Speaker 1: We're all owned by the Syndicate body and soul, or
should I just say Bunny?
Speaker 2: Hello, Philthy movie lovers, something Weirdos and anti Criterion Bros.
To the twenty second episode of The Sin Syndicate, Your
Guide to the strange and mysterious world of fantasy, fucking
and astral projected orgasms. My name is Gentry Austen, writer
and researcher, and I'm here with my co host, adult
film historian Casey Scott, and today we will be answering
the question what if Guy Madden directed a sexploitation film
after mainlining Hackson and what if it was narrated by
a couple braindead junior college students. The focus of this
episode will be director author Madman possible alien abductee Victor
Lumineras nineteen seventy three freak Out from the Underground, Psyched
by the four D Witch, See what happened in the
All The mystic Witch called album.
Speaker 3: G you this well? Do hex any raise the need
ball you know the raise? Don't Beware of the forty Witch.
Speaker 1: Beware she send your minds, She said the first from
the belly of the Bill Finch.
Speaker 3: First, beware of the forty weed.
Speaker 2: But first, if you listen to our last episode, you
might have heard our sad story about our carefully curated
Instagram account getting put in time out. Well, the update
is that the appeal did not go through and we
have started from scratch, casey, which means we lost some
of our lovely followers like Sean Baker please come back
to us. But we gained a Yeah, I don't know,
I followed him. He's he's busy interview in Makokaji right now.
Speaker 3: So which I will talk We should talk about that
because I'm I'm pretty miffed about that. Actually, pick go ahead.
Speaker 2: Yeah, but yeah, we gained a Joe Bob last night
I saw he threw us a follow Thank you, Joe
Bob Briggs.
Speaker 3: Great. We love having him on board. Yeah, because we
talked about it like he was promoting Sexploctation on VHS
before something Weird was even doing it. Doris Swissman and
Steve Apostle off releases at Rhino, and there was another
I think, but that was the one I ruined for
the most.
Speaker 2: Yeah, and you had mentioned, yeah, he's kind of known
as like the horror guy now, but yeah, he has
roots pretty deep in sexploitation. I'd love to talk to
him actually, and I bet he would like to talk
about it too, because it's not something he probably gets
asked about a lot, you know, some of the early
sexploitation stuff.
Speaker 3: Yeah, I mean that's something like there are a few
of his films that he like introduced on VHS as
Joe Bob Briggs that we could do, Like Suburban Roulette,
I think is probably a good one because that was
one of the I would think that was for a
long time, the only Hershall Gordon Lewis exploitation movie that
was on tape. It was just that one, and I
remember he was more like Nude on the Moon being released,
and I think the chesty Morgans, so yeah, very good guy.
Speaker 2: Yeah, John Bloom Yeah. Agfud recently put up a go
fundme or I can't is it Patreon. I don't know
what it is for the for the Krshell Gordon Lewis restorations,
So I don't know if Suburban and the Roulette is
part of that package way that they're looking to restore,
but that might be a fun episode if they do,
to maybe revisit with Joe Bob.
Speaker 3: Yeah, I think so and that's one, and that's I mean,
it's another Louise down. It's you know that she uh
is least in I think it's probably her last starring role. Yeah,
oh yeah, so I guess before we go, Yeah this Macokagi. Okay,
so listen to Mako. I love you, but people, I
am trying to get you interviewed for Blu Rays and
all this shit for years and your show you show
up in person in LA, We're only a handful of
people can see you. I'm not happy girl. You wouldn't
even do an interview her criterion, come on, now, come
on now.
Speaker 2: Yeah, I don't know it was the money.
Speaker 3: I don't know, because Errow released the Female Prisoner films
and the Stray Cat films, and I think they tried
to get her and she didn't do an interview. So
when I saw she was there in person, I was like,
what the earth is moved? And yeah I wasn't. I
was just not. I was happy for the people who
get to see her, but I'm also not happy because
I own all of her stuff and you know, just
do an interview.
Speaker 2: Makeoutom screening, like, was it hard to get into?
Speaker 3: No? I think Sam Deegan was promoting a and she's
the one. That's how I found out about it. So
it's like, what do you mean makeup Coaji's there in person.
I don't know how much they paid her, but maybe
that was it. Maybe she's asking for a lot of money. Well,
I think she stays pretty busy.
Speaker 2: But yeah, I you never know what's going on with people,
like she might have just had a change in heart
regarding her work, like commenting her work in the last
few years. That happens, you know, You've you deal with
that probably all the time when talking to people in
the sex film industry, like five years ago, maybe they
wouldn't want to talk, you know, now they might, so yeah.
Speaker 3: Well, in her case, I mean the time to talk
was when kill Bill came out. That was that was
the best time to talk because all of our songs
were getting traction again too. I mean, it was a
good money making opportunity for her, and she didn't. Yeah,
like Sunny Chiba jumped on that, Mako did not, which
I thought was very unusual. So yeah, I'd love to
know the deal. I'm glad that she's come around, But
like Mako, let's let's get you on camera. Let's get
on camera, girl, Let's do it.
Speaker 2: It'll open up.
Speaker 3: Yeah, I would love that. I would love that. I think,
aren't those out of print? With error?
Speaker 4: Now?
Speaker 3: The Stray Cats and the Female Prisoners I don't remember.
Speaker 2: Now, I know that that book I've had them.
Speaker 3: I bought them for I bought them when they originally
came out because it was like, there's no way I'm
missing these because they're all great. So well, strake Cats
aren't all great, but all the Prisoner films are terrific. Yeah.
Speaker 2: I know that original Female Prisoners set included like a
nice booklet with it. Did you get that? Because that's melody?
Speaker 3: Yeah? Yeah, yeah, because that was one when I had money,
I was pre booking stuff, and now I rarely pre
book anything unless I know that I need like a
nice special edition of it.
Speaker 2: All right, we won't go down this road.
Speaker 3: No, we have a lot of drugs and sex to
talk about, all us about this Novak vault. Oh that's right, okay,
So yeah, so I was making notes. I made notes
of updates we had to do because I was listening
back to the episode and updating on letterbox. I guess
I haven't mentioned this on the pod just on my
Instagram that I have a we have an ongoing mega
watch list on letterbox where I've added every single movie
that we mentioned, not just this Expectation movie, like every
movie that we've mentioned. So like I did, we talked,
I mentioned Time Dan, it's last episode that's on the list,
you know. So but I was listening back and I realized, oh, yeah,
we had we got an anonymous tip from someone in
the know, And luckily we have a lot of good
connection to people in the know who will reach out
to us and be like, don't tell anybody I said this,
But apparently the Novak Library is I think fine, which
is good to know some a independent party did an inventory.
So negatives and original I think I think that the
way to describe it was original camera negatives. At the
very least original negatives are still around for these So
then that begs the question that we keep asking, why
is nobody doing anything with the stuff. I think it's
too easy to say, well, it's Carmen, because we've had
no back stuff get reissued. I think it's just someone's
gonna have to step up, and yeah, I don't I
don't know who that's going to be. But that's good
news to know that. Yeah, the kiss Me Quick negative
is there, the Toy Box negative is there? You know,
all that good stuff.
Speaker 2: Yeah. I mean, if I was in charge of that library,
I would put out kiss Me Quick as the first
like test the waters, yeah, and see how it does,
and then you know, obviously I would put out all
the buckloos together. But absolutely I'm a super fan. So
I'm not like, I don't know how great labels work.
Are they losing money on any of these releases or
is it just I don't know, in a ton of money. Yeah,
I don't know.
Speaker 3: Yeah, I don't know. I mean it's always been Boot
the only label that was really doing that. I remember
doing like well, there were two Anchor Bay and Image
were printing major amounts, like even when they had limited editions,
they were like twenty twenty thousand copies, thirty thousand copies,
not that limited. So now we're going to eliminated editions
that are like two thousand or twenty five hundred or
even five thousand, like something low, low, low low. So
the market has definitely changed, but boutique labels have always
stayed the same in that they're not necessarily going to
be in it for making money, you know. That was
something that the Code Red guys always talk to me about.
The Olson brothers were always like, well, we're scanning this
one print and I know we're not going to make
money on it, so why am I doing it? It's like, yeah,
then why are you doing it? And it would always
circle back to the round of the fact that they
liked the movies and they wanted to put them out right,
it was a passion projects. So I think if you're
in this business, it's for passion projects. It's not necessarily
like you're You're not going to necessarily make a ton
of money on everything.
Speaker 2: M M all right, well that's yeah, that's good news.
If anybody wants to reach out regarding the Novak catalog,
if they want suggestions on what they should release, you know,
come talk too.
Speaker 3: I have my Harry Novak lists, I hope my Harry
Novac ranked lists on let which I'm not finished with yet,
but I've watched pretty much all the best stuff. Another
update was I think I think I might have talked
about it last week, but I had internet issues, so
that might have been lost in my discussion about the
Paul Hunts of his Paul Hunts history. But so Canyean
Films is I think we talked about them when we
talked about Bob Chan and Alan Patrick. Where Canyon Films
was has been credited to Ed to Priest because Edd
Priesce ran Canyon Films into the eighties, but Paul Hunt
is known for taking credit for creating or originating Canyon Films.
But the earliest Kanyon Films were involved both Paul and Ed.
So I just wanted to make it known that I
think that they've co created that company. I don't think
Paul liked giving Ed any credit because he might have
been either bought out or pushed out or something, and
he didn't discuss it as far as I can tell.
But the fact that they both took credit for starting
this company, but only one kept it going for the
next several decades, I think it's probably indicative of like
a split somewhere down the line. But I thought that
was important to note as far as the Paul Hunt history.
Speaker 2: Yeah, yeah, yeah. And I think the last update is
we talked about a song that played in the toy
box during the Orgy sequence that we both loved, and
you kind of talked about the Jack Millman Johnny Kitchen
catalog and I was going through it on Spotify. There
a bunch of Johnny Kitchen compilations on there, and I
was able to find that song. It's part of a
two parter kind of a suite by the band Victims
of Chance. So it's on Spotify, it's on Apple Music.
I think it's on most of the audio streaming services.
It's called Victims of Chance Part one and two, and
that song in particular is in uh part two and
it's Yeah, the quality is not super great, but I
think that's just all that's available, but yeah, it's a
great song.
Speaker 3: Yeah.
Speaker 2: I was really happy to find that. I've been playing
it all week.
Speaker 3: So yeah, I mean it's good. The rest of the
album is good too. The whole Victims of Chance album
is actually worth listening to. Something that I need to
do is so. All the Johnny Kitchen stuff that was
reissued on streaming and sometimes on like CDR is courtesy
of a company called Essential Media Group, and they're based
in Florida, and so they they're kind of like Unit Disc,
which Unit Disc is based in Canada. Is it Uni Disc? Yeah?
Uni Disc would buy up Library, so they could release
music the music digitally and on CD, and Essential Media
is similar to that. So I might reach out to
them to ask about this Jack Millman library because I
really want the I really want the stuff that's in
Ride the Hot Wind that shows up in dozens and
dozens of films. It seems like they're focuses mostly on
these these bands, these fake bands like Victims of Chance.
None of that stuff is None of those bands did
at music. The mystery continues. But I'm glad that you
were able to id that song, yeah, because you were
very excited when you said that story.
Speaker 2: I think that was another one that I got from YouTube. Yeah,
when the episodes upload to YouTube, sometimes they'll they'll catch
copyright and that was one of them. But yeah, I
just saw that. Yeah, that same Victims of Chance song
is on a compilation from Essential Media group called Buzz
Psych and Surf Garage Sounds of the Sixties. It's a
compilation from twenty thirteen. There's a bunch of bands on
here I need to check out.
Speaker 3: And there used to be more sort of instrumental ones
streaming for a while, but then those kind of vanished.
I don't know where those went. Yeah, so those stuff
that's left is now like bands and vocal recordings, but yeah,
worth a deep dive to see if you recognize anything,
and even if you don't, it's really good, like low budget,
kind of grungy, you know, rock psych stuff from the
late sixties.
Speaker 5: Yeah.
Speaker 2: I've been going through all those Nuggets compilations again recently
because I love those. Another project, and yeah, I'm kind
of back in garage rock mode for a bit here.
Speaker 3: Yeah, I like the Pebble series back from the Grave,
those are all really good. Yeah, like that. I was
around the time I was into ex rotation. That's when
I got into garage rock too, because they kind of
go hand in hand, they do sort of. I mean,
there's something grungy, low budget these films and the music.
So yeah, I love that. I love that stuff.
Speaker 1: We of this science dominated twentieth century tend to be
smugly certain that we live in a very solid, very
matter of fact, three dimensional world.
Speaker 2: And nothing more.
Speaker 1: Yet, strong evidence now available reveals that deep within and
behind this physical world of ours stands another more ethereal realm,
totally ignored by science because of a reluctance to investigate it.
Speaker 2: Well, let's talk about the which I know in the
past some of these movies that we talk about are
not the easiest to find, but it's worth mentioning that
this is available on archive dot Org. I think it
might even be on TUB. I don't know if it's
as I never trust the versions that are on to B,
so that's like always my last resort. I don't know
if you've viewed that to check if anything's cut.
Speaker 3: Sometimes if I go to letterbox and it says it's
on t B, I'll go to tub and it's like
a riff tracks version and that's not helpful for me
because I want to watch the actual movie. And then
a few cases where they have a Spanish language version
of something with no subtitles or captions and they don't
have an English version, so that does happen sometimes. I
think in this case, though, I think it is just
like a straight transfer of it.
Speaker 2: Okay, Yeah, what's the rights issues with this? I know
this was put out by something weird.
Speaker 3: Huh is it with still Monster or Go Go? Yeah?
I mean it's orphaned, it's it's you know, it's new
It was copyrighted to New Art Films, but New Art
Films doesn't exist anymore, and Emerson Films doesn't exist anymore,
and Emerson Films didn't own it in perpetuity. It was reissued.
It was released by Emerson in nineteen seventy three, and
then it was reissued nineteen seventy six by Clamiel Productions.
And there's a copyright at the Copyright Office that has
all sorts of wrong information, and it's a registration in
two thousand and one, which is a year before Something
Weird put it out, and it credits Clamille Productions, which
is misspelled, and then also credits it to lou Tillman Productions,
who had nothing to do with this. So this is
a great example of a falsified government record at the
Copyright Office that someone could get in real trouble for
if that was traced.
Speaker 2: Happens all the time possified it.
Speaker 3: I have no idea somebody in two thousand and one
that might have been trying to stop something Weird from
putting it out. But this is not a legitimate copyright
representation of film because it does not even mention the
original copyright claimant that's on the credits of the movie.
So that's interesting, But yeah, it's orphaned. So which means
there's a copyright notice on it, but it's not enforceable
because New Art Films is not around anymore and from
what I can tell from public records for the director,
he had no children.
Speaker 2: Okay, so I know this is a favorite of joe
Zie over at AGFAS, So maybe they'll do something with it.
I could this is totally like a bleeding skull type
of picture. I could see them putting on something.
Speaker 3: Or but they have film elements that would be great.
But if it's a case where like this is we
we've been seeing a lot of something weird separate. The
all they have the is the SBS transfers left, So
I don't know if they have a thirty five on this.
Speaker 2: Well, I mean what's available now looks pretty good from
what I'm what I watched. I mean, right, you can
see all the imperfections in the skin of our.
Speaker 3: Leading lady, right, I mean, yeah, that's a nice transfer
from that print that image did. But but yeah, if
we want a new transfer for Blu Ray, it had
to be from like a film element, otherwise it's just
an SVHS. And I really don't like when ACFA does that.
Some films just don't need to make the jump to
Blu ray because you're they're not You're not going to
have them in HD, so they shouldn't be on Blu ray.
I'm sorry, like unpopular opinion. Yeah, blu ray is reserved
for high that's it's high definition. If it's SVHS, it's
not going to be high definition. So just don't put
it on Blu ray.
Speaker 2: Well, I think in response to that, you know, I've
seen AGFA doing those compilations where they've kind of like
mashed things up and created sort of a fund Yeah,
I think that's the way to go with these that
only have video elements.
Speaker 3: Yeah, I agree. I like when they do that. That's
very true.
Speaker 2: So we'll see what happens with this one, because yeah,
this is this is ripe for AGFA and Bleeding Skull
or the Bleeding Skull team. They have their own imprint, now,
don't they.
Speaker 3: They do, But I've focused mostly on I think eighties
and nineties stuff. That's mostly. I think that's or they
do some seventy stuff, but not much. I think they did.
I don't remember if that was them or not. It
was like Treasure of the Ninja, which was an eight
millimeter thing I think that was. I think it might
have been Act for not Bleeding Bleeding skull.
Speaker 2: Well, remember we should read the synopsis of this one.
Speaker 3: Uh sure, yes, well so first you know, this was
volume forty six of Frank Canon Letter Sexy Shockers from
the vaults when something we were to put it out.
And then it was released in two thousand and two
on a double feature with Monster or Go Go, which
they licensed from Jeffrey Sea Hoage's Majestic International, which that's
a whole thing we can discuss at some other time.
Jeffrey Sea Hogue is iffy anyway. Uh yeah, I don't
know where he got the rights of this stuff, if
he even got it legit.
Speaker 2: The synopsis from the DVD is not even Monster a
Go Goo can prepare you for Psyched for the four D,
which the most maddening, jaw dropping and mind bending piece
of celluloid lunacy ever to play American movie theaters. Innocent
little Cindy becomes possessed by the sex crazed spirit of
a Salem witch, while her brother becomes the King of
sex vampires. In this crackpot oddity, told almost entirely in
LSD style, psychedelic effects advertised as a psychic freak out
from the underground. Repeated viewings may very well cause brain tumors,
chromosome damage, and flashbacks. Consider yourself warned.
Speaker 6: The magic Woods are that's fantasy. Fuck Now, just obey
by voice when I speak the interview in here, which
will be once a week at varying times, And I
promise you fan astec sex adventures and fabulous orgasm, and
I'll still remain a virgin for my daddy.
Speaker 5: Go indeed, when do we start?
Speaker 2: So who is the madman behind this psychedelic freak out?
There are some pseudonyms involved here, right, casey.
Speaker 3: Yes, So the real identity of this guy was Lawrence
Milton Voren and so he did everything on this movie. Essentially,
he is a Victor Lumonia great name is credited for writer, producer, director,
casting director, costume designer, props and composer. Which composer is
crazy because he didn't do any of the music. Now,
Larry Milton is obviously Lawrence Milton born, cinematographer, editor, special
effects lighting Milton, Lawrence his name's flipped, is executive producer.
So this really was just a one man operation. And
watching the movie you can definitely tell it's a one
man operation, yeah yeah, but it's a passion project. Yeah yeah.
Speaker 2: He was a passion So it's like, what, what's the
passion behind this? Because he has a history in I mean, okay,
let's talk about it, like yeah.
Speaker 3: Well, so, first of all, he was born in nineteen
twenty four in Oregon. The earliest record I could find
of him anywhere was in nineteen forty four. There's a
record of him being drafted and failing to report for induction,
so already and during World War Two not wanting to
go to war very unpopular. This was not Vietnam when
people were burning their draft cards. If he got drafted
in World War Two, you went, and he was not
going to go. So I think he went to jail
and had to pay a fine after that. The earliest
record that we have of him doing anything related to
this kind of weird stuff that we see in the
movie is so he founded a company called the World
of Tomorrow Foundation in nineteen fifty eight, and we don't
really necessarily know what the World of Tomorrow Foundation is.
I think it was an LLC that he created to
publish books on like electromagnetic fields and you know, connections
to to add space and astral projection and kind of
weird sci fi adjacent kind of kind of things.
Speaker 2: But what we can tell is that he was this
was like serious. He wasn't doing this.
Speaker 3: Just yeah, this was right. This was not like a
huckster situation. This wasn't like a Sylvia Brown psycheah. This
wasn't like yeah, it wasn't somebody yeah, because there was.
I'm just going by the tracings that we found, which
by the way, we should credit. There is a user
on letterbox who basically did a huge info dump on
that where he has put link after link after link,
and the guy's name is Joe Buck and I, you know,
I like crediting courses, so he was his stuff. His
research is really helpful here and it led to other
paths that I was. So he first used the Victor
Lumineer pseudonym in nineteen sixty four when he made he
published this book called Course and Electromagnetic Love, Parts one
to seven, and it was red to his real name.
But then it also mentions DBS World of Tomorrow Foundation,
and there's a few other books that were that were
published that were connected to that. That organization He've also
published a book called Woman, A Glorious Destiny Awaits You,
a new scientific breakthrough Revelation, which was published in nineteen
sixty five, So he he was obviously interested in these
these kind of publications. But I also found very interesting
advertisement in this in this September nineteen sixty issue of
a newsletter called Chimes, which was like a newsletter that
was shipped out mailed out to different people about like
the psychic realm, the spirituality. It featured a column by
Ron Ormond. But I don't know if it's that Ron
Armond might have been, but it's more it hit The
column in this newsletter opens with a quote from the Bible,
which seems to track that it might have been that
ron Ormond, could have been that Ron Ormond. But this
advertisement that I found says it's advertising something called rainbow Light.
So the advertisements at last lift your vibrations through the
scented mystical atmosphere of rainbow light for inducing relax relaxation, meditation,
and communion with spirit realms. And so you pay. It's
a three dollars mail or two for five. It comes
with the reflector a six month supply of mystic incense
and instructions. So if you wrote to him at the
World at Tomorrow Foundation in Los Angeles something called rainbow light,
which is connected to something that he was really fascinated with,
which was the use of color and lighting to as
like therapy. Yeah so yeah, so yeah, which you can
see in this film because they're so the film is
really told through lighting and effects and things like that,
and it's not really there's no live sound. The acting
is barely there. There really isn't a lot of focus
on the characters. Even there's so many cutaways. It's really
together by narration.
Speaker 2: I'm trying to find it what this rainbow light was,
So it's kind yeah mechacter. It's probably just like a
spinning light maybe with colors and it reflects off something
and then yeah, you just and then there's a sense
holder inside or something.
Speaker 3: Right, right, and like for three dollars, so three if
you order one for three or two for five, I mean,
that's not a bad deal in nineteen sixty. Let me
see what that was. Five dollars in nineteen sixty worth
today like thirty bucks, maybe fifty five dollars today.
Speaker 2: Okay, so fifty.
Speaker 3: Five dollars for this a reflector, six month supplies of incense,
and your instructions.
Speaker 2: Well, how much is muco pain for those those like rocks,
those salt rocks or whatever they are.
Speaker 3: That's true, you.
Speaker 2: Know what I'm talking about?
Speaker 3: I do, I do well? And that well, that was
so this add is from nineteen sixty, but there was
also evidence that he was so. In nineteen nineteen fifty nine,
he went to a convention that was the Amalgamated Flying
Saucer Clubs of America's first national convention, and so he
presented something called the New Age Color Symphony, which was
a presentation of animated light set to music for therapeutic purposes.
And so he was pursuing these theories of color and
light used to you know, use s therapy, which was
kind of tied into this this very unusual early forty
forties experimental technique that was turned into films called Auroratone Films,
and that was to assist American American soldiers with PTSD
after World War Two. So it's interesting that he was
like actively serious about the use of color and light
to act and its effect on people in their in
their in their minds and their moods. Whether he was
successful with this this film, I not. For me, it wasn't,
but who knows. Maybe somebody wanted to go see this
and it was kind of like en you know.
Speaker 2: Yeah, you can definitely see him. I'm incorporating it in
this film, but it seems like sort of a bastardized
version of it. Like wish I wish he did like
a film that we could view that is more pure,
it's not doesn't have these horror elements in it. I
don't know, like a true experimental film that would be
interesting to see.
Speaker 3: Right Well, this kind of plays like it's very similar
to kind of like underground films that you were seeing
in the late sixties early seventies, but those were really
tied to like psychedelics and counterculture, whereas I think he
accidentally was tied to counterculture because of the use of
color and light because that was so popular, you know,
and like Jerry Abrams lighting you know, rock shows in
San Francisco and things like that, and that basically the
you know, pop culture tying in color and light to
like LSD and psychedelics and things like that. But I'm
not finding any evidence that that's necessarily what he was
interested in he wasn't really necessarily interested in psychedelics, was
interested in creating a similar effect to psychedelics just using
color and light, which is actually pretty scientific, I mean similar,
I mean LSD was using experiments to see how it
could treat people with PTSD other mental disorders and things
like that. So it seems like he's trying to go
a different route and just use natural light and color
to see how that affects people.
Speaker 2: Well, that makes me wonder what his idea was behind
this movie, because it seems like he had serious intentions
with his light therapy, but this movie is not serious
or is it intended to be serious? And it just
got a I.
Speaker 3: Think it's so. I think it's an attempt for him
to try to be more commercial, honestly. So there was
an article in the New Orleans newspaper. So the film
premiered in New Orleans actually on March twenty third to
nineteen seventy three, and it premiered at the Sanger Theater.
And there are quotes in here from him in this
article where he says, I would say the strongest point
of Psyched by the forty Witch is the weird and wild,
bizarre photography it's the first to go into the psychic
origins of witchcraft. It has a little sexual content, but
you can hardly put out a picture nowadays without it.
We call it a step beyond the psychedelic, a way
to take a trip without drugs. You trip through the
weird visions and hallucinations the heroin goes through. So I
think it is tied into what his theories are that
he had been practicing by the time this came out
for over a decade, but it's also trying to connect
those theories to something more commercial and popular with more
mainstream audiences. So like this has horror and sex in it,
but it's still using his theories successfully or not.
Speaker 2: Yeah, yeah, yeah, so he is willing to make a
compromise here with this.
Speaker 3: Right, and yeah he was not a filmmaker obviously, so
you know, like, yeah, there is so much. There's a
lot of overexposure. The editing is really all over the place.
I think he just had a field day in the
editing room, just like over you know, superimposing things left
and right and using stock footage in certain places, and
you know.
Speaker 2: So college campus. Yeah, it's like.
Speaker 3: Right, I mean, considering how much when you think about
how much footage of the actors there are in this
It's kind of like all that stuff could have been
shot in a day, and everything else and everything else.
The editing probably took longer than the actual shooting of
the movie. I think, because it is so frantically edited
that it is like it because it's all about the visual.
So I don't think he thought that actually the photography
or the story was that important, because it's all told
through narration. It was all done in post production, so
I think he really wasn't more about the visual stimuli
of the movie, and that didn't necessarily mean the actors.
I think it meant the colors and the light and
combining different different shots so that it created like a
mix of colors, which you know. All this discussion is
not to say that the movie as some kind of
like lost gem of psychological color photography, because it is not.
It is. I don't know how you would describe it,
but it's an experience. I would describe it as an experience.
Speaker 7: Could this really be happening or is it all a
nightmare I'm dreaming? All I knew for sure was that
my heart was pounding with horror at the scene I
was witnessing.
Speaker 2: Which grew more brus and by the moment.
Speaker 8: But wait, the horror was changing into sexual excitement. Oh no,
then Abigail was right. I had become so perverted now
in my sexual fantasies that my imagination found even this
cannibalistic scene sexually provocative, and soon I found myself approaching
another climate.
Speaker 2: Well, some of the effects I think are something you
couldn't do, like in your own basement, But I think
it works for what it is, and there's some lasting
imagery like that. The image of that fud Man shoe
mask is like kind of haunting me even a few
days after watching this.
Speaker 3: Yeah. Well, even like the shot of like the witch
with the eyes burnt out and stuff like that. I mean,
is it kind of feels like something Parts of it
feels like something that you would see if you were
going through like like a haunted house at a carnival,
Like stuff would come out and come in your face,
and that kind of thing before it involved like people
like torturing you at these scare houses they have. Now, yeah,
I mean it is kind of old fashioned in that way.
And you can tell this maybe like a fifty year
old guy at this At that time, he was well
almost fifty.
Speaker 2: Yeah, what's this reissue in seventy six?
Speaker 3: So that's why I was only able to trace that
because of this fake copyright notice where they misspelled Calemeial
Productions with an E. It's Clemille cla Miil Productions. And
so they they were a very low budget, fly by
night distribution company that really only did ninety nine percent reissues.
They were not producing movies in house. They were a
distribution company kind of like Howard Mahler Films in New
York is kind of similar, or any of these you
know World northall that, those kind of those kind of
companies where they were purchasing things and they weren't spending
money and producing anything. So that was what that re
issue was, Okay in nineteen seventy six. That was around
the same time they reusued Blood Freak too, which is
another I think Jeffrey C. Hogue connection, because I think
he claims he owns that. I don't know if that's
true or not either.
Speaker 2: So the narration in this right.
Speaker 3: So we don't know who did that. The only thing
other thing, because he did everything on tech that covers everything,
so we don't need to talk aboutny of the crew
members cast. We know we have some sex people. That's it. Narration,
post production, not a clue, nothing. We can really have
any kind of revelations about. So, no idea who did
the dubbing, No idea who where it was recorded? Actually no,
it was about Peter Jason in company, which was I
think Bob Chen writes about doing stuff there. It's hard
to find information about them because they really were just
they they have been around for years, so it's hard
to find information about you know, who Peter Jason was.
He's not the actor, but yeah, a very busy post production,
editing and sound facility in uh in that time.
Speaker 2: I mean, she's clearly not a professional h dubber. Yeah,
but she has like a very modern intonation, don't you think,
like you she sounds very today in a certain way.
I thought a.
Speaker 3: Sort of I mean, I think it sounds more like
a reminds me more of like a cartoon character, sort
of like but not over the top Liker, not cartoonish
like a hand of Barbara thing. But I don't know,
it just sounds it sounds like a voiceover for animation
for me. You could see that, Yeah, she's kind of
she's she's well. I would say both of the women,
including the voice it as Abigail. I think they're very
dedicated to this dialogue.
Speaker 2: That's a different.
Speaker 3: I think it's two different voices, is it not.
Speaker 2: I don't know.
Speaker 3: I don't think so. If it is, I could see
it being I could see it being one. But I
mean I was fooled if it was one. I always
thought it was two. Yeah. Maybe, I mean that's the thing.
I mean, if he was if he knew that everything
was going to be shaped in post production. This is
similar to what we see in the New York films
where they're gonna they're gonna put care into the dubbing
of it because the acting and everything else in front
of the camera is not going to be telling the story.
It's not as important. So that's like the Girl from
Si N or even like the Synth Syndicate, which we
talked about, where the dubbing is good. It's by professionals
because the acting is not professionals, so you have to
do something to make it resonate with the audiences. So
you know, it's not doesn't look that amatureish.
Speaker 2: Yeah, yeah, I don't know if it was like.
Speaker 3: A Hanna barbera voiceover actress or something. It was somebody
who worked in animation voiceovers who just came and did
this voiceover in like, you know, a couple of hours.
Speaker 2: You know, But I don't know who scripted it out.
I assume Milton did.
Speaker 3: Yeah he did.
Speaker 2: But what's the direction, Like, what kind of direction did
they give her? Because I don't Yeah, it's like very
Valley Girl at times too. It doesn't it doesn't go
with the visuals.
Speaker 3: It's well, yeah, it doesn't, it doesn't.
Speaker 2: So why did he like choose her or did he
have no choice? Did he just hand this off to him?
I think the dubbing studio they would have given it
a they would have hired a proper dubber. I feel
like this was his suggestion, like, Okay, here's this girl.
He's my my knees or something. I don't know.
Speaker 3: I don't know. Yeah, it's too many suppositions. I had
no idea. Yeah, yeah, we just had no idea. It's
not it's not I don't think just going by everything
in this movie. I don't think that that was part
of I don't think that was the most important part
of his vision. Yeah, the visual is really important part
of his vision. So I think you know, he couldn't
release something that uncommercial, that he couldn't have dialogue telling
a story.
Speaker 2: I mean, yeah, I'm sure someone even probably told him, like, hey,
it doesn't you know, even if he thought it was
bad or didn't jive with his vision, someone probably said, well,
this is what the kids like, so it doesn't matter,
you know, just just go with it. Just go with it.
Speaker 3: Maybe you don't know. When he's a one man show,
I think he just did whatever he wanted.
Speaker 5: You're a nice boy and all that, but unfortunately I'm
turning you tonight into something you've always secretly dreaded, a
sex vambion strictly to make Sidney repent.
Speaker 9: You understand nothing personal against you, Mark, and it's all
done through this evil eye.
Speaker 5: Can you feel it?
Speaker 3: He was lucky you got any distribution at all. But
Emerson Films was based in San Francisco, so they handled
I mean they handled man outs the hands of Fate,
another Passion project which was very immatureishly put together, so
they had dealt with like real amateur hour stuff. But
I think also because they're in San Francisco, they have
I think that Joe Emerson was probably aware of like
underground films and so he was like, well, this could
maybe work in like an underground cinema kind of way,
and that's why they're promoting It's kind of like, yeah,
I think that's something that they even put on the
I think it was a psychic freak out from the
underground because it's like, well, these are these are the
films that are made by like the counterculture that you
that you uh that maybe you can only see, you know,
like see it like secret screenings if you had to
go to like the Village in New York or down
to like Kate Astbury in San Francisco. It's like, well
here this is like a regular theater to drive in,
so you're gonna get a taste of this counterculture and
it and uh yeah, I think it's a really good
way to promote this otherwise incomprehensible movie, because how else
do you promote it?
Speaker 2: Yeah. I do wonder what the screenings after New Orleans,
like where it went, what kind of venues and you
know what melt.
Speaker 3: Well Emerson Emerson Emerson was mostly based in San Francisco.
I mean, well, they handled East Coast films in San Francisco,
so they were like a regional distributor as well as
like a national distributor, so like they handled national distribution
for Manos and Jenny Wife Child and you know, like
also to other films. So I don't know what kind
of bookings has got, but obviously somebody thought it had
legs because it was reissued three years later by a
different company. Yeah, and I think it was promoted the
same way where it was like this is an underground
freak out movie. But by seventy six, that's very old hat.
But the fact that Clemille put that and Blood Freak
reissued both very dated. Both kind of dated by the
time they were made. Actually, Blood Freak is another like
anti drug movie from nineteen seventy two or three, and
it's like, what is this, Like we're into the seventies now, Like,
you know, at that point, the drug the drug counterculture
thing was kind of dried up, at least in terms
of the hippie stuff. Yeah.
Speaker 2: I also wonder, like I'm calling him Milton, I don't
know what what should we call him? What he thought
of like the drugs in the scene at you know,
in San Francisco, at the time. If I want to
see this in an underground theater, you know, I'm taking
some drugs beforehand. That's the that's the experience he wants.
Speaker 3: Well, I don't think well he said he in that quote,
he says it's supposed to be a trip without the drugs.
So I don't think he's drugs.
Speaker 2: Yeah, I don't think he But I'm sure a lot
of people were using drugs before watching this.
Speaker 3: I have no idea. Yeah, that's that's I can't. I
don't have any suppositions about that.
Speaker 2: Yeah, asking you too many suppositions here, Yeah, because I
have not a clue.
Speaker 3: None of this is documenteds. I have not a clue.
I kindly felt about drugs. I don't know. I haven't
read his books.
Speaker 2: I have no idea, just based on what we can
tell about him though. It's yeah, he doesn't seem like
you as a fan drugs.
Speaker 3: But also I can't suppose that people to drugs before
going to see this, right, I mean, yeah, maybe it's
called a freak out. I don't think people don't. I
don't see people want to take LSD before they go
see a movie, because who knows what that's going to
result in? I think smoking pop before movie is probably
more popular than taking LSD before you can see a movie.
That's crazy, what the trip's going to be? I mean,
that's not good. I wouldn't do that.
Speaker 6: How would you like to have an adventurous sex life
and still remain a virgin? I can make it possible, really,
but how can I believe you?
Speaker 4: Give me a sign of your power, like it makes
something appear by magic over there?
Speaker 5: Very well, he has a magic cup for.
Speaker 3: You as an.
Speaker 4: Amazing Okay, okay, I believe you and I'm interested.
Speaker 2: So Pretty Girl International should we talk about Yeah?
Speaker 3: Yes, yeah, so I was. We talked about this a
bit last time too, where like the early soft course
stuff or the late softcare stuff in the early seventies
was mostly how Gathu, But of course there were two
other ages at that time, which were Pretty Girl International
and Rebsowitz's really bargain basement one which was Sunset International.
And so Pretty Girl was a guy named Dick James,
and so the fact that he's the fact that Pretty
Girl is credited specifically, and this is very unusual because
sometimes you just see how Gathoo credited. You won't see
Pretty Girl credited. And sometimes you'll see Rebsowitz, but not
that frequently. But like Pretty Girl had a lot of
people that would do hardcore, and you see that in
this film, except for Trincay Handhrews, who never did hardcore.
Something else that I probably should notice that, I think
a lot of the casts or lots of the cast
members that were registered with one agency were also registered
with the other agencies. They didn't have exclusive exclusivity deals
because it was kind of like there were certain producers
who would rely on one casting agent or another, or
maybe they knew that one casting agent would have better girls,
or maybe one casting agent was more reliable and could
be trusted more than another. So yeah, I think people
like Ushi and Neola and other people, I mean they
had portfolios at all their casting agencies, so they would
get work coming in on a regular basis. So like
Tracy Hanhrews I think was with hal Cuthu and Pretty Girl,
I think, yeah, Red was really bottom of the barrel.
He eventually took over Pretty Girl in the late and
the mid to late eighties after Pretty Girl had been
defunct for like a decade because Dick James, who ran
Pretty Girl, actually sold Pretty Girl around the time, there
was maybe a little bit after this was produced, like
mintally seventy two. Yeah, and sold it to somebody else
that that hasn't been documented who he sold it to,
but they're ran into the ground over the next several years.
So by the time Repsowitz wanted to revitalize it, he
asked Dick James for permission to take the name and
rebrand Sunset International as Pretty Girl because Pretty Girl had
a reputation and it's just a better name than Sunset International.
And then he so, yeah, Repsowitz became then known as
the Pretty Girl Guy, but that wasn't always the case.
Dick James was the original Pretty Girl Guy, so he
was probably the person involved with casting this one at
this time.
Speaker 2: Okay, Yeah, the cast is interesting because yeah, like you said.
Speaker 3: Yes here, Yeah, then you just talked.
Speaker 2: About Annette Michael is a stand out wild Yeah. Form
didn't expect to see a girl of her figure in
this kind of movie.
Speaker 3: No, it's very jar because it's kind of like, does
she need does the ant? Does anth Manny need to
be the stacked like, you know, is it that important?
But yeah, I met Michael permitan always big, big, big
jet black hair implants. Looked a little older than most
of these women and looked. Yeah, she didn't always look great.
I think she always kind of had a sort of
a weary look to her. She didn't do that much softcore.
She was primarily in hardcore. She did some softcore, but
I was never a huge thing of hers. She but
she started very very early, like she started early hardcore
in like nineteen seventy and she was in Anthony Spinelli's
first hardcore movie, Diary of a Nymph. She was in
Young Marriage, which Edwood directed Hollywood Babylon with our buddy.
Speaker 2: I don't remember Foresight.
Speaker 3: Yeah, well at forrest Sight, yeah, I was gonna say,
we can just cut that out. So yeah, and then
Michael is interesting to see. I really like seeing Keith Erickson.
So Keith Erickson plays so Tracy Andrews plays the best
friend jam and then Jan's dad is played by Keith Erickson.
So Keith Erickson was another guy, very early hardcore guy
and kind of older, kind of lanky, not had kind
of like bad teeth and bald most of the time
when he wasn't wearing a crazy wig, but huge appendage
always no wood problems. So there were movies that he
would be cast as the only guy that was shot
over a weekend, and he would have no problem delivering
like four scenes in a day. So obviously a good
person to go to for early hardcore. He was also
a pretty good actor. I think he's good in comedy
and drama. Typically he only did a few softcore movies,
but he was very like he was regularly in a
lot of very bad and some good hardcore features, a
lot of early Spinelli.
Speaker 2: Who was he and the Godson? I'm trying to remember.
Speaker 3: The god Son? He is the he's the head, he's
the head mob guy.
Speaker 2: Oh okay, Yeah, he's like the fire.
Speaker 3: With a wig, yeah, with the rug. Yeah, he's the
one at the end that that John Tall comes to
in the car at the end after the job's done.
Speaker 2: Yeah, it's a pretty big part. Actually, yeah, it's a
big part.
Speaker 3: Yeah. So that's Keith Erickson dictator. I forget. I think
he's who is he's the president of the South American country.
I believe in that. But yeah, he's typically very good
and and women who worked with him at that at
that time, they remember him finally that he was good.
He was nice to them and everything. So I love
him more about him. I'm sure he's no longer with us.
He was a little older when he started doing this,
but uh yeah, every time I see him, I'm I'm like, oh, great, Keith,
I like I like that. I like him.
Speaker 2: So and the gay neighbor mister Jones.
Speaker 3: Oh yeah, mister Guthrie. So that's Kelly Guthrie. And uh
he plays a lot of roles like this. He plays
a lot, a lot of gay roles that are or
like swishy rolls and hardcore stuff. But he it was
a mainstay in the low budget garbage of Rick Tazner
and Regennis Steckler. Those are the two guys he worked
with on the regular. He was in I think most
people remember as he played Lucifer the Devil in Devil's Playground.
Then he was also in the gay version which Tazner
did at the same time, which his finger looking good.
Speaker 2: Does he do a swish and Lucifer in that?
Speaker 3: Yes, he does in both, but in the second one
he actually yeah, I mean yeah, And the first one
is a straight one, but the second one, the straight one. Yeah,
the straight one. He's still gay in the straight one,
but then he actually has sex in the gay one. Uh,
do you have sex in the straight one too? I
think it's a lot of like fake cum shots, which
happens a lot of Rick Tazner stuff. It's a lot
of like, I don't know what shampoo or something. Yeah,
it's a lot of well, it's a lot of some
fake jelly and fake money shots. So Kelly Guthry is
actually really funny in this. I think he's having fun. Yeah, yeah,
but yeah, that's that's kind of it. Those are the
big names, or not even big names, but recognizable people.
Speaker 6: How about Strokey Miles?
Speaker 9: Did you chow?
Speaker 2: What?
Speaker 9: Why?
Speaker 1: You've got the wrong man, Honey, go peddle your sex
somewhere else.
Speaker 3: I'm a home.
Speaker 2: Yeah. So our star, the singular named Margo, not the
greatest single probably for yeah, for for sexy movie star.
And after this performance, I'm not clamoring. I'm not. I'm
not too sad that she didn't appear in any others.
Speaker 3: But no, I think, uh, I think what it describs
the most resist the resistible charms of Margo. Like she's
she's she's quite resistible. Yeah, she doesn't do much. She
wears a giant wig, a giant blonde wig. Most of
the movie. She looks vaguely familiar under the wig. But
I don't know if this is a pretty girl situation
or if this was just somebody that Boren cast because
he knew that she would do nudity. Like, so, I'm
not sure. I feel like the guy, well, I feel
like everyone else that you recognize this because a pretty girl.
But with Margo, yeah, I don't get that impression. And
the same with the brother too, I don't.
Speaker 2: Yeah, because yeah, it almost it almost makes me think
again like she was a friend or of a friend
or some connection, because yeah, why wouldn't he just cast
her that part through pretty girl?
Speaker 3: I mean, right, especially a bit above his nudity. Yeah,
it's very surprising. So yeah, I don't know. I mean, yeah,
it's unusual, especially because Tracy Hanfooss, the best friend is
pretty girl, the dad, her dad is pretty girl. See,
I feel like the brother and sister are not pretty girl. Yeah. Strange. Interesting.
So he at first I was like, well, maybe that
was his girlfriend at the time, but he married or
and got married the year this came out. But he
married a woman who was like his age because I
checked the records of the marriage and everything. Yeah, she
was he was born twenty four, she was born in
nineteen twenty four, were the same age. They're both almost fifty.
So yeah, this wasn't like a girlfriend or something. Yeah,
I'd love to know who Margot was.
Speaker 2: What if it's his daughter.
Speaker 3: I mean that's and I hope that's not the case.
And I don't know why you asked that. Well, it's
why you ruin me. I mean, the cases disgusting. Yeah,
and they should be in jail. Yeah, I don't that's horrible, No,
it's terrible. No, I don't think so. But also the
fact that they're on like USC campus. It could have
been just a student who was like, I'll do this
gig for a day and show my tatas and that's it,
you know.
Speaker 2: Yeah, true? Yeah, who's Erica?
Speaker 3: That's the thing. The Witch is like barely visible in
this she only there's only a few little shots of
like her top lists. I don't know, like it's she
mostly see her at the end. And I also, I
will say, I don't think that the actors on screen,
it's not their voices. So yeah, so it's not even
like a voice of whoever Esoterica is. But and then
the other the brother is what Tom Yerian not a
clue either.
Speaker 2: Yeah, Marco Esoterica and Tom the stars of this film. Anyways, interesting,
not great. Yeah, we're not here for the acting. Okay,
let's move on.
Speaker 3: We're here like not even like even in Michael is
not great in this and Tracy Hanfrews is not great
in this. Like none of the names we know in
love are great in this.
Speaker 2: We're here for the lights and the music. But so
let's talk about the music here.
Speaker 3: Yeah, seemly song. This was the most interesting. This was
my most interesting deep dive into.
Speaker 2: This because an actual forty five r pm at this correct.
Speaker 3: Yeah, and uh, I think something We're had access to
it when they've reissued it on something We're Greatest Hits
CD in vinyl. I think that's a rip from the
vinyl I believe. I don't think it's like a rip
from the movie. So, yeah, I came out of a
record company called Rainbow Records. And so the two credited
people on it in the film it says are Joe
Bisco and Attila Gaalamb, which I think is the correct pronunciation.
So Joe Bisco interesting, So born nineteen thirty one, Joseph
Bisco and so there are recordings and little traces of
him all over the industry since the fifties, mostly in
country music and like rockabilly and you know, sort of
obscure rock and roll recordings. So he did performances as
Cowboy joe Bisco in the fifties, and he released an
album with that title with that name in nineteen fifty four.
Then he also released up as Joey Bisco in the
nineteen fifties, like a lot of like, you know, rock
and roll kind of you know, dance dance music. So
he is credited for writing the lyrics and the music
to this, and so this is completely his creation. The
song is totally his creation. But the interesting thing that
I thought was that I thought was very strange was
that he apparently executive produced a Bobby Davis movie called
Dingle Dangle in nineteen sixty six, which is lost Bobby
Davis not great. You know Bobby Davis did did I
think did country Girl? I think he did my sister's
business like he did a lot of really bargain basement trash.
So I doubt that this was good either. But Dingle
Dangle was then distributed by Calemeille Productions. The same company
that reissued Sacked by the Forty Witch in nineteen seventy six.
So that's a very strange six I reason separation from
the guy who did this did the song was involved
with Clemil Productions before that because as executive well executive
producer means he financed it essentially, And that's kind of
where the trail ends for him.
Speaker 2: Who sang the song?
Speaker 3: Oh well, that's the really crazy thing. So the vocalist
is credited as Johnny Johnny by the way, his real
name is Johnny by the way, that's his real name.
He was a Mormon missionary who was considerably young when
he saying this. He released a single called Blue Diamond
Ring that Joe bisco Co wrote in nineteen seventy one,
which was also released on Rainbow Records, the same record
company that released Beware of the Forty Witch. So he's
the one who sang this, Johnny by the way. He
currently He then started recording religious music or like you know,
Christian songs into the through the nineties. Now he's an
instructor of Brigham Young University. Of course, he wrote a
memoir in two thousand and four which I doubt he
talks about recording this song in it. He also has
written a lot of other religious theme books. He's written
children's books, He's written Christian advice books for teens. But
the important thing is that he is also in the
podcast Realm. He co hosts a podcast called Follow Him,
which is religious discussions from a Mormon perspective. So the
singer I'd be ware of the forty Witch is now
in the same podcast that we are telling. So we're
talking about him. Well, he is recording telling people to
follow follow the Bible and uh and be a good Mormon.
Speaker 9: Well, witness something far more exciting than mere insist between
brother and sister. Oh like what like acting out of
one of my own wild sex fantasies where a new
Astro world protege of Buyn will have sex relations with
a snake. I guarantee you the strongest climax yet just from.
Speaker 3: Watching Yeah, Johnny by the way, you'd be like, well,
this can't be a real name. Yeah, it's Johnny by
the way. It's just put all those words together. That's
his last name, and it's his real name, and he
still uses that name for his podcasts and books. But
that's yeah, that's his real name. He has a website,
Johnny by the Way dot com.
Speaker 2: Yeah, I mean Jack get off the tongue.
Speaker 3: Why not rolls off the tongue. Yeah, Like it seems
allway a little too perfect, and it also kind of
sounds like a counterculture thing. Like Johnny by the Way, Yeah,
it's that. That was his name, and he he came
to the He came to it through Joe Bisco, so
it was a Joe Bisco thing. Now the guy, the
other guy on this is Attila galamb so At Tilla
Galamb was a Hungarian child saxophone prodigy who immigrated to
the US in nineteen fifty six. He was six years
old with his family after the Hungarian Revolution, So like
at the same time that vill Mu Sigmund was coming over,
he came over. He tour with his family as a
child saxophonist. He was on the Ed Sullivan Show. He
has said that he for years that for years that
he was busy on the show, but the circuit he
would have to lie so that he was like he
would have to say he was a dwarf because people
didn't believe that he was a child. So you're like, yeah, no,
you're right, I'm actually like thirty two years old and
I'm just just as a little person. So he started
a record label, Attilla Records, and then he also had
his own recording studio in Highland Park. Well he started, Yeah,
so he started a recording studio after he was involved
with a lot of like a lot of garage band
stuff in the in the mid to late sixties with
a bunch of different bands. But yeah, that's where the
song was recorded. He was the the he created the
production around it, you know, all the instrumentation, all the
like all the sound effects and things, and the songs.
So he did all of that. He did an interview
a couple of years ago where so he he had
a lot of stuff that was recorded for for different
movies and and a lot of like acetates and demos
and stuff. But he said that he did he took
responsibility for this and said for he did record stuff
for some of the world's worst movies, such as The
forty Witch that was a funny experience, and then he
wrote it off as an abomination.
Speaker 2: Hey, Las, he takes credit for it.
Speaker 3: He does. He was not going to live that down.
Well a honestly, with like a name as distinctive as his.
I think it'd be hard to say no, that wasn't me, right,
It's not like, well that's it's not It's not like
if he was Johnsonith, Well that's another john Smith. It's
like how many how many Ittila Glambs are involved with
the music industry in Hollywood and that hit this time.
Speaker 2: Well, so to be clear, he just produced the record
for the theme.
Speaker 3: Song, all of the all of the instrumentals and everything
else like that, So he didn't write. He didn't write
the song or the music. He just recorded it. So
he had like session musicians that did it. So all
of the music, all the actual music was him. Well,
the vocals were Johnny by the way, the music was yeah.
Speaker 2: Okay, And just to be clear, because there is a
ton of music on this but as we will talk about,
it's Pink Floyd music.
Speaker 3: Yes, but we're talking about we're talking talking about yeah, yeah,
we're talking about the song. We're not talking about anything else. Yeah.
Speaker 2: It just seems so that's kind of a I don't know,
it just seems like a waste of his talents. To
be honest, they should have had him, they should have
had him score the whole thing. It sounds like he
probably could instead of stealing Pink Floyd music.
Speaker 3: Do you think that Boren had the budget to pay
somebody who was who had his own recording studio in
Hollywood to do this soundtrack? I think it was. I
mean yeah, I mean it was a place where people
would come to record things like record demos, record like
cheap soundtracks and stuff. So that's what this was, and
he was probably he had session musicians and things that
were involved, so they were able to just record it
based on the music that was written by Visco.
Speaker 2: It's funny he even remembers it because it's just one song,
just i know, recorded at his studio.
Speaker 3: Well also, I mean his name is on it, so
there's a lot of other stuff that he did that
apparently his name is not on it because they're not
going to credit a They're not going to credit a
recording studio or like an arranger or producer of the music.
They'll typically credit the singer and the writer composer, And
he was not involved with any of that. So he
because Born credited him on the actual film itself. It's
kind of it's tough to do, so people are of
course going to ask about it. I mean, he he
doesn't mention any other movies in this interview because yeah,
he did them, and then it was done. They paid,
and they left, and they took the soundtrack with them.
He doesn't know if they ever came out. But I
think for this in this situation, because Born was careful
to credit everybody that wasn't him, you know, and there's
always so many pseudonyms he could use, you know. But
also he wasn't going to take credit for something he
didn't do.
Speaker 2: So yeah, so there's probably a bunch of stuff he
worked on that will never know about because we just
don't know. Yeah, right, we.
Speaker 3: Just don't know. And he wasn't He left the music
business in like the late eighties, I think, and now
he's involved with selling selling like It and computer technology
to the federal government, which quite a strange departure. He
might rememb be retired now though I think he said
that and he was discussing that in like twenty sixteen,
So he might be retired now. So the song has
a much as an interesting background too that you would
not expect. I was lucky, I was abb I was
able to find anything on the song because I was
just like, Wow, Okay, all.
Speaker 5: Right, Cindy.
Speaker 2: Let's I'm gonna have to be very careful when I
cut this episode together with regard to the music I use,
because I don't want to get stricken down by Roger Waters.
Speaker 3: Well, Roger Waters should love me because we're both on
the same side politically, So I'll step in and we'll
be like listen to But yeah, I mean, that's the
big thing. A lot of the music, a lot of
the music that she's doing, like the during like the
tripe sequences, is a saucaple of secrets, which I actually
in my notes, I just realized that with the wrong year.
But also there's a piece that I heard in this
and I thought it was like like a haunted house
record or something, because it also appears in Mondo Trashow
by John Waters. And so John Waters that whole soundtrack,
I don't know if you've seen it is just stolen music.
It's just needle drops, and so I thought it was like, oh,
this is a haunted half record that John Waters has
access to. It's actually a record called Visage by Luciano
Berrio and the vocals are Kathy Berberian. So it's when
you hear like you know, it sounds like a woman
having like a mental breakdown where she's just like making
weird vocal intonations.
Speaker 2: That's visage.
Speaker 3: I always thought it was like Disney Haunted House Sounds
or something, but it's an actual recording, so you might
get a flag on that too, which is you know,
it is what it is.
Speaker 2: It is on like some streaming services that it is massage.
Speaker 3: Yeah, yeah, it is. Yeah, but and then the rest
is mostly classical music. I mean you get to hear
like not on Bald Mountain, which is very olga.
Speaker 2: Well it's very right.
Speaker 3: But then also I think it's something that a lot
of people of a certain age remember from Fantasia, because
you know, Disney did the whole sequence with the Devil
on the Mountain to Night on Bald Mountain, So I
think I think that obviously comes into play with someone
like this trying to make like a horror movie. It's like, well,
Fantasia and involves like the Devil and Satanism and witchcraft,
so it's like, oh, yeah, this is mountain.
Speaker 2: Yeah yeah, I'm sure Larry Milton was thinking more Fantasia
than she came on the Boss for that place.
Speaker 3: Yeah, probably because yeah, that came out, what forty so
he was sixteen years old. Fantasia came out. I could
see him, I could see him referencing that.
Speaker 2: So, yeah, some interesting music. I think the Pink Floyd
track works really well. It has Yes, it's a good choice.
I don't know if that has been an issue with
putting this out, re releasing this.
Speaker 3: You know, I don't think so that. Let me let
me address that, okay for a moment. There are multiple
companies that will say that they're like, well, it has
so much stolen music and we can't do anything about it.
Let me just say this, if this came out theatrically
nothing was done about it, the precedent has been set.
That was the time for them to do something about it.
If they didn't, they can't come out about it because
it's video. So if companies are going to tell you like, well,
we can't put this out it has this tolen song
in it. Her name was Lisa came out with the
led Zeppelin song in it, like Devil Mims Jones, has
Sergio Leoni in it. I mean, yeah, it's a lot
of a lot of gay porn stuff used Pink Floyd too,
So I don't think if any company tries to use
as an excuse, I never buy it because the time
is done. Like, you know, those record companies aren't chasing
after some some fifty year old sex movie to be like, well,
you have my stolen song in it. Yeah, the time
to go after them was nineteen seventy three. Should have
done it done.
Speaker 2: So you're saying, like, legally in court, they wouldn't have
a case. Is that what you're saying?
Speaker 3: No, because they because the film had already been distributed
to the public with that stolen song in it, they
could potentially have a case, but they're going there they're suing.
They would be suing the video distributor of it, and
that's they would have to go after the original producers
who stole it. They're not around anymore. So yeah, they
wouldn't really have a case. And also they would look
really stupid if they went to court over the use
of the song and Psyched by the for Dy Witch
released on DVD by something Weird Video and Image Entertainment,
they would look really dumb. It's like, you're gonna go
to court over this movie that's fifty years old. Yeah,
So I think a lot of companies when they have
to change music, they do it to recopy write that version,
because then then that stops piracy of their transfer that
they've spent money on. So like After Hours did that
a lot a few other companies. VCX has done that. Yeah,
a few other companies have done that. But yeah, this
one is good to go. That's why I'm like, let's
get this back out there, let's reissue it, please, because
I really want more people to see it.
Speaker 1: Well, after a nice Chinese dinner, I felt on top
of the world again. I'll bet it was all just
a crazy hallucination.
Speaker 10: Somebody slipped me from LSD.
Speaker 1: That's got to be it.
Speaker 3: I really like to read his books. Actually they're on WorldCat,
which means that you know, if you want a copy
of it through university library or anything, you can get it.
Speaker 2: You can get the Feminine Power Book. Yeah one, yeah,
it would be.
Speaker 3: A yeah, yeah, so like WorldCat if you if you're
at if you go to university library or I haven't
checked the public library system or anything like that, but
if it's on WorldCat, then like say I'm at n
YU and us he has a copy, then through that
WorldCat system, I can request it and they'll send it
to NYU so I can read it. I had that happen. Actually,
there are a few things I did that with when
I was at NYU that they didn't have and they
had to get from like UCLA and stuff like that.
So yeah, I mean, anybody that has access to a
WorldCat Library system should be able to read these books.
I'm very intrigued by the woman A glorious destiny awaits you, Yeah,
especially because it's nineteen sixty five, and that's kind of
as feminism is getting it starts, and so I want
to hear what this what this middle aged man has
to say women in nineteen sixty five.
Speaker 2: I mean, if it ties into some of the themes here,
which is like you know, and taking control of her
orgasm in.
Speaker 3: A way, right right, trying to have an orgasm with
that while saving herself for her daddy, which is one
of the lines, right, that's very Yeah.
Speaker 2: I think that was just awkwardly written. I don't think
it means yeah.
Speaker 3: No, it didn't mean like that, but it's just it's
kind of reminds me of like when dads and daughters
do like the those problems, the promise ring things, And
I was just like that's weird. They were doing stuff
like that in the seventies too, like don't have please?
Can you imagine? I just can't imagine a dad begging
his daughter like, please, don't have sex for me, Please,
don't have sex for me. That's really unhinged.
Speaker 2: Well, I grew up evangelical, so yeah, I am. Well.
Speaker 3: Oh wow, some ginger there. Oh my god. We don't
really get a lot of gentle law. We get way
too much casey lore.
Speaker 2: But I like to just sneak it in every now
and then.
Speaker 3: Maybe you like the air of mystery. That's fair. I
have no air of mystery. I used to. I don't anymore.
But that's good. Drop the little nuggets every once in a while,
like them.
Speaker 2: Yeah, that's good.
Speaker 3: Yeah, go ahead. Well, we need to talk about the
Doctor's Discovery of Boring's part of Born's career where he
kind of rebranded himself as doctor Discovery, which, by the way,
was going to be my DJ name if I ever
became DJ, was going to be DJ Discovery. So I
feel a kinship to this man now. But so apparently
he started identifying his identifying as an alien abductee, and
so I don't know how early this started actually because
if he went to in nineteen fifty nine, me and
he went to the first UFO convention, I don't know
if I don't know if he already was identifying as
an alien abductee at that time. Starting in like nineteen
ninety two, he introduced himself as doctor Discovery. Now this
gathering for the third annual UFO Contactye Abductee Day Walk
in Canada, flint Ridge, and he presented portraits of American
Indian looking Indians, Aliens and so as do Doctor Discovery.
He described himself as an intuitive right brain on tact
D and said that the beings assisted him in his
work with channeling the future.
Speaker 2: What does that mean?
Speaker 3: So, I don't know. Well, I think do you read
that that is the thing where there are people who
are more left brain and more right brained, And I
haven't done the research on that. In forever it was
something where well you take your personality test, where that's
one of those things where I think that's one of
the things they're supposed to determine do you use your
left brain more or your right brain more?
Speaker 2: Yeah, And what does that have to do with the production.
Speaker 3: Well, I'm wondering if it's if it's a way for
him to like make himself sound more plausible or maybe
right brained people are supposed to be more grounded in
facts or something. Yeah, I don't know, but I think
there's there's obviously a reason why he said that, and
I'm guessing that's probably why. Yeah. But yeah, I mean,
this is nineteen ninety two. It sounds like stuff that
possibly could have tied into his theories from you know,
forty years previously. He's using color, using color and light,
and the idea of like astral projection and which is
kind of like manipulating time and space, which is similar
to like this this idea of aliens helping him channel
the future. So yeah, it's a lot of like parapsychological stuff,
which makes this film much more interesting because then it
really is just like this wasn't just like some commercial
venture by some guy trying to appeel to the counterculture.
It was something that was that he was obviously studying
for years and years and years and maybe trying to
get through breakthrough to that commercial audience with a very
uncommercial film.
Speaker 2: Yeah, that's what's I think the most interesting aspect of
the movie for me. Yeah, is knowing the seriousness behind
the creator. It makes everything about the film kind of
have an extra layer of something there. Yeah, obviously he
dabbled in a lot of things, so it's hard to
really really nail him down. But yeah, I think he's
a curious guy and I'd like to see these American
Indian looking aliens. See.
Speaker 3: I know. It just makes you wonder. It's like, yeah,
I don't know where those minutes were taken where someone
took a minute to the meeting, and we're kind of like, well,
this is what happened. This guy showed up. But also
something that's interesting is that this movie is not his
first attempt to bring sort of space exploration and kind
of otherworldly exploration to a mainstream audience, because apparently he
wrote a musical, oh yeah, that was never produced called
from Venus with Love in nineteen fifty nine. That's like
the magic Gear. So he wrote, well, he wrote a
bunch of songs, but there was a single that came
out in nineteen fifty nine with two of the songs
called Venus Land of Love and Venus Calling. But then
he also registered to the Copyright Office a ton of
other songs that all sound like that could be part
of this musical. So the songs, the title songs include
Love Is and History, The Kingdom of Enchantment, Kira from Venice,
and End of This World, and they all sound like
they'd be part of this like space musical but related
to my personal interests. He also made two disco records
to also try to appeal to the mainstream. Now, the
disco records were put out with a company called Golden
Age Records their only releases, So this is another situation
where Golden Age kind of like new Art. I think
it was something that he created and that they say
on the credits that they are from the upcoming show
Far Out Encounters. So I don't know if that's a
retitling of the Venus Musical or if it's a brand
new musical that he wrote. But one of the songs
is Venus Land of Love. It's a re recording of
the nineteen fifty nine song by a studio group called
the Wizards of Wonder. And then there was another song
another release called called Judgment Day exclamation Point, and it
was there was a fake artist named Prince Drgonia, which
I think is probably a character from the musical. I
think Prince GRAGONI is probably you know, a Prince on
Venus or something. And both of them are two part singles,
so you know, there's like a vocal part on side
one in side two is like you know, in a
longer instrumental version, and they I mean, this seventy eight
is kind of long to be doing that on a
forty five RPM. He should have put these out as
like a thirty five thirty three RPM, like a twelve inch.
That would have made more sense. But I don't get
the sense that he was aware of how disco worked.
So and you can hear these songs on YouTube, you
might want to try to include them, yea one or
both of them in this episode because yeah, because they're
they're not great, but they're definitely something even.
Speaker 2: Beware he's coffee.
Speaker 3: Uh but and I think the records are kind of cheap.
I think you can get copies of them on like
discogs pretty pretty easily. Yeah, I don't want them, but
so maybe somebody does. Yeah, he's credited as L. M.
Boren on there, like it's very professional. He has another pseudonym.
Speaker 2: It does seem like he was really like trying to
get out there, like.
Speaker 3: He wanted me he could get access to his Yeah,
he wanted he wanted more mainstream access to his theories,
and he wanted people to listen to him about the stuff. Yeah,
so like he was. It seemed like he was fine
marketing and like UFO people and space people in like
color and light, you know, and parapsychological people. But he
wanted to get through to people who maybe he thought
would have a harder time believing these things. Yeah, and
none of them really worked. I think Psyched Psyched by
the forty Witch is his most successful example because it
was released twice theatrically in the nineteen seventies. But even
then it's it was all it was done in her pseudonym.
So then it begs the question, like, who was he
trying to If he was trying to get his information
out there or get his theories out there in this film,
hide him behind a pseudonym isn't gonna help that. So
it's almost self defeating if you're going to release it's like, well,
hell was Victor Lumineira? Well some interesting guy who knows?
And then you move on, Yeah, yeah.
Speaker 2: It's interesting because yeah, now that you mention it, Yeah,
why did he use that pseudonym unless he had that
cold feet about it, he wasn't happy with how it
turned out. I don't know.
Speaker 3: Maybe it was the sexiness of it, because at that time,
if you're doing like sexy movie. But then he uses
his real name in like the newspaper article where he's
promoting the movie at the premiere, So yeah, I don't know.
He doesn't even use so Victor Luminaire is only one
of the pseudonyms. The other two are just mix ups
of his real name. He never uses his real name
on this movie in any capacity at all, which is
just it's interesting. It's almost like he wants he wants
it to he wants the film to do something for him,
but he is not willing to take the risk of
associating himself publicly with this film right on like a
larger scale like one a newspaper interview is one thing.
But if his name was like on the poster on
the prince, like this is a personal practicing project for me,
his name would be all over it, one would think.
Speaker 9: So, I don't know, she's getting ready to pull the
snake out of a rhctum.
Speaker 5: Now imagine it's been in there for nine hours and.
Speaker 9: Suspended animation in preparation for this ceremony. And here it
comes from her rectum.
Speaker 8: Oh no, let me out of here.
Speaker 9: Abigail White on this head, she's reviving it. Next the
ceremonies about to begin.
Speaker 2: Well, you know what I need to look for after
this is to see if any rainbow lights exist on
There's gotta be like rainbow light on eBay or something.
Did you search it all?
Speaker 3: No? But we'll also made me think of, like what
was the light bright? That's what immediately thought of.
Speaker 2: Yeah, it's not a light.
Speaker 3: Bright that I had as a kid, where it's like
you just plugged the lights in and yeah, not at
all the same thing, but no incense and no incense.
But it also is light bright was kind of therapeutic.
We're just like creating something with the lights and a pattern. Yeah,
but I don't think that was what his idea was. No.
Speaker 2: His was a little bit more mystical. There's gotta be
some collector of like what was this fifty what year
was the that was.
Speaker 3: In nineteen sixty when he oh, yeah, the rainbow light.
He was promoting it in nineteen.
Speaker 2: Sixty, Yeah, sixties.
Speaker 3: You know, you know, maybe maybe I don't know, maybe
maybe nobody ordered it. Would that'd be crazy, that'd be terrible.
I feel like somebody probably did.
Speaker 2: Oh yeah, somebody.
Speaker 3: Feel like somebody did, especially a subscriber to that newsletter,
probably was intrigued enough to order it.
Speaker 2: And with that AD copy.
Speaker 3: Yeah, I know, that's very good. The ad camp. The
ad copy is good. Yeah. Lifter vibrations sounds good to
attract the higher forces. Yeah, communion with spirit realms. See,
that's the thing. It's It's like, was he an alien
abductee at this time? Was he saying that the lights
drew the aliens to take him? I don't know. It's
not very mysterious. It's you know, And it's one of
the things I found about researching this was that apparently
Mike McCollum, who I know listens to the pod because
he'll reach out and send me, send me newspaper crypt
clippings and press things and stuff. Mike and Chris Poggioli
were putting together an article about boring for a Temple
of Schlock, but I think they were supposed to. They
were doing it for a magazine. But I don't know
whatever happened with that, because this was a couple of
years ago. So Mike and Chris, if you're listening, what
happened with the article and let me know and we
will include the update in the next next episode, because
I feel like this would benefit from a very substantial
deep diver puts everything into perspective. Yeah, you know, it's
from a biographical point of view.
Speaker 2: Yeah, that letterbox review that you mentioned, Like you said,
he just kind of dumped all the information because because
even for him, I can I can probably tell like
he didn't have the time yet to put it all together,
and putting it all together is as you can hear,
like this is a complicated guy here, Yes, working in
a lot of different avenues with different belief systems that
kind of connect they kind of don't. Some of it's commercials,
some of it's yeah something.
Speaker 3: Well, even this episode is like this is basically a
photo dump because we've been jumping all over the place. Yes,
because it was just very much like the movie. So
maybe you'll just say we're inspired by the film to
be just as haphazard and random as the film.
Speaker 2: Yeah, I'd like to hear if Chris and Michael had
found out anything more about that musical, because it sounded
like it went pretty far in pre production. He's got
songs made.
Speaker 3: I don't know about that. I think no. I think
recording songs for something doesn't mean it's actually in production.
I think it just means that I love these songs
so much, let's get the word out and get people
excited about this potential of a musical. It's you know
what it kind of reminds me of. It's kind of
like when like a sizzle reel is made for like
a movie where they're trying to get financing. I feel
like this was a way to be like, yeah, listen
to this, like and if it's if it's successful as
a record, then build abound it and start building. Yeah.
I don't think it went very far. I would love
to be wrong, but I think there'd be more evidence
that it went into production because we would have heard
about it. It would have been documented somewhere, but there's
only documentation of these recordings of the songs that he
wrote and the copyright registrations of the songs. But yeah,
I mean we would at least be hearing. We would
be and especially because he was big about publicity. Yeah,
he would have promoted this. Yeah, Yeah, so I started
on Yeah, yes, yeah, I mean we see that for
films too. I think it probably would have been the
same for a production. I kind of well, then it
also begs the question, like what if there was never
a script written for this, If he only registered the
copyright of the songs, there might not even be a
book for this musical, Like, you know, he might not
have ever written the book for it. It's just like, well,
I have all these songs and they're going to tell
the story. I'll figure out the book later, which is,
by the way, sign of a terrible musical telling you
right now you need the book. The book is what
makes the musical. The music can be as good as anything.
If it's attached to a shitty book, that's a bad musical.
So he didn't copyright the book of this musical as
far as anybody can tell. So makes you wonder. And
then if he died, where did all that stuff go?
He had no kids, so really it's it's kind of like,
where do we go from here? Where does anybody go
from here? It's kind of like, but yeah, it's it's
definitely worthy of a deeper dive. And the fact that
we don't even have any pictures of him. I think
there's one that could be him, that could be Yeah,
it's ever been verified. I mean the fact that this
someone who was that into publicity having no pictures of
himself as also very usual.
Speaker 2: Yeah, like even yeah that I don't think there's no
like book jacket, back of the back.
Speaker 3: That's a good question. I don't know, not on the
on the internet, if I if I, if I get it,
if we get the books through WorldCat, I don't know
if there's a book jacket, that's the thing. I don't know. Well,
it was a good question.
Speaker 2: I always wonder, like does it ruin the movie? Demystifying
them can make them feel I don't know, less interesting.
I think this one feels more interesting. Do you agree?
Speaker 3: Yeah? I don't. I can't think of any examples, off
the top of my head where I was able to
figure out so much information about a movie and it
made it worse or less interesting. True, you know, I
can't think of any example of that. I mean, the
only example I can think of is, well, we talked
about Anne Perry last week. I don't really care for
her movies that much anyway, But you can say what
you find that someone's like a really shitty person or something,
then it's like, oh, well, then this movie is not good.
But actually, I can't think of any examples of that either.
I think it only amplifies their work, especially if you're
able to find bits and pieces of who they were
in the film. And it especially in the genre like
this where everything is so commercial in about making a
buck with naked ladies and that's it. That's that's the
name of the game. And as we talked about a lot,
when you have directors that are putting a lot of
themselves into this and you find out that they were
like into film or you know, they were like Mark
Haggard was into john Ford or like Chuck Smith was
into like you know, film noir and stuff like that,
it makes their work more interesting because you're able to
see that part of themselves in the work. And in
this case, it because we know now that he did
everything on this movie, it just it makes it almost
a more noble failure. Yeah, because it is something that
he really was putting so much of himself into. Yeah,
I think even I think learning more about it would
only make the movie more interesting. Yeah, you know, I
don't think anything would ruin it unless you found out
that he was like a child molester or something. That's
that's the only thing. Probably. Yeah, have we found out
that that girl was his daughter? That would ruin the movie,
That would ruin the movie. But I don't think that's
the case. Thank God, please praying that's not the case. Yeah,
I don't think it. I don't think it is. I
don't think it is.
Speaker 5: Come on in it, Fanny. So you picked up my thoughts.
Speaker 6: Daddy said he won't be back till late tonight.
Speaker 4: Yes, I picked up your thoughts, but at sure surprised
that I'd never guessed you such a sexy witch? Are
you a LANs or a bye?
Speaker 6: Unless you know it?
Speaker 7: Less?
Speaker 6: And a bye should know a bye, shouldn't they?
Speaker 8: Please come back to this world and be free of
that Salem witch bitch.
Speaker 7: Thank you for listening to hear more shows from the
Someone's Favorite Productions podcast network.
Speaker 5: Please select the link in the description.
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