Gen's upcoming events and Misc.upcoming projects...

GENS MISC. UPCOMING PROJECTS: Heartworm Press are publishing “Collected Lyrics and Poems of Genesis Breyer P-Orridge – Volume One 1961 to 1971. Later they will publish Gen's first novel, written in 1969, “Mrs. Askwith”. Other books will follow.

Friday, December 23, 2011

Every y-era Dec 23-Jan 23....

The OTTT ning was activated Dec 20th last y-era and the ONE TRUE TOPI TRIBE project was set into motion one year ago today on Dec 23 By Genesis,Jaon Louv and myself.

Every y-era Dec 23-Jan 23 is the OTTT solstice ...a one month period of transition/aka a knew y-era phase of transformation.

Genesis has chosen this image to mark this OTTT calender date. It is my gift of Gi joe Lady Jaye action figure, whom the beloved Lady Jaye took her name from.

Tuesday, December 20, 2011

Quick update From Genesis ..

A few brief notes from an email from Gen to share with you...

"My next priority is a totally new art exhibition for Invisible-Exports opening on Feb17th. 2012,  Also the movie "Ballad of Lady Jaye & Genesis" goes on general release in Canada & USA in Feb/March!!! Amazing. It opens in 4 cinemas similtaneously in early March in the Bay Area! As well as across the USA! We are editing a dvd of outakes to go with movie dvd. Writing another 12inch etc can imagine how hectic maybe.but all is positive which is hope-full."

Here is my present to Genesis for "Happy flying bufallo day" (OTTT  does not celebrate christmas as it is)
1986 Gi joe Lady Jaye action figure, Whom Jaye took her name from.

a few other notes ...
Just a quick post with some updated info and to say thanks to all who attended the December 2011 PTV3 Dis-concerts. We had a great time playing the new material and entertaining you all! A lot of emails are coming in looking for copies of the Mother Sky / Alien Sky 12”. Our supply has sold out.

To order, visit

We will soon have a small handful again, but in the meantime….

Strict Textildruck and Merch Society have released a new t-shirt design by Morrison Edley ODowd featuring lots of glow in the dark ink…check it out here:

Keep checking back for more updates about what’s happening in 2012…there will be a lot!

Tuesday, December 6, 2011

Upcoming Psychic Tv performance In Chicago and recent Chicago radio interview with Genesis

In addition to an annual show in Brooklyn this month Genesis Breyer P-Orridge will bring Psychic TV to only two other cities. One is Austin. The other is Chicago - Sunday Dec. 11, 2011 at Reggies Rock Club to be exact. Tickets are still on sale (and available in "general" and "VIP" varieties).

Recently The Delirious Insomniac Freeform Radio Show hosted  a telephone interview with Genesis Breyer P-Orridge.

The archive is here

From  Host Arvo of Delirious Insomniac Freeform Radio Show: "I have integrated some of the things s/he said into a short article on h/er that will be in the next issue of Newcity, here in Chicago, as part of promotion for the PTV show on December 11th.   If you want, I can send you a link to that article some time around Thursday I'm guessing." Artcile link coming soon!

also Arvo sent along an older episode including a sound collage , featuring Genesis Breyer P-Orridge's reading at the Swiss Institute. Here is the archive Link

Also,to conicide with the Austin Gig...
AUSTIN - December 9 - Genesis P-Orridge, Thee Psychick Bible

Domy Books and (R)EVO industries are pleased to present

Thee Psychick Bible

A book signing with Genesis Breyer P-Orridge*
913 E Cesar Chavez, Austin, TX 78702

+ followed by Psychic TV at Elysium

Wednesday, November 30, 2011

"THANK YOU" is here!

In time for our upcoming United States dis-concerts, PTV3 presents an entirely original new song about our Beloved Lady Jaye called "THANK YOU". Clocking in at over 17 minutes, this intensely moving and psychedelic track is split on to 2 sides as "Thank You (Parts I & II)". Utilizing recycled colored vinyl, each slab is completely unique and comes housed in a recycled craft paper jacket emblazoned with a removable embroidered patch attached to the front cover. Insert features handwritten Breyer P-Orridge lyrics. Each package was lovingly stamped and assembled by hand. This release, limited to 230 copies only (hand numbered on the back), is the first in a new series of Angry Love Productions "Handmade" vinyl records. Please note that the image shows variation of vinyl color and your purchase will contain ONE slab of vinyl. Available at the gigs and exclusively at our webshoppe at:

PTV3 will be playing a whole new hyperdelic, trancedelic, set of the new series of songs..

(including "Maggot Brain"/ "Alien Brain"/ "Mother Sky"/ "Alien Sky"/ "Thank You" and more surprise tracks! Altered States Welcome!!! For the realisation of this series PTV3 will be: Jeff "Bunsen" Berner, Alice Genese, Morrison Edley ODowd, Genesis Breyer P-Orridge & Jess Stewart.

Sam Zimmerman & Jeanne Angel will create an all new video lightshow to trip out your retina.

Austin Texas on Dec 9th,
 Chicago on Dec 11th
and New York, Club EUROPA in Williamsburg on Dec 15th ( with Bryin Dall (solo project with film) and also with CULT OF YOUTH)

gen Djin

Thursday, November 24, 2011

Propaganda andHoly Writ of The Process Church of The Final JudgmentSex Issue • Fear Issue • Death Issue

Propaganda andHoly Writ of The Process Church of The Final JudgmentSex Issue • Fear Issue • Death Issue

The Gods on War in text and read by Genesis Breyer P-Orridge, Lydia Lunch, Adam Parfrey and Timothy Wyllie

avaliable at
To follow up on the Feral House release, Love Sex Fear Death: The Inside Story of The Process Church of The Final Judgment, written by Timothy Wyllie, here are full color reproductions of the Process Church’s notorious and rare thematic magazines, all boldly imaginative and decades ahead of their time. This edition, limited to 1,200 copies, also includes the essay, “The Gods on War,” written by the cult’s “Omega,” which reveals how the Gods Jehovah, Lucifer and Satan have vowed apocalyptic vengeance against man. An audio recording of “The Gods on War,” with Lydia Lunch, Genesis Breyer P-Orridge, Adam Parfrey, and Timothy Wyllie is available as a download to every book buyer. When they’ve become available, these extremely rare magazines have sold for a thousand dollars each, or more.

This oversized hardcover edition is co-published by Ajna Offensive and is limited to 1,200 copies. Audio download included.

Order “Propaganda and Holy Writ of The Process Church of The Final Judgment” from Feral House directly and you will also receive:

1) Complimentary CD of the remarkable “Restored to One” recording by Sabbath Assembly: all songs drawn from actual Process Church hymns.

2) Signature of Timothy Wyllie on a special card. Wyllie designed and illustrated the magazines seen within the “Propaganda and Holy Writ” release.

3) Free download of Lydia Lunch, Adam Parfrey, Genesis Breyer P-Orridge and Timothy Wyllie reading “The Gods on War.”

Sunday, October 9, 2011


"Nothing here now but the recordings" was an album compiled by Genesis of William S.Burroughs audio work, Released via Industrial records in 1980.
Genesis P-Orridge, founder of Throbbing Gristle, salvaged these recordings from Burroughs’ archives and was responsible for their preservation and release. The recordings highlight Burroughs’ influence on concrete poetry and industrial music. The recordings also spotlight Burroughs’ link with the sound experiments of Carl Weissner and Henri Chopin who published Burroughs on vinyl and in magazines in the late 1960′s and early 1970′s.

Notes on the release follow, all borrowed from the extensive Burroughs archive site

Borrowed from the article The Lost Tapes of Carl Weissner, Claude PĂ©lieu and Mary Beach, 1967-1969

by Edward S. Robinson
...Burroughs’ own recordings, however, remained in the vaults. Initially recorded for the purposes of his own personal research, the tapes were not intended for public consumption. It wasn Genesis P-Orridge of Throbbing Gristle who convinced Burroughs to allow him to release a selection of these experiments commercially. After spending many long hours going through the tapes, Orridge compiled the hour’s worth of material that was released as Nothing Here Now But the Recordings on Industrial Records in 1980

.Nevertheless, Burroughs’ influence on music, particularly the music of the avant-garde, precedes the public release of his experimental recordings, primarily on account of his book Electronic Revolution (1970, 1972, 1976), which expounds the theoretical contexts of some of his practical experiments with audio. Throbbing Gristle were among the first to explore the possibilities of using tape loops, cut-ups, samples and “found sounds” to make music. It was in this work that Burroughs’ influence on music became truly tangible.This was true of many of the bands involved in the Industrial scene that exploded on both sides of the Atlantic between 1978 and 1984. They immersed themselves in studio experimentation and the application of techniques first explored by Burroughs and Gysin some 20 years previous. The reason for the delayed spread of the Virus in sound recordings was largely due to the lack of technology to facilitate widespread experimentation prior to 1978. But once Burroughs and Gysin had made the “breakthrough,” it was almost inevitable that their ideas would spread.
The appeal of Electronic Revolution is obvious. While those who had followed Burroughs’ writing through the cut-up experiments would have been able to admire the many qualities of the writing, and even the methodology behind it, to the extent that it was possible to “write like Burroughs,” Electronic Revolution revealed new possibilities, demonstrating the potential for the written word to develop and mutate in new directions off the page. It also represented a “call to arms” for dissenters, providing as it did directions for sonic terrorism with the potential for “real” results:

…make recordings and take pictures of some location you wish to discommode or destroy, now play recordings back and take more pictures, will result in accidents, fires, removals. Especially the latter. The target moves. We carried out this operation with the Scientology Center at 37 Fitzroy Street. Some months later they moved to 68 Tottenham Court Road, where a similar operation was carried out…

Like Naked Lunch and The Third Mind, Electronic Revolution is a “how-to” book, a handbook, with instructions for the replication of the author’s techniques to achieve specific effects. “Riot sound effects can produce an actual riot in a riot situation. Recorded police whistles will draw cops. Recorded gunshots, and their guns are out.”14 Burroughs explained the function of site-specific recording and playback thus:

…playback on location can produce definite effects. Playing back recordings of an accident can produce another accident… We carried out a number of these operations: street recordings, cut in of other material, playback in the streets …(I recall I had cut in fire engines and while playing this tape back in the street fire engines passed.)… (I wonder if anybody but CIA agents read this article or thought of putting these techniques into actual operation.) Anybody who carries out similar experiments over a period of time will turn up more “coincidences” than the law of averages allows.

It was the capacity to achieve a specific desired effect, as Burroughs’ empirical testing of the theories demonstrated, which proved a significant factor in the book’s appeal to a certain audience. Although Burroughs believed that “the influence of fiction is not direct,” he always intended for his writing to have a tangible effect upon the reader in some way — after all, “if your writing had no effect, then you would have something to worry about.”

Tuesday, October 4, 2011

FIVE QUESTIONS from Genesis BREYER P-ORRIDGE From rebel rebel anti style site

Genesis Breyer P-Orridge (born Neil Andrew Megson 22 February 1950) is an English singer-songwriter, musician, writer, and artist. P-Orridge's early confrontational performance work in COUM Transmissions in the late 1960s and early 1970s along with the industrial band Throbbing Gristle, which dealt with subjects such as prostitution, pornography, serial killers, occultism, and P-Orridge's own exploration of gender issues, generated controversy. Later musical work with Psychic TV received wider exposure, including some chart-topping singles. P-Orridge is credited on over 200 releases.


Q1. One could draw a line connecting your work to the “modern primitive” movement, Acid House, the industrial movement, punk rock, Timothy Leary, the Merry Pranksters, the Beat Generation all the way back to the Dada-ists. After 5 decades of artistic expression, including inspiring, creating and collaborating some of the aforementioned, where do you see your art going next?

In 1993 we met Lady Jaye. We have, as you say, met and collaborated with many amazing artists and literary figures in our journey. Derek Jarman, W.S. Burroughs, Brion Gysin, Ken Kesey, Dr Timothy Leary and a host more. We can honestly say, with hindsight and serious thought that Lady Jaye is the MOST remarkable human Being we have EVER met. From the beginning we began playful dressing up. We were the “Plague” for a reading at Jackie60!

We both believed in a direct karmic link between the Inquisitions and S&M Domination. The witches burned and tortured now wear the oppressors outfits and use their tools to torture males of power. Soon we were dressing the same, doing our hair the same. We saw our SELFs as two halves of a whole. Burroughs and Gysin credited their mutually created cut-ups with writing, photos and tape-recorders to a “THIRD MIND” that only existed as the union of the two of them through pieces of Creation. Lady Jaye and myself believe all that we create, and our very physical existence, when evidenced by our ever more determined rituals to integrate totally body and soul were a “THIRD BEING” which we called the Pandrogyne. A Positive Androgyne. Each of us was literally “The Other Half” of this being. The Alchemical hermaphrodite as storm troopers of a future in potentia. Burroughs asked me, how do you short circuit control? This led us via all kinds of scientific and consciousness exploration to conclude DNA is a probable contender for the location of control. We feel it is a recording device that goes back to single celled slime mold billions of years ago. Making it also the common denominator of “life”. We speculate that mitochondria could be the superior life form on earth and human beings are useful containers, deliberately given an unnecessarily short lifespan. We are hosts to this parasitic species. Where do the thoughts of DNA stop and our autonomous consciousness begin? By breeding constantly we unwittingly perpetuate our rival species who may have come from off earth.

NOW! We wanted to confound these little blighters. Our first act was a vasectomy. A denial of the continuance of DNA via my body. We see bodies more as a biological coral reef a congomerate of clusters with more than one agenda. Lady Jaye calls the body a cheap suitcase. We get discarded once our DNA has run its current programs. The human body is NOT SACRED! It is just a biological container for its precious cargo of consciousness. “YOU” and “I” are not the body itself. That is a container. “You” and “I” are the mind that resides within our cortices. Once we saw that DNA was a crucial sector of “control” we wanted to at least symbolically reject DNA and its usual control over exactly how our body looks and functions biologically. Which led us to cosmetic surgery procedures. The initial LOVE motivation of wanting to literally be physically consumedby each other and so be able (we dreamed) of becoming ONE single being after we both drop our cheap suitcases. A single being the sum total of both consciousnesses fully integrated and still aware of an autonomous memory of itself and thus viable for infinite time and space, even dimensional travel together for eternity. We have worked with reincarnated Rinpoches from Tibet for many years and are convinced certain beings can remain identity intact after death AND return and get reborn to continue spiritual work on earth should they choose. Why not aim for the stars? Brion Gysin said we are here to go…we agree. The human species as it is now is still at a primitive, theoretically larval stage. We have so much more potential to grow and develop. Our technological environment is far advanced over our spiritual growth. This imbalance has led to totalitarian capitalism which unchecked will destroy all species ever more rapidly. If we DO move out to colonize space, Pandrogeny suggests we use science to find how to hibernate like bears, frogs and many other creatures. Long journeys would become feasible. Perhaps we could become cold blooded to save on heat in space. Become shorter, maybe short legs are all we need in space without gravity. In fact once you realize that this body we have is dictated by DNA without your say, and you let go of assuming this is the end of our evolutionary design, the possibilities become endless. Grow fur, feathers, gills to swim, horns for decoration. Many hued skin. We have become apathetic and inert. Entropy is a natural law, when we stop using ourimaginations for the most incredible dreams of new perception, we are on the slow road to extinction. So, now we’ve shed a small light on what was an intricate grueling but ecstatic journey Lady Jaye and my SELF made, we can tell you the answer to question one.

We see our works going ever more deeply into the genetic and biological research required to make people aware that “This time around you CAN be ANYBODY, with ANY BODY”. (Dr Timothy Leary with a slight addition).

My personal goal is to prepare myself mentally, spiritually and physically to drop my body and then, we pray, find Lady Jaye’s “consciousness” awaiting me. Then we shall flow happily into each others essence in total unconditional surrender to BIG LOVE and become one “pandrogyne of pure mind” created from our two halves. Our work will metaphorically and literally always refer one way of another to this endless quest for moments of perfecting. Let our species awaken and perhaps begin to apply their massive resources to unifying our species instead of fragmenting it. We MUST start to truly see our SELF as one cell of a massive, beautiful organism called the Human Species. Once we perceive our SELF as a tiny part of a whole we would inevitably phase our conflict and be active only in the greater good. If food is needed it is supplied to the part of the species “body” that requires it. Once we see ourselves as totally integrated with every other person. Parts of a whole, like Lady Jaye and my SELF are parts of our whole too the likelihood of destructive and selfish choices diminishes.


Q2. In 2009 “30 Years of Being Cut Up,” a retrospective of your collages was presented at Invisible-Exports and the Tate Gallery acquired 40 years’ worth of your art, writing, correspondence, video and audio. You have also lectured at universities and given talks at Rutgers. Do you feel you have now been accepted by the establishment?

There are days when we WISH we could “sell out” or whatever that is or how that is done we’ve never known. It is true we give Lectures sometimes at Colleges and Universities. Recently at MoMA in New York, Rutgers, and NYU. We have always

felt it vital for an artist to share both those who have inspired their path and work AND the conclusions and information they have retrieved during more extreme body and out of body experiences. Perhaps our explorations, some taken at risk, can be useful, functional or even just a flag saying “You are not alone” to a person in the boonies who is isolated, maybe picked on. So we accept talks to SHARE what we can IN CASE it is useful in some way, maybe even as a warning. The Establishment normally reward your surrender into their cabal with seductive invitations to power gatherings and soirees. They also funnel money to their favorites ( in the mediaeval sense of favorites). As long as young people come and tell me they are inspired or encouraged by my words we will continue to talk. We’d LOVE to begin teaching a seminar at NYU, or Columbus, any college in New York really. Any offers? So far we’ve not even been offered a degree or a blue “lived here” plaque on the old Funhouse in Prince Street, Hull…so it is a wary truce. But we are actually glad to be finally taken more seriously for our entire body of work rather than be cheaply dismissed for a miniscule number of more easily sensationalized moments decades ago.

Q3. In your early years, how did your parents react to your work?

We dropped out of Hull University after one year in 1969 and hitched to Islington to join David Medalla’s “Exploding Galaxy” commune. On the way to London we went and told my parents who’d sacrificed a lot to put me through a really good private education via scholarships. My mother cried a little and hoped we’d go back and “Get a degree first”. We refused. My father was angry. He only called me by phone ONE time between 1969 and his death in the late 90’s. When we changed our name to Genesis P-Orridge legally my mother cried a lot more! She saw it as a rejection of them and my ancestors. She too only phoned me once herself since then this year when she died at 92. However, during especially COUM Transmissions times she usually just said “OH Gen, is that really necessary?” So the first 20 years alienated both my parents. They found the endless sensationalist press embarrassing at social functions where all their friends knew all about what her naughtyson got up to. In the last decade or so she began to be very PROUD of my works. She would often say, “Well you were always 30 years ahead of your time dear,” It really changed when we curated a night at the Royal Festival Hall, London. Being pre-war generation she admired the Royal Family. So the Queens own theatre was a big deal. Then the Tate

Britain added my archives (what was left) to the National Collection and to her this was real vindication. She was always careful never to ask about the CONTENT though. My mother adored Lady Jaye and this mellowed her to me and our works together. She took tits and make-up in her stride, Not even blinking.

Q4. Has the concept of ‘Pandrogyny’ been welcomed by transgender community?

PANDROGENY is not about switching gender. It is about the deep ramifications of identity, social, economic, violent, political, religious conditioning however and about peer group and familial pressure too. Inevitably gender inequities are entwined irrevocably in all this. One way we try and explain the different emphasis Pandrogeny is more concerned with. Some people feel they are a woman trapped in a mans body. Some people fell they are a man trapped in a womans body. A Pandrogyne just feels trapped in a body.

We have little control, as yet, over length of life. If we could have our dream it would be to have a vagina, asshole, penis and breasts. We want it all! We also find binary systems anathema to radicalized evolutionary forces. The increase in visibility of thetransgender and transsexual, even intersexed community are all wonderful progress to us. And as we are almost always assumed to be a woman when out and about, we find it simpler to reinforce transexuality that way. By leading life 24x7 as a female appearing Pandrogyne we HAVE had bigots and thugs attack us. We suffer curb crawlers too with hetero rape in mind. Don’t imagine it is easier to be pandrogenous. And we support all our GBLT communities 100%. Having said all that, it has so far ONLY been a small minority of transgendered people who have expressed disdain, even anger at us. The picture that some trans people see during transition is a holy grail perhaps of finally being a woman and being WHO THEY REALLY are. And we can see that there is a certain acceptance in terms of a stereotype of “woman” being imagined. It is so psychologically complicated. Just remember if you feel we blur the issues, we would be burned on the stake next to you if the fundamentalists got their way. And as an aside, personally, we identity as a female. But we are not bothering to change our voice or walk etc. We want to be an accumulation. A spanner in the identity machine. Nearer the beginning with Jaye being as much alike and feminized was enough. NOW we see there’s a huge amount of work to do to end injustices, CHANGE human behavior for good and succeed in liberating our selves our bodies beyond gender and sexual stereotypes to a whole new evolutionary paradigm. Transsexuals, for reasons of protection and support, tend to form groups and take care of each other to varying degrees. Pandrogynes are ALL inclusive, the deepest nature and behaviors is our province. Can we CHANGE humans from self destruction, hypocrisy, fear and suppression from those in power?

We believe we can and Pandrogeny is one tool.

Q5. It struck me that, more than 30 years after a Tory member of Parliament seethed to the Daily Mail, “These people are the wreckers of civilization”, you still have the power to shock and confront people in a way that many of your contemporaries have lost. Do you think there are any artists/performers today who could carry the mantle of “Wreckers Of Civilization”?

We have felt slight twitchings of something happening. Go to our website where we are trying to create a network with the primary reason for this ning is to brainstorm on the realities of setting up autonomous, creation driven (ie. Art etc) coum-unities. Who buys the land? Who owns it? How do you survive? Who cooks, cleans, gardens? Having lived in communes and collectives of various types most of my life we HAVE seen the best and worst of such experimental coum-unities. Our legacy, could we have one, would be to begin a long lasting web of small self motivating coum,-unities and retreats. Avoiding the myriad pitfalls that destroy nearly all communes in a year. As to specific artists who might be termed “Wreckers”….not so far. But that doesn’t mean they are not out there. However, our belief is the Individual, look at me!, ego sodden, uniquely inspired devoid of influences artists are less and less relevant. And as global structures collapse. Zones set up for shared pressures will also be collections of artists, musicians, writers, thinkers, mechanics, and lovers. VIVA LA EVOLUTION!!

Sunday, September 25, 2011

Psychic TV / PTV3 announces new 12" and US mini tour dates:

Psychic TV / PTV3 announces new 12" and US mini tour dates:

"Mother Sky/Alien Sky" is our new long play 12" vinyl from Vanity Case Records in Leeds, UK will be released on October 23rd, 2011 on heavenly blue & white vinyl. Limited edition of 500 copies. (A portion will be sold on the webshoppe as an autographed edition with extra goodies of course). To support this release, we will be playing several dis-concerts in the USA only. Plans are being hatched to bring out a tour-only slab of vinyl featuring our 16 minute new epic entitled "Thank You". These would be sold at our US appearances, Adelaide Festival in Australia (March 2012) and a few for the webshoppe for our European friends!

Friday Dec. 09, 2011 at Elysium in Austin TX
$13 advance / $18 door
Psychic TV / PTV3
Coma in Algiers

Sunday Dec. 11, 2011 at Reggies Rock Club in Chicago, IL.
$15 advance / $20 door / $50 VIP
Psychic TV / PTV3
Claw Toe
(more tba)

ONE TRUE TOPI TRIBE Annual Celebration and Invokation
Thursday Dec. 15, 2011 at Europa in Greenpoint, Brooklyn, NY.
$23 advance / $25 door
Psychic TV / PTV3
Bryin Dall (live soundtrack to The Life & Death of Jordan)
Cult of Youth

Saturday, September 24, 2011

Comics writer Grant Morrison Discusses Genesis in the Letter Column of the Dc / vertigo comic "The Invisibles" issue 19 (1996)

In answering a writer who asked if  Morrison had read int othe ideas of The Temple of Psychick Youth, Morrison replies...

"...I haven't read a lot of temple stuff. I'm aware of Genesis p-orridge and his ideas mainly through interviews but i have no idea how the temple evolved without him.The sigil method, as i'm famliar with it, was developed by occutist and artist Austin Osman Spare (1888/89-1956) and passed through the Chaos Current by Peter Carroll and Ray Sherwin in the early ' 80's.

Morrison would term his Invisibles work " A hypersigil"

-From" his intro "POP MAGIC!". In Richard, Metzger. Book of Lies: The Disinformation Guide to Magick and the Occult. The Disinformation Company. 2003 (also included chapters by Genesis which would later appear in the Psychic Bible.)

 "The 'hypersigil' or 'supersigil' develops the sigil concept beyond the static image and incorporates elements such as characterization, drama, and plot. The hypersigil is a sigil extended through the fourth dimension. My own comic book series The Invisibles was a six-year long sigil in the form of an occult adventure story which consumed and recreated my life during the period of its composition and execution. The hypersigil is an immensely powerful and sometimes dangerous method for actually altering reality in accordance with intent. Results can be remarkable and shocking."

Wednesday, September 21, 2011

COUM TRANSMISSIONS 'Sugarmorphoses' LP Cold Spring Records

From Cold Spring records...
In stock: COUM TRANSMISSIONS 'Sugarmorphoses' LP. Genesis P-Orridge (Throbbing Gristle, Psychic TV). Recorded 1974, Ho Ho Funhouse. Ltd 1000

Tuesday, September 20, 2011

Adopt films nabs documentary "The Ballad of Genesis and Lady Jaye" as first acquisition

Adopt films nabs documentary as first acquisition

By Tim Molloy
Wed Sep 7, 2011 12:49pm EDT

NEW YORK ( - Adopt Films, a new independent distribution company formed by October Films co-founder Jeff Lipsky and former exhibitor Tim Grady, have announced their first acquisition, the award-winning documentary "The Ballad of Genesis and Lady Jaye."

The company plans to release French-American filmmaker Marie Losier's film in the U.S. in the first quarter of 2012.

Adopt Films, which will be based in New York, plans to acquire independent English-language films, both narrative and documentary, as well as foreign language films.

"I truly feel this might be the single best time to launch a new independent distribution company since Bingham Ray and I plotted out October in my then-living room in Sherman Oaks in 1990," said Lipsky. "Our focus at Adopt will be on films that have theatrical potential, first and foremost. I'm not a glass half-full kind of guy about the ongoing potential theatrical audience for independent films, I'm a glass three-quarters-full kind of guy."

He said he hoped Adopt's first releases would be as eclectic and high profile as such early October films as "Adam's Rib," "The Tune," and "Tous les matins du monde."

"Adopt will be in a better position to fully exploit our films in all media because we'll have fully exploited each film's table-setting theatrical rights first," Grady added.

Added Losier: "I am so happy to have met a ball of energy, ready to put all their talent, passion and dreams into my first feature film! This is going to be a wonderful adventure and a precious honor to be the first Adopt Films release."

Lipsky and Grady negotiated the deal with Losier and her producing and business partners Steve Holmgren and Martin Marquet. The film tells the story of a love affair between British musician and artist Genesis Breyer P-Orridge, founder of industrial bands COUM Transmissions, Throbbing Gristle and Psychic TV, and New York performance artist Lady Jaye (Jacqueline Breyer).

The film premiered at this year's Berlin Film Festival, where it won the prestigious Teddy and Caligari Awards. It was an official selection at this year's South by Southwest (SXSW), Tribeca, Hot Docs (Toronto), and San Francisco International Film Festivals.

Lipsky began his distribution career with "A Woman Under the Influence," working with his mentor, John Cassavetes. He was an executive at New Yorker Films, Samuel Goldwyn Films, and Skouras Pictures.

He is also a filmmaker, whose films include "Twelve Thirty," "Childhood's End," and the 2006 Sundance Film Festival Dramatic Competition selection "Flannel Pajamas."

Friday, September 16, 2011

THEE RE-EMERGENCE of A TRUE TOPI TRIBE (A message from Genesis)

The following is a message from Genesis for all OTTT members

Dearest Friends,

We have been through so much, all ov us. Each in their unique ways. NOW! Everybody with sense can see that there is a crumbling ov thee old economic ways. For coum T.I.M.E. we have been talking in our Lectures about thee untenable structure ov current systems. We live on a beauty-full planet, full ov miraculous natural and technological things, butter by thee very fact that this world is finite in size and raw content there are undeniable limits to everything. Thee ongoing model for economies is based upon ever increasing "GROWTH" and "PRODUCTIVITY". As thee human species has multiplied ever more quickly thee once apparently limitless resources exploited by thee Colonial, then Industrial, and finally Digital eras has revealed an OBVIOUS fact. In a finte world there are inevitably finite resources. And as we all know those resources, not just oil, but potable water,food, wood, in fact EVERY raw material used in manufacturing, are now revealed to be fast declining and running out. Infinite, permanent growth, and infinite permanently expanding productivity go literally against the laws of Nature. There will be surges ov strategies to give an illusion ov solutions by yet again raping Africa and other "underveloped Third World nations". These "New Markets" will sustain coum aspects ov thee failing materialist economies for a decade or so. Butter, in thee end I.T. will have to be faced that consumption of a finite "cake" lasts only as long as thee cake. There is no magick wand to wave to do a Christ and make thee fishes and loaves miraculously never run out. Thee first nation to realise thee oncouming disasters was China. They have led thee way with TOTALITARIAN CAPITALISM. Thee imposition ov virtual slave labour by intimidation and violence. We all conform to our particular countries systems in part due to awareness that punishment and imprisonment are a constant coumpanion via police, secret surveillance, and if necessary marshall law. All societies use intimidation to impose structure, no matter how discreet or benevolent I.T. may seem.

Thee current panics worldwide are symptomatic ov a slow realisation ov thee inevitability ov collapse ov ALL economic systems worldwide. Globalisation has accelerated this process. One wonders how deliberate or stupid those changes were? Butter that's too much to cover here.

We set up OTTT with Jacurutu and others to initiate a dialogue and discussion by relatively like-minded, commonly Creative beings. Brainstorming these issues we wondered, who will be best prepared to survive and adapt when a "Greece" happens in thee U.S.A.? I.T. seemed probable this would be Survivalist Groups ov all stripes; outlaw Biker gangs; in thee cities crimanal gangs and illicit drug networks; armed forces bases and ov course thee very politicians whose ostrich denials and greed for power for I.T.s own sake has led to this ongoing mess.

I.T. seemed therefore, important to seriously begin copnsidering, planning and thrashing out a way for our own ad hoc, anarchic chosen famille to be prepared for hard T.I.M.E.s ahead. To study thee existing templates ov thee various groups most likely to succeed in surviving and protecting their people. What are thee qualities and structures that give them an edge? Is I.T. even possible to develop a truly working autonomous yet POSITIVE and creative group ov Individuals coum-unity that has staying power? We lived in communes and collectives almost continuously from 1969 until 1992 when we were forced into voluntary exile from thee U.K. Even then, in California we had an open house policy for friends in need ov a place to live and work. Coum ov those people respected us for our generosity, coum later turned out to see our kindness as a weakness.

And THIS is why we feel there is a need to figure out, in advance, how viable this dream and practical concept REALLY IS! Having spent y-eras in communes we can speak from experience most end within 2 y-eras. Often due to conflict over kitchens, cleaning,food and bathrooms. So many people declare their coummitment and talk thee talk butter once ensconced in a coum-unity expect everyone else to resolve issues, supply food, clean up and so on. Their covert attitude is, "What is yours is mine, what is mine is mine". I.T. only takes one or two assholes to destroy everything by disillusioning thee dedicated.

Another problem is "authority". Is there a council, chosen by all who try and oversee thee safety and developmeant ov thee coum-unity? Does one person inevitably becoum "Leader" and eventually becoum thee scapegoat for any mishaps or failures. Often these Alpha types generate secret jealousy and bitterness when forced to make unpoular decisions and therein is another disintegration. Coum-unities are thee hardest social model to perpetuate successfully. Money is ALL ways a terrible problem. Does everyone put all they own into thee pot and if so, who oversees thee use of that? If coumone leaves can they demand their contribution back? We want this NING to coumtinue in thee super positive way I.T. has created its SELF without any initial guidance at all. We are really impressed with how many groups and contact points, ideas and trust has been established by you all so fast.

We recently read a book published by I.T. is a coumpilation ov articles written in thee 1960's and earlier 1970's when thousands ov groups ov all stripes tried to form coumunes across thee U.S.A. Ov these, today, probably less than 23 survive. All those who survived have a philosophy, or spiritual aspect, a unifying belief system that means enough to them to accept problems, to resolve issues for thee best for all and all have to subjugate ego to varying degrees for the collective health. We are hoping that thee ONE TRUE TOPI TRIBE can re-emerge from this ailing culture and gradually, after a LOT ov soul searching and extreme honesty, establish one or more coum-unities that will survive. I.T. is NOT easy, rarely fun at thee start, hard work, I.T. requires SINCERE surrender to thee group. A house full ov egos and/or strong opinions is not easy to develop in positive long term ways. WE are totally serious about this aspect ov OTTT. I.T. has all ways been a lifelong hope.

PLEASE, we cannot recommend too strongly that ANY Being here who even just imagines they'd like top make this happen, READ THIS BOOK as soon as possible.

"THE MODERN UTOPIAN" ( Alternative Communities of the 60's and 70's) by RICHARD FAIRFIELD.

We consider I.T. essential reading. You will soon realise how HARD creating a coum-unity is, AND how even more difficult I.T. is to sustain one for any length ov T.I.M.E.

Please forward this posting to everyone on thee NING if you can.

cari saluti,

Genesis BREYER P-ORRIDGE NYC September 2011

Saturday, September 3, 2011

Knock Knock. Who’s there? 9/11...with Genesis Breyer P-Orridge

Ever look in the mirror and realize that ten years have gone by in a flash?

Julie Atlas Muz and Thirsty Girl Productions presentKnock Knock. Who’s there?

9/11. 9/11 Who?

You said you’d never forget!

The 10th Anniversary Memorial

Political 3-Act Cabaret!Sunday 9/11/11

With all-star cast including: Breyer P'Orridge, Sweetie, Amanda Lepore, Stanley Love, Bunny Love, Bambi the Mermaid, Jelly Roll, Dirty Martini, Julie Atlas Muz, National Theater of the United States of America, Reverend Billy and the Church of Earthaluja, 5 Crew Dynasty, Alien Comic, Sherry Vine, Rose Wood, Tigger!, Jennifer Miller, The Pixie Harlots, Murray Hill, World Famous *BOB*, Justin V. Bond, Sxip Shirey, Greg Walloch, Jessica Halem, Ken Ball, Pedro El Gigante Puerto Riqueno, plus DJ Camillicious & James Habacker! and set by Steven Hammel

The Highline Ballroom, NYC Doors 7pm
Show times: 8:00, 9:11 & 11pm

The 10th anniversary of 9/11 is the quintessential occasion to champion downtown New York artists in a political arena entitled Knock Knock, Who’s There? 9/11! 9/11 Who? You Said You’d Never Forget! Directly from the heart of Julie Atlas Muz this three act political cabaret is for the luminaries of NYC to come together and exercise our patriotic right of freedom of speech.

All proceeds goes to the Uniformed Firefighters Association of New York, Widow’s and Children’s Fund.

Ten years ago we were all devastated by the tragedies that befell our city that caused such heartache and forever changed the nature of our personal relationship with our government and their sale of terror. Now it is our duty as artists to reflect the times. Julie Atlas Muz and Jen Gapay of Thirsty Girl Productions are creating an evening for New York City’s top performers to come together, remember, comfort, challenge and with our natural bad taste laugh together through nudity, poetry, dance, song, comedic commentary, drag illusion, sincerity, absurdity and all the talent that makes New York, New York.

Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011

VIP tickets $40- a great seat

General Seating $20

All proceeds goes to the Uniformed Firefighters Association of New York, Widow’s and Children’s Fund.

The evening is divided in to three, forty-five minute acts with each act becoming increasingly politically incorrect.

ACT 1: A LOVE LETTER TO NYC 8pmhosted bu Murray Hill
Act 2: AMERICAN IN TRANSITION 9:11pmHosted by Justin V. Bond
ACT 3: “OH NO YOU DI-INT!” 11pmHosted by NYC's Big Titted Honky Soul Mama SWEETIE

Cutting, tender, emotional, smart and supremely edgy, this three hour extravaganza will inspire the audience to recharge and reconnect to why they decided to take a bite out of the Big Apple.

Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011
www.highlineballroom.comVIP tickets $40- a great seat
General Seating $20

Friday, September 2, 2011

Crazy Lady: Curated by Jane Harris


531 West 26th Street New York NY 10001 212 630 0722 / 212 630 0726 fax


Crazy Lady: Curated by Jane Harris
Robert Beck, Lizzi Bougatsos, Kathe Burkhart, Daniella Dooling, Lisa Levy,
Genesis Breyer P-Orridge, Stephanie Snider.
September 8 – October 8, 2011
Opening Reception: Thursday, September 8, 6-8pm

Monday, August 22, 2011

Psychic TV GENESIS BREYER P ORRIDGE Live 08 17 2011

Psychic TV - GENESIS BREYER P ORRIDGE performs live August 17, 2011 at Wierd. Home Sweet Home, New York City.
Footage by Echo Danon Photography

Genesis Breyer P-Orridge
Martial Canterel
Kevin Hufnagel

Psychic TV performs a selection of classic tracks from the albums Force the Hand of Chance(1982), Dreams Less Sweet (1983), A Pagan Day (1984), and Allegory & Self (1988).

« HBO Played a Minor Threat Song on Entourage

Heineken hosting Matt & Kim & Girl Talk @ Terminal 5 »

Psychic TV performed "Live In Thee Wierd" at Home Sweet Home on8/17, a rare show that saw Genesis team with Kevin Hufnagel and Martial Canterel to perform "classic trax from the albums Force the Hand of Chance (1982), Dreams Less Sweet (1983), A Pagan Day (1984), and Allegory & Self (1988)" at Midnight.
Psychic TV (the full band) will play their annual end of year show at Europa,  on December 15th.


Friday, December 9  PSYCHIC TV return to Elysium in Austin TX. ONLY TEXAS SHOW!

Plus special guest CHANT (more TBA)

...Psychic TV:


tickets on Sale Sept 1, 2011
avail at

presented by (R)EVO industries/(R)ETRO faction

Friday, August 12, 2011

Psychic TV (PTV3) Live Dec 15 2011 @Europa Brooklyn, NY AND notes from Genesis on this new Y-era of PTV3..


Psychic TV (PTV3)
Thu Dec 15th 2011

$23 Adv / $25 Day of
On sale This Friday at Noon.

PSYCHIC TV/PTV3 will be:

Alice Genese - Bass Guitar / vocals
Jeff "Bunsen" Berner - Lead Guitar / vocals
Morrison Edley ODowd - drums / samples
Genesis Breyer P-Orridge - vocals / electric violin
Jess Stewart - keyboards / vocals / flute

PTV3 will be playing there new ALIEN series of songs live.
and their set will inlude"Maggot Brain" , "Alien Brain" , "Mother Sky" , "Alien Sky" , "Thank You" and other new longform improvisations that will shred the speakers faster than they shred your brain!

Notes from Genesis on this new Y-era of PTV3

Join us for this One True TOPI Tribe celebration and invokation at Club EUROPA in Brooklyn, New York, an annual happening in December each y-era. Usually we manage to play on December 23rd...this y-era due to circumstances, we will be playing (we believe) on the 15th December.

We have been slowly recording versions of our new songs at Jeff "Bunsen" Berner's studio in Brooklyn old style. That means, to us, we go in without ANY rehearsals, focus inside and then, in one room the musicians play similtaneously with moveable baffles separating them for miking purposes and ME (gen) in a separate soundproofed room with a mike. We discuss the concept of the tracks. A loose, improvised version of a super classic track, in this case "MOTHER SKY" by CAN. We all play together, live, using only headphones to hear each other. After one take. That is it. STRAIGHT TO TAPE as they'd say, AND DO, in the sixties. We know there will be sceptics who find it impossible to believe we play once without rehearsal. We dont care. And YES, we(me) have a theme for the vocals content and structure, BUT as ever we can't help improvising new lyrics etc. The band too are super linked consciousnesses as we play. It amazes me, and our band, how scripted and tight the songs end up sounding. Truly it IS PSYCHIC tv...Each "cover" song has a B Side , for the next 12 inch Ltd edition single it is "ALIEN SKY" .

For my SELF these songs that are resulting are my favourite tracks we have ever recorded in ANY band in any era. BUT that does NOT mean we don't love many songs from our 34 year creation of music and songs. But we've NEVER been this thrilled and satisfied as with the new tracks and "Maggot Brain/Alien Brain".

We find it hard to conceive how pure and instantly these tracks appeared. No overdubs, no reruns. ONE TAKE. We even had extra studio time as a result of doing single takes, so Edley ODowd suggested we might as well play/jam for the last 10 we did and ended up with an entirely original new song about my Beloved Lady Jaye called "THANK YOU"......PTV3 is, in my opinion, as hot and fresh as ANY band out there right now. COme see us if we are in your town. Theres a good chance of PTV3 playing Houston and Dallas later this year, ADELAIDE, Australia in MARCH 2012 is on!!! 

 Also we realised there wasnt really a band photo since Jeff "Bunsen" Berner joined us. Maybe even since our keyboardist Jess Stewart joined. SO here we are folks, we wouldn't lie to you. These once were some BEEautifull men and women!!!

-Breyer P-Orridge

Left to Right:

Jeff "Bunsen" Berner - Lead Guitars and vocals

Jess Stewart - keyborads and flute and vocals

Genesis Breyer P-Orridge - vocals, violin and noise bass guitar

Alice Genese - Bass Guitar and vocals

Edley ODowd - drums, percussion and samples

Interview with Genesis Breyer P-Orridge 1/17/02 Carol Tessitore

Interview with Genesis Breyer P-Orridge

by Carol Tessitore

Talking about ideas…

GPO: The phrase red light district popped into my head, I was thinking about shoes, and the gallery owner said to me “we’ll put you in a hotel here right near the station. And I know in Europe when they say that it usually means two things: a) it’s cheap and b) it’s in the red light district. I suddenly had this image in my mind of Christmas lights and it all gelled into taking a lot of old high-heeled shoes, that I’ve worn in performances, rituals and so on, and putting little light fittings inside each one and red light bulbs in them, stringing all of them together and have them hang like Christmas tree lights. That’ll be the red light district in the gallery that can be where I have the images that are more explicit.

TEAR: So you are focusing on your art again…would you like to talk about that? How has art changed for you over time?

GPO: When I first started making art in the mid sixties—and I’m still trying to figure out what the implications are, because the most important thing for me is that my art and my life have truly always been as close to one another as they could ever get—my original name was Neil Megson. In 1965 Neil Megson decided to create an art character Genesis P Orridge, or to at least accept that character, and instead of having it be a contrived idea, it was very much about gallery art. I decided that I would completely immerse myself in Genesis P Orridge, and then place GPO into art and popular culture to see what would happen. In a sense, all of my art has been the diary of GPO.

TEAR: That brings up an interesting question, who is Neil Megson to you now, has he always remained “behind the scenes” of creating GPO or is he separate.

GPO: That’s actually one of the most intriguing questions there is, I’ve been thinking more and more lately for what ever reason, I’ve been asking myself “Where is Neil?” Neil invented this game, this character GPO and sort of set him loose into the world. In the beginning Neil was being Genesis, and Genesis was responsible for what the art was and for the creativity, Neil was the sot of Puppet master of this alter ego. Then as I took it more and more seriously or as Neil did, I changed the name legally, and people would meet me and I was only Genesis to them, there was no Neil. There was a point when Neil was forgotten by Genesis. It’s a question that puzzles me—does Neil still exist? Or was he erased by Genesis almost like a monster or parasite in one of those movies where the creation takes over the creator. I honestly am not sure whether Neil exists anymore. What I feel is that this is Genesis, I’m Genesis, and I think I killed Neil. I wonder, if I went back could I ask him to look at what he became as Genesis, would he still make the same decision, or would he not want to be erased in that way by the art. On the other hand, I think it was my absolute determination and dedication to truly living art and life as one that made the whole phenomenon work. I think the reason that my art, writing and music succeeded in the way they have, at whatever level is precisely because I was prepared to sacrifice everything including my identity. I don’t know where Neil is, and I wonder if Neil created Genesis and Genesis has now completely absorbed everything that was Neil, perhaps the only way to resolve that question is to not be Genesis anymore, and change my name again. Maybe become Neil again or someone else. It’s one of the things that I’m actually considering right now. How do I find out who I am? Because the idea of becoming someone else has been so successful.

TEAR: I like the idea of maybe being able to step back and “visit Neil” and then get to see what Genesis has done from a different perspective, getting a chance to soak it all in.

GPO: I think that’s partly what I’m trying to do right now, I think that’s one reason I’ve gone back to making art. I’ve chosen to be more self-conscious. To look at everything I do as a piece has helped me a lot to realize that GPO was actually the artwork, and Throbbing Gristle, the painting and the books and so on are all bits of one big artwork, which is the person. I think I am creating a retrospective by revisiting all of the threads and going back to the sources of everything, and seeing where I lie in there. I think one thing that happens to a lot of people is that they start to believe that their art is either innately important or that they are innately interesting or important because of some measure of success or attention from the outside world. That’s of course where people usually lose the integrity that they had in the beginning. If you start to believe in the things you make, instead of the reasons that you make them, then you start to produce art for other people instead of yourself. That’s something that I’ve always tried really hard to avoid, I’ve always tried to be my own therapist or analyst checking. Am I doing this because I can, because I can get away with it? Am I doing this because that’s what I do, I make music so I’ll make some more. Am I doing this because I will find out something or discover something that I didn’t know yesterday? All art to me is looking for something new, some new way of seeing the world or your place in the world that changes you or changes the way that you perceive things.

TEAR: I see you as a sort of Jack of all trades, but your current focus is on visual art, does visual art or any other art form carry more importance to you, or is it just a time for visual things right now?

GPO: When I began I wanted to be a writer, I wanted to write books, but I also wanted to be a fine artist. I began doing performance art and mail art and so on in the 70’s. The performance art with Coum became really quite well respected; we were doing big shows in Milan and in Museums and so on. Basically in the background was the music, I started creating audio sound-scapes. When what we were doing became acceptable to the art world, it seemed we had proved our point. One of the points was that you didn’t need traditional training to produce something that was valid and valuable in the art world. And so we took on something else, which was music. I never stopped making art all the way through, I always carried on doing drawings and collages. It became the one thing I had that was mine. It was secret, no one else knew about it, and no matter what else was going on, I always had the collaging and the secret visual material to come back to that was mine. In the 60’s I really believed that every individual had what I used to call the genius factor. I believed that without exception everyone had some skill, some ability to do something completely unique that was only theirs that would add something to the world. But the education system, the way that society conditions people, fundamentalism whether it be religious, political, economic or tribal, the environment that you are born into conspires deliberately to suppress that genius factor. You are not encouraged to find your marvelous skill, the thing that you see that no one else sees, that you have and absolute right to see and to express to others, and that the world was supposed to evolve by the sharing and discovery of everybody’s highest potential. I was an idealist and a utopian, and I still am. All the projects that I worked on were very much about beginning without the expected skills. Without a record label if you were going to be a band, without being able to play an instrument in a traditionally clever way, or if you couldn’t draw perfectly you could use collage or some other way to create. A way for people to create an icon of their uniqueness. That was one of the real ideas behind all of it was that you didn’t need traditional support systems or traditional ways of thinking or being. So with the Coum performances, apart from that it was a personal journey of breaking taboo’s and inhibitions, I wanted to wipe the board clean as a being and say to myself “nothing has to be accepted that I was given.” Not my name, not my gender, not my social class, not what I’m expected to do for a living, I have an absolute right to choose what I want to be, and that’s how Neil started building Genesis. He said “OK, I have this blank concept of a being that I have the right to be, the one I wasn’t told about by society. Let me build him or it. Throbbing Gristle was like that too, it was very much about four people who couldn’t play their instruments, finding a way with music and with sound, to actually discover something so inevitable in terms of expression of life. So each project was very much rooted in that basic ideal that if you really break everything that you’ve been told you can be. If you don’t accept anyone else’s voice in terms of what you can be as a person, then you will start to see and find who and what you really are. I think that looking back now, Genesis has almost been a mirror of the way that society’s been changing over these decades. My concerns have altered from using music as a platform to contemporary times where I’m very naturally interested in cosmetic surgery and transgender and the manipulation of the human body itself as is the world outside, if you look at the national enquirer. I’m looking at it from an artist’s point of view and theoretically, but in a way I’m just like every body else, and that’s the concern of every housewife who’s trying to decide whether or not to get breast implants. I think the artist somehow takes the concerns that the psychology of their society is obsessed with or afraid of or unable to give shape to and describe to them. I’m trying to say that the artist ultimately is the mirror of the society that they’re in, and I’ve created a mirror that changes the same way that society does.

TEAR: Ideally, that is, the artist is the mirror of the society that they’re in.

GPO: I think that’s probably one of the achievements that I’ve made. I think that’s probably why I have the obsession with the idea of mirrors in the arts. Even though they’re not always present in the art, the idea of reflections and infinite reflections seems to me to be incredibly powerful, especially in graphic art.

TEAR: Is there any reason in particular why you chose not to include other forms of art (music and writing) in this retrospective book?

GPO: In 1995 I fell out of a window of a burning mansion in CA, escaping the fire. I landed on some concrete steps. My arm was broken in eight places, I had broken ribs, I had a pulmonary embolism and I was in intensive care for ten days. I was lucky to be alive. I had to spend almost an entire year just physically recovering enough to function properly. I had a whole year to consider what to do, to sit back for the first time since I started out. It was the first time I had a year off. I decided to look at what I was doing and why I was doing it. Was it from habit, or had I become a cork bobbing on the relentless wave of my own work. I decided to sit down and start all over again in terms of choosing what it was I wanted to do. So I asked myself some basic questions. What always gives me pleasure? And the answer was I always get pleasure from making art. Do I really want to keep on making music? No, I’ve made 200 CD’s, I don’t have to ever make music again, I might want to, but right now I’m kind of tired of it, I need a break. And so I just went back to square one, and thought, I love words, I love writing. So I decide that I am no longer obliged to do anything. I don’t have to feel that because I’ve always been creative and don’t things in public that I have to do that ever again. It was very liberating to suddenly say I don’t have to be Genesis anymore. Or Genesis doesn’t have to make Genesis products or art. So I chose very consciously, to return to the things that gave me joy, and that I felt had a precision about them that was finite. That when I finished a piece of art, it was finished. Whereas with music you finish a CD and then people hear it, it hangs around, and you make some more, it’s more of an ongoing, repeating process. I didn’t want to be part of that; I wanted to make things that were from my point of view a clear precise statement of how I see the world and life. Even if they’re surreal and ambiguous in terms of how others view them. That’s why I’ve gone back to fine art. As I did this, I became aware that that’s really what I’ve done all along; I’ve tried to freeze moments of perception, of the mystery of being alive. To me the music and a lot of the things that I’ve done were about sharing similarities with people. Saying You’re not alone, I feel the same way, this is how the world makes me feel as well and you are the voice of like minded people, your own sort of extended family, that’s what the poet and the musician and so on do. But I wanted something that was mine. So I decided in a sense to be creatively selfish and make art that was very personal and intimate, but also exactly my sense of self. And then instead of saying, here I am, I’m like you and I’m just speaking out loud what you’re thinking and feeling. That’s where the shift was, I changed it to this is how I am, and this is what makes me different. So instead of being just the mirror and saying this is how your world is, reflecting it, I was actually saying here’s how my world is, but I will let you come and look. So that’s the big change, and that would be why the whole question of identity pops up again, because I’m looking at my little world again and having to define it.

TEAR: That somehow makes me think of a concept you’ve mentioned before about the heightened emphasis on individuality and uniqueness in the art world, and how the Candy Factory went against that by creating something that was completely collaborative.

GPO: The Candy Factory was a very specific project. In a way it is the fine art equivalent of Throbbing Gristle in the music world or Coum in the performance art world. It’s dealing with different issues in terms of its approach to the art world, and its exploration of the post-Warhol effect on art. With the show in Frankfurt, basically what’s happened is that I’ve come to terms with existing. I think for a very long I really was erasing myself. The experience of being a consciousness in a physical body is completely bizarre. Just the idea that we’re alive arbitrarily, because two people you didn’t know in advance met and were maybe in love and you are created. Certainly after a number of years you become conscious of yourself as an individual being. When you’re a child one day you become aware that you are here, you discover that you are an individual person and usually around the same time you discover that you’re mortal and that one day you’re going to die. From that moment on there’s this huge mystery about the entire process of existing. It’s fascinating and it’s totally bizarre. I’ve never really lost my shock and surprise at the idea that I’m on this planet apparently able to manifest and do things, meet people. It’s hard enough getting used to the idea that you’re here, but also simultaneously coming to terms with the fact that you wont be here. I think that is one reason that I’ve always been fascinated with the idea of collaboration. The basic human need to be connected to someone. I don’t know how it is for you, but I find it hard to be connected to reality. Every day I wake up and I am surprised. Did that answer your question?

TEAR: Sort of, but I was more curious about how you felt about this emphasis on individuality in the art world which to me is very formulaic.

GPO: The art world is these days very much about careers and business. It’s more like a banking phenomenon. There’s two ways that it tends to work, one is that someone, maybe just leaving college or whatever in their show, makes a piece of art and it receives very positive attention. It might be that they’re doing black stripes on a yellow background, or everything that they do is just yellow and black. Because that’s what people like, they think OK, that’s what works, that’s what gets the attention, and they do lots more paintings with black and yellow. Eventually they get known as the “black and yellow person.” It’s a formula, but then it’s repeated over and over with very slight variations until they die. And the other way is who they have sex with, which gallery owners they have sex with. Those are the two basic ways that the art world works. I have no interest in doing the same thing every day of my life, to me that’s the same thing as being dead. Why not just go work in a factory, if all you’re going to do is churn stuff out, you may as well go work in a sweatshop. So it’s a great tragedy that modern art has become a slave to familiarity, that people want an artist to keep doing the same thing, and that that’s seen as a positive quality. I mean what art grew from were various people’s attempts to paint or sculpt transcendental mystical divine states. It was religious and it was about epiphanies and about our place in the universe and our relationship with nature. Sometimes it was schematic too, like sand drawings or Navaho maps, and it as ritualized. It wasn’t even about making something that was permanent. It was a ritual that took place for the psychic or physical healing of the tribe. It was magic, and I grew up feeling very strongly that it was supposed to be magic, it was supposed to be about a conversation with nature and the universe. It was also a way to try and describe the indescribable. It’s about the states of consciousness and joy and revelation that can’t be photographed or manufactured. That to me is was art is for. A religious sacred calling, and it was as important as any religious or spiritual belief system. To me art is the religion. The fact that god’s first quality is creation, to me that’s everything. Creativity and the creation of something that didn’t exist before is something ineffable and incredible and unlikely, that you can share with other human beings. But that’s not what we see in the art world very often, in fact it’s usually laughed at. The art world today is so formularized and so much about cliques and pleasing those with money. It’s basically decoration.

TEAR: I’m interested in what you were saying about art being a way to describe the indescribable, and what you believe to be the most efficient mode of creative communication, whether it be visual art, words or music. Many people feel that music is the most powerful form of communication that there is.

GPO: Well at one point I thought music would be the most efficient way of communicating with the greatest number of people. They way that we thought of a record was literally a record, a document, it’s a multiple. So a record’s just as much of a piece of propaganda. Here’s an opportunity to talk to people and tell them what I’m thinking about the way the world is. In fact making music was almost an afterthought or very much coincidental. The most important idea was that you could speak to a lot of people. It was reasonably democratic in that almost anyone who could get into a shop could get it. It wasn’t limited to the Upper West Side rich people that go to the galleries. We were hoping that we could invest something that was basically street culture with the intent and the information that one would normally get from a piece of art. That was one of the things that TG was trying to prove and I think it managed to.

TEAR: I agree, as you were talking I realized that I would not have asked that last question to just any musician, because music today is usually purely about the aesthetics of sound or a sound, rather than a movement or feeling.

GPO: That world is very much about production value, like Mr. Potato head, they go “OK, we need somebody this height, male or female, this size breasts, basically they just manufacture these people and then they put them over the basic template which is the ongoing “music factory” that’s going on, and that’s very much like the art world. In fact all the cultural media have become businesses. The souls have been sucked out of most of them. And the sad thing is that a lot of people are colluding in that, and are growing up saying “yes, I want to be famous and successful and rich,” not “I want to change the world, I want to heal people’s souls, not I want to try and tell people something they didn’t know before.”

TEAR: Would you say this has been a recent shift in society?

GPO: I think it’s been happening at an accelerated rate since MTV occurred, I’m not saying it’s all MTV’s fault, although I think MTV is a curse on culture. But certainly somewhere in there I think the advent of blanket satellite television, mass media, global media is really the culprit. That we’re in the first age where everybody can communicate with just about everybody else, even people in caves in Afghanistan can use satellite phones to talk to people in America. It’s phenomenal and it’s so completely different to any other period of human history that I don’t think anyone has fully understood the implications. I think television and global media are really the culprits for the disillusion and destruction of serious, thoughtful and spiritual culture. To me that’s incredibly frightening, because as we’ve said I’ve been blessed with growing up a utopian who thought that there was no question that art was a gift, and a blessing and a holy occupation. I’m just appalled when I see the absolutely immoral disinterest in any kind of humanist or empathetic content or intention with art now. Culture is in a sense the visible soul of a people, and the visible soul of our people in the west right now is empty. The national enquirer, extra, access Hollywood, and MTV and the Grammy’s. That is the soul of the people in very many ways. Even the comodification of Sept. 11th, into just the highest rating they’ve had on CNN since the Gulf War.

We were talking earlier about why I’ve returned to doing Fine Art, and I think it’s partly because it’s a controllable environment. The scale of global culture now and the relentlessness of superficiality are so overwhelming and so huge and amorphous a power, that privacy and intimacy become really radical. Everything is now about being connected. People walk down the street talking about their private business out loud. Once upon a time they’d have been arrested for being lunatics, walking around gesticulating and talking out loud like that. Now it’s a sign of status that you’ve got one of those headset phones, and you don’t need to hold it. Everything is about being available 24 hours a day and instantly answering emails and instantly that. It’s all very public; everything is about being available and having access to everything. The web is supposedly fantastic because you can find everything and everyone is on there, you can talk to everyone. It struck me that in a way privacy is taboo. People say to me “why haven’t you got a cell phone?” They’re in shock “poor, poor baby, hasn’t got a cell phone, that must be terrible.” And I hardly even answer the phone until I know who it is. I value my privacy and I like to choose whom I speak to. I like to have moments where I’m with myself. Or moments where I’m with someone one-on-one and focusing very much on that person. I think that’s something that’s really worth exploring now, unplugging from the networks, separating oneself. Not in an aggressive way, but just choosing very carefully who you really want to have interaction with and reclaim the ideas of intimacy and privacy once more. And also with that you rebuild trust, conversation and friendship. All of those things have somehow been eroded by fashion. Somehow fashion has almost taken control over how people behave and relate to each other. That I think is one reason that I’ve returned to the concept of an art gallery, and the images that I use are in a sense becoming more and more intimate. Almost as a reaction against this whole mass-production-comodification-consumerism and the idea that the more you sell, the more you’ll make, or the more people you’ll speak to. Somehow the quantity is the value, and of course it’s not. The value is the content and the value is the trust and the value is deeply caring for and caring about another being.

Some of the works that I’ve been creating, they do touch upon the idea of the shamanic way of making art. Sometimes artwork is the end result of a ritual that would be about healing or cleansing a state of mind and so on. Which is very much in the ancient tradition of art. So in a way what I think I’m doing is very much linked to the origins of art and the way that it occurred rather than being about contemporary art worldviews. To me they are the evidence of my soul search.

The book is called Painful but Fabulous

It’s almost as if the way that you perceive yourself dictates what the artwork is, for example if I’m doing a portrait of GPO—we could argue that’s exactly what I’ve been doing for 30 years—then wherever GPO is, is the subject center of the picture. And so if I’m in a costume in the street that’s the rest of the picture, the frame is conceptual in a sense, the frame is just somewhere. And I am extended out of the canvas into this reality.

TEAR: This brings us full circle to our first question about Neil Megson.

GPO: In this way of describing things I guess Neil Megson is still sitting somewhere in 1965 as the artist. And the subject of the portrait is three-dimensional and exists in time and space. That’s actually an interesting thought because then the mail art would make sense. The artwork is actually travelling through time and space. It’s made here by me and then it’s cast into the mail system and it arrives in somebody else’s universe. Then it’s existing in their environment on the wall, thrown away, set on fire, but everyone in one’s mind is still perceiving it as the work of art. All those scenarios between it being created and it ending up in a fire all of them at any frozen moment are an artwork with that as the center. Same with performance, it’s taking what might have once been a canvas, a scene from the bible or Bruegal’s Medieval Village or whatever, and instead of it being painted on a canvas, you animate it and find people and dress them in costume and drop them out of the canvas and put them into a room or on the street. Because you perceive them as the artwork, they still are. I think a lot of the work that I’ve done has been concerned with taking what was once the content of a painting and/or portrait and manifesting it into what we call real life. The moment to moment experience of living, but it’s actually an artwork. If you were to take a slide of a Coum performance, some of them are actually so beautiful in and of themselves that if you then made a print and framed it, it’s a painting again. A flat piece of art that could only exist because of all the physical actions. The artwork is just a slice of time and space. And sometimes it can only be documented in the memory of those present. To me one of the really exciting aspects of performance work is that the full experience of it is only in the minds and the memories of those present. Even if you film it and photograph it, and do all of these technological methods of documenting it, it’s not the same as being there. It’s not the same as the sense of the smells, the sweat, the shuffling feet, the feeling of how big the room was, the things you were thinking about when you arrived. That’s all part of the performance, an audience is all part of the performance in the way that they effect the ambience of the space. So all the things that are subjectively and secretly happening to them become integrated into the actual piece that they’re watching. It’s a fascinating area of boundaries. I guess these boundaries really obsess me, the line between awake and asleep, the line between alive and dead, the line between performance and daily life. Where are those lines and arbitrary are they and if you go down, down where is the moment where one minute becomes the next on a clock? There isn’t one. Because if you go deep enough, there isn’t a moment when anything changes, and yet things change constantly. That’s where I like to try and place the art, that’s the home of what I try and make. It’s a place that can’t be measured. It only exists in that we are still alive and thinking.

TEAR: It’s occurred to me, as a fan of Industrial music, and being born a few generations too late in the game, that they way I perceive Industrial is surely different from the way that you may have meant it 30 years ago. Is there anything, some concept that you hope would withstand time and evolution?

GPO: Sometimes it concerns me that there appears to be ignorance among the younger generations as to the roots of their music. For example, in the sixties when the Rolling Stones and the Animals started trying to play blues music, they constantly say it in interviews and made it aware that that’s what was inspiring them. And they were all incredibly knowledgeable about the roots of blues music and where the music of which they became a part of came from. They played music because they loved the previous blues music. They might go “yes I love Marilyn Manson and yes, I love Nine Inch Nails” but you’d be lucky if they remembered Ministry and Skinny Puppy. A lot of them have no idea who Throbbing Gristle were, and if you were to say to them “well actually I actually made it industrial music” they’ll go “yeah right” I’ve had people actually say “yeah sure.” The getting credit bit’s not what’s important to me, but the bit that bothers me is that they have no interest in finding out about where the music came from. They don’t realize that it did actually start at a specific time and it was an attempt by us, and then we found that there were others trying to express the same feelings, at which we were excited. We weren’t threatened or felt like we were in competition, we were like “good, we’re not crazy!” Which is very rare in musical history, there was a very particular moment of about two or three years where punk and industrial music were invented basically. Industrial particularly, because punk is kind of an offspring of Rock n’ Roll. Industrial was a new approach altogether. Then naturally, it’s kind of like Jazz, it’s kind of like you’d invented the idea of Jazz. Of course there are hundreds and hundreds of ideas of what Jazz is, in the same way that there are hundreds and hundreds of ideas about what Industrial is. You can even argue that techno and other music have grown out of that; there are a lot of references to it. It seems now that music is just taken as an accessory, like a fashion accessory.

TEAR: That’s an interesting thing I have noticed. Especially in younger generations, people almost define themselves by the music that they listen to. In a sense that shows just how significant music really is in our lives, but I mean more literally, down to the clothes that they wear and the way that they talk, that musical taste and genre is a way of life. It’s all very cookie cutter strange to me.

GPO: It’s how they look, certain slang terms that they might use, it’s really quite remarkable. Somebody one day in music colleges will look at that and say. Industrial music in particular is one of the few times when it’s very clearly defined in terms of when it began and how it spread out. It can be traced very precisely because everyone was making CD’s and records whereas with the blues music, lots of those people never got recorded and are forgotten and lost. So I feel a bit like that, I feel like the old blues man in Louisiana who’s lost all of his teeth and is sitting there playing when he’s 85 years old. Somebody comes along and sort of rediscovers him. And he finds out that some big pop star’s been doing one of his songs. I’ll wake up one morning and someone will knock on the door and say, “here’s a royalty check for that song you wrote 50 years ago.” But that bothers me, just to get back to the point, it baffles me that there seems to be so little curiosity. There seems to be no interest in genres of music and how they intertwine. People don’t seem to want to be knowledgeable; they just want entertainment or distraction. Everything is very much about distraction from the moment, and less to do with background. There’s no passion for what music can be in terms of expressing emotions, feelings and angst. Music and the form of the song are very much the legacy of the storyteller. The song was developed to memorize the history of the people. It was easy to remember because it had rhymes and rhythms, and that’s how the people knew their story. All the history of the world was recorded through the equipment of song and poetry. Entertainment was purely secondary. Somewhere along the line, musicians had patrons that would pay them to write songs about them, just like painters were commissioned. That’s what’s been lost with art and painting as well. And that’s a very hard job and a very responsible one. It requires integrity and a moral stance, without being judgmental and it requires incredible dedication. You have to give your life to it, it’s a lifetimes work. That’s not how most people today see it, they see it as entertainment and as one of the ways to break out of ones economic class and get rich. So we’re losing the game, we’re losing the soul of the people. We were saying earlier that culture is the soul of the people revealed, that’s one of the reasons. Now we have all of these technological ways to actually “record” history, but there’s a big difference between that and Shakespeare. There’s something far more wonderful about that way of recording history, and there’s something that’s more to do with the soul, and the essence of the people that we’re losing if it’s just commodity.

TEAR: Do you think it’s possible for humanity to get its soul back?

GPO: The quest for the soul? There’s a writer called James Hillman who is actually a Jung-ian psychologist, his theory is that the process of being alive is about building a soul, and that one’s responsibility to oneself is to build the soul that you desire in your life. In the west, the materialism, greed and the selfishness that is so rampant, so all pervading as near as I’ve ever seen it to a time of true godlessness. In a way when you imagine the fundamentalists in the Middle East, the America that they see is the America of Hollywood and Magazines, and who wouldn’t think it was a godless, soulless and violently selfish place? The representation that is projected and transmitted out to the rest of the world is some kind of ultimate society. It’s a given that on all the TV programs from all levels of society, even the so called radicals, take it as a given that America is the best country in the world. Everybody would love to be somewhere like America. We might have our problems, but ultimately the idea of America is this fabulous thing. But actually if the culture is the reflection of the soul of the people then we have a really huge problem here. And it’s not that it’s an American problem so much as it’s America being so deeply entrenched in mass-media, it reveals more quickly and it amplifies itself much more because it controls so much. It’s all summed up in things like Real World, Behind the Music. We were talking before about privacy, and all of these people have their life on camera, they reveal everything about their life, but with very little thought, there’s not much thoughtfulness, everyone seems to take for granted that the media are innately beneficial.

TEAR: They take it for granted that I am going to be interested in watching somebody else think, instead of trying to actually think myself, why would that be interesting to anyone?

GPO: It’s as if people want to exist by proxy. They’ve gotten more and more lazy and inert and now it’s as if we never even have to exist, cause other people will exist for them on television. What seems to be happening is that people are abdicating the responsibility of living. Because living is about thinking and building a soul. Perhaps that’s another thing that has to do with Genesis as a mirror, Genesis is the epitome of wanting to build a creative soul, wanting to think, and what I believe living is for. And it can be done, you can live a creative life, you can survive by being an artist and you can take risks or disagree with the status quo. And it’s OK, it’s fun and interesting and exciting to live a creative life. What reality television implies about the psychology of the society is yet to be realized. I imagine if people look back, the impact of reality television in terms of it being a metaphor of the state of mind of the people would be pretty disturbing. The overriding desire of the people in American culture seems to be that they will say, do and be anything to be on a television screen for even a split second. For many people the ultimate achievement in life would be to be on television for a minute. That’s a profound enditement of the sterility of the western cultural vision. How we reclaim the quest for the Holy Grail, which is obviously wisdom and knowledge, through wisdom we can actually step through time and space and be other than trapped in a body and other than trapped in the idea of mortality. All I know is that the only language I know for dealing with the problem and for exploring how to reinvest love into existence is creativity. I do believe that the time has come for people to shed their defenses and shed all the camouflage that they have quite rightly have learned to use since they were small. And to reveal who they really are for better or worse. The courage of exposing that you believe in something other than greed, it seems that that’s the only path that you can take, partly why the book is called “Painful, but Fabulous.” I think that we don’t have the luxury of doing that slowly. We have to really accelerate the process by giving ourselves up to the possibility of being sacrificed to the Great Spirit. And that’s what art is for. The artist is the holy fool, but is prepared to sacrifice themselves in order to save those that they love, which ultimately can’t be limited to just those that you know. You have to ultimately have compassion for the world through the work that you do.

Tuesday, July 12, 2011

From Bryin Dall of Thee Majesty "The Life & Death of Jordan" Screening Aug 20th!

From Bryin Dall of Thee Majesty
·Ok, the time has finally arrived. My film, The Life & Death of Jordan, starring Jordan Costa, will be making it's worldwide debut. It was filmed entirely on Super 8 film. It is a 19 minute short and I will be scoring it live on August 20th at Uncle Mike's, 57 Murray Street in Tribeca, Manhattan. The movie will be shown at Midnight and is part of Jason Ledyard's Incantation night (don't be frightened by the goths)! I hope to see you there!

Thee Majesty Live youtube videos from Outfest 2011 performance

"Marble Walls"?

"Jack Kerouac Said..."

Monday, July 11, 2011

The Ballad of Genesis and Lady Jaye LA Weekly article

Marie Losier's P-Orridge Film The Ballad of Genesis and Lady Jaye:
Best Documentary Ever About Husband and Wife Surgery to Become Copies of Each Other
By Karina Longworth
Fri., Jul. 8 2011 at 4:15 PM

"Sex is a virus," says Richard Foreman in Marie Losier's short film about his experimental theater work, The Ontological Cowboy, screening Sunday at LA Filmforum. "Let's not kid ourselves: we're driven so we will fuck, so we will produce babies."

Sexuality certainly could be said to course through the veins of Losier's films, but more often than not it's thrillingly murky and atmospheric rather than goal-oriented. The 39 year-old French-born, New York-based filmmaker and curator seems less interested in sex as a tool of reproduction than as a production in and of itself.

In that sense, Losier perhaps finds her ideal subject in Psychic TV frontman/performance artist/professional boundary demolisher Genesis Breyer P-Orridge, who appears in Losier's fantastic musical fantasy shorts Papal Broken-Dance and Slap the Gondola, both screening on Filmforum's Sunday lineup.

P-Orridge's transformative late career and second marriage -- including his surgically-aided evolution from straight male father of two into a "pandrogynous being" who adopted the physical characteristics of wife Lady Jaye -- is the subject of Losier's first feature-length documentary, The Ballad of Genesis and Lady Jaye, which screens at Outfest this weekend before opening Allison Anders' Don't Stop the Rock festival at Cinefamily next week.

A pioneer of industrial music in deep creative debt to William S. Burroughs' philosophy of the "cut-up," P-Orridge's deep bond with Jaye -- a performance artist in her own right, who he married in 1993 and lived and collaborated with until her untimely death in 2007 -- became the subject of his most elaborate, and literal, homage to the art of radical collage.

In addition to encapsulating the second half of P-Orridge's 40-year-plus musical career, Ballad documents the surgical procedures that husband and wife underwent in attempt to become carbon copies of one another, up to and including identical breast implants. "You fall in love with someone, and there's this moment where you just want to consume each other, and not be individuals anymore," P-Orridge says in Losier's film. "We had that so strongly that we felt we wanted to pursue that, and not just talk about it, but live it."

P-Orridge's life thus becomes an artistic exploration of innate beauty versus artificial, and the performative processes that connect the two. Losier splices intimate verite footage of Genesis' life with and without Jaye (they're first seen lazily roaming NYC together, husband looking like the bloated older sister of his wife) with dreamy, highly choreographed sequences set to Genesis' narration of his own life story. Just as the couple evolve into a living cut-up, the film follows suit.

This feat of form following content is not unusual for Losier: the one true signature connecting her shorts may be her ability absorb the stylistic tropes of the work of her collaborators/subjects, and project back imagery that's a distinct marriage of their style and her own. Her short Manuelle Labor, a collaboration with Guy Maddin, glosses the Canadian auteur's patented silent film pastiche with a winking spirit of childlike play, which also infects her two music video-style shorts with Porridge.

Even when collaborating with other artists, Losier's borrowing of lo-fi, proudly cheesy special effects, her fascination with less-than beautiful women and men burlesquing masculinity, and use of familiar music cues (classical, pop, movie scores) loaded with nostalgic connotation calls to mind the work of George and Mike Kuchar, the experimental filmmaking brothers with whom Losier works and plays direct tribute to in three films on Sunday's slate, including Eat My Makeup (starring George Kuchar), Snowbeard (a portrait of Mike Kuchar on his last day living in New York), and Electrocute Your Stars.

In the latter, my pick for the highlight of the show, Losier constructs psychedelic visual riffs on George Kuchar's classic Weather Diaries series and his seminal Hold Me While I'm Naked, while via voiceover George deconstructs his own process in his inimitable patois. It's just one of Losier's many portraits of artists in a program which represents a kind of pocket history of certain giddily transgressive strains of avant-garde.

The Ballad of Lady Jaye screens at Outfest on Saturday, July 9, and at Cinefamily on Thursday, July 14. Genesis P-Orridge performs with his band Thee Majesty after the Outfest screening, Saturday night at REDCAT.

Los Angeles Filmforum presents Flying Fish and Dream Portraits: Short Films by Marie Losier on Sunday, July 10, at the Velaslavasay Panorama. More info at

Follow @KarinaLongworth and @LAWeeklyArts on Twitter.