Text: Peter 'Sleazy' Christopherson (of Throbbing Gristle)
Originally printed in Flowmotion 1, January 1981
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Description of equipment used on stage:
One rack containing 3 Clarion Auto-reverse car cassette machines customised so that all of the four tracks from each tape head are available. All or the 12 resulting channels are routed to a keyboard which selects the output combination.
One Apple II computer fitted with Mountain Hardware's Supertalker and Symtec's SSG synthesiser boards. This provides extensive facilities not available from other equipment. For example sound can be stored digitally in memory and then played back in a non-linear manner or be manipulated mathematically prior to recall. Also the computer offers virtually unlimited sequencing facilities and can enter and display any musical piece as standard musical notation; that is, one can type in the tune from the score and then type "play" and the computer will play it. All data, stored sound or lines can be stored on floppy-disc and recalled as and when needed.
One Cornet (made in Taiwan).
One Larry Adler professional harmonica.
All the above are routed to a Roland Jazz Chorus Combo, via Memory Man analog delay line and a Roland Waa-Waa. (As are any vocals I might do).
Sources or Sound fragments used:
These vary considerably. As far as possible I try to stay within the law both in terms of copyright and the respect of peoples privacy. However in general the use or any specific fragment is so short that these considerations are not too important and if a piece of sound seems right I will normally use it. Without wishing to be too specific (for obvious reasons, sources of sound have included: recordings of legal and illegal radio and T.V. broadcasts (mostly not in this country), interviews with people (usually interesting people who have only come to light when they were indiscreet), tapes made without peoples knowledge (methods used in this case have to remain unspecified - suffice to say I see no reason why technology used by politicians in covert Watergate-type situations should not be used in a more enlightening and hopefully enjoyable context), lastly I also used a certain amount of purely 'atmospheric' sound (cars, rain, dogs barking at night, people crying etc) most of which is recorded in situ as it happens and most of which is recorded binaurally. (The binaural system, which, we now always use to record gigs, is one in which the two stereo mics are separated in a similar way to human ears. On playback the minute phase differences that result between the signals give a considerably enhanced spatial effect when listening with headphones.)
Regarding the formation of T.G. material:
Usually T.G. Songs are formed for the first time live on stage (We very rarely rehearse other than to check the equipment) Each person working on ingredients separately - a title, a lyric, a rhythm (why can I never spell that word?), an idea for a sound etc. etc. And all these somehow come together on stage to form the song, which invariably alters in each performance until we do a definitive version on record. (After which we don't usually repeat it.)
Regarding what we are 'doing':
I don't really see what we do in terms of the conventional 'rock & roll' thing at all, although the format of a group making records is one which is immediately acceptable to many people (much more so than virtually any other, apart from film/T.V.) I don't think we are a "group" in the normal sense of the word. We are just trying to express ideas and feelings in a way that seems appropriate to times in which we live. What we decide to do at any point is as far as possible based only on instinct - what "feels right". So I have no idea what we (or I) will be doing in the future but it will be certainly be something I find interesting because there's no point doing anything boring, ever.
~Flowmotion 1, January 1981
Friday, April 30, 2010
Interview with Monte Cazazza (Slash,1979)
SLASH (Vol. 2, #3)
January 1979
From Oakland to England, from obscurity to being "very widely unknown", Monte Cazazza has a past. One of our finest investigative reporters lays it bare...
Next record due for release from Industrial Records is from Monte Cazazza, a reclusive Oakland artist whose performances have violated the sensibilities of indignant art critics, the entire acid-damaged Bay Area Avantgarde and jaded art-cliques from Menlo Park to Venice (Italy). He's been described as a "brilliant monster," "art gangster," and "a real sick guy," but one thing is unanimous: his personal appearances really rile people up.
His detractors just don't seem to get the point. Genet says it best: "To escape the horror, bury yourself in it." Like other artists who are obsessed with violent images, Cazazza's early life was riddled with hideous events and accidents, including witnessing a necrophiliac in action. Rather than choke down those nightmares, he spat them back out at the world.
Cazazza's reputation was spawned at Oakland College of Arts and Crafts when for his first sculpture assignment he created a cement "waterfall" down the main stairway of the building, making it permanently impassable and got the boot on the second day of school.
His formal education completed, he passed quickly through a mutilated rubber doll period then disappeared among dark rumours of hospitals and jails. He resurfaced with a blatantly commercial attempt to woo the whims of the wealthy with tasteful pornographic collages of orchids sprouting penises at a San Francisco exhibit. He was contacted by an ageing countess as a possible benefactress and lunched at her famous Oakland mansion while visions of dollar signs danced drunkenly around the plates. The Contessa died two weeks later.
Shortly thereafter in 1972 he achieved infamy when he was invited to attend an arts conference weekend-in-the-woods to share transcendental conversations on perspective and grant-writing while nestling paint-spattered jeans in pine needles and toasting hand-dyed marshmallows for "S'Mores" in an ultimate artsy outdoorsy atmosphere. Cazazza arrived with an armed bodyguard and sprinkled arsenic into all the food. At lunch he dropped bricks with the word "dada" painted on them on artistic feet. At dinner he burned a partially decomposed, maggot-infested cat at the table. His bodyguard blocked the exit, and several participants fell ill due to the stench. Photos and stories of this event were published as far away as Holland.
Genesis P-Orridge and Cosey Fanni Tutti of Throbbing Gristle read of Cazazza in Vile Magazine in 1974 when he was a classic Valentine's Day cover boy holding a dripping bloody heart that looked torn out of his chest. The Gristle's and Cazazza's mutual fascination with pornography and fascism prompted the limeys to pay a call to California to view in person the 15'x15' silver screw together swastika Cazazza constructed which could be rapidly dismantled in case of police raids or guerrilla JDL attacks.
Since their visit was at the height of the Gary Gilmore furor, they all photographed each other in blindfolds as though they were in front of a firing squad, complete with a real loaded gun pointed at their hearts to get better reactions. Postcards made of the photos were mailed immediately after Gilmore's execution to the warden of the Utah penitentiary and several newspapers. Over 6,000 T-shirts with the same photo were sold in England, and a picture of one was on the front page of the Hong Kong Daily News. Their mock photo was mistakenly considered the official execution photo according to P-Orridge.
T-shirt sales financed Cazazza's 1977 trip to England where he was let loose in Industrial Records studios with an engineer, a chainsaw, the innards of a piano which was played with hammers and violin bows, and other musical instruments. Ten songs were recorded with titles like P.S. (PLASTIC SURGERY), BUSTED KNEECAPS, F.F.A. (FIST FUCKERS OF AMERICA), HATE, and TO MOM ON MOTHER'S DAY. A Cazazza single will be released in March.
Also soon for release from the Throbbing Gristle umbrella corporation is a movie in which Cazazza and a 14 year-old boy are electrocuted. Monte also appeared in Kerry Colonna's DECCADANCE movie in a suit he made out of rubber tubing and razor blades.
Cazazza edited a fanzine NITROUS OXIDE in 1971 (far preceding Sniffin' Glue). He co-edits WIDOWS AND ORPHAS, a colour Xerox picture magazine. He also gives shows and illustrated lectures on Siamese Twins that he researched in medical libraries.
But still his reputation is so nasty that he rarely leaves his house, although he did go out on Halloween dressed as Kearney, the trash bag murderer. He wore a cheap plastic mask and carried a green garbage bag filled with animal livers and hearts (like Hermann Nitsch) and a bloody mannequin head used by medical students for practice in giving mouth-to-mouth respiration. Definitely the life of the party.
Cazazza's pet money-making project for the future is further exploration of "murder junkies" via a double bill of the stories of Edmund Kemper (a cannibalistic necrophiliac) and Dean Coryl, the Texas "candy man" whose brutal sex murders peaked at a chronic one-a-day habit until he had killed 27 teenage boys (before authorities stopped counting).
For artists who think their work is daring, Cazazza's is a double-dare. Those avant garde artists who use sex and violence as a chic intellectual playground for "art theory" are the first to head for the exits when confronted by Cazazza's work. His scientific expose of voyeuristic urges for sex and violence is no-holds-barred. And it is all done with a comic edge that amplifies the sounds of skeletons being yanked from the most repressed closets.
Cazazza never gives personal interviews. He bought a hot Ansa-phone and keeps it hooked up 24 hours a day. When he returned my call, I asked him if he wanted to make any statements for Slash. "NO, NO, NO," he said, "I don't need to talk, I don't need to make quotes. You see, I'm already VERY WIDELY UNKNOWN." - JB
*This article was reproduced by Industrial Records and included with Cazazza's "To Mom on Mothers Day / Candy Man" 7-inch single).
January 1979
From Oakland to England, from obscurity to being "very widely unknown", Monte Cazazza has a past. One of our finest investigative reporters lays it bare...
Next record due for release from Industrial Records is from Monte Cazazza, a reclusive Oakland artist whose performances have violated the sensibilities of indignant art critics, the entire acid-damaged Bay Area Avantgarde and jaded art-cliques from Menlo Park to Venice (Italy). He's been described as a "brilliant monster," "art gangster," and "a real sick guy," but one thing is unanimous: his personal appearances really rile people up.
His detractors just don't seem to get the point. Genet says it best: "To escape the horror, bury yourself in it." Like other artists who are obsessed with violent images, Cazazza's early life was riddled with hideous events and accidents, including witnessing a necrophiliac in action. Rather than choke down those nightmares, he spat them back out at the world.
Cazazza's reputation was spawned at Oakland College of Arts and Crafts when for his first sculpture assignment he created a cement "waterfall" down the main stairway of the building, making it permanently impassable and got the boot on the second day of school.
His formal education completed, he passed quickly through a mutilated rubber doll period then disappeared among dark rumours of hospitals and jails. He resurfaced with a blatantly commercial attempt to woo the whims of the wealthy with tasteful pornographic collages of orchids sprouting penises at a San Francisco exhibit. He was contacted by an ageing countess as a possible benefactress and lunched at her famous Oakland mansion while visions of dollar signs danced drunkenly around the plates. The Contessa died two weeks later.
Shortly thereafter in 1972 he achieved infamy when he was invited to attend an arts conference weekend-in-the-woods to share transcendental conversations on perspective and grant-writing while nestling paint-spattered jeans in pine needles and toasting hand-dyed marshmallows for "S'Mores" in an ultimate artsy outdoorsy atmosphere. Cazazza arrived with an armed bodyguard and sprinkled arsenic into all the food. At lunch he dropped bricks with the word "dada" painted on them on artistic feet. At dinner he burned a partially decomposed, maggot-infested cat at the table. His bodyguard blocked the exit, and several participants fell ill due to the stench. Photos and stories of this event were published as far away as Holland.
Genesis P-Orridge and Cosey Fanni Tutti of Throbbing Gristle read of Cazazza in Vile Magazine in 1974 when he was a classic Valentine's Day cover boy holding a dripping bloody heart that looked torn out of his chest. The Gristle's and Cazazza's mutual fascination with pornography and fascism prompted the limeys to pay a call to California to view in person the 15'x15' silver screw together swastika Cazazza constructed which could be rapidly dismantled in case of police raids or guerrilla JDL attacks.
Since their visit was at the height of the Gary Gilmore furor, they all photographed each other in blindfolds as though they were in front of a firing squad, complete with a real loaded gun pointed at their hearts to get better reactions. Postcards made of the photos were mailed immediately after Gilmore's execution to the warden of the Utah penitentiary and several newspapers. Over 6,000 T-shirts with the same photo were sold in England, and a picture of one was on the front page of the Hong Kong Daily News. Their mock photo was mistakenly considered the official execution photo according to P-Orridge.
T-shirt sales financed Cazazza's 1977 trip to England where he was let loose in Industrial Records studios with an engineer, a chainsaw, the innards of a piano which was played with hammers and violin bows, and other musical instruments. Ten songs were recorded with titles like P.S. (PLASTIC SURGERY), BUSTED KNEECAPS, F.F.A. (FIST FUCKERS OF AMERICA), HATE, and TO MOM ON MOTHER'S DAY. A Cazazza single will be released in March.
Also soon for release from the Throbbing Gristle umbrella corporation is a movie in which Cazazza and a 14 year-old boy are electrocuted. Monte also appeared in Kerry Colonna's DECCADANCE movie in a suit he made out of rubber tubing and razor blades.
Cazazza edited a fanzine NITROUS OXIDE in 1971 (far preceding Sniffin' Glue). He co-edits WIDOWS AND ORPHAS, a colour Xerox picture magazine. He also gives shows and illustrated lectures on Siamese Twins that he researched in medical libraries.
But still his reputation is so nasty that he rarely leaves his house, although he did go out on Halloween dressed as Kearney, the trash bag murderer. He wore a cheap plastic mask and carried a green garbage bag filled with animal livers and hearts (like Hermann Nitsch) and a bloody mannequin head used by medical students for practice in giving mouth-to-mouth respiration. Definitely the life of the party.
Cazazza's pet money-making project for the future is further exploration of "murder junkies" via a double bill of the stories of Edmund Kemper (a cannibalistic necrophiliac) and Dean Coryl, the Texas "candy man" whose brutal sex murders peaked at a chronic one-a-day habit until he had killed 27 teenage boys (before authorities stopped counting).
For artists who think their work is daring, Cazazza's is a double-dare. Those avant garde artists who use sex and violence as a chic intellectual playground for "art theory" are the first to head for the exits when confronted by Cazazza's work. His scientific expose of voyeuristic urges for sex and violence is no-holds-barred. And it is all done with a comic edge that amplifies the sounds of skeletons being yanked from the most repressed closets.
Cazazza never gives personal interviews. He bought a hot Ansa-phone and keeps it hooked up 24 hours a day. When he returned my call, I asked him if he wanted to make any statements for Slash. "NO, NO, NO," he said, "I don't need to talk, I don't need to make quotes. You see, I'm already VERY WIDELY UNKNOWN." - JB
*This article was reproduced by Industrial Records and included with Cazazza's "To Mom on Mothers Day / Candy Man" 7-inch single).
Industrial Records Label Discography
IR DISCOGRAPHY:
IR0002 THROBBING GRISTLE, "2ND ANNUAL REPORT" 1977 (LP)
IR0003 THROBBING GRISTLE, "UNITED"/"ZYKLON B ZOMBIE" 1978 (7")
IR0004 THROBBING GRISTLE, "D.O.A. THE THIRD AND FINAL REPORT" 1978 (LP)
IR0005 MONTE CAZAZZA, "TO MOM ON MOTHER'S DAY"/"CANDY MAN" 1979 (7")
IR0006 THE LEATHER NUN, "SLOW DEATH" EP 1979 (7")
IR0007 THOMAS LEER AND ROBERT RENTAL, "THE BRIDGE" 1979 (LP)
IR0008 THROBBING GRISTLE, "20 JAZZ FUNK GREATS" 1979 (LP)
IR0009 THROBBING GRISTLE, "HEATHEN EARTH: THE LIVE SOUND OF TG" 1980 (LP)
IR0010 MONTE CAZAZZA, "SOMETHING FOR NOBODY" EP 1980 (7")
IR0011 SURGICAL PENIS KLINIK, "MEAT PROCESSING SECTION" 1980 (7")
IR0012 ELISABETH WELCH, "STORMY WEATHER"/"YOU'RE BLAS�" 1980 (7")
IR0013 THROBBING GRISTLE, "SUBHUMAN"/"SOMETHING CAME OVER ME" 1980 (7")
IR0014 DOROTHY, "I CONFESS"/"SOFTNESS" 1980 (7")
IR0015 THROBBING GRISTLE, "ADRENALIN"/"DISTANT DREAMS (PART TWO) 1980 (7")
IR0016 WILLIAM BURROUGHS, "NOTHING HERE NOW BUT THE RECORDINGS" 1981 (LP)
IRC00 THROBBING GRISTLE, "BEST OF....VOLUME I" 1976
IRC01 THROBBING GRISTLE, "BEST OF....VOLUME II" 1976
IRC02 THROBBING GRISTLE, "I.C.A., LONDON" 1976
IRC03 THROBBING GRISTLE, "WINCHESTER/AIR GALLERY" 1976
IRC04 THROBBING GRISTLE, "NAGS HEAD, HIGH WYCOMBE" 1977
IRC05 THROBBING GRISTLE, "BURLINGTON POLYTECHNIC" 1977
IRC06 THROBBING GRISTLE, "NUFFIELD THEATRE, SOUTHAMPTON" 1977
IRC07 THROBBING GRISTLE, "RAT CLUB, PINDAR, LONDON" 1977
IRC08 THROBBING GRISTLE, "HIGHBURY ROUNDHOUSE, LONDON" 1977
IRC09 THROBBING GRISTLE, "WINCHESTER ART SCHOOL" 1977
IRC10 THROBBING GRISTLE, "RAT CLUB, VALENTINO ROOMS, LONDON" 1977
IRC11 THROBBING GRISTLE, "BRIGHTON POLYTECHNIC" 1978
IRC12 THROBBING GRISTLE, "ARCHITECTURAL ASSOCIATION, LONDON" 1978
IRC13 THROBBING GRISTLE, "GOLDSMITH'S COLLEGE, LONDON" 1978
IRC14 THROBBING GRISTLE, "INDUSTRIAL TRAINING COLLEGE, WAKEFIELD" 1978
IRC15 THROBBING GRISTLE, "FILM MAKERS CO-OP, LONDON" 1978
IRC16 THROBBING GRISTLE, "CRYPTIC ONE CLUB, LONDON" 1978
IRC17 THROBBING GRISTLE, "CENTRO IBERICO, LONDON" 1979
IRC18 THROBBING GRISTLE, "AJANTA CINEMA, DERBY" 1979
IRC19 THROBBING GRISTLE, "SHEFFIELD UNIVERSITY" 1979
IRC20 THROBBING GRISTLE, "THE FACTORY, MANCHESTER" 1979
IRC21 THROBBING GRISTLE, "GUILD HALL, NORTHAMPTON" 1979
IRC22 THROBBING GRISTLE, "Y.M.C.A., LONDON" 1979
IRC23 THROBBING GRISTLE, "TG IN THE STUDIO" 1979
IRC24 THROBBING GRISTLE, "BUTLERS WHARF, LONDON" 1979
IRC25 THROBBING GRISTLE, "FAN CLUB, LEEDS" 1979
IRC26 THROBBING GRISTLE, "SCALA CINEMA, LONDON" 1979
IRC27 THE LEATHER NUN, "SCALA CINEMA"/"MUSIC PALAIS KUNGSGATAN" 1980
IRC28 MONTE CAZAZZA, "LIVE AT LEEDS FAN CLUB"/"SCALA CINEMA" 1980
IRC29 THROBBING GRISTLE, "AT GOLDSMITH'S COLLEGE" 1980
IRC30 THROBBING GRISTLE, "OUNDLE PUBLIC SCHOOL" 1980
IRC31 CLOCK DVA, "WHITE SOULS IN BLACK SUITS" 1980
IRC32 CHRIS CARTER, "THE SPACE BETWEEN" 1980
IRC33 THROBBING GRISTLE, "AT SHEFFIELD UNIVERSITY" 1980
IRC34 RICHARD H. KIRK, "DISPOSABLE HALF TRUTHS" 1981
IRC35 CABARET VOLTAIRE, "1974-1976" 1981
IRCD02 THROBBING GRISTLE, "I.C.A., LONDON" 1976
IRCD03 THROBBING GRISTLE, "WINCHESTER/AIR GALLERY" 1976
IRCD04 THROBBING GRISTLE, "NAGS HEAD, HIGH WYCOMBE" 1977
IRCD05 THROBBING GRISTLE, "BURLINGTON POLYTECHNIC" 1977
IRCD06 THROBBING GRISTLE, "NUFFIELD THEATRE, SOUTHAMPTON" 1977
IRCD07 THROBBING GRISTLE, "RAT CLUB, PINDAR, LONDON" 1977
IRCD08 THROBBING GRISTLE, "HIGHBURY ROUNDHOUSE, LONDON" 1977
IRCD09 THROBBING GRISTLE, "WINCHESTER ART SCHOOL" 1977
IRCD10 THROBBING GRISTLE, "RAT CLUB, VALENTINO ROOMS, LONDON" 1977
IRCD11 THROBBING GRISTLE, "BRIGHTON POLYTECHNIC" 1978
IRCD12 THROBBING GRISTLE, "ARCHITECTURAL ASSOCIATION, LONDON" 1978
IRCD13 THROBBING GRISTLE, "GOLDSMITH'S COLLEGE, LONDON" 1978
IRCD14 THROBBING GRISTLE, "INDUSTRIAL TRAINING COLLEGE, WAKEFIELD" 1978
IRCD15 THROBBING GRISTLE, "FILM MAKERS CO-OP, LONDON" 1978
IRCD16 THROBBING GRISTLE, "CRYPTIC ONE CLUB, LONDON" 1978
IRCD17 THROBBING GRISTLE, "CENTRO IBERICO, LONDON" 1979
IRCD18 THROBBING GRISTLE, "AJANTA CINEMA, DERBY" 1979
IRCD19 THROBBING GRISTLE, "SHEFFIELD UNIVERSITY" 1979
IRCD20 THROBBING GRISTLE, "THE FACTORY, MANCHESTER" 1979
IRCD21 THROBBING GRISTLE, "GUILD HALL, NORTHAMPTON" 1979
IRCD22 THROBBING GRISTLE, "Y.M.C.A., LONDON" 1979
IRCD24 THROBBING GRISTLE, "BUTLERS WHARF, LONDON" 1979
IRCD25 THROBBING GRISTLE, "FAN CLUB, LEEDS" 1979
IRCD26 THROBBING GRISTLE, "SCALA CINEMA, LONDON" 1979
IRCD29 THROBBING GRISTLE, "AT GOLDSMITH'S COLLEGE" 1980
IRCD30 THROBBING GRISTLE, "OUNDLE PUBLIC SCHOOL" 1980
IRCD33 THROBBING GRISTLE, "AT SHEFFIELD UNIVERSITY" 1980
IRCD36 THROBBING GRISTLE, "S.O. 36 CLUB BERLIN 7/11/80" 1980
IRCD37 THROBBING GRISTLE, "S.O. 36 CLUB BERLIN 7/11/80" 1980
IRCD38 THROBBING GRISTLE, "KUNSTHOFSCHULE FRANKFURT" 1980
IRCD39 THROBBING GRISTLE, "RAFTERS CLUB, MANCHESTER" 1980
IRCD40 THROBBING GRISTLE, "HEAVEN, LONDON" 1980
IRCD41 THROBBING GRISTLE, "LYCEUM, LONDON" 1981
IRCD42 THROBBING GRISTLE, "VETERANS AUDITORIUM, LOS ANGELES" 1981
IRCD43 THROBBING GRISTLE, "KEZAR PAVILION, SAN FRANCISCO" 1981
IR0002 THROBBING GRISTLE, "2ND ANNUAL REPORT" 1977 (LP)
IR0003 THROBBING GRISTLE, "UNITED"/"ZYKLON B ZOMBIE" 1978 (7")
IR0004 THROBBING GRISTLE, "D.O.A. THE THIRD AND FINAL REPORT" 1978 (LP)
IR0005 MONTE CAZAZZA, "TO MOM ON MOTHER'S DAY"/"CANDY MAN" 1979 (7")
IR0006 THE LEATHER NUN, "SLOW DEATH" EP 1979 (7")
IR0007 THOMAS LEER AND ROBERT RENTAL, "THE BRIDGE" 1979 (LP)
IR0008 THROBBING GRISTLE, "20 JAZZ FUNK GREATS" 1979 (LP)
IR0009 THROBBING GRISTLE, "HEATHEN EARTH: THE LIVE SOUND OF TG" 1980 (LP)
IR0010 MONTE CAZAZZA, "SOMETHING FOR NOBODY" EP 1980 (7")
IR0011 SURGICAL PENIS KLINIK, "MEAT PROCESSING SECTION" 1980 (7")
IR0012 ELISABETH WELCH, "STORMY WEATHER"/"YOU'RE BLAS�" 1980 (7")
IR0013 THROBBING GRISTLE, "SUBHUMAN"/"SOMETHING CAME OVER ME" 1980 (7")
IR0014 DOROTHY, "I CONFESS"/"SOFTNESS" 1980 (7")
IR0015 THROBBING GRISTLE, "ADRENALIN"/"DISTANT DREAMS (PART TWO) 1980 (7")
IR0016 WILLIAM BURROUGHS, "NOTHING HERE NOW BUT THE RECORDINGS" 1981 (LP)
IRC00 THROBBING GRISTLE, "BEST OF....VOLUME I" 1976
IRC01 THROBBING GRISTLE, "BEST OF....VOLUME II" 1976
IRC02 THROBBING GRISTLE, "I.C.A., LONDON" 1976
IRC03 THROBBING GRISTLE, "WINCHESTER/AIR GALLERY" 1976
IRC04 THROBBING GRISTLE, "NAGS HEAD, HIGH WYCOMBE" 1977
IRC05 THROBBING GRISTLE, "BURLINGTON POLYTECHNIC" 1977
IRC06 THROBBING GRISTLE, "NUFFIELD THEATRE, SOUTHAMPTON" 1977
IRC07 THROBBING GRISTLE, "RAT CLUB, PINDAR, LONDON" 1977
IRC08 THROBBING GRISTLE, "HIGHBURY ROUNDHOUSE, LONDON" 1977
IRC09 THROBBING GRISTLE, "WINCHESTER ART SCHOOL" 1977
IRC10 THROBBING GRISTLE, "RAT CLUB, VALENTINO ROOMS, LONDON" 1977
IRC11 THROBBING GRISTLE, "BRIGHTON POLYTECHNIC" 1978
IRC12 THROBBING GRISTLE, "ARCHITECTURAL ASSOCIATION, LONDON" 1978
IRC13 THROBBING GRISTLE, "GOLDSMITH'S COLLEGE, LONDON" 1978
IRC14 THROBBING GRISTLE, "INDUSTRIAL TRAINING COLLEGE, WAKEFIELD" 1978
IRC15 THROBBING GRISTLE, "FILM MAKERS CO-OP, LONDON" 1978
IRC16 THROBBING GRISTLE, "CRYPTIC ONE CLUB, LONDON" 1978
IRC17 THROBBING GRISTLE, "CENTRO IBERICO, LONDON" 1979
IRC18 THROBBING GRISTLE, "AJANTA CINEMA, DERBY" 1979
IRC19 THROBBING GRISTLE, "SHEFFIELD UNIVERSITY" 1979
IRC20 THROBBING GRISTLE, "THE FACTORY, MANCHESTER" 1979
IRC21 THROBBING GRISTLE, "GUILD HALL, NORTHAMPTON" 1979
IRC22 THROBBING GRISTLE, "Y.M.C.A., LONDON" 1979
IRC23 THROBBING GRISTLE, "TG IN THE STUDIO" 1979
IRC24 THROBBING GRISTLE, "BUTLERS WHARF, LONDON" 1979
IRC25 THROBBING GRISTLE, "FAN CLUB, LEEDS" 1979
IRC26 THROBBING GRISTLE, "SCALA CINEMA, LONDON" 1979
IRC27 THE LEATHER NUN, "SCALA CINEMA"/"MUSIC PALAIS KUNGSGATAN" 1980
IRC28 MONTE CAZAZZA, "LIVE AT LEEDS FAN CLUB"/"SCALA CINEMA" 1980
IRC29 THROBBING GRISTLE, "AT GOLDSMITH'S COLLEGE" 1980
IRC30 THROBBING GRISTLE, "OUNDLE PUBLIC SCHOOL" 1980
IRC31 CLOCK DVA, "WHITE SOULS IN BLACK SUITS" 1980
IRC32 CHRIS CARTER, "THE SPACE BETWEEN" 1980
IRC33 THROBBING GRISTLE, "AT SHEFFIELD UNIVERSITY" 1980
IRC34 RICHARD H. KIRK, "DISPOSABLE HALF TRUTHS" 1981
IRC35 CABARET VOLTAIRE, "1974-1976" 1981
IRCD02 THROBBING GRISTLE, "I.C.A., LONDON" 1976
IRCD03 THROBBING GRISTLE, "WINCHESTER/AIR GALLERY" 1976
IRCD04 THROBBING GRISTLE, "NAGS HEAD, HIGH WYCOMBE" 1977
IRCD05 THROBBING GRISTLE, "BURLINGTON POLYTECHNIC" 1977
IRCD06 THROBBING GRISTLE, "NUFFIELD THEATRE, SOUTHAMPTON" 1977
IRCD07 THROBBING GRISTLE, "RAT CLUB, PINDAR, LONDON" 1977
IRCD08 THROBBING GRISTLE, "HIGHBURY ROUNDHOUSE, LONDON" 1977
IRCD09 THROBBING GRISTLE, "WINCHESTER ART SCHOOL" 1977
IRCD10 THROBBING GRISTLE, "RAT CLUB, VALENTINO ROOMS, LONDON" 1977
IRCD11 THROBBING GRISTLE, "BRIGHTON POLYTECHNIC" 1978
IRCD12 THROBBING GRISTLE, "ARCHITECTURAL ASSOCIATION, LONDON" 1978
IRCD13 THROBBING GRISTLE, "GOLDSMITH'S COLLEGE, LONDON" 1978
IRCD14 THROBBING GRISTLE, "INDUSTRIAL TRAINING COLLEGE, WAKEFIELD" 1978
IRCD15 THROBBING GRISTLE, "FILM MAKERS CO-OP, LONDON" 1978
IRCD16 THROBBING GRISTLE, "CRYPTIC ONE CLUB, LONDON" 1978
IRCD17 THROBBING GRISTLE, "CENTRO IBERICO, LONDON" 1979
IRCD18 THROBBING GRISTLE, "AJANTA CINEMA, DERBY" 1979
IRCD19 THROBBING GRISTLE, "SHEFFIELD UNIVERSITY" 1979
IRCD20 THROBBING GRISTLE, "THE FACTORY, MANCHESTER" 1979
IRCD21 THROBBING GRISTLE, "GUILD HALL, NORTHAMPTON" 1979
IRCD22 THROBBING GRISTLE, "Y.M.C.A., LONDON" 1979
IRCD24 THROBBING GRISTLE, "BUTLERS WHARF, LONDON" 1979
IRCD25 THROBBING GRISTLE, "FAN CLUB, LEEDS" 1979
IRCD26 THROBBING GRISTLE, "SCALA CINEMA, LONDON" 1979
IRCD29 THROBBING GRISTLE, "AT GOLDSMITH'S COLLEGE" 1980
IRCD30 THROBBING GRISTLE, "OUNDLE PUBLIC SCHOOL" 1980
IRCD33 THROBBING GRISTLE, "AT SHEFFIELD UNIVERSITY" 1980
IRCD36 THROBBING GRISTLE, "S.O. 36 CLUB BERLIN 7/11/80" 1980
IRCD37 THROBBING GRISTLE, "S.O. 36 CLUB BERLIN 7/11/80" 1980
IRCD38 THROBBING GRISTLE, "KUNSTHOFSCHULE FRANKFURT" 1980
IRCD39 THROBBING GRISTLE, "RAFTERS CLUB, MANCHESTER" 1980
IRCD40 THROBBING GRISTLE, "HEAVEN, LONDON" 1980
IRCD41 THROBBING GRISTLE, "LYCEUM, LONDON" 1981
IRCD42 THROBBING GRISTLE, "VETERANS AUDITORIUM, LOS ANGELES" 1981
IRCD43 THROBBING GRISTLE, "KEZAR PAVILION, SAN FRANCISCO" 1981
Friday, April 23, 2010
Thee Genesis Breyer P-Orridge Tag Sale. Saturday May 1 – Sunday May 2 2010
Taken from...
Famous Accountants is extremely excited to host the Genesis Breyer P-Orridge Tag Sale on Saturday, May 1st and Sunday, May 2nd, from Noon to 6 PM. Possessions from Genesis’ personal collection will be be up for sale. A provenance ticket identifying each items as thee former possession of Genesis Breyer P-Orridge will be included with each item.
Genesis Breyer P-Orridge is not just an genre-founding musician, a genre-defying artist, a social pioneer, an underground legend and an alchemist — s/he’s one of thee formative influences on us over here at Famous Accountants. We discovered her way back when, circa 1987 (when s/he was merely a he), because of RE/Search. Remember those books? Well, we were obsessed with them and devoured every single issue we could get a hold of: RE/Search #4/5: W.S. Burroughs, Brion Gysin, Throbbing Gristle, RE/Search #6/7: Industrial Culture Handbook and RE/Search #12: Modern Primitives. And one of our big discoveries in this reverie was Genesis P-Orridge. S/he was one of thee prominent interview subjects in those books. Those interviews, he/r words shaped our young minds. We used to freak our friends out by foisting Genesis’ pierced member on them. Nevertheless, we’ve been curious about and interested in what s/he’s been up to ever since. So, it’s with that personal history that we are joyously honored to host the Genesis Breyer P-Orridge Tag Sale at Famous Accountants. (Martha Rosler? Yeah, whatever, man. Materialists are the ones who are obsessed with materialism.)
Genesis Breyer-P.Orridge Tag Sale
Famous Accountants
1673 Gates Avenue
Bushwick, Brooklyn
Saturday May 1 – Sunday May 2
12pm-6pm.
http://brooklynbased.net Article on Thee Genesis Breyer P-Orridge Tag Sale
Yard sales are like tiny museums — all those unloved and outgrown items accumulated over years of Christmases, birthdays and trips to Target tell a story about one very small corner of the world. But what happens when the person selling her excess personal goods is a cult figure known for gender-bending body-modification, avant garde performance art and a general interest in challenging the status quo on pretty much every level imaginable?
Well, then you have the Genesis Beyer P-Orridge Tag Sale coming up at Famous Accountants.
“Basically, it’s a garage sale,” says Kevin Regan (above on the right), co-owner and co-director of the Bushwick gallery with Ellen Letcher. “She’s our neighbor and has been around a bit. She asked and we thought it would be a really cool idea–a garage sale as an art project.”
P-Orridge (pronounced peaorridge, pictured above, on the left at Drippy, a recent show at the gallery) strikes a bold cultural pose. She started out as a he named Neil Megson, a boundary-pushing artist and frontman for the band Throbbing Gristle. In the early 90s he met his late wife, Jacqueline Beyer, and the two became inseparable in a major way. Together they embarked on a project of body and behavior modification in which they surgically altered their bodies and faces to look more and more alike, adopting the same gestures and mannerisms.The project, which they called Pandrogeny, came to an abrupt end in 2007 when Beyer died of cancer.
Since then, P-Orridge has continued working on art projects, and living in the Ridgewood home the couple once shared. “Really, she was a Bushwick/Ridgewood pioneer,” says Regan, whose gallery also sits on the neighborhood/borough boundary.
Items for the May 1 and 2 sale are as of yet undetermined, and P-Orridge, who is currently stuck in London thanks to a certain Icelandic volcano, was unavailable for comment on her selections. Regan compared the show to artist Martha Rosler’s Garage Sale installations, but on an aesthetic level only. “That was a materialist critique,” he explains. “This isn’t a whole lot different than anybody else having a sidewalk sale. I mean, if she sells, say a blender, I’m curious to see if anyone wants it.” To be clear, that would be a blender formerly owned by a provocateur with 13 penis piercings and C-cups. All items will come with provenance tags proving that they once belonged to P-Orridge.
“Ultimately it’s a practical thing, I think,” says Regan. “You have to get rid of stuff, even if you’re an underground legend.”
New York press Article on Thee Genesis Breyer P-Orridge Tag Sale http://www.nypress.com/blog-6333-avant-garde-hand-me-downs.html
If you think your attic is cluttered just imagine what it would look like if you were a gender-bending phenomenon with your penis pierced in 13 places? On second thought, don’t imagine that, but if you want to see what a garage sale for an artist who has had over $200,000 in plastic surgery to make herself look as similar to her late wife as possible, then we have just the event for you.
Genesis P-Orridge, the acclaimed and controversial artist who has taken his work to a level where she is her own art piece, needs to do some spring cleaning and is calling it an art show, according to Brooklyn Based.
If buying something second hand from an avant-garde artist is something you’re into (and we sincerely hope you are) then take a trip to Famous Accountants in Ridgewood on May 1 and 2. It’s the only place where window shopping and taking in an exhibit are synonymous.
Sunday, April 18, 2010
PICS...
I have split the flyers and pics into their own seperate sections.To view the new flyers section click the "flyers" label...now,on with the pictures!
Genesis at disneyland 1981
.JPG)
Photo of Genesis copyright Baba Raul Canizares 1999
Genesis Breyer P-Orridge wearing "Copyright Breeches,"
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G P-O Cleveland, Ohio, photo by Ellen Connery 1989 (from the collection of M. Gammon)
portrait by pat johnson
photo by Miss Jacqui copyright NNWO 2001…she took it holding camera out
Photo of Genesis copyright Baba Raul Canizares 1999
Thee majesty performance, Toronto 2000 photo contributed by Scott Treleaven
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