After an opening crawl begins by personally thanking Jerry Siegel and Joe Schuster, C. C. Beck and Bill Parker, Philip Francis Nowlan, and Alex Raymond for creating the superheroes Superman, Captain Marvel, Buck Rogers and Flash Gordon, which provided much needed escapist entertainment for a country currently mired in the Great Depression, it then quickly devolves into a disclaimer for the burlesque inspired lunacy that follows, tossing it all under the umbrella of satire, as we cut to a newsflash, where a reporter claims Congress has failed to congregate, the President and Vice President have locked themselves in the Oval Office bathroom and refuse to come out, and the First Lady warns everyone to make peace with the Almighty because the end is apparently nigh!
As for the cause of this global panic? Well, seems the Earth has been plagued by a wild outbreak of sex orgies, where ordinary citizens are suddenly overcome with insatiable lust, strip down, and then mutually and mindlessly screw anything that moves. And in an effort to combat what is being referred to as Sex Madness, the world’s most famous scientist, Professor Gordon (Hoyt), has called a meeting of his fellow top scientists to find a cause and a cure before the world essentially screws itself to death. Here, Gordon points out only certain areas have been affected by this molesting malady so far. In fact, his son, Flesh Gordon, believes this is all being caused by a ray of light emanating from some distant galaxy that is sweeping over the planet like an errant searchlight.
And speaking of Flesh (Williams), after some spiffy and slightly vulgar animated opening credits wrap-up, we find him currently on a plane to America, making his way back from an observatory in Tibet with proof of this nefarious "sex ray’s" existence. Here, he barely has time to meet ace reporter Dale Ardor (Fields) before the plane flies through the current blast radius of the Sex Ray. And while Flesh appears to be immune, everyone else, including the pilot, are not. And after reporting to the tower that he has a massive boner, the cockpit is abandoned to join the orgy outbreak in the cabin. Seeing this, Flesh fails to bring the plane back under control, grabs Dale, and parachutes out, leaving the others to their fate (-- well, at least they’ll all die happy). Meantime, Dale, still under the influence, can barely hang on to Flesh’s legs as she, uh, "buzzes" him all the way down to the ground.
Anyhoo, by mere chance, Flesh and Dale land safely near the secret mountain laboratory of Dr. Flexi Jerkoff (Hudgins). At first thinking they are there to steal his experimental rocketship and acts accordingly, the slightly unhinged Jerkoff finally recognizes Flesh and agrees with his assessment of the Sex Ray’s extraterrestrial origin. In fact, after bemoaning how his isolation made him really miss out on the fun when the booty-call beam passed over his lab, Jerkoff claims to have traced the Sex Ray back to its source and recruits Flesh and Dale to join him on his rocket -- which looks like an erect phallus because, duh, and, as humanity’s last hope, they blast off into space to end the amorous threat once and for all at its source.
Kit-bashed together with parts from the Sears catalog, Jerkoff’s rocket is a bit temperamental; and as they leave the solar system in this unreliable contraption they stray into the Sex Ray beam. This time, no one is immune. And as a three-way commences, unbeknownst to our randy space-travelers, they are currently under observation from the Planet Porno -- their eventual destination, where Emperor Wang the Perverted (Hunt) is given an update on their progress by one of his many equally perverted minions. Amused by these Earthlings, Wang wants them captured unharmed and brought to him immediately.
Back on Jerkoff’s rocket, the Sex Ray’s effects wear off just in time for them to be shot down by one of Wang’s bat-like fighter jets. And after they crash-land into the familiar environs of Bronson Canyon, Flesh, Dale and Jerkoff seek refuge from Wang’s welcoming committee by ducking into a very familiar cave. As they are herded deeper and deeper into the caverns, our trio comes upon the lair of a gaggle of Penisaurus -- Penisauruses? Penisauri? (and they’re exactly what you think they are), who attack them. Luckily, these monsters have no interest in, ah, *ahem* eating our heroes, and this gives Wang’s goons time to catch up and drive the offending mono-optical organ-shaped critters away with their laser pistols.
Captured, Flesh and the others are then taken to Wang’s palace in Porno City, where the current orgy in the emperor’s court has successfully reached its nine thousandth moon-cycle (-- and I don’t even want to fathom what it smells like in there). Brought before Wang by one of his many dildos (-- his words, not mine), His Assholiness (-- the dildo's word, not mine), passes judgement on these cosmic refugees:
First, needing more scientists to devise even more devious devices like his Sex Ray, Jerkoff is hauled off to Wang’s laboratory and put to work; second, smitten with Dale, Wang declares she will be his newest bride; and third, to help him prepare for his wedding night, Wang sentences Flesh to be sucked dry by the Sex Depleter so he can transfer his essence to himself. Here, Wang’s daughter, Princess Amora (Wieternik), steps in, claiming Flesh for herself. Wang relents, but Flesh must face a Trial by Ordeal first. And if he survives, Amora can have him. But! It doesn’t look too good for Flesh when he’s tossed into a pit, where three feral concubines of Wang are waiting, claws out, fangs bared, and start circling ever closer to our outnumbered hero...
On January 7, 1929, Buck Rogers in the 25th Century A.D. comic strip debuted for the National Newspaper Service syndicate. Based on the character created by Nowlan, who first appeared in the serialized novella Armageddon 2419 A.D. published in Amazing Stories Magazine, it told the tale of a man exposed to “radioactive gases” during a cave-in.
Presumed dead, Buck Rogers instead spent the next 500 years in a form of suspended animation. And when this finally wore off in the year 2419, Rogers finds the world has been invaded by aliens and joins the resistance to reclaim the Earth. The newspaper comic strip was just another cog in a massive merchandising push for the highly popular character, which included novelizations, comic books, games, and children’s toys.
Wanting an equally popular and lucrative franchise to exploit, NNS’s chief rival, King Features Syndicate, tried to purchase the rights to adapt Edgar Rice Burroughs’s John Carter of Mars novels but couldn’t come to terms for the character. And so, they decided to invent one of their own from scratch, turning to one of their staff artists, Alex Raymond, who was more than up to the task. Loosely basing the strip on the Philip Wylie novel When Worlds Collide -- later adapted to film in 1951 by George Pal, where a runaway planet was on a crash course with Earth, Raymond took that thread and ran with it as the Planet Mongo approaches perilously close, Flash Gordon, Dale Arden, and Dr. Hans Zarkov rocket into space to try and stop the threat. Marooned on Mongo, they come into conflict with Ming the Merciless and spend the next few years uniting the myriad kingdoms of this prodigal planet to overthrow the evil despot.
Flash Gordon was first published as a Sunday color strip in January, 1934, and would stay in printed syndication until 2003. Raymond served as co-writer and artist until 1944 and Dan Barry would have the longest tenure, writing and drawing the series from 1951 to 1990. I’ve picked up a couple volumes of the Raymond Sunday strip reprints and they are AH-mazing and highly recommended. And like with Buck Rogers, it was highly successful in both print and spin-off merchandising.
Just two years after its debut the comic strip was adapted by Universal as the 13-chapter movie serial Flash Gordon (1936), which was followed up by Flash Gordon's Trip to Mars (1938) and Flash Gordon Conquers the Universe (1940). All three serials starred Buster Crabbe as Flash and Charles Middleton as Ming. And while there is a bit of diminishing returns as the budgets shrank, the first is really inventive and all three are completely bonkers and fairly faithful to the newspaper strip adventures.
The strip also made the jump to television in the 1950s on the short lived DuMont Television Network and is a rare program that survived DuMont’s demise as most of its archive of kinescope reels were destroyed for the silver nitrate or dumped into the East River, where they still sit. The TV series, along with the Universal serials were later edited together and released as stand alone feature films. Meantime, the strip stayed in the public eye with radio plays, comic books, and a ton of toys.
In the 1970s, the film rights to Flash Gordon wound up in the hands of notorious Italian producer Dino De Laurentiis, who would have many suitors wanting to adapt it again for the big screen. Federico Fellini got as far as optioning the rights from De Laurentiis but the project didn’t get much further than that. However, this did prevent George Lucas from getting the rights to do a Flash Gordon movie, and so he made his own space opera -- perhaps you’ve heard of it? Missing the boat there, De Laurentiis would struggle through the rest of the decade trying to get a Flash Gordon film made until finally succeeding in 1980. And while they all failed to find any traction in the '70s, along came Bill Osco and Howard Ziehm, who beat them all to the punch ... Well, sort of.
Osco first met Ziehm in Los Angeles around 1967 when he became the manager of Ziehm’s short-lived rock band. Ziehm was an MIT dropout who moved to Berkeley in 1961 and opened a folk music club, got heavily into the drug scene, and got even deeper into the concurrent sexual revolution. Though he lost the club and Ziehm’s band went nowhere, a friendship was struck and a new business venture was launched in 1969 to try and get into the movie business: Graffiti Productions. Initially, Osco had wanted to do a biker movie but they soon learned you couldn’t really do one of those on a budget of $200. But what you could do for that kind of money was shoot a 400-foot 16mm silent stag loop, where women would strip and fondle themselves -- affectionately known as a “Beaver Loop” in porn circles.
Ziehm would shoot them, and Osco sold them all over the country. And within months, Graffiti Productions became a dominant player in the burgeoning porn market as obscenity laws started being redefined and loosened-up when the courts ruled nudity, on it's own, had no erotic content and therefore was not obscene, ushering in an era where films of this nature moved out of the smut shops and grindhouses and into the mainstream. And to cash in, Graffiti Productions diversified and purchased the Beverly Cinema in Los Angeles and opened several “street front theaters” geared to showing "Adults Only" films around the country, which, by law, could have no more than 49 seats.
Thus, Osco and Ziehm were already making the transition to sound and feature length “erotica” at this time with the release of Whatever Happened to Stud Flame? (1970) and the pseudo-documentary Hollywood Blue (1970), which focused on celebrities who had done underground porno. And their follow up feature, Mona: The Virgin Nymph (1970), was their most ambitious film to date and is credited with being the first porno that was more concerned with the plot than with the sex. And along with Andy Warhol’s Blue Movie (1969), these two features were the first X-rated films depicting explicit sexual content to receive a wide theatrical release in the United States, which officially kicked off the age of porno chic and inspired an avalanche of imitators, including Deep Throat (1972), Behind the Green Door (1972) and The Devil in Miss Jones (1973).
Ziehm co-directed Mona: The Virgin Nymph with Michael Benveniste and served as its director of photography. In the collaboration, Ziehm would handle the sex scenes and Benveniste would handle everything else. And it was Benveniste who first approached Ziehm and Osco about doing a porn spoof of the old Flash Gordon serials while Mona was in production. Actually, it was William Hunt’s idea, an actor and friend of the co-director, who wound up playing Wang the Perverted, who passed this notion along to Benveniste, who then passed it along to his bosses at Graffiti. From there, the idea was kicked around for nearly a year in between shooting and releasing Harlot (1971), Seeds of Lust (1971) and Tijuana Blue (1972). And then, sometime in the late fall of 1971, Osco and Ziehm, flush with an influx of cash after selling Mona and Hollywood Blue to Sherpix for $100,000, decided to go for it and went all in to produce the biggest porno to date: a $25,000 sci-fi sex film extravaganza -- Flesh Gordon (1974).
By contrast, Mona had only cost $5,000, a three day wonder. And while this all sounds like a monumentally dumb idea, I’m here to tell you not only does the film work but it excels as both a movie and a porno. It’s also fairly hilarious. Raunchy and explicit, too, sure, but Benveniste's bawdy script is also really clever and lovingly aware of the genre it’s spoofing as it lavishly pays tribute to the cliffhangers and daring-do of the original that also just happened to have a lot of boob shots in it. But it’s not all that vulgar -- more slap and tickle than anything else, and the whole thing comes off as being rather silly. OK, naughty. Still, the problem was not so much the sex part but (-- that’s another can of worms we’ll be addressing later), as it played out, the film wound up hewing a little too close to the serials.
In fact, the beginning of Flesh Gordon bore such a close resemblance to the first two chapters of the Flash Gordon serial -- "The Planet of Peril" and "The Tunnel of Terror" -- Universal could’ve easily sued Graffiti Productions over this. And having seen both, well, to be honest, spoof, satire or not, Universal and King Features would’ve had a pretty strong case for plagiarism and defamation with all the adult content slathered on top of their intellectual property. And if nothing else, it would’ve tied up the film in court for years. Thus, to avoid any lawsuits, on the advice of their lawyers, the producers added the text scroll to the beginning of the film to layout their case for parody. And to play it even more safe, the tagline of "Not to be confused with the original Flash Gordon" was added to all advertising materials.
And to be fair, once our characters reach the planet Porno, Flesh Gordon starts to deviate from the serials, plot wise, but remains true to their spirit as Flesh manages to survive his ordeal in the pit with his pants mostly intact only to be spirited away by Princess Amora. They then escape on her personal star cruiser and have sex among some very “suggestive” constellations.
Meantime, Jerkoff manages to engineer an escape just as Wang’s minions track Princess Amora and Flesh down over the Forest Zone, where their ship is shot down and Amora is killed. But the sorceress's spirit passes on her Power Pasties, the source of her magic, over to Flesh, who then turns them over to Jerkoff, who uses them to storm Wang’s palace to interrupt his nuptials with Dale. (Of course Wang is the one wearing the wedding dress.)
But, they’re already too late as Dale has been whisked away through a secret panel by a faction of sapphic Amazons led by Chief Nellie (Samples), who want to overthrow Wang by … stripping Dale, strapping her down on a slab, and fondling her? Okay, before Blogger bans me, moving on …
Using the Power Pasties, Jerkoff is able to blast their way into the secret chamber, where they rescue Dale. But! The Amazons are able to summon their guardian -- a golden beetle like creature, who engages Flesh in combat. This, does not go well for our hero but he is eventually saved by an arrow shot by Prince Precious (Brandy) and his band of grab-fanny “merry men."
Precious claims to be the rightful ruler of Porno, and then gives us the backstory on Wang: how he was a demented botanist who became maladjusted when his privates were bitten off by a rogue Venus Flytrap. He then invented the Sex Ray, unleashing carnal chaos. And once Porno was under his control, he now wants to spread his perversions throughout the galaxy unless they can unite the clans of Porno and defeat him.
Our heroes agree to help and Jerkoff invents a Destructo Beam powered by the Power Pasties to knock out the Sex Ray. Unfortunately, there’s a spy in their midst. And after a successful field test, this spy swipes the Power Pasties and bails out of their ship on the way to Porno City. Worse yet, Wang snares their ship in a magnetic tractor beam and pulls it toward a deathtrap, which leads us to our first (and only) real cliffhanger as the ship is caught and crushed.
But! After a brief intermission, in true serial fashion, when the film resumes the scene starts over and we see how our heroes got off the cockadoodie ship before it was destroyed. Meanwhile, as they regroup and storm the castle, Wang, thinking they’re dead, celebrates with his gathered flock of sex perverts on the palace floor only to lose the Power Pasties up one of his concubines [graphic sexual content], where it promptly gets stuck.
And once the final battle begins after Wang fails to flush our heroes down a giant toilet, Flesh and the others try to comically get the pasties back out of the woman’s [graphic sexual content] until they finally plop free.
Meantime, Wang sics his (adorable) tin-can Rape Robots on these interlopers, and then flees to the chamber of the Great God Porno. His pleas are heard, and the giant effigy comes to life and goes on a rampage, snatching up Dale as the monster King Kongs it to the top of the palace.
But our heroes come to her rescue, using Jerkoff’s Destructo Beam to zap Porno in his most vulnerable spot, who drops Dale. And once Flesh gets her in the clear, a few more blasts topple the monster off the roof and it lands on Wang’s Sex Ray, killing the beast and Wang when it explodes on impact.
Thus, the day is saved and our heroes can return home with a promise to return someday -- maybe in the sequel? Maybe. Maybe not.
On the director’s commentary for Henstooth Video’s Collectors Edition DVD of Flesh Gordon, Ziehm delivers not so much a commentary but an exhaustive oral history on the long and lurid making of the film from concept to release as it soon became apparent he, Osco and Benveniste had bitten off more than they could properly chew on the production, which was plagued by cocaine use, vice raids, multiple arrests for pandering, a ballooning budget, unpaid bills, embezzlement, tax fraud, a crew rebellion, and an alleged haunting.
Apparently, Ziehm was already under indictment on statutory rape charges and out on bail during the production of Flesh Gordon when it turned out one of his actresses in one of those Beaver Loops was under age when she engaged in oral sex with Ziehm on film. And while those charges were eventually thrown out, saving him from a possible 15 year prison sentence, once principal photography on the film had been completed the Graffiti offices were raided, the footage was seized, and Ziehm was arrested again for pandering. Thus, the majority of the explicit X-rated footage shot for Flesh Gordon, including a homosexual orgy between Prince Precious and his men, was surrendered to the authorities to be destroyed and left out of the picture, leaving the scenes of Wang’s running palace orgy and the interlude between Flesh and Amora as the only thing left that could be even remotely considered hardcore.
By now, a film that was supposed to cost $25,000 had already cost them $70,000 but the needed special-effect sequences hadn’t even been shot yet. And while Osco claimed their coffers were dry, which didn’t really jive with his extravagant lifestyle -- a new Rolls Royce and a mansion in Beverly Hills, Ziehm scrambled to make more product, quick and cheap, to raise more cash to complete the film -- no easy task with the LA Vice Squad breathing down his neck. But his suspicions of Osco were soon justified when the IRS came sniffing around, who was, indeed, cooking the books and embezzling money. And while Osco had always skated on the moral charges he was hit with tax fraud and eventually served time for this crime. Meanwhile, as their partnership came to an end over this betrayal, Ziehm took over the company and he still had a movie to finish and set to work getting those effects shots done. But his nightmare wasn’t over, it was just getting warmed up.
Most of the main cast was culled from William Hunt’s acting class, which netted them Jason Williams and Joseph Hudgins, who are pretty great as Flesh and Jerkoff. Williams felt this movie was gonna be his big break and stuck by the production as things hit the fan, even allowing Ziehm to move the editing equipment into his apartment to hide from the cops. Suzanne Fields was a veteran porn actress who had worked with Ziehm before, which explains why Dale takes the brunt of the sexual encounters.
Most of the actors who don’t have sex onscreen were also part of Hunt’s acting class, who really steals the movie as the bitchy Wang. And those that did participate were provided by Craig “Reb” Sawitz, who ran Reb's Pretty Girls International, which had supplied female and male performers for the Adult Film industry for many years, including Graffiti Productions. And as originally intended, for the climax, the stop-motion animated Porno was more bestial and only roared. When the footage didn’t play, Ziehm decided the monster should talk to add some punch. And so, comedian Craig T. Nelson was recruited from the Comedy Store, who ad-libbed a bunch of lines for the character while doing a passable Vincent Price impersonation.
Speaking of those special effects, I believe it was exploitation pioneer Dave Friedman who coined the phrase the best special-effect ever invented was a naked breast because it was cheap and effective. Here, Ziehm and Osco doubled-down and one can only boggle at the names involved in the production of Flesh Gordon both credited and uncredited, who would go on to massively successful Hollywood careers.
Multiple future Academy Award winner Dennis Muren was hired on as the FX supervisor, who brought in several collaborators who had worked with him on Equinox (1970), including Dave Allen and Jim Danforth, who provided a lot of the stop-motion animated creatures and matte paintings. Other contributors included Doug Beswick -- The Terminator (1984), Aliens (1986), Michael Minor -- Star Trek: The Motion Picture (1979), Star Trek II: The Wrath of Khan (1982), Greg Jein -- Close Encounters of the Third Kind (1977), The Adventures of Buckaroo Banzai Across the 8th Dimension (1983), and Star Trek TOS veteran Bjo Trimble and the legendary Rick Baker provided make-up effects.
Here, I’m also gonna give special shout-outs to Tom Scherman and Bob Costa, who cooked up those delightfully demented Rape Robots that looked like they just stomped off the set of The Undersea Kingdom (1936). And since they were shooting the live-action material on 16mm, because it was cheaper, which was destined to be blown-up to match the 35mm special-effects footage, this would require a ton of lights to fight against the graininess, which essentially baked the actors stuck inside those robot suits.
And also spare a thought for Bill Hedge, who couldn’t complete his work on the Penisaurus sequence because he claimed a ghost was haunting his studio and messed with the lights whenever he tried to shoot, forcing Ziehm to pull a midnight raid to seize the models and material and turn it over to Muren to complete. But Hedge didn’t feel too bad about being fired since his Ouija board had told him the picture would never be finished anyway. Meantime, Muren wound-up trashing everything and starting over, not feeling comfortable manipulating Hedge’s monster because it looked too much like an erect phallus. You can’t make this stuff up, Boils and Ghouls.
And in the end, the work of these animators, production designers, model makers, and motion-capture specialists turned out so good at capturing a Fisher Price After Dark aesthetic, Osco, who was still lurking around, decided to submit the film for Academy Award consideration for Special-Effects as a publicity stunt. And while they managed to bamboozle their way through the requirements to get nominated, the Academy balked and removed the category altogether that year and just gave a Special Achievement Oscar to The Poseidon Adventure (1972).
Even if, by some miracle, they had won I’m not sure how that would’ve worked out for those involved since the majority of them insisted on going uncredited. See, as the production dragged on and Ziehm handed out countless IOUs in a desperate attempt to get the film finished and released to save his company, most of these guys didn’t get paid. Dave Allen was the smart one, insisting he get paid on a daily basis. A frustrated Jim Danforth quit on multiple occasions until finally washing his hands for good with his work on the animated beetle sequence only half finished, forcing Ziehm to edit the scene around what he had. And once the effects work had finally been completed, the effects team, led by Muren, decided to hold the footage hostage until Ziehm finally paid up.
By now, the film’s budget had ballooned to nearly $470,000 -- $700,000 if you want to count the legal fees, and it still wasn’t done. When Benveniste screened his first rough cut it was so awful Ziehm fired him off the picture. And as he struggled with editor Abbas Amin to make something out of anything, with the live action parts of the film staged so awfully, with no coverage, Ziehm was forced to do multiple pick-ups, rebuild sets, and do his own special effects after everyone else had defected to get what he needed to finally complete the picture nearly three years after the cameras first rolled.
And with creditors breathing down his neck, Ziehm struggled to find a distributor until Al Goldstein and Jim Buckley of Screw Magazine came along and, together, they formed Mammoth Films. And while Goldstein and Buckley felt the film was too long and insisted it still needed some trimming, with good buzz coming from a 10-page article in Penthouse Magazine, Ziehm decided to let Flesh Gordon ride as is for its New York premiere. But even though the venue sold out, the film landed with a thud. Realizing his distributors were right, before the next showing, Ziehm took the film to the offices of a friend of Buckley’s, Sean Cunningham -- later of Friday the 13th (1980) infamy, but a current maker of skin-flicks, and chopped-out everything that wasn’t working. It worked, the film was a hit and would play around the country grossing millions of dollars. And at its Los Angeles premiere, none other than Buster Crabbe was in attendance.
In the aftermath, Osco followed up Flesh Gordon with another parody, Alice in Wonderland: An X-Rated Musical Fantasy (1976), which is as equally demented as the other film and AH-lot more explicit. And after he served his sentence, he tried to go legit with a horror film involving a killer potato in The Being (1983) and the comedy Night Patrol (1984) before returning to form with The Art of Nude Bowling (1995). Ziehm, on the other hand, was facing burn-out over the trying production. And while he did collaborate with producer Peter Locke for about a half dozen more Adult Films, the industry was rapidly changing with the advent of video tape. And as competition increased and business dried up, Ziehm retired from filmmaking around 1984 only to be coaxed back one last time to do a sequel, Flesh Gordon Meets the Cosmic Cheerleaders (1990), which isn't nearly as much fun as the original.
As I mentioned in an earlier review of the Mitchell brothers’ Behind the Green Door, I am no fan of hardcore. And unless we’re talking about something completely bonkers like Flesh Gordon or Osco's Alice in Wonderland or something completely off the rails like the Findlay's The Touch of Her Flesh trilogy (1967-68), where there's a plot -- demented though it may be, that moves the porn along and not just the act itself, then, I'm not all that interested. That’s not entertainment. It's anatomy and gynecology. And I find that both excruciatingly tedious and extremely boring, making them a complete slog to sit through. But Flesh Gordon is not that. And it shouldn’t work, and yet it totally does. It was genuinely funny, and charming in its production design and the execution of the FX. And this continues to baffle me to no end -- boobs and all.
What is Hubrisween? This is Hubrisween! 26 Days! 26 Films! 26 Reviews! And now, Boils and Ghouls, be sure to follow this linkage as The Fiasco Brothers and I countdown from A to Z all October long! That's six reviews down with 20 more to go! Up Next: Beware the Mushroom Song. Also, the giant lizard. But mostly watch out for the song. Seriously.
Flesh Gordon (1974) Graffiti Productions :: Mammoth Films / P: Bill Osco, Howard Ziehm / AP: Walter R. Cichy / D: Michael Benveniste, Howard Ziehm / W: Michael Benveniste / C: Howard Ziehm / E: Abbas Amin / M: Ralph Ferraro / S: Jason Williams, Suzanne Fields, Joseph Hudgins, William Dennis Hunt, Candy Samples, Mycle Brandy, Nora Wieternik , John Hoyt