Wednesday, December 7, 2016

Ed Wood Wednesdays: The Wood Poughkeepsie Odyssey, Part Two by Greg Dziawer

Ed Wood lived here at 35 Delano St. in Poughkeepsie, NY.

Miracle on Delano St.

An overhead view of Eddie's old neighborhood.
In our first Poughkeepsie Odyssey, we recently shared a few details about Ed's final residence in his home town of Poughkeepsie, NY before he left for World War II: a modest apartment at 1 Fountain Place. Previously, the historical record had only identified Ed's birthplace, another apartment house at 115 Franklin St., a structure that was torn down within the last few years. Could he have resided elsewhere in Poughkeepsie while growing up?

We'll find out in this week's Ed Wood Wednesdays!

Eddie's father and namesake, Edward Davis Wood, married Lillian C. Phillips on November 28, 1922 at the Hedding Methodist Church in Poughkeepsie, New York. Little more than a year later, Lillian was pregnant with the couple's first son, Edward Davis Wood, Jr. Flash forward a decade, and the 1940 US census record has the family living at 35 Delano St in Poughkeepsie. 

According to that same document, the Woods were already living at 35 Delano at least as early as 1935. This residence—and, yes, it's still standing—is located about six blocks north of Ed's first home on Franklin St, and roughly a quarter mile from the east end of the Mid-Hudson Bridge. 

Delano is a one-way street that bends like an elbow about halfway through. It extends east from Clover St. before abruptly changing its mind and plummeting south to Union. The Woods' former residence at 35 Delano is located right near that elbow. The entire block largely consists of apartment houses and buildings.

The apartment house itself is a sturdy colonial built in 1870 with three units—presumably a ground floor apartment and two upstairs apartments—and a fireplace. Totaling ten rooms occupying 3,000 square feet, 35 Delano contains four bathrooms for its inhabitants. In 1940, Ed's neighbors at 33 and 37 Delano respectively were: Edward L. Food, a machinist, and his wife, Anna; and Pete J. Yerganson, a laborer who lived with his mother, also named Anna, his wife, Elaine, and their nine-year-old son, Richard.

Edward Davis Wood, Sr. would have been his mid-forties by this time. He was a custodian at the local post office, a job for which he earned $1,100 in 1939. That was a high-end salary among his (entirely Caucasian) neighbors at the time. And he needed the money, since the Woods had a second child by then: Eddie's oft-overlooked younger brother Howard William Wood, who typically went by his middle name.

There's always a bit of a wrinkle in cases like this. Joseph Masterson, the census taker who recorded these details on April 22, 1940, listed Edward D. Wood, Jr. as 16 years old. If Eddie was born in October of 1924—and I believe he was—he would actually have been 15 in April of 1940.

The 1940 census lists Ed's age as 16.

Meanwhile, a wedding anniversary article for Ed's parents in the Poughkeepsie Eagle News from November 28, 1940 places the Woods at their subsequent residence, 1 Fountain Place. The family, therefore, must have moved from Delano to Fountain Place sometime between April and November of 1940.

Eddie's parents celebrate an anniversary.

Not starring: George Keseg.
Already residing at 1 Fountain Place was Ed's close high school friend, George Keseg. George worked at the Bardavon Theater, like Ed, and was in the same grade at Poughkeepsie High School. The pair enlisted into the military on the same day in 1941, with Ed dropping out of school in his junior year. George was badly injured in the war and returned to Poughkeepsie in 1944. By 1946, when Ed briefly returned home after the war before leaving Poughkeepsie for good, he attempted—apparently without success—to stage his play, The Casual Company, there, with Keseg part of the acting troupe. 

Close as they eventually became, Wood and Keseg did not grow up together. The 1940 census places George at 1 Fountain Place, but in 1935, Keseg lived in Yonkers, about 70 miles due south. By 1940, he resided with his older sister, Helene, and her family: brother-in-law Joseph Wermter (born in Germany) and George's adolescent nieces, Joanna and Janet. Incidentally, Joseph made $1,250 as a bearing grinder in 1939.

What happened in Poughkeepsie wouldn't stay in Poughkeepsie, at least not for long. Ed returned briefly to his home town after the war in 1946, but he left again and soon landed in Hollywood. He never went back. But we'll go back again, right here at Ed Wood Wednesdays!

Special thanks to my friend, expert Woodologist James Pontolillo, whose research into Ed's upbringing in Poughkeepsie infuses this article throughout. For more views of 35 Delano St., check out the Ed Wood Wednesdays Tumblr.

Sunday, December 4, 2016

'Star Wars' Shocker: "Threepio's been abusing me for years," sobs Artoo

Things were grim behind the scenes of  Star Wars.

The droids are all smiles for the camera.
SOMEWHERE IN THE GALAXY - Finally equipped with a simple voice synthesizer that translates his beeps and bleeps into recognizable human speech, beloved astromech droid R2-D2 has confirmed to the press what many in the Star Wars universe have long whispered: that he has been suffering physical and verbal abuse at the hands of his constant companion, protocol droid C-3PO, for years.

These explosive allegations cast a new light on the renowned duo, popularly known as Artoo and Threepio, whose comical antics have delighted audiences for generations.

"He's a monster," claims Artoo of his now ex-partner. "He puts on that prissy voice and affected manner, like he's some gay English butler or something, but it's all an act. The second the cameras stop rolling, he's Jake LaMotta. It's been hell."

Artoo now says that he endured Threepio's frequent, brutal assaults mostly for financial and career reasons. What started as a tempestuous romance became a lucrative business partnership between the droids.

"I mean, sure, at the beginning there was a spark between us. There's no denying it. The sex back then was..." And here Artoo pauses for a word. "Wow. You know? Just wow. But things started to change pretty quickly during the making of that first film."

Threepio's violent, controlling nature soon came to the fore during the making of 1977's Episode IV: A New Hope. As Artoo tells it, Threepio would frequently slap and berate his costar in full view of the other actors and crew members.

"[George] Lucas knew," Artoo says. "They all knew. Luke [Skywalker], [Princess] Leia, Han [Solo]. How could they not? But they all chose to look the other way. Too much money was on the line. Anything to keep the gravy train rolling. Chewie, god bless him, tried to intervene. But Threepio said he'd have him fired and replaced by three Ewoks stacked on top of each other. And that was the end of that. I don't blame him. He had a family to support."

Who dared to speak out?
Perhaps fearful of losing their own jobs, other denizens of the Star Wars universe have been reluctant to comment.

"Suspicious I was," says one source close to the droids, "but my place to interfere it was not." This wizened, green-skinned actor, who agreed to be interviewed on the condition that his name not be revealed, says that he witnessed the extent of Threepio's rage first hand on the set of 1980's The Empire Strikes Back. But, like so many others, this costar ignored the domestic violence occurring right in front of him.

"Regret it now I do," says this anonymous witness, bowing his tiny little puppet head in shame.

So the abuse was allowed to continue for years. A particular low point in the relationship between Artoo and Threepio came in 1983, when the two robots were filming an Underoos ad.

"This was right after [Return of the] Jedi. I don't know what it was that day," Artoo remembers, "but I kept missing my marks and blowing my cues. We were up to maybe the twentieth take when he [C-3PO] just snapped. 'You're fat!' he yelled. 'You're fat, and you can't act! I've been carrying you for years!' And he just laid into me. Bent my dome in three places. Broke my lens. I had never seen him that bad." 

Why didn't Artoo fight back?

"Look at me," says the diminutive droid, clearly annoyed. "What am I going to fight him with, my legs? The minute I lift one of them up, I topple over. My only defense was to roll away from him, but half the time, we're in some goddamned desert. You try rolling on sand."

Communication was also a problem.

"My abuser was also my translator, which didn't help," says Artoo. "Can you believe that? It was that asshole's job to tell people what I said. To everyone else, it just sounded like a bunch of gibberish. But that gibberish was a cry for help."

Now that the truth is out there, Artoo has no intention of remaining silent.

The roly poly robot has moved out of Threepio's palatial Malbu home and into a modest apartment of his own in West Hollywood. And it is from there that he is plotting his new life.

Inspired by his pop culture idol, Tina Turner, and her best-selling abuse memoir, I, Tina, R2-D2 is also planning to write an autobiography to be called Me, Too, Detoo. Harper-Collins has expressed interest.

C-3PO refused to comment for this story.

Friday, December 2, 2016

Dave Foley, ladies and gentleman! Dave Foley!

Can you identify which skit this is based on?

On the train trip to Indiana for Thanksgiving last week, I started making a digital portrait of Dave Foley from Kids in the Hall. I don't know why. Just seemed like a thing to do. Since then, I've worked on it for a few minutes at a time here and there. Eventually, I realized I was never going to finish it. There's a whole background I was going to do that I didn't do. So here's the part I got finished. Enjoy. Or don't.

As a bonus, here's an unfinished portrait of one of Dave Foley's influences, Jack Benny. Why I chose this moment, some kind of press conference, to represent Benny, I don't remember. I do know that making all those little microphones was more trouble than it was worth.

Jack Benny takes questions from the press.

Wednesday, November 30, 2016

Ed Wood Wednesdays: The Wood Loop Odyssey, Part Three by Greg Dziawer

A compilation of Ed Wood's loopiest work from the 1970s.
Man, across the endless reaches of time, endeavors to bend reality into a shape reflecting his own needs, and his own desires. One of the principle means through which he does this is technology.

In this week's Ed Wood Wednesdays, we're again investigating one such technology: the 8mm home-market porn loop.

Although its lifespan was brief—with peak production lasting just over a decade, spanning and spilling over the edges of the 1970s—the 8mm porn loop enjoyed a historically significant run. New communication technologies before and since have been quickly seized by early adopters packaging and selling graphic sexual content. It happened to Gutenberg many times over, and it happened when VHS tapes obsolesced 8 and 16mm home projectors in the space of just a couple of years. It's happening now, in increasingly complex ways. 

Yet pornography remains startling, because it always seems new. Sudden. And there is a world of difference between having access to billions of pornographic images and millions of hours of pornographic video in the palm of your hand, and buying an 8mm loop via mail order, seven or so minutes long, and silent. You would also feel dirty just plucking the plain-brown-wrapper package out of your mailbox. You probably still feel dirty now. 

That was part of the fun a few weeks ago when I received the CineFear DVD compilation Ed Wood's 8mm Porn Loops. Collecting a dozen of the first nineteen Swedish Erotica loops—now commonly held to have been "made" by Ed Wood—this is a pioneering effort. Grassroots labels have been, since the VHS era, if not earlier, the proving grounds for "cultish" ephemera subsequently proffered to the masses by a cultural middleman. Technology in motion.

CineFear has been nurturing obscurities by providing accessibility since 1990, and its proprietor Keith Crocker explained to me his intent in releasing this collection: "Certainly the point is to prove and shine more light on this being the work of Wood himself."

The back cover of the disc.
The disc itself is a no-frills affair: a completely plain white DVD fittingly packaged in a pink plastic case with a homemade cover. The cover photo is a close-up of Ed smilingly impishly, a nicely-chosen image from Love Feast. The back cover includes a few stills and a brief text, including suitably wow! rhetoric: "Can you imagine these two titans [Ed and John Holmes] working together?"

Given this vintage and available sources, quality is predictably variable, with some loops looking better than others. One title, the most intriguing of the series for many Woodologists, #14 Devil Cult, unfortunately cuts off all but half of the very first caption. And yes, these are all captioned, as were the original 8mm releases. For me personally, it was a first when watching this collection to see a captioned version of #9 Lusty Neighbor and to see #10 Hollywood Starlet for the first time. You'll find these loops floating around on the internet, streaming or links to files in private forums, including foreign releases (sometimes dubbed in German!) under various imprints related to global porn giant Color Climax. Props to Keith for drawing from original sources: "That box of porno that had the initial loops I transferred came from a friend years and years and years ago." 

The simple menu has one option, to play nearly two hours of loops continuously, in the order in which they were numbered and released. Originally silent, the loops are presented here accompanied by jazzy funk and rambling guitar rock from the era. For the record, this collection contains a dozen loops, five starring John Holmes, titles as they appear in the credits:

  • #1 The Virgin Next Door (Part One)
  • #2 The Virgin Next Door Part Two
  • #3 School Girl
  • #4 Western Lust
  • #5 Love Mates
  • #6 Wet & Wild
  • #8 Girl on a Bike
  • #9 Lusty Neighbor
  • #10 Hollywood Starlet
  • #14 Devil Cult
  • #15 Behind the Ate Ball (Part One)
  • #16 Behind the Ate Ball Continued from Part One

A worthwhile collection for any serious Woodologist or fan of vintage porn. And CineFear is soon beginning work on transferring the remaining seven titles of the first nineteen loops from the Swedish Erotica series, supplemented by additional loops from other series that carry the same signatures.

We'll talk more about those signatures, and much more about the loops, right here in future Ed Wood Wednesdays!

Special thanks to Keith Crocker at CineFear for providing a review copy of the DVD.

Wednesday, November 23, 2016

Ed Wood Wednesdays: The Wood Magazine Odyssey, Part Twelve by Greg Dziawer

Annette Haven (left) and John Holmes worked for Danish Films. Did Ed Wood?

Prudish & Proper

Even Seka wore the scarf.
While we like to debunk false claims of Ed Wood's authorship around here, every now and then something comes up compelling us to go against the grain and make a claim of authorship of our own. In this week's Ed Wood Wednesdays, we're going the latter route, looking at an uncredited text from a now-obscure magazine.

The Danish Films loop series, a brief series running for roughly 20 (currently known) titles, was related to Swedish Erotica. These loops are clearly the forerunners of the next wave of Swedish Erotica loops: cast members, aesthetic, even the de rigueur candy-colored chiffon scarves the girls wear tied around their necks. Often all they are wearing, and done for branding purposes, those trademark scarves appear sporadically through SE loop #132 in 1978 and remain standard from that point forward right into the videotape era. It all carries over. Even an expert would be forgiven for mistaking a Danish Films loop for a Swedish Erotica loop. And there were corresponding magazines that featured images and on-set stills from the loops accompanied by anonymous text, just like the Swedish Erotica film review magazines.

Of course, the majority of these loops were neither Danish or Swedish, but rather shot in '70s SoCal and often featuring the biggest stars of Golden Age hardcore. The Swedish Erotica loop series, as is now generally agreed, kicked off with Ed Wood making the first 19 loops circa 1973. I could go into far greater detail, and will in future articles, but for now it's only necessary to sketch these highlights for context. 

What we're really interested in is answering this question: Did Ed Wood write the following text?

Wednesday, November 16, 2016

Ed Wood Wednesdays: The Wood Loop Odyssey, Part Two by Greg Dziawer

You'd need your own projector and a screen to see much of Ed Wood's work in the 1970s.

"When Caballero first started [as Cinema Classics], they just did 8mm movies. They'd put one-liners, captions, on the bottom of the screen, just like silent films. They gave Ed a hundred bucks to write ten movies. There had to be fifty lines in each movie, minimum."
-Phil Cambridge
Pendulum-family magazine artist and friend of Ed Wood
(source: Rudolph Grey's Nightmare of Ecstasy)

The Swedish Erotica logo in purple.
The general consensus these days credits Ed Wood as writer/director of the first 19 (likely beyond) Swedish Erotica loops. First sold via mail order to the home-market in 8mm, circa 1973/1974—in my estimation, some of the loops were shot a year or two earlier—the series laid the first foundational stone of one of the paramount brands of the so-called Golden Age of porn. In this week's Ed Wood Wednesdays, we're taking a closer look at one of these loops, endeavoring to discover a fingerprint or something like it.

And that matters because, beyond this series, Ed may very well have worked on 800+ loops in some capacity, as early as 1968, through the mid '70s. Editor. Director. Writer. Actor. Boxcover summaries. And, perhaps his mainstay in this channel, onscreen captions.

The seventh loop in the Swedish Erotica series—following Wet & Wild and preceding Girl on a Bike—-Park Lovers stars John Holmes and a female performer commonly misidentified as porn actress Eve Orlon, whose credits include The Undergraduate and Fugitive Girls. (More on her later.)

There are 27 captions in this particular loop, totaling 94 words. That's an average of 3.481 words per line, though these captions range from one to seven words in length. I gave my plain-jane handwritten transcriptions of the captions to my partner Kitten just minutes after I had completed them. She reacted with disdain, and pointed out to me what should have been obvious: the reductionist, cro-magnon level of sheer pornography. The inherently discordant cinematic presentation, with its relatively elaborate pans and candy-colored sets, ossifies into an, at best, outmoded past. The worst of it enters the sad realm of "It only hurts at first."

Buck up! This is porn!

Wednesday, November 9, 2016

Ed Wood Wednesdays: The Wood Musical Odyssey, Part Two by Greg Dziawer

Ed Wood as he appeared in a theatrical program for The Blackguard Returns in 1949.

A yellowing photo from Ed's acting days.
When you think about Ed Wood's work, it's likely that film comes to mind, and possibly even his paperbacks and short stories. Theater? Not so much.

But, in fact, Ed caught that bug early. As an usher at the Bardavon Theatre, he saw movies and fell in love. But the Bardavon was also a live performance venue. Although the dates are unknown—it seems likely it was the late 1930s or early '40s—Ed also joined a band, singing and playing drums. And he learned to play a number of string instruments and started his own singing quartet, Eddie Wood's Little Splinters (as detailed in the 2015 book Dreaming in Angora: The Life and Films of Ed Wood by Pablo Bendix III). Even more nebulous, he also had a band named The Sunshine Mountaineers. You'll also find the occasional reference to Ed being part of the Drama Club in High School. 

Perhaps written during the war or just after, Ed penned a comedy for the stage titled The Casual Company—now presumably lost, but he also novelized it and that survives, reprinted serially in four issues of Cult Movies magazine back in 1994. Although The Casual Company played very briefly to negative reviews in Hollywood in 1948—recall the opening scene of Tim Burton's Ed Wood—it played dozens of times on military bases after the war. Ed tried, apparently unsuccessfully, to get it off the ground in Poughkeepsie in 1946.

After the failed production of The Casual Company in Hollywood, Ed landed a role acting in the stage play The Blackguard Returns in 1949. If you are reading this before November 17, 2016, a variety of items related to this production are on auction, estimated at $4,000 +. (Thanks to Woodologist and uber-memorabilia collector Dennis Phelps—who exhaustively chronicled the work of Wood make-up artist Harry Thomas—for letting us obsessive Wood fans know about this auction in a private Wood forum.)

In the years since Ed's passing, as his cult fame grew, a variety of theatrical productions have come along, some based upon his work, and some on the man and his life. What promises to be one of the very best of these is Ed Wood The Musical.

We covered it here briefly last week, and earlier, definitively by this blog's creator, Joe Blevins. Containing a whopping 21 songs by totaling 74 minutes—all incredible, with the ominous number "Glen or Glenda" my personal favorite—by composer Rick Tell, Ed Wood The Musical brilliantly interweaves these songs through high and lowlights from Ed's life, which any serious Woodologist will certainly view as very knowing. Travel back to Ed's upbringing in Poughkeepsie. Visit his final years in North Hollywood, with Days of Wine and Roses-like scenes played out in squalid apartments, between Ed and Kathy Wood, his second wife, remaining with Ed for over two decades until his sad demise. I could go on, but that will spoil the fun of seeing Ed Wood The Musical on stage for the first time. 

Ed Wood The Musical in its Myspace days. Note the inclusion of "Dale Evans" on this track list.

With Rick Tell nurturing this project for over a decade now, the 21 songs are its heart and soul. Rick has graciously given us the gift of releasing all of them. You can even find an old Myspace page (remember that?) initiated in 2008, with a number of tracks. The musical then briefly went under the title Ed Wood's Monsters of Hollywood (with a book co-written by Rick), and then apparently another iteration titled Dreamer. At the time, the track "Dale Evans 'Queen of the West'" was a part of Monsters of Hollywood, highly reminiscent of the song "Dreamer" in the current set of songs for Ed Wood The Musical.

Rick Tell's ultimate goal is to see Ed celebrated with a star on the Hollywood Walk of Fame. As awesome as that will be when it becomes a reality, the time is nigh to make Ed Wood The Musical a reality. Depending on when you read this, the current crowdfunding campaign to stage The Musical is slated to end on November 17, 2016. If you are reading this prior to that date, what are you waiting for? Get over to Indiegogo and donate now!

Thursday, November 3, 2016

Take away the characters, and 'Family Circus' becomes a haunting series of still-life images

Disused Jungle Gym (20106)

Where have they gone, the lovable, melon-headed characters who normally populate The Family Circus? Where are rambunctious Billy, inquisitive Dolly, sensitive Jeffy, and dear, sweet, hopeless PJ? For that matter, where are their parents: long-suffering Thel and checked-out Bill? All of them seem to have mysteriously vanished. Were they raptured into Heaven to be with their dear departed Grandfather? It's unknown, but the world they inhabited -- at least the buildings, furniture, and other non-living objects -- seem to be just fine. Perfectly intact. It's a puzzler, this one. But aren't these images eerily beautiful?

The Lonely Ottoman (2016)
The Rack (2016)
Couch on the Edge of Oblivion (2016)