Fierman, Michael. The Saint Promo. CD. New York, n.d.
The video fades from black to a brightly-toned image of a muscular man with his legs folded beneath him. The man’s arms hang above his head from a light brown rope that binds his wrists together. His head is tilted back, exposing his long neck and protruding Adam’s apple.
A spotlight has been cast on the man’s body, but his upturned face obscures prominent facial features in shadow, especially his eyes. The man has a light brown beard and smooth skin. There is hair on his underarms, which are visible to the viewer.
The bound man has six-pack abs and is completely naked. His folded right leg partially obscures his penis, but the right half of his penis as well as his pubic hair is still visible to the viewer. The man’s left leg is folded backwards so that only the knee of that leg is visible. His right leg has been folded at a right angle in front of the man’s body and extends outwards slightly. The man leans to the right underneath his tied hands.
A black curtain backdrop hangs behind him.
An arrow plunged into the man’s right side (in his rib cage) appears to half been stuck deep; vastly less than half of how one might typically imagine an arrow is visible. Red string appears to have been wrapped around its end.
The next image similarly depicts a man tied up by his wrists; his hands have been hitched above his head.
It is harder to discern this man’s position, for instance, whether he is standing or lying down.
The man’s head is turned to the right, yet presents more discernible facial features than the first man. The size of his lips, the shape of his left eyebrow, and the bags under his left eye individualize his face to a far greater extent than the first photograph’s subject.
He also wears a thick cloth that covers his genitals. The cloth is white and has been wrapped around the greater part of his upper thighs. This image is of a bluish black and white, almost suggestive of an underwater scene. This man has two arrows sticking from his body, one in the left side of his abdomen (appearing on the right to the viewer) and one in his left breast, close to his nipple.
Following these two images is a poster for the Saint depicting a man with a hairy chest and a happy trail leading down it. The poster exhibits the man’s torso and head.
Rainbow laser beams depart his eyes as navy blue beams exit his fingertips. The man is very tan and is framed by a baby blue backdrop with twinkling star-like sparkles in it. Three images of the light structures of the Saint appear.
could it be magic, donna summer
As the previously-described photos appeared, a light instrumental played, featuring what sounded like a soprano flute.
As the video begins its next chapter after 1 minute, the songs “Prelude To Love” by Donna Summer begins to play, opening with a breathy apostrophe to a lover that states “Oh baby it’s been so long, I’ve waited so long, and now that I have you, I want you to come. Come, come, come into my arms.” Here are the rest of the lyrics.
“Prelude To Love” by Donna Summer
Eventually, “Prelude To Love” transitions into the following song:
“Could It Be Magic” by Donna Summer
Whilst these songs grace the listener with transcendent choral tracks, moans, and orchestral melodies, images of space, stars, and vibrant, psychedelic patterns splash across the screen.
Once more, images of the inside of the Saint appear, though this time they depict the sheer size of the crowds found at the Saint as well as the colorful choreography of the light technicians. Between photos, a smooth transition fades away the primary picture by slowly replacing it with the next picture.
One of the photos depicts a bright blue sky over-top a horizon of white puffy clouds. The sun shines in the center of the photo and presents a glare on the image because of its brightness. The sun’s glare is patterned in rectangular shapes of light that form a ring around the sun. The transition from this photo is beautiful. It looks like the sun then begins to set behind the shadowy black mountains and beneath the sky of shooting stars presented in the next photo.
Images of the Saint appear once more, particularly its various light patterns. These light patterns can be observed through in the next four photographs.
The photos so far have either depicted the Saint or are related to space, the galaxy, the moon, the earth, the solar system, or the stars.
an eclectic essence
Around 5:30 seconds, the music switches tempo, and changes to a deep, jazzy piano instrumental. A acoustic guitar begins to be plucked in a classical style. The instrumental continues to blend genres in a pleasing and unique way.
Then, a really sexy classical guitar, paired with the steady tempo of some percussion, is joined by a low-noted string instrument, which is likely a cello.
The end of the video informs us that the “music and visuals” have been created by Michael Fierman.
During this time, the images abandon predictable forms and surpass clear-cut organization.
The images portray dark floating discs over an a rippling body of water, then random streaks of colorful light. Like paintings or photographs of artful, colorful blurs in time, the images belonging to the video’s eclectic instrumental are similarly of wide variety and taste.
One photograph possesses large bubbles on its left side while a streak of white light shoots from a partially-visible orb of energy on the right side. The overall color scheme of this image is baby blue, but darker seaweed shapes in the background suggest an underwater environment where blue remains the dominant color.
Two photos of Stonehenge appears.
This section of instrumental music features a collection of photos that fails to be as cohesive as those presented with Donna Summer’s “Could It Be Magic.”
Color blocks and black and red photos of a swirling design materialize. Silvery blue puddles of a mercury-like fluid stretches across the video frame in a still image.
The images of this section are often hard to discern, or are a little blurry. They move fairly rapidly across the screen, remaining for one to two seconds as the music continues to pick up in tempo.
Some images are linked together by one singular design that continuously shifts in color.
At around seven minutes, the music shifts into the song “Make That Feeling Come Again” by Boris Midney and the Beautiful Bend.
make that feeling come again, boris midney and beautiful bend
The section of the video narrated by the song “Make That Feeling Come Again” showcases more photos of the Saint, specifically of the club’s the planetarium projector and light structures.
A photo of a disco ball can be found after the first photos of the Saint.
Then the video returns to the theme of space, presenting photographs of twinkling stars, and a moon.
The planets and their various moons appear next, including Earth.
There a few photos in the video that are often repeated throughout the video.
snail SHELLS and other mollusks
A white slide marks the beginning of this section.
Then, random psychedelic images, including those of fluorescent snails begin to dazzle the viewer in a display of entertaining colors, lights, and designs.
A sequence of snail-shell like images dominates the video for a few minutes.
Tightly coiled shells and bodies have visible signs of spiral deigns and segment attachments. its the snail shell. A white slide separates the snail-shell section from the following sequence of images.
FORBIDDEN LOVE, MADLEEN KANE
As Madleen Kane’s song “Forbidden Love” plays, the viewer is presented with a blueprint of the Saint containing plans for the construction of the club’s light structure, dance floor, balcony, and other physical fixtures and features in the disco.
Next, the viewer sees an artistic rendition of the crowd at the saint, which is lined like a comic sketch. Then the actual photograph of the crowd appears.
The crowd is half-naked, there is a lot of bare skin. the photograph has an orange tinge to it due to the disco lights shining at the time that the photograph was taken. The crowd is pressed closed together in a massed embrace.
One can clearly see that the planetarium dome has been illuminated from behind. According to David W. Dunlap, the “The skin of the dome was porous, acting like a theatrical scrim; solid when lighted from within, translucent when illuminated from behind.”
Following this photo of the dance crowd, the video presents a spread of posters and ads advertising different holiday parties that took place at the Saint.
Some of the posters advertise parties from the Saint-at-Large, which developed after the Saint’s demise.
Many of the posters are black and white because they advertise for the Black and White Parties of the Saint and Saint-at-Large.
After displaying party posters and advertisements, the video renders altered images of the advertisements’ models in various psychedelic patterns and shapes. One man is naked and stands with his back turned. However, his image has been repeated enough times to connect his butt with the exact image of himself in a ring shape.
Though some of the advertisements used cannot be found on the Saint-at-Large’s website, many of them can be viewed there.
This source has a plethora of posters and advertisements from the Saint as well.
According to the video’s inclusion of one particular advertisement, Madleen Kane, who sings one of the songs presented in the video, once performed at the Saint.
The advertisement gave notice about a White Party celebration, for which Madleen Kane performed live, Robbie Leslie deejayed, and Richard Tucker choreographed the lights.
hills of katmandu, tantra
Though many of the advertisements inform the viewer of past Black and White parties (the most popular events), there are posters announcing Halloween’s bash, the Christmas Party, and the Easter celebration of the Land of Make Believe.
There was even a benefit party for the NYC Gay and Lesbian Anti-Violence Project.
Thus, the last 8 to 10 minutes of the Saint promo video advertises past events hosted by the Saint and Saint-at-Large by exhibiting the posters and advertisements celebrating and thrumming up excitement for those events.
This song is the last song to play on the video.
They following photos demonstrate the popularity of Saint parties.
The immense crowd in either photo is almost totally shirtless. Bare skin shines under the lights from above.
The promotional video ends with a photo of the words HOLD ON TO MY LOVE spray painted in white onto the wall of a building, which likely contained the former entrance to the Saint. A person wearing all black walks away from the words under a black umbrella on the left side of the photograph. Papers have been posted beneath the words, but I cannot know what they say. The words SILENCE IS have been spray-painted onto the wall outside the black strip stating HOLD ON TO MY LOVE. The next word is blocked by the person’s umbrella, but is likely “DEATH.” Silence Is Death is the slogan protesters embraced to call attention to the AIDS crisis of the 1980s.
At the end of the video, the music fades away as well as the photograph.
The text “Music And Visuals By Michael Fierman” concludes the film.
discussion of the Saint promotional video
It is unclear when this video was made and how it was distributed.
The video is formatted into a CD, and my access to the material encased within the video depends on my ability to access a CD player. The CD/DVD player limits the amount of outreach the video may have to current viewers. CDs are used less often in 2017 than they were in the 1990s and early 2000s.
The video appears to have been made after the Saint’s closing and after 1998, given that the youngest posters shared in the film are from the late 1990s. However, the posters appear to have been pulled directly from the Saint-at-Large’s poster gallery, which could indicate an even more recent creation of the film.
The photographs of the Saint shared within the film enhances the viewer’s ability to imagine the former disco, and brings one closer to the memories of the powerhouse.
Collectively, the Saint has obviously produced a masterpiece of creativity that is sometimes grotesque in its depiction of sinister themes, or else seductive in its muscled, well-endowed appearance.
This video does well to present the entire legacy and history of the Saint franchise through a heavy use of posters and advertisements as well as of the use of photographs taken inside the former Saint.