Video Recordings

Documentaries & TV Specials
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1. Be-In USA 1967, 7 min.
Director and writer: Jerry Abrams; music: Blue Cheer (unreleased track)
Captures the spirit and essence of the great San Francisco Human Be-In of January 14, 1967. Ten thousand people imbued with peace, love and euphoria. Set to hard rock such as only San Francisco blues can produce. Be-In features footage of Allen Ginsberg, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Lenore Kandel and The Grateful Dead.

2. Beatles Electronique USA 1966-69, 3 min.
Directors and writers: Nam June Paik, Jud Yalkut; music: Kenneth Lerner (unreleased)
Beatles Electronique is a mesmerizing improvisation that reveals Paik's early engagement with the manipulation of pop cultural material. Against a looped electronic soundtrack, images of the Beatles from A Hard Day's Night and performing at Shea Stadium are transformed into an eerily hypnotic study.

3. San Francisco Great Britain 1967/68, 15 min.
Director and writer: Anthony Stern; music: Pink Floyd - Interstellar Overdrive (unreleased version, recorded at Thompson
Private Recording Studios on 31 October 1966 (or there about))
Anthony Stern's San Francisco could be described as a city film and allied with Jean Vigo's A Propos de Nice (France, 1930) and Walther Ruttman's Berlin: die Sinfonie der Großstadt (Berlin: Symphony of a City, Germany, 1927). (...)

The music that accompanies the film is occasionally synched to various San Franciscan musicians - march bands, street musicians, bands on stage - it was, however, recorded in London (...) and was played by The Pink Floyd. The track, 'Interstellar Overdrive', at first drives the film, the flickering and flashing images matching the music's propulsive beat. Later, as the music calms, our attention is led more explicitly to the images. Now the rapid cutting decreases and the film concentrates on a house and the ritualistic occult activity contained therein. (...) These changes in music and image create a focus point and then, as the music returns triumphantly to its original pattern, a grand finale.

The use of 'Interstellar Overdrive' came about through an intermix of relations between Stern, The Pink Floyd's Syd Barrett, and filmmaker Peter Whitehead. All three had lived in Cambridge and all three had had painting exhibitions in the same upper room of the Lion and Lamb pub in the village of Milton. Stern later worked on several Whitehead films, including Tonite Lets All Make Love in London (1967) and, through his friendship with Barrett, succeeded in bringing the three together again in London. This lead to the use of 'Interstellar Overdrive' in both Tonite and then in San Francisco. William Fowler (

4. Andy Warhol's Exploding Plastic Inevitable USA/Great Britain 1967, 12 min.
Director and writer: Ronald Nameth; music: The Velvet Underground (unreleased live versions)
The Exploding Plastic Inevitable, sometimes simply called Plastic Inevitable or EPI, was a series of multimedia events organized by Andy Warhol between 1966 and 1967, featuring musical performances by The Velvet Underground & Nico, screenings of Warhol's films, and dancing and performances by regulars of Warhol's Factory, especially Mary Woronov and Gerard Malanga. Andy Warhol's Exploding Plastic Inevitable is also the title of an 18 minute film by Ronald Nameth with recordings from one week of performances of the shows which were filmed in Chicago in 1966.

The Exploding Plastic Inevitable had its roots in an event staged on January 13, 1966 at a dinner for the New York Society for Clinical Psychiatry. This event, called Up-Tight, included performances by The Velvet Underground and Nico, along with Malanga and Edie Sedgwick as dancers. Inaugural shows were held the Dom in New York City in April 1966, advertised in The Village Voice as follows: The Silver Dream Factory Presents The Exploding Plastic Inevitable with Andy Warhol/The Velvet Underground/and Nico. (from

5. Eyetoon USA 1967/68, 8 min.
Director and writer: Jerry Abrams; music: David Litwin, Different Fur Trading Co (unreleased)
The sea, tranquil and violent, is the ultimate symbol for Jerry Abrams' 'EYETOON' and the ultimate equivalent to making love - his concern in this short and visually dazzling film. Abrams contrasts the rushing faces of New York and a highway juggernaut with the peaceful joining of bodies in a Gjon Mili-like stroboscopic sequence - always with a burbling, flashing maelstrom of emotions underlying and double-exposing with the bodies. It is visually lovely, technically first-rate and impossible to ignore. The graphic sex is economically handled. - John L. Wasserman, San Francisco Chronicle

The film 'EYETOON' would seem to be the perfect synthesis of the metaphysical, spiritual and sexual feelings of a sensitive experimental filmmaker. - Reverend Earl Shagley

broadcast on the French/German tv channel arte on 2007-07-16

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