When I initially introduced the idea of doing an underground film/video column, I thought that it might be a good way of inspiring punks out there to get active in other forms of media other than music. Recently, I realized that many of the titles I'd be writing about would be either directly, or indirectly related to music. I hoped that other zines would follow suit and begin their own underground columns, as opposed to the more mainstream film coverage that already exists presently, even in underground zines. Well, HEARTATTACK ZINE beat me to the punch, and they actually review many of these same films and videos in issue #26, which is actually pretty fucking cool. So I encourage you to cross reference my reviews with theirs, and even those that make it into some of the cooler independent film zines like CASHIERS DU CINEMART. So that's it for the introduction, I'm Jay Dead by the way, and now on to this month's column.

Nick Zedd's not dead, contrary to past articles in magazines like PHLEGM THREAT, and similar references in Quentin Tarantino films. Actually he's alive, well, and as underground as ever in New York, recently self-publishing a follow up to his first book TOTEM OF THE DEPRAVED. "Police State," isn't exactly new, originally released in 1987, it has been banned by the Berlin Film festival, Canada, The Collective, and EZTV. Needless to say, this isn't the most distributed undeground film, and so another review of it here can't hurt. "Police State, " is a 12 minute film about a punk with an attitude (played by Zedd) who runs into the wrong kind of cops in New York City. Suddenly, we watch as an innocent man is subjected to every type of mental and physical abuse possible in the span of a short film. Zedd has said that the cops in this film are based on real life examples. The film's ending is either shocking or completely predictable, depending on the viewer. What is grounds for banning a film in some circles, is a brave representation of certain realities to others, definitely in the case of punks. I would be amiss if I didn't mention that their is alot of humor in the way Zedd depicts these abuses, as is the case with most of his films and writing. (Send a couple of bucks for a catalog to: PENETRATION FILMS, PO BOX 1589, N.Y.C., 10009

"Punk Pretty," is writer, producer, performance poet Jackie Joice's film about some of the women who make up the Southern California punk/Riot Grrl scene. This film gets off to a great start with a short live performance by ALL OR NOTHING H.C., and a very intelligent and informed interview segment with the lead singer of ALL OR NOTHING, Renae Bryant. Renae Bryant does a zine called ON THE RAG, and she gives a good summation of the Riot Grrl Movement's influence on the Southern Calfornia scene, and on her own ideas about feminism, especailly as it relates to her as a punk. Some of the other women profiled seem to be so Southern California (stereotypically speaking), with their trendy new clothes and shiny tattoos, yet they also have independent, empowered ideas about their lives and careers that seem to be drawn from actual real life experiences and the lessons they've learned thus far in their lives. In a quick little interview, the lead singer from RESIST AND EXIST expresses his hope that Soutern California punks will soon begin to provide equal opportunity, and safety, for women who want to get more involved in the scene. He makes reference to Northern California, as an example of what they should be aiming for. I live in Northern Calfornia, and even as male, I can see that we have a long way to go here, so that little interview segment spoke volumes about the Southern Calfornia scene, in spite of the Renae Bryants and Jackie Joices who call SoCal home. Of course it goes without saying that you should make an effort to contact Jacki Joice and purchase this video, but it also seems as important that we take inspiration from this effort, and document or own scenes. It's not just the music.
($13 ppd, PUNK PRETTY, 4102 Orange Ave. #107-100, Long Beach, CA 90807 - jackiejoice@yahoo.com)

This was probably my favorite new film in this month's column, and it actually fits the original idea I had for this column, probably more than any of the other videos we received in time for this month's deadline. It was shot using digital video, but it's without question a film in the way that director Bob Moricz frames his shots, and the way he paces this beautiful story of an incestous relationship between a father and his sometimes murderous albeit loyal children. The director recently expressed, to me, his admiration for the work of Nick Zedd and the Cinema of Transgression, and in much the same way that the Super 8 format made the idea of filmaking more accesible to the average person when Zedd and filmakers like Richard Kern were active in the New York underground, video has the potential to take their example to the next step. Realistically, it may be a few years before all of the digital technology is affordable enough for anyone to shoot a film, but it's closer than you think. I wouldn't want to give too much away, but "Kash House Meat Cleavage," has all the elements of any good B-movie or cult film. There is an abundance of senseless violence, twisted sexuality, humorous over the top acting, and sudden plot twists that usually escape even the most depraved of mainstream indie films. Sounds like fun, right? Believe me, it is. "Kash House Meat Cleavage," is from a company in Redwood City called Epiphany Sink, and they are also responsible for another film I received this month entitled "Brainbox."
Visually, "Brainbox," is a more interesting a film to watch, but I missed the uninhibited, unforced writing that made "Kash House Meat Cleavage," so much more urgent and humorous. "Brainbox," has a more convouted plot that centers around a power struggle to posess a thought controlling machine that is the Brainbox. Once again, there is plenty of cool gore, kinky sex, and even horror elements. I'd recommmend "Kash House Meat Cleavage," ahead of "Brainbox," but I'd probably be more inclined to recommend both as a double feature prelude to "Whorgasm." Director Bob Moricz has an interestig cast of players working in both of these films, and I really look foward to Epiphany Sink's future endeavors. ($12, Epiphany Sink Productions, 2115 Harding Avenue Redwood City CA 94062-2915 www.epiphanysink.com)

This is a simple video project that reminded me of the type of documentary that is often shown at info shops, or perhaps even a home video night at a Food Not Bombs wharehouse. There's some footage of rioting, a little Punk Rock and Hardcore, a little bit of the Peace And Justice Festival, and peaceful protests that are rudely interrupted by police brutality. Similar to my feelings about "Punk Pretty," "Blaster Piece Theatre #1," could be an interesting start to something good, especially in terms of this column, if different folks from different scenes begin to follow suit by documenting their own scenes and activism, and how the arts fit into all that. I mean, I know alot of folks are already doing that, so send it in. Some of the bands that appear are: RIOT COP, REANIMATED, THE CURSE. (Pepto Dismo, 1701 Broadway #C-1, Vancouver, WA 98660)

"Bedtime Stories," is a sensationalistic video produced by the folks at WHILE YOU WERE SLEEPING zine. It's whole purpose for being is to shock us, while at the same time promoting grafiti artists, and their scene. If "Bedtime Stories," had stuck to only those objectives, then it probably could have been a much more successful product than the one I just watched. As it is, in between every well done graffiti segment, and every conversation with female prostitutes who confess that they would rather be with women than men, are moronic displays of jock humor and ignorance that threaten to ruin a video that could have been so much more. On a positive note, "Bedtime Stories," successfully connects three scenes that have long plagued punk. The guys behind WHILE YOU WERE SLEEPING, with "Bedtime Stories," cater to white Hip Hop suburban kids, sXe hardcore kids, frat boys, and violent skinheads all at the same time. It's cool to see how similar, and connected, these scenes can actually be. Pretty fucking scary as well. I've always had a soft spot for the graffiti scene, so I did appreciate the obvious passion they have for that form of expression. ($19.95, WYWS, PO BOX 34843, Bethesda, MD 20827)

"Songs For Cassavetes," uses actual film, and the black and white cinematography gives the entire film a very northwest feel, even though certain segments were shot in Los Angeles and Berkeley, California. The film takes a look at, sometimes very briefly, bands like the PEECHEES, SLEATER-KINNEY, THE VELVET SIDEWALK, THE HIGH FIVES, UNWOUND, MAKE-UP and a handful of other, equally self-important studies in mediocrity. That said, SLEATER-KINNEY and the HIGH FIVES are definite highlights in "Songs For Cassavetes." Yet this film is less about the live performances, and more about the examination of the d.i.y., independent philosophy. Unfortunately, all the bands that are profiled here are signed to either Lookout! or the Kill Rock Stars label, which are both large enough labels that the bands tend to be a bit past the grassroots, d.i.y. level. It's also unfortunate that the only half way down to earth conversation in the film takes place with the HIGH FIVES. Unlike every other band before and after their segment, the HIGH FIVES don't seem to view or refer to themselves in the third person. However, when giving an explanation of why bands are labeled sellouts, Chris Imlay becomes noticeably tentative. This explanation follows his almost bitter disappointment at not being able to tour with GREEN DAY due to the rigid work schedules of some of his fellow bandmates. After Renae Bryants explanation of feminism in punk, and the Riot Grrrl Movement, I was looking foward to the PEECHEES segment. The drummer in the PEECHEES is Molly from BRATMOBILE, which was one of the Riot Grrl Bands named as a huge influence by Renae Bryant in "Punk Pretty." It was very anti-climatic when it turned out that Molly is incapable of making a concrete statement about anything without fracturing every sentence into a series of "likes," while at the same time appearing disinterested by every question.
It would take up too much space to fully critique every band's segment, and disect the requisite self-tributary diatribes that seem to accompany them. So very briefly, the most pretentious of all the bands in "Songs For Cassavetes," goes to the VELVET SIDEWALK, and more specifically to their lead singer. UNWOUND, and the band FURTHER, bad mouth major labels while they seem to pine for them at the same time. Oh, I could go on and on. The fact that almost everyone in this film is scared of the word "Punk" speaks volumes. In the end, this makes "Songs For Cassavetes," somewhat interesting(even if it is a sick interest), and it is very well made after all. (No videos are currently available as of this writing, but you can write for more, current info to: Breadcrumb trail Films, 440 Raymond Avenue #8, Sanata Monica, California 90405)
Send your films and videos to: Jay Dead, PMB 419, 1442A Walnut Street, Berkeley, California 94709. Free Nikki Sicki!