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In the mid-60s, Meyer was at the center of a burgeoning avante garde filmmaking scene that included the likes of Bruce Conner, Tom Chomont, Fred Camper and Saul Levine.While all but forgotten now, Meyer’s 1966 featurette An Early Clue to the New Direction (its title a facetious reference to a scene in A Hard Day’s Night) won first place at the prestigious Ann Arbor Film Festival in 1967.It was during this slate of shows – which also featured Mitch Ryder, Wilson Pickett and Cream, the latter also making their stateside debut – that Joy Bang met Keith Moon.“Murray the K’s wife was on the program,” recalled Pete Townshend in a Hit Parader article from later that year, “She appeared about ten times in a fashion spot with teenybopper girl models – Jackie the K and her fabulous fashion show.The post-Easy Rider period of American filmmaking had its share of sunshiny, no-hassle, bra-burning actresses, but few mastered the combo of cute and carefree as did Joy Bang.While far from a household name, her brief filmography was always interesting, replete with visionaries like Andrew Meyer, Woody Allen, Roger Vadim, Norman Mailer and the husband-wife duo of Jack Bond and Jane Arden.Mailer plays megalomaniacal movie director Norman T.Kingsley, who is casting a new film in tandem with launching a presidential campaign.

The film is virtually plotless and shot without live sound, but exists in the leisurely then-present, with the trio drinking tea, riding bikes and featuring the Unidentified Flying Objects performing ‘I’m a Woman’ in between Townshend’s captivating monologues.Most of her well-known films didn’t give her many lines, or anything more than a decorative role, but Bang had an undeniable onscreen charm marked by a wide smile, a scratchy voice and a sense of the spontaneous. Bang’s professional career began in Boston, where she became the favored star of underground director Andrew Meyer.“She was one of the girls for whom the term ‘teenybopper’ was coined as a result of her appearance in Andy Meyer’s superb An Early Clue to the New Direction,” recalls film critic David Ehrenstein.The film is an early example the kind of low budget, improvisational filmmaking that would come to dominate the East Coast underground scene; like the work coming out of Warhol’s Factory at the same time (Chelsea Girls was also made in 1966), the films were a means of determining star power, fuelled more by the exploding charisma of the onscreen talent than either professionalism or the tangible construction of a story.There was much interchange between New York and Boston at the time, and ties to the Warhol camp were numerous.

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