Beth B & Scott B's Vortex Soundtrack Adele Bertei Lydia Lunch RARE NM LP No Wave

$

35

 Beth B & Scott B's Vortex : The Motion Picture Soundtrack
Adele Bertei, Lydia Lunch, Richard Edson, Kristian Hoffman Full-Length 12" Vinyl Record Album

Description: This 15-track album cover features Lydia Lunch & James Russo in noir. The vinyl record is in glossy clean excellent/near mint condition. The cover is in very good+ condition. On the back cover are movie stills and extensive track notes. The pictures in this listing are of the actual record album you will receive. Check out our other listings for a wide variety of vinyl records and CDs. We ship worldwide in secure, padded packaging. Please let us know if you have any questions for a prompt reply. Tracklist and additional album information below.

Tracklist:
Main Title
Once In Lifetime
The Roof
Grey Death
Stairs
The Demo
Angel's Theme
Black Box Disco
Demmer's Time
One Stone
Vito
Sleaze
The Chase
End Zone

Scott B and Beth B or The Bs after B Movies were among the best-known New York No Wave underground film makers of the late 1970s and early 1980s. They went on to form an independent film production company called B Movies, which made the feature film Vortex on 16-mm film, starring Lydia Lunch of Teenage Jesus and the Jerks with James Russo, Bill Rice, Haoui Montaug, Richard Prince, Brent Collins, and Ann Magnuson, among others. During the late 1970s and early 1980s, Scott B and Beth B were among the most significant proponents of the punk bohemia, No Wave, no-budget style of underground punk filmmaking that was concerned with issues of simulation typical of postmodernism. Beth studied art at the School of Visual Arts and Scott was an exhibiting sculptor. They married and became associated with Colab (Collaborative Projects) and worked out of New York City's East Village area in conjunction with performance artists and noise musicians. They created a series of noisy, scruffy, deeply personal short Super 8 mm films in which they combined violent themes and darkly sinister images to explore the manner in which the individual is constrained by society. The Bs' 8mm films were full of downtown obsessions: terror politics, torture, sexual domination and submission, and punk rock music. The brief length of these films allows them to effectively assault the viewer in a hit-and-run, belt-in-the-gut manner. They would cast musicians and other popular downtown personalities in their films. The Bs cleverly used the scene's social energy with weekly film shoots that were quickly edited and then screened as film serial episodes at music clubs such as the Mudd Club and Max's Kansas City. These films are at once contemplative and confrontational, penetrating and politically loaded. Films like this are virtually impossible to criticize because they glory in carefully DIY style of simulated amateurism. In G-Man, Scott B and Beth B attack society's power structures as they depict a cop who feels compelled to employ a dominatrix. No Wave Cinema maker and artist James Nares appears in it, among others. It developed out of the short video NYPD Arson and Explosions vs. FALN that was part of the Colab project of weekly aired television programs on cable called All Color News. Black Box is the name of a torture contraption that was devised in the United States and used in foreign nations. In Black Box, a man played by Bob Mason is imprisoned in one such box, where he is tortured and the viewer endures his suffering. Black Box encapsulate all the Bs' major themes: crime, mind control, and sexual repression with the "minimal perfect-build" aesthetic of the man-sized vibrating containers Scott produced in his 1975 sculptor days. The plot is simple: a passive innocent leaves his tawdry room, neon Big Brother sign blinking ominously through the window, Mission: Impossible flickering on the TV, and amorous girlfriend draped across the bed, to be kidnapped Patty Hearst-style by a gang of punk thought-police. Menaced by an ogreish mad scientist, stripped, hung upside down, and tormented by surly, "shut up and suffer", Lydia Lunch, the passive innocent is finally crammed into the dread refrigerator, where he, and we, are bombarded by a 10-minute crescendo of sound and light. Appearing in Black Box is Bob Mason (the hostage), Kiki Smith, Lydia Lunch, Christof Kohlhofer, Harvey Robbins, and Ulli Rimkus. According to film scholar Gwendolyn Audrey Foster, Black Box is a "terrifying allegory of societal restriction of the individual." The Offenders, also shot in Super 8 mm, is a punk savage satire about a kidnapping. It originally was presented as a serial that was screened at Max's Kansas City. Appearing in The Offenders is John Lurie, G. H. Hovagimyan, Scott B, Judy Nylon, art critic Edit DeAk, and Lydia Lunch, among others. The full version was shown at Film Forum and other film houses during the height of the New York City crime wave. Vortex, shot in 16 mm and made for $70,000 thanks to a National Endowment for the Arts grant via Colab, is a film noirish drama featuring frequent collaborator Lydia Lunch as a detective who becomes immersed in corporate chicanery and the exploitation of politicians by companies soliciting defense contracts. The soundtrack for The Vortex contains noise music by Richard Edson, Lydia Lunch, Adele Bertei, Kristian Hoffman, and The Bs. Vortex has been called the last No Wave film made. Premise: A detective searches her way through the plans of a corporate businessman who wants government defense contracts through real life corporate wars and manipulation of politicians. Starring: Lydia Lunch, James Russo, Ann Magnuson, William Rice, Brent Collins. After leaving the seminal New York no wave outfit Teenage Jesus and the Jerks, poet, actress & vocalist Lydia Lunch (born Lydia Koch) embarked on a solo career marked by frequent collaborations and band changes, plus an attitude of confrontational nihilism expressed in both her sound and her often violent and sexually oriented subject matter. Upon leaving Teenage Jesus, Lunch first formed Beirut Slump, but departed after one single. Her solo debut, 1980's Queen of Siam, proved to be one of her most acclaimed efforts, as was her next band, the funk-inflected 8 Eyed Spy. However, that band broke up due to the death of bassist George Scott, and Lunch went back out on her own. After 13.13, which featured former members of the Weirdos, Lunch began a rash of collaborations, working with the Birthday Party on the EP The Agony Is the Ecstasy, as well as Einstürzende Neubauten, Die Haut, Sort Sol, Swans' Michael Gira, and members of Sonic Youth. Lunch founded her own Widowspeak label in 1985, immediately delving into spoken word with the EP The Uncensored Lydia Lunch. Her next collaboration was the first of several with Jim "Foetus" Thirlwell, who remixed a shelved project with Birthday Party members; it was issued as Honeymoon in Red. The two also released the Stinkfist EP under Thirlwell's Clint Ruin alias. That same year, Lunch teamed with Sonic Youth bassist Kim Gordon in Harry Crews, a one-off, all-female noise rock band, for the LP Naked in Garden Hills. Aside from an EP with ex-Birthday Party guitarist Rowland S. Howard, Shotgun Wedding, plus her acting career in underground films, Lunch has concentrated on the spoken word arena into the '90s; a three-CD retrospective of this aspect of her career, Crimes Against Nature, was issued in 1993, and Lunch has continued her activities throughout the decade. Adele Maria Bertei (born 1955) is an American singer, songwriter, writer and director. Bertei was born in Cleveland, Ohio in 1955. She is the oldest of three children born to Katherine  and Umberto Bertei. Her father was an Italian immigrant and her mother was of Irish and French Canadian descent. Bertei and her brothers became wards of the state of Ohio, resulting in a childhood spent in foster homes, a Catholic convent school for wayward girls and a reformatory in Ohio. Bertei never completed a formal education and is an autodidact. Bertei began her career playing guitar and singing in the Wolves, her first band with Laughner. She left Cleveland for New York City in 1977 shortly after Laughner died prematurely of complications due to alcoholism. Bertei quickly became a prominent figure in the no wave art and music scene in NYC, playing Acetone organ and guitar in the original line up of the Contortions fronted by James Chance. While working as personal assistant to Brian Eno in 1978, Bertei took him to a series of concerts at Artists Space in New York, which resulted in Eno producing the iconoclastic LP No New York for the Virgin/Antilles label, featuring the Contortions and three other no wave bands. The artist Martin Kippenberger brought Bertei to Berlin in 1980 to perform solo at his SO36 club and on her return to the U.S., Bertei started the all-girl punk-funk band the Bloods with guitarist Kathy Rey. The Bloods are considered the first rock and roll band of gay women who were publicly out of the closet. The band toured internationally, opened for the Clash in New York and released the single "Button Up", a John Peel favorite on the Au Pair's label Exit Records in 1981. "Button Up" was re-released on the British label Soul Jazz Records as part of the compilation New York Noise. After the Bloods disbanded, Bertei worked as a DJ in Amsterdam and upon returning to New York, was one of the first solo acts to be signed to Geffen Records in 1981. Thomas Dolby produced her first hit dance single "Build Me a Bridge", and the success of the single led to an album deal with Geffen, but the company had alienated Dolby. Dolby invited her to sing backing vocals on his next LP, The Flat Earth. Bertei sang a duet with him on the single "Hyperactive!" which became an international pop hit for Dolby. It was rumored that Dolby had vari-sped Bertei's voice for her high solo notes in the song but she proved the critics wrong, performing the song live on the Old Grey Whistle Test in 1984. She is alleged to have a three-octave range. During her years in London, Bertei sang backing vocals with various groups live and in the studio, including Culture Club and the Passions. She has written songs for artists as various as the Pointer Sisters, Sheena Easton, Thomas Dolby, Arthur Baker, Jellybean Benitez, the Anubian Lights, Lydia Lunch and Matthew Sweet. Bertei signed with Chrysalis Records in the late 1980s and recorded her song "When It's Over" produced by David Gamson and Fred Maher of Scritti Politti, with Green Gartside providing guest vocals. Her concept for the music video was a performance in a women's prison. A legal misstep on the part of the record company prevented the single from being released and promoted and Bertei went on to produce her own LP with songwriting partner Ian Prince. Her anti-apartheid anthem "Little Lives, Big Love" charted high in Germany. During this period she joined Jellybean Benitez for his LP Just Visiting This Planet, co-writing several songs and singing lead on the international pop hit "Just a Mirage" in 1987. She performed the song with Jellybean on the UK's Top of the Pops that year. Bertei continued to work as a backing vocalist, most notably for Tears for Fears' Sowing the Seeds of Love tour in 1990 where she also sang backing vocals for the opening act, Blondie's Deborah Harry. After a brief stint of touring with Sophie B. Hawkins as a backing singer, she moved to Los Angeles in 1993 and took a long hiatus from music to write and study directing. Since then her only musical outing has been with the Anubian Lights as lead singer in 2005 and Phantascope, a CD of co-produced and co-written songs on Nona Hendryx's label Rhythmbank. Bertei directed the music video for the Anubian Light's song "Wild Winter". In 2010 Bertei returned to New York for two musical appearances backed by several of her old Contortions band-mates and Bowie bassist Gail Ann Dorsey. Her live solo performances are extremely rare. She is rumoured to be working on a solo collection of new and old previously unreleased songs. Striking a punk-waif look and attitude, Bertei was heavily involved in the underground film scene of the time, collaborating and appearing in films by the Irish filmmaker Vivienne Dick, Scott & Beth B., and in the feminist sci-fi film Born in Flames, directed by Lizzie Borden. In the 1990s, Bertei directed several period pieces for the Showtime series Women: Stories of Passion and a soft-core comedy feature for Playboy, Secrets of a Chambermaid, which she directed in super-16 mm with an ensemble cast (featuring Mary Woronov of Warhol & Chelsea Girls fame) and a minuscule budget in seven days. She refers to Playboy as her film school period where she was paid to learn the craft. Dick Rosetti, president of production at Playboy Entertainment Group at the time, called the film the best feature Playboy had ever produced. Bertei directed a 35 mm teaser for her original screenplay The Ballad of Johnny Jane, and on the strength of the teaser and script, a then relatively unknown Angelina Jolie signed a letter of intent to play the lead in the film. Amanda Plummer appeared in the trailer and Bertei had other film luminaries such as cinematographer Bill Pope and costumer Arianne Phillips committed to doing the film once the financing came through, but no company would take a chance on a feature film about gay women with an all-female cast in 1996. She continues to direct behind-the-scenes programs and viral videos in the advertising world. Bertei has been awarded writing fellowships at the Virginia Center for the Creative Arts, as well as the Albert and Elaine Borchard Foundation fellowship for the Tomales Bay Workshops, specifically to work with Dorothy Allison in 2010. In 2012 she ran a successful Kickstarter campaign to buy time toward her own writing work. Currently Bertei works as a ghostwriter and director in Los Angeles where she resides. She is also the U.S. contributing editor-at-large for the Caribbean arts and culture magazine 6 Carlos. Bertei launched a website in 2011 and based on writing featured there, has been approached to pen her memoirs. She also blogs for the Huffington Post. (wiki)

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