Tuesday, July 15, 2025

Cracks (1975?)

 



Featuring the voiceover of Dorothy Moskowitz of United States of America fame. 

Interview with Moskowitz at at Bob Fischer's The Haunted Generation


Then, by the mid-1970s, she was working as a voiceover artist on Sesame Street, providing half-sung narration for a jazz-fuelled piece of animation that has since become the subject of much online consternation. ‘Cracks’ tells the story of a young girl who sees the fissures in her bedroom wall transformed into a menagerie of animals. Aired fleetingly between 1975 and 1980, it was then banished – for reasons unknown – to a dusty archive, existing only in the realms of fuzzy childhood memory. To seasoned US hauntologists, it has taken on mythical status.

“There’s a lot of action on the internet about it,” says Dorothy. “When I tried to do the research, I found the woodwind player, the great Mel Martin, had passed away. The producer and probable script-writer Peter Scott was long gone too, and his family didn’t know anything about it. The only person left who might know something was Andy Narell, the steel drum player. But talk of hauntology… when we were recording it, a curious apparition appeared in the studio. A wraith of a young woman floated in, wearing shroud-like threads. Her name sounded invented, something like ‘Ether’ or ‘Skyward’, and she said [floaty, ethereal voice] ‘We’ll be finishing the animation soooooon’. A real white witch of a voice!

“I never heard anything more about it until decades later. Never saw it on TV. I was very surprised to learn it had creeped out so many youngsters, and that no one was able to find any record of it for so many years. In 2019 I started getting inquiries about it, and that led to a podcast and some media attention. I wasn’t previously aware that I was the focus of such nostalgia. Maybe I’m the Grandma Moses of hauntology!”


Moskowitz has a new record out with a cat who goes as Retep Folo, full story in the Fischer interview



Saturday, January 18, 2025

RIP David Lynch

 



"Six Men Getting Sick" was Lynch's first exploration into film, made during his second year of study at the Pennsylvania Academy of Fine Arts, in Philadelphia. Lynch describes it as "Fifty-seven seconds of growth and fire, and three seconds of vomit."1 The transition into film came from a desire to make his paintings move. "I was painting very dark paintings. And I saw some little part of this figure moving, and I heard a wind. And I really wanted these things to move and have a sound with them. And so I started making an animated film as a moving painting. And that was it. I wasn't in the film business."2 "I always sort of wanted to do films. Not so much a movie-movie as a film-painting. I wanted the mood of the painting to be expanded through film, sort of a moving painting. It was really the mood I was after. I wanted a sound with it that would be so strange, so beautiful, like if the Mona Lisa opened her mouth and turned, and there would be a wind, and then she'd turn back and smile. It would be strange."

"Six Men Getting Sick" was the result of Lynch's desire to create a moving film. It featured a animated film of several heads and arms which slowly grew stomachs and caught fire. The film ended with the transformed images vomiting. The film was shot frame by frame with a secondhand 16mm wind-up camera. Lynch built a special rig on top of the projector to allow the film to run in a continuous loop. The film was projected on a sculpture screen created by Lynch and Jack Fisk. It consisted of three plaster casts of Lynch in various poses and another face painted on. The sound was a tape of a siren played continuously.

The entire project cost $200 to do, a lot to Lynch at the time. It was shown at a Pennsylvania Academy of Fine Arts exhibition in 1966. Ten minutes out of ever hour the lights would be turned off so the film could be seen. The sculpture/film won a shared first place in the second annual Dr. William S. Biddle Cadwalader Memorial Prize. One of the judges on the competition panel was H. Barton Wasserman, who would finance Lynch's next project which became "The Alphabet."