" leads an interesting double life, but he
+never smiles and has trouble holding down a job - while on guard duty, he
+repeatedly threatens a woman (in front of his boss, who doesn't hear him!),
+gets the sack and turns to his snot-nosed cousin/neighbor for a job as a
+supermarket janitor. Things start looking up - two or three victims later -
+when Steve starts dating a woman he comes close to killing. Then he gets a
+job as a psychologist! His mysoginistic tendencies come out in the end,
+though, and before he can finish off the girlfriend, she gets a hold of his
+revolver and shoots him. Steve staggers into the desert and dies. Director
+Don Jones has made some other sick movies about sociopaths, such as THE LOVE
+BUTCHER and SCHOOLGIRLS IN CHAINS. Although MURDERLUST isn't his most
+aberrant effort, it's pretty grim and disturbing. But the stalking
+sequences are pretty unbelievable. For example, in one of several
+badly-staged sequences, an unshaven, sloppily-dressed Steve entices a
+school girl into his apartment with promises of making her a famous model.
+She buys this line of bull and, once they're isolated, finds a gun pointed
+at the top of her head, with Steve demanding a blow job before he strangles
+her. It's in these moments when Jones seems to really know what he's doing.
+Despite this dubious expertise, Jones' script destroys what little
+credibility and suspense can be generated. More examples: Even after Steve
+knows the cops have found his stash of bodies in the desert, he continues to
+drop them off in the same place; and we wonder how the protagonist, played
+by Eli Rich mostly as a down-in-the-mouth, uncouth character, could lure
+otherwise intelligent-looking women into his van or to his apartment. But
+Jones isn't all that interested in the character, just the handful of
+(mostly bloodless) killings. To the film's credit, there is something sly
+about plopping this unsufferable character in Spielbergian, "valley girl"
+suburbia, but that sort of touch seems like an afterthought (or an accident)
+in a movie like this.
+
+
+NATAS - THE REFLECTION (1983)
+Produced, Written and Directed by Jack Dunlap
+With: Randy Mulkey, Pat Bolt, Craig Hensley, Kelli Kuhn
+
+An obsessed young newspaper reporter (Randy Mulkey), determined to prove the
+existence of an obscure Indian legend, trundles off to a mountain cave in
+search of a "living" spirit to tell him where to find Natas, the evil one of
+the desert mountains who imprisoned 100 souls back in the wild-west days.
+On the way, he wanders into a ghost town populated by blackened, shuffling
+zombies in ten-gallon hats, and sees his face on a "wanted" poster; however,
+before these chatty creatures can hang him, he escapes and runs smack into
+"109 year old" Nino Cochise. Cochise, the living spirit (who rides a white
+horse), gives him a wooden peace-symbol necklace as protection against the
+evil spirits, says, "Beware the serpent," and disappears in a puff of smoke.
+Mulkey returns to Tucson, Arizona and alerts his girlfriend, a TV newswoman
+who has had it up to here with talk of Natas. They return to the ghost town
+with a camera crew and all hell breaks loose. One fellow is staked through
+the neck by a ghost, another is decapitated by a flying scythe - a nice
+effect - and a naked woman crawls into bed to find a decayed but lively,
+murderous zombie waiting for her. Having endured these improprieties,
+Mulkey and his girlfriend head up the mountain and encounter Natas - that's
+"Satan" spelled backwards - a weird-looking bat-like beast that takes one
+look at the reporter, says effoe and spikes him with a red, electrical force
+ray. No one's looking when Mulkey's girlfriend shines a mirror in Natas'
+face, which sends him back to the wherever. The ghost town's "100 souls" (I
+counted about eight) have been released, and in a stupid ending the camera
+crew reappears, apparently with no knowledge that they've been resurrected.
+Overall, NATAS-THE REFLECTION mixes equal parts of the ridiculous and
+genuinely eerie. The net effect doesn't add up, but the early scenes in the
+ghost town and Natas' anti-climactic appearance make the rest of it
+tolerable. The 16mm photography is so dark the bathed-in-blue night scenes
+are difficult to see.
+
+
+DEMON HUNTER (aka THE LEGEND OF BLOOD MOUNTAIN, 1965)
+Directed by Massey Cramer
+Written by Bob Corley
+Produced by Don Hadley
+With: George Ellis, Marriane Gordon, Erin Fleming
+
+If you see one camp/cult/crap movie this year, go out of your way to rent or
+buy this jaw-dropping schlock, disguised by Camp Video to look like just
+another routine horror quickie. "Blood Mountain is bleeding again,"
+according to a TV news report, and middle-aged copy boy Bestoink Dooley sees
+his chance for a promotion. Poking around the mountain woods, Bestoink runs
+into geologist Dr. Stinson, who dismisses the phenomenon as "rock rust."
+When a hunter turns up dead with a torn-out heart and his "blood sucked dry
+out," Dooley correctly assumes the Blood Mountain monster is responsible.
+It finally shows up and kills a few people. As most of the monster stuff
+unreels in the last ten minutes, we must wade through a lot of inept,
+low-ball comedy shtick for about an hour. The opening third of the movie
+introduces Dooley (George Ellis, who looks kinda like an Italian Joe Besser)
+and shows him, well, doing things - we watch as he prepares for bed, goes to
+sleep, has a dream, wakes up...It's all done like a silent movie, slightly
+tongue-in-cheek, in the style of a backwoods high-school play. After Dooley
+drives his convertible MG to Blood Mountain, there is even more padding -
+Dr. Stinson must deliver a 50s-monster-movie type speech telling everyone
+not to panic, even though two of the locals insist a monster exists. One
+highlight is when Dooley stops by a mountain lake to warn some partying
+teenagers about the danger, but they'd rather do the twist to ersatz Beach
+Boys music - "It may be a homicidal maniac, or worse!" He tells them. A
+dumb-looking sheriff threatens to bring in "the hounds and a man" to storm
+the mountain and kill the thing, but instead a deputy gets his face clawed
+off. Eventually, Dooley engages the creature in a slapstick chase over
+rocks and through the woods before setting it on fire. The creature backs
+up and falls down a ravine. If the dialogue looks dubbed, that's because
+all of it was added later. Listen for the laughable "library music" (you
+can even hear someone dropping a needle on an LP before the opening scene).
+The monster suit is hilariously tacky - the actor is made up to look like
+Santo with a beehive for hair, wearing lambskin chaps, with cotton balls
+glued to his navel and chest. It has two big rat-tails on the thighs!
+Everyone says "Bestoink" with a straight face, the women have classic 60s
+coifs, and there are footstep sounds on the soundtrack even though no one is
+walking around. Decatur University of Cosmetology gets credit for the great
+hair. THE LEGEND OF BLOOD MOUNTAIN, filmed at Stone Mountain Memorial Park,
+near Atlanta, Georgia, was probably the first Bigfoot movie. See it.
+
+
+NIGHT OF THE DEMON (1983)
+Directed by James C. Wasson
+Produced by Jim L. Ball
+Written by Mark Williams
+With: Michael J. Cutt, Joy Allen, Bob Collins, Jodi Lazarus
+
+NIGHT OF THE DEMON may have been one of the last Bigfoot movies, and proves
+that they hadn't improved much since THE LEGEND OF BLOOD MOUNTAIN. It's
+definitely the goriest one, and an overlong, episodic tale told in flashback
+(in fact, there are flashbacks within flashbacks, which gets confusing).
+The lone survivor of an encounter with the Halkomelem horror watches the
+members of his student research group fall vinctim to another tall actor in
+a bearskin rug and ape makeup. The most interesting segueway involves
+Sasquatch's origins, detailed in the story of how a backwoods child was
+raped by Grandpa Bigfoot and gave birth to a howling, furry humanoid. As
+the directing, writing and acting is expectedly substandard, the film
+thrives on lingering closeups on bloody, open wounds. The pace picks up
+near the end, when "Bearskin Bob" kills most of the characters in a coat
+closet. Goremongers may enjoy gratuitous arm-ripping, penis-ripping, axe in
+the neck, pitchfork in the back, face- scalding, and other unpleasantness.
+
+
+SAVAGE ATTRACTION (1973)
+Written, produced and directed by John Lawrence
+With: Tom Drake, Stephen Oliver, Joseph Turkel, Sean David Kenney,
+Amy Thomson, Stafford Repp
+
+Also in release as NUMBERED DAYS and CYCLE PSYCHO. A mama-obsessed psycho
+kills the wife of a respected lawyer, and then blackmails the lawyer into
+kidnapping two teenage girls for more unsound fun. Most of the story,
+though, is devoted to the poverty-row mototrcycle gang, led by Stephen
+Oliver, who captures the teenagers. Oliver, his woman and two feeble
+sidekicks bicker and fight constantly. Turkel gets his hands on the girls,
+but a sympathetic biker overpowers him and puts him out of his sick misery.
+Lawrence's slow-moving quickie promises teenager torture, but never
+delivers. The highlight is actor Joseph Turkel, who seduces a mannikin and
+plays the middle-aged lunatic in bug-eyed lunatic fashion, although his
+wardrobe - consisting of early-70s styled flowered shirts - is pretty
+obnoxious, too. Stafford Repp (the Irish cop from TV's "Batman") has a
+cameo role.
+
+[I missed this one in FUNHOUSE! #2's cycle flick round up - JD]
+
+
+PRIVATE WARS (1993)
+Produced by Joseph Merhi and Richard Pepin
+Directed by John Weidner
+Written by Ken Lamplugh and Weidner
+With: Steven Railsback, Michael Champion, Stuart Whitman, Holly Floria
+
+Railsback is a "good cop" railroaded into prison because he wouldn't take
+bribes and tried to investigate a corrupt police captain (Champion, doing
+Michael J. Pollard on brain medication). Years later, he's shown reduced to
+the life of a perpetually drunk private eye heading down a slippery slope.
+An old buddy recruits him to defend a crime-ridden LA neighborhood against
+tycoon Stuart Whitman's for-hire punks, who are trying to scare the
+residents out to make way for "the future" - a bunch of office buildings.
+The by-the-numbers plot has Railsback dry out and rally the frightened "good
+folk" to fight back. This drives Whitman up a wall, so he sends in a
+private army to mop up the streets. Along the way, tough but thoroughly
+WASP-ey Floria rekindles Railsback's washed-out sex life. PRIVATE WARS is
+ridiculous and heartless, but has a few moments of goofy humor. A
+neighborhood "crime watch" group interviews prospective urban mercenaries
+before they hire Railsback, including a clumsy, leather-bound midget, a
+fellow who breaks beer bottles against his head, and someone who claims,
+"I'll kill anyone, anything," to get the job. There's some fun in watching
+Whitman, who gets to hiss his lines and swear a lot; and the many scenes of
+gaunt, scrawny Railsback kicking the shit out of bikers, hardened criminals
+and other scary big guys. I'm still waiting for producers Merhi and Pepin
+to make a decent film; PRIVATE WARS is probably their best one so far, but
+it's still pretty lame. Towing the considerable salaries of Railsback and
+Whitman, as well as good production values, I thought, these guys have made
+something like 400 movies since the 1980s and someday it's gotta catch fire.
+And let's talk a sec about Holly Floria. Although you wouldn't know it from
+the inane dialogue she is forced to utter in PRIVATE WARS, Floria is
+talented but wasted in one low-budget film after another. Someone in
+Hollywood, wake up and give her a good part.
+
+
+SLIME CITY (198?)
+Produced by Gregory Lamberson, Peter J. Clark, Marc J. Makowski
+Written and directed by Lamberson
+With: Robert C. Sabin, Mary Huner, T.J. Merrick, Dennis Embry
+
+"We could use some fresh blood around here," claims a punk-poet inhabitant
+of the low-rent boarding house where most of SLIME CITY takes place, as Alex
+(Robert C. Sabin) gets settled into his new apartment in Flushing, New York.
+He meets a few of his strange neighbors, most of which have already
+succumbed to the house spirit, Zachary. Alex soon learns that Zach replaced
+their personalities with those of his long-dead buddies. Alex is warned
+that he'll soon be host to Zachary's ghost, who in life was a malevolent
+mystic and wrote a book of alchemist's recipes called "Flesh Control." But
+does he move out? Instead, he shares a meal of "Himalayan yogurt" with the
+poet, a sampling of multicolored ectoplasm, and the next morning awakes in a
+pool of slime. The only way the slime goes away is when he kills ("The
+slime must be appeased!"). Another neighbor, Nicole (Mary Huner), dresses
+like a sorceress who works strip joints, has clothed sex with Alex, and
+murders her one-night stands. Alex's straight-laced girlfriend Lori (also
+played by Huner) doesn't notice when he sweats slime. As hard as the cast
+tries to make it work, SLIME CITY is so badly assembled that most of the
+ghoulish action falls flat. This is especially apparent in the closing
+sequence, in which Alex - now transformed into pus-faced Zachary - battles
+it out with Lori, who chops him up but must also stop various disembodied
+parts from attacking. As Alex's head barks orders from one end of the
+apartment, his arms, hands and even internal organs attempt to get her. It
+sounds better in the retelling - Lamberson's staging is spiritless, his
+camera holds too long on some truly awful special effects, and the editing
+doesn't cut fast enough to build suspense.
+
+
+THEY (1982)
+Produced by Bill Rebane
+Directed by "Ito"
+With Paul Bentzen, Debbi Pick, Nick Holt, Karl Wallace
+
+"They" are aliens who strike an invasion of Earth at both poles and
+unleash a mysterious epidemic on humankind, as well as knock out all
+commercial TV and radio. Most of this tame, paceless film is set in an
+isolated, snowbound lodge in Manitoba, where a handful of uninfected people
+wonder what's going on, run out of food, bitch about having to drink coffee
+made from recycled grounds, and receive advice from the aliens via shortwave
+radio (in 50s sci-fi movie style, the monotone alien voice speaks with
+built-in reverb). The invasion is explained as being either from Mars or
+Uranus, or maybe from the earth's core. There's even a bearded scientist
+onboard - vacationing at the lodge when the invasion hit - who rattles off
+half a dozen laughable theories about what's happened, while the others nod
+their heads and say stuff like, "How interesting." Michigan-based producer
+Bill Rebane also made THE ALPHA INCIDENT, an equally dreadful entry that
+dealt with an invasion from space and a resulting government cover-up; THEY
+offers the flipside of that situation, showing how plain folk deal with it.
+The special effects are of the flying-hubcap variety, but be thankful that
+the acting is a few steps above amateur. There's one amusing scene in a TV
+studio, including an interview with two bumpkins who've seen the aliens -
+"Them fellers said they was from Uran-i-us," exclaims one of them. We never
+get to see them, which may be a blessing in a film like this. Despite a few
+intentional lapses of humor, THEY doesn't have enough story or budget to
+contain a feature-length film, ushering in padded scenes of people wandering
+through the woods, snowmobiling, or staring into space. The tedious
+synthesizer score and endless bits and blips of library music must have been
+a sound editor's nightmare (the movie's theme song rips off "The Good, the
+Bad and the Ugly," of all things). Eventually, the lodgers run out of
+coffee and set out on foot over 60 miles of tundra to the nearest hamlet,
+which the alien voice claims is safe. Superimposed "alien" lights and the
+mysterious disease - which appears in the form of a bogus red gas - disptch
+all but two of the group, who arrive in town and are transformed into naked
+children. They head down a grassy knoll into, who knows? A brighter
+future, or maybe a Dunkin Donuts. The video carries no copyright notice and
+would probably get a G-rating. The display box for THEY shows a
+poorly-drawn monster head with fangs - a warning for those who think they're
+getting a legitimate horror film.
+
+
+KISS OF THE TARANTULA (1977)
+Directed by Chris Munger
+Produced by Daniel Cady
+Written by Warren Hamilton, Jr.
+With: Eric Mason, Suzanna Ling, Herman Wallner, Patricia Landon
+
+KISS OF THE TARANTULA, filmed in Columbus, Ohio, followed invisibly in the
+wake of WILLARD, and doesn't add much to the introverted-but-sympathetic-
+protagonist-befriends-slimy-creature scenario. It does, however, contain
+an alarming bit of (dare I say?) typecasting for actor Eric Mason, who
+believably portrays the sleazy, serpentine uncle of misunderstood Susan
+(Suzanna Ling), whose several arachnid friends do her every bidding. Mason
+spends most of the film pawing and fawning all over the actress, and
+punctuates his lines with an irritating bluster. Susan, who as a little
+girl unleashed a deadly pet spider on her vain mother, lives a sequestered
+life with her mortician father. She thwarts three teenage hoodlums who
+attempt to steal a casket from her father's basement workshop, terrorize her
+a bit and kill some of her spiders. She tracks them down and lets the furry
+eight-leggers loose on them, and gradually feels less and less guilty with
+each killing. The scene of one victim trapped in an air duct with a dozen
+creepy bugs is a stand-out. KISS OF THE TARANTULA is a supreme gross-out
+for spider-haters, though for the rest of us the action isn't too horrific.
+In the end, Mason's rewarded for his lewd behavior - a buried-alive scene
+that is much scarier than the spider sequences.
+
+
+SKEETER (1993)
+Directed by Clark Brandon
+Written by Lanny Horn and Brandon
+Produced by James Glenn Dudelson, Kelly Andrea Rubin, John Lambert
+With: Tracy Griffith, Jim Youngs, Charles Napier, Jay Richardson,
+William Sanderson
+
+If you crave a good ol' mindless monster flick, SKEETER updates 1950s
+science-fiction cliches to the 90s with style. Deputy Roy Boone (Jim
+Youngs), noticing the people and livestock dropping at a quick clip in the
+mountain town of Clear Sky, calls in a quirky EPA officer (Sanderson) to
+figure out what gives. Turns out the town's water supply is contaminated by
+a nearby toxic waste dump, which is now the lair for a zillion mutated
+mosquitoes. Corrupt sheriff Charles (Harry) Napier harasses landowners to
+sell out to unctuous businessman Jay Robinson, who wants to bulldoze
+everything to make room for new houses. Meanwhile, the bizarre Michael J.
+Pollard lurks in an abandoned warehouse, making pets of some of the skeeters
+and feeding them his own blood. Boone ruffles too many feathers trying to
+do what's right, and Robinson sends out his henchman (twice) to gun him
+down. During the first attempt, Boone watches a swarm of cat-sized
+mosquitoes drain his attackers. His girlfriend (Tracy Griffith) and the EPA
+dude trace the mosquitoes to an abandoned mine, which leads to a showdown
+between buzzing B.E.M.'s and Boone's flamethrower. The cast really makes
+this one worth a watch. The leads aren't sappy, Pollard in particular
+overdoes it, and Napier has a good death scene. Despite some good dialogue
+and a realistic location, the movie is sabotaged by an ending that leaves a
+lot of plot-ends unresolved. The occasional "skeeter's eye" camera is
+impressive, but most of the special effects show the flying bugs for what
+they are: slimy, plastic-looking props. There is one excellent shot,
+though, of a skeeter hovering outside a car window, viciously flapping its
+wings.
+
+
+Mutant Rocker Profile: Red Cross / Redd Kross
+---------------------------------------------
+
+I grew up with Red Cross. They're about my age, and as I evolved through
+the SoCal punk scene so did they. They first emerged as a group of pre/
+early teens singing pop-punk anthems on the Rodney on the Roq show on
+KROQ-FM, back when that station really was cutting edge. They frequently
+were found opening for the likes of Black Flag (pre-Hank) and the Circle
+Jerks (pre-Flea), until they transmogrified, in a reaction to the rigidity
+the hardcore scene was taking on, into the ultimate tongue-in-cheek rock and
+roll poseurs. Their hair grew outrageously long and their outrageous
+clothing got flashier. While preaching the musical value of the likes of
+New York Dolls, Kiss, Alice Cooper, and Stooges, they still maintained their
+punk rock energy. The change in name to Redd Kross wasn't to take on a more
+dinosaur-like quality, but was forced on them by the charity in 1982. At
+the same time the psych-revivalists the Salvation Army were forced to become
+the Three O'Clock before they drifted off into obscurity; it must have been
+a conspiracy. Now on about their sixth life, the brothers Jeff and Steve
+McDonald, who are the heart of Redd Kross, keep on trucking. Through the
+many line-up changes and label switches, they've continued to progress their
+manic music, which is equal parts garage rave-up, acid-soaked psych, and
+bubble gum power pop, all with a basis firmly in second wave LA punk rock.
+Their lyrical themes have likewise been straight out of idol, post-sixties,
+suburban youth culture. Icons such as Russ Meyer, Charlie Manson, and The
+Brady Bunch frequently pop up. Thus, in the midst of their latest shot at
+making it as a working rock and roll band, I've decided to compile what
+information I have on their checkered past and present it for those who may
+be just catching on. These lists are bound to be incomplete, and the
+entries that I have are missing some information, so I welcome and encourage
+all additions and corrections. I still catch Redd Kross when they come
+through town. The last time, a few months ago, it was great to yell out for
+encores of "Annette's Got the Hits" and "Cease To Exist", which Jeff was
+glad to play, while whoever it is that's currently playing the other guitar
+for them could only stare on in bewilderment at songs he didn't know. If
+you're completely uninitiated, my recommendation is 1987's Neurotica LP.
+
+Note the unlisted recording of the Charles Manson composition "Cease to
+Exist" on 1982's Born Innocent LP. That's more than ten years prior to Axyl
+Rose's brainstorm. This song was recorded by the Beach Boys in 1968 as the
+B-side of a single whose A-side I have forgotten (and don't care to
+remember). It was retitled "Never Learn Not to Love", and the "cease to
+exist" line was changed to "cease to resist". Charlie's buddy Dennis Wilson
+was responsible.
+
+Discography -
+
+As Red Cross:
+
+RED CROSS (EP) - Posh Boy 1010 (1980): Cover Band / Annette's Got the Hits /
+ I Hate My School / Clorox Girls / S & M Party / Standing in Front of
+ Poseur; the original cover was a generic "new wave" design sleeve with
+ a center hole cut out. This record was reissued by Posh Boy as one
+ half of an LP called THE SIREN (PBS-123) with two other bands, and by
+ itself with a new cover in 1987
+
+BORN INNOCENT (LP) - Smoke Seven SMK 7-103 (1982) - Linda Blair / White
+ Trash / Every Day There's Someone New / Solid Gold / Burnout / Charlie /
+ Self-Respect / Pseudo Intellectual / Kill Someone You Hate / Look on
+ up at the Bottom / Cellulite City / I'm Alright / Cease to Exist (unlisted);
+ reissued on LP (1987?) and CD (1993) on Frontier FRO 31018 with a different
+ cover
+
+BORN INNOCENT DEMOS (7" boot) - no label: Everyday There's Someone New /
+ Don't Matter (?) / White Trash / Self-Respect / Solid Gold / Fuck This
+ Shit (?); green vinyl
+
+As Redd Kross:
+
+TEEN BABES FROM MONSANTO (EP) - Gasatanka E-1110 (1984): Deuce (Kiss) /
+ Citadel (Rolling Stones) / Heaven Only Knows (Shangra-Las) / Ann
+ (Stooges) / Savior Machine (David Bowie) / Blow You a Kiss in the
+ Wind (Boyce and Hart, and Serena on "Bewitched") / Linda Blair (Red
+ Cross); since reissued - as a public service I've noted above the
+ original artists of the songs on this "rock and roll retrospective"
+
+NEUROTICA (CD/LP) - Big Time 6034-1-B (1987): Neurotica / Play My Song /
+ Frosted Flake / Janus, Jeanie, and George Harrison / Love is You / Peach
+ Kelli Pop / McKenzie / Ballad of a Love Doll / What They Say / Ghandi Is
+ Dead (I'm the Cartoon Man) / Beautiful Bye-Byes
+
+THERE'S A MRS. KRAVITZ IN THE PIT!: NEUROTICA DEMOS (7" boot) - no label:
+ Glad to be Gladys! / Janus, Jeanie, and George Harrison / Love Is You /
+ Ghandi Is Dead (I'm the Cartoon Man) / Beautiful Bye-Byes
+
+DINNER WITH REDD KROSS (2LP) - Big Time 6055-1-BDJ, (promo, 1987): Play
+ My Song (remix) [red vinyl record] / Interview, 5/31/87, WBCN Boston,
+ featuring Peach Kelli Pop / Love Is You / Neurotica / Janus, Jeanie,
+ and George Harrison / McKenzie / Play My Song [black vinyl record]
+
+SMITH FAMILY #1 (7") - Flexi #15; from Bob Magazine vol. 2, no. 4
+
+RHIANNON (7") - Red Records TR-520835-7; free record given away inside
+ Pulsebeat magazine
+
+THIRD EYE (CD/LP) - Atlantic 82148-1 (1990): The Faith Healer / Annie's Gone /
+ I Don't Know How to Be Your Friend / Shonen Knife / Bubblegum Factory /
+ Where I Am Today / Zira (Call Out My Name) / Love Is Not Love / 1976 /
+ Debbie and Kim / Elephant Flares
+
+TRANCE (CDEP/7") - Seminal Twang Twang 14 CD (UK, 1992): Trance / Byrds and
+ Fleas / Huge Wonder
+
+HUGE WONDER (7") - Insipid Vinyl IV-06 (AUS, 1993): Huge Wonder / Super
+ Sunny Christmas
+
+SWITCHBLADE SISTER (CDEP/7") - This Way Up 422 862 523-2 (UK, 1993):
+ Switchblade Sister / What's Wrong with Me / Trance / Byrds and Fleas /
+ I Don't Know How to Be Your Friend (live); 7" on red vinyl
+
+JIMMY'S FANTASY (CDEP/7") - This Way Up Way 1533 (UK, 1993): Jimmy's Fantasy /
+ Tico and Yolanda (Underground Again) / Disco Bitch; 7" on green vinyl
+
+LADY IN THE FRONT ROW (CDEP/10"EP) - This Way Up Way 2088 (UK, 1993):
+ Lady in the Front Row / Standing in Front of Poseur / Oh My Lover / Fancy
+
+LADY IN THE FRONT ROW (7"gatefold) - This Way Up Way ? (UK, 1993):
+ Lady in the Front Row / Oh My Lover / Halfway
+
+2500 REDD KROSS FANS CAN'T BE WRONG (10"EP) - Sympathy for the Record
+ Industry 260 (1993): Any Hour, Every Day / Switchblade Sister / What's
+ Wrong with Me / Trance / Byrds and Fleas / Huge Wonder
+
+PHASESHIFTER (CD/LP) - This Way Up 518 167-1 (UK) Polygram POL 1518167 (US)
+ (1993): Jimmy's Fantasy / Lady in the Front Row / Monolith / Crazy World /
+ Dumb Angel / Huge Wonder / Visionary / Pay for Love / Ms. Lady Evans /
+ Only a Girl / Saragon / After School Special
+
+KROSS WORDS (promo cassette) - Mercury SAC751 (US, Nov 1993): Thurston Moore
+ interviewing the McDonalds
+
+I believe there is another 7" on Australia's Insipid Vinyl label, and
+another 10" with a Phaseshifter track on the A-side from This Way Up in
+the UK (Visionary?)
+
+compilations -
+
+As Red Cross:
+
+HELL COMES TO YOUR HOUSE - Bemisbrain 123/124 (1981): Puss N Boots
+
+PUBLIC SERVICE - Smoke Seven SMK 7-101B (1981): Cease to Exist / Everyday
+ There's Someone New / Kill Someone You Hate
+
+RODNEY ON THE ROQ II - Posh Boy PBS-103 (1982): Burnout
+
+AMERICAN YOUTH REPORT - Invasion Invasion 1 (1982): Notes and Chords Mean
+ Nothing to Me (as "Red Kross")
+
+POSH HITS VOL I - Posh Boy PBS 8138 (1983): Annette's Got the Hits /
+ Cover Band
+
+As Redd Kross:
+
+THE ENIGMA VARIATIONS - Enigma 72001-4 (1985): Citadel
+
+DESPERATE TEENAGE LOVEDOLLS ST - SST 072 (1986): Ballad of a Love Doll /
+ Legend [with Joanna Spockolla McDonald on vocals] / Charly / Self
+ Respect / Ballad of a Lovedoll (instrumental); Charly and Self Respect
+ are the BORN INNOCENT versions. Ballad of a Love Doll is a different
+ version than on NEUROTICA.
+
+LOVEDOLLS SUPERSTAR ST - SST 062 (1986): Lovedoll Superstar; Redd Kross
+ also wrote and play the following "Lovedolls" tracks, with Jennifer
+ Schwartz ["Kitty Carryall"] on vocals: Beer and Ludes / Rex Smith 9
+ (I Wanna Be a Cholo Chick) and play on Sunshine Day [written by Eve
+ Plumb and Barry Williams]
+
+THE BIGTIME SYNDROME - Big Time: Play My Song (remix)
+
+THE ALLNIGHTER ST : Love Is You
+
+SPIRIT OF '76 ST - Rhino R2 70799 (1991): 1976; Jeff and Steve are two
+ of the stars of the movie
+
+FREEDOM OF CHOICE - Caroline Carol 1715-2 (1992): How Much More
+
+Redd Kross (McDonald's) are members of the following "bands" -
+
+SKY SAXON AND PURPLE ELECTRICITY - Voxx, 1985; Redd Kross backed up Sky
+ live on his own "compositions", which are Redd Kross playing songs such
+ as "Dazed and Confused" while Sky bables over it with his insights
+
+TATER TOTZ - ALIEN SLEESTACKS FROM BRAZIL - Gasatanka
+
+TATER TOTZ - SGT. SHONEN'S EXPLODING PLASTIC EASTMAN BAND REQUEST
+ MONO STEREO - Giant GR16027-1 (1989); Shonen Knife are also on this.
+ They have a song titled "Redd Kross" on one of their own records. There
+ was also a Tater Totz 7" with Cherie Currie
+
+ANARCHY SIX - HARDCORE LIVES - Gasatanka/Giant; Anarchy Six also appear on
+ the Lovedoll Superstar record
+
+Redd Kross also contribute songs and play on the latest Belinda Carlisle
+album. The "Mudhoney Live in Hollywood" 10" boot has the McDonalds and
+Sonic Youth joining Mudhoney onstage for a cover of the Stooges "I Wanna
+Be Your Dog."
+
+line-up history:
+
+Again, this probably isn't complete. I've compiled it from interviews,
+record covers, and my own memory, but undoubtedly missed someone along the
+way. Of course Jeff and Steve McDonald are the constants throughout.
+
+1979: (Tourists): Greg Hetson (g), John Cookbook (d), Jeff McDonald (v),
+ Steve McDonald (b,v)
+1979-1980: (Red Cross): Greg Hetson (g), Ron Reyes (d), Jeff McDonald (g,v),
+ Steve McDonald (b,v)
+1980: Greg Hetson (g), Lucky Leher (d), Jeff McDonald (g,v), Steve
+ McDonald (b,v)
+1980: Chet Leher (g), John Nobody (d), Jeff McDonald (g,v), Steve
+ McDonald (b,v)
+1980: Chet Leher (g), Dez Cadena (g), John Nobody (d), Jeff McDonald (g,v),
+ Steve McDonald (b,v)
+1981-1982: John Stielow (d), Jeff McDonald (g,v), Steve McDonald (b,v)
+1982: Tracy Lea (g), John Stielow (d), Jeff McDonald (g,v), Steve
+ McDonald (b,v)
+1982: Tracy Lea (g), Janet Brady (d), Jeff McDonald (g,v), Steve
+ McDonald (b,v)
+1982-1983: (Redd Kross) Dez Cadena (g), Tracy Lea (g), ? (d), Jeff
+ McDonald (g,v), Steve McDonald (b,v)
+1984-1986: Dave Peterson (d), Jeff McDonald (g,v), Steve McDonald (b,v)
+1986-1988: Robert Hecker (g), Roy McDonald (d), Jeff McDonald (g,v),
+ Steve McDonald (b,v)
+1989-1990: Robert Hecker (g), Victor Indrizzo (d), Jeff McDonald (g,v),
+ Steve McDonald (b,v)
+1990-1991: Robert Hecker (g), Brian Reitzell (d), Gere Fennelly (kb),
+ Jeff McDonald (g,v), Steve McDonald (b,v)
+1992-present: Edward Kurdziel (g), Brian Reitzell (d), Gere Fennelly (kb),
+ Jeff McDonald (g,v), Steve McDonald (b,v)
+
+Red Cross Interview:
+
+Here's a transcription of a Red Cross interview from Flipside fanzine
+#31, published in April 1982. The band members were Jeff (guitar,
+vocals) and Steve (bass, vocals) McDonald, Tracy Lea (guitar), and
+Janet Brady (drums) - The BORN INNOCENT line up.
+
+Red Cross were interviewed by Al and Hud in April at the McDonald's
+house in Hawthorne. They live in a run down neighborhood that is being
+torn down for a future freeway. Red Cross (or as they would say
+"Linda BlairUs Cross") are trying their hardest to be LA's best all
+girl band.
+
+Flipside: Are you and Steve getting sex changes?
+Jeff: Yeah, when we can afford it. When we make as much money as the
+Circle Jerks.
+FS: You want to be an all girl band?
+J: It's definitely our goal.
+Steve: Then we can play all Runaways songs. Cool all girl bands are
+hot, but there aren't any more.
+Tracy: Me and Janet are planning on kicking Jeff and Steve out.
+FS: Why did you quit that other "all girl" band Castration Squad?
+T: Certain members made it impossible to...live.
+FS: Tell us about the album.
+J: The two foxy models on the cover are our main influence.
+FS: How do you like Smoke 7?
+S: They're great. They're happening right now. They let us do whatever
+we wanted on the record and on the cover. Felix is totally cool.
+FS: What about Posh re-releasing that...
+J: What can I say about Posh Boy.
+T: He looks like Roman Polanski.
+J: Oh, you have a crush on Posy Boy!
+T: No!
+FS: He's getting married.
+T: Yeah, I saw a picture of her. She's really pretty.
+S: Who? Rik L. Rik he's marrying!?
+J: It's just good publicity for us if Posh re-releases that stuff. I
+just hope he makes a good cover. He has these real awful pictures of
+us. I was upset with his new wave birthday party cover on it last
+time. And his production is uh, it's overproduced and underproduced
+at the same time. It's like mud, professional mud. Rodney's great
+though, he's been playing us for a long time. If it was not for him
+we'd be nowhere.
+FS: Where are you?
+J: We are nowhere. We'd be beyond nowhere...Beyond the Valley of the
+Dolls is the movie that changed my life. Russ Meyer is our idol.
+S: This all girl band goes to Hollywood and gets caught up in the
+sleaziness of it all. It's buxotic! It's like being on acid and
+you're not!
+Janet: A song on the album is about that movie.
+FS: You also do a Charlie Manson song?
+S: Yeah, the Beach Boys did it and the Beach Boys went to our high
+school.
+J: They sang "Be True to Your School" and we did "I Hate My School"
+but I didn't think about that. It might have been subconscious.
+They're the most lame band in history.
+FS: Do you worry about Charlie's Family? I mean you didn't give him
+credit.
+J: Yeah, it's a bonus cut in the album so it's not listed. On the
+insert it thanks Charlie for writing a hot tune. We are going to send
+him some records in the mail and maybe some money.
+FS: So he won't kill you?
+S: Well, he fucking wrote it!
+J: After the thing about music on the Tom Snyder show, wait 'till he
+hears what is coming out now. They should let him out for the fuck of
+it, he'd just be a bum.
+T: There's still some Family members out there.
+FS: Remember what happened when the Beach Boys covered his song!
+Janet: My brother was Tex Watson for Halloween, and he carved a real
+"X" in his forehead.
+T: Charles Starkweather is the best. Badlands is about that guy.
+J: All the stoners around here thought Steve was murdered by the
+Freeway Strangler.
+S: That was when I was on my trip to Vegas.
+T: Me and Jenny sat in on his trial once, he's such a little guy.
+J: Patty Hearst...Tanya, oops!, was me and Steve's idol.
+FS: A lot of people still think Steve is 12.
+S: Fuck I'm 14, they're living in the past.
+FS: What are your favorite bands?
+S: My favorite band is Naughty Women. They're LA's only all
+transvestite band. They're ultra. (Steve is a member).
+J: They blow Vox Pop away!
+FS: What's your favorite color?
+T: Purple! It's so pretty.
+J: Mine's egg shell white.
+FS: What do you think of people getting stolen from your band?
+S: The only person stolen was Dez, Ron we were glad to have out of the
+band, and he was already out of the band really. Hetson quit because
+he was trying to hustle Lucky into the band.
+J: He was too good of a drummer, the old stuff was made for a drummer
+like Ron.
+S: He was too professional for the material and finally Greg never
+came to practice. We didn't want a band then anyways 'cause it was
+such a disaster with Ron, he was such an asshole.
+J: What does Chavo Pederast really mean?, something like buttfuck.
+Black Flag named him that, besides he was in love with Gerber at the
+time. Fuck, Gerber is crazier than ever now, she hit me in the face
+about five times, she was screaming, "Mike Ness won't fuck me!"
+S: And carrying around a canteen full of hardcore liquor.
+J: Oh I swear dogshit couldn't have been worse. Then she was rolling
+on the floor, taking her pants off, you know how she is. She's
+hilarious!
+FS: What do you write about?
+S: Linda Blair, Russ Meyer.
+J: We're into exploitation of all kind.
+FS: What do your parents think of the band now days?
+J: Oh, they're real supportive. They didn't like it at first, they
+haven't seen us live yet.
+S: We told them we're not going to go to work, whatever, we're not
+going to be welders so you might as well support us. This is what
+we're gonna do, make music so...
+J: We got a young start and probably by the time I'm 25 I'll be a real
+guitarist. He got his bass when he was 11.
+Janet: My parent are glad I'm in the band 'cause at least I'm doing
+something. I quit school and won't get a job and they're glad I'm in
+this band 'cause of the album.
+J: My grandmother bought a bunch our first record and gave them to all
+of our family for Christmas.
+T: My parents are glad I'm not sitting at home doing nothing anymore.
+FS: Are you in school?
+T: I really started taking a class at Santa Monica College.
+Janet: I was thinking of going back but I can't stand the people.
+FS: What about the new punks?
+Janet: I used to be real obnoxiuos, light hippies hair on fire, but
+now it's not the same. There's no sense of humor. It's just a bunch
+of dicks trying to prove they're cool. They're bummed because they
+missed out on punk rock. They're just macho-jocks. They've got no
+place in anything.
+J: Like Wasted Youth have songs like "Born Deprived" or "WeUre on
+Heroin", whatever, and they live in like the most expensive...it's
+their whole intent to appear that way. Chet's cool. I donUt want to
+say anything bad, they're just not my most favorite band.
+FS: Where do you guys get the Velvet Underground influences?
+S: We didn't get into them until later. We started with David Bowie
+and the New York Dolls. Our aunts, like ever since Jeff was born,
+were total Beatle freaks.
+J: I saw the Beatles in San Diego, and then we got into Bowie and T
+Rex and all that other stuff.
+Janet: Rock bands used to always practice behind my house and my
+parents would call the cops on them. That was when I was like 3 or 4.
+Now they have to take the same shit from our neighbors.
+
+FS: Is this band gonna stay together?
+S: I hope so! We have to record something for a compilation album on
+Bomp. It's not punk stuff.
+Janet: I don't feel obligated to look punk rock, 'cause now it's
+bullshit. Baldies...
+S: But that's not really punk rock anyway , so it doesn't matter.
+J: Anyone's cool who really likes the music and goes out to have a
+good time. Anyone who goes out "let's kick someone's ass" or "I like
+to get banged up" are just bullshit.
+S: All's there doing is having sex in the slam pit, they got off on it!
+FS: Are you a punk rock band?
+J: We're a punk rock band.
+Janet: Punk rock means a lot of things.
+J: If it's hoodlum, vandelizing teenager then we are, we are as
+obnoxious as anybody. It's not getting into beating each other up. I
+would be in pain and I wouldn't like that.
+Janet: They don't care about the music, it's just there to slam to.
+But the best thing that's happening is punk. Now it's commercial
+punk. You want to see something bad, go to Gazzari's on any Sunday,
+it's battle of heavy metal bands. Ya know Charlie had a lot of good
+ideas. Baldy isn't into Charlie because Baldy doesn't know.
+J: Bald is alright if you're not an ass.
+Janet: Baldy is different, there's Baldy at every show.
+S: Baldy is Godzilla's.
+Janet: Godzilla's was a real bald place. I mean commercial punk is
+totally against the whole idea. They got rules, you can't be punk
+rock if you're not this tough...
+J: Rules and standardism is bullshit. Trendyism is not an uncool
+thing anymore. People don't even know what the trends are.
+FS: Was it a trend when you started?
+J: No! it wasn't "in fashion" back then. I just went to see bands I
+liked, I freaked out. Music was what got me into it. I dress weird
+because it's fun. Setting standards for yourself and others is what
+you try to get away from in high school and shit.
+Janet: Still the only good bands are punk rock. There's assholes and
+they suck!
+S: I think we should all have lesbian sex.
+Janet: Someone should put acid in the beer at Godzilla's and they'd
+all kill themselves 'cause they'd all look at themselves and go, "God
+what a dick!" and that would be it!
+S: Too many bands have the audience more in mind than what they really
+want to write.
+J: What makes the band? The people in the band, not the people who go
+to see the band.
+S: If you don't like it why should you even be playing?
+J: Hardcore is another term that bugs me. Hardcore is dedication, you
+are really into what you are doing, but now hardcore has these bounds.
+People might not consider us "hardcore" but dedication is dedication,
+anarchy is anarchy. Why don't they stop being fascists?
+
+* end of Funhouse-1.4 *
+
diff --git a/textfiles.com/magazines/GLOBETROTTER.1 b/textfiles.com/magazines/GLOBETROTTER.1
new file mode 100644
index 00000000..901b8422
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER.1
@@ -0,0 +1,25 @@
+
+T E X T F I L E S
+
+Electronic Magazines: Globe Trotter
+
+Hailing from Australia, this computer hacking-centric magazine produced a few
+very good issues with a concentration of Australian and New Zealand information.
+The writing is clear and the attempt at regular columns was well-thought out.
+It must have been a very tiring year for "THE FORCE", and the effort shows.
+
+
+Filename
|
+Size
|
+Description of the Textfile
|
+
+globe1.txt 77939
| Globe Trotter Issue #1: January 1, 1988
+ | globe2.txt 32272
| Globe Trotter Issue #2: February 2, 1988
+ | globe3.txt 63489
| Globe Trotter Issue #3: March 29, 1988
+ | globe4.txt 63724
| Globe Trotter Issue #4: May 14, 1988
+ | globe5.txt 62064
| Glove Trotter Issue #5: August 14, 1988
+ | globe6.txt 100546
| Globe Trotter Issue #6: September 1988
+ | | | | | | |
| There are 6 files for a total of 400,034 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/.windex.html b/textfiles.com/magazines/GLOBETROTTER/.windex.html
new file mode 100644
index 00000000..d78b706b
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/.windex.html
@@ -0,0 +1,25 @@
+
+
T E X T F I L E S
+
+Electronic Magazines: Globe Trotter
+
+Hailing from Australia, this computer hacking-centric magazine produced a few
+very good issues with a concentration of Australian and New Zealand information.
+The writing is clear and the attempt at regular columns was well-thought out.
+It must have been a very tiring year for "THE FORCE", and the effort shows.
+
+
+Filename
|
+Size
|
+Description of the Textfile
|
+
+globe1.txt 77939
| Globe Trotter Issue #1: January 1, 1988
+ | globe2.txt 32272
| Globe Trotter Issue #2: February 2, 1988
+ | globe3.txt 63489
| Globe Trotter Issue #3: March 29, 1988
+ | globe4.txt 63724
| Globe Trotter Issue #4: May 14, 1988
+ | globe5.txt 62064
| Glove Trotter Issue #5: August 14, 1988
+ | globe6.txt 100546
| Globe Trotter Issue #6: September 1988
+ | | | | | | |
| There are 6 files for a total of 400,034 bytes. |
+
+
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe1.txt b/textfiles.com/magazines/GLOBETROTTER/globe1.txt
new file mode 100644
index 00000000..3404adb8
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe1.txt
@@ -0,0 +1,1697 @@
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #1, File #1 Date: 01/01/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+Welcome To the first Edition of GLOBE TROTTER, the first AUSTRALIAN HACKERS,
+Monthly Magazine. I have chosen the name "GLOBE TROTTER" Because that's
+what this is all about and it is dedicated to all the DATA BUMS out there,
+playing with systems in countries not even heard off. The Realm which is a
+BBS I sysop, is the source for most of the information and I will try to
+state where every piece of data in these files comes from. To continue this
+magazine on monthly basis, I will need your support. Any information or files
+you can contribute will be greatly appreciated by all. If you have anything of
+interest, this is where you can contact me:.
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Germany: ALTOS NUA: 026245890040004 Username: force
+Australia: Any Good BBS In Melbourne or The Realm
+Usa: Still Looking for a Good BBS.
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Outdial Systems: This month we have an international Outdial, to
+ Start you modeming around the globe.
+
+ - Unusual Systems: Few NUA's which are a little different.
+
+ - System Passwords: In this issue you will find few DG AOS/VS
+ passwords, along with other accounts.
+
+ - Trix of The Trade In this edition there are few tips on preserving
+ minerva accounts and on Identifying Systems.
+
+ - Hack Of The Month An Interesting GANDALF PACX hack.
+
+ - Network Profile: This month we feature TYMNET 3106 and have
+ up-to-date Scans of the 00, 07 and 90 areas.
+ Please note they are different to the Scan
+ Published in Force Files 1-9. This is a newly
+ done scan with many new systems.
+
+N O T S O R E G U L A R F E A T U R E S
+---------------------------------------------
+
+ - What You Need To Know A guide to the Scan Formats and Abreviations
+ used in these files.
+ - The BAD and THE UGLY We have a compiled list, of what we consider are
+ The three worst networks yet explored in depth.
+
+===============================================================================
+
+
+OUTDIAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+There are only three countries which are really serious about outdialing from
+their networks to computers outside the packet switched service. They are
+CANADA, AMERICA, and JAPAN. As yet I have never found an outdial in JAPAN,
+but I know they are there and I have only scratched the surface of DDX and
+VENUS, so I will keep you informed. In america, TYMNET is the first network
+which springs to mind if you think of outdials. They like the VEN TEL systems
+above all others, and most can dial Internationally. There are few exceptions
+like HOUSTON, and CLEARWATER outdials, but more about those in the next issue.
+CANADIAN DATAPAC, must be on a real low budget, since virtually all of the
+outdials service only a particular area, however, some ports don't seem to
+be functioning properly and have been known to dial outside CANADA. Once in
+a while you will come across, local outdials on IPSS and TELEPAC of UK and
+SWITZERLAND but they are very very rare indeed. If you need outdials on other
+networks, the best way is to look for privatelly owned ones, in systems like
+Unix etc. There is one type of system, which I have seen people mistake for
+outdials very often indeed, although none of them have got them to work. They
+play with it and give up, not knowing what they have. They come up with the
+"#" prompt and when you type STATUS, you get a lot of bullshit about parity,
+baud rate, call parameters etc. They look and feel like outdials, but they
+are more like a GATEWAY. They do call out systems on the PSTN, but only to
+those which are subscribers to that gateway. To use them try things like
+CALL 1, CALL 100 etc etc.
+Few outdials are very simple to use. They have instructions, and all you do
+is enter the number and off you go. Others are not so easy. Some may require
+HAYEYS type codes or other Prefixes to make the call. for example few outdials
+I came across need formats such as ATDP9T,# or TB,#,00285 where # is the
+phone number. Others require various numbers infront of the actual number
+like 9 which was used instead of a 1 to make calls to the USA. The best thing
+I can recomend is to experiment and if there is a memory to store numbers in,
+check it to see the formats other people have used.
+Ok, Lets Get down to some real Outdials now:
+
+3106004956 - DATAPHONE II Outdial, (select port #1 or #2)
+310600216401 - MITRE Outdial (This one requires a Password)
+
+The above are just fair, but the outdial of the month is on the ANF GANDALF
+PACX and it will dial any numbers in the USA and Elswhere in the World.
+
+3106002062 - VEN TEL O/D You will need to figure out how to use it,
+ since I will not say any more about it, but
+ it works great.
+
+-------------------------------------------------------------------------------
+
+
+UNUSUAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+This is hopefully going to be a regular feature if I can come up with something
+interesting month after month. Few of the NUA's I will give you in this
+section you might have seen in various NUA scans, but if they are interesting
+or unusual I will try to bring them to your attention.
+
+026245221040194 - CPX-PAD
+026245621040580 - DYNAPAC Multi-PAD
+026246890040281 - DATUS PAD
+
+And finally for this Month, Something I don't approve off at all, but here it
+is anyway:
+
+03106007580 - Mc MASTER CARD Direct Order Entry System
+
+Next months I will have various Bulleting boards on the Data Networks and other
+nice systems for you.
+
+-------------------------------------------------------------------------------
+
+SYSTEM PASSWORDS
+~~~~~~~~~~~~~~~~
+
+In this section I will leave you with various accounts and passwords. Please
+do not expect to just gain entry, and have a great time. In most cases,
+anything I post personally will be something I don't need. In any case, I
+will not make it easy since if everyone got access to the system in question,
+it would last only for few days. This Month I have some accounts on Telenet,
+but if you're sick of the US networks stay tuned since in a few issues I will
+have bits in pieces from IRELAND, ISRAEL etc.
+
+311080100062 - DG AOS/VS 03A Login: GUEST/GUEST
+311050300040 - DG AOS/VS Login: VISITOR/VISITOR
+311091900060 - PRIMENET 20.0.4.R2 Login: PRIME/PRIME
+-------------------------------------------------------------------------------
+
+
+TRIX OF THE TRADE
+~~~~~~~~~~~~~~~~~
+
+This is where you can pick up very usefull information, so you can learn and
+prosper. Lets start off with MINERVA. It's a system part of the DIALCOM
+network. Running on PRIME'S. It is equivalent to the Us PRIMECON,
+Uk, BT GOLD, Germany, TELEBOX. Each country has a few more or less. Since
+Minerva is my favourite system (Only system 08 is still called MINERVA, systems
+07 and 09 are now known as KEYLINK. I will always refer to KEYLINK as MINERVA
+for sentimental reasons. I mean what sort of a dud name is KEYLINK?)
+most of you all ready Know this, but you can try this out for yourselves if you
+like.
+
+ 1 - Connect To ALTOS via Minerva.
+ 2 - Start Hacking another account since the one you are on will die
+ within 12 hours or much sooner.
+
+Basically if you ever use a Minerva account, don't connect to systems widelly
+used by hackers. If an account dies rather suddenly, and you have not been
+forced off from PRIMOS, chances are there has been a trace put on one of the
+NUA's you have called. If it happens few more time well, there is your proof.
+It is best to have a good supply of other PAD's and route your calls via
+another destination.
+
+-------------------------------------------------------------------------------
+
+SYSTEM IDENTIFICATION
+
+Before you can hack into a system, it is a good idea to know what system you
+are dealing with. If the system gives you any kind of responce, then you can
+usually figure out what to do, when to do it. SYSOPS are now catching on,
+and have programmed their machines to just sit there without any responce,
+untill a password has been entered or the correct Username/Password etc.
+This frustrates a lot of people, me included, and they very often give up
+only after few minutes. This is one of the better security arangements.
+There is one way in which you can at least narrow down the possible machines
+which are on the other end, and that is with the use of CONTROL CHARACTERS.
+if you send things like CTRL-E, CTRL-D and CTRL-C's in particular, sometimes
+you will get a message from the system. This often means it is a TELEPRINTER,
+and it will state the fact. If still you get no responce, try more CTRL CHARS
+as well as others and observe the minute details. A lot of systems which don't
+come up with anything, will still respond in a unique way to some CTRL CHARS.
+VAX's are pretty easy. Type CTRL-Z and you will get disconnected most of the
+time, or you may even get a message such as *EXIT* or *INTERUPT* which is a
+dead give away. Bsically just send all the CTRL CHARS you can and watch
+what comes back. Some systems will not echo your if a certain character
+was before it. Or will send 2 's instead of just one. First of all
+check out if it isn't your PAD which is doing it, and if it isn't just try the
+same thing on known systems and compare the responces. Another way is to send
+a certain number of 's and see how many it takes for the system to
+disconnect the line, if not infinate. Last thing is to measure the time it
+takes for the system to drop the line due to inactivity. Put all these things
+together and if that still doesnt help you, call the system an IBM and give up.
+ (Note: I Can't Stand IBM Machines of any shape form or size)
+-------------------------------------------------------------------------------
+
+HACK OF THE MONTH
+~~~~~~~~~~~~~~~~~~
+
+Each month I will try to judge the most interesting system which has been
+hacked and will publish a short slightly EDITED printout of the login. By
+Edited I mean changing the NUA's, System Node Name etc so that the system
+can't be identified by either the real System Operators or by other
+enterprising hackers who might be able to repeat the hack and possibly stuff
+up the system.
+At the moment I only have material which I have hacked personally, but if you
+can, could you please send me similar sample logins of your own hacks.
+
+Hack Of The Month: GANDALF PACX
+Location: CANADA
+Date: 04/JAN/88
+Hacked By: ----====} THE FORCE {====----
+
+Notes: Hacked into the Console level, Can reporgram PORT
+ addresses or phone numbers. Terminate life of the
+ system. Manipuluate all espects of User Id's, Billing
+ procedures etc.
+
+Sample Login:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+C :03020xxx00xxx -FCTY
+Circuit #1
+03020xxx00xxx Connected
+
+
+Password >
+Gandalf XXXX 30-MAR-1980
+Rev A1 4419K2-2003 Primary Console Menu 15:50:39
+ Node: xxxxxx
+
+Primary Menu:
+
+ 1. Define
+ 2. Display
+ 3. Maintenance
+ 4. Supervise
+ 5. Exit
+
+
+Primary selection > 4
+
+Supervise Menu:
+
+ 1. Default Parameters
+ 2. Copy Profile
+ 3. Copy Remote Profile
+ 4. Copy User
+ 5. Copy Link
+ 6. Copy Channel
+ 7. Copy Service
+ 8. Delete Profile
+ 9. Delete Remote Profile
+10. Delete User
+11. Delete Service
+12. Delete Abbreviated Command
+13. Delete Billing Group
+
+
+Supervise selection > 11
+Enter service to be deleted > ?
+Names must consist of 1 to 8 alphanumeric characters
+Current services are:
+CONSOLE,FOX,LOGGER,MACHINE
+Enter service to be deleted >
+
+Supervise selection >
+
+Gandalf XMUX 30-MAR-1980
+Rev A1 4419K2-2003 Primary Console Menu 15:51:33
+ Node: HALIFAX
+
+Primary Menu:
+
+ 1. Define
+ 2. Display
+ 3. Maintenance
+ 4. Supervise
+ 5. Exit
+
+
+Primary selection > 5
+
+03020xxx00xxx Disconnected
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+
+
+WHAT YOU NEED TO KNOW
+~~~~~~~~~~~~~~~~~~~~~
+
+In the Scans/Sprints you will see in each edition there are some notes,
+abreviations and general information about the format you should know about.
+They are in three columns. First the NUA, which has got the prefix missing.
+In Australia and Most of Europe you would put a Zero in front, In canada a One.
+Basically just find out which network you are using and what is the
+International Prefix for that network. The second Column has got various
+information on what type of a system it is what make of computer or what
+operating system it uses. The Column has got information about the owners
+of the machine, What it comes up as, or it just has various Notes. For The
+last column the folowing format is used.
+
+University of London - Just states the Owner of the Computer
+"Please Sign-On" - The first responce the System Gave if Owner is
+ unknown.
+(Type: GUEST to Login) - My personal Notes about the system. What to do
+ etc. Only very brief.
+
+Other Abreviations used:
+
+
+AOS - Advanced Operating System
+ACF2 - Access Control Facility 2 (IBM)
+CICS - Customer Information Control System (IBM)
+DG - Data General
+fax - I have used this everytime I connect to a NUA and it
+ automatically disconnects before you have time to do anything.
+ They are possibly Telex receivers or Fax machines, or more
+ probably systems which require an X.25 Sub Address. They are
+ basically a pain in the arse and so are fax machine when
+ scanning phone exchanges when you have to pay for the phone bill,
+ thus the similarity.
+Gateway - A link to other systems (Non-Local)
+NUA - Network User Address
+NUI - Network User Identification
+Port Sel.- A Link To other systems (On Local Network)
+PTSN - Public Telephone Switched Network
+RSTS/E - Resource System Time Sharing Envirnmont
+TOPS - Total OPerating System
+TSO - Time Sharing Option (IBM)
+PAD - Packet Assembly, Dissassembly
+
+
+
+The BAD and the UGLY
+~~~~~~~~~~~~~~~~~~~~
+We have carefully considered MIDAS, AUSTPAC, TELENET, TYMNET, UDTS, IPSS,
+DATEX-P, TRANSPAC, DATAPAC, VENUS-P, PACNET, EIREPAC, and DDX-P and have came
+up with the following listing. The worst networks are listed first.
+
+
+ 1> ISRANET: This Network Is a JOKE. That's all one can say. It
+ is a nightmare to scan and it's faster to do it manually
+ NUA by NUA. I have timed the responce speed of some
+ hosts and 5 minutes is not uncommon. The only good
+ point about the whole set up are the systems themselves.
+ once you find them they are usually fun. I am in the
+ process of Scanning ISRANET but it will be few months
+ before I'll have it for you.
+
+ 2> DATAPAC: This is another setup which is a disgrace. It is a literal
+ maze of Slow responce NUA's, 60% of which don't seem to give
+ you any responce. I assume they are fax or telex machines or
+ something simmilar. FEW other irritating features of
+ DATAPAC are the millions of Local outdial ports, and the way
+ the NUA's are addressed. They don't seem to have any
+ relation to the PTSN area codes. We will feature DATAPC
+ in two months time. The datapac outdial list will be
+ published in the next few issues.
+
+ 3> AUSTPAC: Oh How I hate AUSTPAC. They say you shouldn't bite the hand
+ that feeds you but since I use MIDAS most of the time I will
+ say a few bad words about our data network. Compared to
+ systems like TYMNET or DATEX-P, its speed is rather slow.
+ The NUA format sux. It uses the Local Exchange Codes as
+ well as country codes which makes Scanning a nightamare.
+ SAPONET, DDX-P and few others use the same format so at least
+ we are not alone. When Scanning NUA's you get a lot of RNA's
+ which indicate there is a system at the other end that
+ refused a collect call, but when you use a NUI, there is
+ nothing there. A lot of systems require a Sub Address which
+ again is not very healthy for Scanners and Sprinters. Lastly
+ the NUI's themselves are 12 digit, which makes hacking by
+ trial end error physically impossible.
+
+DDX-P Just Scraped Trough. I will update the list or extend it once I explore
+more networks in various countries. To date I have only looked at about
+one tenth in any great depth.
+
+My personal Favourite has got to be DATEX-P. I have never before seen
+a network so friendly to hackers. There will be a lot more on DATEX-P in
+few months time.
+
+-------------------------------------------------------------------------------
+
+NETWORK PROFILE: T Y M N E T
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+Dnic: 3106
+Location: USA
+Owners: Mc Donnell Douglas Co.
+Host Responce: Excelent
+Nua Structure: 3106 00 0000 00
+
+
+Contacts: Questions about International Service can be addressed to:
+
+ Keith Curtis
+ McDonnell Douglas Network Systems Co.
+ 2070 Chain Bridge Road
+ Vienna, VA 22180
+ 703/356-6972
+ OnTyme: ENS.K/CURTIS
+
+ Support for International customers in Europe and the Middle
+ East is provided by the Paris office:
+
+ Dominique Marchand
+ Tymnet Extended Services
+ 165 Bureaux de la Colline
+ 92213 St-Cloud Cedex
+ France
+ 331-4-911-2344
+ OnTyme: ENS.EUROPS
+
+
+Notes: I have never been able to figure out the AREA of the
+ Nua's. The major ones are 00, 07 and 90 and recent
+ scans of those are to follow. At first I thought it
+ signified Coastal USA area, Ofshore Area's etc, but there
+ are NUA's to some same systems on all of these. If anyone
+ has got any information, please I would really love to know.
+
+The strange thing about tymnet, is that I have never been able to connect to
+any of it's systems using a PAD located in the USA either on Tymnet itself
+or Telenet. Only way seems to be through the Tymnet Gateway NUA: 03106
+which requires a system id and a password in most cases. There are other
+areas besides the ones I have mentioned, but they seem to be to systems
+which have something to hide. Usually you find one or two NUA's in the
+middle of nowhere and virtually all also require a sub-address, which makes
+scanning those areas RATHER DIFFICULT.
+
+
+Following Files Supplied by: TYMNET USER SERVICE
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+Tymnet Services The Following Countries:
+
+ Alaska Antigua Argentina Australia Austria
+ Bahamas Bahrain Barbados Belgium Bermuda
+ Brazil Canada Cayman Islands Chile China
+ Costa Rica Colombia Curacao Denmark Dominican
+ Egypt Finland France French Antilles Martinique
+ Gabon Germany Greece Hong Kong Hungary
+ Iceland Ireland Israel Italy Ivory Coast
+ Japan Korea Luxembourg Netherlands New Zealand
+ Norway Peru Philippines Portugal Puerto Rico
+ Reunion Island South Africa Singapore Spain Sweden
+ Switzerland Taiwan Thailand United Arab Emrt. U.K
+ (Mercury)
+
+
+
+Notes: I am not sure how to convert the Host # to a working NUA from
+ overseas, but if you are in the USA arear, you can use the
+ following for your outdial calls
+
+
+ TYMNET ASYNCHRONOUS OUTDIAL SERVICE
+
+Tymnet's new Asynchronous Outdial Service enables you to establish an
+asynchronous connection through TYMNET to destination computer equipment
+not directly connected to TYMNET. You can connect to personal/micro
+computers, receive-only printers, and mini- and mainframe computers
+which have modems which will answer calls. Calls are made from the
+Outdial Host using modems which offer Bell 103, Bell 212A, and V.22bis
+compatibility.
+
+ Outdial Host Numbers
+ Sorted by Time Zone, State, and City
+
+Eastern Time Zone -----------
+
+State/ Use Outdial Outdial call made
+ City Host # from Area Code
+--------------- ----------- ---------------
+Florida
+ Miami 8793 305
+Georgia
+ Atlanta 8795 404
+ Doraville 8795 404
+ Marietta 8795 404
+ Norcross 8795 404
+Massachusetts
+ Boston 8796 617
+ Cambridge 8796 617
+New York
+ New York 1059 212
+Virginia
+ Alexandria 2262 703
+ Arlington 2262 703
+ Fairfax 2262 703
+
+Central Time Zone -----------
+
+State/ Use Outdial Outdial call made
+ City Host # from Area Code
+--------------- ----------- ---------------
+Illinois
+ Chicago 8257 312
+Michigan
+ Detroit 8794 313
+Minnesota
+ Minneapolis 8813 612
+ St. Paul 8813 612
+Missouri
+ Bridgeton 8978 314
+ Independence 8615 913
+ Kansas City 8615 913
+ St. Louis 8978 314
+Texas
+ Dallas 2948 214
+ Houston 4562 713
+
+Mountain Time Zone ----------
+
+State/ Use Outdial Outdial call made
+ City Host # from Area Code
+--------------- ----------- ---------------
+Colorado
+ Aurora 2584 303
+ Boulder 2584 303
+ Denver 2584 303
+California
+ San Jose 6450 408
+ Vernon 3173 213
+
+...............................................................................
+
+Ok, enuff said bout Tymnet, so lets get down to the juicy bits. For complete
+scans of 00, 07 and 90 areas of tymnet refere to files #2 and #3. Please
+note that the scan was done from MIDAS Australia so a lot of systems may be
+barred and not accessible in which case they are not on the list. An example
+of this is a number of Outdials which we have obused over the years.
+
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #1, File #2 Date: 01/01/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+T Y M N E T 0310600xxxx Sprint, By: ----====} THE FORCE {====----
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The Depths Of The Realm. Last Sprint: 28/12/87 Last Update: 01/01/88
+===============================================================================
+
+3106 Gateway -
+3106000000 Port Select - Morgan Stanley Network
+3106000010 VAX/VMS V4.4 11/8600 - EXAR Corporation VAX
+3106000023
+3106000032
+3106000034
+3106000050 BSD Unix - NLM MIS
+3106000065
+3106000066 VAX/VMS - BCS
+3106000071 - Commodity System
+3106000078 - WAFB INFO3
+3106000081 - COMPUTONE
+3106000093 fax
+3106000096 - Remote Computing
+3106000098 - Lockheed Dataplan
+3106000101 - SIO
+3106000102 - RU20
+3106000113 Port Select - 1 = Link System
+ 3 = Bank Of America (U:ABACIS, DIRECTOR)
+3106000155 - I.P. Sharp Asoociates Inc.
+3106000173 Gateway - TYMNET/CODAN NET. Inter-link
+3106000179 - LBL
+3106000188
+3106000210
+3106000227
+3106000241 Port Select - A,4 BAIFS Bank Of America
+ S,3 SFDCS1
+3106000249 -
+3106000280 Honeywell - HONEYWELL MPL
+3106000289 Port Select - Ross Systems
+ (32,26,2,3,12,20,21)
+ VAX/VMS 7,5,17,18,47,51,A = VAX/VMS
+ RSTS 14,15 = RSTS ROSS SYSTEMS
+ VAX/VMS 9,43,44,45,48 = MICRO VMS VAX
+3106000307 TOPS-20 - Infomedial Service Center One
+3106000315
+3106000327
+3106000331 IBM VM/370 -
+3106000377 - Monsanto Ad RFesearch Prod. Appli. Net.
+3106000379
+3106000401 - TMCS Public Network
+3106000411 Gateway - TYMNET/BOSTON/TNS-PK1 interlink
+3106000423 - CORPORATE COMPUTER SERVICES
+3106000424 IBM VM/370 - (link to 4 VM/370 systems)
+3106000428 - AAMNET
+3106000439 HP-3000 - MIS 2
+3106000463 IBM VM/30 - Signetics
+3106000464
+3106000496 fax
+3106000497 - UBS Computer Systems
+3106000498
+3106000513 - P4 HOST
+3106000515 - Ontyme II
+3106000581 - Bibliographical retrieval service
+3106000585 - C/C/M
+3106000619 IBM VM/370 - SPNB VM/370
+3106000632 Gateway - TYMNET/TRWNET inter-link
+3106000633 Gateway - PUBLIC TYMNET/TRWNET INTERLINK
+3106000636 Port Select - LINK TO TRAC SYSTEMS (120 terminals)
+3106000646
+3106000664
+3106000674
+3106000685 Port Select - MTS-A RESEARCH
+ TOPS-20 10 - TOPS-20
+ 12 - UNKNOWN
+ 14 - UNKNOWN
+ TOPS-20 20 - MTS(C) TOPS-20
+ TOPS-20 30 - MTS(F) TOPS-20
+ 32 - UNKNOWN
+3106000704 Gateway - TYMNET-CUP(704)/DUBB-NTS(4) Inter-Link
+3106000715 - TYMNET Test System
+3106000729 IBM VM/370 -
+3106000731
+3106000742 - LADC L66A
+3106000755 - CORPORATE COMPUTER SERVICES
+3106000759
+3106000760 - DEC Solar Cae/Cam
+3106000761 - DOJ
+3106000788 Gateway - TYMNET-6754/McGRAWHILL Inter-Link
+3106000793 - J&J
+3106000798
+3106000800 Port Select - CSG VAX, CYBER 815, SB1, SB2, SB3,
+ SCN-NET
+3106000821
+3106000832 - ONTYME II
+3106000842
+3106000859
+3106000871
+3106000898 - P&W
+3106000932
+3106001000 - Internet
+3106001010 - DITYMNET01
+3106001015 fax
+3106001024
+3106001030
+3106001036 IBM - IBM1
+3106001038 Port Select - Environmental Protection Agency Comp.Cnt
+ IBM, TCP, UNI, VAX, PRIME, FMO
+3106001042 IBM IDC/370 -
+3106001043
+3106001045
+3106001053 - Strategic Information
+3106001056 - Syntex Timesharing
+3106001105 Port Select - SGNY
+ VAX/VMS 1 - VAX II Production system
+ VAX/VMS 3 - VAX II Production System
+3106001110 -
+3106001134 Gataway, Data Net - COMPUSERVE
+3106001141 - MESSAGE SERVICE SYSTEM (FOX)
+3106001143 fax
+3106001152
+3106001158 - Tymnet User Service
+3106001168 Primos 19.4.6F - PRIMENET 19.4.6F EEDDBM
+3106001186
+3106001192 - "P2 HOST"
+3106001227 IBM ACF2 -
+3106001262 - "P1 68a HOST"
+3106001269 - "P3 HOST"
+3106001270
+3106001288 Gateway - British Library - Blaise Link
+3106001289 Multics MR12.1 - Honeywell
+3106001290
+3106001304 - ONTYME II
+3106001309
+3106001316 fax
+3106001320 fax
+3106001328
+3106001330 Multics - (U: HVN 862-3642)
+3106001339
+3106001341
+3106001358
+3106001361 - Thompson Components-Mostek Corporation
+3106001383 Port Select -
+ 1,A - TILLINGHAST BENEFITS TIME SHARING SYSTEM
+ 2,C - TILLINGHAST INSURANCE TIMESHAEING SYSTEM
+ Outdial Port 4,D - OUTDIALS
+ VAX/VMS VAX 8600 6 - TILLINGHAST VAX 8600
+3106001389 VAX/VMS
+3106001391 VAX/VMS - SHIMS VAX
+310600139901 - Comtex Cx-80 Data Exchange
+3106001400 - TMCS PUBLIC NETWORK
+3106001410 - DATALYNX/3274 TERMINAL
+3106001415 Unix - TYM
+3106001417
+3106001434 Port Select - double digits, VM is active
+3106001438 Port Select -
+3106001443 fax
+3106001459 IBM -
+3106001466 VAX/VMS -
+3106001467 - STN INTERNATIONAL
+3106001482 - FNOC DDS
+3106001483 - ADR HEADQUARTERS
+3106001487
+3106001488 HP-3000 -
+3106001502 - ARGON NATIONAL LAB
+3106001508 IBM IDC/370 -
+3106001509
+3106001514 DC-10 - Abbott Galaxy V5
+3106001519
+3106001532 fax
+3106001533 - SBS DATA CENTRE
+3106001534
+3106001557
+3106001560
+3106001577
+3106001578
+3106001589
+3106001594 DG AOS/VS -
+3106001611
+3106001612 Gateway - TYMNET-NEWARK/TSN-MRI Inter-Link
+3106001616 Gateway - TYMNET-5027/McGRAW HILL Inter-Link
+3106001624
+3106001642 Port Select A - CORNELLA (system choices displayed)
+3106001657 Outdial Port -
+3106001659 VAX/VMS - BYTE INFORMATIO EXCHANGE
+3106001663 - PEOPLE LINK
+3106001665
+3106001676 VAX/VMS - VFI VAX MAIL
+3106001686 - "P1 HOST"
+3106001709
+3106001715 Gateway - TYMNET/BOFANET inter-link
+3106001727
+3106001731
+3106001733
+3106001757
+3106001763 HP-3000 - Dow Jones
+3106001765
+3106001766 Primos 19.4.11 - PRIMENET 19.4.11 P750
+3106001769 - S.C. JOHNSON & SON R & D COMPUTER SYS.
+3106001789 Port Select - WYLBUR,
+ IBM N - CICS TWX
+ A,C,D,G,H,P,R,S,V,Z (unknown)
+3106001799 Port Select -
+ IBM VM/370 - 5 - VM/370
+ 20,23,26 - UNKNOWN (TRIED TO 32)
+3106001807 fax
+3106001817 - MITEL BOCA RATON
+3106001819 - TMCS PUBLIC NETWORK
+3106001831 Multics -
+3106001842 fax
+3106001844 fax
+3106001847 fax
+3106001851 fax
+3106001853 fax
+3106001854
+3106001857 fax
+3106001864 - SUNGARDS CENTRAL COMPUTER FACILITY NET.
+3106001873 Multics MR10.2I -
+3106001874
+3106001880 fax
+3106001881
+3106001897
+3106001912
+3106001932
+3106001977 Port Select - (Type VAX for VAX/VMS)
+3106002040 fax
+3106002041
+3106002046 Port Select - MITEL CORP IN KANATA (has Outdia Port)
+3106002050 Gateway - TYMNET/BOFANET inter-link
+ (U:ABACIS, SFDCS1)
+ 1 - link, 2 - SFDCS1 (U:DIRECTOR), 3, - ABACIS (U:ABACIS)
+ A - ABACIS 2 (note, Abacis may be used as a U/N for many systems
+ on tymnet)
+3106002060
+3106002062 Port Select - ANF GANDALF PACX 2000 (type VAX)
+3106002070
+3106002086
+3106002095 - COMODEX ONLINE SYSTEM
+3106002098 - D & B (U:COMMANDO,DIRECTOR,FUCK)
+3106002099 - D & B (U:COMMANDO,ASSASIN,SHIT)
+3106002100 - D & B (U:COMMANDO,DIRECTOR,FUCK,RAIDER)
+3106002109 Gateway - TYMNET/15B Inter-Link
+3106002118 - PACX
+310600216401 - MITRE SYSTEM
+310600216402 Port Select - Mitre Washington Local Area Network
+ VAX/VMS VAX 11/780 1 = Mitre Washington Area Laboratory Vax
+3106002170 - TSO
+3106002179
+3106002188 fax -
+3106002196
+3106002200
+3106002201
+3106002212
+3106002222 fax -
+3106002286 Primos 19.3.6/7.r4.e - PRIMENET 19.3.6/7.r4.e TFGI
+3106002297
+3106002299 - CONSILIUM
+3106002306
+3106002311 Gateway - TYMNET/15B Inter-Link
+3106002314 fax -
+3106002317 fax -
+3106002320 IBM - DFH1027
+3106002325 fax -
+3106002329 - MFE
+3106002330 fax -
+3106002347 - "BAD XRAY USERNAME"
+3106002384
+310600238701 IBM - Cullinet
+3106002391
+3106002403 Honeywell -
+310600240401 Gateway, Data Net - MDC Army-Net
+3106002408
+3106002416 - "ID?>"
+3106002418 VAX/VMS - UNC VAX
+3106002430 VAX/VMS
+3106002443 - DATAHUB
+3106002444 - "BAD XRAY USERNAME"
+3106002445
+3106002446
+310600245300 - Institute Of Nuclear Power Operations
+310600245301 Primos 19.4.5 - PRIMENET 19.4.5 sysb
+3106002470 fax -
+3106002496 NOS Cyber - NOS SOFTWARE SYSTEM
+3106002514 - "BAD XRAY USERNAME"
+3106002519 fax -
+3106002537 fax -
+3106002539 Gateway - TYMNET/CIDN Inter-link
+3106002545 - Centre For Seismic Studies SEISMO
+3106002578 - SEL
+3106002580
+3106002603 Multics - System M
+3106002609 DG AOS/VS -
+3106002612 VAX/VMS - Asbestos Claims Facility on Mutt
+3106002614 Port Select -
+3106002623 VAX/VMS - (U:GUEST)
+3106002624 TOPS-20 - SUNEX-2060 TOPS-20
+3106002632
+3106002635 - QUOTDIAL
+3106002646 fax -
+3106002657
+3106002667
+3106002677 - THE TIMES
+3106002690 fax
+3106002694 Port Select - PVM3101,SPDS/MTAM,
+ MLCM,VM/SP,STRATUS-1,STRATUS-2
+3106002700 - ANALYTICS SYSTNE
+3106002709 Gateway Data Net - AUTONET
+3106002713 fax
+3106002730
+3106002732 fax
+3106002744
+3106002765 Multics -
+3106002768 HP-3000 -
+3106002779 - SCJ TIMESHARING
+3106002790 IBM VM/370 -
+3106002800
+3106002807 - ISC
+3106002824
+3106002834 - "BAD XRAY USERNAME"
+3106002842
+3106002843
+3106002851 - CHEM NETWORK DTSS
+3106002864 - RCA SEMICUSTOM
+3106002871 HP-3000 -
+3106002875 HP-3000 - MTECH/Commercial Services DivisioN
+3106002889
+3106002901 fax
+3106002910 HP-3000 -
+3106002921 - CHRYSLER NETWORK
+3106002924 fax
+3106002971
+3106002991 - US MIS IS400
+3106002995 VAX/VMS - VAIL VAX
+3106002998 Gateway - TYMNET/FIRN DATE NETWORK Inter-link
+3106003002 Multics -
+3106003004 fax
+3106003009
+3106003028 Port Select - DCOM class - 0
+3106003030 Port Select - DCOM class - 0
+3106003036
+3106003050 - ATPCO FARE INFORMATION SYSTEM
+3106003062 Port Select - class 0,1
+3106003063 Gateway - Rational Network X.25 Gateway
+3106003079 IBM VM/370 -
+3106003092 Gateway - TYMNET/PROTCTD.ACCS.SRVC.SYS. Inter-link
+3106003115 - "NOT A VALID USER ON THIS COMPUTER"
+3106003168 IBM VM/370 -
+3106003214 IBM VM/370 -
+3106003220 IBM VM/370 -
+3106003221 IBM VM/370 -
+3106003248 fax
+3106003284 - COMPUFLIGHT
+3106003286 VAX/VMS -
+3106003295 Gateway - TYMNET/PROTCTD.ACCS.SRVC.SYS. Inter-Link
+3106003297 Gateway - TYMNET/PROTCTD.ACCS.SRVC.SYS. Inter-Link
+3106003310
+3106003321
+3106003356
+3106003365
+3106003373 - IOCSQ
+3106003386 fax
+3106003394 Port Select -
+ IBM VM/370 1 - VM/370
+ IBM VM/370 2 - VM/370
+ IBM 3 - IKJ53020A
+ IBM VM/370 5 - VM/370
+ 6 - NARDAC - NARDAC
+3106003403 IBM - Allied Van Lines
+3106003413
+3106003414
+3106003420 fax
+3106003443
+3106003463 - "CHANNELL CONNECTED"
+3106003520 fax
+3106003527
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+3106004046 Port Select - Annex command line interpreter
+ - alliant, anl-mcs, antigua, atantis
+ balance, bambi, capri, comet, dasher
+ donner, encore, merlin, prancer, ridge
+ rudolph
+3106004092 Test Host - Tymnet x.Pc test
+3106004093
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+3106004129 Port Select - (U:ABACIS)
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+3106004288
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+3106004389 - BUG BUSTING MACHINE OF NYN
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+ TOPS/20 B,2 - 3M TRAC SERVICE system BAMBI
+ TOPS-20 3 - 3M TRAC SERVICE system CHIP
+ TOPS-20 4 - 3M TRAC SERVICE system DALE
+ TOPS-20 5 - 3M TRAC SERVICE system ELLIO
+ TOPS-20 6 - 3M TRAC SERVICE system FLOWER
+ TOPS-20 12,7 - 3M TRAC SERVICE system GRUMPY
+ TOPS-20 8 - TRAC CLUSTER VIRGO, SYSTEM HAPPY
+ TOPS-20 9 - TRAC CLUSTER VIRGO, SYSTEM ISABEL
+ TOPS-20 10 - TRAC CLUSTER VIRGO, SYSTEM JUMBO
+ TOPS-20 11 - TRAC CLUSTER VIRGO, SYSTEM KANGA
+ VAX/VMS 13 - VAX
+ Gateway 18 - DIGITAL ETHERNET
+ 28 - unknown
+ HP-3000 31 -
+ HP-3000 32 -
+ HP-3000 33 -
+ HP-3000 34 -
+ HP-3000 35 -
+ 36 - unknown
+ HP-3000 37 -
+ 38 - unknown
+ 40 - CPU-STP-A
+ HP-3000 41 -
+ 43 - UNKNOWN
+ VAX/VMS 44 - ATLAS
+ 45 - FAXON INFO SERVICE
+ VAX/VMS VAX11/750 46 - Electrical Products Laboratory
+ 47,48,49 - unknown
+ VAX/VMS 52 - SERC Computer Resources VAX
+ 53 - unknown
+ VAX/VMS 54 - SERC Computer Resources VAX
+ BDS Unix 55 - BDS UNIX
+ TOPS-20 81,61 - TRAC CLUSTER LIBRA system LADY
+ TOPS-20 62 - TRAC CLUSTER LIBRA system MICKEY
+ TOPS-20 63 - TRAC CLUSTER GEMINI system NEMO
+ TOPS-20 64 - TRAC CLUSTER GEMINI system OWL
+ TOPS-20 65 - TRAC CLUSTER LIBRA system PLUTO
+ TOPS-20 67 - TRAC CLUSTER GEMINI system QUASAR
+ 68 - unknown
+ VAX/VMS 70 - TRAC Timesharing VAX
+ VAX/VMS 71 - TRAC Timesharing VAX
+ VAX/VMS 72 - TRAC Timesharing VAX
+ Gateway 73 - Digital Ethernet Terminal Server
+ VAX/VMS 74 - TRAC TIMESHARING VAX
+ VAX/VMS 76 - TRAC TIMESHARING VAX
+ VAX/VMS 81 - TRAC TIMESHARING VAX
+3106005569 STRATUS/32 -
+3106005571 STRATUS/32 -
+3106005603 fax -
+3106005608 - "USERNAME INVALID DISCONNECTING"
+3106005616 fax -
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+3106005710 - "USER NOT VALID, DISCONNECTING"
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+3106005744 HP-3000 -
+3106005746 - "BAD XRAY USERNAME"
+3106005755 Port Select - links = A,B,C,E,F,H,G,I,J,K,L
+ M,O,P,Q,R,S,T,U,V,W,X,Y,Z
+3106005758 - SEI/MUS SYSTEM
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+3106005896 IBM - "#REX010I Enter Logon: "
+3106005897
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+3106005941
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+3106005969 - PLESSEY SEMICONDUCTORS-IRVINE
+3106005984 - CREDIT AGRICOLE-USA
+3106006030 Port Select - 1,3,c,e,z -
+ VM/370 2
+
+3106006046
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+3106006590 - US CENTRA SERVICE
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+3106006974 fax -
+3106006992 - "Not Valid On This Computer"
+3106006994
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+3106007373
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+3106007377
+3106007378 fax -
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+3106007384 - ESTA
+3106007418 IBM VM/370 - Delaval Turbine Division
+3106007440 - "Customer Id: "
+3106007483 HYDRA II - Academy Online System
+3106007556
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+3106007560 IBM - Chevron Node
+3106007580 - Mc MAstercard Direct Order Entry System
+3106007589 Port Select -
+ A,B = "Tymnet Needs Backup"
+ VM/370 G,M,K = KOVM2
+
+3106007596 Port Select -
+ VM/370 A
+ VM/370 B
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+3106007640
+3106007689
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+3106007749
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+3106007751
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+3106007806 fax -
+3106007822
+3106007868 - "BAD XRAY USERNAME"
+3106007958 IBM 9370 - ASCII Controler (Port Select)
+3106007976 VAX/VMS -
+3106008032 - Morgan Stanley Network
+3106008077 - CANDE Polysystems Timesharing
+3106008103 HP-3000 -
+3106008139 Port Select - U.S. Digital Computer Services
+3106008189 IBM VM/370 - CMS
+3106008203 - Nalco Chemical Company SNA Network
+3106008276 - "USER NAME INVALID, DISCONNECTING"
+3106008380 - Vickers Data Center Troy MI
+3106008381 - Vickers Data Center troy MI
+3106008382
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+3106008425 IBM VM/CMS - System AH
+3106008464 Port Select - Cummins Micom switch
+310600847901 IBM VM/370 - MEAD
+3106008480 VAX/VMS - IMC VAX Cluster
+3106008510 VAX/VMS - Nalco Vax Cluster
+3106008596 VAX/VMS - General Defence Corporation Comp. System
+3106008600
+3106008642 VAX/VMS -
+3106008651 IBM VM/CMS - System AH
+3106008652 IBM VM/CMS - System AH
+3106008750 IBM VM/CMS - System AH
+3106008754
+3106008788 - "USERNAME INVALID, DISCONNECTING"
+3106008815 VAX/VMS -
+3106008852 - NCS Trustware Series II System, Rem.Inq.
+3106008895 IBM ACF/VTAM -
+3106009072 Port Select -
+3106009119 VAX/VMS V4.5 - Micro VMS
+3106009171 - Tangram Arbiter LV1
+3106009190 Port Select - Lubrizol Corporation
+ I = "Password: "
+ IBM VM/370 F = Fundtrack
+ Port Select K =
+3106009334 - Comtex Cx-80 Data Exchange
+3106009512 IBM - MHP120IT
+3106009528 - Vickers Data Center Troy MI
+3106009710 IBM VTAM -
+
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #1, File #3 Date: 01/01/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+T Y M N E T 0310607xxxx Sprint, By: ----====} THE FORCE {====----
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The Depths Of The Realm. Last Sprint: 01/01/89 Last Update: 01/01/88
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+3106070004
+3106070008
+3106070028 - MARKETING #1
+3106070035 - MRCA
+3106070060 IBM MHP201A X25BLU00 - * VERSION 5.0 *
+3106070081
+3106070091 - #2 CASTER BACKUP
+3106070116 IBM K356700A - TSO
+3106070137 - Cummins Corporate Data Center
+3106070165
+3106070181 Stratus/32 VOS 6.4 - 3M-EZ-MAIL
+3106070187 - "Please Set Block mode and Hit PF-1"
+3106070227 Port Select -
+3106070242
+3106070262 DC-10 - Nalco DC-10
+3106070295 - MCII
+3106070359
+3106070364 IBM VTAM -
+3106070401 fax -
+3106070405 Port Select - Sandiago Switch port
+3106070434
+3106070456 Port Select - Campus POint Micom Switch
+3106070478 SIM3278 - Martin Marietta
+3106070482 fax -
+3106070492 Port Select - VAX/KL-1/KL-2/BM VAX-2/PC-IBM
+3106070498 - "Please Login"
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+3106070554 IBM -
+3106070594 fax -
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+3106070628 - "USERNAME INVALID, DISCONNECTING"
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+3106070655 VAX/VMS -
+3106070660 VAX/VMS - Coft Operational Information Systems Vax
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+3106070681
+3106070749
+3106070760 Gateway - "Directory, Network, Outside"
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+3106070803 - "IS400"
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+3106070879 Port Select - "Enter Switch Characters"
+310607088401 VAX/VMS V4.5 - MRCV Marc Software Inetrnational
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+3106071102 Port Select
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+3106071107 Stratus/32 VOS 6.0g - boa#m1
+3106071139 fax -
+3106071144 - "USERNAME INVALID, DISCONNECTING"
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+3106071258 IBM VM/CMS - System AH
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+3106071378 fax -
+3106071380 - "ALL PORTS DOWN"
+3106071382 VAX/VMS -
+3106071390 Gateway - Gelco CTI Interlink System
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+3106071452 IBM - CSDNET
+3106071477 VAX/VMS -
+3106071505 VAX/VMS V4.5 11/750 - PSCIVI
+3106071520 - "*"
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+3106071670 IBM VM/CMS - System AH
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+3106071726 Gateway - "Cleveland is Online"
+3106071727 - ">", "Not LoggedIn"
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+3106071967
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+3106072346 - "Invalid sign-on, Please Try Again"
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+3106072368 Gateway - A&A Datanet
+3106072370 - "Please Call Dan Jezek"
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+3106072446 - Systems Designers software
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+3106072530 - "USERNAME INVALID, DISCONNECTING"
+3106072564 - "BAD XRAY USERNAME"
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+3106072713 - "Enter ID: "
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+3106072818 HP-3000 -
+3106072887 RSTS - "User ID?"
+3106072888 RSTS - "User ID?"
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+3106072913
+3106072914 fax -
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+3106072917 - CSD NET
+3106072920 - ESTA
+3106072954 - Delaval Turbine Division
+3106072976 - "Customer ID: "
+3106073013
+3106073019 HYDRA-II - Academy Insurance On-Line System
+3106073076 fax -
+3106073096 IBM - Chevron Node
+3106073114
+3106073116 - Mc Master Card direct Order system
+3106003118 IBM - Chevron Node
+3106073125
+3106073132 Port select -
+ IBM VM/370 a,m,b -
+ g,k - "Tymnet Needs Backup"
+3106073162
+3106073225 - TECHNICAL SUPPORT PRODUCTIONS
+3106073255 - "System Not Up"
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+3106073285 RSTS V9.04 -
+3106073286 VAX/VMS - NUEVA York Oficiana Comercial Microvax
+3106073287
+3106073289 TOPS-20 - LANDART SYSTEMS
+3106073302 - MCDONNEL DOUGLASS CORPORATE DEMO FACLTY
+3106073342 fax -
+3106073358
+3106073404 - "BAD XRAY USERNAME"
+3106073420
+3106073459
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+3106073494 IBM 9370 -
+3106073512 VAX/VMS -
+3106073530
+3106073568
+3106073613 Burroughs - Polysystems Timesharing
+3106073639 HP-3000 -
+3106073675 Port Select - U.S. Digital Computer services
+ (Refer to 310690 scan for systems)
+3106073725 IBM CMS -
+3106073739
+3106073795 - NALCO CHEMICAL Company SNA Network
+3106073916 - Vickers Data Center, Troy MI
+3106073917 - Vickers Data Center, Troy MI
+3106073918 - Vickers Data Center, Troy MI
+3106073960 IBM VM/CMS - System AH Line 221
+3106073961 IBM VM/CMS - System AH Line 25B
+3106074000 Port Select - Cummins Micom Switch
+310607401501 IBM VM/370 - MEAD
+3106074016 VAX/VMS - IMC VAX Cluster
+3106074046 - "Ring No Answer On Port 2"
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+3106074136 IBM -
+3106074178 VAX/VMS -
+3106074183 fax -
+3106074184 fax -
+3106074187 IBM VM/CMS - System AH Line 121
+3106074188 IBM VM/CMS - System AH Line 194
+3106074286 IBM -
+3106074290 IBM -
+3106074333 -
+3106074351 VAX/VMS -
+3106074388 - NCS Trustwate Series II System Remot Inq
+3106074431 IBM
+3106074501
+3106074562 IBM - Mc Donell Douglass
+3106074608 Port Select -
+3106074707 - TANGRAM ARBITER LV1
+3106074726 IBM VM/370 - SD FUNDTRACK
+3106074747 - "Enter\Login"
+3106074870 - "Enter\Login"
+3106074870 - C80
+3106075048 IBM MHPI201I -
+3106075064 - Vickers Data Center, Troy MI
+3106075246
+
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+
+T Y M N E T 310690xxxx sprint, by: ----====} THE FORCE {====----
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the Depths of - THE REALM - Last Sprint: 01/01/88
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+3106900061 - DIALOG
+3106900109 Gateway - TYMNET/VCCPAC Inter-Link
+3106900168 Gateway - TYMNET-SANTA CLARA/TSN-S.CLRA Inter-Link
+3106900326 Gateway - "Tymnet ffx: password: "
+3106900408 Gateway - TYMNET-SANTA CLARA/TSN-S.CLRA Inter-Link
+3106900411 Gateway - TYMNET-SANTA CLARA/TSN-S.CLRA Inter-Link
+3106900515 - ONTYME II
+3106900788 Gateway - TYMNET-6754/McGRAW HILL Inter-link
+3106900803 - DIALOG
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+3106900858 - "Please Enter SubscriberID; Password"
+3106900875 Gaterway - "rca/gateway: password: "
+3106900917 - "Please Enter SubscriberID; Password"
+3106901011 Gateway - "wui/gateway: password: "
+3106901042 IBM IDC/370 -
+3106901088 - AUGMENT
+3106901231 - DOJ "Enter Password"
+3106901247 -
+3106901285 - UNI-COLL CORP
+3106901303 fax -
+3106901304 - ONTYME II
+3106901361 Gateway - "rca/gateway: password: "
+3106901403 Gateway - "wui/gateway: Password: "
+3106901421 Gateway - "Tymnet [sf]: password: "
+3106901464 VAX/VMS - UNISON SYSTEM
+3106901466 VAX/VMS -
+3106901508 IBM IDC/370 -
+3106001578 - BIX - Byte Info Exchange
+3106901614 -
+3106901628 fax -
+3106901631 fax -
+3106901634 fax -
+3106901761 HP-3000 -
+3106901813 Gateway - "Tymnet [ffx]: password: "
+3106901963 Gateway - "ftcc/gateway: password: "
+3106902060 Gateway - "rca/gateway: password: "
+3106902067 Gateway - "tymnet [sf]: password: "
+3106902085 IBM MHP1201I - "Terminal Connected to Packet/74"
+3106902098 - D&B (U:COMMANDO, RAMBO, TERMINATOR)
+3106902115 - "USERNAME INVALID, DISCONNECTING"
+3106902204 -
+3106902256 - ONTYME II
+3106902257 - ONTYME II
+3106902258 - ONTYME II
+3106902259 - ONTYME II
+3106902260 - ONTYME II
+3106902261 - ONTYME II
+3106902287 - ONTYME II
+3106902288 - ONTYME II
+3106902289 - ONTYME II
+3106902412 - OSS, SCS
+3106902428 -
+3106902540 Gateway - "Tymnet [sf]: password:"
+3106902606 - ONTYME II
+3106902770 - "L698VX38"
+3106902835 - Comercial Sabre
+3106902859 - ONTYME II
+3106902908 Gateway - "Tymnet [sf]: password: "
+3106902923 - CYBER SERVICE
+3106903035 VAX/VMS -
+3106903321 - "Please Enter SubscriberID; Password"
+3106903607 Port Select - (type AA)
+3106903797 Gateway - "wui/gateway: password"
+3106904037 Gateway - "Tymnet [sf]: password:"
+3106904046 Gateway - "wui/gateway: password: "
+3106904109 -
+3106904137 IBM TSO,CMS -
+3106904194 - "USERNAME INVALID, DISCONNECTING"
+3106904299 Gateway - "ftcc/gateway: password: "
+3106904305 Gateway - trt GATEWAY
+3106904325 - ONTYME II
+3106904328 Gateway - "rca/gateway: password: "
+3106904401 Port Select - U.S. Digital Computer Services
+ VAX/VMS 11/785 V4.6 1 - DEC Super Center Node: US1CSD
+ VAX/VMS 2 - DEC Super Center Node: US2CSB
+ VAX/VMS 11/785 V3.5 3 - DEC Morgan Guaranty Trust Node: NY3
+ VAX/VMS 86500 V4. 4 - DEC Super Center Node: US7CSB
+ VAX/VMS 11/750 V4.3 5 - U.S. Area Computer Services Business
+ VAX/VMS 11/785 V4.6 6 - DEC Super Center Node: USC0CSB
+ 12 -
+ DEC-20 TOPS-20 14 - Node: US3CSB
+ 15 -
+ DEC-20 TOPS-20 16 - Node: US5CSB Monitor 6.1
+ 17
+ VAX/VMS 11/78 V4.6 19 - DEC Super Center Node: US9CSB
+ VAX/VMS 11/780 V4.6 20 - DEC Super Center Node: US6CSD
+ VAX/VMS 8530 V4.6 25 - DEC Super Center Node: US8CSB
+3106904573 Gateway - TNET
+3106904580 IBM TSO - IKJ56700A
+3106904695 - Bache Network
+3106904703 Gateway - rca GATEWAY
+3106904823 Gateway - "Tymnet [sf]: password:"
+3106904828 IBM VTAM003 -
+3106904831 VAX/VMS - RONNIE
+3106904962 - "Please Login"
+3106905053 -
+3106905064 Gateway - "Tymnet [sf]: password: "
+3106905125 Port Select -
+3106905288 Gateway - "Tymnet [sf]: password: "
+3106905330 - "USERNAME INVALID, DISCONNECTING"
+3106905361 WSI2 - "Please Login"
+3106905362 WSI1 - "Please Login"
+3106905380 - "USERNAME INVALID, DISCONNECTING"
+3106905381 - "USERNAME INVALID, DISCONNECTING"
+3106905525 VAX/VMS 11/75 V4.5 - ALSY VAX Node: MOM
+3106905538 VAX/VMS -
+3106905564 STRATUS 32 -
+3106905631 fax -
+3106905653 Gateway - "Tymnet [sf]: password: "
+3106905807 - "USERNAME INVALID, DISCONNECTING"
+3106905810 Gateway - "Tymnet [sf]: password: "
+3106905847 Gateway - TYMNET/DAMPAC Inter-Link
+3106905888 IBM MHP201A UPK0KX01 -
+3106905854 Gateway - Gelco CTI Interlink Syste
+3106905954 Gateway - "Tymnet [sf]: password: "
+3106906015 VAX/VMS -
+3106906015 -
+3106906056 -
+3106906095 Gateway - "Tymnet [sf]: password: "
+3106906183 Gateway - "rca/gateway: password: "
+3106906299 HP-3000 -
+3106906318 MCII -
+3106906337 Gatewau - "Tymnet [ffx]: password: "
+3106906392 VAX/VMS -
+3106906415 IBM VM/370 -
+3106906432 - EASYLINK
+3106906434 - EASYLINK
+3106906617 Gateway - "Tymnet [sf]: password: "
+3106906664 - (Data Encryprion Protection)
+3106906817 Gateway - "wui/gateway: password: "
+3106907132 Gateway - Tymnet X.PC Network Server
+3106907148 - ONTYME II
+3106907150 - ONTYME II
+3106907152 - ONTYME II
+3106907153 - ONTYME II
+3106907154 - ONTYME II
+3106907220 Gateway - DOWNLINE LOADING
+3106907306 DG AOS/VS -
+3106907314 Gateway - "Tymnet [sf]: password: "
+3106907318 IBM VM/370 - 4381
+3106907376 Gateway - "ftcc/gateway: password: "
+3106907421 VAX/VMS 8530 V4.6 - DEC Super Center Node: US8CSB
+3106907422 VAX/VMS 8530 V4.6 - DEC Super Center Node: US8CSB
+3106907558 - "X29 Password: "
+3106907616 Port select -
+3106907626 IBM - Technical Support Productions
+3106907739 VAX/VMS -
+3106907884 Gateway - "rca/gateway: password: "
+3106908042 Gateway - TYMNET ffx
+3106908044 - "Please Set Block Mode and Hit PF-1'
+3106908129 Gateway - "ftcc/gateway: password: "
+3106908139 VAX/VMS 8530 V4.6 - DEC Super Center Node: US8CSB
+3106908188 - "USERNAME INVALID, DISCONNECTING"
+3106908262 IBM - "Enter Your Application Code"
+3106908347 - "USERNAME INVALID, DISCONNECTING"
+3106908371 Unix -
+3106908428 Gateway - ACS X.PC HOST SERVER
+3106908601 Unix 4.2 BSD - ggi
+3106908748 - Commercial Sabre
+3106908752 - Commercial Sabre
+3106908790 - "USERNAME INVALID, DISCONNECTING"
+3106908929 Gateway - "Tymnet [sf]: password: "
+3106908945 -
+3106908962 - "CMT024 Not A Valid User On This Comp."
+3106909200 - (Data Encryption Protection)
+3106909315 Gateway - "ftcc/gateway: password: "
+3106909321 Gateway - "wui/gateway: password: "
+3106909529 - "USERNAME INVALID, DISCONNECTING"
+3106909530 - "USERNAME INVALID, DISCONNECTING"
+3106909531 - "USERNAME INVALID, DISCONNECTING"
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+
+ IN THE NEXT ISSUE OF GLOBE TROTTER, Volume #2
+===============================================================================
+
+ - We will look at NEW ZEALAND'S Data network PACNET with a complete scan.
+
+ - A complete Guide To DNICS, with a compiled listing of about 170 networks.
+
+ - For The first time ever, a full listing of all the DATAPAC outdial ports,
+ including some recent password protected ones which are suspected to have
+ the capability of going international.
+
+ - A special Feature on PRIMENET Systems with Prime Accounts, NUA Listings,
+ various other information and a whole lot more.
+===============================================================================
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe2.txt b/textfiles.com/magazines/GLOBETROTTER/globe2.txt
new file mode 100644
index 00000000..35e5b748
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe2.txt
@@ -0,0 +1,663 @@
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #2, File #1 Date: 23/02/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+TO CONTACT US:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Germany: ALTOS NUA: 026245890040004 Username: force
+Australia: Any Good BBS In Melbourne or The Realm
+Usa: Haven't found a suitable BBS as yet
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+
+FROM THE EDITOR:
+
+Ok, so here we are again. Another Edition of GLOBE TROTTER over and done with.
+This one took about 100 hours of work to put together and it's not as flash
+as the last one, but I'll make it up to you next time. I am saving the best
+for last.
+We have to do something about the hacking situation in this country.
+At the moment, it is all rather dismal, and I bet even mr Gill and the HACK
+WATCH gang are having nightmares. So please get into it, and remember if
+there are no hackers Mr GILL's Multi-million dollar security Company will
+go out of business. Since Bullshiting his clients is what he does best,
+how is he going to feed his family if there is no threat from us to combat?
+That's about all. I will see you on the networks and untill next time,
+
+Catch Ya Later
+ ----====} THE FORCE {====----
+
+-------------------------------------------------------------------------------
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Outdial Systems: We have few more outdial systems. The ANF is
+ still alive and Kicking so there is no new
+ International Outdial.
+
+ - Unusual Systems: In this Edition, NUA's to ISA BBS, CHEM NET BB
+ and few other interestings things.
+
+ - System Passwords: A couple of Primenet and Vax Accounts.
+
+ - Trix of The Trade Keeping Unwanted folk off Minerva and Other
+ Prime or Dialcom Systems.
+
+ - Hack Of The Month Some Sort of a Financial Analysis Unix in
+ the USA.
+
+
+ - Network Profile: This month we feature New Zealands PACNET and
+ have as complete scan of the network as possible.
+
+
+N O T S O R E G U L A R F E A T U R E S
+----------------------------------------------
+
+
+ - Sprint Vs Scan Break out the history books because this is
+ how it all came to be.
+
+ - DNICS A compiled list of all the known packet switching
+ networks in the world. (known to me that is)
+
+
+ - Datapac Outdials A sneak Preview of what is to come in Volume #3
+ and #4. The actual Outdial list supplied by
+ DATAPAC. The thing they forgot to mention, is
+ just how many of them there are out there.
+
+ - Primenet Glory Some useful info On Hacking Primes Etc.
+===============================================================================
+
+
+OUTDIAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+The ANF VEN TEL outdial is still going strong, so untill it dies, I will not
+release another outdial with international capability. There are however a
+few more outdials I came a cross which you might like to have a look at.
+
+The prompt it gives, is identical to the HOUSTON OUTDIAL PORT (Now Password
+Protected), which used to be a first class system, however I have not been able
+to get it to dial. I don't have all that much time to play with them, but
+if you can get them to work, please let me know.
+
+NUA: 03106001892 Clearwater Outdial, In Florida
+NUA: 03106006180 Toronto Outdial
+
+These two operate on identical systems so if you can get one to work, the
+other will follow. I have more NUA's to similar outdials so it would be
+nice to get them going.
+
+-------------------------------------------------------------------------------
+
+UNUSUAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+I promised you the NUA for ISE BBS, Instrumental Science Engineers Mob I
+think, but the NUA for this board has been going round for quite a while,
+and on top of that I can't find it, so look for it yourselves. It's on
+TELENET somewhere in the 6xx area I THINK.
+
+311061400021 STN International - There are 2 good systems on this
+ Gateway.
+ d - Ultrix Organic Chem BBS Login: newuser
+ g - Unix, Login: guest
+
+
+That's about all for this issue. I'll see what I can dig up for the next one.
+
+-------------------------------------------------------------------------------
+
+SYSTEM PASSWORDS
+~~~~~~~~~~~~~~~~
+
+I have few Primenets, still in the USA and a Rather Nice VAX on PACNET
+New Zealand since we feature this rather small network this month.
+(Please note that when I say Rather Nice, I am speaking relativelly to
+ The other accounts)
+
+0530173000000 Forest Ministry VAX/VMS V4.6 Login: GUEST
+ Notes: You will have to figure out for yourself how to crash
+ out into DCL hehehe.
+
+031106030002015 PRIMENET 18.2.1 A Dartmouth System Login: GAMES
+ Notes: The Games Directory seems to be deleted so you may have
+ problems, but the good thing about this prime is that it
+ tells you whether an ID is valid or not before you enter
+ the password, which makes things rather easy.
+
+0311061700255 PRIMENET 20.2.3vR9.A PBN43 Login: TEST
+ Notes: This is a tough son of a bitch to hack, but it will get
+ you that one step closer.
+
+This is the last primement I have in the USA, which I am going to publish
+in these here files so next month few more in Germany and ISRAEL, and then
+I'll make an assult on the UNIX, VAX and DG AOS/VS systems.
+
+-------------------------------------------------------------------------------
+
+
+TRIX OF THE TRADE
+~~~~~~~~~~~~~~~~~
+
+DIALCOM PRIVACY
+
+I am not sure who was the one that first told me about this, but it was most
+probabably the late TB1, god rest his soul. This is just a little bit
+different and I will not give you the full story since it would ruin it if
+everyone knew about it.
+On most systems running Primos, like MINERVA, if you are using an account and
+you don't want anyone else logging in at the same time, like the real user
+for example and finding what you are doing, simply do this.
+
+>ED
+TYPE SYSTEM IS UNAVAILABLE AT THIS TIME
+COMO -N
+CHAT (or MESSAGE which ever works where ID is the ID you are on)
+LOG
+
+SAVE C_ID
+>
+
+ok, just type what is above, ">" not included. it will create a file which
+will be executed automatically at login. >ED invokes the text editor,
+TYPE ..... will type that message so real user will not get worried. You
+can also say to call back in 5 minutes etc.
+COMO -N switches off the terminal, so that the person logging on can't see
+what happens from there.
+CHAT ID or MESSAGE ID, will send you a message, to inform you that another
+user has tried to log on. You can either not pay any attention if it happens
+to be another hacker, but if it's the real user, it's better to delete
+all traces of your presence and leave to call back after he has finished.
+OH YES, important! Please remember to delete the C_ID file before you
+leave or this will happen the next time you try to log on. if you happen to
+loose your account over this, please look me up, since there are things you
+can do I haven't told you about.
+
+-------------------------------------------------------------------------------
+
+HACK OF THE MONTH
+~~~~~~~~~~~~~~~~~
+
+System: Unix Traders. Financial Analysis System
+Location: USA
+Network: TYMNET
+Date: 12/02/88
+Hacked By: ----====} THE FORCE {====----
+
+Sample Login:
+...............................................................................
+
+@ C :03106070227 -FCTY
+Circuit #1
+03106070227 Connected
+
+
+P 2
+HOST IS ON LINE
+
+H.05 D (traders)
+
+login: chip
+
+password:
+
+Trading 9000.
+news: delete.bak lookat whatis useterm timex scatter oldnews names graph findme
+ fstcalendar displayc delete careful
+
+
+chip
+ MAIN MENU
+
+
+ 1 Off the Runs, Currents & Duration Graphs
+ 2 Tables ( price/yield sheets, parity, treasury formulas )
+ 3 What-ifs ( implied RP's, carry, etc. )
+ 4 End of Day & Utilities
+
+ 5 Japanese Security Analysis
+ 6 Futures and Options
+ 7 Corporates
+ 8 Basis Calculations
+
+ 9 Historical Analysis, LOTUS Programs
+ 10 Mortgage Analysis
+ ? - HELP Page
+ 11 Gov't and Agency Market Trackers
+ 12 Computer Tools
+
+ exit) exit
+
+&f1k8d2LCurrents1
+&f2k15d3LMarket Tracker11
+&f3k13d3LOff the Runs12
+&f4k6d2LTables2
+&f5k8d2LWhat-ifs3
+&f6k13d2LJapanese Secs5
+&f7k15d2LFutures Options6
+&f8k4d5xitexit
+&jBexit
+[number][letter]:
+
+@ D
+
+03106xx0xxx Disconnected
+
+...............................................................................
+
+
+
+SPRINT VS SCAN
+~~~~~~~~~~~~~~
+
+If you ever call a US board and mention to a local PHREAKER or HACKER that you
+have some NUA Sprints, he will have nothing but this blank expression on his
+face, with the words "HUH?" on his lips. (Stupid Yanks, they were the ones who
+invented the term in the first place). Let me tell you about the history of
+SPRINTING.
+
+Once MA BELL was split up into a bunch of smaller phone companies to break
+her monopoly on the communications business, it all started. A company was
+formed called sprint. The US PHREAKS soon caught on to the fact that if they
+had a Sprint code, they could dial anywhere in the world free of charge.
+The sprint code is like a NUI for the DATA NETWORKS. It's just an account
+number to which the call gets billed, so if you happened to have a Sprint code,
+you were in business. To obtain such a code, they systematically scanned
+all possible number combinations till they got the right one. That became
+known as Sprinting. That is, ringing up SPRINT and Trying one combination
+after another. The term sprinting was adopted in Australia to mean
+systematically trying passwords, codes, numbers etc on any system. The
+term 'SPRINTING', has never caught much in the states where they refer to
+SCANNING and thus the confussion.
+
+-------------------------------------------------------------------------------
+
+DNICS
+~~~~~
+I scoured the various Databases kept by the various networks and compiled the
+following list. Note that not all DNICS can be accessed from all the networks,
+especially from Austpac or MIDAS, which don't cary data to a lot of the
+networks. For example: Calls to China can be made only via DATEX-P and some
+of the American Networks. (This could have been changed by now).
+To find out the individual data carrying contracts between the various
+networks, either check the various Online Dbases, or contact the network
+support. Contacts are given with each Network Profile.
+
+I am still amazed why the people can't aggree on simple things such as DNICS
+and NETWORK NAMES especially. In some cases, I have found that for the
+same data network, each data base I have checked had a different DNIC and
+Network Name. In that case, I have listed all of the data supplied, and you
+can decide which one you think is correct.
+
+
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++ Countries connected to the International Packet Switching Stream ++
+++ (or is it Service?) ++
+++ Brought to you by ----====} THE FORCE {====---- ++
+++ thanx to: HOSTESS, DATAPAC, TYMNET, TELEBOX and TELENET ++
+++ ++
+++ From the depths of - THE REALM - 22/12/86 Updated: 22/02/88 ++
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+
+
+COUNTRY NETWORK DNIC COUNTRY NETWORK DNIC
+----------------------------------------------------------------------------
+ALASKA ALASKANET 3135
+ANTIGUA AGANET 3443 ARGENTINA ARPAC 7222
+ARGENTINA ARPAC 7220 AUSTRALIA MIDAS 5053
+AUSTRALIA AUSTPAC 5052 AUSTRIA RADIO AUSTRIA 2320
+AUSTRIA DATEX-L 2321 AUSTRIA DATEX-P 2322
+AUSTRIA DATEX-L 2324 AUSTRIA DATEX-L 2325
+AUSTRIA DATEX-L 2326 AUSTRIA RADAUS 2329
+ BAHAMAS IDAS 3406 BAHAMAS BATELCO 3640
+BAHRAIN BAHNET/IDAS 4263 BARBADOS IDAS 3423
+BELGIUM DCS 2062 BELGIUM DCS-TELEX 2068
+BELGIUM DCS-PSTN 2069 BERMUDA BERMUDANET 3503
+BRAZIL INTERDATA 7240 BRAZIL RENPAC 7241
+BRAZIL RENPAC 7249 BRAZIL RENPAC 7248
+BULGARIA BULPAC 2841 CAMEROON CAMPAC 6242
+CANADA DATAPAC 3020 CANADA GLOBEDAT 3025
+CANADA INFOGRAM 3028 CANADA INFOSWITCH 3029
+CAYMAN ISLANDS IDAS 3463 CHILE ECOM 7300
+CHILE ENTEL 7302 CHILE ECOM 7303
+CHINA PKTELCOM 4600 COLUMBIA DAPAQ-INTER. 3107
+COLUMBIA DAPAQ 7320 COTE D IVOIRE SYTRANPAC 6122
+COSTA RICAA RASCA 7120 CUBA - -
+CURACAO/NETH.AN. UDTS/LSDS 3620 CURACAU/NETH.AN. UDTS-CORACAU 3400
+DENMARK DATEX-L 2381
+DENMARK DATAPAK 2382 DENMARK DATAPAK 2383
+DOMINICAN REP. UDTS-PDIA 3300 EGYPT ARENTO -
+EGYPT TECHN.SERVCE - FINLAND DATEX-L 2441
+FINLAND FINPAK 2442 FRANCE TRANSPAC 2080
+FRANCE NTI 2081 FRENCH ANTILLES DOMPAC 3400
+FRENCH GUIANA DOMPAC 7420 FRENCH POLYNESIA TOMPAC 5420
+FRENCH POLONESIA TOMPAC-PF 5470
+GABON GABONPAC 6282 GERMANY(FED REP) DATEX-L 2622
+GERMANY(FED REP) DATEX-P INT 2624 GREECE HELPAC 2022
+GUAM LSDS 3113
+GUAM LSD/DACNET 5350 GUATEMALA GUATEL 7040/3440
+HAWAII DASNET 3106 HONDURAS HONDUTEL 7080
+HONG KONG IDAS/INTELPAK 4542 HONG KONG PSDS 4544
+HONG KONG DATAPAK 4545 HUNGARY DATEX-L 2160
+HUNGARY NEDIX 2161 HUNGARY DATEX 2621
+ICELAND ICEPAC 2740 INDONESIA SKDP 5101
+IRISH REP IPSS(EIRE) 2721 IRISH REP EIRPAC 2724
+ISRAEL IMPACS 3104
+ISRAEL ISRANET 4251 ITALY DARDO 2222
+ITALY ITALCABLE 2220 ITALY ITAPAC 2227
+JAPAN VENUS-P/NTTI 4408 JAPAN DDX-P/KDD 4401
+JAPAN ICAS - JAMAICA JAMANTEL 3380
+KUWAIT via Bahrain 4263 LUXEMBOURG LUXPAC 2704
+LUXENBOUTG LUXPAC-PSTN 2709 MALAYSIA MAYPAC/MAYNET 5021
+MAROC - - MEXICO TELEPAC 3340
+NETHERLANDS DATANET 1 2040 NETHERLANDS DATANET 1 2041
+NETHERLANDS DABAS 2044 NETHERLANDS DATANET 1 2049
+NEW CALEDONIA TOMPAS 5460 NEW ZEALAND PACNET 5301
+NEW ZEALAND OASIS 3113 NORTH MARIANAS PACNET 5351
+NORWAY DATEX-L 2421 NORWAY DATAPAK 2422
+OMAN - - PANAMA - 7140
+PANAMA INTELPA 7141
+PERU ENTEL/IMPACS 3104 PHILIPPINES GMCR 5150
+PHILIPPINES CAPWIRE 5151 PHILIPPINES EPTI/PC 5152
+PHILIPPINES PHILCOM 5154 PHILIPPINES EASTNET 5156
+PORTUGAL TELEPAK 2680 PORTUGAL SABD 2682
+PUERTO RICO UDTS-1 3300 PUERTO RICO PDIA 3301
+QUATAR via Bahrain 4263 REUNION DOMPAC 6470
+SAN MARIO - 2922 SAUDI ARABIA via Bahrain 4263
+SENEGAL - - SINGAPORE TELEPAC 5252
+SINGAPORE TELEPAC 5258 SOUTH AFRICA SAPONET 6550
+SOUTH AFRICA SAPOPAC 6559 SOUTH KOREA DACOM-NET 4501
+SOUTH KOREA DDS 4503 SPAIN TIDA/NID 2141
+SPAIN IBERPAC 2145 SWEDEN DATEX-L 2401
+SWEDEN DATAPAK 2402 SWEDEN TELEPAK 2405
+SWITZERLAND TELEPAC 2284 SWITZERLAND RADIO SUISSE 2289
+SWITZERLAND TELEPAC 2280 TAIWAN UDAS 4877
+TAIWAN PACNET 4872 THAILAND IDARC 5200
+THAILAND IMPACS 3104
+TRINIDAD TEXTEL 3740 TRINIDAD TEXDAT/DATANET 3745
+TUNISIA - - TURKEY - 2682
+UN.ARAB EMIRTS. TELEX/EMOAN 4243 UN.ARAB.EMIRTS. TEDAS 4310
+UN.ARAB EMIRTS. EMDAN 4241 UN.ARAB.EMIRTS. IMPACS 3104
+UN.ARAB.EMIRTS. UDTS-1 3107 UK C&W MERCRY 2350
+UK HULL T.C. 2352 UK PSS 2342
+UK IPSS 2341 USA AUTONET 3126
+USA COMPUSERVE 3132 USA DATA TRANSPORT 3102
+USA FTCC 3124 USA MARKNET 3136
+USA MCII-IMPACS 3104 USA RCA-LSDS 3113
+USA ITT-UDTS II 3103 USA TELENET 3110
+USA ITT UDTS I 3107
+USA TELENET 3125 USA ACCUNET 3134
+USA TRT-DATAPAK 3119 USA TYMNET 3106
+USA WUTCO 3101 USA SNET-CONNET 3140
+USA TELENET 3127 USA DATEX-L 3129
+USA NET EXPRESS 3139 USA PULSE LINK 3142
+USA TELEGLOBE 3025 VENEZUELA PDVSA-P -
+VIRGIN ISLANDS DATANETT 3745 VIRGIN ISLANDS UDTS-1 3320
+YUGOSLAVIA YUAPAC 2201 ZIMBABWE ZIMNET 6482
+
+-------------------------------------------------------------------------------
+- If you have any additional information or corrections for this list, please -
+- Contact me if you can. -
+- -
+
+- Catch Ya Later -
+- ----====} THE FORCE {====---- -
+-------------------------------------------------------------------------------
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #2, File #2 Date: 23/02/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+DATAPAC OUTDIALS
+~~~~~~~~~~~~~~~~
+
+I know you are all sick of DATAPAC OUTDIALS, but they are usefull for dialing
+outside systems in Canada. Every outdial port on DATAPAC (Not Privatelly
+owned), services only a particular area, which explains why there are so many
+of them. (BUT DOES IT?, And Just how Many Are There?).
+The unusual thing you will find, is that outdials in a particular areas, are
+all password protected. Another thing is that from some outdials you can
+make calls to america. They were not designed for this, so I just imagine
+it's some kind of a fault with the outdial itself.
+
+The following is the actual outdial list supplied by DATAPAC, intended for
+public use. It is only a small sample (about 1/20 of the total number)
+of what you will find in Volume #3.
+
+
+DATAPAC OUTDIAL PUBLIC DIAL PORT NUMBERS
+========================================
+
+LOCATION 300 BPS 1200 BPS
+-------- ------- --------
+
+VANCOUVER B.C. 67100900 67100901
+CALGARY ALTA. 63300900 63300901
+EDMONTON ALTA. 58700900 58700901
+REGINA SASK. 72100900 72100901
+SASKATOON SASK. 71100900 71100901
+WINNIPEG MAN. 69200902 69200901
+TORONTO ONT. 91600901 91600902
+CLARKSON ONT. 91900900 91900901
+LONDON ONT. 35600900 35600901
+WINDSOR ONT. 29500900 29500901
+KITCHENER ONT. 33400900 33400901
+HAMILTON ONT. 38500900 38500901
+OTTAWA ONT. 85700901 85700902
+MONTREAL QUE. 82700902 82700903
+QUEBEC QUE. 48400900 48400901
+HALIFAX N.S. 76100900 76100901
+SAINT JOHN N.B. 74600900 74600901
+ST. JOHN'S NFLD. 78100900 78100901
+
+
+Notes: The above is very useful, because it links DATAPAC NUA's
+ with the geographical location. Datapac has a well defined area
+ for all the NUA's, much like TELENET, but the only problem is that
+ The area numbers of the NUA's don't match the PTSN Codes for the same
+ area. If you can't follow that, get out the phone book and have a
+ look at what I mean. More about that next month.
+
+
+PRIME GLORY
+~~~~~~~~~~~
+
+I am not ashamed to admit it, but PRIMES of any sorts are my favourite systems.
+I am absolutelly in love with the Netlink Gateway most of them have.
+It was my intention to publish a complete commands list for various versions
+of primos, namelly PRIMENET and DIALCOM, however the files are rather big
+and not much use to many hackers so I'll leave them out. Anyone who needs
+such a command list, just search the directories of the prime you are using,
+since there is a good chance the file is there. Some PRIMENETS have the
+file displayed when you type HELP. If you can't find it, then just refer to
+the FORCE FILES, where you will find a DIALCOM and PRIMENET (some dicky
+version) Command lists.
+Oh, you don't know what a FORCE FILE is?
+Well, I'll be refering to them quite a bit for additional information. In any
+case this is the story:
+Aproximatelly half a year ago, I got really pissed off with hacking, the
+atitude of people and things in general. A sort of a depp reaction triggered
+by a particular person. Basically I decided to give up hacking all together.
+Last thing I did was write the FORCE FILES which contained a lot of the
+info I accumulated over the last few years. The files are nothing briliant,
+but I will be refering to them quite a bit for additional information from
+time to time which I don't want to repeat in GLOBE TROTTER. One other
+thing to note, is that the NUA lists in the FORCE FILES were more edited and
+rather outdated by now.
+Now you know about force files, oh yes the reason I got back into hacking
+few weeks later is rather obvious to anyone who has been addicted to anything.
+
+Now Back to primes. Primenets in particular are not the easiest to hack, but
+like most systems they have their faults. Old versions, particularly the
+ones using Primos revision 17.something and 18. something actually tell you
+whether a USERNAME is valid before you are asked for a password. This
+simplifies things a lot, but it's not so easy with the later versions.
+Oh yes, the only place you are going to find versions 17.4 and lower are
+countries like BRAZIL etc, which thanx to THE WIZARD you will see in a few
+months time. On these primitive versions, one could often type a username,
+and when asked for a password press CTRL-C and be dumped passed login into
+primos. Nifty No?
+The current versions are little bit harder to hack and the only way I think
+is with inside information or if the defaults are intact. Primes like VAX's
+come with a number of standard Usernames, which the sys opers are known to
+leave as is. some of the common defaults you can try are:
+
+DEMO/DEMO, SYSTEM/SYSTEM, PRIME/PRIME, GAMES/GAMES, DOS/DOS, TEST/TEST
+TEST/PRIME, BATCH/BATCH, NETMAN etc.
+
+I was actually going to publish a listing of all the primenets I have in all my
+sprints, but then I realised the horror of going through all the 100+ files
+and picking out the primes. I think it will be better just to give you all
+the Sprints and you can pick out the primes for yourselves. If you are
+looking for a place to find a lot of primes, I can recomend BRAZIL, and
+JAPAN, where the percentage of primes vs other systems is rather high.
+
+As far as Sprinting goes, all of the sprints were done using the NETLINK
+gateway. It's the only way of doing it. Well, Scanning from a VAX has
+it's advantages in that you can more easilly set it up as a batch job
+and have it running while you're not online. This is also possible with
+Primes, if you have phantom privs, but I haven't found a way to disconnect
+from a NUA other than timeout if it connects. It is still great for
+exploring new networks, where all you need is but one NUA to guess the
+NUA structure. Another possibility would be a scanner written in CPL,
+but that is beyond me at the moment, and the only one I have seen didn't
+work all that well.
+You will find a copy of the Primos Sprinter in the Force Files, but the
+new version of the program I will not be releacing. With the New version,
+you can hook up two primes in parallel, and if both have a reasonably large
+number of outgoing ports, you can achieve very fast scanning speeds. The
+fastest I have managed so far is something like 500 NUA's a second. The only
+problem is that you need very fast host responces to do it. It works lets say
+from MIDAS scanning MIDAS NUA's or PACNET NUA's, but it is impossible to
+achieve this efficincy scanning TELENET from MIDAS for example. I assume
+there is a dedicated line between MIDAS and PACNET which gives you the
+instant responce since no other switching is involved.
+
+The last thing I want to talk about is DIALCOM sytems. They also run Primos
+and are quite fun as long as they have NETLINK. I will explain them in more
+detail in a couple of months time.
+
+NETWORK PROFILE: P A C N E T
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+Dnic: 5301
+Location: NEW ZEALAND
+Owners: Probably The Government.
+Host Responce: Excelent
+Network Rating: Fair
+Nua Structure: 5301 000 00 0000 00
+
+
+ OR: 5301 000 000 000 00
+
+
+Contacts: Questions about International Service can be addressed to:
+
+
+ Telecommunications Division
+ Post Office Headquarters
+ Waterloo Quay
+ Wellington 1, New Zealand
+ Contact: Mr. A.E. Ryan (64.4) 73 84 44
+ Mr. Brian Mitchell
+ Telex: (7910 3381
+ OnTyme: INTL.NZPOMKTGSALL
+
+ ACCESS/SPEEDS: Dial-up: 110, 150, 200, 300, 1200/75 bps asynchronous
+ Leased Line: 300 and 1200 bps asynchronous
+ Leased Line: 2400, 4800 and 9600 bps synchronous
+
+ PROTOCOLS: X.25, Asynchronous terminal interface
+
+
+Notes: At first I thought The NUA structure was that of TELENET ie the
+ first one listed and as such, the entire sprint has been done to that
+ format. However, because of the small number of systems that have been
+ found and only in some cities, I now believe that the local phone
+ exchange is also used in the NUA. As such it makes it uneconomical
+ to Sprint therefore you will have to live with the following list.
+
+
+
+P A C N E T 5301xxx00xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 22/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+530121000018 -
+530124000016 VAX/VMS - OUVAX3
+530130000012 VAX/VMS - Electronic Engineering System ELECVA VAX
+530130000014 - (Echo's Chars)
+530130000021 -
+530130000034 VAX/VMS - C0COM Computer Services Center MicroVax
+530130000065 HP-3000 -
+530130000072 -
+530130000085 VAX/VMS - Christchurch School of Medicine
+530130000095 -
+530130000116 -
+530154000012 -
+530157000001 -
+530163000002 -
+530163000005 -
+530163000014 -
+530163000030 -
+530167000000 Primos 20.1.1.NZC - PRIMENET 20.1.1.NZC BBK
+530171000004 VAX/VMS 11/780 - University Of Waikato
+530171000007 -
+530171000029 VAX/VMS - MIRIUZ Computer System
+530171000036 -
+530173000000 VAX/VMS V4.6 - Ministry of Forestry Node RBMOF
+530173000006 Primos 20.2.4v - PRIMENET 20.2.4V P9755
+530173000024 - Baycorp Information Services
+530173000025 -
+530179000008 -
+530188400001 VAX/VMS - Northern Wairoa Vax
+
+
+So here we are, the end of another file. There was nothing here as far as
+NUA's go, but I have been working flat out on DATAPAC which has got massive
+ammounts of NUA's so I'll try to get that completed. The first part of
+DATAPAC will be in GLOBE TROTTER Volume #3. From there on, the ammount of
+information will decrease due to the lack of NUI'S and other PRIME accounts.
+
+A passionate plea: If anyone has NUI'S AUSTPAC ones in particular and
+ any primes with Netlink, please let me know, perhaps
+ we can make an exchange for info you are not likelly to
+ see here.
+
+Lastly, if anyone has any articles or information they would like to
+contribute, please contact me. We will all appreciate it, especially me,
+since it's a nighmare to come up with all this stuff every month.
+
+
+
+ IN THE NEXT ISSUE OF GLOBE TROTTER, Volume #3
+===============================================================================
+
+ - Featuring: CANADIAN Data network DATAPAC with a first part of a
+ complete scan.
+
+ - BT GOLD, The greates failure and a years work down the drain.
+
+ - I have a month to come up with something, so who knows what will happen,
+ but if it does, you are going to hear about it.
+===============================================================================
+
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe3.txt b/textfiles.com/magazines/GLOBETROTTER/globe3.txt
new file mode 100644
index 00000000..7c6ff18b
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe3.txt
@@ -0,0 +1,1494 @@
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #3, File #1 Date: 29/03/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+
+
+TO CONTACT US:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Germany: ALTOS Username: force
+Australia: Any Good BBS In Melbourne or The Realm
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+
+CONTRIBUTORS: NOM
+
+
+FROM THE EDITOR:
+
+We still need a lot of material to create the next few issues. If you have
+anything you can contribute please contribute. Write an article anything.
+
+I was going to publish a list of the best hackers in OZ, but we came to the
+conclussion that it wouldn't be a good idea, particularly since so many things
+are going on at the moment. Instead Volume #4 or possibly #5 will have a
+list of the top five loosers of all time. It should be quite interesting,
+and I would like your help with this one, so if you know anyone who qualifies,
+please mail me.
+
+I must apologise for the lateness of this edition, but due to circumstances
+which you may know about, it was not possible to finish this file in time. If
+you don't know what has been happening, I guess you should be filled in.
+A reasonably large majority of Realm Members got busted. Seems like someone
+gave out a phone number (won't mention names, but it doesn't take much
+imagination to figure out who it was). The number was given out to save ones
+ass, which was rather stupid since it revealed possible witnesses agains't that
+person. DO YOU KNOW YOUR FRIEDS?? Or I think you should ask yourself
+DO YOUR FRIENDS KNOW YOU?? If so, It might be a good idea to think about it.
+
+Reason number two... Rumour has it that telescum have traced a large number
+of people and compiled a list of hackers using Viatel or Austpac. From what
+I hear (source reasonably reliable) is that they have been going round talking
+to people on that list, trying to obtain info on some of the more notorious
+characters. To add more weight to the rumour, a person close to the telescum
+war machine has confirmed the existence of such a list.
+Aparently I am at the top of the list, with some of the other more active
+people. (If nothing else I guess it's nice to be appreciated.)
+
+With all these things going on, we had to take some security precautions like
+encryption of all data, spliting the realm into sections and running each at
+a different location etc. This is the major reason for the delay.
+
+I guess if you read volume #4 things will still be going great. If not, you
+can pretty well guess the reason for the compulsory retirement.
+(Hehehe Is that possible??)
+
+May your lines be untraceable.
+
+ CATCH YA LATER
+ ----====} THE FORCE {====----
+
+-------------------------------------------------------------------------------
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Outdial Systems: There is great demand and no supply, so only
+ a little something to wet your appetite.
+
+
+ - Unusual Systems: You all know about the 03106 Tymnet Gateway,
+ well, there are others you can t5ry.
+
+ - System Passwords: It's been a bonanza as far as VAX and PRIME
+ accounts go, so it's been an ordinary month
+ I guess. You again get the sour cream of the
+ hacks that were made this month.
+
+
+ - Trix of The Trade A run in with sys 09 operator and strange OTC
+ tactics to catch hackers.
+
+ - Hack Of The Month A Super User VAX account.
+
+
+ - Network Profile: This month we feature DATAPAC nad I have the
+ first part of DATAPAC NUA's.
+
+N O T S O R E G U L A R F E A T U R E S
+---------------------------------------------
+
+
+ - Bt Gold Hacked The greatest defeat in hacking a system ever,
+ which I didn't even hack boooo.
+
+ - X.xx Info A nice file explaining the workings of X.xx
+ Protocals, thanx to NOM.
+
+ - JANET User Docs #1 Part one of the JANET (UK Academic Network)
+ User Documentations.
+
+===============================================================================
+
+
+OUTDIAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+Nope, as a matter of policy, no more outdials. This is the second last Issue,
+where you can pick up some outdials, (not so flash). They die to quickly
+and there are only 2 more international I know off. I suggest for your
+outdial needs, use either Unix, Primes or VAX's with an outdial modem. There
+is a lot of them out there.
+
+
+3106072912 HOUSTON OUTDIAL
+3106007376 HOUSTON OUTDIAL This one used to be a very good, but due
+ to obuse once again the old NUA has been
+ changed. An additional complication is a
+ password protection they have added.
+
+
+3106002046 MITEL/CANATA This one has been used long time ago, and
+ like the houston O/D it has password
+ protection. I didn't get this one, and I
+ am not sure who did, so I don't know who
+ to give credit to. Sorry.
+
+-------------------------------------------------------------------------------
+
+UNUSUAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+You all know the 03106 gateway. To connect to it, you just use that NUA.
+Here are some more interesting ones you may not have.
+
+03104 - MCII IMPACS
+03132 - Compuserve
+03113 - RCA-LSDS
+03119 - TRT-DATAPAK
+03740 - TEXTEL Trinidad
+04542 - C & W INTELPAK Hong Kong
+04877 - ITA UDAS Taiwan
+
+I'll have some more for you, possibly next month. One thing to note, is that
+I have connected to these from DATEX-P, so some may not work from AUSTPAC
+or MIDAS.
+
+
+-------------------------------------------------------------------------------
+
+SYSTEM PASSWORDS
+~~~~~~~~~~~~~~~~
+
+I am very sorry about this, but due to my obsession with Primes, you will
+just have to put up with them for a little longer.
+
+31106030002015 Primos 18.2.1 DPC1 This is the DARTMOUTH PRIME I have
+ Listed previously, but try logging
+ is as DOS/DOS instead of GAMES/GAMES
+
+26245890090831 Primos 19.3.4-Z GRAF LOGIN TEST
+
+
+26245221040595 Primos 20.2.4v TWF_K LOGIN PRIME/PRIME
+
+
+This leaves me with 3 more primes to go, but don't be afraid, in the next
+issue I promis I will have something slightly better, like a VAX or two
+in ISRAEL.
+
+
+-------------------------------------------------------------------------------
+
+
+TRIX OF THE TRADE
+~~~~~~~~~~~~~~~~~
+
+Minerva Now has some very claver ways as far as detecting hackers. They have
+learned that there are certain systems frequently visited by hackers, like
+Altos for example. If you connect to altos directly from minerva, you can
+say bye bye to your account. This has been known for a while, but here
+is a slightly new one.
+
+I have been on altos late one evening, (Going via a PAD in GERMANY), when an
+operator breaks in. We had a short chat, but I failed to get him going in
+any sort of a decent conversation. You can usually pick up some usefull
+information. In a situation like this, there is really no need to hang up
+or be paranoid about getting traced, since if they wanted to, they could
+have traced any time. Even if it was their intention to trace you, they would
+have done it before revealing themselves to you.
+I managed to capture the last bits of the convo (Remembered to Turn on My
+Buffer. A little late, but still)
+
+THE ACTUAL CONVO: (Operator is in lower case)
+...............................................................................
+
+HELLO OPERATOR
+
+* OPERATOR user 10 *
+you realise i am going to kill this account
+I KNOW, AND I WILL GET A NEW ONE. WE HAVE PLAYED THIS GAME FOR UHH 3 YEARS NOW
+ OR SO
+not when i am finished with you
+
+A WELL, IT'S LIKE A SPORT TO ME. IT GETS RATHER ADDICTIVE.
+HOW LONG WERE YOU AN OPERATOR HERE?
+
+bye bye
+
+
+Bye at 20:22
+HANG ON
+
+
+***From PRIMOS: Forced off.
+Off At 20:22 24/02/88 AEST
+Time used: 04h 42m connect, 04m 01s CPU, 00m 28s I/O.
+
+Mail call (6 Unread)
+
+CLR PAD
+...............................................................................
+
+
+This is nothing dramatic, since anyone who ever used minerva for a while
+would have had a simmilar experience. The account, naturally, died the
+minute I was forced off, but surelly the next day, it was back up working
+as usual under the old password?? A hah, it's enough for anyone to
+smell a trap. This is all leading up to the point I am making and that is,
+don't use minerva accounts given to you by other people and don't give out
+accounts you use. I gave the ID do an italian hacker, and he would have
+had no knowldge of this event and anything he would have done on the ID would
+have most probably been recorded. I actually went on the account and changed
+the pw myself so he couldn't use it before I had the chance to contact him.
+I think the reason OTC does that is to see what addresses are being used, so
+that they can more easilly determine a hacker on another ID, just by the
+address used from it. This is not an isolated incident, because it has
+happened on several occasions in the past. What I don't understand, is why
+they kill the account and then bring it back up?
+Another, even more likelly explanation, is simply the real user finds his
+account not working, dials Minerva gets the password changed, and restores
+it to his old one. In that case, it would mean Minerva is trying to cover
+up something shocking. I would imagine they wipe the bill off, and don't
+tell the user that a hacker has been on the account, but who knows??
+
+This is all bad anough, but minerva actually goes one step further. There
+are regular hackers of minerva, who have actually been given their own
+ID's to use, which they can check on. Now, if that isn't low, I don't know
+what is.
+An interesting solution to the problem would be to mail all the real users
+and tell them the NUA for altos. If someone does that, they will think twice
+before killing off the real users. (if anyone is game enuff, please check
+with the altos sysops first)
+
+
+-------------------------------------------------------------------------------
+
+HACK OF THE MONTH
+~~~~~~~~~~~~~~~~~
+
+System: Micro VMS
+Location: USA
+Network: TYMNET
+Date: 07/03/1988
+Hacked By: ----====} THE FORCE {====----
+
+Sample Login:
+
+..............................................................................
+
+
+@ c :03106xxxxxx -fcty
+Circuit #1
+03106xxxxxx Connected
+
+
+[2J[H(0
+#3meeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeem
+#4meeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeem
+#4x x
+#3x x
+#4x x
+#3x S I A M E x
+#4x x
+#6x M I C R O V A X x
+#3x x
+#4x x
+#3meeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeem
+#4meeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeem(B
+
+Username: xxxxxxxxx
+
+Password:
+ Welcome to MicroVMS V4.4
+
+ Last interactive login on Tuesday, 29-DEC-1987 21:13
+ Last non-interactive login on Thursday, 6-FEB-1986 20:41
+Z[c[0c
+%SET-W-NOTSET, error modifying NVA8:
+-SET-I-UNKTERM, unknown terminal type
+
+ |||||||||||||||||||||||||||
+ || 7-MAR-1988 16:36:48.08||
+ |||||||||||||||||||||||||||
+
+
+$ SET PROC/PRIV=(all)
+
+$ SET DEF SYS$SYSTEM
+
+$ RUN AUTHORIZE
+UAF> EXIT
+
+UAF-I-NOMODS, no modifications made to system authorization file
+%UAF-I-RDBNOMODS, no modifications made to rights database
+
+$ LOG
+
+ xxxxxxx logged out at 7-MAR-1988 16:37:45.52
+
+03106xxxxxx Disconnected
+
+@
+...............................................................................
+
+NOTES: I know there are more exiting hacks out there, like NASA, ESA etc, so
+ please, edit your sample logins so they can't be recognised and send
+ them in. If you can, please include any sort of a proof of the
+ hack, I will not put it in here unless I am sure it is genuine. I
+ have had a fantasized file of someone being one away from
+ starting the third world war. I mean really!
+
+===============================================================================
+
+BT GOLD
+~~~~~~~
+
+I have spent so much time hacking BT GOLD, that it really isn't funny. I didn't
+actually spend a lot of time on it, just small bits extended over the past few
+years. Some of you may recal the good ole days when minerva was
+actually minerva not keyling (a Dominant system) and Telememo was Telememo not
+keylink a (Shitty system). Keylink is now a shitty system and Telememo has
+improved a bit, but on the whole it still sux. Good after this rambling,
+I refering to late 1984-1985 where there was no such thing as security on
+Minerva. Them were the days where one could spend 24 hrs Sprinting and
+not worry about the account dying. It was the time where every second
+password was the users first name and everyone had a supply of at least 200+
+accounts at the one time.
+
+Ahh what a flashback. Would be nice to have a time machine. Anyway, as you
+all know, minerva is only one system, a part of the entire DIALCOM Network.
+(Ok, 3 systems if you want to be picky 07,08 and 09). A lot of countries
+have a dialcom system of their own, and there is no reason why there can't
+be one at the stage of minerva 4 years ago. Somehow I don't see the operators
+worried about hackers in countries like Singapore, HONG-KONG etc (The list
+goes on and on). I hope you can now appreciate the potential to find a nice
+ripe system, ready for the taking.
+
+In order to be usefull, a dialcom must have the NETLINK Facility, and it must
+have an ONLINE USERLISTING. Without a Netlink, you can't use it as a pad,
+and you can't use it for sprinting. Without a User Directory, it is
+very difficult indeed to hack another account once the ones that you have
+information on are exhausted.
+
+PRIMECON NETWORK - Us Dialcoms systems are useless, since they don't have
+ an online user list. I have only chacked system 41
+ and systems in the same cluster namelly in the high
+ thirties and fifties. There could still be hope for
+ SYSTEMS 90-99 including the inhouse dialcom system 98.
+
+BT GOLD - A fantastic system. The user directory is more
+ - Comprehensive than that on Minerva. Only problem is
+ that there is no NETLINK, which makes it rather useless.
+ There is however a netlink on system 80, which is used
+ by BT GOLD Staff.
+
+As you can see, BT GOLD was an incredible waist of time, but because there is
+hope of finding an unripe dialcom ready for raping dialcoms are all go.
+The BT GOLD account I got, came from an italian hacker and has been passed
+around for some time before that.
+
+-----------------------------------------------------------------------------
+GOODIES, GOODIE GOODIE YUM YUM.
+
+
+NETWORK PROFILE: D A T A P A C - Part #1
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+Dnic: 3020
+Location: CANADA
+Owners: Telecom Canada
+Host Responce: Fair
+Network Rating: Shitty
+Nua Structure: 3020 000 00 0000 00
+
+
+
+For More Information, Contact:
+
+
+ Telecom Canada
+ Room 1890
+ 160 Elgin Street
+ Ottawa, Ontario
+ K1G 3J4, Canada
+ Contact: Judith Robertson (613) 567-8798
+ OnTyme: INTL.TGMKTG
+
+ ACCESS/SPEEDS: Asynchronous dial-in service at 110-300, 1200 bps
+ leased line services: 110-300, 1200 bps
+ Bell 103, 212A
+ Synchronous service at: 2400,4800,9600,14400 bps
+
+
+ U.S. Canadian traffic is complicated by many
+ factors. the most common kind of traffic originates in
+ Canada from a terminal and terminates on a host in the
+ U.S. This is Inbound 3101 Collect and is billed by
+ Tymnet in U.S. dollars. Whether traffic is 3101 or 3000
+ traffic is determined soley by the nature of the
+ connection in Canada; 3000 is a host, 3101 is a terminal.
+
+ A username is not needed to access Tymnet from Canada
+
+
+NOTES: There is a well defined area code for NUA's in a particular area,
+ much like TELENET, however the area codes a unique and don't match
+ the PTSN area codes. For reference, look up the datapac outdials
+ in Volume #2, which relates their codes to the PTSN ones. There
+ are lot more areas then given in the outdial list, but usually there
+ is some indication as to where the NUA's are.
+
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+D A T A P A C 302029500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Last Updated: 09/06/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302029500057 -
+302029500059 VAX/VMS -
+302029500060 VAX/VMS -
+302029500070 - KARDGARD 300-C Motor Fuel Mngmnt. Site 1
+302029500089 Port Select -
+302029500092 HP-3000 -
+302029500098 -
+302029500900 Outdial Port - 300 Baud
+302029500901 Outdial Port - 1200 Baud
+
+D A T A P A C 302033400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 28/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302033400012 Honewell - Waterloo Datanet 8
+302033400018 - "CHANELLS BUSY"
+302033400048 -
+302033400069 Port Select - "SERVICE ID="
+302033400115 Port Select - "SERVICE ID="
+302033400131 - "CHANELLS BUSY"
+302033400140 -
+302033400153 - Conttrell Transport/Kitchener
+302033400161 -
+302033400171 -
+302033400193 -
+302033400219 Primos 20.1.2 - PRIMENET 20.1.2 SYSF
+302033400236 -
+302033400257 VAX/VMS -
+302033400258 - (needs input filename)
+302033400276 - (needs Input filename)
+302033400333 Primos 20.1.2 - PRIMENET 20.1.2 SYSF
+302033400344 Outdial Port -
+302033400345 Outdial Port -
+302033400346 Outdial Port -
+302033400347 Outdial Port -
+302033400348 Outdial Port -
+302033400349 Outdial Port -
+302033400376 fax -
+302033400383 -
+302033400462 - "CHANELLS BUSY"
+302033400485 -
+302033400486 -
+302033400492 -
+302033400900 Outdial Port - 300 Baud
+302033400900 Outdial Port - 1200 Baud
+
+
+D A T A P A C 302035600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 28/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302035600110 Outdial Port -
+302035600111 Outdial Port -
+302035600113 Outdial Port -
+302035600114 Outdial Port -
+302035600115 Outdial Port -
+302035600116 Outdial Port -
+302035600273 Port Select - University Hospital Develnet Network
+302035600279 -
+302035600280 -
+302035600298 -
+302035600318 -
+302035600329 -
+302035600330 VAX/VMS -
+302035600900 Outdial Port - 300 Baud
+302035600901 Outdial Port - 1200 Baud
+
+
+D A T A P A C 302036700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 31/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302036700010 fax -
+302036700017 VAX/VMS - "Enter if you Dare"
+302036700021 - "User Number--"
+302036700024 Gateway - "International, Datapac,Memotec,Telenet"
+302036700026 VAX/VMS -
+302036700027 VAX/VMS 8530 V4.5 - COMVAX
+302036700029 Gateway - "International, Datapac,Memotec,Telenet"
+302036700030 - "User Number--"
+302036700042 VAX/VMS -
+302036700045 IBM VM/370 -
+302036700047 Port Select - "enter class"
+302036700049 VAX/VMS -
+302036700050 -
+302036700052 VAX/VMS -
+302036700053 -
+302036700075 -
+302036700087 -
+302036700095 Port Select - Network Control
+ VAX 11/780 VAX - Bryker
+302036700118 Unix - gnt-1
+302036700122 - University Library GEAC System
+302036700129 - TTSCANDAR
+302036700162 -
+302036700169 IBM - Ultramar
+302036700170 IBM - Ultramar
+302036700172 - "TACL1> "
+302036700178 VAX/VMS 85300 V4.6 - Magna's VAX
+302036700183 - "Password> "
+302036700184 - "Password> "
+302036700185 - "PORT BUSY"
+302036700900 Outdial Port - 300 Baud
+302036700901 Outdial Port - 1200 Baud
+
+
+D A T A P A C 302038500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Last Updated: 21/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302038500055 -
+302038500122 HP-3000 - CC INFOLINE
+302038500198 - 'HM"
+302038500216 VAX/VMS -
+302038500226 - "CHANNELS BUSY"
+302038500245 -
+302038500251 -
+302038500274 -
+302038500287 -
+302038500288 -
+302038500312 VAX/VMS V4.5 - Ault Fodds Hamilton
+302038500333 - "CLS BUSY"
+302038500355 -
+302038500356 HP-3000 - CC INFOLINE
+302038500375 -
+302038500399 Port Select - "SERVICE ID= "
+302038500412 Port Select - "SERVICE ID= "
+302038500445 -
+302038500444 -
+302038500559 -
+302038500561 Outdial -
+302038500562 Outdial -
+302038500563 Outdial -
+302038500564 Outdial -
+302038500565 Outdial -
+302038500566 Outdial -
+302038500586 VAX/VMS V4.3 - MicroVms
+302038500640 Port Select - "SERVICE ID= "
+302038500641 -
+302038500643 -
+302038500645 -
+302038500652 -
+302038500654 -
+302038500655 -
+302038500669 -
+302038500723 -
+302038500725 -
+302038500726 -
+302038500738 IBM - System: Hamilton, Subsystem: Quinte
+302038500739 IBM - System: Hamilton, Subsystem: Quinte
+302038500740 IBM - System: Hamilton, Subsystem: Quinte
+302038500741 IBM - System: Hamilton, Subsystem: Quinte
+302038500746 IBM - System: Hamilton, Subsystem: Quinte
+302038500771 Port Select - Gandalf PACXS "Password> "
+302038500783 -
+302038500787 -
+302038500900 Outdial - 300 Baud
+302038500901 Outdial - 1200 Baud
+302038500902 IBM - System: Hamilton, Subsystem: Quinte
+
+
+D A T A P A C 302048400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 28/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302048400040 -
+302048400153 -
+302048400177 -
+302048400209 Port Select - "CODE DE SERVICE="
+302048400224 -
+302048400234 -
+302048400279 Port Select - "CODE DE SERVICE="
+302048400322 - "V21>"
+302048400348 Port Select - "SERVICE ID="
+302048400398 Outdial Port -
+302048400399 Outdial Port -
+302048400410 Outdial Port -
+302048400411 Outdial Port -
+302048400412 Outdial Port -
+302048400413 Outdial Port -
+302048400430 -
+302048400431 VAX/VMS V4.3 - Micro VMS
+302048400492 -
+302048400493 -
+302048400494 -
+302048400495 -
+302048400496 -
+302048400497 -
+302048400498 -
+302048400499 -
+302048400527 -
+302048400529 DG AOS/VS - CANFOR Quebec
+302048400547 - "Channels Busy"
+302048400553 HP-3000 -
+302048400900 Outdial Port - 300 Baud Quebec
+302048400901 Outdial Port - 1200 Baud Quebec
+
+
+D A T A P A C 302056300xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 09/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302056300012 Port Select - "Enter Select Character"
+302056300014 Port Select - "Enter Select Character"
+302056300015 Port Select - "Enter Select Character"
+302056300019 Port Select - "Enter Select Character"
+302056300020 Gateway - "Internatinl, Datapac, Telenet, Memotec"
+302056300040 - "enter appropriate code for access"
+302056300041 Port Select - "Enter Select Character"
+302056300042 Port Select - "Enter Select Character"
+302056300045 Port Select - Gandalf PACXS "Password> "
+302056300046 Port Select - "Enter Select Character"
+302056300047 Port Select - "SYSTEM ID="
+302056300049 IBM - "Line #24"
+302056300215 - Levitt Security Montreal
+302056300216 -
+302056300235 IBM VM/370 - TSASLC Information System
+302056300900 Port Select - "enter appropriate code for access"
+302056300901 Port Select - "enter appropriate code for access"
+
+
+D A T A P A C 302058700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 10/01/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302058700010 HP-3000 -
+302058700015 - Outdial PortL
+302058700016 - Outdial Port
+302058700017 - Outdial Port
+302058700018 - Outdial Port
+302058700900 - Outdial Port 300 Baud
+302058700901 - Outdial Port 1200 BAUD
+
+D A T A P A C 302063300xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 102/01/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302063300131 host
+302063300141
+302063300142
+302063300200
+302063300260
+302063300261 PRIMENET 19.4.3 PRECL7
+302063300298 PRIMENET 19.4.9 PEPPER
+302063300313
+302063300314
+302063300319
+302063300334
+302063300339
+302063300344 host
+302063300352
+302063300359
+302063300371
+302063300374
+302063300431 OUTDIAL
+302063300432 OUTDIAL
+302063300433 OUTDIAL
+302063300434 OUTDIAL
+302063300439
+302063300453
+302063300457
+302063300466
+302063300483 THE UNIVERSITY OF CALGARY EDUVAX
+302063300900 OUTDIAL 300 BAUD
+302063300901 OUTDIAL 1200 BAUD
+
+
+D A T A P A C 302067100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 09/01/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302067100056 -
+302067100057 -
+302067100086 - SEARS CANADA INC.BCSC
+302067100118 Primos 20.1.1 - PRIMENET 20.1.1 UMAVAN
+302067100143 -
+302067100250 Primos 20.0.2 - PRIMENET 20.0.2 MD.VAN
+302067100253 -
+302067100330 -
+302067100361 -
+302067100423 -
+302067100440 -
+302067100482 Gateway -
+302067100489 -
+302067100519 - J. WALTER THOMPSON VANCOUVER
+302067100538 -
+302067100571 -
+302067100610 VAX/VMS - Vancouver VAX
+302067100629 VAX/VMS V4.2 - Microvax
+302067100630 -
+302067100632 - MCKIM ADVERTISING VANCOUVER
+302067100641 fax -
+302067100642 Gateway - COMINCO TRAIL DATAPAC ACCESS
+302067100669 -
+302067100673 -
+302067100692 Outdial Port -
+302067100693 Outdial Port -
+302067100695 Outdial Port -
+302067100752 -
+302067100794 VAX/VMS -
+302067100900 Outdial Port - 300 Baud
+302067100901 Outdial Port - 1200 Baud
+302067100766 -
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #3, File #2 Date: 29/03/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 1988, The Realm
+
+`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`
+`=`=`=` X.XX Series Communications Protocols Information `=`=`=`
+`=`=`=` `=`=`=`
+`=`=`=` Written By: N O M Date: 01/03/1988 `=`=`=`
+`=`=`=` `=`=`=`
+`=`=`=` - From The Depths Of The realm - `=`=`=`
+`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`=`
+
+
+ In light of the recent excellent articles emerging from the REALM, I feel a
+ contribution on a more specific topic may be needed.
+
+
+ After a time the superficial aspects of hacking tend to erode and while the
+ important aspects still remain IE. An outdial is an outdial, an NUI is an
+ NUI etc bits and pieces tend to be forgotten or not passed from one
+ "generation" of hacker to the next, or are just plain not bothered with.
+ If asked what is the difference between X.25 and X.29 or Async and Sync I
+ assume that a good percentage of hackers would be able to tell me, BUT only
+ after looking in something like the Hackers Handbook. Now what I hope to
+ do is explain a LOT deeper what various terminologies mean, this will not
+ of course help people hack but I think it will help people to undeyyrstand
+ just what sort of technology and complexity the equipment that Austpac,
+ Midas etc use.
+
+
+ Lets start with the X series of protocols. As there are approx. 199
+ different X categories, and as only 4 are really relevant to us, we'll
+ concentrate on the 2 most well known but misunderstood they being of course
+ X.25 & X.28 and 2 others, X.3. and X.29.
+ Put simply X.25 deals specifically with the interface between a
+ Dedicated Terminal and the PAD they may be using, while X.29 deals with the
+ transmission of data between two or more PADS. Now to connect directly up
+ to an X.25 with a non (Start/Stop terminal, what we all use) would be very
+ nice, but unfortunately this can not be accomplished without the
+ intervention of the X.3. As an aid follow the picture
+
+ 3 Separate Examples of Communication
+
+ [ME X.28]------------------|=PAD==X.29==PAD==|-------------------[YOU X.28]
+ | | |
+ [DPTE\ | | | /DPTE]
+ [DPTE+[X.25]---------------|-Packet Network--|-----------------[X.25]+DPTE]
+ [DPTE/ | | | \DPTE]
+ | | |
+ [ME X.28]------------------|=PAD==X.29=======|-----------------[X.25]+DPTE]
+
+ Confused?? Well let's clarify things according to the above diagram. On
+ the top line we see that we are assigned as needing an X.28 (simply the
+ asynch character transmission mode that we mainly use because we have no
+ built in packet switching capabilities IE. we are not connected to an X.25
+ DPTE (my own definition of Dedicated Packet-switching Terminal Equipment
+ There must be two X.3's (PADS) when connecting non DPTE's. What the X.25
+ Protocol really does is allow many terminals to be accessed individually
+ from a PAD. And what is the PADS' purpose? Simply to allow us to
+ communicate to X.25 equipment.
+
+ On the second line we have a DPTE (X.25 the physical link/protocol
+ connected straight through without the need for either X.28, X.29 or X.3
+ protocols) this is the most straightforward connection as both DTE's have
+ inbuilt packetising information.
+
+ The third line shows the connection of a standard terminal through the PAD
+ as you can see only one side needs packetising and protocol conversion
+ straight through. This example is mostly what we are concerned with for we
+ are the X.28 we reach the PAD (Austpac for example) and depending on our
+ NUA connect to the X.25 gateway, then the host terminal or destination. An
+ example of this would be the DNIC 3106 this would establish which gateway
+ you want to access in this case Tymnet. The rest of the NUA (actually when
+ calling international X.25 another X category is used X.121 or simply Data
+ Network Identification Code) lets say NUA 03106+[000636]<-- would select
+ which computer on the X.25 gateway you want to connect with.
+
+ At this point you may have noticed that your whole concept of a PAD has
+ changed, a PAD merely Disassembles Data, shoots it into the Packet Network
+ and then Assembles the data back so that it can be received depending on
+ what the X.25 has to say. The whole point of the X.29 is so that two PADS'
+ can communicate. X.25 serve to generally control packet flow as well as
+ doing protocol conversions and speed conversions, allowing you at 300 baud
+ to connect to virtually any system. Part of this packet flow concerns
+ where the information is being sent... This introduces the next part
+
+ ESTABLISHING THE CALL
+ ---------------------
+
+ There are two ways of establishing calls on a packetised network. These
+ are VC (Virtual Calls) and PVC (Permanent Virtual Circuits).
+
+ A VC is the non-physical link between the calling Date Terminal Equipment
+ (us..DTE) to the called DTE (them..the computer we are calling). It is the
+ exact equivalent to a telephone call except that no PHYSICAL link is
+ established. Instead a logical channel number (LCN) is set up from then on
+ data (packets) are sent to a channel rather than physically down a wire as
+ in the telephone. Hence it is called virtual due to it not actually
+ existing.
+
+ PVC is the same except that a permanent number is assigned as being the
+ logical channel. This is the equivalent to a direct line but all non
+ physical. The actual "conversation" which takes place when a DTE wishes to
+ call another is explained thus:
+
+
+ DTE to DTE DCE to DTE
+ ---------- ----------
+ Call Request --------->Incoming Call
+ Call Accepted<-------- Call Connected
+ Data------------------>Data
+ Data<----------------- Data
+ Clear Request -------->Clear Indication
+ DTE - initiated<------ Network Initiated
+ Clear Confirmation---->Clear Confirmation
+
+ What this table represents is the procedures that must occur during a
+ connection. As you can see its all logical with a Calls being requested by
+ us and Calls being notified by them. This is based on the Telephone system
+ whereby we take over in some aspects IE I might say GOODBYE (Clear Request)
+ then the person I'm talking to would as well (Clear Indication) and so on.
+
+
+ The most up to date explanation to the inner workings of all things X is
+ the OSI/RM (Open Systems Interconnection Reference Model). OSI/RM are a
+ collection of different "layers" within the network which offer developers
+ a generalized outline of what a data network must handle. It is not law
+ that people must follow these procedures but it is a concerted effort to
+ bring about a standard way to exchange information. The X.25 system follow
+ this architecture very closely and though OS/RM contains 7 layers and X.25
+ contains but three (packet, link and physical) the following explanation
+ may serve to explain how a network operates.
+
+
+ 7. Application Layer Concerns - Am I talking to the right person? Who is
+ paying for this call? Is this the best time to talk, or should I call back.
+
+ 6. Presentation Layer Concerns - Are we talking the same language and/or
+ dialect.
+
+ 5. Session Layer Concerns - Can this situation be handled in one call or
+ several? Will other people need to be brought in at different times? Who
+ will control the discussion in a multi party conversation? Who will
+ re-establish the call if we are cut off?
+
+ 4. Transport Layer Concerns - What is the most cost effective way to handle
+ this call (or calls) consistent with priorities? What long distance
+ carrier should be used?
+
+ 3. Network Layer Concerns - Dial the number and listen for call progress
+ signals. Redial if you get a busy signal or get cut off. Disconnect when
+ the conversation is completed.
+
+ 2. Link Layer Concerns - Talk when you are supposed to and listen when you
+ are supposed to. Ask for a repeat if there is something you don't
+ understand. Tell the other party to slow down if they are talking to fast.
+
+ 1. Physical Layer Concerns - These are the actual sounds being made into
+ the mouth piece from the receiver.
+
+
+ Well that's as far as I'm prepared to go depth wise into packet systems.
+ This hasn't even scratched the surface of what's to be known. If anyone
+ would like to know more about a specific topic please E-MAIL me and I'll
+ try to help.
+
+
+
+JANET Part #1
+~~~~~~~~~~~~~~~~
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= H O W T O U S E J A N E T Date: 23/02/88 =-=-=
+=-=-= =-=-=
+=-=-= Brought To You By: ----====} THE FORCE {====---- =-=-=
+=-=-= =-=-=
+=-=-= - From The Depths of The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+NOTE: This file has been supplied by Janet.
+
+
+ How to Use the U.K. Academic Network - Packet SwitchStream (PSS) Gateway
+
+ Issued by
+ S.A. Wood
+ Issue 1 6 January 1987
+ ____________________________________________________________________________
+ _________________
+ TABLE OF CONTENTS
+
+
+ 1. Warning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
+
+ 2. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
+ 2.1 Your contacts . . . . . . . . . . . . . . . . . . . . . . . . . 1
+
+ 3. Summary of Facilities Available Across the Network . . . . . . . . 2
+
+ 4. Permission to Use the Gateway . . . . . . . . . . . . . . . . . . . 2
+ 4.1 Authentication and Authorisation . . . . . . . . . . . . . . . 2
+ 4.2 Charging and Accounting . . . . . . . . . . . . . . . . . . . . 3
+
+ 5. How to make Terminal Calls TO the Gateway . . . . . . . . . . . . . 3
+
+ 6. How to make Terminal Calls THROUGH the Gateway . . . . . . . . . . . 4
+ 6.1 The Transport Service Called Address . . . . . . . . . . . . . 4
+ 6.2 Making Calls using TS29 Protocol . . . . . . . . . . . . . . . 6
+ 6.3 The full address . . . . . . . . . . . . . . . . . . . . . . . 6
+ 6.4 Making Calls Using X29 Protocol . . . . . . . . . . . . . . . . 6
+
+ 7. Facilities Provided by the Gateway Machine . . . . . . . . . . . . . 7
+ 7.1 HELP Facility . . . . . . . . . . . . . . . . . . . . . . . . . 7
+ 7.2 Account Facility and Changing Your Password . . . . . . . . . . 8
+
+ 8. Facilities Available THROUGH the Gateway . . . . . . . . . . . . . . 9
+ 8.1 Demonstration Facility . . . . . . . . . . . . . . . . . . . . 9
+ 8.2 Address Mnemonics of Remote Hosts on Networks Connected to
+ the Gateway . . . . . . . . . . . . . . . . . . . . . . . . . . 9
+
+ 9. Facilities Available on PSS . . . . . . . . . . . . . . . . . . . 10
+ 9.1 Fast Select . . . . . . . . . . . . . . . . . . . . . . . . . 10
+ 9.2 Reverse Charge Facility . . . . . . . . . . . . . . . . . . . 10
+ 9.3 Access to IPSS . . . . . . . . . . . . . . . . . . . . . . . 10
+ 9.4 Calls to Other, Non-Transport Service Networks . . . . . . . 10
+ 9.5 Adjusting Packet Sizes . . . . . . . . . . . . . . . . . . . 11
+
+ 10. Protocols Available if Supported by Both Local and Remote
+ Host Machines . . . . . . . . . . . . . . . . . . . . . . . . . . 11
+ 10.1 Network Independent File Transfer Protocol (FTP) . . . . . . 11
+ 10.2 JNT MAIL Protocol . . . . . . . . . . . . . . . . . . . . . . 12
+ 10.3 Job Transfer and Manipulation Protocol (JTMP) . . . . . . . . 12
+
+ 11. Restrictions and Errors . . . . . . . . . . . . . . . . . . . . . 12
+ 11.1 Restrictions . . . . . . . . . . . . . . . . . . . . . . . . 12
+ 11.2 Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
+
+
+ 1. Warning
+
+ BETWEEN 8.00 am and 9.00 am every Tuesday, network development and service
+ work is carried out on JANET. This means that if you make a call during
+ these hours there is an increased danger of the system going down which may
+ result in loss of data.
+
+ _________________
+ 2. Introduction
+
+ The Gateway is a two-way link between the U.K. Academic Network (JANET) and
+ PSS. At present there are two Gateways between JANET and PSS, one at
+ Rutherford and another at ULCC in London.
+
+ The Gateway consists of a computer which holds a communications program and
+ sits between two networks (JANET and PSS in this case). This allows the
+ user to bridge the gap between the networks and access target computers on
+ the other network. It is important to realise that there are two ways of
+ communicating with the Gateway - you can make calls TO the Gateway computer
+ to access its limited user facilities or you can make calls THROUGH it to a
+ target computer on the other network.
+
+ The Gateway operates as a Transport Level Gateway in accordance with the
+ 'Yellow Book' Transport Service. However the present implementation does
+ not have a full Transport Service and therefore, there are some limitations
+ in the service provided. For X29 which is incompatible with the Yellow Book
+ Transport Service, special facilities are provided for the input of user
+ identification and addresses.
+
+ The Gateway is a protocol transparent link. This means that the Gateway
+ cannot be used for protocol conversion; to do this a third party machine
+ must be used.
+
+ __________________
+ 2.1 Your Contacts
+
+ If you have any problems, or if you want additional information contact the
+ JANET Network Executive. You can reach them at the following address:-
+
+ * By Post at . . . . . . . Network Executive,
+ c/o Rutherford Appleton Laboratory,
+ Chilton,
+ Didcot,
+ OXON.
+ OX11 0QX
+
+ * By Electronic MAIL to . . W.Jenkins@RL.GB
+ The network address for RL.GB is 00000000210
+
+
+ * By Telephone on . . . . . Abingdon (O235) 446748
+
+
+ _______________________________________________________
+ 3. Summary of Facilities Available across the Network
+
+ The network offers a number of facilities. These are listed below for your
+ information.
+
+ * Facilities Provided by the Gateway Machine
+
+ - Help Facility
+
+ - Accounting Facility
+
+ * Facilities Available on the Way Through the Gateway
+
+ - Demonstration Facility
+
+ - Addresses and Mnemonics
+
+ * Facilities Available on PSS
+
+ - Fast Select Facility
+
+ - Reverse Charge Facility
+
+ - Access to IPSS (International Packet Switch Stream)
+
+ - Calls to Other, Non-Transport Service Networks
+
+ * Protocols Available if Supported by Both Local and Remote Host Machines
+
+ - Network Independent File Transfer Protocol (FTP)
+
+ - JNT MAIL Protocol
+
+ - Job Transfer and Manipulation Protocol (JTMP)
+
+ __________________________________
+ Permission to Use the Gateway
+
+ _____________________________________
+ 4.1 Authentication and Authorisation
+
+ No unauthenticated use of the Gateway from JANET is allowed regardless of
+ whether charges are incurred at the Gateway or not. Therefore to use the
+ Gateway you have to obtain authentication (a userid and password) and
+ authorisation (a call allocation) from the JANET Network Executive. This
+ consists of:
+
+ a. USERID
+ b. PASSWORD
+ c. USAGE ALLOCATION
+
+ Note that the authorisation for PSS and IPSS is managed separately, although
+ a single USERID may have authoristation for both.
+
+
+
+ ____________________________
+ 4.2 Charging and Accounting
+
+ There are 4 separate charging rates, which are:
+
+ PSS full rate: PSS (FULL)
+ PSS discount rate: PSS (DISC)
+ TLXN: Telex access via Interstream 1.
+ IPSS full rate: IPSS (FULL)
+
+ Note that the TELEX access is expensive, as the cost includes the use of
+ PSS, Interstream 1 and TELEX. Anyone who is interested in TELEX access
+ should first discuss it with the Network Executive.
+
+ To be able to make chargeable calls you must request a call allocation to
+ cover the charging rates you want to use when you ask for your
+ authentication. For calls that are free e.g. calls within JANET or normal
+ charge calls from PSS you do not need an allocation.
+
+ The PSS discount rate applies from 1800 to 0800 each night and all day on
+ weekends, Christmas Day and New Year's Day. The PSS full rate applies at
+ ALL OTHER times. The IPSS full rate applies at ALL times for international
+ calls. For details of the international rates to various countries consult
+ Network User Note 2.
+
+ If your allocation runs out during an active call, then that call will be
+ cleared and all further calls at that rate will be refused.
+
+ ______________________________________________
+ 5. How to Make Terminal Calls to the Gateway
+
+ It is possible to make calls to the Gateway to access the HELP and ACCOUNT
+ facilities.
+
+ The HELP facility contains the whole of this user guide in its most uptodate
+ form. The facility allows random scans of the document and searches for
+ text within the document.
+
+ The Account facility allows the user to inspect the state of his account and
+ to change the password for that account.
+
+ _____________________________________
+ How to make contact with the Gateway.
+
+ If you are calling the RAL Gateway from PSS use the DTE address
+ 234223519191.
+
+ If you are calling the RAL Gateway from JANET use the DTE address
+ 000000000040.
+
+ If you are calling the London Gateway from PSS use the DTE address
+ 234219200148 or 234219200100.
+
+ If you are calling the London Gateway from JANET use the DTE address
+ 000040000040.
+
+ Make a terminal call to the Gateway.
+
+ A title message will appear on the terminal announcing the Gateway, followed
+ by the lines:
+
+ OS4000+Rlix V30 PSS Gateway
+ Logging in
+ user
+
+ If nothing appears, keep pressing until the above message
+ appears.
+
+ It is now possible to log in and use the Help or Account facilities. For
+ details of these facilities see section 7 of this document.
+ ___________________________________________________
+ 6. How to Make Terminal Calls Through the Gateway
+
+ The method used to make a call through the Gateway depends on the type of
+ PAD being used. If your PAD supports TS29 the procedure is simplified as
+ this protocol allows you to make calls that can cross several networks via
+ several Gateways. If your PAD supports X29 then if you wish to cross
+ several Gateways you normally have to stop at each one before you can pass
+ through it. However a special facility is provided using the Call User Data
+ Field to allow X29 calls non-stop through the JANET PSS Gateway.
+
+ Whichever protocol your PAD supports, you must have some way of generating a
+ Transport Service Called Address for onward routing by the Gateway.
+
+ _________________________________________
+ 6.1 The Transport Service Called Address
+
+ To make a call through the Gateway you have to supply the following
+ information in the form of a Transport Service Called Address to your local
+ PAD.
+
+ a. Netname: the name of the network you are calling.
+ b. Authentication: consisting of Userid and Password in that order.
+ This can be omitted for free calls.
+ c. Host address: the network address of the remote host.
+
+ The format of the Transport Service Called Address is as follows:
+
+ ().
+
+ These are explained below.
+
+ _______
+ Netname
+
+ This is one of the following:
+
+ JANET to connect to JANET
+ PSS to connect to PSS
+ J an alias for JANET.
+
+
+ ______________
+ Authentication
+
+ This consists of 3 fields which must be entered in the order shown.
+
+ a. user id,
+ b. password,
+ c. A request for the call to be reverse charged.
+
+ The last field is optional.
+ Note that the whole authentication string must be enclosed in parentheses.
+
+ _______
+ Example
+
+ (FRED,XYZ,R) Requests a reverse charge call
+ (FRED,XYZ) Requests a chargeable call.
+
+ ____________
+ Host Address
+
+ This is the numeric address of the machine being called. However to make
+ things easier the numeric address can be replaced with an alphanumeric
+ mnemonic if one has been set up on the Gateway.
+
+ _______
+ Example
+
+ use RLGB instead of 000000002105 to call the Rutherford GEC 'B' machine
+ use SALF instead of 234261643210 to call Salford on PSS.
+
+ For a list of these mnemonics see JANET User Notes 5 and 6.
+
+ Host addresses can be complex and it is possible to specify several Gateways
+ that you must pass through to reach a specific remote host and/or the
+ service required. Note that a point (.) must be used to separate the
+ numeric addresses or mnemonics from the service names.
+
+ _______
+ Example
+
+ SVPA - this calls the Sussex SERC Prime on Janet.
+ SVPA.FTP - this calls FTP on the Sussex SERC Prime on Janet.
+
+ To connect to some machines, an X25 sub-address is required, which consists
+ of a number of extra digits added on to the machine address. This can be
+ easily entered on the Gateway by using the delimiter '-' at the end of the
+ mnemonic address and then typing the sub-address. When the mnemonic is
+ translated the delimiter is ignored and the whole address is converted into
+ a continuous string.
+
+ _______
+ For a list of these mnemonics see JANET User Notes 5 and 6.
+
+ Host addresses can be complex and it is possible to specify several Gateways
+ that you must pass through to reach a specific remote host and/or the
+ service required. Note that a point (.) must be used to separate the
+ numeric addresses or mnemonics from the service names.
+
+ _______
+ Example
+
+ SVPA - this calls the Sussex SERC Prime on Janet.
+ SVPA.FTP - this calls FTP on the Sussex SERC Prime on Janet.
+
+ To connect to some machines, an X25 sub-address is required, which consists
+ of a number of extra digits added on to the machine address. This can be
+ easily entered on the Gateway by using the delimiter '-' at the end of the
+ mnemonic address and then typing the sub-address. When the mnemonic is
+ translated the delimiter is ignored and the whole address is converted into
+ a continuous string.
+
+ _______
+ Example
+
+
+ Janet-69 is translated to 23422351919169
+
+
+ How to Use the U.K. Academic Network - Packet SwitchStream (PSS) Gateway
+
+
+ _____________________________________
+ 6.2 Making Calls Using TS29 Protocol
+
+ TS29 is the ideal protocol to use through the Gateway, since there should be
+ no problem entering the Transport Service Called Address. However, first
+ make sure that the machine you are calling will support TS29. When using
+ this protocol for network terminal calls the service name of the TS29 server
+ should be entered explicitly.
+
+ _____________________
+ 6.3 The Full Address
+
+ Combining all these factors a full address might look like this.
+
+ J(FRED,XYZ).RLGB.TS29
+
+ ____________________________________
+ 6.4 Making Calls Using X29 Protocol
+
+ X29 is incompatible with the 'Yellow Book' Transport Service and some PADS
+ are unable to generate the Transport Service Called Address. When making an
+ X29 call, the onward Called Address may be entered into the Call User Data
+ Field of the Call. Some PADs, e.g. the British Telecom PAD are unable to
+ generate a Call User Data Field longer than 12 characters and so there may
+ not be enough space to hold all the information required. In this case, a
+ Call must be established only as far as the Gateway, and a dialogue held
+ with the Gateway to establish the next part of the connection.
+
+ If your PAD can generate a Call User Data Field, then the first character of
+ the text is treated as a delimiter, and should be entered as the character
+ '@' followed by the onward Called address.
+
+ _______
+ Example
+
+ On a CAMTEC PAD one might enter:-
+
+ CALL 00004000004096 D=@(FRED,XYZ).SOMEWHERE
+
+ to make a call through the London Gateway to SOMEWHERE on PSS.
+
+ ________________________________________
+ Overcoming Call User Data Field Problems
+
+ With X29 PADs the onward Called Address can be supplied interactively at the
+ Gateway without having to set up a Call User Data field. To do this the
+ Gateway must be called with the correct X25 sub-address. This involves
+ adding an extra 2 digits onto the normal 12 digit address of the Gateway.
+ The sub-address for JANET is 69 and 96 for PSS. The Gateway will then
+ prompt for the onward Called Address.
+
+ The procedure is as follows: Call the Gateway using the correct
+ sub-address:
+
+ 23422351919169 to call JANET from PSS via the RAL Gateway
+ 00000000004096 (or the mnemonic RL.PSS) to call PSS from JANET
+ via the RAL Gateway.
+
+ 23421920014869 to call JANET from PSS via the London Gateway
+ 00004000004096 (or the mnemonic LON.PSS) to call PSS from
+ JANET via the London Gateway.
+
+
+ The response from the Gateway will be the following message:
+
+ Please enter your authorisation and address required in form:
+ (user,password).address
+ >
+
+ Reply with the appropriate response.
+
+ _______
+ Example
+
+ (FRED,XYZ).SOMEWHERE
+
+ As the X29 protocol is being used there is no need to include the service
+ name X29.
+
+ Authentication is not required when calls are free, e.g. for incoming calls
+ to JANET. In this case the string (FRED,XYZ) can be omitted, note however
+ that the address should still be preceded with a point.
+
+ _______
+ Example
+ .RLGB
+
+ There is a timeout of between 3 and 4 minutes for this response after which
+ the call will be cleared, however there is no limit to the number of
+ attempts which can made within this time limit. If the authorisation or
+ adress entered is invalid the Gateway will request it again. To abandon the
+ attempt clear the call from the PAD. For further details of how to do this
+ see Network User Note 11.
+
+ You will find that on some PADs a 'call connected' message will appear on
+ the terminal as soon as the call has been connected to the Gateway. This
+ does not mean that you have made contact with your ultimate destination.
+ When you have contacted the remote host the Gateway will show a 'Call
+ connected to remote address' message.
+
+ _______________________________________________
+ 7. Facilities Provided by the Gateway Machine
+
+ __________________
+ 7.1 HELP Facility
+
+ A HELP Facility is available which contains the whole of this guide in its
+ most uptodate form. The utility which is used to view the guide allows the
+ text to be searched for strings as well as allowing random movement about
+ the document.
+
+ There is also additional up-to-the-minute information and details of
+ forthcoming changes. Use the HELP system from time to time to find out
+ about changes which may affect your access to the machine.
+
+
+ To connect to the HELP system, simply make a terminal call to the Gateway as
+ described in section 5 above. When the Logging in / User prompt appears
+ type HELP. The following message will then be displayed.
+
+ OS4000+Rlix V30 PSS Gateway
+ Logging in
+ user HELP
+ ID last used Wednesday, 10 December 1986 06:11
+ Started - Wed 10 Dec 1986 11:15:55
+ Please enter your name and establishment.
+
+ Enter your name and establishment. You will be then be presented with the
+ following message.
+
+ The following options are available:
+
+ NOTES GUIDE TITILES ERRORS TARRIF HELP QUIT
+
+ Which option do you require?
+ The following list describes each command briefly.
+
+ NOTES replies to user queries and any other useful information.
+ GUIDE the complete Gateway user guide.
+ TITLES list of JANET and PSS addresses and mnemonics
+ ERRORS list of error codes that you may receive.
+ TARRIF list of the PSS and IPSS charges.
+ HELP is the HELP option.
+ QUIT exits from the session.
+
+ When you exit from the HELP facility by typing QUIT, the following message
+ will appear.
+
+ If you have any comments, please type them now, terminate with E
+ on a line on its own. Otherwise just type
+
+ CPU used: 1 ieu, Elapsed: 2 mins, IO: 1583 units, Breaks: 14
+ Budgets: this period = 10.00 AUs, used = 0.010 AUs, left = 9.51 AUs
+ User HELP terminal 2 logged out
+W10 Dec 1986 09:20:12
+
+ The above prompt gives the user an opportunity to type in any queries or
+ Comments that he has about the Gateway. These comments are vieely by
+ the support staff at RAL.
+
+-------------------------------------------------------------------------------
+
+That's it, The end of another GLOBE TROTTER. I'll be off and do some TROTTING
+myself. Time to start on the next volume.
+
+In the next issue, there will be the second part of the NUA scans on DATAPAC.
+Hopefully it will all fit and we can get DATAPAC over and done with.
+In the months to come, you will see some of the following:
+
+ - JANET User Docs Part #2
+
+ - Dialcom Systems Directory, A comprehensive guide to Dialcoms
+
+ - Merit systems and Node Names
+
+ - Scans of networks, in EUROPE, JAPAN, USA, ISRAEL, BRAZIL and lot more.
+
+-------------------------------------------------------------------------------
+Till Next time
+
+ Catch Ya Later
+ ----====} THE FORCE {====----
+
+ENDlows the password to be changed. The new password
+ should be typed in twice on the following two
+ lines when prompted. It is not echoed
+ END Terminates the session.
+
+ Note that each command may be abbreviated to a minimum of 2 characters.
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe4.txt b/textfiles.com/magazines/GLOBETROTTER/globe4.txt
new file mode 100644
index 00000000..e728ad39
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe4.txt
@@ -0,0 +1,1520 @@
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #4, File #1 Date: 14/05/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+TO CONTACT US:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Germany: ALTOS NUA: 02624xxx00x0xxx Username: force
+Australia: Any Good BBS In Melbourne or The Realm
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+NOTE: I have removed the NUA from the above contact messages. I mean, the
+ yanks seem to have an endless supply of nui's and since there are
+ over 200 million of them? Well, I guess you can imagine the sort of
+ congestion problems it creates.
+
+FROM THE EDITOR:
+
+There is one thing which is holding down the expansion of phreaking and more
+local Hacking in this country, and that is the blatent inefficiency of telecom.
+It makes my blood boil when my $200 + bill comes, knowing all of that is
+from the few attempts I make each night on Exchnage Scanning. We know that
+there are a lot of things phreaks use in the states which is common to
+Telscum, but finding a steady supply is very difficult. We are being charged
+20.1c for each local call, and massive phone rentals as well as the exchange
+costs and the equipment. Makes you feel rather ripped off when countries like
+USA, CANADA etc have got free local calls in most areas. For one thing,
+using a computer to scan an exchange 24 hrs a day would no longer be a fantasy
+if telescum took the example of some US Companies.
+All I can say, till they come down to earth, and get their act together, rip
+em off to the maximum, Because that's what they are doing to us. I saw
+some statistics somewhere that we all make over 9 billion calls a year.
+The cost of each call is 20c, That's a total of 12 Billion Dollars they make.
+It does get worse, since some of the calls are ISD and STD, which again boosts
+their income to somewhere around 12+ billion. Apart from that there is the
+profit they make on selling phones, PABX's, Phone Rental, Exchange Fees, etc
+etc etc etc. It really makes you wonder where the hell all that cash
+is going??? (The official figure from telescum is 9 billion phone calls,
+and only about 438 million profit.)
+
+If you ever wanted to see a real example of classic blundering I have a recent
+example of my encounter with Telscum while trying to find out a simple bit
+of information on AUSTPAC. (REFER TO FEATURE SECTION)
+
+Ok, nuff of that. Lets get on with it..
+
+Catch Ya Later
+ ----====} THE FORCE {====----
+
+-------------------------------------------------------------------------------
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Outdial Systems: This is the last of the Outdial Feature. After
+ this, there will be no more.
+
+ - System Passwords: More Primenets and a VAX in Israel
+
+ - Trix of The Trade A guide to VMS File type Defaults
+
+ - Unusual Systems A very pleasant system in germany.
+
+ - Hack Of The Month Super User Prime in BRAZIL
+
+ - Inside Information A new regular feature to the trotter. This week,
+ What else but DIALCOM, BT-GOLD system 84
+
+ - Network Profile: Datapac #2, and it looks like there will also be
+ Datapac #3, since new areas keep popping up all
+ the time.
+
+N O T S O R E G U L A R F E A T U R E S
+---------------------------------------------
+
+
+
+ - LOOSERS Your opinion on people BBS's etc.
+
+ - THUNDER DOWN UNDER Oh yes, the one full of thunder has done it
+ again.
+
+ - NEW HACKING LAWS We feared it for some time, but the laws
+ have finally passed through. We are no looking
+ at $100000 Fine or 10 years.
+
+ - Hosts and Terminals A listing of some of the major hosts interfaced
+ to networks.
+
+ - TELESCUM Well, the Wankers certainly know how to do it.
+
+ - NO WORDS TO DESCRIBE If you have read the TELESCUM's report to their
+ customers, you will most probably be speachless.
+
+ - JANET The European Academic Network. Address and other
+ information.
+
+===============================================================================
+
+
+OUTDIAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+It is now totally impossible to come up with outdials and since alternate
+methods have been found, no one bothers anymore. I have a list of 3 for
+you, including one I just found few hours ago. The other two may be dead,
+since I have not tested them for a while. Anyway, for all you people that
+don't like other methods (phreaking), here are some outdials.
+
+302083500040 - No, this is not a typical DATAPAC Outdial. It is a
+ GANDALF SYSTEM, and it looks very nice.
+
+3106005566 - Rumours have it that this one is now dead. Since I don't
+ have any others I can releace, here it is anyway.
+
+3106002046 - Mitel canata, used long time ago, now password protected.
+
+
+-------------------------------------------------------------------------------
+
+
+SYSTEM PASSWORDS
+~~~~~~~~~~~~~~~~
+
+I have promised you something different in the last issue and that's what you
+will get. A bit of bad news to the prime haters since I am now fully
+stocked up with semi-useless primes, thus you can look forward to many more in
+the future hehehe. In this issue, I have a prime in GERMANY, SINGAPORE as
+well as a rather refreshing VAX in ISRAEL.
+
+026245221040595 PRIMENET 20.2.4v TWF_K Login TEST
+
+0425140000216 PRIMENET 20.2.1.R2 MOKED Login PRIME/PRIME
+
+0425130000316 DAROM VAX Login USER/USER
+
+
+-------------------------------------------------------------------------------
+
+
+TRIX OF THE TRADE
+~~~~~~~~~~~~~~~~~
+
+The following is a very usefull list of file types and devices which are
+standard on most VAX systems. The file types are a reference for each
+file, so that you can easilly figure out what to do with each file and how
+to use it. The device list, will show you how large the system is, and what
+devices you have to work with which include modems etc.
+
+STANDARD VMS FILE TYPES
+~~~~~~~~~~~~~~~~~~~~~~~
+
+COM - Command Procedure
+DAT - Data File
+DIS - Distribution List For Mail
+DIR - Directory
+EDT - Start Up Command File For the EDT Editor
+EXE - Executable image file
+LIS - Output Listing File
+MAI - Mail Message File
+MEM - Output File for RUNOFF DSR
+OBJ - Object module from compilers
+RNO - Input file for RUNOFF DSR
+BAS - Source file for BASIC
+B32 - Source file for BLISS
+C - Source file for C
+COB - Source file for COBOL
+COR - Source file for CORAL-66
+FOR - Source file for FORTRAN
+MAR - Source file for MACRO
+PAS - Source file for PASCAL
+PLI - Source file for PL/I
+ANL - Output file for the ANALYZE Command
+BJL - Backup Journal File
+CLD - Command Description file
+DIF - Output Listing created by the DIFFERENCES Command
+DMP - Output Listing created by the DUMP Command
+FDL - File definition language file
+GBL - Section file for the VAXTPU Editor
+HLB - Help Text Library fie
+HLP - Input source file for the help Library
+INI - Initialization File
+JNL - Journal file created by the PATCH Utility
+JOU - Journal file created by EDT & ACL Editors
+LOG - Batch Job output file
+MAP - Memory allocation map created by LINKER
+MLB - Macro Library for MACRO Assembler
+MSG - Source file that specifies the text message
+OPT - Options file input to the LINK Command
+OLB - Object Module Library
+PAR - SYSGEN Parameter fie
+STB - Symbol table file created by linker
+SYS - System Image
+TEC - TECO Indirect Command file
+TJL - Journal file created by VAXTPU Editor
+TLB - Text Library
+TMP - Temporary File
+TPU - Command file for the VAXTPU
+TXT - Input file for Text Libraries or MAIL command
+UPD - Update file for MACRO source program & input to SUMSLP Editor
+
+Ok, now for the physical devices which can be connected to a vax. Each
+device has a specific code. A list of these codes can be obtained with the
+SHOW DEVICE Command I believe.
+
+CR - Card Reader
+CS - Console Storage DEvice
+DB - RP05, RP06 Disk
+DD - TU58 Cartridge Tape
+DJ - RA60 Disk
+DL - RL02 Cartridge Disk
+DM - RK06, RK07 Cartridge Disk
+DQ - RL02 cartridge Disk
+DR - RM03, RM05, RM80, RP07 Disk
+DU - RA80, RA81 Disk
+DX - RX01 Floppy Disk
+DY - RX02 Floppy Diskette
+LA - LPA11-K Laboratory Peripheral Accelerator
+LC - Line Printer on DMF32
+LP - Line Printer on LP11
+MB - Mailbox
+MF - TU78 Magnetic Tape
+MS - TS11 Magnetic Tape
+MT - TE16, TU45, TU77 Magnetic tape
+MU - TA81, TU81 Magnetic Tape
+NET - Network Communications Logical DEvice
+NL - System "NULL" Device
+OP - Operators Console
+RT - Remote Terminal
+TT - Interactive Terminal on DZ11
+TX - Interactive Terminal on DMF32
+XA - DR11-W Synchronous Communications line
+XE - DEUNA Synchronous Communications line
+XF - DR32 Interface Adapter
+XG - DMF32 Synchronous Communications line
+XJ - DUP11 Synchronous Communications line
+XM - DMC11 Synchronous Communications line
+XQ - DEQNA Synchronous Communications line
+
+-------------------------------------------------------------------------------
+
+UNUSUAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+I was just about to terminate the life of this section, but in the last
+minute I came up with something rather different. It is the only system
+I have came across that gives hackers some recognition. Try to connect
+and see what I mean.
+
+026245890090218 It will come up "Enter Remote Password: ", or something
+ along these lines. This time what we don't want, is a valid
+ password. Have a look at it, and I am sure you will be
+ surprised..
+
+-------------------------------------------------------------------------------
+
+HACK OF THE MONTH
+~~~~~~~~~~~~~~~~~
+
+System: PRIMENET
+Location: BRAZIL
+Network: INTERDATA
+Date: 14/05/88
+Hacked By: ----====} THE FORCE {====----
+
+COMMENTS: A pitty it doesn't run version 19 or higher of primos, but the
+ fact that it is a super user account makes up for it.
+
+Sample Login:
+...............................................................................
+
+@ 0724019100015
+
+7240 19100015 CONNECTED
+
+PRIMENET 17.1 NUCR
+login system
+
+PRIMOS Version 17.1
+SYSTEM (17) LOGGED IN AT 9'18 051488
+PASSWORD?
+
+OK, STATUS
+
+IMPRESSORA (GLOBUS) COM PAPEL ZEBRADO 132 COLUNAS
+
+etc..
+
+-------------------------------------------------------------------------------
+
+INSIDE INFORMATION
+~~~~~~~~~~~~~~~~~~
+
+This is a new section which will appear in the GLOBE TROTTER from this issue.
+It is like the title suggests, The Inside Information for hacking into systems
+and in general that will mean the user list like a root directory for a unix.
+If you have tried some of the accounts I have given you in the first 3 issues,
+you will know they are usually totally useless, but you can't really expect
+anything better, since if I were to post them here, they would be dead within
+days. It is very hard to hack a system blind, but this will make it a lot
+easier, and I hope it will get the accounts into capable hands only.
+
+To start of with, I have a dialcom system 84 BT GOLD. You will have to find
+the NUA yourselves which will again elliminate some of the looser readers.
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= B T G O L D Dialcom System 84, User Directory - Volume #4 =-=-=
+=-=-= Date: 01/04/88 =-=-=
+=-=-= Brought to you by: ----====} THE FORCE {====---- =-=-=
+=-=-= From the depths of - The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+ 7090 RITCHE & CO RITCHE, I.P 84:RCL001
+ 7091 COSTAIN CIVIL ENGINEERING (WA PATERSON, DAVID 84:RCL110
+ 7092 COSTAIN TARMAC JOINT VENTURE BARR, W.J. (MR) 84:RCL112
+ 7093 COSTAIN UK LTD UTLEY, SJ (MR) 84:RCL301
+ 7094 COSTAIN HOMES BELL, DG 84:RCL500
+ 7112 RESEARCH INSTRUMENTS LTD LEE, M.A (DR) 84:RIL001
+ 7127 MACK, ROY FRCVS MACK, B 84:RMM001
+ 7128 ALFRED MARKS BUREAU LTD LOVETT, J (MR) 84:RMR001
+ 7137 METROTEC LTD MCQUE, LINDA (V) 84:ROT001
+ 7141 ROBERTSON RESEARCH INT'L LTD COX, B.J 84:RRI001
+ 7143 ROYAL SHAKESPEARE COMPANY CLARK, ANDY 84:RSC002
+ 7144 ROYAL SHAKESPEARE COMPANY LEIBOVICI, LEO 84:RSC002
+ 7145 ROYAL SHAKESPEARE COMPANY LEGGATT, TIM (MR) 84:RSC003
+ 7146 ROYAL SHAKESPEARE COMPANY PUBLICITY DEPARTMENT, 84:RSC004
+ 7147 ROYAL SHAKESPEARE COMPANY ACCOUNTS DEPARTMENT, 84:RSC005
+ 7148 ROYAL SHAKESPEARE COMPANY MCINTOSH, GENISTA 84:RSC006
+ 7149 ROYAL SHAKESPEARE COMPANY HILL, TONY 84:RSC007
+ 7150 ROYAL SHAKESPEARE COMPANY LEONARD, JOHN 84:RSC042
+ 7151 ROYAL SHAKESPEARE COMPANY STRATFORD BOXOFFICE, 84:RSC100
+ 7152 ROYAL SHAKESPEARE COMPANY STRATFORD GENERAL, 84:RSC111
+ 7153 ROYAL SHAKESPEARE COMPANY BRIERLEY, DAVID 84:RSC123
+ 7154 ROYAL SHAKESPEARE COMPANY BARBICAN GENERAL, 84:RSC222
+ 7575 SHADOWDEAN LTD FORREST, PETER 84:SPH001
+ 7576 THREE TOWNS OFFICE EQUIPMENT EDWARDS, R.P. 84:SPL100
+ 7577 EROS O F LTD BURCHELL, STEPHEN 84:SPL101
+ 7578 TELEPRESS GLOYNE, ALAN 84:SPL102
+
+-------------------------------------------------------------------------------
+
+
+LOOSERS
+~~~~~~~
+
+NOTE: The following statistics are the opinions of the majority of hackers in
+ melbourne, and not neccasarilly my own personal views, so if you have
+ been offended, please remember, it's not my faut!!
+
+When we started out, this list was to include the top 10 hackers, but I don't
+think that's such a good idea. As long as HACKWATCH have nappies listed as
+the most ELITE and most NOTORIOUS of hackers in their records, I don't think
+the jerks should be corrected.
+
+THE LOOSERS
+~~~~~~~~~~~
+
+TAXI CAB - This is the first name that pops to mind. I have never met the
+ guy or talked to him, but do get the point when looking at the
+ log list of some multiple line chat BBS's and his name is listed
+ 5 times. I was not impressed with 4 calls to chat while
+ d/loading some files. So he wins.
+
+OLLIE - Not many people like Ollie, and he managed to squeeze at number
+ two. I have talked to him, and I think he's ok. He may not be
+ a great hacker but unlike most people has got potential so how
+ about giving him a chance?
+
+THE INTERCEPTOR - Yes, number three. The notorious leader of LOM, otherwise
+ refered to as the Loosers Of Melbourne. He's better then
+ a lot of people calling themselves hackers, but still one
+ of the people they love to hate.
+
+
+BLUE THUNDER - Now Here is a man that really put the word HACKER into
+ the gutter. He would have to be THE MOST FAMOUS PERSONALITY
+ in the hacking world. Pitty a lot of hackers would shoot
+ him on sight.
+
+
+There is no clear contestant for the number five on the list, but some
+candidates were SYSOP OF TELEGRAPH ROAD, THE WARRIOR, MASTER BLITZ and
+THE BLOWFLY. It was too hard to derive at a conclusin, so the list stands
+as above with TAXICAB as the winner.
+
+
+Now for the BEST and WORST BBS In Melbourne. Virtually All BBS have been
+Judged, over the last two months, and only a very small percentage cater
+for hackers, so don't asume they have anything to do with hacking.
+
+TELEGRAPH ROAD - Wins the Looser BBS award by a mile. There are two others
+ Which are reasonably new that are rather shocking, but It
+ Wasn't fair to judge them at their early stage of operation.
+ SYSOP used to go under the name KIT, but I think it has been
+ changed. It doesn't really matter, since no one cares anyway.
+
+
+MEGAWORKS - This would have to be one of the finest systems.
+ Congratulations Meggie and NYB for the nice job, Although
+ it would be nice if the sysop was there more often to chat!
+
+
+Few other boards that deserve a mention are PACIFIC ISLAND, ELECTRONIC
+CROSSOVER and TARDIS.
+The boards have been judged on people's opinions, Number of New Messages,
+ease of use, Sysop, Responce Speeds, Number of Files Online, and Personality
+of the system in general.
+
+THE REALM, Other private hacking and Non Hacking boards have not been judged,
+along with any recently formed systems.
+
+Lastly, few not so elite hackers which I think have got a lot of potential are
+THE MENTAT, THINGO IT and THE SHADOW.
+-------------------------------------------------------------------------------
+
+THUNDER DOWN UNDER
+~~~~~~~~~~~~~~~~~~
+
+Yes, the boy has done it again. His court case has been moved to sometime in
+August, so that's the third time our friend Thunder has slipped the hangman's
+noose. I know half of you were very upset, when the news got out that Thunder
+was still free, but latest developments may change your mind.
+You should all know the story if you read the papers, but if not, here are few
+details.
+
+ THUNDER FROM DOWN UNDER, Alias: BLUE THUNDER, or DEAR JOHN, has been
+ charged with the following.
+
+ 8 counts of obtaining property by deception
+ 4 counts of attempting to obtain property by deception
+ 2 counts of conspiracy to defraud property.
+ attempting to defraud
+ sending offencive phone calls 'to police'
+ theft
+ and finally resisting arest.
+
+I just made some rough notes which I can't read at the moment, but I think
+it's something simmilar, to give you the general idea.
+
+This is all bad enough, and under our law that's just enough for about 3 months
+but there is more. I have got my hands on some inside information, and if it
+is correct, it will add a new list to the present charges, which will swamp
+the credit card fraud and others, which he faces now.
+
+Here is the bad news. The new charges will probably include phreaking and
+hacking and as such it will become the first case of it's type in australia,
+and we all know what that means. Yes, telecom will most likelly go all out
+to win this test case, and if he looses, others will go in his footsteps.
+In other words, we will benefit if he wins, although I know some people that
+are gladly prepared to pay the price, just to see him put away.
+
+-------------------------------------------------------------------------------
+
+NEW HACKING LAWS
+~~~~~~~~~~~~~~~~
+
+Well, they have finally done it! Using Mr BIT MAPPER and BLUE THUNDER as the
+excuse, new laws have been brought in, and are effective as of 15/05/88 I
+believe. The fines are now $2000 or 3 months in jail for illegal entry to
+a computer system, or $100000 or 10 years jail for falsifying data, causing
+damage or using information for own financial advantage. I am not sure
+how far telecom are going to exploit the laws, but it will pay to be more
+carefull in the future. As of today, I will probably dissapear from the
+world and close the realm, since if I add this to the things which have
+been going on recently, it is not worth it.
+
+THIS IS AN OFFICIAL STATEMENT TO DATA INVESTIGATIONS, FEDERAL POLICE and
+THE JERKS AT HACKWATCH. I HAVE NOW RETIRED AS FROM TODAY, SO GET OF MY CASE!
+
+I might include some update information about the recent hacker hunt initiated
+by telescum folk. The list which was rumoured, that they compiled does
+exist. Anyone who used the BEAVER NUI, along with few others in their
+dying stages, is most probably on it. They have not traced a majority
+of the people, but have obtained their PSEUDONYMS (probbaly from watching them
+on altos, caling BBS's etc) and are now checking up on it, trying to locate
+the people which go under that name. We know of at least one person that has
+been located, shown the list and asked to identify people listed. If DI come
+knocking on your door, make sure you keep your mouth shut. Their favourite
+trick is to say they will let you off the hook if you dob in some of the
+other people. Unfortunatelly as a person we all know found out, this is
+not always the case and the people you dob in tend to turn up as witnesses
+for your prosecution!! So don't be intimidated and don't say a word before
+you get good legal advice, and try to have a solicitor present! Often they
+have no usable evidence, although they make it sound good, so by trying to
+save your neck, you can dig yourself very deep indeed.
+
+
+-------------------------------------------------------------------------------
+
+TELESCUM
+~~~~~~~~
+
+This is only a mild example of what happens every day if you try to get
+somewhere with the telescum system.
+
+Imagine you want to find a little bit of information about one PAD profile
+which Austpac uses. Here is what I did.
+
+I took the white pages, NO LISTING for AUSTPAC under Austpac.
+After a bit of searching I found the number at the front of the book under
+Data Communications.
+
+Me: RING Phone Book NUMBER 605 5099 (Cost 20c)
+Telscum: Hello, Can I help you
+Me: I am trying to get some tech info on austpac.
+Telscum: I can't help you, but try 605 6500
+Me: RING 605 6500 (cost 40c)
+Teledick: Hello, Can I help you (Should be Hello, I can't help you)
+Me: I am trying to get some tech info on austpac.
+Telsdick: What is your problem I might be able to help.
+Me: I need some info on a PAD PROFILE profile.
+Teledick: Sorry, That is out of my legue, ring the austpac people.
+ (That's what I have been trying to do from the start, so now
+ were getting somewhere I thought) RING 663 4344 (he says)
+Me: RING 663 4344 (cost 60c)
+Telewank: Hello Austpac
+Me: I am trying to get some tech info on austpac.
+Telewank: Hold on a second, I'll put you through to someone.
+ (I think meant to say hold on a Hour)
+Eon Fm: Music, music commercials, music.....
+Eon Fm: Music, music commercials, music.....
+Telewank: Sorry, the person who can help you is to lunch, call back
+ in an hour.
+Me: One hour later: RING 663 4344 (Cost 80c)
+Telewank: Hello Austpac
+Me: I am trying to get some tech info on austpac.
+Telewank: Just a moment, I'll put you through.
+Eon Fm: Music, music, commercials, music.
+TeleJerk: Hello, Can I help you?
+Me: I am trying to get some information on a Pad Profile.
+TeleJerk: Just a moment, I have to change phones.
+Phone: Silence.........Silence
+Telewank: Austpac Can I help you... (Now we're back to the switch board,
+ where we started about two hours ago.)
+Me: Did i speak to you before?? Seems like I spoke to every telescum
+ employee. Anyway, I am trying to get a little bit of information
+ on a pad profile (u phucking wanker) is that too much to ask??
+Telewank: Just a moment I'll try to find someone.
+Eon Fm: Music, (phucking) Music.
+ (As you can see, the language is getting worse, this is getting too
+ much to handle)
+Telenerd: Can I help you?
+Me: I am trying to get some info on a pad profile?
+Telenerd: Yes?
+Me: (Finally I get the chance to explain my problem, this looks good)
+Telenerd: OK, let me check on that.
+Phone: Silence.......Silence........Silence........Silence....
+Telenerd: Hello, you there.. Well, I am not sure if this is the information
+ you are after, but the only reference I have which could be
+ relevant to your problem is profile #3, Set to either 0, 2, or 6
+ I am afraid I can't help you any more than that, but if you
+ have any further problems, give me a ring.
+Me: Thank you, If I have any further difficulties, I will mail an
+ unaddressed letter, it will be faster. Bye
+
+
+Ok, what should have taken one phone call, worth 20c, and about 15 minutes
+maximum, took several hours, with no positive result, AND IT HAS GENERATED
+80c WORTH OF INCOME TO TELESCUM. I Think suicide is the only option.
+What do you think????
+
+-----------------------------------------------------------------------------
+
+TELESCUM IN LOVE WITH THEMSELVES
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+I am refering of course to their annual report. Only a four page leaflet,
+covered by photographs, intended to subconsciously hypnotize the customer.
+Here are few extracts:
+
+NOTE: First line...
+
+ Quote: This year, TELESCUM is proud to announce a profit of 443 million.
+ It'a less then we made last year, but still a very credible 10.6%
+ return on our assets, and an impressive reflection of the dedication
+ of our staff and THE EFFICIENCY of TELESCUM AS AN ORGANISATION.
+
+ (You can't help feeling sorry for the poor bastard forced at a gun
+ point to write all that crap. It gets better)
+
+
+ Quote: We are achieving our objective of keeping prices as low as
+ practicable BECAUSE TELESCUM is a HIGHLY EFFICIENT ORGANISATION.
+
+ (Here is the keyword again.. EFFICIENT!)
+
+ Quote: With an exclusive responcibility (MONOPOLY) for australia's
+ telecommunications network, we firmly believe there is no excuse
+ for INEFFICIENCY.
+
+ Quote: In 1975 there was an average six to eight week delay in the
+ connection of new services. Today, the delay is normally less then
+ ten days.
+
+ (on the last subject.....here are the real facts:
+
+ - Took them 6 mnths to install my line.
+ - Switch to ISD, 12 MNTHS waiting period.
+ - I have been told to virtually forget about EASY CALL
+ and tone dialing, since I will not be alive by the time
+ they install it.
+ - To Change Phone number, they said 3 weeks. It has now been
+ two months and I am still waiting to get my number changed!
+
+The last one was a classic..... Force: I'd like to change my number I am
+ getting abusive phone calls.
+
+ Telescum: To change it will be $32.00 and about
+ 2-3 weeks. (Great, huh? If you have
+ a heavy breather on your line, might
+ as well make friends.)
+
+All you can do is wonder how they can even contemplate writing the above. I
+guess it might have looked something like this before the censors got to it.
+
+- 433 million profit from a gross income of some 12 Billion. We are a sort of
+ an efficient organization, relative to the MARCOS Family. Perhaps.
+
+- We have achieved our objectives, thus the strategy of not settin any has
+ payed off. We have thus achieved 99% efficiency.
+
+- We have a monopolly on communications so we can do what ever we want. If you
+ don't like it, take your business elswhere. If we say we're efficient, it
+ is law, and not even god can touch us.
+
+-------------------------------------------------------------------------------
+
+HOSTS
+~~~~~
+
+The next section lists some of the major systems interfaced to data networks.
+we are not including things like a PC's running a XENIX etc, and some brand
+new models are not included, so if you know of any let me know so that I
+can update the list.
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= Most Commonly Used Terminals on Data Networks Thanx To TYMNET =-=-=
+=-=-= Date: 23/02/88 =-=-=
+=-=-= Brought To you By: ----====} THE FORCE {====---- =-=-=
+=-=-= =-=-=
+=-=-= - From The Depths of The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+AMDAHL - 470 Series, 5800
+
+APOLLO - DN 416
+
+BASIC TIMESHARING - BTI 4000/25, BTI 5000, BTI 8000
+
+BASIC FOUR - System 730
+
+BBN - Pluribus
+
+BURROUGHS - B1900, B4700, B4800, B5700, B5900, B6700, B6800, B6900
+ - B7700, B7800
+
+COMPUTER AUTOMATION - SyFA, SyFA1, SyFA2, SyFA3
+
+CONTROL DATA - 2550, 3300, 3600, 6400, 6500, 6600, 7600, Cyber 17
+ - Cyber 70 Series, Cyber 170 Series, Cyber 720, Cyber 750
+ - Cyber 1000
+
+DATA GENERAL - Eclipse C/330, Eclipse C/350, Eclipse S/140,
+ - Eclipse S/230, Eclipse S/250, Eclipse MV/8000
+ - Eclipse M/1600, Nova Series, S40
+
+DATAPOINT - Datapoint 6000, Datapoint 6600, Datapoint 8600
+
+DEC - PDP-10 Series, PDP-11 Series, PDP-15 Series,
+ - LSI-11 Series, DEC System 20 Series, VAX 11 Series
+
+FOONLY - F-3
+
+HARRIS - Harris 550, Harris 800, Harris 1660, Harris 1670
+
+HONEYWELL - DPS 8 Series, Honeywell 66/17, Honeywell 68/80
+ - Honeywell 400, Honeywell 437, Honeywell 1648
+ - Honeywell 6000, Honeywell 6080, Honeywell 6460
+ - Honeywell 6678, Honeywell 6880, Honeywell GE-635
+ - Honeywell Level 6, DP S8, DP S440
+
+HEWLETT-PACKARD - HP 1000, HP 2000, HP 3000, HP 6000
+
+IBM - 303X, 308X, 3933, 360/44, 360/50, 360/65, 360/67,
+ - 360/75, 360/165, 370/135, 370/138, 370/145, 370/148
+ - 370/155, 370/158, 370/158 MP, 370/165, 370/168
+ - 370/168 MP, 370/3705, Series 1, System/3, System/34
+ - 4300, 4331, 4341, 4344
+
+IPL - IPL 4446
+
+MAGNUSON - Micom 600
+
+MICRODATA - Reality, Royale
+
+NAS - AS/6, AS/5000, AS/7031, AS/7000, AS/9000, AS/9060
+ - AS/9050
+
+NCR - CENTURY 300, N 8450
+
+NORSK DATA - Nord-100
+
+NORTHERN - Sycor 291, PCI 1076
+
+PERKIN-ELMER - P-E3220
+
+PRIME - Prime 150, Prime 400, Prime 500, Prime 550, Prime 650
+ - Prime 750, Prime 850, Prime 1000, Prime 1064
+
+TEXAS INSTRUMENT - 990
+
+TANDEM - Nonstop, T-16/3
+
+UNIVAC - Univac 1100, Univac 1106, Univac 1108, Univac 1110
+ - Univac 1182, Univac 9030, Univac 9080
+
+XDS - Sigma 3, Sigma 6, Sigma 7, Sigma 9
+
+-------------------------------------------------------------------------------
+END
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #4, File #2 Date: 14/05/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+
+JANET
+~~~~~
+
+Janet is the European academic network. It is fundementally simmilar to
+Vicnet, but far larger. It links the major universities and academic
+institutions in europe, with gateways to countries outside europe.
+These systems are perfect for things like finding privatelly operated
+satellite uplinks.
+
+This is the second part of a series on JANET, and the majority of info
+has been taken from the JANET's information Dbase.
+
+First of all lets start of with the most usefull item, the network addresses
+for various systems accessible from Janet.
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= JANET Address List for the Packet SwitchStream Gateways =-=-=
+=-=-= Thanx to JANET Info Service Date: 23/02/88 =-=-=
+=-=-= Brought To You By: ----====} THE FORCE {====---- =-=-=
+=-=-= =-=-=
+=-=-= - From The Depths Of The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Issued by
+ S.A. Wood
+ Issue 2 10 September 1987
+ ____________________________________________________________________
+
+
+ Introduction
+ ------------
+
+ This is an address list of all the JANET mnemonics that can be
+ accessed via the JANET Packet SwitchStream Gateway.
+
+ The list is sorted in numerical order using the machine address.
+
+ The list is divided into 3 columns which show:
+
+ a. The numeric address (DTE address)
+ b. A mnemonic for the address
+ c. A description of where the machine is located.
+
+
+ ADDRESS MNEMONIC DESCRIPTION
+ ------- -------- -----------
+
+ 000000000002 RLIB IBM 3081 VM/370 at Rutherford
+ 000000000002.XXX RLIB
+ 000000000002.XXXP RLIBP RAL IBM full screen 3270 emulator
+ 000000000003 RLIC RAL IBM MVS
+ 000000000003.XXX RLIC
+ 000000000003.XXXP RLICP RAL IBM MVS full screen.
+ 000000000003.XXXS RLICS RAL IBM MVS
+ 000000000006 RLPA PRIME at Rutherford (Prime A)
+ 000000000023 RLPC EBL PRIME at RAL (Prime C)
+ 000000000025 WKPA PRIME at Warwick
+ 000000000026 SYPE PRIME at Surrey
+ 000000000033 RLVS Starlink VAX 11/780 at Rutherford
+ 000000000036 XXVA HEP VAX 11/780 at Oxford
+ 000000000037 RLGK ICF Development GEC 4090 at RAL
+ 000000000040.PSS PSS
+ 000000000040 RLXA RL GEC 4160 PSS Gateway
+ 000000000048 ZIVA HEP VAX at Imperial
+ 000000000065 RLVB BCRG VAX 11/780 at Rutherford
+ 000000000067 RLGM GEC 4190 - ALVEY Mail Machine
+ 000000000069 RLVC RAL VAX 11/750 St/CB in R26
+ 000000001110 RLGE GEC 4070 Print server at RAL
+ 000000001117 RLID UTS on Atlas 10
+ 000000001117.XXXP RLIDP UTS on Atlas 10 full screen
+ 000000001200 ZIIA IBM 4341 Imperial College
+ 000000001200.XXXP ZIIAP IBM 4341 Imperial College
+ 000000002100 RLPD PRIME at Rutherford (Prime D)
+ 000000002101 RLPF PRIME - Technology Division
+ 000000002102 RLPE PRIME - Lab overheads.
+ 000000002104 RLPG Ral Tech Division PRIME
+ 000000002105 RLGB ICF GEC 4090 - RLGB at Rutherford
+ 000000002201 XXDA Oxford HEP DEC 10
+ 000000002202 RLXC Reverse Pad at RAL
+ 000000002251 BAPA BATH Prime 2250
+ 000000002309 PHGA SERC GEC 4160 at Polaris House
+ 000000002400 EXXA GEC TS gateway at Exeter
+ 000000002500 RLGD RL ISG 4090
+ 000000002507 XXDB Oxford PDP-11/70
+ 000000002600 GXVA RGO VAX 11/750
+ 000000002602 GXVS RGO STARLINK VAX 11/780
+ 000000002700 XXCA JNT pad at Oxford Crystallography
+ 000000002707 XRCA Oxford Record Link Pad
+ 000000002800 CDXA Cranfield CPSE
+ 000000004012 RLDE R3 PDP-11 SNS
+ 000000004100 RLQB R30 PERQ SUPPORT
+ 000000004200 RLPH RAL Technology Div. PRIME
+ 000000004400 RLNA R25 Nord (EISCAT Project)
+ 000000004600 RLVA HEP VAX 750
+ 000000004601 RLVE CD VAX 11/750 (VMS)
+ 000000004602 RLVD IKBS Vax 11/750 at RAL
+ 000000004603 RLVF ALVEY VAX DEV.
+ 000000004605 RLVI EBL VAX
+ 000000004606 RLVJ Technology Div. Microvax II
+ 000001000100 DLGC DL GEC at DL (Network monitor)
+ 000001000200 DLGD DL GEC at DL (Network converter)
+ 000001000200*D:NETSTAT NETSTAT
+ 000001000200*D:ITP.1000450.046400 TELLDL
+ 000001000200*D:ITP.1000450.04FE00 HELPDL
+ 000001000200*D:ITP.1000450.46500 NETMON
+ 000001000200*D:ITP.1000450.44400 LOG
+ 000001000300 DLGE DL GEC 4090 at Daresbury
+ 000001002000 DLVA DL SRS VAX 11/750 at Daresbury
+ 000001002100 DLGM DL GEC 4065 MAIL machine
+ 000001003000 DLVB DL VAX B
+ 00000100900000 DLIB DL - MVS service
+ 00000100900010 DLIB DL - MVS service
+ 000001011700 DLGA DL CSE/1 GEC 4190 at Daresbury
+ 000001011750 NNGA DL NSFD/R1 at Daresbury
+ 000001011750 DLGB DL NSFD/R1 GEC 4085 at Daresbury
+ 000001080100 BDGB Bradford GEC 4065
+ 000001080500 LEVA VAX at Leeds University (Mech Eng)
+ 000001080501 LEVC VAX at Leeds
+ 000001500100 NEDA Newcastle DCS-UNIX front-end
+ 000001500200 NEVA Newcastle VAX 11/780
+ 000002002100 ZKGA GEC 4065 at Kings college, London
+ 000002003000 ZAWA PDP-11/70 at Birkbeck college
+ 000002005002 ZUVS Starlink VAX at UCL
+ 000002005003 ZUPA PRIME at UCL
+ 000002006001 ZIGA GEC 4065 workstation at Imperial
+ 000002009001 ZMVA QMC Physics VAX.
+ 000002010001 KTDA PDP 11/34 gateway at Kent
+ 000003007040 KWVA Keyworth Vax
+ 000004008100 HQGA GEC 4090 at NERC Swindon
+ 000005111600 ZUXC UCL CS LSI 11
+ 000005111700 ZUGA UCL ICF GEC 4085 E.W.S.
+ 000005112300 ZUVA HEP Vax at UCL (Physics Dept).
+ 000005181000 RHVA Vax at Royal Holloway.
+ 000006000000 YKXA DEC10 Gateway at York (BALHAM)
+ 000006000001 YKDA Comp. Sci. PDP 11/44
+ 000006000002 YKDE Psychology PDP 11/40
+ 000006000003 YKDB S/W Technology Vax 11/750
+ 000006000004 YKDF Development VAX 11/730 Unix
+ 000006000008 YKDC Computer Service Vax 11/780
+ 000006000100 YKXD CPSE Gateway Protocol Converter
+ 000007001001.XXX GRETNA
+ 0000015000024 EDVA Vax in Physics Dept
+ 000007001005 EDQA ERCC PERQ
+ 000007001100 EDGA NSF GEC 4065, Physics, Edinburgh
+ 000007002001 REGA ICF GEC 4090 at ROE
+ 000007002002 REVS Starlink VAX at ROE
+ 000007004001 EKVA East Kilbride Kelvin Lab VAX
+ 000007006001 DDXA DECnet Gateway at Dundee
+ 00000700700104 STAN St. Andrews Camtec Gateway
+ 000007008001 SGVA Stirling University VAX
+ 000007012001 PAVA Paisley VAX
+ 000008001001 CAGA ICF GEC 4090 at Cambridge
+ 000008002020 CAXA X29 G/way to Cambridge Data Network
+ 000008003001 CAVA HEP VAX at Cambridge
+ 000008005001 CAVS Starlink VAX at Cambridge
+ 000008006001 EAPA PRIME 550 at East Anglia
+ 000008006002 EAVA East Anglia (Stocker) VAX
+ 000008006003 EAVB East Anglia (CPC) VAX
+ 000008006004 EAVC East Anglia (CSA) VAX
+ 000008012701 CAVB HEP Vax at Cambridge
+ 000009001001 CPXA Cernnet Gateway
+ 000009001003 CPXB CERN reverse PAD (Test)
+ 000009002006 CPIB CERN VM/CMS Service
+ 000009002006.XXXP CPIBP CERN VM/CMS Service
+ 000009003001#0 CPXC CERN Memotec Pad.
+ 000009003002#0 CPIA CERN WYLBUR
+ 000009003003#1 CPVM CERN Aleph Development Vax
+ 000009003003#3 CPVL CERN L3 Vax 11/750
+ 000009003003#5 CPVG CERN VXGIFT
+ 000009003004#1 CPVC CERN Omega Vax 11/780
+ 000009003004#2 CPVF CERN Aleph Test Beam Vax 11/750
+ 000009003004#3 CPVA CERN OC Development Vax 11/750
+ 000009003004#4 CPVD CERN Merlin Vax
+ 000009003005#3 CPVV CERN Central Vax 8600
+ 000009003006#1 CPVN CERN VXNA31
+ 000009003007#1 CPVS CERN VXBSSY
+ 000009501000 DYGA GEC 4160 workstation at DESY, Hamb
+ 000009501001 DYVB Tasso VAX 11/780 at DESY, Hamburg
+ 000010000001 MRXA CPSE at UMRCC
+ 00001000101011 UMRCC UMRCC AMDAHL
+ 000010100001 MAVG VAX 11/750 at Manchester CGU
+ 000010109001 MAVS Manchester Starlink Vax 750
+ 000010120200 MAGB DL GEC 4190 at Manchester
+ 0000101203002 MANV2 Manchester Physics Vax 2.
+ 000010216001 UMPA PRIME at UMIST
+ 000010218001 UMPB PRIME at UMIST
+ 000010411000 LAVA Lancaster University HEP VAX.
+ 000010501420 LLGA DL GEC 4085 at Liverpool
+ 000010501440 LLGB Liverpool Graphics GEC 4085
+ 000010501460 LLIA Liverpool HEP IBM 4331
+ 000010501460.XXXP LLIAP Liverpool HEP IBM 4331
+ 000011200250 QUVA Vax in Applied Maths Belfast
+ 000012110002 BDGA GEC 4090 at Bradford
+ 000001080200 BDGA GEC 4090 at Bradford
+ 000012200041 SHGA ICF GEC 4085 at Sheffield
+ 000001070100 SHGA ICF GEC 4085 at Sheffield
+ 000014000300 DUVS Durham Starlink VAX
+ 000014901000*P7W2.SPCP NRS NRS Prime
+ 000020013201 BHIA IBM 4341 BIRMINGHAM
+ 000020013201.XXXP BHIAP IBM 4341 BIRMINGHAM
+ 000020013301 BHVS Starlink VAX at Birmingham
+ 000020013501 BHGB DL NSF GEC 4065 at Birmingham
+ 000021000008 NMPA PRIME at Nottingham
+ 000021110101 LTGA ICF GEC 4090 at Loughborough
+ 40000040.PSS LPSS JNT London PSS Gateway
+ 40000040 LNXB JNT London 4065 PSS Gateway
+ 000050005002 NEWS GEC 4160 - JANET News Machine
+ 000050200013 XXVE Oxford Comp. Centre Vax
+ 000050200014 XXVF Oxford Comp. Centre Vax
+ 000050200015 XXVC Oxford Comp. Centre Vax
+ 000050250301 XXVD Oxford IKBS Vax
+ 000050250300#50 XXGR Oxford GEC 6300
+ 000050300001 SNGA GEC 4070 workstation at Southampto
+ 000000002304 SNGA GEC 4070 workstation at Southampto
+ 000052005000 WKGA GEC 4000 machine at Warwick.
+ 000052100100 MUVA MSSL Vax/780
+ 000060210005 BRVA Bristol Physcis Dept VAX.
+ 000060440001 CFGA ICF GEC 4090 at Cardiff
+ 000060500001*P7*W2 EXPA Exeter Prime.
+ 000060500002*P7*W2 EXPB Exeter Prime.
+ 000060500003*P7*W2 EXPC Exeter Prime.
+ 000060500004*P7*W2 EXPD Exeter Prime.
+ 000060500005*P7*W2 EXPE Exeter Prime.
+ 00000700700104 SAVA Gateway to St. Andrews.
+ 000070203000 HWGA GEC 4180 at Heriot Watt University
+ 000071100009 GWIA IBM 4341 at Glasgow
+ 000071100009.XXXP GWIAP IBM 4341 at Glasgow
+ 000000000068 GWIA IBM 4341 at Glasgow
+ 000000000068.XXXP GWIAP IBM 4341 at Glasgow
+ 000071100019 GWGA GEC 4180 at Glasgow
+ 000000000005 GWGA GEC 4180 at Glasgow
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+JANET TUTORIAL PART #2
+ ________________________________________________
+ 7.2 Account Facility and Changing Your Password
+
+ An account can be inspected and the password changed by using this facility.
+ First make a call to the Gateway as described in section 5. When the
+ Logging in /User prompt appears type ACNT.
+
+ After a short delay, there will be a prompt for a Userid. Enter your PSS
+ userid, you will then be prompted for your password. Enter your password
+ (this is not echoed), three attempts are allowed to enter the correct
+ password. The message 'Enter command' will now appear.
+
+
+ Example
+
+ OS4000+Rlix V30 PSS Gateway
+ Logging in
+ user ACNT
+ ID last used Wednesday, 10 December 1986 09:14
+ Enter userid FRED
+ Password
+
+ Enter command
+
+ The following commands are available:
+
+ ACCOUNT Prints the state of your account on the terminal
+
+ PASSWORD Allows the password to be changed. The new password
+ should be typed in twice on the following two
+ lines when prompted. It is not echoed
+ END Terminates the session.
+
+ Note that each command may be abbreviated to a minimum of 2 characters.
+
+ _____________________________________________
+ 8. Facilities Available Through the Gateway
+
+ ___________________________
+ 8.1 Demonstration Facility
+
+ There is an account available which has a small allocation available for
+ users to try out the Gateway. The password will be supplied on request from
+ the Network Executive. Note that excessive use of this account will soon
+ exhaust its allocation and deprive others of its use.
+
+ ___________________________________________________
+ 8.2 Address Mnemonics of Remote Hosts on Networks
+ ________________________
+ Connected to the Gateway
+
+ Many network addresses consist of 12 or even 14 digits which may be
+ difficult to remember and awkward to enter. To make life easier the Gateway
+ has a table which consists of a number of mnemonics and their respective
+ network addresses. When these mnemonics are typed within a call through the
+ Gateway the mnemonic is translated into the appropriate network address.
+
+ Therefore if you have a frequently used network address which is not in the
+ table, please contact the Network Executive with a request to insert the
+ address along with an appropriate mnemonic. Equally if you know of
+ mnemonics which are no longer useable contact the Network Executive.
+
+ It is hoped that the Gateway will support the Network Registration Scheme
+ (NRS) in the near future.
+
+ JANET User Notes 5 and 6 include mnemonics for a number of remote machines
+ and networks on both PSS and JANET.
+
+ _______________________________
+ 9. Facilities Available on PSS
+
+ ________________
+ 9.1 Fast Select
+
+ This allows calls to have up to 128 bytes in the Call User Data field. You
+ can use this to expand address information available for the next hop of the
+ call. As a PSS user we have subscribed to this facility; however you
+ should note that some remote Hosts on PSS and IPSS cannot accept Fast Select
+ calls. If a Fast Select call is made to an address which does not subscribe
+ to the Fast Select facility the call will fail with clearing code Hex'29'.
+
+ When a mnemonic is used, the Gateway will know whether the address can
+ support Fast Select or not, and will make the correct call automatically.
+ If the full numeric address is used, then the Gateway has to be told not to
+ use Fast Select. This can be done by preceding the address with the string
+ 'NFS-'. In fact the NFS is a mnemonic which translates to a null string
+ with the No Fast Select attribute and the minus is just a delimiter which
+ will be ignored.
+
+ For example, calling TELENET
+
+ PSS(FRED,XYZ).NFS-311012345678
+
+ ____________________________
+ 9.2 Reverse Charge Facility
+
+ If this facility is used the remote Host will accept all the call charges,
+ therefore your allocation on the Janet Gateway will not be debited. Note
+ that there are not many remote Hosts which will accept 'reverse charging'.
+
+ Unfortunately the only way to find out if a remote Host will accept reverse
+ charging is to experiment. Do this by appending 'R' to the authorisation
+ field, for example
+
+ (FRED,XYZ,R)
+
+ If this does not work, it could be because the remote host will only accept
+ calls from 'known' network addresses and the JANET addresses are 'unknown'
+
+ ___________________
+ 9.3 Access to IPSS
+
+ It is possible to access IPSS, the International Packet Switch Stream,
+ through PSS. This is done by entering the IPSS address in place of the PSS
+ address. IPSS calls are accounted separately from PSS so you will have to
+ make a specific request for an IPSS allocation before you make calls on
+ IPSS.
+
+ ___________________________________________________
+ 9.4 Calls to Other, Non-Transport Service Networks
+
+ Some networks (for example, TYMNET) require a Call User Data Field with a
+ different format from the one normally generated by the Gateway. A facility
+ has been provided to enable an arbitrary string to be included in the Call
+ User Data Field. This is done by terminating the numeric address (or
+ mnemonic) with the delimiter '*D' followed by the required string.
+ Everything following the '*D' is then copied into the Call User Data Field.
+
+
+ _______
+ Example
+
+ PSS(FRED,XYZ).NFS-31060000*DZRRT;IPSSLON
+
+ This would call a (fictitious) address on TYMMNET.
+
+ Finally some machines do not expect to receive any user data at all, so you
+ will need to enter '*D' on its own for these.
+
+ _______
+ Example
+
+ PSS(FRED,XYZ).YONDER*D
+
+ ___________________________
+ 9.5 Adjusting Packet Sizes
+
+ The Gateway normally tries to establish its calls with a packet size of 256
+ bytes, even if the incoming call had only 128 byte packets. This normally
+ does not cause problems, but there may be difficulties with some systems.
+ If you find your call being cleared even though all the addressing is
+ correct, or if it fails as soon as data starts to flow, try calling with the
+ additional data, '*P7W2', to force a packet size of 128 bytes.
+
+ _______
+ Example
+
+ PSS(FRED,XYZ).OVERTHERE*P7W2
+
+ If you also need to use the *D parameter that must follow the *P/W paramter.
+
+ _______
+ Example
+
+ PSS(FRED,XYZ).HERE*P7W2*DTOYOU
+
+ ___________________________________________________
+ 10. Protocols Available if Supported by Both Local
+ ________________________
+ and Remote Host Machines
+
+ Other sorts of calls, besides terminal calls, may be possible through the
+ Gateway. In these cases Transport Service is required. The mechanisms
+ required for insertion of authorisation information vary from computer to
+ computer, and therefore your local support staff should be consulted for
+ information in this area.
+
+ Care needs to be exercised here, especially when replying to MAIL from PSS
+ without considering how the authorisation will be managed. Problems can
+ also occur with FTP, which will continue to retry a call until it receives a
+ fatal error, causing unnecessary network traffic.
+
+ _____________________________________________________
+ 10.1 Network Independent File Transfer Protocol (FTP)
+
+ This allows files from one computer's file store to be sent to the file
+ store of another computer. Although the two computers may have very
+ different ways of working internally, FTP will overcome these difficulties
+ and arrange for the transfer of the file without the user being aware of the
+ special procedures that are being carried out.
+
+ ______________________
+ 10.2 JNT MAIL Protocol
+
+ This allows MAIL messages to be sent from one user to another user. The
+ users may be using the same machine or may be using machines on different
+ networks. In both cases the user types his message into the machine being
+ used and the MAIL program then adds a header to the message, so that it can
+ be transmitted to the remote Host by FTP. The received message is stored on
+ the remote Host and made available to the addressee.
+
+ __________________________________________________
+ 10.3 Job Transfer and Manipulation Protocol (JTMP)
+
+ This protocol lets you:
+
+ transfer files for storage or execution
+ make status enquiries and get reports on these files.
+ modify the progress of the above.
+
+ This protocol requires standard FTP to carry out the transfers.
+
+ ____________________________
+ 11. Restrictions and Errors
+
+ _________________
+ 11.1 Restrictions
+
+ Due to the present lack of a full Transport Service in the gateway, the
+ ADDRESS, DISCONNECT and RESET primitives are not fully supported. However
+ this should not present serious problems, since the ADDRESS and RESET
+ primitives are not widely used, and the DISCONNECT primitive can be carried
+ in a Clear Request packet.
+
+ The gateway does however support continuation of Transport Service Connect
+ messages into the first data packet. This is particularly useful when
+ attempting file transfers for which the 12-byte CUDF limitation pertains
+ (i.e. NSF- calls).
+
+ ___________
+ 11.2 Errors
+
+ When a call fails, there is an error code associated with the failure which
+ will normally be displayed on your PAD. A list of the most common codes and
+ their meanings is given in Network User Note 15.
+
+-------------------------------------------------------------------------------
+
+NETWORK PROFILE DATAPAC PART #2
+~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
+
+I have found sevarel new areas on Datapac, and since I think this will be a
+two file edition, there will be DATAPAC PART #3 in volume #5. To give you
+a bit of change, in the next time, I might include few scans of networks
+in asia as well as datapac.
+
+
+D A T A P A C 302039100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 15/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302039100004 -
+302039100019 - "System-2"
+302039100020 -
+302039100030 -
+302039100031 -
+302039100040 VAX/VMS MicroVax - Hamilton Computers Toronto Centre Q4
+302039100041 -
+302039100042 IBM - "Enter Data: "
+302039100043 IBM - "Enter Data: "
+302039100044 IBM - "Enter Data: "
+302039100045 IBM - "Enter Data: "
+302039100047 IBM - "Enter Data: "
+302039100121 -
+302039100124 -
+302039100177 -
+302039100200 Outdial - "Username/Nom D'Usager: "
+302039100202 Outdial - "Username/Nom D'Usager: "
+302039100238 -
+302039100243 -
+302039100272 -
+302039100395 - Corfax Toronto
+302039100539 -
+302039100556 -
+302039100557 VAX/VMS - Wood Gendy Information
+302039100581 DG AOS/VS - ARIO
+302039100587 Outdial - "Username/Nom D'Usager: "
+302039100594 HP-3000 -
+302039100650 -
+302039100654 -
+302039100658 -
+302039100659 -
+302039100669 -
+302039100774 -
+302039100775 -
+302039100777 -
+302039100805 -
+302039100807 -
+302039100808 -
+302039100811 -
+302039100822 -
+302039100823 -
+302039100828 -
+302039100829 -
+302039100831 -
+302039100832 -
+302039100833 -
+302039100835 -
+302039100836 -
+302039100837 -
+302039100838 -
+302039100839 -
+302039100840 -
+302039100841 -
+302039100842 -
+302039100843 -
+302039100844 -
+302039100846 - "Test By Northern Telecom"
+302039100900 VAX/VMS - Wood Gundy Information system
+302039100901 -
+302039100902 Outdial - "Username/NOM D'USAGER: "
+302039100903 IBM - "Enter Data: "
+302039100904 SIME - "Please enter your terminal id?"
+
+
+D A T A P A C 302067200xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+302067200026 -
+302067200031 Primos 19.4.11 - PRIMENET 19.4.11 GME001
+302067200040 Gateway - University of B.C. MTS
+302067200094 -
+302067200139 Port Select - "SERVICE ID="
+302067200186 -
+302067200900 Gateway - University of B.C. General MTS Gateway
+
+
+D A T A P A C 302068100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+302068100001 - "5IVIC1"
+302068100058 - UVIC DATAPAK INTERFACE
+302068100112 -
+302068100124 VAX/VMS -
+302068100128 - "NODE VIDI1F01"
+302068100162 -
+302068100214 PDP-11/44 - Softwords Victoria BC
+302068100256 -
+302068100266 -
+302068100317 -
+302068100351 Port Select - "enter class" ROYAL ROADS College
+302068100353 Port Select - "SERVICE ID="
+302068100372 -
+302068100431 VAX/VMS -
+302068100434 VAX/VMS - National Research Council Astronomy Data
+302068100436 -
+302068100453 VAX.VMS V4.5 8650 - BCSC'S VAX Node: VENUS
+302068100469 -
+302068100494 - "VICTORIA"
+302068100549 - "v21>"
+302068100550 -
+302068100554 HP-3000 -
+302068100566 -
+
+D A T A P A C 302069200xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+302069200030
+302069200036
+302069200095
+302069200291 L.WARDROP & ASSOCIATES VAX 11/750
+302069200296
+302069200312
+302069200321
+302069200334
+302069200336
+302069200346
+302069200353
+302069200364
+302069200366
+302069200374
+302069200378 ED RIVER COMMUNITY COLLEGE VAX A
+302069200379
+302069200381
+302069200392
+302069200411
+302069200413
+302069200417
+302069200450
+302069200466
+302069200492 VCON1 5INI - WINIPEQ MV/400
+302069200512
+302069200533
+302069200656
+302069200660 host
+302069200669 ATR0
+302069200676
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+302069200779
+302069200788 host
+302069200856
+302069200879
+302069200881
+302069200884
+302069200885
+302069200900 OUTDIAL 300 BAUD
+302069200901 OUTDIAL 1200 BAUD
+302069200910
+302069200911
+302069200912
+
+
+D A T A P A C 302071100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+302071100015 -
+302071100037
+302071100039
+302071100110
+302071100120
+302071100122
+302071100169
+302071100171
+302071100217
+302071100218
+302071100219
+302071100220
+302071100270
+302071100277
+302071100291
+302071100292
+302071100302
+302071100323 Port Select -
+302071100339
+302071100371
+302071100376 - Potash Corporation Of Saskatchewan
+302071100381 Port Select -
+302071100382 POrt Select -
+302071100383 -
+302071100395 IBM System Select - TSO, CMS, VM/370
+302071100437
+302071100446
+302071100447
+302071100458
+302071100473
+302071100474
+302071100572
+302071100578
+302071100579
+302071100583 VAX/VMS V4.4 - Micro VMS Computer System
+302071100584 Outdial Port -
+302071100585 Outdial Port -
+302071100586 Outdial Port -
+302071100617
+302071100634
+302071100638
+302071100656
+302071100677
+302071100683
+302071100684
+302071100900 Outdial Port - 300 Baud
+302071100901 Outdial Port - 1200 Baud
+
+
+D A T A P A C 302072100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+302072100017
+302072100018
+302072100019
+302072100029
+302072100055
+302072100073
+302072100084
+302072100127
+302072100176 WESTFAIR FOODS LIMITED - REGINA
+302072100186
+302072100188
+302072100223
+302072100227
+302072100229
+302072100240
+302072100256
+302072100257
+302072100312
+302072100313
+302072100328
+302072100342
+302072100343 host VAX = AGRICULTURE CANADA RECUVAX
+302072100349
+302072100351
+302072100406
+302072100414
+302072100418
+302072100447
+302072100465
+302072100485
+302072100492
+302072100493
+302072100498
+302072100517 DEVELSWITCH SAL
+302072100522
+302072100528
+302072100544
+302072100546 AGRITEX
+302072100554
+302072100555
+302072100558
+302072100565
+302072100568
+302072100570
+302072100575
+302072100594
+302072100596
+302072100619 host
+302072100665
+302072100666 QUEEN CITY CARDLOCK KARDGARD 3000-C MOTOR FUEL MANAGEMENT SYSTEM
+302072100672 AGRICULTURE CANADA VAX
+302072100684
+302072100699
+302072100766
+302072100776 OUTDIAL
+302072100777 OUTDIAL
+302072100778
+302072100779 OUTDIAL
+302072100791 MICROVMS V4.3 VAX
+302072100833
+302072100866
+302072100867 fax
+302072100900 OUTDIAL 300 BAUD
+302072100901 OUTDIAL 1200 BAUD
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+That's it for another month. I hope you have found something interesting in
+the above, and if so, how about doing something in return, like writing an
+article, tutorial ANYTHING.
+
+The next issue is rather hazy, and I am not sure whether there will be one or
+not, but if we decide to make volume five, it will include the following.
+
+ - The Final Scans on DATAPAC, with several brand new areas.
+
+ - A tutorial on how to create accounts on Primos versions 19 and above.
+
+ - Inside Info on other dialcom systems.
+
+ - A feature on TROJANS, NUI Snatchers etc.
+
+ - Possibly a brand new regular feature will appear on Phreaking.
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+END
+
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe5.txt b/textfiles.com/magazines/GLOBETROTTER/globe5.txt
new file mode 100644
index 00000000..11b85f8d
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe5.txt
@@ -0,0 +1,1301 @@
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #5, File #1 Date: 14/08/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+CONTRIBUTORS: NONE Yet Again Grrrrr!
+
+
+FROM THE EDITOR
+~~~~~~~~~~~~~~~
+
+Never.........In The Field......... Of Human Conflict,
+Have so Few........Stuffed so much...For So many.
+
+We shall fight them on our Baud Lines,
+on The Networks, with our Pc's
+We Shall Never Surrender!!!!!
+
+ D E A T H T O T E L E S C U M
+
+Anyone hacking in Melbourne and Victoria in general, should understand the
+above. Lets face it, they have gone too far. As soon as the new laws were
+passed, they unleashed their terror, purpouse of which was to scare us, and
+I am afraid It worked. As soon as the word got out that boards were being
+raided, by the feds and friends, over 50% of existing hacking establishments
+have been whiped from the face of this earth, and virtually all the rest have
+been so severelly straightened out, and that's not funny. Apart from
+The Realm, there are two hacking boards still operating as before, with just
+one being of decent quality. Congratulations to the sysop. You know who you are
+.
+Lets just hope things will get back to normal soon. I would just like to say
+few words to telescum and DI if they're watching.
+"You haven't killed the hackers, they will always haunt you. All you achieved,
+is to remove the only means by which you can find out what we are up to"
+
+I must admit they got to me as well, but sometimes, you got to say what the
+fuck, and go for it. As a result here it is, Globe Trotter Volume #5 and plans
+are on the way for future issues, which I hope will get even bigger and better.
+
+Look on the bright side, if you ever stuff things up, ten years in jail will
+go very quickly and there is nothing few cc's of Ethylene Glycol can't fix.
+
+Catch Ya Later
+ ----====} THE FORCE {====----
+
+-------------------------------------------------------------------------------
+
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Phreaking This will be a section which will run over the
+ next few issues. It will mainly deal with
+ the more technical espects of phreaking.
+
+ - System Passwords: Primes and other bits.
+
+ - Trix of The Trade AUSSIE LOOPS
+
+ - Unusual Systems An outdial in Hong Kong?
+
+ - Hack Of The Month HP-3000 In Japan
+
+ - Inside Information Dialcom System 01, The Times Network User List
+
+ - Network Profile: We say farewell to datapac, but will it die that
+ easilly.
+
+
+N O T S O R E G U L A R F E A T U R E S
+---------------------------------------------
+
+
+
+ - DNIC UPDATES New networks are being Born Every Month. I have
+ a small listing with some of the more recent
+ discoveries.
+
+ - CONTRIBUTIONS I really need some help!.
+
+ - PRIME ACCOUNTS Some Tips for Creating Accounts On Primes.
+
+ - THUNDER DOWN UNDER Time is Near!
+
+===============================================================================
+
+PHREAKING
+~~~~~~~~~
+
+I don't really want to write this section, so I will try to organise someone
+else to do it for me. One of the reasons being that I have enough to do
+with the rest of the file, and I know there are people out there far more
+qualified in the art of Phreaking. Phreaking is technically, ripping off
+the phone companies, which I think is ok, since they rip us of rather badly
+themselves. Phreakers however define phreaking, as using the resources
+available for the sake of knowledge. There is no doubt everyone has their own
+definition. To get started, I'll talk about the technology, what systems
+are being used and how they work, as well as other related topics. This is
+only an introduction, based on the technical side and on how the system works.
+ The Information on HOW TO, will follow over the next few issues.
+
+CLASSES OF TRANSMISSION MEDIA
+=============================
+
+OPEN WIRE This is the most original of all transmission media. It
+ consists of a pair of copper wires strung between telephone
+ poles, carrying one voicegrade channel that is used
+ alternately by a number of subscribers on the network. One
+ pair of wires can serve only two points at a time. Since the
+ early days of telephone, wire pairs have largely been
+ replaced by other transmission media for voice
+ communications, but are still used in certain countries and
+ even certain rural areas of AUSTRALIA, USA, CANADA etc. For
+ data transmission over long distances, wire pairs are not
+ desirable since they are suceptible to such problems as cross
+ talk, electromagnetic interference, loss of attenuation,
+ etc., resulting in poor line quality.
+
+
+CABLE The cost of installing open-wire pairs and the rapidly
+ increasing requirement for transmission channels soon led to
+ the bundling of insulated wires into a large cable, with each
+ pair uniquely coloured for identification. As many as
+ several hundered pairs of wires can be bundled in one cable.
+ This method not only reduces cost of installing telephone
+ facilities, but also protects the wires from the elements.
+ Most telephone lines between central offices and local
+ subscribers are cables. Significantly, each pair of wires is
+ now capable of carrying a number of voice channels.
+
+COAXIAL CABLE A coaxial cable is composed of a conductive cylinder with a
+ wire in the center, with the space between the conductive
+ cylinder and the wire filled with insulating medium. A
+ coaxial cable can transmit at a much higher frequency than a
+ wire pair, allowing greater amounts of data to be transmitted
+ in a given time period, that is, the channel is "wider". A
+ great number of voice channels can be sent over coaxial
+ cables, which are shielded from noise and other forms of
+ distortion.
+
+CARRIER SYSTEM A carrier system is not a physical entity, rather, it is a
+ technique of utilizing various transmission media. Through
+ the use of multiplexing techniques, a carrier system can
+ accomodate a number of channels on the same physical line, be
+ it an open wire pair, cable, or a coaxial cable, by placing
+ each channel on a different frequency level.
+
+
+HIGH FREQ. RADIO Instead of sending electrical signals over metallic media as
+ in the cases of open wire, cable and coaxial cable, a
+ long-wave radio system transmits radio signals over ope air
+ space at a specific portion of the frequency spectrum. High
+ frequency means that a much larger number of signals can be
+ transmitted, compared with other media.
+
+MICROWAWE MIcrowave transmission utilizes the high end of the radio
+ frequency range and requires special equipment for
+ transmission and reception. It is currently being used by
+ common carriers and specialized common carriers alike,
+ primarily on long-haul communications links. Its advantage
+ over radio, and cable systems is that it requires less
+ frequent reamplification, and that no wire stringing is
+ needed. Also, the possible bandwidth capacity is much greater
+ with microwave radio transmission. By the same token,
+ microwave transmission requires a line of sight path; a high
+ transmission tower and antenae are also needed. A
+ long-distance microwave line is made up of a series of relay
+ towers spaced approximately 30 miles apart, with every two
+ consecutive towers within sight of each other. Signals are
+ amplified and retransmitted by the towers along the route.
+
+
+SATTELITES These are, in fact forms of microwave transmission in that
+ the satellites which orbit around the earth in
+ geo-synchronous orbits, represent relay stations for earth
+ bound communications links. This type of microwave
+ transmission is ideal for long-distance communications since
+ the high altitude of the satellite avoids the interference
+ caused by earth's curvature and other physical obstructions
+ such as mountains and atmospheric conditions. A large number
+ of communication satellites are now orbiting the earth, and
+ are utilized for domestic as well as international
+ communications.
+
+
+UNDERSEA CABLE These are special types of coaxial cables laid on the seabed
+ across the ocean. They provided an important means for
+ intercontinental telephone communications before the
+ introduction of the satellites, and are still used heavily.
+
+WAVEGUIDES These are metal tubes that serve as paths and confinement for
+ very high frequency radio waves. There are two types of
+ waveguides: rectangular and circular. The rectangular
+ waveguide has been used for some time as a feder line between
+ microwave antennae and their associated ground equipment. It
+ is useful only for very short distances, usualy not more than
+ 1000 feet. The circular waveguide can provide much longer
+ transmission lengths and is being implemented on Experimental
+ Basis. Waveguides can prowide vast transmiossion capacity for
+ voice as well as data. They hae beep,proven feasible, but
+ their large scale implementation will most probably never
+ take off.
+
+FIBRE OPTICS Fibre optic Cables a really a form of a waveguide, in this
+ case light waves are used. The high frequency means a very
+ large number of logical channels can be transmitted over a
+ single fibre. Fibre optic cables are now replacing the wire
+ pairs, and allready are being used for links between
+ subscribers and the local offices, where as few years ago,
+ they were restricted to land lines and inter-exchange lines.
+ This transmission medium, is likelly to dominate the world of
+ telecomunications, within the next few years, because it is
+ cheap and free from distortions and electromagnetic
+ interference, which the wire pairs and other cables suffer.
+ A single Fibre Optic Cable is very thin, thus hundereds of
+ strands can be bound together into a small sized cable, and
+ at 2 cents per meter, per strand, it is becomming very
+ economical.
+
+LASERS Laser stands for Light Amplification by Stimulated Emission
+ Radiation. Just like the fibre optic transmission, a laser
+ utilizes a much higher portion of the electromagnetic
+ spectrum. It can thus be used for transmission without tying
+ up all ready crowded radio frequency spectrum. The laser is
+ limited to communications along a line of sight, which
+ suggests a possibility for short links betwwen large
+ buildings for example. The laser is still being developed,
+ and posible hopes are for communications with satellites and
+ over interstellar distances.
+
+I have set a limit to the maximum size of each file, and I seem to be going
+over the limit, so I'll continue this next month. I'll have some actual HOW
+TO, information on phreaking, as well as information on.
+
+ - FREQUENCY, BANDWIDTH and TRANSMISSION SPEEDS
+ - DIGITAL AND ANALOG TRANSMISSION
+ - MULTIPLEXING
+ - LINE FACILITIES
+ - SWITCHED FACILITIES
+ - LOW-SPEED LINES
+ - VOICEGRADE LINES
+ - WIDEBAND LINES
+ - PRIVATE LEASED LINES
+ - DIGITAL TRANSMISSION FACILITIES
+ - PACKET SWITCHING SERVICES
+ - COMMON CARRIERS
+ - TRANS-CANADA TELEPHONE SYSTEM
+ - CNCP TELECOMMUNICATIONS
+ - SPECIALIZED COMMON CARRIERS
+ - MCI TELECOMMUNICATIONS CORP.
+ - SP COMMUNICATIONS COMPANY
+
+Rather are large list of material, and the ideas keep comming in, hehehe
+something to do over the next few months.
+
+-------------------------------------------------------------------------------
+
+SYSTEM PASSWORDS
+~~~~~~~~~~~~~~~~
+
+Yes He did it again. I am fully stocked up with primes, so I guess you will
+get some of the useless ones to try for yourselves. Ok, lets get to it, I have
+a prime in Israel, Asia and something little better.
+
+
+5252116048 PRIMENET 20.2.2 PS PORE Login TEST/TEST
+
+425140000216 PRIMENET 20.2.1.R2 MOKED Login PRIME/PRIME
+
+3110312001xx Type 'OPERATOR' Well, I think after all this time, you might
+ deserve something of greater value. To make sure
+ Only few get it, there are 99 combinations
+ you will need to try untill you find the right
+ system. When you do, typing operator, will give you Nice access
+ with a fair bit of privs, like changing the news and login
+ messages etc etc. Have fun, and may you find it. If you do, I
+ hope you are not that stupid as to actually change the system
+ news and loggin messages!!!
+
+-------------------------------------------------------------------------------
+
+TRIX OF THE TRADE - LOOPS
+~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+It is very hard to find a loop in Australia, and I guess you can all imagine
+how many uses they have. There are rumours that they do exist down here, but
+as I yet I have never seen a REAL ONE. Luckilly, there are ways around
+everything.
+There are certain numbers, which you can call, mainly some old PBX's and my
+favourite an out of order telecom recorded message service. Next thing you
+will need is to boost the signal which your phone sends out, so that the
+current leaks across the relays and other circuits. Basically if you can
+find the right number, and there are a few around, you can create your
+own artificial bridge. Then if people call the same number, there is enough
+signal leaking from one line to another to get an audible connection. If
+you are lucky, you will not need any extra hardware to boost the signals
+from your phone. This is usually the case if you can come across a telecom
+recorded message service which is out of order. They work exceptionally well.
+
+The second method of building your own bridges, involves few alterations
+to a telecom junction box. It is a relativelly simple circuit and all you
+have to do is pick two or more people and install it on their lines. The
+circuit has to keep the line open, after the real user hangs up the phone.
+Second thing, via few resistors you connect two lines with an identical
+circuit on each. Thus one person calls one number, other the second,
+say it was a wrong number when the real owners answer and after they hang up,
+the two lines get connected. This is the most simplest circuit, all it does is
+keep the line open, Connect the two lines after the real owner has droped
+his receiver and disconnect you as well as the link when he picks up the
+phone. Basically when the owner drops the line it activates a switch which
+keeps it open and links with another, and when he picks up the phone it turns
+itself off, cutting the link and disconnecting you. This also makes an ideal
+phone tap, since you can listen in from any phone anywhere in the world.
+
+If you happen to be a serious electronics buff, then something a little more
+elaborate is possible. A circuit that hooks up 3 line and is controlled
+from one line. If you send a particular tone or sequence of pulses, you
+can activate/deactivate the connections to the other lines and even use them
+as extenders. Basically the sky is the limit and all of the circuit are
+cheap to construct, and can be made reasonably compact.
+
+------------------------------------------------------------------------------
+
+UNUSUAL SYSTEMS
+~~~~~~~~~~~~~~~
+
+This is a very interesting System, I have found in HONG KONG. (yes, the
+complete scans are comming soon). It is most probably an outdial, or some
+some sort of a datafax conversion service which it claims to be. I have no
+idea what a datafax conversion service does, but it does prompt you to enter a
+number, and the accepted format is identical to the local phone numbers.
+
+4545500431 - Datafax Conversion Service
+
+-------------------------------------------------------------------------------
+
+HACK OF THE MONTH
+~~~~~~~~~~~~~~~~~
+
+Hack Of The Month: HP-3000
+Location: JAPAN
+Date: 04/AUG/88
+Hacked By: ----====} THE FORCE {====----
+
+Notes: Nothing interesting about this system. Only worth while
+ thing, is the stock and shares information it contains.
+ Theoretically it would be possible to assign yourself
+ shares in that company.
+
+Sample Login:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+?-04408xxxxx
+
+COM
+
+: hello xxxxx.xxxxxxxx
+
+HP3000 / MPE V G.xx.xx (BASE G.xx.xx). SUN, AUG 14, 1988, 10:35 AM
+######## This is Tokyo, Japan ########################
+# #
+# System Back-up time is as follows: #
+# #
+# MON 7:00 ~ 7:30 a.m. #
+# TUE - THU 7:45 ~ 8:15 a.m. #
+# FRI 7:45 ~ 9:15 a.m. #
+# #
+# To: HPDesk users #
+# #
+# HPDesk system is UNAVAILable during about #
+# 7:30 to 8:30 a.m. every Monday, due to MAIL #
+# MAINTENANCE. #
+# #
+################# Thank you for your cooperation. ####
+
+:
+
+-------------------------------------------------------------------------------
+
+INSIDE INFORMATION
+~~~~~~~~~~~~~~~~~~
+
+The Times Network has the priviledge of having number 1 in the dialcom network.
+This doesn't mean it was the first, and it's more or less your average dialcom
+set up running on a number of primes. I don't know whether the users of this
+system have Netlink access, since we have never spent enough time on it to
+find out.
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= TIMES NETWORK System 01 User Directory =-=-=
+=-=-= =-=-=
+=-=-= By: ----====} THE FORCE {====---- Date: 12/03/88 =-=-=
+=-=-= =-=-=
+=-=-= - From The Depths Of - The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+ 4132 EXPLORERS TRAVEL MCGEE, B 01:MAG10054
+ 6936 MAPLES, WARING WHITE, I V 01:PCW10004
+ 6937 MICRO RESOURDCE GOLD, STEVE 01:PCW10019
+ 6938 HELSTON COMPUTER CENTRE HARMER, CAREY 01:PCW10024
+ 6939 ENTERPRISE SOFTWARE PRODUCTS ILLINS, DAVE 01:PCW10077
+ 6940 LATHAM LATHAM, R F (DR) 01:PCW10084
+ 6941 CAPRICORN DATA LTD DEANE, JAMES 01:PCW10087
+ 6943 TOUCHE ROSS & CO STILLING, PETER 01:PCW10095
+ 6944 STILLING PETER. J. STILLING, PETER. J. (MR) 01:PCW10095
+ 6945 STILLING P.J. STILLING, PETER J. 01:PCW10095
+ 6947 IMPRESSE LIMITED COLLISON, B A 01:PCW10107
+ 6948 SOFTWARE DYNAMICS LTD PINNICK, P R (DR) 01:PCW10110
+ 6949 FIVESTAR SOFTWARE HARRIS, JUNIOR (MR) 01:PCW10118
+ 6950 PRESTEL STOUTE II, EDWIN (DR) 01:PCW10118
+ 6951 FIVESTAR HARRIS, E (MR) 01:PCW10118
+ 6952 FIVESTAR SFTWAR HARRIS, E (MR) 01:PCW10118
+ 11602 PERSONAL COMPUTER WORLD LINDERHOLM, OWEN 01:XYZ001:PCW002
+ 11623 GWYNEDD CAREERS SERVICE WILIAMS, RHYS E 01:YNK011
+ 11707 LACKHAM COLLEGE OF AGRICULTUR SAVAGE, RICHARD (MR) 01:YSS011
+
+-------------------------------------------------------------------------------
+
+DNIC UPDATES
+~~~~~~~~~~~~
+
+The number of networks is growing every day, and any new network is mostly
+virgin territory, full of bugs, and security faults. I will have a revised
+listing of all the dnics in few months time, but at the moment, here are few
+new networks and updates which I came up with this month.
+
+Country Network Dnic
+==================================================
+BARBADOS IDAS 3420
+BELGIUM DCS 2064
+BERMUDA IDAS 3500
+BERMUDA IDAS 3504
+CHILE VTR 7305
+DOMINICAN REPUBLIC CODETEL 3701
+LUXEMBOURG LUXPAC 2703
+PANAMA INTELPAQ 7142
+PERU ??? 7160
+SINGAPORE ??? 5251
+SINGAPORE ??? 5252
+USA US LINK NETWORK 7045
+
+
+Some recent updates, to the List in VOLUME #1
+
+ARGENTINA 7220 - Network Called UDTS, not ARPAC
+CHILE 7303 - Network Called CHILE-PAC Not ECOM
+EGYPT 6023 - Network Name ARENTO, recently found the DNIC
+
+-------------------------------------------------------------------------------
+
+CONTRIBUTIONS
+~~~~~~~~~~~~~
+
+Globe Trotter has been running for almost half a year now, and it now enjoys
+international audiences, so how about putting something back into it. I am
+really finding it hard to come up with the usual two files, and i can no
+longer release one issue every month, although I'll keep trying.
+If you have anything please mail me. We require Information, Files, Sample
+Logins of Hacked Systems, Nua's, ANYTHING.
+
+Ahhh, this reminds me. As you may have noticed, I am obssesd with mapping out
+the networks on this earth, and I really get exited every time I make a new
+entry into the Realm Dbase, which now occupies arround 1 meg. If anyone has
+any Primes (with Netlink) they would like to contribute to the cause, I'll
+supply you with all the results gained, and I will give the use of the dbase
+which we all ready have, for searches and for info on particular areas.
+(Not the complete Dump by the way!).
+Secondly, if anyone would like to co-ordinate scanning from a particular
+system, or the areas being scanned, Please, again contact me, since a lot
+of resources would be saved.
+Lastly, if you have your own compiled lists of NUA's or even single adresses,
+I would also appreciate their donation. A lot of little bits make up something
+really nice.
+
+Now, to the problem of actually getting the information to me. Well, I have a
+mailbox on Altos which I visit quite often, so that's a good place to start
+(username: force), or I can be reached via these BBS's.
+
+ MEGAWORKS
+ PACIFIC ISLAND
+ THE FORGOTTEN REALM (USA)
+ ZEN
+ GREYHAWK
+
+Or you can pass the info along any member of The Realm, and please put the date
+on the file, and your handle if you want credit to be given where credit is
+due. Thanx!
+
+-------------------------------------------------------------------------------
+
+PRIME ACCOUNTS
+~~~~~~~~~~~~~~
+
+It would be too long and too hard to explain the step by step procedure
+involved in setting up accounts on primes, so you can use the help files
+which are online, and battle your way through it on your own. Just use
+some common sense and you should be all right, provided it's a version
+19.x and higher. Anyway, here are some important tips and information,
+which will be of use to you.
+
+
+Primos 17.4 Arrrggghh, This is a real bastard. I have recently played with
+ such a system in Brazil and have stuffed it up pretty well.
+ I didn't have enough time to learn too many things, but I can
+ tell you what i did, and what mistakes I have made. First of all,
+ a little about the early versions of primos, which are not far
+ behind the dinosaurs. There are very few help files online, and
+ almost no help for the utility used to create accounts. Secondly,
+ The familiar comand EDIT_PROFILE does not exist. The command to
+ create new users in this case is ULM. This brings up an
+ important point. The command names often vary from one revision
+ to another, and some have lot more commands. To find what is
+ available, attach to the CMDNC0 directory, and have a look. This
+ is how I found the ULM command. It is then a matter of trying
+ the various commands untill you get the right one. Often its
+ name will suggest it's function. OK do this.
+
+OK, A CMDNCO
+OK, CATA (note CATA is a much nicer catalog Command, if it's not installed
+ use LIST instead)
+
+ When you type ULM, you will be prompted for a username, and
+ password. This means you can use any account to create the users,
+ as long as you know the password for the high level account.
+ This is very good, since you don't have to log on under that
+ command, which helps to keep the account alive.
+ Once you're in, you have several commands available.
+ WARNING! Before you experiment with anything, get out of the
+ record you have logged under. When you type LIST, you will get
+ the statistics of the account you are logged under and any
+ changes will be made to this record. Note all the details
+ you are given, and type USER USERNAME. If the username exists,
+ you will access the USERNAME record, otherwise you will be
+ prompted whether you want to create the user, so just respond
+ with YES or NO. Don't type USER on it's own, for it will return
+ an error and dump you out of the program. If you respond YES,
+ you will be asked few questions about the account, access level,
+ group etc, so just duplicate the results you have seen with the
+ LIST COMMAND previously. To change the entry of a particular
+ User, attach to it, then type commands such as 'GROUP NEWGROUP'
+ which changes the Group to Newgroup, ACCOUNT NAME, which changes
+ the account name to 'NAME' (i think). PASSWORD NEWPASSWORD will
+ change the password. There is something very beautiful from
+ a hackers point of view. The passwords for each record are
+ printed out in hexadecimal, so instantly you can get all of the
+ user passwords.
+ Now we're getting to the part where I stuffed things up. I found
+ a command called RESUME. When I typed it, I was prompted for a
+ file name. I tried to abort, not wanting to change anything, but
+ it took my atempt to abort as the file name. I am not exactly
+ sure what the command did, but I could not run the ULM program
+ again, and when attempting to log on, I got a command file not
+ found error and was logged out. I think, it either changes the
+ login command file for the account, the login directory, or it
+ changes the file from which all the Record Data is being taken
+ for each account. Without a manual, I can't tell you what it is
+ I actually did, but I recomend you keep away from that command,
+ if like me, you don't know what you're doing.
+
+
+Well, at least they had the good sense to make the more up to date versions
+of primos far more user friendly. There are online help files to help you
+create accounts, so by all means use them. All the commands you need will
+be given to you when you type EDIT_PROFILE, followed by HELP, so I will not
+go into that, but here are some tips, which apply to creating accounts on
+All systems.
+
+Before you start, list all the information on other users, in full, and make
+a note of all the details you are given. You will find that you need to know
+information about which login directory to assign as well as which group, to
+make the account blend in. Secondly, look at the user names, and pick a
+username that looks like it's meant to be there. In other words, use the other
+users to hide your own account. it would be stupid to create a user called
+'RADICAL' for example when all other usernames lok like COM10023, COM10064 etc.
+
+As far as your login directory goes, see whether users have a common directory,
+or each has their own. You can then either create yor own for the new account,
+or simply use one of the communal ones. I personally prefer not to create
+my own directories, but to use existing ones, with large numbers of entries.
+Again you can blend in any files you want to use, with the right choice of
+words, and with 500+ records in the directory looking simmilar, it makes it
+very hard indeed to spot anything odd, particularly if the directory
+experiences frequent use.
+
+Last bit of advice I can give is to get manuals IF POSSIBLE!, and try to cut
+down on the amount of blind experimenting. This means, find as much as you can
+about the system before hand.
+
+-------------------------------------------------------------------------------
+END
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #5, File #2 Date: 14/08/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+THUNDER DOWN UNDER
+~~~~~~~~~~~~~~~~~~
+
+Well, the time is comming. Thunders court case comes up on the 30th of August.
+Unfortunatelly I will not be in Melbourne at the time, but I have no doubt,
+a majority of the hacking community will attend. It will bring tears to
+your eyes either from Joy or Despair, how ever you are inclined. Some people
+are planning to bring a large supply of Condoms and Candle Sticks, to hand
+over as the neccesities when the sentence is passed.
+VERY CRUEL, BUT VERY CUTE GUYS!
+
+Ahh well, it will not be long. CAN THUNDER DO IT YET AGAIN, AND ESCAPE THE
+HANGMAN'S NOOSE FOR THE FOURTH TIME? Miracles do Happen, and knowing Thunder,
+anything is possible.
+
+-------------------------------------------------------------------------------
+
+DATAPAC NETWORK PROFILE PART #3
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+This is the Last Issue for a while that will have any Datapac NUA's. I am sick
+of this network now, and it's time to move on. I have found some new areas
+which I have yet to sprint so there will be another feature on Datapac, but
+I'll Leave that for the far Future.
+
+OK, SO I HAVE LIED - I have just discovered that I don't have enough space
+to put all the Datapac Areas Into this file. There are But Only few left,
+So I will Add them in next Month, with some smaller network.
+
+-------------------------------------------------------------------------------
+
+D A T A P A C 302040200xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - Sprinted: 03/08/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+302040200026 -
+302040200027 IBM TSO -
+302040200095 IBM -
+302040200191 Port Select - "enter system id"
+302040200192 -
+302040200246 -
+302040200277 Port Select - (c - Password:)
+302040200324
+302040200325
+302040200327
+302040200450 IBM VTAM - "Enter Function"
+302040200513 SIME -
+302040200533 Port Select - "SERVICE ID="
+302040200535 -
+302040200544 IBM VTAM - "Enter Function"
+302040200900 IBM VTAM - "Enter Function"
+
+
+
+D A T A P A C 302042300xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - Sprinted: 03/08/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+302042300012 Port Select - "SYSTEM ID= "
+302042300013 -
+302042300014 -
+302042300052 Port Select - "Function REquested Not Available"
+302042300085 -
+302042300086 -
+302042300106 fax -
+302042300157 - PCI DCD
+302042300166 -
+302042300182 -
+302042300233 - SWIFT Adhesive / Brampton
+302042300258 -
+302042300268 -
+302042300270 -
+302042300281 -
+302042300286 - SWIFT Adhesive / Brampton
+302042300295 Unix - Custom Services System CSCAN
+302042300296 - Northern Telecom
+302042300307 -
+302042300903 - Northern Telecom
+
+
+
+D A T A P A C 302062700xxx Nua's, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 22/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+This area has not been sprinted yet.
+
+302062700099 fax -
+
+
+
+D A T A P A C 302074600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 23/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302074600004 Outdial -
+302074600005 OUtdial -
+302074600023
+302074600038
+302074600044
+302074600045
+302074600047
+302074600054
+302074600058
+302074600078
+302074600082
+302074600094
+302074600095
+302074600099
+302074600125 - "SJ"
+302074600128
+302074600154 - "hi bill bob rick" (CTRL-E)
+302074600198
+302074600212
+302074600237
+302074600238
+302074600239
+302074600257
+302074600258
+302074600260
+302074600261
+302074600268 Port Select - "enter class"
+302074600274
+302074600289 Port Select - "SERVICE ID="
+302074600311
+302074600312
+302074600323 - (Data Encryption in use)
+302074600352
+302074600391
+302074600395
+302074600439
+302074600573
+302074600575
+302074600900
+302074600901
+
+
+
+D A T A P A C 302076100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Last Updated: 31/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302076100002 -
+302076100023 Port Select - "Request: "
+302076100025 -
+302076100036 VAX/VMS - Dalhouse Uni Computing and Info Service
+302076100039 -
+302076100045 - "CHANELLS BUSY"
+302076100046 -
+302076100053 -
+302076100056 -
+302076100058 -
+302076100060 Test Nua - TEST PATTERN
+302076100066 -
+302076100067 -
+302076100102 -
+302076100159 Primos 20.2.3 - PRIMENET 20.2.3 MD.HAL
+302076100189 -
+302076100234 - "Password> "
+302076100249 -
+302076100334 -
+302076100338 Port Select - "Request: "
+302076100351 -
+302076100392 - "HL"
+302076100396 -
+302076100397 -
+302076100429 -
+302076100450 RSX-11M-PLUS -
+302076100451 VAX/VMS -
+302076100459 - "User Number: "
+302076100572 -
+302076100618 -
+302076100630 -
+302076100692 Port Select - "SERVICE ID= "
+302076100697 -
+302076100702 -
+302076100754 -
+302076100772 -
+302076100773 -
+302076100776 -
+302076100777 -
+302076100778 -
+302076100779 -
+302076100780 -
+302076100782 -
+302076100783 -
+302076100784 -
+302076100817 -
+302076100826 Port Select - "SERVICE ID= "
+302076100832 -
+302076100849 -
+302076100850 Port Select - Computing Services
+302076100866 -
+302076100869 -
+302076100871 -
+302076100876 -
+302076100877 -
+302076100898 Outdial Port - 300 Baud
+302076100899 Outdial Port - 1200 Baud
+302076100911 -
+302076100957 -
+302076100961 - "CHANELLS BUSY"
+302076100962 Port Select - "SERVICE ID= "
+302076100966 Port Select - "SERVICE ID= "
+302076100970 -
+302076100973 Teleprinter - WHISPER WRITER 1000b Teleprinter
+302076100991 DG AOS/VS - ITT/RAE Halifax
+
+
+D A T A P A C 302076500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 09/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302076500023 -
+302076500027 VAX/VMS V4.2 - Micro Vms
+302076500029 -
+302076500047
+302076500048 -
+302076500061 - "v127"
+302076500080 Port Select - "SERVICE ID="
+302076500083 -
+302076500087 -
+302076500090 -
+302076500112 - Dartmouth
+302076500118 - "Chanells Busy"
+302076500146 -
+302076500149 VAX-8200 - Applied Microelectronics System
+302076500155 DG AOS/VS - CANFOR Atlantic Region
+302076500156 DG AOS/VS - CANFOR Dartmouth
+302076500185 -
+302076500197 -
+302076500224 - "Channels Busy"
+302076500258 -
+302076500259 -
+302076500266 -
+302076500316 VAX/VMS -
+302076500378 -
+302076500379 -
+
+
+D A T A P A C 302078100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 15/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302078100020 -
+302078100055 -
+302078100187 - "SS>"
+302078100260 -
+302078100284 fax -
+302078100331 -
+302078100340 -
+302078100380 Port Select - "SERVICE ID="
+302078100394 fax -
+302078100466 Outdial - OUTDIAL PORT
+302078100467 Outdial - OUTDIAL PORT
+302078100468 Outdial - OUTDIAL PORT
+302078100469 Outdial - OUTDIAL PORT
+302078100548 -
+302078100572 DG AOS/VS - DG AOS/VS CANFOR ST. JOHN'S
+302078100594 VAX/VMS V4.5 8200 -
+302078100600 Outdial - OUTDIAL PORT
+302078100601 Outdial - OUTDIAL PORT
+302078100602 Outdial - OUTDIAL PORT
+302078100603 Outdial - OUTDIAL PORT
+302078100604 Outdial - OUTDIAL PORT
+302078100605 Outdial - OUTDIAL PORT
+302078100606 Outdial - OUTDIAL PORT
+302078100607 Outdial - OUTDIAL PORT
+302078100651 VAX/VMS V4.6 8800 - Node Leif Computing Services
+302078100665 -
+302078100677 -
+302078100683 -
+302078100900 Outdial - OUTDIAL PORT
+302078100901 Outdial - OUTDIAL PORT
+
+
+
+D A T A P A C 302079400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 12/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302079400002 -
+302079400003 -
+302079400004 -
+302079400100 - "Username/Nom D'usager: "
+302079400101 - "Username/Nom D'usager: "
+302079400210 -
+302079400211 IBM VM/CMS, CICS -
+302079400215 -
+302079400268 - "Username/Nom D'usager: "
+302079400269 - "Username/Nom D'usager: "
+302079400900 - "Username/Nom D'usager: "
+302079400901 - "Username/Nom D'usager: "
+
+
+D A T A P A C 302082700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 28/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302082700107 HP-3000 -
+302082700294 IBM VM/370 - VMI
+302082700297 - "enter appropriate code for access"
+302082700336 fax -
+302082700362 -
+302082700363 -
+302082700364 -
+302082700365 -
+302082700366 -
+302082700370 - A.F.M.Q. Q.F.M.A.
+302082700375 - "enter appropriate code for access"
+302082700376 - "enter appropriate code for access"
+302082700377 - "enter appropriate code for access"
+302082700378 - "enter appropriate code for access"
+302082700379 - "enter appropriate code for access"
+302082700380 - "enter appropriate code for access"
+302082700414 -
+302082700429 -
+302082700446 Outdial Port -
+302082700447 Outdial Port -
+302082700448 Outdial Port -
+302082700449 Outdial Port -
+302082700512 - "enter appropriate code for access"
+302082700522 - "enter appropriate code for access"
+302082700524 - "enetr appropriate code for access"
+302082700525 - "enter appropriate code for access"
+302082700526 - "enter appropriate code for access"
+302082700537 -
+302082700578 -
+302082700685 -
+302082700687 -
+302082700688 - "enter appropriate code for access"
+302082700689 Outdial Port -
+302082700690 Outdial Port -
+302082700691 Outdial Port -
+302082700692 Outdial Port -
+302082700693 Outdial Port -
+302082700694 Outdial Port -
+302082700695 Outdial Port -
+302082700697 Outdial Port -
+302082700698 Outdial Port -
+302082700699 Outdial Port -
+302082700710 Outdial Port -
+302082700751 -
+302082700752 - "v21?"
+302082700761 - "enter appropriate code for access"
+302082700766 -
+302082700770 - "enter appropriate code for access"
+302082700900 Outdial Port - 300 Baud
+302082700902 Outdial Port -
+302082700903 Outdial Port -
+
+
+D A T A P A C 302083200xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 15/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302083200003 -
+302083200010 -
+302083200026 -
+302083200055 VAX/VMS -
+302083200111 fax -
+302083200114 Port Select - "SERVICE ID="
+302083200116 -
+302083200126 Port Select - "SERVICE ID="
+302083200155 -
+302083200167 fax -
+302083200179 -
+302083200180 - Triumf X.29
+302083200223 - Pacific Moving and Storage Vancouver
+302083200280 -
+302083200707 - "CHANNELS BUSY"
+302083200708 Gateway -
+
+
+D A T A P A C 302083500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 15/05/1988 Update: 03/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+302083500027 -
+302083500034 -
+302083500040 - Health and Welfare Canada Comms. Net.
+302083500042 - "Username/NOM D'USAGER?"
+302083500045 - "Username/NOM D'USAGER?"
+302083500046 - "Username/NOM D'USAGER?"
+302083500049 - "User Name?"
+302083500055 -
+302083500062 - "Line #xx"
+302083500082 -
+302083500088 Gandalf Xmus - "Password> "
+302083500104 Prime -
+302083500133 HP-3000 -
+302083500166 - "v21>"
+302083500169 -
+302083500172 HP-3000 -
+302083500181 - "v21>"
+302083500185 - "v21>"
+302083500605 -
+302083500609 -
+302083500628 -
+302083500637 -
+302083500668 -
+302083500681 -
+302083500688 Unix -
+302083500698 Port Select - "SERVICE ID="
+302083500704 - "C@"
+302083500705 -
+302083500714 - "CHANNELS BUSY"
+302083500723 - "CHANNELS BUSY"
+302083500730 VAX/VMS - Agriculture Canada VAX
+302083500735 VAX/VMS -
+302083500739 - Thunderbird & CID Systems
+302083500744 -
+302083500745 -
+302083500901 - "Username/NOM D'USAGER?"
+
+
+
+D A T A P A C 302085700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 26/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+302085700013 -
+302085700014 -
+302085700016 -
+302085700024 -
+302085700049 VAX/VMS - BONDAR-CLEGG and Company LTD. OTTAWA
+302085700050 -
+302085700051 -
+302085700058 -
+302085700064 -
+302085700116 HP-3000 -
+302085700210 VAX/VMS -
+302085700316 -
+302085700388 -
+302085700393 - TACL
+302085700436 - Outdial Port
+302085700437 - Outdial Port
+302085700438 - Outdial Port
+302085700439 - Outdial Port
+302085700440 - Outdial Port
+302085700441 - Outdial Port
+302085700442 - Outdial Port
+302085700444 - Outdial Port
+302085700445 - Outdial Port
+302085700446 - Outdial Port
+302085700447 - Outdial Port
+302085700448 - Outdial Port
+302085700449 - Outdial Port
+302085700450 - Outdial Port
+302085700451 - Outdial Port
+302085700495 VAX/VMS V4.3 - Micro Vms V4.3
+302085700496 fax -
+302085700901 - Outdial Port 300 Baud
+302085700902 - Outdial Port 1200 Baud
+
+
+D A T A P A C 302087100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 25/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302087100010 - "Illegal Node Name, Please Try again"
+302087100024 - "User ID/CODE D'USAGER? "
+302087100025 - "User ID/CODE D'USAGER? "
+302087100046 VAX/VMS -
+302087100047 - "Illegal Node Name, Please Try again"
+302087100067 - "User ID/CODE D'USAGER? "
+302087100071 Primos 19.4.11 - PRIMENET 19.4.11 NOPS.E
+302087100072 Primos 19.4.11 - PRIMENET 19.4.11 NOPS.E
+302087100900 - "User-ID/CODE D'USAGER? "
+302087100901 - "Illegal Node Name, Please Try again"
+
+
+D A T A P A C 302087200xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 23/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302087200028 -
+302087200042 -
+302087200048 -
+302087200078 -
+302087200085 VAX/VMS - Rapcor
+302087200090 -
+302087200093 RSTS V8.0-07 - W&C System A
+302087200094 RSTS V8.0-07 - W&C System B
+302087200101 - "C@"
+302087200104 VAX/VMS -
+302087200167 Port Select PACX - Extrusion PACX 2000 "Service? "
+302087200185 RSTS V8.0-07 - Ext 11/70 EX3
+302087200196 - "Enter appropriate code for access"
+302087200197 -
+302087200211 - "V21>"
+302087200213 - "Enter appropriate code for access"
+302087200214 - "Enter appropriate code for access"
+302087200215 - "Enter appropriate code for access"
+302087200219 -
+302087200900 - "Enter appropriate code for access"
+302087200901 - "Enter appropriate code for access"
+
+
+
+D A T A P A C 302087400xxx NUA's, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 23/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+This area has not been sprinted yet.
+
+302087400099 - (CTRL-E)
+
+
+D A T A P A C 302089400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 29/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302089400014 - "User Name/Nom D'Usager?"
+302089400100 - "User Name/Nom D'Usager?"
+302089400101 - "User Name/Nom D'Usager?"
+302089400900 Outdial Port - 300 Baud
+302089400901 Outdial Port - 1200 Baud
+
+
+D A T A P A C 302090300xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 23/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302090300029 - "CHANNELS BUSY"
+302090300049 -
+302090300051 - fax
+302090300052 - fax
+302090300053 - fax
+302090300065 - fax
+302090300069 -
+302090300078 Port Select - "Enter System ID: "
+302090300095 -
+302090300104 - "Password: "
+
+
+D A T A P A C 302090500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 23/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302090500001 VAX/VMS -
+302090500021 -
+302090500026 - "Enter appropriate code for access"
+302090500027 - "Enter appropriate code for access"
+302090500028 - KARDGARD 300-C Motor Fuel Mngmnt. Site 1
+302090500029 - "Enter appropriate code for access"
+302090500030 - "Enter appropriate code for access"
+302090500031 - "Enter appropriate code for access"
+302090500900 - "Enter appropriate code for access"
+302090500901 - "Enter appropriate code for access"
+
+
+D A T A P A C 302090600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 14/05/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302090600031 - (Incompatible Dte From Telenet)
+302090600043 Port Select - "Please enter select character"
+ A - Manpower
+ IBM IST45I N - Running ACF
+ IBM IST45I T - Running ACF
+302090600044 Port Select - "Please enter select character" = 906 43
+302090600045 Port Select - "enter system id"
+ C - "PASSWORD: "
+302090600054
+302090600057 IBM - "MHP999A ENTER ACCESS PASSWORD: "
+302090600072 -
+302090600091 Gateway - Develcon Toronto
+ DATAPAC -
+ Y -
+302090600121 -
+302090600125 -
+302090600126 -
+302090600127 -
+302090600128 -
+302090600129 -
+302090600130 -
+302090600160 SIME - 'Please enter your terminal ID?'
+302090600166 -
+302090600170 fax -
+302090600173 -
+302090600178 - "FEAH enter appropriate code for access"
+302090600181 VAX/VMS -
+302090600182 Primos - PRIMENET 20.2.6 TENEX
+302090600252 - "FEAH enter appropriate code for access"
+302090600255 - "FEAH enter appropriate code for access"
+302090600901 - "FEAH enter appropriate code for access"
+302090600902 Port Select - "please enter select character" = 906 43
+
+
+
+D A T A P A C 302091600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 25/01/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302091600041
+302091600046
+302091600047
+302091600048
+302091600097 ATLAS VAX8600 UNIVERSITY OF TORONTO
+302091600124
+302091600161
+302091600169 DNM121A
+302091600181
+302091600182
+302091600183
+302091600184
+302091600185
+302091600186
+302091600187
+302091600188
+302091600189
+302091600190
+302091600192
+302091600193
+302091600194
+302091600210
+302091600212 host
+302091600221
+302091600222 PRIMENET 19.4.5 ULS
+302091600237
+302091600281 OUTDIAL
+302091600282 OUTDIAL
+302091600283 OUTDIAL
+302091600284 OUTDIAL
+302091600315 OUTDIAL
+302091600316 OUTDIAL
+302091600317 OUTDIAL
+302091600318 OUTDIAL
+302091600319 OUTDIAL
+302091600391
+302091600398 host
+302091600416
+302091600901 OUTDIAL 300 BAUD
+302091600902 OUTDIAL 1200 BAUD
+
+
+D A T A P A C 302091900xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 26/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302091900022 - Outdial Port
+302091900023 - Outdial Port
+302091900024 - Outdial Port
+302091900025 - Outdial Port
+302091900900 - Outdial Port 300 Baud
+302091900901 - Outdial Port 1200 BAUD
+
+===============================================================================
+
+ IN THE NEXT ISSUE OF GLOBE TROTTER
+ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+
+- Definatelly the last of Datapac for a while. I will release some Nua's
+ either from PSS, DATEX-P or one of the Asian Networks Not Exactly sure
+ which, so it will be a surprise.
+
+- I am planning a Guided Tour of The Realm, so it might be in the next issue,
+ in which case it will be larger then usuall. Lot of people wanted to have
+ a look around, so this is the only possible way.
+
+- Various Bits of information which I hope will come up in time
+
+Till Volume #6
+
+ Catch Ya Later
+ ----====} THE FORCE {====----
+
+From the depths of - The Realm -
+===============================================================================
+END
diff --git a/textfiles.com/magazines/GLOBETROTTER/globe6.txt b/textfiles.com/magazines/GLOBETROTTER/globe6.txt
new file mode 100644
index 00000000..ed4a5082
--- /dev/null
+++ b/textfiles.com/magazines/GLOBETROTTER/globe6.txt
@@ -0,0 +1,2211 @@
+
+<
+ - G L O B E T R O T T E R Special Edition -
++=+=+=||===============================================================||=+=+=+
++ Volume #6, File #1 Date: 14/09/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+
+TO CONTACT US:
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Germany: ALTOS altger/allth NUA: 02624xxx00x0004 Username: force
+Australia: Any Good BBS In Melbourne or The Realm
+Usa: The Forgotten Realm BBS
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+NOTE: We can now be contacted via allth, on a BBS in USA, and VIA the DIALCOM
+ network. To obtain our current DIALCOM mail ID, please contact any one
+ of either REALM, BELLCORE, or XTENSION Members.
+
+
+FROM THE EDITOR:
+
+This has been a very, very big month. A number of large hacks have been
+made including GENERAL ALEXEI LEONOV's Mail Box. (Yep, Russian Generals
+are just as stupid as ordinary people, when it comes to passwords).
+United Nations Network, as well as few I don't want to mention.
+Such A BIG month deserves a BIG issue of Globe Trotter, so here it is.
+For the first time, a four file Issue, with a look inside The Realm.
+
+Thunder has worked his magic yet again, so read about it. Looks like I should
+set up a regular feature, just for our dear friend. Ahhh you love it John don't
+you? All this lovelly publicity for you, and yes, I am going to mention
+
+ T H U N D E R C O R E. (or is it CORP)
+
+
+Catch Ya Later
+ ----====} THE FORCE {====----
+
+-------------------------------------------------------------------------------
+
+
+ I N D E X
+ ~~~~~~~~~~~~~
+R E G U L A R F E A T U R E S
+--------------------------------
+
+ - Phreaking More Technical Garbage and Backround information
+ on phreaking and the Technology behind it all.
+ Looks like Phoenix might take over this section.
+
+ - System Passwords: Primes and more Primos.
+
+ - Trix of The Trade The Cpl Touch for Privacy
+
+ - Unusual Systems Rather Odd Systems in Canada
+
+ - Hack Of The Month United Nations
+
+ - Inside Information Dialcom System 09. YES KEYLINK/MINERVA
+
+ - Network Profile: We Say Goodbye to DATAPAC and hello to MIDAS
+ AUSTRALIA.
+
+
+N O T S O R E G U L A R F E A T U R E S
+---------------------------------------------
+
+
+
+ - DNIC UPDATES Few More recently discovered Networks, including
+ one in Russia. Next month, there will be the
+ all new revised DNIC List.
+
+
+ - MICHAEL ROSENBERG The greatest enemy, the dialcom hacker has ever
+ faced. Few things and tips to survive the
+ slaughter.
+
+ - THE YEAR THAT WAS We are compiling information for a special
+ Issue, a sort of a journal of this years
+ hack and activities.
+
+ - THUNDER MAGIC I don't know how the boy does it. He's free, and
+ laughing all the way.
+
+===============================================================================
+
+
+P H R E A K I N G
+`````````````````
+
+It's all looking up. Now we have added another method, to the phreaking way
+off life, and the future is looking brighter all the time, with possible
+introduction of new services such as SPRINT to Australia. Boxing is also
+becoming a reality, and early boxing tests with 2400 & 2600 tones are
+yielding some good results. Ok, now to continue where I left off last time.
+
+FREQUENCY, BANDWIDTH AND TRANSMISSION SPEED
+
+Each transmission medium (carrier) operates on a different portion of the
+electromagnetic frequency spectrum, although various media often occupy
+overlapping frequency ranges. Open-wire pairs, for instance, use the portion
+of the spectrum between 400 and 6000 Hx, only a slice of approximately 5600 Hz.
+Microwave radio, by contrast, uses the portion of the spectrum upward between
+approximately 2000 and 12000 MHZ, or a giant slice of 10000 MHZ.
+
+When the telephone system was being developed, it was determined that the
+frequency range of between 300 and 3400 Hz or a slice of approximately 3000 Hz
+was sufficient to transmit the human voice intelligibly. A voicegrade line is
+a circuit that offers 3000 Hz nominal frequency capacity. A 3000 Hz slice can
+be taken out of anywhere on the frequency spectrum modulated, and used for
+transmission as though it were taken out of te 300 to 3400 Hz portion of the
+spectrum. Therefore 3000 Hz, normally considered the bandwidth of a voicegrade
+channel, indicates the size of the channel, rather than its location on the
+frequency spectrum.
+
+
+MULTIPLEXING
+
+Given a specific channel, the goal is to utilize it to the fullest in order to
+reduce transmission costs. In many cases, this can be accomplished by
+multiplexing. As described below, there are two types of multiplexing commonly
+used.
+
+Time-Division multiplexing can be thought of as a process in which a number of
+parallel signals are represented sequentially and transmitted on a single
+high-speed circuit. In small segment of time. each of the number of input
+signals is sampled in sequence and that sampling sequence is repeated until
+the transmission is completed. The speed of the sampling cycle is important
+because it affects the accuracy of the process. (With analog signal, the
+sampling must be at least twice as fast as the highest frequency to achieve a
+satisfactory accuracy.)
+
+In frequency-division multiplexing, a number of signals each occupies a
+different portion on wider bandwidth circui, that is, each is given a descrete,
+narrow frequency range. This is possible since most circuits have much wider
+bandwidths than those required by the voice signal. The circuit is used more
+efficiently, therefore, by spreading a number of signals over the available
+bandwidth and transmitting them simultaneously. At the receiving point, the
+signals are reducedto their original frequencies and distributed on individual
+circuits.
+
+A "concentrator" is a term used almost synonymously with "multiplexor," but the
+functions of the concentrator may also include code and speed translation
+functions. When a concentrator is used, operation of various types of remote
+terminals is "transparent" to the computer in the network.
+
+Next month will have the last part of this boaring jargon. SWITCHED FACILITIES
+and LINE FACILITIES, then we can tackle the juicy bits.
+
+-------------------------------------------------------------------------------
+
+S Y S T E M P A S S W O R D S
+```````````````````````````````
+
+Since primes are the flavour of the month, this month and every other month,
+why not go along with more of them. Ok, I must level with you. The reason
+you are being swamped with primes, is because they, apart from UNIX Systems,
+have commonly got useless accounts, that don't really lead anywhere. If you
+think I am going to make a regular habbit of leaving decent accounts in this
+section, then you are indeed dreaming. After all, it would only benefit the
+first few readers of this issue. This way, the accounts keep on living, ie
+the ones left in volume #1 are still alive, and only if you're good enough
+will you be able to take it a step further.
+
+26245221040595 PRIMENET 21.0.3 TWF_K Username: PRIME Password: PRIME
+
+26245890090831 PRIMENET 19.3.4-Z GRAF Username: TEST No password
+ Username: SYSTEM No password
+
+311061700255 primenet 20.2.6v.R8.A PBN43 Username: TEST No password
+
+
+I guess out of the above, the second with the username SYSTEM is the most fun.
+
+-------------------------------------------------------------------------------
+
+TRIX OF THE TRADE
+``````````````````
+
+Earlier on, I have told you about the use of the C_ID file, to keep away,
+unwanted people, while you're using a Prime Account. Naturally, the people
+must be very ignorant of primos in general, since there are ways around
+it. This is the same thing, only a cpl version. It will do several things.
+Each time some logs on, it will create a T$xxxx file, thus you can check
+how many people have attempted login and at what times, since the files are
+dated and stamped with the time. If your using TELENET, it is still reasonably
+easy to abort the sequence, but using a network such as MIDAS or AUSTPAC,
+has some nasty effects. THINK ABOUT THE DIFFERENCES BETWEEN THE THESE
+TWO NETWORKS AND TELENET. When we first did it, on a fresh;y engineered
+account, we though it was lost forewer and it took about 6 attempts before
+we managed to abort the sequence. arrgghhh nasty. Second version, is
+to keep away people that know about primos and have the capability to abort
+into primos and undo your efforts. Ok here is how it goes.
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+TYPE **** THE SYSTEM IS DOWN FOR HARDWARE UPGRADE, PLEASE TRY LATER ****
+&DATA LOG
+&END
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+Name this file T.CPL
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+CPL T
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+Name This File C_ID
+
+OK, that's all there is to it. When anyne logs on, they will get a message
+saying the system is down, and will be logged off.
+
+Now for the more nasty version
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+TYPE **** THE SYSTEM IS DOWN FOR HARDWARE UPGRADE, PLEASE TRY LATER ****
+&DATA COMO -N
+PASSWD
+OLDPASSWORD
+NEWPASSWORD
+NEWPASSWORD
+LOG
+&END
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+Save the above as T.CPL yet again, and have the same C_ID file.
+
+Now some explanations. COMO -N, will turn off the output to the user logging
+on, therefore he can't see what is going on. If you have a high level account,
+you will need to remove the OLDPASSWORD command. It basically changes the
+password from the old one to a new one you select, if by any chance the person
+tries to log on, he will not be able to get back in later, after he realises
+the C_ID logs him off.
+
+The last variation could be used to give you a warning when a person logs on,
+by activating a CHAT to you. There are lot more applications for modified
+versions of this program, ie. with a system managers account ie 001 on
+DIALCOM's, you can install it to prompt the user for a new password every
+20 or so logins. Save the password in his or other directory, change the
+password by using the PASSWD -LONG command so that you will be able to attach
+to his work directory as a non owner, to read his new passwords. A lot of
+accounts all ready have a C_ID file present, and even if they don't, they get
+lost in all the files in the directory. To write something like this, you
+need to know a bit about CPL, so i think I'll let you work it out for
+yourselves, since it will stop non-primos people tackling something like
+that in their early days.
+
+-------------------------------------------------------------------------------
+
+U N U S U A L S Y S T E M S
+```````````````````````````````
+
+I have been playing around with datapac a fair bit, as you may have noticed.
+And as well as a tip, I have found some very weird systems. The tip is that
+I have found some NUA's above 999 range in some areas, so if you feel game,
+you can sprint higher the 999 which i have done, since I will not bother
+with this network for quite some time.
+
+302082500532 Is the first of the weird ones. This is 3274 Controller Emulator,
+ and it looks like it may control some powerful hardware. There
+ is option to get into the manager or supervisor mode, so if you
+ have some tie, might be fun to play with.
+
+302043600902 This system is 2250 Remote Controlled Serial Test, and again,
+ it is unlike anything I have seen before. It has several
+ systems and you can access each oe, ie BERT, AUX etc, by typing
+ OPEN BERT or OPEN AUX etc. Some of the commands I have found
+ are tabulated below, but it looks lot more complex, so I am
+ sure there are more.
+
+ MAIN SYSTEM: MONITOR, STATUS, LOOP, INJECT, SELECT
+ OPEN, CLOSE, LOOK
+
+
+ BERT: HELP, HOME ABORT, CH, CM, UPDATE, L
+
+
+ I haven't played with the other systems, but there are functions
+ there to change passwords such as CH for Bert, provided you
+ know the old one. On the whole it looks like some sort of a
+ TEST/CONTROL facility for a decent size network.
+
+Other NUA's include 484 and 485 instead of 902, so it suggests it's something
+big, with three separate addresses for it.
+
+-------------------------------------------------------------------------------
+
+H A C K O F T H E M O N T H
+``````````````````````````````````
+
+System: United Nations Network
+Gateway Location: USA
+Operating System: Primos
+Date of Hack: 12/09/1988
+Hacked By: ----====} THE FORCE {====----
+
+Sample Login:
+===============================================================================
+
+ UNITED NATIONS
+ Electronic Information Network
+ Access to Other UN Networks / Acces a d'Autres Reseaux ONU
+ _____________________________________________________________
+
+* 1 UNINET - United Nations Information Network
+
+* 2 UNDRONET - UNDRO International Disaster Management Info. Net.
+
+* 3 UNET - UNICEF Electronic Information Network
+
+* 4 UNDP - UNDP Electronic Information Network
+
+
+* 98 System Level/Commands (>) / Niveau Systeme/Commandes (>)
+
+* 99 Exit / Sortie
+
+Type "INFO MORE" for more instruction.
+
+
+Enter a service code
+
+
+ ** WELCOME to DEIN :Materials in DEIN are for information purposes *
+ ** :only and are not official United Nations records*
+
+
+ CODE SERVICE
+
+* 1 ELECTRONIC MAIL - Courrier Electronique/ Communication
+* 2 PRESS RELEASES - Official UN Press Releases
+* 3 NEWS MATERIAL - UN & UN Agency News Stories
+* 4 INFO MATERIALS - U.N. Resolutions, Meetings, Libraries ...
+* 5 UN SYSTEMS - Access to other UN networks
+* 6 AUTOSEARCH - Build automatic Search Profiles
+* 7 WHO'S THERE - Directory of DEIN users
+* 8 PASSWORD - Change your PASSWORD
+* 9 SYSTEM LEVEL - (re-enter menu with >DEINMENU)
+* 0 EXIT PROGRAM - Sign Off/ SORTIE
+
+Type "INFO MORE" for more instruction.
+
+
+Enter a service code
+
+-------------------------------------------------------------------------------
+
+I N S I D E I N F O R M A T I O N
+`````````````````````````````````````
+
+This month, why Not Revive the Minerva Boom, although that's not possible, with
+the current management. Anyway, lets give Michael Something To do. All you
+people outside australia, MINERVA System 09, now called KEYLINK, can be
+accessd by: 5053200001 Locally:
+
+0220991 Type: N09MAIL-. Via Midas, it's a free call
+
+01921 TYpe ?.KEY9 Via Austpac again free call
+
+substitue the 1 for 2 3 etc for different baud speeds.
+
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+=-=-= STARNET + KEYLINK System 09 CDUxxx System Directory =-=-=
+=-=-= =-=-=
+=-=-= By: ----====} THE FORCE {====---- 07/01/88 =-=-=
+=-=-= =-=-=
+=-=-= From The Depths Of - The Realm - =-=-=
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+A.FRAMPTON 6009:CDU001 CEDU Head Office
+A.GRAHAM 6009:CDU111 Takapuna Grammar Schoo
+A.JACKSON 6009:CDU120 Waitaki Boys' High Schoo
+A.JONES 6009:CDU402 TOR Centre, Hamilton
+A.MANDER 6009:CDU416 Canterbury Ed. Centre
+A.MILNE 6009:CDU026 Clover Park Intermediat
+B.AVIS 6009:CDU106 Waitaki Girls' High School
+B.BODKIN 6009:CDU017 Invercargill North School
+B.DAVEY 6009:CDU013 Awakeri School
+B.GEORGE 6009:CDU459 Wanganui Dept. of Ed
+B.HOPKIRK 6009:CDU454 Wellington Dept. Ed
+B.LAFRANCHIE 6009:CDU104 Otorohanga College
+B.SCRIVENER 6009:CDU506 Otago CES
+B.SMITH 6009:CDU458 West Coast Resource Centr
+B.SOMERVILLE 6009:CDU450 Southland Dep. Ed.
+B.TREANOR 6009:CDU031 Balmacewen Intermediat
+B.YATES 6009:CDU033 Levin Schoo
+BRAD 6009:CDU002 CEDU Head Office
+C.GREENBANK 6009:CDU432 Wellington teachers' Colleg
+C.RUSH 6009:CDU457 Hawkes Bay Ed. Boar
+CEDU.DEMO.FOUR 6009:CDU005 Demo mailbox
+CEDU.DEMO.THREE 6009:CDU004 Demo Mailbox
+CEDU.DEMO.TWO 6009:CDU003 Demo mailbox
+D.ATMORE 6009:CDU011 NZCER
+D.BOLLI 6009:CDU006 CEDU Programmer
+D.CHAPPLE 6009:CDU455 Canterbury Dept. Ed.
+D.HISLOP 6009:CDU400 Taranaki Education Centre
+D.MCMAHON 6009:CDU453 New Plymouth Dept.of Ed.
+D.MORLAND 6009:CDU452 Auckland Dept. Ed.
+D.ROTHWELL 6009:CDU116 Tokoroa High Schoo
+E.BUUTVELD 6009:CDU024 Waimea Intermediate Schoo
+E.RIGNEY 6009:CDU025 Mamaku School
+F.BIGNELL 6009:CDU306 Patricia Avenue Special Schoo
+G.BARNETT 6009:CDU501 Hawkes Bay CES
+G.HILL 6009:CDU502 Hamilton CES
+G.JONES 6009:CDU022 Waitakaruru Schoo
+G.JORGENSON 6009:CDU032 Levin North Schoo
+G.KNOX 6009:CDU415 Lopdell Centre
+G.PRENTICE 6009:CDU021 Bay Road School
+G.RICHARDSON 6009:CDU012 Kotemaori School
+G.SCRIMGEOUR 6009:CDU125 Collingwood Area Schoo
+G.WIGZELL 6009:CDU600 Ass. Reg. Ex. Officer
+H.BERENDS 6009:CDU108 St. Kentigern College
+I.LEWIS 6009:CDU102 Orewa Colleg
+I.LINDSAY 6009:CDU023 Masterton Intermediate Schoo
+I.STEPHENSON 6009:CDU407 Whakatane Tchg. & Resource Centre
+I.SYMES 6009:CDU127 Gisborne Girls' High Schoo
+J.BROWN 6009:CDU113 Glendowie Colleg
+J.BUCHANAN 6009:CDU500 Auckland CES
+J.FERGUSON 6009:CDU010 CEDU Head Office
+J.FRANCIS 6009:CDU442 Tearaway Press Ltd
+J.GILBERTSON 6009:CDU302 Ra Huinga Centre
+J.HOFFMAN 6009:CDU601 New Plymouth Office
+J.MATHER 6009:CDU403 Wairarapa Education Centre
+J.MCKINLAY 6009:CDU123 Southland Girls' High Schoo
+J.MESS 6009:CDU406 Southland Education Centre
+K.BALLANTYNE 6009:CDU605 Northern Region Offic
+K.BENNETT 6009:CDU602 Southern Region Offic
+K.RYBA 6009:CDU441 Massey Universit
+K.SHEPPARD 6009:CDU121 Viard Colleg
+K.STEVENSON 6009:CDU451 Central Region Office
+L.MCENTEE 6009:CDU018 Mataura Primary School
+L.OLSEN 6009:CDU019 Arthur Street School
+M.DAWSON 6009:CDU101 Orewa College
+M.HAN 6009:CDU115 De La Salle Colleg
+M.LEMKE 6009:CDU504 Nelson CES
+M.NEVILLE 6009:CDU401 Auckland Education Centre
+M.OFFORD 6009:CDU304 Elmwood Visual Centr
+M.SUTHERLAND 6009:CDU456 Nelson Ed. Dept
+M.WOODS 6009:CDU008 CEDU Auckland Region
+N.BRIDGEMAN 6009:CDU507 Taranaki CES
+N.CLAYTON 6009:CDU030 High Street Schoo
+N.HARISON 6009:CDU117 Karamu High Schoo
+N.WYSE 6009:CDU604 Nelson Ed. Boar
+O.GILES 6009:CDU110 Tamatea High School
+O.SNOW 6009:CDU114 Te Kuiti High School
+P.COOK 6009:CDU028 Tweedsmuir Intermediat
+P.COOKE 6009:CDU107 Westlake Boys' High School
+P.CORBOY 6009:CDU119 Fraser High Schoo
+P.FORER 6009:CDU508 NZCES President
+P.RYAN 6009:CDU112 Kings' Colleg
+P.THOMSON 6009:CDU300 Kelston School for Deaf
+P.TOOTELL 6009:CDU122 Whakatane High Schoo
+P.VINCENT 6009:CDU007 CEDU Head Office
+PAUL.FERRIS 6009:CDU029 Rosedale Intermediate Schoo
+PETER.FERRIS 6009:CDU027 Whangara Schoo
+R.BULLARD 6009:CDU503 Central Districts CES
+R.BUTLER 6009:CDU109 Waiopehu College
+R.CAPENERHURST 6009:CDU118 Wanganui Girls' College
+R.GREEN 6009:CDU128 New Plymouth Boys' High Schoo
+R.LAYTON 6009:CDU016 Hamilton Teachers' College
+R.MANDER 6009:CDU440 Auckland Univ. Dept. of Ed.
+R.MCCULLUM 6009:CDU034 Ruakak
+R.MCLAUGHLAN 6009:CDU103 Francis Douglas College
+R.PEARCY 6009:CDU015 Irongate School
+R.POLSON 6009:CDU505 NZCES Secretary
+R.SKINNER 6009:CDU404 Nelson Education Centre
+R.TYSON 6009:CDU020 Stanley School
+R.WIN 6009:CDU105 Rangitikei College
+S.BARTLETT 6009:CDU303 Van Asch Colleg
+S.SAWTELL 6009:CDU126 Kaikorai Valley High Schoo
+T.HUNT 6009:CDU430 Auckland CAE
+T.MACKRELL 6009:CDU014 Wairoa College
+T.MCMAHON 6009:CDU009 CEDU Head Office
+TONY.HUNT 6009:CDU509 NZCES Magazin
+V.DEMPSTER 6009:CDU100 Mahurangi College
+V.HAM 6009:CDU431 Ch.Ch. Teachers' College
+V.LEONARD 6009:CDU305 Kelston School for the Dea
+Y.IMRIE 6009:CDU405 Central Otago Ed. Centre
+
+-------------------------------------------------------------------------------
+
+D N I C U P D A T E
+```````````````````````
+
+Well, the trend is certainly continuing. There are more and more networks.
+The entire world, including third world and eastern block countries are
+becoming computerised, so our playground is growing by the minute.
+
+This month, some new networks, including RUSSIA, yes the RUSKIES have
+taken the plunge and have a X25 link access from austria. Now the fun
+really starts.
+
+Now for a summary of new networks, or recently discovered ones.
+
+COUNTRY NETWORK DNIC
+=======================================================
+
+CHILE ENTEL 3104 node 2713
+COSTA RICA RACSAPAC 7122
+EGYPT ARENTO 6020
+FRANCE TRANSPAC-PTSN 9330-9339
+GREENLAND KUNUPAX 2901
+GUAN PACNET 5351
+GUATEMALA GUATEL 7043
+ISRAEL IMPACS 3104
+JAPAN NISNET/PEGASUS 4406
+MAURITIUS MAURIDATA 6170 & 6171
+NETH. ANTILLES - 3620
+QUATAR DOHPAC 4271
+TORTOLA S&W 3483
+TUNISIA RED25 6050
+TURKS & CAICOS C&W 3763
+URUGUAY - 7482
+USSR IASNET 2502
+
+
+That's it for this issue. Next one will have the complete file, which is a
+great reference. The one first released is now out of date and has at least
+fifty networks missing.
+
+-------------------------------------------------------------------------------
+
+M I C H A E L R O S E N B E R G
+``````````````````````````````````
+
+Ahh yes michael what makes him tick. Well first of all, he really loves
+his job. Busting our asses on Keylink, HACKING OUR ACCOUNTS ON ALTOS
+AND ABUSING OTHER PEOPLE FROM THEM, are just some of his little joys in
+life, second only to self masturbation. Like him or hate him, he is the
+source of most of our problems. Soon after graduating from a computer
+course, he joined OTC, and being smarter then the ordinary OTC dickhead,
+cleaned up the act for them pretty well. I must admit it's a pretty good
+effort, considering he has been with KEYLINK for around a year or less.
+I know most of you hate his guts rather bad, but I can't help liking the
+guy. He provides a mental challenge, and he's quite fun to play with.
+I am still trying to convert him into a hacker every time I get a chance,
+so he might even be a great asset, although it doesn't look likely.
+
+Few pieces of information. Anyone using KEYLINK, would know, that michael
+can link other accounts you have hacked, to the one he caught you on. As
+a result you loose all your accounts. Now the only way I can think off,
+this can be done, is if there is a log kept from which port, either from
+austpac or midas you logged on to. If there is a record, of other accounts
+being connected to, by the same person on the same connection, he can link
+it together. When I raised this idea with him, he denied it, but there is
+nothing else it can be. At least no easy way, and I doubt they would install
+complicated algorythms to work something like this out.
+
+To survive on KEYLINK: - NEVER HACK a SUPPLY OF ACCOUNTS, always have one,
+ or a maximum of two and hack a fresh one when it dies.
+
+ - Never Use the ON ABCXXX PASSWORD Command if you can
+ help it.
+
+ - DISCONNECT THE LINE and redial, before logging on to
+ another account.
+
+ - Don't connect to Altos, not directly anyway. Remember
+ it's keylink which kills 99% of all accounts.
+
+ - Choose your times of use carefully, and learn the
+ operators habbits. Try not repeat certain patters,
+ which would identify you, and remember be prepared
+ to loose any account you log on to using netlink.
+
+Now if you plan on using KEYLINK, how about giving OTC a call first and see
+if Michael Rosenberg is in. If not, there is the chance he has logged on
+from remote, but it will help. Now if you want to talk to the man, try:
+
+ 02-287-5000 or 02-287-4437
+
+Hope it helps Have fun. Next month, I guess few words about Stuart Gill,
+one of the greatest CONN artists of our time. He made his fortune,
+terorrising the Computer Industry by scaring them shitless.
+-------------------------------------------------------------------------------
+
+THE YEAR THAT WAS
+=================
+
+We are preparing a special issue for Globe Trotter, to be released in about
+three months time. It will be a cronicle of this years hacking. A look at
+the year in summary. We need your help with the research. If you have
+hacked any systems this year and you can tell us about it, I would like to
+hear from you, and possibly just get the details or a sample login. Even a
+simple count of VAX's UNIX's etc hacked would help. It should be an impressive
+list, since a decent hacker can easilly hack several hundered accounts in a
+a year. Anyway, if you have any info for me, let me know, and state whether
+you want credit for the hacks, if mailing a file.
+
+-------------------------------------------------------------------------------
+
+
+T H U N D E R M A G I C
+````````````````````````````
+
+The court case which took place last month, certainly did not live up to
+expectations, although the feds had a great day playing SPOT THE HACKER,
+among the crowds. Over the past few issues there has been a great build
+up towards this event, which a lot of you saw as a great anti climax.
+YES, THUNDER HAS WORKED HIS MAGIC, and is a free man, although with a
+police record or two. He pleaded guilty to stealing a rubber stamp, and not
+guilty to other charges. Resisting arest, defrauding $13000 or so dollars
+and he gets away with 200 hours of community work. You may be pleased to
+know that his first few hours were spent varnishing a chair.
+Here is the punch line. Thunder is starting up THUNDER CORE, a computer
+security Consultancy. He has been seen on TV, trying to plug the company. I
+guess you have to ask yourself a question. WOULD YOU TRUST HIM WITH YOUR
+SYSTEM SECURITY?
+
+The concept of Hacker terning Security Consultant is not new, in fact seems
+like every second person I know has some plans to start up such a business
+in the future. Ahh well, that's life.
+
+So, what impact has thunder made? Well:
+
+ - We all think the same of Dear John.
+ - Feds got severelly pissed off and will try harder next time.
+ - CC Fraud has taken off like a rocket. There are now more CARDERS then
+ HACKERS and PHREAKS. Although Note!!!!!!! Most Carders are NOT
+ I stress NOT HACKERS, although that won't stop the media linking the
+ two together.
+ - It proves what an ASS the Law is.
+
+Anyway, that's about all. KEEP UP THE GOOD WORK JOHN, At least I have
+something to write about.
+
+-------------------------------------------------------------------------------
+END
+
+ - G L O B E T R O T T E R -
++=+=+=||===============================================================||=+=+=+
++ Volume #6, File #2 Date: 14/09/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+
+Ok, first of all for this months Network, MIDAS 5053, followed by the some
+more DATAPAC 3020 Areas.
+
+NETWORK PROFILE: M I D A S - O T C D A T A A C C E S S
+```````````````````````````````````````````````````````````````````
+
+NOTE: MIDAS is now refered to as OTC DATA ACCESS. No idea why they changed
+ the name.
+
+Dnic: 5053
+Location: AUSTRALIA
+Owners: OTC - Overseas Telecommunications Company (Government)
+Host Responce: Excelent
+Network Rating: Good
+Nua Structure: 5053 2 00000 00
+
+
+NOTES: MIDAS has got very good security. NUI's have a certain Limit, which
+ when exhausted, terminates the NUI. It's a very good network, a lot
+ faster going directly, rather then via AUSTPAC.
+
+ NUI's are six digit alpha-numeric strings.
+
+
+GENERAL INFORMATION:
+
+THE REALM NETWORK DBASE By: ----====} THE FORCE {====---- 26/06/88
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Dnic: 5053 Network: DATA ACCESS/MIDAS Country:AUSTRALIA Last Update:26/06/88
+
+
+SERVICE NAME: OTC DATA ACCESS (International Gateway services offered by OTC)
+
+ACCESS/SPEEDS SUPPORTED: Public Dial-In Service at 110-300, 1200, and
+ 1200/75 bps
+ Private Dial-In Access up to 1200 bps
+ Asynchronous Leased Line Service at 300 and 1200 bps
+ X.25 Leased Line Service at 2400, 4800, 9600 bps and 48 kbps
+
+PROTOCOLS SUPPORTED: X.25 asynchronous terminal interface
+
+GATEWAY LOCATION: Sydney
+
+ACCESS POINTS: Sydney (local access) Toll-free access from any city
+
+CONTACT:
+
+ OTC DATA ACCESS
+ ---------------
+ Mr. Gary Chapple
+ Product Manager, OTC Data Access
+ Overseas Telecommunications Commission
+ 32-36 Martin Place
+ Sydney NSW 2000
+ Australia
+
+ Telephone: (612) 287-5062
+ Telex: (790) 120591 AA
+
+ Trouble Reporting/Customer Service:
+ Shift Supervisor, IDTC Broadway
+ Sydney
+ Telephone: (612) 218-4825
+ Telex: (790) 01051 AA
+ Packet: 5053210000
+
+ Escalation of Problems: Packet Switching
+ Operations Manager
+ Telephone: (612) 230-5123
+ Telex: (790) 120591 AA
+
+ Test Hosts on OTC Data Access Network: 5053210001 - Echo Host
+ 5053210002 - Drop Host
+ 5053210003 - Message Host
+
+OTC DATA ACCESS DIAL-IN ACCESS PROCEDURES:
+
+OTC DATA ACCESS Telephone Access Numbers
+
+1. If your terminal operates in the range 110 bps-300 bps, you
+ should dial the telephone number (Sydney) 20991.
+
+2. If your terminal operates at 1200 bps, you should dial the
+ telephone number (Sydney) 20992.
+
+3. If your terminal operates in the range 1200 bps receive and
+ 75 bps transmit (for example Prestel), you should dial the
+ telephone number (Sydney) 20993.
+
+4. These telephone numbers are toll-free throughout Australia.
+
+Making a Direct OTC DATA ACCESS Call to an International Destination
+
+1. Make sure that your communications terminal is switched on and
+ in the full duplex, upper case, ASCII mode.
+
+2. Dial the appropriate OTC DATA ACCESS access number. After several
+ telephone rings, you will receive a high-pitched answer tone of
+ 3 to 4 seconds duration.
+
+3. Connect your terminal to the telephone line by either:
+ (a) depressing the DATA button on the data phone or terminal,
+ or
+ (b) placing the telephone handset firmly in the acoustic coupler.
+
+5. OTC DATA ACCESS will respond with:
+
+ WELCOME TO DATA ACCESS
+ XXXXX (where XXXXX is the OTC DATA ACCESS port identification
+ number)
+
+6. On receipt of the * prompt, enter N followed by your OTC DATA
+ ACCESS NUI followed by a - (dash) and 0 (zero) with the Host Address
+ followed by a Carriage Return.
+ For example: NABC123 - 0311012345678
+ | |
+ NUI Host Address
+ (Password)
+ Note: Your NUI is not printed.
+
+7. OTC DATA ACCESS will respond when the call is connected with:
+ 0311012345678 (where 0311012345678 is the called address)
+ COM
+
+8. After you have completed your work session, sign off from your
+ host according to the procedures set by the host.
+
+9. OTC DATA ACCESS acknowledges your request to terminate your call by:
+ MIDAS
+ XXXXX (where XXXXX is the MIDAS port identification number)
+ CLR PAD
+ *
+
+10. On receipt of the * prompt you may then log into another host
+ or terminate your call.
+
+Logging In Errors
+
+1. If you incorrectly enter your NUI (Network User Identifier), OTC
+ DATA ACCESS will respond with:
+ CLR ERR
+ Errors of this nature may result in automatic disconnection from
+ OTC DATA ACCESS. If this occurs, you should hang-up your telephone,
+ check your procedures and dial again.
+
+2. If you enter an invalid Host Address Number, OTC DATA ACCESS will
+ respond with a clear message and return to the * prompt. You may
+ then try again.
+
+===============================================================================
+
+Ok, now for some NUA's
+
+M I D A S 50532000xx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Last Updated: 22/02/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+5053200000 Primos - Dialcom System 07 - Keylink
+5053200001 Primos - Dialcom System 09 - Keylink
+5053200018 -
+5053200022 -
+5053200024 -
+5053200026 -
+5053200027 -
+5053200028 -
+5053200034 -
+5053200044 -
+505320004800 -
+505320004900 -
+5053200050 Primos - Dialcom System 08 - Minerva
+5053200056 -
+5053200060 Primos - Dialcom System 09 - Starnet
+505320006100 VAX/VMS -
+505320006200 VAX/VMS -
+5053200069 Unix -
+505320007700 -
+5053210000 Test Nua - "JKLMN"
+5053210001 Test Nua - Midas Echo
+5053210002 Test Nua - Midas Drop
+5053210003 Test Nua - OTC Australia Midas test Message
+5053210106 -
+505321010700 -
+5053210108 Test Nua - Reference System, (type CTRL-Z)
+505321010900 Gateway - Motorola Pad
+5053210111 -
+5053222100 Primos 20.1J - PRIMENET 20.1J SYDPN1
+505322210002 Primos 21.0.0 - PRIMENET 21.0.0 SYDPN2
+5053222101 Port Select - DCX
+ 3.0, 25.0, 25.3, 25.5
+ 5.0 - "Login Supervisor Monitor"
+ 8.0, 10.0 15.0 - "Login Code"
+ 3.1, 3.4, 25.4 - OCC
+5053222105 -
+5053210107 -
+5053222109 - MEDUSA
+5053222110 Gateway - Maynet
+5053222113 Primos 19.4_7A - PRIMENET 19.4_7A SYDNEY
+5053222130 Unix - SYD1
+505322213300 - "V: A - IDLE"
+505322213400 - "V: A - IDLE"
+505322213500 - "V: A - IDLE"
+5053222137 -
+505322213900 Unix - Motorola PAD
+505322214000 Port Select - "SERVICE ID= "
+5053222148 -
+5053232010 Primos - Prime
+5053232050 -
+5053232070 -
+5053232100 Primos 20.2.4.LP - PRIMENET 20.2.4.LP AUSRD1
+505323210001 Primos 21.0.1 - PRIMENET 21.0.1 AUSRD4
+505323210008 Primos 20.2.2 - PRIMENET 20.2.2 AUSRD8
+505323210009 Primos 21.0.1 - PRIMENET 21.0.1 AUSRD9
+
+-------------------------------------------------------------------------------
+
+Ok, there you have it. Like a breath of fresh air. Anyway, back to Datapac.
+
+D A T A P A C 302035400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON NET System 41
+
+302035400011 - "Password: "
+302035400038 -
+
+
+D A T A P A C 302040100xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECOM NET System 4
+1
+
+302040100010 Port Select - "Please enter select character"
+302040100012 Port Select Gandalf - CRB PAX2000
+302040100015 -
+302040100016 fax -
+302040100043
+302040100044
+302040100046 Gandalf XMUS - "Password> "
+302040100071 VAX/VMS -
+302040100073
+302040100079 Port Select - "please enter select character"
+302040100152 Port Select - "enter appropriate code for access"
+302040100176 - Redfern's Computer Complex
+302040100241 Port Select - "enter appropriate code for access"
+302040100242 Port Select - "enter appropriate code for access"
+302040100243 Port Select - "enter appropriate code for access"
+302040100244 Port Select - "enter appropriate code for access"
+302040100245 Port Select - "enter appropriate code for access"
+302040100246 Port Select - "enter appropriate code for access"
+302040100266 Port Select - "please enter select character"
+302040100267 Port Select - "please enter select character"
+302040100314 Port Select - Network Control
+302040100322 Port Select - "please enter select charcter"
+302040100334 Port Select - "enter appropriate code for access"
+302040100341 -
+302040100343 - "PORT= $X25L00"
+302040100347 - "PORT= $X25H00
+302040100349 Port Select - "please enter select character"
+302040100350 Port Select - "please enter select character"
+302040100351 Port Select - "please enter select character"
+302040100353 Port Select - "please enter select character"
+302040100354 Port Select - "please enter select character"
+302040100355 Port Select - "enter appropriate code for access"
+302040100377 -
+302040100378 -
+302040100410 Port Select - "enter appropriate code for access"
+302040100411 Port Select - "enter appropriate code for access"
+302040100412 Port Select - "enter appropriate code for access"
+302040100413 Port Select - "enter appropriate code for access"
+302040100419 -
+302040100420
+302040100422
+302040100424
+302040100428
+302040100475 Port Select - "enter appropriate code for access"
+302040100477
+302040100480
+302040100486 VAX/VMS V4.5 - Ault Foods
+302040100487 VAX/VMS -
+302040100499 Port Select - Network Control
+302040100900 Port Select - "enter appropriate code for access"
+302040100901 Port Select - "please enter select character"
+302040100902 Port Select - "please enter select character"
+
+
+D A T A P A C 302043600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON NET System 41
+
+302043600004 -
+302043600005 -
+302043600020 -
+302043600074 -
+302043600075 -
+302043600076 -
+302043600077 -
+302043600078 -
+302043600082 - (CTRL-E) "89400900"
+302043600083 -
+302043600084 -
+302043600085 -
+302043600086 -
+302043600087 -
+302043600089 -
+302043600090 -
+302043600091 -
+302043600092 -
+302043600093 -
+302043600094 -
+302043600095 -
+302043600100 -
+302043600103 -
+302043600105 -
+302043600107 Sime -
+302043600139 -
+302043600141 -
+302043600143 -
+302043600144 -
+302043600149 -
+302043600156 -
+302043600157 -
+302043600170 Gandalf XMUS - "Password> "
+302043600173 -
+302043600192 -
+302043600201 -
+302043600204 -
+302043600226 -
+302043600229 -
+302043600239 -
+302043600255 - CICS 1.7
+302043600274 -
+302043600276 -
+302043600327 -
+302043600328 Primos 21.0.3 - PRIMENET 21.0.3 CL.GAT
+302043600334 IBM IDC/370 - DMKLOG050E
+302043600335 -
+302043600352 -
+302043600367 -
+302043600371 -
+302043600372 -
+302043600388 - "Please emter your Account name"
+302043600410 fax -
+302043600411 fax -
+302043600459 fax -
+302043600460 -
+302043600468 IBM - DNM156I
+302043600479 -
+302043600481 -
+302043600484 - 2250 Remote Controlled Serial Test Set
+302043600485 - 2250 Remote Controlled Serial test Set
+302043600491 -
+302043600494 -
+302043600495 -
+302043600541 -
+302043600902 - 2250 Remote Controlled Serial Test
+
+
+D A T A P A C 302053600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302053600001 - TSX-PLUS Vers 6.15
+302053600034 -
+302053600035 -
+302053600042 VAX/VMS V4.6 11/785 - Canadian MArconi
+302053600057 -
+302053600105 Port Select - "SYSTEM ID= "
+302053600133 -
+302053600150 VAX/VMS -
+302053600188 -
+302053600219 - Montreal Investments
+302053600222 -
+302053600241 Port Select - "enter system id"
+302053600272 -
+302053600273
+302053600324
+302053600331
+302053600337 - "CHANNELS BUSY"
+302053600351
+302053600378
+302053600381
+302053600433
+302053600434
+302053600436 - Journal De Montreal
+302053600475 Port Select Gandalf - "Password> "
+
+
+D A T A P A C 302056600xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON NET System 41
+
+302056600010 -
+302056600012 - "CONNECT: 120 00 001"
+302056600019 Port Select - "please enter select character"
+302056600021 Port Select - "please enter select character"
+302056600023 -
+302056600024 -
+302056600044 Gandalf XMUS - "Password> "
+302056600058 - 5251 Terminal Emulator v1.27v1
+302056600067 Port Select - "SERVICE ID= "
+302056600076 - (CTRL-E) "nhlmtl"
+302056600079 - CERVEAN Service Research inc
+302056600098 fax -
+302056600103 -
+302056600110 -
+302056600114 Gandalf XMUS - "Password> "
+302056600142 IBM - DMKCFC015E
+302056600150 VAX/VMS V4.7 Micro - Les Aliments Ault - Montreal System A
+302056600222 fax -
+302056600260 -
+302056600346 fax -
+302056600362 -
+302056600365 Port Select - "enter system selection identifier"
+302056600380 VAX/VMS 11/730 - Imperial Tobacco Ltee (St-Laurent)
+302056600381 VAX/VMS - MTL750
+302056600511 -
+302056600544 Port Select - "SERVICE ID= "
+302056600580 VAX/VMS V4.7 Micro - C.R.I.M. System Al Capone MicroVax II
+302056600590 -
+302056600596 Port Select - "SERVICE ID= "
+302056600597 -
+302056600900 Port Select - "please enter select character"
+
+
+D A T A P A C 302057500xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302057500017 - C N TRACS MTL
+302057500047 - (CTRL-E Displays NUA)
+302057500048 - (CTRL-E Displays NUA)
+302057500067 -
+302057500070 -
+302057500111 Port Select Gandalf - "Password> "
+302057500143 -
+302057500144
+302057500146
+302057500151
+302057500195 - (CTRL-E) EXTEL TEST
+302057500261 IBM - DMKCFC015E
+302057500269 IBM - DMKCFC015E
+302057500385 -
+302057500456 -
+302057500480 Port Select - "SERVICE ID= "
+
+
+D A T A P A C 302062700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON NET System 4
+1
+302062700001 fax -
+302062700002 fax -
+302062700003 - "C@"
+302062700026 VAX/VMS - ACDM4
+302062700027 VAX/VMS - ACDM2
+302062700029 fax -
+302062700035 VAX/VMS - Lafarge Construction MAterials - Alberta
+302062700041 - "F3 CALGARY LOG-ON: "
+302062700097 DG AOS/VS - CANFOR CALGARY
+302062700099 fax -
+302062700117 -
+302062700149 Gandalf XMUS - "Password> "
+302062700151 VAX/VMS -
+302062700156 fax -
+302062700157 -
+302062700900 fax -
+
+
+D A T A P A C 302077300xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 13/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECOM NET System 41
+
+
+302077300021 - "TU"
+302077300061 -
+302077300074 -
+302077300077 Port Select - "SERVICE ID= "
+302077300078 -
+302077300079 -
+302077300082 -
+302077300083 -
+
+
+D A T A P A C 302087400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date: 13/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON Net System 41
+
+302087400006 IBM -
+302087400013 Primos 21.0.2S.R15 - PRIMENET 21.0.2S.R15 CANADA
+302087400019 -
+302087400023 - Aviation Briefing System
+302087400025 VAX/VMS V4.7 Micro -
+302087400041 Unix -
+302087400090 -
+302087400098 -
+302087400099 - (CTRL-E)
+302087400116 -
+302087400120
+302087400134 - "User: "
+302087400900 VAX/VMS -
+
+
+D A T A P A C 302091900xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - 26/12/1987
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302091900022 - Outdial Port
+302091900023 - Outdial Port
+302091900024 - Outdial Port
+302091900025 - Outdial Port
+302091900900 - Outdial Port 300 Baud
+302091900901 - Outdial Port 1200 BAUD
+
+D A T A P A C 302092400xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Date Sprinted: 14/09/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+ Scanned on PRIMECON NET System 41
+
+302092400050 -
+302092400079 RSTS V9.2-2088 -
+
+
+D A T A P A C 302093800xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From the depths of - THE REALM - Sprinted: 20/07/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+
+302093800114 Gandalf SAM 24S -
+302093800140 Gandalf Smus - "Password> "
+302093800146 Port Select - "SERVICE ID= "
+302093800157 -
+302093800164 -
+302093800183 - SWIFT Adhesives / Winnipeg
+302093800218 -
+302093800260 -
+302093800271 VAX/VMS -
+302093800290 Primos 19.4.11 - PRIMENET 19.4.11 NOPS.C
+302093800298 -
+302093800324 VAX/VMS - Freshwater Institute Node WPGRED
+302093800329 VAX/VMS V4.5 - MicroVMS
+302093800330 Port Select - "SERVICE ID= "
+302093800354 Primos 20.2.2 - PRIMENET 20.2.2 MAYWPG
+302093800357 Port Select - "SERVICE ID= "
+302093800393 VAX/VMS -
+302093800300 -
+302093800301 -
+302093800405 -
+302093800409 -
+302093800418 Primos 20.1.2 - PRIMENET 20.1.2 PCSS
+302093800433 - (Incompatible DTE Call From Telenet)
+302093800443 Honeywell -
+302093800465 - CN TRACS MTL
+302093800466 - CN TRACS MTL
+302093800467 - CN TRACS MTL
+302093800468 - CN TRACS MTL
+302093800469 - CN TRACS MTL
+302093800846 -
+302093800876 -
+302093800901 - CN TRACS MTL
+302093800902 IBM CIS - DFH3506I
+
+D A T A P A C 302095700xxx Sprint, By: ---===} THE FORCE {===---
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+From The depths of - THE REALM - Last Updated: 06/01/1988
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+
+302095700157 VAX/VMS -
+302095700161 -
+302095700163 fax -
+302095700179 VAX/VMS V4.6 - Micro Vms
+302095700194 - Compusearch Toronto
+302095700200 fax -
+302095700201 fax -
+302095700202 fax -
+302095700203 fax -
+302095700227 Port Select - "SERVICE ID= "
+302095700901 -
+
+===============================================================================
+ T H E E N D
+===============================================================================
+
+Well, I hope you have enjoyed, this issue of Globe Trotter, however it
+doesn't end here just yet. There is a Special Issue Volume 6.3 and 6.4.
+These two files deal with The Realm, and are not a part of this issue.
+The files are available on request to approved people, so if you have a copy,
+please do not distribute them, without our permission.
+
+The numbers of dedicated hackers are still falling, however the quality of
+hacking is improving all the time. Could be that the two factors are related.
+Interesting concept. Anyway, in volume #7, hmmmmm it will inclume:
+
+ - GLOBAL TELECOMMUNICATIONS INC & DIALNET Information
+
+ - Revised List of DNICS
+
+ - A Profile on DATEX-P, with possibly some more of DATAPAC thrown in hehe.
+
+ - Hopefully some more interesting bits, which I have yet to think off.
+ This is becoming a mental strain, and without some decent contributions,
+ Globe Trotter will not survive past Volume #10. HINT!
+
+===============================================================================
+ - G L O B E T R O T T E R Special Edition -
++=+=+=||===============================================================||=+=+=+
++ Volume #6, File #3 Date: 14/09/1988 +
++ +
++ +
++ Written By: ----====} THE FORCE {====---- From The depths of THE REALM +
++=+=+=||:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::||=+=+=+
+ (C) - Copyright 88 The Realm
+
+
+I N S I D E T H E R E A L M
+==================================
+
+A lot of people have asked for a guided tour of The Realm, So this is about
+the best I can do. The Following is very close to the real thing, although
+it has been edited to remove variouse sensitive sections. I hope you will
+enjoy your tour, and remember we are always looking for good people to join
+our society.
+
+
+REALM STATISTICS
+~~~~~~~~~~~~~~~~
+
+THE REALM: BBS and DBASE System, Origins AUSTRALIA
+
+SYSOP: ----====} THE FORCE {====----
+
+COSYSOPS: Anyone With Access higher then DEIMOS, ie all Realm Members
+
+LOCATION: Various, the Board travels around a lot, and is often running
+ on systems outside Australia.
+
+SECURITY: Highly Restricted Access, Currently 6 Realm and 10 Deimos Members.
+ Extensive Data Encryption Used on all Files and Programs.
+
+FUNCTION: Main Purpouse is to Store, Exchange Information and Co-ordinate
+ Hacking efforts.
+
+ACCESS: Deimos Access can be authorised by any Realm Member, Acceptance
+ to The Realm depends on Ability and worth to the Society.
+
+-------------------------------------------------------------------------------
+
+! NOTE: Any comments Will be marked As Such '! text............'
+
+! Deimos is the second highest system in the realm series. There are a number
+! of others such as Orastus, and ITT GlobeNet II, the second of which operates
+! on the International Dialcom Network, and is used for information exchange
+! on international levels. It stores the current Globe Trotter Releases, thus
+! anyone requiring access, can contact me. GlobeNet I used to run on BT GOLD
+! GlubeNet II is currently operationg on PRIMECON Net. System 41. GlobeNet III
+! Is planned for either GOLDNET in Israel, or Telebox in Germany.
+! For security all Systems are separate and located at different locations.
+! The Software for Deimos and Realm Are identical, with Deimos being the more
+! primitive and harmless version.
+
+
+Name: THE FORCE Last On: 12/08/88 15:00:47 Level: Realm
+
+
+Searching for Mail.....
+
+NEWSFLASH: Due to new security, when you log in and files are in Crypt, you
+ will need to get me to reset the passwords. Sorry about this!
+
+There is a New section SYSTEM NEWS, please read it at least once a week!
+
+
+Main: Command> ?
+
+ ----+ D E I M O S +----
+ -------------------------------------------
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+ - Deimos - Help - Unix Files - Hacking Files
+ - Data Nets - Chat - Vax Files - Phreak Files
+ - Phone Dir - Log Off - General Info - Doc Files
+ - Email - Xfer/Ae - Archives - Globe Trotter
+ - User List - Telenet - Dialcom/Prime - Telenet Sys
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+! I will not explain Deimos, since everything will be described in the Realm.
+! Speaking of which, here is the Main Menu.
+
+ ----+ T H E R E A L M +----
+ -------------------------------------------
+
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+ - The Realm - Master Dbase - Log Off - Archives
+ - Deimos - Phone Dirctry - Sysop Utils - Globe Trotter
+ - Email - Nua Dbase - Chat - Hacking Files
+ - Telenet Sys - Remote Dos - General Info
+ - Xfer AE - User List - Dialcom/Prime
+<#> - Disk Access - Defcon 1 <%> - Term. Config - Vax Files
+<*> - File Search - Locator - This Page - Unix Files
+ - Documentation
+<0> - Accounts <3> - Info Systems <6> - System News - Inside Info
+<1> - Datapac O/D <4> - Dnics <7> - Melb BBS - Phreak Files
+<2> - Dialcom Dir <5> - Chat Systems <8> - Extrnl Archivs - Articles
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+! - Is a message Boards for Realm Members
+! - Deimos is a link to the Deimos System, although often not Available,
+! depending on the hardware and set up used at any one time.
+! <#> - Allowes access to all files on all storage devices, in case they are
+! not accessible via the main software.
+! <*> - Will scan a particular Device for a Given String and return the
+! name and location of the files containing it.
+! - Telenet Systems, was originally software written for the (Now Dead)
+! telenet back door. It simulates the login of about 1000+ Systems
+! on telenet almost perfectly.
+! - Defcon 1, is the last in the defcon series. It's predecessors being
+! DEFCON 4 - DEFCON 2, some of which appear on other boards. It is a
+! self contained hacking program, which controlls the operation of the
+! system. It can be programmed by the users, so that inbetween callers,
+! it can hack systems, scan Nua's etc. It hacks on it's own for few
+! minutes, then waits for a while for an incomming caller and either
+! starts the board running or continues to hack etc. If more than one
+! line is available, it runs on its own 24 hrs a day.
+! - Gives Access to the Operationg system and may vary depending of the
+! type of system used at the time.
+!
+! THE REST IS EITHER SELF EXPLANATORY, OR A DETAILED DEMO IS ABOUT TO FOLLOW
+
+
+! -NUA DBASE
+! ==============
+
+! This is my personal baby, and my pride and joy. The aim is to map out as
+! many networks as possible. This is what it looks like.
+
+
+Command> N
+
+
+T H E R E A L M N U A D A T A B A S E Last Update: 13/08/88
+~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+The Following is my Baby and I'll try to keep it as accurate as possible. Any
+new NUA's you come across, please let me know. ----====} THE FORCE {====----
+
+Enter One of The DNIC's or NETWORK NAMES Below. If the Networks Data Base is
+activated you will get full information on the network before the NUA DBASE
+is searched. You can also type the country name when the module is active.
+
+
+DATE: Contains First Date Of Network Exploration
+UPDATE: Contains The Last Date on Which modifications have been done.
+SPRINTED ON: The System or Network From Which the Sprint has been Done.
+
+DNIC NETWORK NAME COUNTRY SPRINTED ON DATE UPDATED
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+2041 DATANET 1 NETHERLANDS Minerva 20/12/87 13/08/88
+2062 DCS BELGIUM Telenet 23/05/88 13/08/88
+2080 TRANSPAC FRANCE Minerva 05/04/87
+2284 TELEPAC SWITZERLAND Minerva 20/12/87 23/05/88
+2322 DATEX-P AUSTRIA Telenet 01/05/88 13/08/88
+2329 RADAUS AUSTRIA Telenet 23/05/88
+2342 PSS UK Minerva 09/01/87 25/02/88
+2382 DATAPAK DENMARK Telenet 23/05/88
+2402 DATAPAK SWEDEN Telenet 14/05/88
+2405 TELEPAK SWEDEN Datex-p ??/??/??
+2442 FINPAK FINLAND Telenet 23/05/88
+2624 DATEX-P WEST GERMANY Minerva 01/02/87 13/08/88
+2704 LUXPAC LUSEMBOURG Telenet 23/05/88
+2724 EIRPAK IRELAND Minerva 09/02/88
+3020 DATAPAC CANADA Minerva/Telenet 09/01/87 13/08/88
+3028 INFOGRAM CANADA Primecon 41 23/02/88
+3103 ITT/UDTS USA Minerva 22/02/88
+3106 TYMNET USA Minerva ??/??/85
+3110 TELENET USA Minerva/Telenet ??/??/85 14/05/88
+3340 TELEPAC MEXICO Telenet 23/05/88
+3400 UDTS-CURACAU CURACAU Telenet 23/05/88
+4251 ISRANET ISRAEL Minerva/Austpac 25/02/88
+4401 DDX-P JAPAN Minerva 01/04/87
+4408 VENUS-P JAPAN Minerva 29/12/87
+4501 DACOM-NET SOUTH KOREA Telenet 23/05/88
+4542 INTELPAK HONG KONG Minerva 23/02/88
+4545 DATAPAK HONG KONG Telenet 23/05/88 13/05/88
+5052 AUSTPAC AUSTRALIA Austpac ??/??/84 01/05/88
+5053 MIDAS AUSTRALIA Minerva 22/02/88
+5252 TELEPAC SINGAPORE Minerva 23/02/88
+5301 PACNET NEW ZEALAND Minerva 22/02/88
+6550 SAPONET SOUTH AFRICA Minerva 20/12/87
+7240 INTERDATA BRAZIL Minerva 25/02/88 01/05/88
+7241 RENPAC BRAZIL Telenet 01/05/88
+7421 DOMPAC FRENCH GUIANA Telenet 23/05/88
+9000 DIALNET USA Primecon 41 29/01/87
+
+! Now Typing Any one of the Above DNICS will give you a sub menu, with the
+! Files Available. The Files Are Almost Identical to the ones you find in
+! Globe Trotter, but separated into individual Areas.
+! Lets Try Telenet for Example Then, Datex-P
+
+Main: Command> 3110
+
+Which area for list: ?
+
+AREAS CURRENTLY IN DBASE
+
+201, 202, 203, 212, 213, 214, 215, 216, 217, 218, 219, 222, 223, 224, 229
+301, 303, 305, 312, 313, 314, 315, 317, 321
+401, 402, 403, 404, 405, 406, 408, 409, 412, 413, 415
+503, 504, 505, 509, 513, 515, 516, 517, 518
+603, 607, 609, 612, 614, 617, 619
+703, 704, 711, 713, 714, 716
+801, 804, 805, 808, 812, 813, 814, 816
+913, 914, 915, 916, 918, 918
+
+Which area for list:
+
+Main:Command> 2624
+
+Which area, for a list:
+
+Areas currently in Dbase
+
+4400040, 5209040, 5221040, 5228040, 5234090, 5241090, 5300040, 5400030
+5400050, 5400090, 5454290, 5621040, 5721040, 5724740, 5890010
+5890040, 5890090, 5911010, 5941032
+
+Which area, for a list:
+
+! - The Master Dbase is a New Addition and will eventually contain All the
+! files, Referenced by Keywords.
+
+Main:Command> W
+
+::::> REALM MASTER DBASE <::::
+
+
+DBASE: Command> GUAM
+
+Searching.....
+
+Press to Abort
+
+THE REALM NETWORK DBASE By: ----====} THE FORCE {====---- 26/06/88
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+Dnic: 5350 Network: LSD/DACNET Country: GUAM Last Update: 26:06:88
+
+
+ACCESS/SPEEDS SUPPORTED: Public Dial-In Service up to 1200 bps
+PROTOCOLS SUPPORTED: Asynchronous terminal interface
+
+CONTACT: Mr. Keith Curtis, Tymnet, 2070 Chain Bridge Road, Vienna, VA 22180
+ Telephone: (703)356-6965
+ Telex: (23)82693
+
+Customer Service: R. J. Knapp or Frank Arriola,
+ Telephone: (671) 477-9936 or 472-3272
+
+Technical Assistance: (available 24 hours)
+ Telephone: (671) 477-8261 or 7615
+ Telex: (721)6100
+
+Dial-In Access Telephone Numbers:
+ 300 bps 477-5735
+ 1200 bps 477-5736
+
+Dial-In Access Procedures:
+ 1. Dial the appropriate access phone numbers.
+ 2. Listen for modem handshake.
+ 3. System will prompt 'Please enter terminal ID'
+ Type in 'A' (capital letter)
+ You will receive a string of numbers.
+ 4. System will prompt 'Please log in'.
+ Type in your ID.
+ System will prompt 'password?'
+ Type in your password. (For security reasons, this will not
+ print out.)
+ 5. System will respond 'Telenet via RCA' and then prompt you for
+ the host address with the prompt '@'.
+ At this point, enter 'C(sp) host address'.
+
+! etc...... File Goes on, too large to Be listed here.
+! Same sort of Information is also available for the following.
+
+DBASE: Command> NETWORK
+
+1 - Guyana - Packet Switching Networks Information
+1 - New Caledonia - Packet Switching Networks Information
+2 - Mexico - Packet Switching Networks Information
+3 - Norway - Packet Switching Networks Information
+4 - Peru - Packet Switching Networks Information
+5 - Phillipines - Packet Switching Networks Information
+6 - Portugal - Packet Switching Networks Information
+7 - Reunion - Packet Switching Networks Information
+8 - Singapore - Packet Switching Networks Information
+9 - South Africa - Packet Switching Networks Information
+10 - Spain - Packet Switching Networks Information
+11 - Sweden - Packet Switching Networks Information
+12 - Taiwan - Packet Switching Networks Information
+13 - Trinidad - Packet Switching Networks Information
+14 - Turkey - Packet Switching Networks Information
+15 - United Kingdom - Packet Switching Networks Information
+16 - Virgin Islands - Packet Switching Networks Information
+17 - Zimbabwe - Packet Switching Networks Information
+18 - Costa Rica - Packet Switching Networks Information
+19 - Malasia - Packet Switching Networks Information
+20 - Luxembourg - Packet Switching Networks Information
+21 - Korea - Packet Switching Networks Information
+22 - Jamaica - Packet Switching Networks Information
+23 - Ivory Coast - Packet Switching Networks Information
+24 - Italy - Packet Switching Networks Information
+25 - Israel - Packet Switching Networks Information
+26 - Ireland - Packet Switching Networks Information
+27 - Iceland - Packet Switching Networks Information
+28 - Hong Kong - Packet Switching Networks Information
+29 - Honduras - Packet Switching Networks Information
+30 - Guyana - Packet Switching Networks Information
+31 - Guatemala - Packet Switching Networks Information
+32 - Guam - Packet Switching Networks Information
+33 - Greece - Packet Switching Networks Information
+34 - Germany - Packet Switching Networks Information
+35 - Gabon - Packet Switching Networks Information
+36 - French Polynesia - Packet Switching Networks Information
+37 - French Antilles - Packet Switching Networks Information
+38 - France - Packet Switching Networks Information
+39 - Finland - Packet Switching Networks Information
+40 - Egypt - Packet Switching Networks Information
+41 - Dominican Rep. - Packet Switching Networks Information
+42 - Denmark - Packet Switching Networks Information
+43 - Curacao - Packet Switching Networks Information
+44 - Columbia - Packet Switching Networks Information
+45 - China - Packet Switching Networks Information
+46 - Chile - Packet Switching Networks Information
+47 - Cayman Islands - Packet Switching Networks Information
+48 - Canada - Packet Switching Networks Information
+49 - Brazil - Packet Switching Networks Information
+50 - Bermuda - Packet Switching Networks Information
+51 - Belgium - Packet Switching Networks Information
+52 - Barbados - Packet Switching Networks Information
+53 - Bahrain - Packet Switching Networks Information
+54 - Bahamas - Packet Switching Networks Information
+55 - Austria - Packet Switching Networks Information
+56 - Australia - Packet Switching Networks Information
+57 - Netherlands - Packet Switching Networks Information
+58 - China - Packet Switching Networks Information
+59 - New Zealand - Packet Switching Networks Information
+60 - United Arab Emr. - Packet Switching Networks Information
+61 - Japan - Packet Switching Networks Information
+62 - Hawaii - Packet Switching Networks Information
+63 - Indonesia - Packet Switching Networks Information
+64 - Thailand - Packet Switching Networks Information
+65 - Alaska - Packet Switching Networks Information
+66 - Antigua - Packet Switching Networks Information
+67 - Argentina - Packet Switching Networks Information
+
+
+! Ok, now for the files, Only a small number of files is actually kept online,
+! Due to the difficulty of setting it all up, thus a vast majority is kept,
+! in the Archives. There are two sets of the Archives, I have a copy, and the
+! other is online on a Unix, which one of the members owns. This time we have
+! had a safe location for a while, thus some of the online files are:
+
+Main: Command> H
+
+Enter File NUmber, or '?' for a list: ?
+
+1 - Force Files Volume #1
+2 - Force Files Volume #2
+3 - Force Files Volume #3
+4 - Force Files Volume #4
+5 - Force Files Volume #5
+6 - Force Files Volume #6
+7 - Force Files Volume #7
+8 - Force Files Volume #8
+9 - Force Files Volume #9
+10 - RSTS/E system Tutorial
+11 - Crashing GBBS and FIDO
+12 - Crashing DC10 systems
+13 - Elderlink Tutorial
+14 - Network Crashing Techniques
+15 - Electronic Funds Transfer Hack/Info
+16 - Hackers Anthom
+17 - Wizard's NoteBook Volume #1
+18 - Wizard's NoteBook Volume #2
+19 - Wizard's NoteBook Volume #3
+
+Enter File Number, or '?' for a list:
+
+Main:Command> K
+
+Enter File Number, or '?' for a list: ?
+
+
+1 - International PSS networks and their DNIC's
+2 - PSS Networks International Contacts
+3 - Packet Switching Systems ERROR CODES
+4 - Trashing
+5 - Arpa Net & Other Networks Misc Info
+6 - Credit Card Info
+7 - Midas Information
+8 - Midas Information/Tutorial
+9 - Austpac Information/Tutorial
+10 - Merit Destination Codes
+11 - Telenet Terminal Types
+12 - Accessing Tymnet Via PSS
+13 - How to Use JANET
+14 - Janet Address and Nodes Listing
+15 - Most Common Hosts Connected to Data Networks
+16 - X.XX Protocols Information (Nom)
+17 - Geonet Access
+18 - Geonet & Other Mailbox Systems Address List
+19 - Police Mobile UHF Operating Channels
+20 - Police/Ambulance Emergency Codes
+21 - Bugs In RCPM Systems By Random Element
+22 - Melbourne Uni FIDO BBS Information
+23 - MIDAS Tutorial By COLONEL SUN
+24 - 30 Mhz - 500 Mhz Frequency List
+25 - Viatel Specifications
+26 - HP-3000 Program, Remote Login
+
+Enter File Number, or '?' for a list:
+
+Main:Command> Z
+
+Enter File Number, or '?' for a list: ?
+
+1 - Primos NUA Sprinter (Force)
+2 - Hacking Primenet Systems and Primos
+3 - Dialcom Primos Commands Part #1
+4 - Dialcom Primos Commands Part #2
+5 - Accessing Dialcom Systems
+6 - Minerva General Information
+
+Enter File Number, or '?' for a list:
+
+Main:Your command Master: V
+
+Enter File Number, or '?' for a list: ?
+
+1 - Hacking Tutorial - History, VAX, UNIX
+2 - Hacking VAX/VMS and General VAX Information
+3 - VAX Instructions
+4 - VAX/VMS Notes/Tutorial by RANDOM ELEMENT
+5 - VMS Program - System Re-boot
+6 - VMS Program - RS232 Configuration
+7 - VMS Program - NUA Scanner
+8 - VMS Program - Austpac Login Simulation
+9 - VMS Program - Remote Node Infiltrator
+10 - VAX/VMS Phone Directory - Taken From BNODEA 311061700045
+
+Enter File Number, or '?' for a list:
+
+Main:Command> J
+
+Enter File Number, or '?' for a list: ?
+
+1 - **** Classified ******
+2 - Hacking Unix Systems & General Information
+3 - Unix Security
+4 - Unix Nasties
+5 - Unix Trojans
+6 - The Unix Bible
+7 - Article on XENIX Security
+
+Enter File Number, or '?' for a list:
+
+Main:Command> Q
+
+Enter File Number, or '?' for a list: ?
+
+1 - ASCII Express Pro Manuals/Tutorial volume #1
+2 - ASCII Express Pro Manuals/Tutorial volume #2
+3 - ASCII Express Pro Manuals/Tutorial volume #3
+4 - ASCII Express Pro Manuals/Tutorial volume #4
+5 - ASCII Experss Pro Manuals/Tutorial volume #5
+6 - Hayes Micromodem II Programing Information
+7 - XModem Ducomentation
+8 - VT100 Codes
+9 - Proterm Documentations
+10 - 1200/75 Baud Rate Converter
+11 - EASY CALL Description/Information (Extract from User Manual)
+12 - Maestro Modem Control Codes
+
+Enter File Number, or '?' for a list:
+
+Main:Command> I
+
+Enter File Number, or '?' for a list: ?
+
+1 - ! *** CLASSIFIED ****
+2 - ! *** CLASSIFIED ****
+3 - Minerva System 07 Users part #1
+4 - Minerva System 07 Users part #2
+5 - Minerva System 07 Sprint Source Code
+6 - Minerva System 07 Mail Directory - Volume #1
+7 - Minerva System 07 Mail Directory - Volume #2
+8 - Minerva System 07 Mail Directory - Volume #3
+9 - Minerva System 07 Mail Directory - Volume #4
+10 - Minerva System 07 Mail Directory - Volume #5
+11 - Minerva System 07 Mail Directory - Volume #6
+12 - Minerva System 07 Mail Directory - Volume #7
+13 - Minerva System 07 Mail Directory - Volume #8
+14 - Minerva System 07 Mail Directory - Volume #9
+15 - Minerva System 07 Mail Directory - Volume #10
+16 - Dialcom System 41 DTQ001 User Directory
+17 - Dialcom System 09 - CDXxxx User Directory
+18 - Dialcom System 09 - SNXxxx User Directory
+19 - VAX/VMS 26245890090042 GMBH User List (Force)
+20 - VAX/VMS 3110xxx00xxx xxxxxxxx, xxx Modeling User List (Force)
+21 - VAX/VMS 3110xxx00xxx xxxxxx User List (Force)
+22 - ULTRIX 26245890010170 ultumult User List (Force)
+23 - Dialcom System 09 - EDTxxx User Directory
+24 - Bt-Gold System 80 Mail Directory
+25 - Telebox System 15 Mail Directory
+26 - Time Network System 01 Mail Directory
+27 - Compuserve, Australian Users Directory
+28 - UNIX 3110xxxxxxxx media-lab User List (Force & Phoenix)
+29 - Primecon System 57 - AGSxxxx User Directory, Part #1
+30 - Primecon System 57 - AGSxxxx User Directory, Part #1
+31 - UNIX 4401xxxxxxx xxxx User List (Force)
+32 - UNIX 3020xxxxxxxxx xxxxxx User List (Force)
+33 - PRIMENET 5052xxxxxxxxx 20.xx xxxx User List (Force)
+34 - HP-3000 4408xxxxx xxxxxxxxx Asia Pacific User List (Force)
+35 - HP-3000 5052xxxxxx xxxxx Information System User List (Force)
+36 - HP-3000 3110xxxxxxxx xxx xxxxxxx Corporation User List (Force)
+37 - HP-3000 3110xxxxxxxx Unknown User List (Force)
+
+Enter File Number, or '?' for a list:
+
+Main:Command> P
+
+Enter File Number, or '?' for a list:
+
+1 - Silver Boxes
+2 - Silver Boxes History & Construction
+3 - Silver Boxes Construction
+4 - Black Boxes
+5 - Black boxes and Other Phreak Info
+6 - Blue Boxes
+7 - Blue Boxes file #2
+8 - Blue Boxing
+9 - Red and Blue Box tones
+10 - Red Boxes
+11 - Green Boxes
+12 - Cheese Boxes
+13 - Conference Calls
+14 - Wats Extenders
+15 - Loop Lines
+16 - Phone Tapping
+17 - The ultimate Phone Tap
+18 - UK Phreaking Info/History
+19 - Boxing Around The World
+20 - Blue Box Schematics
+21 - Telephone Switching
+22 - Telecom Australia File
+23 - ESS Exchanges File
+24 - Theory of BLUE BOX Operations "BETTER HOMES AND BOXING" (Phoenix)
+25 - Acrylic Box
+26 - BUD BOX Information/Construction
+27 - TRUNK BOX Information/Construction/Use
+28 - WHITE BOX Construction and Use
+29 - BLOTTO BOX Construction/Use (Bullshit)
+30 - BEIGE BOX Construction/Use
+31 - Phreaking Info By THE EAGLE
+32 - Melbourne Uni Outdial Information/Tutorial
+33 - How to Build a LINESMAN'S HANDSET
+34 - The Book Of Bioc
+
+Enter File Number, or '?' for a list:
+
+Main:Command>
+
+Enter File Number, or '?' for a list: Y
+
+1 - Telecom Time Charging Proposals From: APC, February 87 Issue
+2 - Darth Carla (Robin Hood/Hackwatch) From: THE AGE
+3 - Hacker Report From HACKWATCH From: VIATEL
+4 - Keyboard Raiders (THNDR, SHRLCK, WARRIOR) From: Sunday Observer 07/12/86
+5 - Royal Hackers (Uk Hack of Royalty) From: New Scientist May 1986
+6 - Hackers Tap Into Repco Computers From: The Sun 08/11/86
+7 - Caught In The Act (414s) From: Enter Magazine Mar 88
+8 - Computerized Cops And Robbers From: Profiles Mar 1988
+
+Enter File Number, or '?' for a list:
+
+! GLobe Trotter just contains all the Globe Trotter Issues, and Archives
+! is the complete list of files available on the Realm, covering about twice
+! the size of this Globe Trotter Issue, So I will only show you a small portion
+! of it.
+
+Main:Command> A
+
+
+
+! The Phone Directory is much like the NUA Dbase, only with Phone Numbers.
+! Binary Search and Quick Sort algorithms are used for all Dbases.
+
+Main:Command> O
+
+Directory: Command> ?
+
+ - REALM PHONE DIRECTORY -
+
+::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+ - Number Files - BBS Directory - Directory
+ - Search - Add to Directory - US Codes
+ - ISD Codes - Exchange Identifier - Exit
+
+:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
+
+! Everything is rather obvious is the main Number Dbase.
+
+Directory: Command> N
+
+! is for large Number files, too large to go into the general Dbase.
+
+Files: Command> ?
+
+::::::: NUMBER FILES :::::::
+
+
+ - Telenet Access Numbers - Tymnet Access Number
+ - PSS Access Numbers - Datapac Access Numbers
+ - Dialnet Access Numbers - MCI Access Numbers
+ - Metro Access Numbers - CNA Access Numbers
+ - Temporary Numbers - Exit
+ - Melbourne Uni Numbers - PI Victorian BBS List
+
+Files: Command> E
+
+! - Locator is the newest addition to the Realm, and the data is still
+! being entered into it, and will continue to do so over the next few
+! years to create a large world wide dbase. It locates the Area of
+! any number typed and at present contains all ISD, and Most STD Codes
+! for all countries. The Exchange Codes are the ones being worked on.
+
+Main: Command> L
+
+Locator: Command> ?
+
+
+::: Realm Phone Area Locator :::
+
+