Erotic social scenes, such as the Saint and the St. Marks Baths, facilitated the development of honest sexual expression among its gay patrons; however, these institutions later became infamous “epicenters” of an emerging disease known as AIDS (Peters, 82). During the onset of the deadly health crisis of HIV/AIDS, figures of the media accused Mailman of acting as an exploitative, “merciless profiteer” when he “resisted shutting down the baths early in the AIDS crisis” (Peters, 82). Many people, including Larry Kramer and other vocal writers and leaders in the gay community, believed that Mailman took too long to close the St. Marks Baths in the wake of the mounting evidence that AIDS was a sexually transmitted disease (Peters). Mailman, however, considered the civil rights of gay men when he failed to close his businesses as early as critics wanted him to (Rist, 18). Gay men had fought valiantly to achieve the sexual liberation that marked the decades of the 1970s and 1980s; he did not regret the sex that occurred in his establishments – it was necessary – even though many of the men who were members of his businesses were dying (Rist, 18).
Portrayed as either a guiding light to the gay community or a ruthless businessman who condoned the spread of AIDS in order to continue collecting profits, Mailman wrestled with a torrent of public disputes over his moral character throughout the 1980s (Rist, 18). To Mailman, the St. Marks Baths were a “hard-won symbol of fraternity, equality, and liberty;” the bathhouse had released men from the psychological turmoil of unrealized desire (Peters, 82). Author Brooks Peters explains that the “right to be a homosexual man without harassment from society was closely linked to the right to have promiscuous sex” (Peters, 82). This quote shows the close link between sexual expression and the vanquishing of oppression. Mailman did not wish to discontinue an institution that had allowed men to live and love uninhibited by shame or fear, even if shame and fear were intervening into the consciences of gay and queer residents once more (Rist, 18).
In Mailman’s opinion, closing the Baths when critics wanted him to would not have made any impact on the spread of or obstruction of AIDS (Peters, 82). Closing the St. Marks Baths during the germination period of HIV/AIDS in 1980 would have been done more to “control the epidemic,” but no one knew of the impending public health crisis back then (qtd. in Peters, 82). To Mailman, accusations against him presented an argument based on hindsight bias. Critics falsely believed that Mailman should have been able to better protect his customers against a disease that only seems predictable in hindsight. In reality, AIDS descended without warning, and by the time it arrived, many members of the St. Marks Baths, and the Saint, had already fallen ill (Peters, 82).
laying the blame
AIDS decimated the Saint disco’s community. Many members of the Saint became sick. Others were dying. At least 700 membership renewal forms were sent back through the mail bearing the message “Return to Sender. Occupant Deceased” (McEwan, 42). Once the AIDS epidemic swept through the country, Saturdays at the Saint drew in at most 500 people, though the club had a capacity of 5400 (McEwan, 42).
People accused Mailman of condoning the transmission of HIV and AIDS. Others said he was liable for his members’ deaths due to his inaction. It was a known fact that sexual acts took place in the Saint’s viewing balcony. In his interview with Darrell Yates Rist, Mailman insists that the balcony was never intended to be used for sex. He swears that he wrote to members of the Saint and tried time and time again to get people to stop using the balcony for sex; however, Mailman certainly did not want to police people’s behavior (Rist, 18). Mailman is “not happy” if “someone was harmed” in his club by contracting HIV/AIDS, but he has “no regrets” (Rist, 18). Mailman does not believe that people should look back and feel that they shouldn’t have engaged in sexual activity in clubs like the Saint; he feels that gay men had “fought hard to be at that level of liberalization,” and that their free expression was neither inappropriate nor foolish (Rist, 18). It was emancipating. Mailman wondered why members of the gay community would blame him or themselves for a disease that was unpredictable and, thus, uncontrollable (Rist, 18). To Mailman, revision of the past is a problematic and pervasive attitude within the gay community (Rist, 18).
citizen and country
The AIDS crisis was exacerbated, not only by what some consider to be the failures of individuals, but also by governmental neglect. The Reagan administration witnessed the devastation of the gay community due to AIDS silently. Sister Vicious Power Hungry Bitch of the order of the Sisters of Perpetual Indulgence,felt afraid that the gay community would “disappear” because of AIDS, but the government proved its ugliness through gross inaction (qtd. in La Ganga). To what extent would Mailman, as an individual, have been able to alleviate the severity of AIDS when the federal government itself refused to acknowledge the thousands of sick and dying men and women? Research into AIDS was not being funded. Healthcare provisions were abysmal. It appeared to many people that the gay community had been forsaken (La Ganga). The binary that persisted throughout the crisis described AIDS as a gay cancer. AIDS affected the gay community, not anyone else. This blatant segregation of consciousness stated that AIDS has nothing to do with the government, and everything to do with those people (La Ganga). The government felt no responsibility for gay men and women, so is it just to fault one man for the trauma that resulted from a complex network of inaction and ignorance?
To Mailman, it is clear that the media hoped to scapegoat a distinguished gay businessman in New York City in order to “appease people’s hysteria” (Peters, 82). In 1985, Mailman was forced to close the St. Marks Baths due to increased political and legal pressure. Mailman states that he spent $300,000 U.S. dollars defending his right to keep the St. Marks Baths open, but, eventually, he lost (Peters, 82). Some writers in the gay community did defend Mailman’s desire to keep the St. Marks Baths open. Bruce Mailman never “sat there with a shotgun and forced people to have sex” says Marc Berkeley, a club promoter in New York who later worked at the Saint during its closing years (qtd. in Peters, 82). Not everyone could so easily remove Mailman from the list of blame.
Large, The Saint At. SUBmerged: The Black Party 2016 Trailer, 2016. https://vimeo.com/156787064.
underwater, sunken and submerged
The Black Party arouses and praises acts of Domination, submission, sadomasochism, and other explicit play (mature content: general information about BDSM).
Performances at the Black Party cover a broad range of activities, including, famously, a boa constrictor, according to Darrell Yates Rist’s article. This video advertises the Saint-at-Large’s 2016 spring Black Party.
Entitled SUBmerged: The Black Party 2016 Trailer, the video is marked as mature on its host site, Vimeo.
Within the first four seconds of the video, the words THE SAINT AT LARGE PRESENTS materializes on the screen. In what appears to be a bold white Arial font, the opening announcement emerges atop a black and gray background of viscous bullet-like shapes. These black gelatinous forms start shooting up from the bottom of the video frame like bullets, spiking to random heights to an unknown beat until the forms closest to the middle rise to the top of the frame and the words THE SAINT AT LARGE PRESENTS disappear.
The sound of a radar’s ping prompts the next images of the video to appear. Three old TVs sit side by side and depict the searching triangular slice of a submarine radar in a sea green color. The two TVs on either side of the middle TV depict flickering images of a radar’s grid and seem to be experiencing static.
An audio recording of a male voice repeating unintelligible words and the word “dive” begins.
Then, the TV in the middle showcases the text RITES XXXVII, denoting the 37th Black Party celebration. The TVs are barely illuminated and are framed by a dark, shadowy background. They seem to be experiencing interruptions in their signals.
With another sound of the radar’s ping, the image flashes to a singular TV with the same evergreen shade as background, whose center x axis along a typical Cartesian or rectangular coordinate system contains the words THE BLACK PARTY in the same font presented at the beginning of the video.
The image continues to flicker, before it becomes obscured by arrows and other geometric patterns.
The suggestion of an interrupted transmission evokes the presence of something haunted.
Next, the word SUBMERGED appears in thicker, bigger white font. The word “dive” is repeated with increasing volume. SUBMERGED flickers like a light, then disappears into a shifting gray ocean from its perch within a cloudy, overcast sky. The video turns black.
Then, suddenly at around 15 seconds, the tempo of the video rapidly increases. An alarm sounds from the video’s audio as a red light surrounded by white and gray water and a red warning symbol (typically associated with radiation warnings) flash across the screen.
Black dye diffuses in a red koolaid-like liquid. Green tentacles wiggle through red water, stirring large bubbles.
Two men engage in a heated wrestling of the arms and torso, their angered faces visible in the black and white film as their metal earrings glint against the incoming light. The men’s muscles bulge, and their closely-shaved Mohawks reveal pulsing veins in their foreheads. Random numbers, symbols, and letters appear in small, gray font across the clip of the wrestling men in an upside down triangle shape that has a bar running through it.
Their pearly white teeth glint.
The symbol for anarchy (an A inscribed within a circle) opens the next sequence of images.
In between flashes of the caution symbol is a clip of an anonymous male dripping in the black viscous fluid found at the beginning of the video. His body, though covered in the sliding black liquid, is otherwise naked. His eyes are closed and his head lolls to his right side as his back arches. His photo remains still, and is soon superimposed by an upside down crimson triangle. The triangle is outlined in a lighter red strip with a line cutting beneath its top point (near the bottom), which then disappears, taking the man with it.
reach, glide, hands, octopi
Eight TVs flicker green images of radar scans, and the sound of the alarm calms to a rapid sputtering of radar beeps.
Gray octopus tentacles sway in black waters, before the video quickly cuts to clawed hands dripping in similar black viscous fluid as they disconnect from each other in a slow parting.
Bare tan skin lies stark against the black liquid netted on its surface. An arrow on what appears to be a sphygmomanometer, which measures blood pressure, swings back and forth. A hand clenches a red object beside a naked man’s muscled butt and thigh, around which a black strap squeezes.
Several hands reach across two outstretched legs encased in nearly thigh-high, leather stiletto boots.
The gelatinous fluid reappears, as well as a green, smooth tentacle which swishes out of frame and leaves only red water. A symbol of a trident whose handle tip is inscribed within a triangle appears within a plethora of similar small numbers and letters as those seen earlier in the video.
These images last for less than half a second on the screen.
The radiation symbol once again appears in red.
A steady club beat opens the next succession of images.
Glitching gray text informs the viewer of the music artists who will be performing at the 37th Black Party.
Their names type across the video screen swiftly, appearing under the header MUSIC.
Following the presence of this text are more octopus tentacles, which first wave through iron-colored waters as rusty limbs. Next, the tentacles reflect a greenish color at the viewer from within rose-wine illuminated waters, rippling like ribbons across the screen. WITH is the header that announces the final three musical acts to be seen at the 2016 Black Party, which include Massimiliano Pagliara (click here for more information about Pagliara, but you must have a Facebook account to view it), Ron Like Hell (click here and here for more information about Ron Like Hell), and Will Automagic (click here for an additional profile on Will Automagic).
A sound like static emits from the video as the gelatinous goo vibrates. The symbol of chaos, which is represented by eight arrows piercing out from the circumference of a circle, appears twice in different scarlet red designs over a circle of darker red water through which black dye diffuses. A clawed hand covered in black gelatinous goo reaches out from within the bullet-like stalagmites seen at the beginning of the video, and the sound of static and white noise intensifies.
Thick octopus arms, complete with suckers, extend from an unseen center body.
The octopus arms are as thick as human arms or calves; they twist in gray water in a counter-clockwise motion before the image transforms into a clip of several masked and anonymous shirtless men reaching along the bare legs encased in the boots from earlier. Most of these lean men wear various hoods found in Dom/sub play, including a leather skin that obscures the entire face, and an elastic mask with eye holes and a mouth hole. One wears a gas mask.
The pentacle, or symbol of witchcraft denoted by a pentagram inscribed within a circle, appears upside down in red over a lighter red nautical grid. A blip in the sound of static is soon perceived.
Green clawed hands sweep across a phallic structure in water, with another sudden blip unveiling a close-up of a gray face, over which an octopus arm sweeps. The right eye of this face is startling, both because of its wideness and because of its white iris. The man appears to be screaming, with an open mouth, yet only soft echos dominate the audio track at this point in the video.
In the next scene, however, as tentacles frame his face, the man’s head appears tilted back, away from the camera. His half-lidded eyes peer beneath his eyelashes and his mouth opens slightly, as if in a gasp.
The audio sounds like a soft wind and remains subtle for the next few images. Orange octopus arms, lit by a white light, drift close by the camera’s lens. Individual suckers can be examined for their size and shape.
A man’s tilted face, framed by light brown stubble, rests beneath the same dripping black viscous liquid as before. The liquid reaches the corner of his mouth and slides off his lip.
There is an extreme close-up on the man’s face in this shot; only the mouth, nose, and part of his neck is visible.
Next the camera gives the viewer a closeup of the same man’s chest, which is covered in the black liquid. He slides a hand down his right pec.
Then, the two wrestling men from before rest their foreheads against one another as a tone sounds from the previously quiet audio.
white eyes, bright eyes
The same white eyes from before now stare into the camera from within a black hood. The person fits into the center of the frame exactly.
The black hood the person wears covers his or her entire face, and visibly stretches across his or her nose and cheeks. Lips seem to be visible, but have likely been painted black so that they could blend into the surrounding fabric. Or this person’s lips may be concealed by the hood. It is hard to tell.
The white eyes continue to stare intensely and directly into the camera.
The person wearing the hood appears to be crouched or hunched.
Bare shoulders are visible beside the person’s face, and the person’s skin, particularly the creases found around his or her exposed collarbones, is illuminated by a red light that shines from beneath their body.
What I have just described of this hooded figure is the top half of this particular image.
The bottom half of the image acts like a reflection of the top half.
On the bottom, the person’s face appears upside down, and his or her eyes stare at the camera less noticeably. The entire “reflection” is subdued and softened by the black shadows that surround it, whereas the top half of the image stands out due to its ominously red spotlight.
Soon, these faces disappear with a sound somewhat similar to crinkling newspaper or a camera shutter.
HOOKS IN YOUR FLESH
Two men in gas masks stare each other down under green lighting as they stand with their arms braced against the other’s neck and back, respectively. A radar scans over their image, before the man on the left pushes his companion away. The image flickers to the same sound of static or crinkling newspaper.
The steady club beat from before reenters the video, increasing the pace of the images once more.
Green and blue bars fly across the screen, and the scene changes to a man in a beige gas mask, whose eyes are just barely visible, cradling the man from earlier, whose thigh and butt was encased in a black harness (though only a strap was visible at the time). The piece of clothing he wears is likely a jockstrap.
The man who wears the gas mask, which has a black mouthpiece, has tan skin, and may or may not be naked. His thighs and chest are completely bare, and only the other man he holds blocks the viewer’s view of his genitals.
The man being held has silver hair and smokey eye makeup. He is pale and possesses a neck tattoo as well as a sleeve tattoo on his right arm. His stomach is lightly muscled, and his legs are bent. The other man holds him underneath his back and his knees.
The other man is sitting down, and the tattooed man rests on his lap, sideways. His head lolls to the left in open air. The backdrop of the two figures is a molten gray.
The steady bass beat picks up with a bit of an electronic melody.
Small numbers and letters cross the screen in the pattern of the anarchy symbol and pulse over the two men. The two figures disappear leaving a black background beneath the white and gray anarchy symbol, before reappearing, then flashing away to reveal a mirror image of the hooded face from before.
The person wears a black hood and has white irises and looks at the camera with an open mouth. Orange tendrils divide the screen between the two nearly identical faces.
Red vats of boiling liquid appear, and the words STRANGE LIVE ACTS strike across the screen in the same thick font used to announce the musical artists. The music has a prominent melody now, and sounds like something you would hear in a club.
The next clip shows a person’s skin being punctured by a gold metal hook under bright fluorescent lighting.
The hook looks like a bait hook, and its place of piercing lies next to a bloody 6 inch line of metal additions. The camera pans out and focuses on a similar golden hook already pierced in that body’s expanse of skin.
What might be a silver fish’s open red and orange mouth appears in the next clip.
The next clip really flutters one’s stomach; it depicts forceps pulling out something clear from beneath the skin of an indescribable mass. I would guess that the the lens of a fish eye is being removed by the metal tool. I can not be sure. A nautical grid overlays these gray and white images.
The next image portrays a similar monochromatic scheme.
A merman’s swaying tail appears in gray atop a starry black background. The camera zooms out to reveal the entire body of the figure, whose tail appears to be confined in a starry underwater environment. The merman bobs up and down lightly and is the same tattooed man who was being cradled in the lap of another earlier. This man has the same tattoos, and now wears black gloves. His arms are bent at the elbows and are raised on the level of his shoulders, with his palms facing the water below him. He has been illuminated with white light from his right side, though the image remains black, white, and gray.
An upside down pentacle appears on the screen once more, in gray, atop the merman’s body. It’s quite large. Then the pentacle changes design and appearance, and appears smaller, covering most of the merman’s tail, and not his entire body. The music continues to intensify.
DRESS: HEAVY are the next words to appear on the screen (in the same font as the other words, if not a little bigger this time. Condensation drips down the words.
Next, a flurry of images beat across the screen to the sound of melodic sixteenth notes. The images are of octopus arms the color of oxidized iron whirling back and forth in active white waters frothing with bubbles. These images move at a lightning speed and comprise a narrative about as long as a second.
Then, the music cools off into a sound of an indistinguishable mash of techno voices, and the video slows its pace.
a heated caress
At this point, a man wearing a black jock strap faces away from the viewer, so that his bare butt is visible. His arms are flexed at his sides, as another male caresses leather-gloved fingers down his behind, slightly squeezing it.
The beat picks back up.
Then the clawed hands seen earlier in the video begin to hold the long, phallic shape (which has a pointed end, like an eel) in either palm against a lime green backdrop.
Again, someone appears to poke around a fish eye.
The wrestling men reappear and arm wrestle as they glare each other down.
The man on the right is shorter than his companion.
The wrestling men still appear in black and white, yet this time they have the nautical grid superimposed on them, which almost looks like the lens through which a sniper might view a target.
Flames dance over the image of the wrestling men before a man smoking a cigar and wearing a garrison cap appears behind a porthole framing. He wears the same necklace as the shorter wrestler and appears to have the same tattoos. This is the first time the viewer will have seen this man face on, instead of from his left side.
The phallic, eel-like forms reappear in red water and in four reflections of each other, with each shaft pointing from the center of the video frame. The upside down triangle with the bar crossing through it reappears as well.
The upside down pentacle is expressed in thin white lines over an open fish eye.
The hooded figure with the white eyes appears underwater, and bubbles sprout to the surface.
The symbol of chaos reappears over a black background before transitioning to the image of the men caressing the booted legs between them. Their hands reach up, up, and up until they touch the top of the screen.
Octopus arms lick around their figures as the music fades to the quiet gurgling and breathy sounds of underwater existence, before picking back up with an image of the phallic eel and sphygmomanometer. The arrow gauge on the clock-like device swings back and forth on the right side of the instrument. It is not exactly like a sphygmomanometer, or even a speedometer, because the numbers on this device increase in increments of 100 from 0 to 1000.
Next, we see the two wrestling men making out or kissing passionately (with tongue).
More octopus arms gleam gray in the video frame. At one point the tentacles turn colorful and expand like a flower in the center of the frame, before shivering downwards and turning gray again.
The men wearing the various hoods and masks reach the feet of the legs wearing the black leather boots, and together, they drag the legs down.
3_19_2016 appears on the screen next, followed by the word BROOKLYN.
This denotes the location and date of the Saint-at-Large’s 2016 Black Party: March 19th, 2016 in Brooklyn.
The heavy club beat that had been recently narrating the video’s rapid imagery drops off to a tinny noise within the last frames of the video.
BLACKPARTY.COM is the last text of the video, and it is quickly obscured by the previously-seen black bullet-like forms pulsating from the bottom of the video frame.
The video is 1 minute and 15 seconds long.
about the video
The text in the summarizing section of the video states the following:
“Video Trailer Directed by Rob Roth
For Tickets & More Information: blackparty.com
THE SAINT AT LARGE
THE BLACK PARTY
Saturday March 19, 2016
10 pm until Sunday afternoon
1260 Atlantic Ave, Brooklyn
Main Floor DJs:
Back Room DJs:
Ron Like Hell
Strange Live Acts | Dress Heavy
Set in world of surging oceans and drowning cities, rogue submarines break surface in the black of night to whisk willing survivors to an unregulated subterranean world of brothels, dungeons and decadence.
The Rites of Spring celebration, an intensely immersive environment ignited by world-renowned DJs and infamous Strange Live Acts, has firmly established itself as gay New York’s biggest night of the year.
The nature of this video is intense, and the narrative displayed is extremely fast-paced.
Images flit across the scene, and remain for barely half a second before flashing to another potent, well-crafted, and emotionally-charged photograph or clip. Colorful frames are juxtaposed by dark, monochromatic scenes. The video’s beauty is haunting.
This source does well to display 2016’s Black Party theme, which suggests themes of submersion, water, danger, and maybe even a Little Mermaid-like tale.
The source presents a compelling narrative that arouses the viewer’s interest, increasing the heartbeats of many with its dramatic storytelling.
One of the drawbacks of the source is that some of the images move so fast that one can only glimpse them before they disappear.
However, manually moving the dial on the video to control its pace allows one to view images in more detail, otherwise they move too fast for proper assessment.
This source is digital, so it requires an internet connection to be accessible.
The video does not name any of its actors, creators, or current hosts and organizers of the Saint-at-Large, which might be helpful information for someone who wants to learn more about the Saint-at-Large organization, however, it does offer a link to the organization’s website at the end of the video.
Still, the 2016 Black Party trailer video may still be limited in its impact, if only those with the means to visit the party it is advertising can attend the celebration (people who live close to or in Brooklyn and people who are able to travel there and find housing accommodations are the only ones who could go).
Yet even if the video advertises an unattainable dream for those people who cannot travel to Brooklyn, it still presents many elements of the Saint-at-Large’s creative energy and atmosphere in an impactful way. The viewer should not be disappointed if he or she may only be able to watch a video this time.
The art this organization creates to advertise its holiday events is stunning on its own.
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.
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.
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.