tag:blogger.com,1999:blog-78207189499084580892024-02-20T13:13:50.275-08:00The Genesis Breyer P-Orridge online archiveA comprehensive online archive of all things Genesis p-orridge,arguably one of the most important icons of alternative culture of the latter quarter of the 20th Century and beyond ...
the essays, interviews, music and magick that has given "CONTROL" headaches for 60-some years now.
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*bear with me as i correct spelling and fix formatting on some of this older material!
<br>jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.comBlogger351125truetag:blogger.com,1999:blog-7820718949908458089.post-18423446219674118172015-02-14T12:08:00.002-08:002015-02-14T12:08:49.570-08:00A Report on The Final Academy by Matthew Levi Stevens<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span lang="EN-GB" style="font-family: 'Times New Roman', serif; line-height: 200%;">Contribution to thee archive from Matthew Levi Stevens.</span></b></div>
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<b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 23.0pt; line-height: 200%;"><br /></span></b></div>
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<b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 23.0pt; line-height: 200%;">A Report on <i>The Final Academy<o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 15.0pt; line-height: 200%;">Matthew
Levi Stevens<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">17<sup>th</sup> October
2012 saw the publication of <b><i>ACADEMY 23:</i> <i>an ‘unofficial’ celebration of William S. Burroughs & </i>The Final
Academy</b>, compiled & edited by Matthew Levi Stevens & Emma Doeve of
WhollyBooks. Contents included:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- Articles, Essays &
Reviews from Michael Butterworth of Savoy Books, John Coulthart, Paul A. Green,
John May, Mike Stevens, and David S. Wills<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- New & Previously Unpublished
prose material from <i>‘Here To Go’ Show</i>
veteran Joe Ambrose, William’s former Naropa companion, Cabell McLean, and editor
Matthew Levi Stevens<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- An Account of a Conversation
with William S. Burroughs about Books & Magic, which took place at the time
of <i>The Final Academy</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- An Exclusive Interview
with Phil Hine, in which he talks about visiting William S. Burroughs, and his
relationship to Chaos Magic<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- Photos of a visit with
Brion Gysin in Paris from former Psychic TV associate Bee, and of shooting in
Lawrence, Kansas, with Uncle Bill from Spencer Kansa<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- Original Artwork by
Emma Doeve in response to <i>The Wild Boys</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- Extracts from an Interview
with Terry Wilson on meeting William & Brion, <i>Here To Go: Planet R101</i> and finishing <i>Perilous Passage <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">As well as its
announcement online, <b><i>Academy 23</i></b> also had a launch at the
event <i>FINAL ACADEMY/2012</i> @ The Horse
Hospital, Bloomsbury, London on Saturday 27<sup>th</sup> October, 2012.
Organised by Joe Ambrose (who also co-produced <i>Destroy All Rational Thought</i> and <i>10% File Under Burroughs</i> with Frank Rynne, and is himself a
contributor to <b><i>Academy 23</i></b>), the evening featured Films, Music & Spoken Word:
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">‘Words
of Advice: William S. Burroughs On The Road’</span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;"> (directed by Lars Movin &
Steen Møller Rasmussen) which featured previously unseen footage of Burroughs
on tour in the late 80s, plus rare home movies of Burroughs in Kansas towards
the end of his life. Contributors include Patti Smith John Giorno, Islamic
Diggers, and Bill Laswell;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">‘Language
Virus’</span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">
by celebrated graffiti artist Raymond Salvatore Harmon, with music by Philipe
Petite;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Soundtrack for the event
provided by Testing Vault, The Plague Doctors (featuring Mix by DJ Raoul),
Islamic Digger No1. One Way, Alma featuring Joe Ambrose;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">In addition there was
Discussion, Introductions, & Readings from Author & Poet Paul A. Green,
Artist & Kinetic Sculptress Liliane Lijn (who knew Burroughs & the Beat
Hotel regulars in Paris in the early 60s), ‘Post-Industrial’ veterans Scanner
& Matthew Levi Stevens, and novelist Tony White.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Both Publication & Event
received endorsement from original prime-mover of <i>The Final Academy</i>, Genesis Breyer P-Orridge, who sent the following
email of encouragement & support:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">Dear
Matthew,<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">How
great to hear from you! We really DO appreciate your mentioning our work in
staging the First Final Academy. The original idea we had was to HOPE that
further variations would occur. After so long it is good to see the meme
expanding. we hope we see the book when it is finally out and wish you every
success and FUN in all these activities.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">Genesis<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">"VIVA
LA EVOLUTION !!!"<o:p></o:p></span></i></div>
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<br /></div>
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<b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 15.0pt; line-height: 200%;">‘Academy 23’<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">In
the Beginning was the Word</span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">
. . . In this case the words that William S. Burroughs wrote for British ‘men’s
magazine’ <i>Mayfair</i> while he was living
in London in the 1960s. Some years previously a young aspiring writer called
Graham Masterton had written to Burroughs when he was still living in Tangier.
By 1967, Burroughs was living in London and Masterton, who had landed the job
of deputy editor for <i>Mayfair</i>, visited
him at his Duke Street, St. James apartment to ask if he had any material he
would like to contribute:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“He
had long had the concept of an academy at which he could expound and discuss
his ideas on government repression and big business and the future of social
control, so I suggested that he write a series of articles which we would call
The Burroughs Academy.” </span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">The theme of an
“Academy” where the young could be taught “a true and different knowledge” was
one that engaged Burroughs increasingly as the 60s Revolution progressed. At
the height of the Counter-Culture, he even entertained the notion of purchasing
Boleskine House on the shores of Loch Ness, former home of Occultist Aleister
Crowley (which was in fact later bought by Led Zeppelin guitarist Jimmy Page,
at the time himself an ardent admirer of the self-styled “Great Beast”), but
funds were lacking. Instead William Burroughs created a ‘virtual’ academy: first
in the pages of <i>Mayfair</i>, then in the
various articles for the Underground Press, and books like <i>The Job</i> and <i>The Wild Boys</i>.
In a letter of 17<sup>th</sup> October 1968, he tells Brion Gysin: “Have
finished the book of essays and interviews entitled <i>Academy 23</i>...” and although it would not in fact come out under
that name, in its final published form as <i>The
Job</i> the book of interviews with Daniel Odier, augmented with auxiliary
texts, would include a long section entitled <i>Academy 23</i>. (As can be seen in the recent <i>Rub Out The Words: The Letters of William S. Burroughs 1959-1974</i>, this
desire to create some sort of ‘handbook’ would feed not only into the likes of <i>The Job</i> and <i>The Revised Boy Scout Manual</i> but also, ultimately, <i>The Third Mind</i>.)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Fast forward to the late
1970s, and another young man who had made contact with Burroughs during his
London years, performance artist and “wrecker of civilization” Genesis
P-Orridge, was also thinking of an academy... a FINAL academy. <i>The Wild Boys</i> re-envisioned via
‘Industrial Music’ as “psychick youth” - with a Temple all of their own. Uncle
Bill and Gen had struck up a friendship of sorts in London in the early 70s,
and through Burroughs Gen had also met Brion Gysin and Terry Wilson, who
attended early Throbbing Gristle concerts such as the ICA launch and the show
at the Nag’s Head. TG were profoundly inspired by Burroughs & Gysin and the
idea of the Cut-Ups, particularly in relation to sound and the infamous
tape-recorder experiments. TG co-founder, Peter ‘Sleazy’ Christopherson, had
experimented with found-sound and location recordings, building equipment to
manipulate tape playback long before the modern sampling revolution. He had
also bonded with Burroughs when he visited him at The Bunker to show him some
of his photographic work featuring young male models that Burroughs was very
taken with. TG’s sidekick Monte Cazazza recorded a rendition of Brion Gysin’s
permutation poem <i>‘Kick That Habit Man’</i>
for their label, and many of the key ‘Industrial’ bands cited Burroughs &
Gysin as primary influences. Later, when Antony Balch died P-Orridge was
instrumental in saving the original film-reels of his work, and TG’s Industrial
Records would release the first ever LP of the Cut-Up tape experiments, <i>‘Nothing Here Now But The Recordings’</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">What
follows is based on my actual Notes made at the time, previously unpublished.
There has been some attempt at reconstruction – mostly with regard to the sets
of William & Brion, who performed on all four nights – but otherwise this
is as close as possible to my actual impressions & observations of 30 years
ago (with the addition of occasional ‘editorial’ hindsight!) Word pictures of a
moment in time . . .<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman",serif;">THE
FINAL ACADEMY:<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman",serif;">LONDON/MANCHESTER/LIVERPOOL/LONDON<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span lang="EN-GB" style="font-family: "Times New Roman",serif;">SEPTEMBER-OCTOBER
1982</span></b><span lang="EN-GB" style="font-family: "Times New Roman",serif;"><o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">‘THE
FINAL ACADEMY is not a homage but a development towards the future...’<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">- From the original
press-release<o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“</span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">The Final Academy<i> is an apocalyptic term. It is the place
where knowledge and anti-knowledge are going to war.”<o:p></o:p></i></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">– <b>Genesis P-Orridge</b> interviewed by Chris Bohn, <i>NME</i>, 25<sup>th</sup> September 1982<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">‘William
Burroughs and Brion Gysin are two explorers of these New Lands [(that) little
explored sit upon our shoulders] Both have shown courage in revealing their
private thoughts, feelings, ideas and fantasies... Both have revealed the
control mechanisms of those in power and seek to disarm them. But theirs is not
a nihilistic gesture. They offer a future, a body of information that is
beautiful, funny, and frightening and which points to the making of a New
World.’<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">– <b>Roger Ely</b>, <i>Statements Of A
Kind</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Organised by David
Dawson, Roger Ely, and Genesis P-Orridge,<b>
</b><i>The Final Academy</i> consisted of a
series of main events over four days @ The Ritzy Cinema, Brixton: 29<sup>th</sup>
September to 2<sup>nd</sup> October, 1982. William S. Burroughs & Brion
Gysin would be celebrated in film, music, performance and readings. The famous
experimental films shot by Antony Balch in the 1960s would be shown each night.
There would also be performances by the experimental music groups that had been
inspired by their example: 23 Skidoo, Last Few Days, Cabaret Voltaire and the
debut of Psychic TV (recently formed from the ashes of Throbbing Gristle), as
well as a variety of other poets and performance artists. Some, like John
Giorno & Terry Wilson, were of course friends with Burroughs & Gysin;
others, like Anne Bean, Paul Burwell & Ruth Adams, were associates of Roger
Ely from the B2 Gallery.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">An exhibition of Brion
Gysin paintings, complete with Dreamachine, collages from <i>The Third Mind</i>, and scrapbook material ran concurrently at the B2
Gallery, Wapping. There was also a book-signing @ Compendium Books in Camden
Town, William supported by Victor Bockris: <i>A
William Burroughs Reader</i>, <i>Cities of
the Red Night</i> and <i>A Report From The
Bunker: With William Burroughs</i> all hot off the presses – and <i>Here To Go: Planet R101</i> by Brion Gysin
& Terry Wilson and the Burroughs/Gysin/TG special, both from RE/Search.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">There were also
‘Regional Events’: Burroughs, Giorno, & Psychic TV @ The Haçienda,
Manchester on October 4<sup>th</sup>; Burroughs, Giorno & Jeff Nuttall @ The
Centre Hotel, Liverpool on October 5<sup>th</sup>; and a one-off @ Heaven,
Charing Cross on October 7<sup>th</sup>, billed as: William S. Burroughs, John
Giorno, Marc Almond, Heathcote Williams + Derek Jarman, Psychic TV, Last Few
Days, Cerith Wyn Evans.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">I had made contact with Throbbing
Gristle as a 14 year-old-schoolboy fan, already very much into William Burroughs.
It seemed like no sooner had I met them than TG split, and over the next year
or so Gen & Sleazy’s half evolved into ‘Psychic Television Limited’, with
its attendant Conceptual Art gag masquerading as Fan-Club pretending to be a
Cult, ‘Thee Temple ov Psychick Youth’ (sic). I was close friends with Geff
Rushton (later ‘John Balance’ of Coil), only a couple of years my senior when
he got together with Sleazy. Through my friendship with them I found myself for
a while part of a circle that revolved around the ideas of Aleister Crowley and
Austin Osman Spare: all Astral Projection, Dream Control, Sex-Magick and Sigils.
Equally, the life & work of Burroughs & Gysin – with their Cut-Ups,
Dreamachine, Playback, and Third Mind – offered a toolkit for similar ends.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: .5in;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“Dear Mom and Dad: I am going to
join The Wild Boys. When you read this I will be far away...”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">End of September, 1982:
barely a month shy of my 16<sup>th</sup> birthday, and for my sins I am a “Psychick
Youth” - aspirant and unrepentant. The PTV entourage duly went to meet with The
Old Man upon his arrival in the UK, and would be a kind of ‘honour-guard’ to
William & Brion for the duration of their visits. Derek Jarman documented
it all with his trademark Super 8 camera. Klaus Maeck filmed footage of Burroughs
for the ‘Dream Sequence’ in <i>Decoder</i>.
Sleazy helped set it all up, and can be seen - along with Burroughs &
Grauerholz arriving by black cab - in Jarman’s <i>Pirate Tape</i>: a home movie of the filming in a used hi-fi &
TV-repair shop behind Tottenham Court Road. Derek Jarman’s former boyfriend
Howard Brookner was following the action with a camera, making his documentary <i>Burroughs: The Movie</i> - in much the same
way that Victor Bockris had been Court Recorder at The Bunker, making <i>With William Burroughs</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Thanks to Genesis
P-Orridge I have a ringside seat when William S. Burroughs arrives. Everybody
wants to get their books signed, or have their photo taken with him. I choose
to do neither, deliberately. As well as the PTV connection, I have corresponded
with J. G. Ballard, Eric Mottram, Jeff Nuttall, and Bill’s old pal, Alex
Trocchi; I am also a skinny, pale, intense, bookish young boy. I’m sure none of
any of these details hurt. Eventually I am in just the right place at just the
right time... <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">When I get a chance to
speak to William in person, because of my interests at that time and the
seeming preoccupations of many of those taking part in <i>The Final Academy</i> events, I ask him about Magic and whether he
would care to recommend any books on the subject? Without hesitation he
mentions Dion Fortune’s <i>Psychic
Self-Defense</i>, even though he qualifies it as <i>“a bit old-fashioned.”</i> Then, without prompting on my part, he
begins to talk of Black Magic and Curses in Morocco, travelling with Medicine
Men up the Amazon, and Astral Projection and Dream Control. I realise that for
Burroughs all this is UTTERLY REAL, the “Magical Universe” in fact. He tells me
about a dream he had as a young man, working as an exterminator in Chicago: of
watching from a helpless Out-of-Body point of view floating above the bed as
his body got up and went out with some unknown and sinister purpose that he was
powerless to influence. With a shudder, he tells me that possession is <i>“still the basic fear.”</i> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">He asks if I would like
to “get some air” and we take a walk round the block. To break the ice, I talk
about books: he is delighted to discover that I have read his beloved Denton
Welch, also J. W. Dunne’s <i>An Experiment
With Time</i>. I have found them in my old school library, and know both have
been a tremendous influence on him in different ways. Knowing of his interest I
also mention that I have just read Colin Wilson’s <i>The Quest For Wilhelm Reich</i>, published the year before. He likes
Wilson, he says, jokes that “the Colonel” with his cottage in Wales in Wilson’s
<i>Return of the Lloigor</i> and his own
Colonel Sutton-Smith from <i>The Discipline
of DE</i> are one and the same. On
something of a roll, I mention <i>Real Magic</i>
by Isaac Bonewits, and he acknowledges that it has <i>“some good information”</i> – but is much more enthusiastic about <i>Magic: An Occult Primer</i> by David Conway
[years later I would discover that Burroughs & Conway had in fact exchanged
letters on various subjects pertaining to magic, occultism, and psychic
phenomena – but that is decidedly another story!]<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">He talks about different
kinds of perception, and I hear for the first time his famous remark that the
purpose of all Art & Writing is <i>“to
make people aware of what they know but don’t know that they know!”</i> He
describes the ‘Walk Exercise’, in which you try to see everybody on the street
before they see you - <i>“I was taught this
by an old Mafia don in Chicago… sharpens your ‘Survival IQ’… It pays to keep your eyes and ears open”</i>
- as well as an on-the-spot illustration of the theory of Cut-Ups as
Consciousness Expansion:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“As
soon as you walk down the street like this – or look out the window, turn a
page, turn on the TV – your awareness is being Cut: the sign in that shop
window, that car passing by, the sound of the radio… Life IS a Cut-Up…”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">I ask him about Cut-Ups
with tape-recorders, a hot topic at <i>The
Final Academy</i>. Telling me about his experiments with ‘Playback’ (where
recordings are made, cut-up, then played back on location, often accompanied by
the taking of photos) he actually describes it to me with a chuckle as <i>“Sorcery!”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">The impact of the
Cut-Ups is very much in evidence at <i>The
Final Academy</i>, you could almost say that it is the one thing that unites
all the performers – certainly where the bands are concerned. In his essay <i>The Academy (The Virus Spreads)</i> – which
is included in <i>The Final Academy</i>’s
lavish program, <i>Statements of a Kind</i>
- David Darby writes:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“Terry
Wilson has described Cut Up as a form of ‘exorcism’. Burroughs says it is like
table tapping; you can use it to read into the future, to see what is about to
happen and thereby control it. A variety of today’s music reminds me of this
‘disembodiment’. Holger Czukay, the German musician and psychic believer who
edits music... inserting snatches of ghostly voices taken off shortwave radio
and TV. The LP </span></i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">My
Life In The Bush Of Ghosts<i> by Brian Eno
and David Byrne – title taken from the novel by Amos Tutuola, spiritualist and
medium – with its mixture of Islamic chant and Black American radio exorcism
and evangelism dubbed over strange rhythmic instrumentals... New York’s Grandmaster
Flash, who cuts in snatches of other records... Then, of course, there’s
Cabaret Voltaire, Clock DVA, 23 Skidoo, Psychic Television, all of whom have
declared... a desire now to create a new music with video and taped voices, to
redefine music as a percussive soundtrack almost, a muttered trance as much as
a dance in which real and imaginary visions are seen...”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Brion Gysin I only met
very fleetingly, I was just another boy in a roomful of boys, the youngest and
at that stage still something of a star-struck fan. I DO remember his response
to our ‘psychick youth’ honour-guard, though<i>:
“Gen, I don’t know how you’ve done this, but I’ve never had so many pretty boys
being so helpful all day long!”</i> Terry Wilson was also there in his capacity
as Brion’s informal secretary, friend, collaborator, and “apprentice to an
apprentice” (as Gysin himself had said), and would be one of the performers on
the bill as well. He was tall and thin, in a crumpled dark blue suit, pale face
“fading away behind a fringe of hair” [as Felicity Mason puts it in her essay
for event program <i>Statements Of A Kind</i>]
and seemed nervous, shy: on the one hand in awe of Burroughs & Gysin, on
the other wary of all the shaven-headed acolytes circling around event
organisers Genesis P-Orridge and Psychic TV. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">The opening
announcement, politely requesting that there is no flash photography and that
there must be no recording, seems almost surreal: I have never been to an event
that is so obviously being documented for posterity – it seems as if every
other person has a camera or tape-recorder of some kind, and the strange
binaural recording ‘head’ that I recognise from TG’s concerts is right in front
of the stage at all times. I wonder what will happen to all the material?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Each night opens to a
soundtrack of tape-recordings from the Burroughs archive, the kind of cut-up
experiments that were released just last year as the final album on TG’s
Industrial Records label, <i>Nothing Here
Now But The Recordings</i>. Films are shown by the late Antony Balch (Gen
helped to salvage them after he died of Stomach Cancer in 1980) Bill, Brion,
Ian, Mikey Portman and others (hello Alex Trocchi!) in 1960s London, New York,
Paris, Tangiers “Hello – Yes, hello – look at that picture – does it seem to be
persisting? Thank You!” – Scientology training exercises - <i>Towers Open Fire</i>, <i>The Cut-Up</i>s,
<i>Ghosts @ No.9</i> (or <i>Guerrilla Conditions</i>), <i>William Buys A Parrot</i> - in colour! <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">The coming together of three
generations, “like minds who share the common ground of The Third Mind –
located at the intersection point of Cut-Ups, where the future leaks through –
where logic is short-circuited, deprogramming Control.” William, Brion and John
Giorno the older, literary pioneers; PTV and their pals ‘n’ peers being the
younger New Wave. In between a more indeterminate crowd, performance artists
and poets with a background in the Arts Lab Scene and ‘Happenings’ - they
perhaps are the odder fit. Anne Bean & Paul Burwell acquit themselves well
enough with their take on ‘White Man’s Got A God Complex’ (The Last Poets), but
the lingering smoke from their fire-crackers didn’t do Brion Gysin’s asthma any
favours. I’m not even sure Ian Hinchliffe actually appeared – the stage was in
darkness, some barely audible mutterings on tape: was that him? Jeff Nuttall didn’t
appear at all: apparently he was supposed to be met at the airport, and when he
wasn’t just got on the next plane back to Manchester [a real shame, as I had
been looking forward to finally meeting up with him; when Burroughs &
Giorno appear alongside Jeff Nuttall later in the week at the reading he has
organised at The Centre Hotel in Liverpool, any mention of Psychic TV or <i>The Final Academy</i> will be conspicuous in
its absence...] Roger Ely’s story <i>The
Legacy</i> was a haunting evocation of the perils of psychic attack and fallout
from ritual experiments: a woman obsessed - or even possessed - by the spirit
of her dead occultist father. I liked the slides that went with it, too (Ruth
Adams?) The whole thing eerie after my first-ever conversation with Mr.
Burroughs covering similar territory only the day before... <i>“Possession is still the basic fear.”</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">The audience is a real
gathering of the tribes: art students, bookworms, college lecturers, druggies,
hippy survivors, political radicals, punks and queers. Wild Boys – and Girls! –
of all ages, and of course a growing number of Psychick Youth. People have come
from far and wide: I meet a <i>tres serieux</i>
French couple who want to talk about apomorphine, General Semantics (but don’t
believe that I have read Korzybski!), and an earnest, grey-clad group from
Yugoslavia [Laibach] who have clearly hit it off with Last Few Days & 23 Skidoo.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">There are sullen
mutterings about the seating, lack of a bar, complaints that the event is “too
literary” - others clearly don’t understand the connections: a schoolteacher
asks: “What have all these weirdo bands got to do with anything?” Anne Bean is
overheard to remark “I am neither psychic nor youthful!” A drugged-up punk girl
sneers “Aren’t you a bit too young for all this ‘psychick youth’ bollocks?” –
oblivious to the implicit irony. Terry Wilson treads uneasily between the more
literary camp and the large circle of Psychick Youth acolytes, who flank
Burroughs when he’s not reading. I keep a low-profile and thus secure a
ringside seat on the edge of the group. Denise from <i>Vox</i> complains about the level of marketing: “we were constantly
being handed leaflets about Giorno Poetry Systems, or Burroughs’ new book, or
PTV’s Temple T-shirts. Not nice!” – but I just see this as a clash of cultures:
the English ‘well-meaning amateur’ being challenged by American professionalism,
and of course Counter-Culture from the Hippies through the Punks and on has
always been wary of commercialism (as if nobody has to make a living!) Simon
from <i>Sounds</i> is clearly a convert,
though: talking of Aleister Crowley, Gerald Gardner, Austin Osman Spare - wants
to know how he can get a copy of the PTV videos, gives out his contact details
[<i>Simon Dwyer (1959-1997) would later
create world-renowned counter-culture journal </i>Rapid Eye<i>, in which he would showcase the likes of Psychic TV, Gilbert+George, Derek
Jarman, and Kathy Acker.</i>]<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">There is a weight of
anticipation, expectation, about the launch of Gen & Sleazy’s new venture, Psychic
Television, but they will not actually ‘perform’ as such. David Darby’s essay
in the program <i>Statements of a Kind</i>
suggests these are groups who are fast losing interest in what they see as the
outmoded concept of band-on-stage. In the <i>NME</i>
the week before, Gen tells Chris Bohn:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">“William,
Brion and the poet John Giorno used writing because in their day writing was
the most vital, living form for propaganda. They got hold of tape-recorders and
made films with (the late) Antony Balch, always trying to reapply what they
discovered through writing to other media. Now you’ve got groups like Cabaret
Voltaire, 23 Skidoo, Last Few Days and Psychic TV who have followed through and
used tape, cut-ups, random chats and sound in the way they’ve read or at least
been inspired in Burroughs’ and Gysin’s books. They’ve put it, though, into
popular culture, i.e. music, which happens at the moment to be the most vital
form.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">One solution is the move
towards film, slides, video - and Psychic TV would seem to be at the forefront
here: if the Revolution <i>IS</i> going to
be televised, after all, then PTV are first in line with their bid for the franchise...<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">As well as the films and
readings, each night there is a band:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">23 Skidoo, a firm favourite,
start off proceedings. Their recently reduced personnel of Alex, Johnny &
Fritz have moved far beyond their Post-Punk Funk origins to a new ritual
ambience: the sound of bells, cymbals and gongs augmented by tape-loops and gas-cylinder
percussion, “urban gamelan.” In <i>Statements
Of A Kind</i>, the lavish program for <i>The
Final Academy</i>, they describe themselves as “cultural assassins” who
“embrace this ceremony of the constant random factor.” Like shaven headed
warrior monks, they go about their almost meditative business on a darkened
stage – while above them the films flicker like ghost-light...<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Last Few Days are new to
me, an unknown quantity, but I recognise Fritz from Skidoo, also former TG
soundman Danny (‘Stan Bingo’). Cello, clarinet, megaphones, tapes. Their
imagery, such as it is, is apocalyptic. ‘Apocalyptic chic’ is very much the
thing at <i>The Final Academy</i>. “Ours is
a soundtrack for a dying age.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Cabaret Voltaire are
also ‘reduced personnel’ now: down to a duo, Chris Watson has left. They have
been recently ably augmented by drummer Alan Fish, but not tonight. Keyboards,
movie dialogue and The Reverend Jim Jones cut-up & looped. Ambient music
accompanying scratch-mix video – a barrage of cut-up visuals and deprogramming
imagery, like their <i>Doublevision</i>
release [but definitely NOT the ‘ambient music’ of Brian Eno & co.!]<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Genesis P-Orridge
introduces Brion Gysin, all in white: “And now, the man who makes the
impossible, possible!”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Brion announces that the
Cut-Ups are now about 23 years old, “the average age of my musicians, and I
hope the average age of the house.” Each night there are songs (“Some old
words, and some new tunes”) with music: Ramuntcho Matta (son of the Chilean
Surrealist painter) on New Wave Funk guitar – I recognise Tessa from The Slits
on cello, and the drummer from Rip, Rig and Panic – plus a percussionist.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">There are also readings
from <i>Here To Go</i> (“I understand you
can buy it in the lobby”): No-one can give you the keys, even if you know what
a key looks like (Korzybski, again!) Teaching is anything except what you
expect it to be. “Turn the Boys Over is one way of doing it” – seduce the
Teacher – Terry Wilson: “The knowledge is stolen?” “Knowledge is passed from a
Master to a Disciple by the actual Act of Love” (the Sufi mystic and poet Rumi)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">From <i>The Process</i>: the smoking circle, Youngest
Brother speaks of “our enemy the sun” and Hassan i-Sabbah. “Mr Ugly Spirit
himself disguised as a hydro-helium bomb.” There is no friendship, no love –
the desert knows only allies and accomplices – “There are no brothers” Everyone
is always ALONE, their adventure in life a singular one. A criminal, a magician,
is an Outsider. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">“Magic, like Art, is
outside the Law”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">And now, the moment we
have all been waiting for? Psychic Television, the propaganda arm of Thee
Temple ov Psychick Youth (sic) – carrying on from the late TG’s ‘psychick youth
rallies’(grey-clad acolytes, sporting shaven head and pigtail a la Tibetan
Buddhist monks, very much in evidence) –
but “Psychic TV is not a group, we are not about entertainment” – more a ritual in sound and visuals: a large
video projection screen in the centre, TV monitors flank the stage, where
Genesis P sits in near darkness, intoning a carefully prepared Statement to pre-recordings
of soundtrack music, ritual ambience and holographic 3D sound effects, while
Sleazy mixes the visuals. Tinkling bells and the moaning of Tibetan thighbone
trumpets: the sound of souls in torment. A squeaking bicycle wheel. “Are you
asleep, or do you want to wake up?” asks a pre-recorded, nasal voice. Then,
amidst the swirl of lush strings, ‘A Message From The Temple.’ Meanwhile, the
visuals: symbols of Control – “sex, power and magick” – I am amused to see that
it’s clearly more than a lot of the hard-core Punks can take. The atmosphere is
almost religious, for all that the images on screen are transgressive:
bloodletting, genital piercing, initiation rites – something sexual, even if it
isn’t clear exactly <i>what</i>. Glancing
across to where William Burroughs sits, flanked by the Psychick Youth faithful,
he seems captivated.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Speaking of the <i>éminence grise</i>, the Old Man of this
particular Alamut: when Mr. Burroughs climbs onto the stage and takes his place
behind the wooden desk, shuffling his papers and stretching awkwardly – like a
doctor about to give a particularly unpleasant diagnosis – you could hear the
proverbial pin drop. This is what everybody has come to see, to hear. At a
brisk, business-like pace he starts with readings from the new book [the as-yet-unpublished
Western <i>The Place of Dead Roads</i>] originally
going to be called <i>The Johnson Family</i>
after turn-of-the-century slang for ‘good’ bums, thieves, etc. A Johnson is a
good man to do business with, honours his word – is not snoopy or judgemental –
‘Minds his Own Business’ – but also will not stand by when help is needed. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Burroughs introduces his
alter-ego, Kim Carsons: a slimy, morbid youth, who adores ectoplasm, wallows in
abominations – “when Kim was 15 his father allowed him to withdraw from the
school because he was so unhappy there and so much disliked by the other boys
and their parents” – He decides to go out West and become a Shootist “If anyone
doesn’t like the way Kim looks and acts and smells, he can fill his grubby
peasant paw” – He gets “a progressive education” – “young man I think you’re an assassin” “I
want to be one, sir!” – and recruits a band of flamboyant and picturesque
outlaws, the Wild Fruits. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">There are also extracts
from <i>Cities of the Red Night</i>, <i>Nova Express</i>, and old favourites like
‘Twilight’s Last Gleamings’ and ‘The Do-Rights’ – the audience are attentive,
rapt, respectful even, but lines like “He asks me what the American flag means
to me, and I tell him soak it in heroin, doc, and I’ll suck it!” has us laughing
in all the right places. Like the seasoned pro he is, William S. Burroughs has
his audience right where he wants them.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">Finally: The only goal
worth striving for is Immortality, in Space: “This is the Space Age, and we are
Here To Go.” Amen.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">A final teaching for <i>The Final Academy</i> . . .<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i><span lang="EN-GB" style="font-family: "Times New Roman",serif;">‘The
Western Lands is a real place. It exists, and we built it, with our hands and
our brains. We paid for it with our blood and our lives. It’s ours, and we’re
going to take it.’<o:p></o:p></span></i></div>
<br />
<div align="right" class="MsoNormal" style="line-height: 200%; margin-left: 2.25pt; text-align: right;">
<span lang="EN-GB" style="font-family: "Times New Roman",serif;">-
<b>William S. Burroughs</b>, from ‘Statement
on the Final Academy’<o:p></o:p></span></div>
jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-79902183529518029532014-11-25T11:19:00.001-08:002014-11-25T11:19:07.035-08:00Genesis Breyer P-Orridge Reflects On William S. Burroughs' Sound ExperimentsFrom http://www.thefader.com/<br />
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For years, Dais Records co-founder Ryan Martin has been talking with avant-garde artist <a href="http://www.thefader.com/2012/03/12/respect-yourself-interview-with-genesis-breyer-p-orridge" style="box-sizing: content-box; color: #52c552; margin: 0px; outline: none; padding: 0px; text-decoration: none;">Genesis Breyer P-Orridge</a> about <em style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;">Nothing Here Now but the Recordings, </em>William S. Burroughs' collection of tape recorder experiments and spoken work "cut outs" from the '60s and '70s. The intriguing artifact was originally compiled in 1981 by P-Orridge's label Industrial Records (it was actually the label's final release) and hasn't been pressed to vinyl since. Now, with the help of P-Orridge and Burroughs' estate, Dais Records are dusting off the long out-of-print project and giving it a proper vinyl re-issue.<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" /><br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />In this new video interview—produced by Martin and Louis Caldarola and debuting here on FADER—P-Orridge provides behind-the-scenes stories of how <em style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;">Nothing </em>came together in the first place, recounting hitchhiking to London to meet Burroughs' for the first time and helping him catalog shoeboxes stuffed with unlabeled cassette tapes and bits of stray reel-to-reel. "Genesis agreed to sit down with us and record recollections and thoughts about the original album and its lasting effect on modern culture," Martin told FADER of the 8-minute video's conception. "The video that came as a result seamlessly pulls together many different movements and concepts that are hardwired into our modern day conceptual beings, all of which were being discovered by Burroughs on these recordings." The reissue is out in January 2015 but you can <a href="http://www.thefader.com/2014/11/25/-%20http://shop.daisrecords.com/collections/vinyl/products/william-s-burroughs-nothing-here-now-but-the-recordings-lp" style="box-sizing: content-box; color: #52c552; margin: 0px; outline: none; padding: 0px; text-decoration: none;">pre-order it now</a>; check out the record's artwork and track-listing below.</div>
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<em style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;">Track list:</em></div>
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Side A<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />1. Captain Clark Welcomes You Aboard<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />2. The Saints Go Marching Through All The Popular Tunes <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />3. Summer Will <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />4. Outside The Pier Prowed Like Electric Turtles<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />5. The Total Taste Is Here – News Cut-Up<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />6. Choral Section, Backwards<br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />7. We See The Future Through The Binoculars Of The People <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />8. Just Checking Your Summer Recordings</div>
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Side B <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />9. Creepy Letter – Cut-Up At The Beat Hotel In Paris <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />10. Inching – "Is This Machine Recording?" <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />11. Handkerchief Masks – News Cut-Up <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />12. Word Falling – Photo Falling <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />13. Throat Microphone Experiment <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />14. It's About Time To Identify Oven Area <br style="box-sizing: content-box; margin: 0px; outline: none; padding: 0px;" />15. Last Words of Hassan Sabbah</div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com1tag:blogger.com,1999:blog-7820718949908458089.post-44053859871983698172014-11-25T06:51:00.001-08:002014-11-25T06:51:19.932-08:00Cults in our midst by Eileen Barker TOPY article<div class="separator" style="clear: both; text-align: center;">
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Temple of Psychic Youth "Cult" Article from the book Cults in our midst by Eileen Barker. Date Unknown. Contributed by https://twitter.com/simonjgray</div>
jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-621569144953957712014-11-23T10:59:00.000-08:002014-11-23T10:59:26.124-08:00Genisis Breyer & Lady Jay recieve PANDROGYNE triptych POORtraits from artist Steven Leyban 2006 Genisis and LKady Jaye are given the triptych POORtraits of the Pandrogyne. The first official portraits of the pandrogyne project which was Genesis Breyer P-Orridge and Lady Breyer P-Orridge. This is much of the footage shot for but not used in my movie "WHAT IS ART?"
<iframe width="420" height="315" src="//www.youtube.com/embed/V8bDVZthgwE" frameborder="0" allowfullscreen></iframe>jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-84212940521853947052014-11-23T10:50:00.000-08:002014-11-23T10:50:00.802-08:00PLAY[the emerge of] ASPECTS OF THE WORK OF GENESIS P-ORRIDGE by JULIE WILSON The Irrational Third<span style="background-color: white; font-family: monospace;">This article is a condensed extract from my research into the psychological basis of the work of Genesis P-Orridge. As such the article will only touch upon a few important areas of his work, and will present a number of theories and ideas which represent possible interpretations. I take my starting point from the strong sense of the child" present in some aspects of the work of Genesis P-Orridge. In this article I will expand the idea of the child", and will explore its empirical qualities as states of play, creativity, irrationality, chaos, crisis, and archetypical personifications.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">The child is a double edged sword. First, it is the 'Irrational Third' which embraces instinct, and maintains a deep connection with a sense of 'otherness'. It is the Games Master, embedded in the psyche, a tool capable of navigating and functioning within the unstable landscape of the unconscious. Secondly, it is a sinister agent capable of unmasking the adult world of politics, economics and shame, as fraud, sham, and illusion. Association with the child is like having tea with a murderer, the possibility of death is present in every transaction. Such a character is attractive because he has ventured into the marginal world of unsanctioned behaviour, and into the universe of primal desires. Such a character has designed it's own autonomous constructions of meaning, and it's own reality which exists outside of the controlled state-run realities offered by society. Such a character offers us an attractive glimpse of freedom, and a feeling of exhilaration aroused by the duel sensations of fear, coupled with the inertia of possibilities. We can call this character by the various names associated with the child archetype as definded by Jung, such as Hero, Christ, Victim, Trickster, or we can simply associate the child with the archetypal experiences of the various levels and states which might equally be termed creative impulses. The child is, in it's most recognisable form, the Artist, Mystic, and Shaman. Such characters used the skills and technologies available to them in their given age as tools for evocation, provocation and seduction. Genesis P-Orridge is no different; he has embraced current trends, philosophies, ideologies, and technologies, procuring them and synthesizing them through systems of assembly and disassembly - creative play - forming them into his own esoteric, devotional language. Genesis plays with words, ideas and objects not with the cool headed intellectualism of the adult, but with the instinctive, emotional and intuitive nature of a child. Thus, the sensual, semi-unconscious language of symbols, sounds, images, and words is by nature often conflicting, accidental, ironic, sinister, and often poignant.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Consumed by the instinctive state of play, the hand of an artist makes automatic random gestures, choices, and manipulations which are nonlinear. Jung has suggested that the active nature of the child 'compensate or correct, in a meaningful manner, the inevitableone-sidednesses and extravagances of the conscious mind' which attempts to dominate the personality with logic and rationalism. </span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Jung has suggested that the child archetype is a symbol of emerging independence and individuality. The child therefore exists in a state of incompleteness within a realm of chaos and crisis. Baudrillard has suggested that the principle of the child is 'Other' to the adult. He describes the nature if this 'Otherness' as 'total seduction', suggesting that while the adult relies on it's own belief that it is an adult, children do not 'believe' or intellectualise (that they are children), they just </span><cite style="background-color: white; font-family: monospace;">are</cite><span style="background-color: white; font-family: monospace;"> children: They are, as it were, a different species, and their vitality and development announces the eventual destruction of the superior -adult- world that surrounds them. Childhood haunts the adult universe as a subtle and deadly presence.</span><br />
<cite style="background-color: white; font-family: monospace;"><span style="font-style: normal;"><br /></span></cite><span style="background-color: white; font-family: monospace;">Such a state described by Genesis P-Orridge can be likened to the episodes of archaic ecstasy which have been well documented by anthropologists such as Eliade. Within a Postmodern setting, such states transpose almost too easily into the emerging ideas concerning the alternative ecstasies possible within the realm of Virtual Reality and Cyberspace.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Genesis P-Orridge uses all the tools to hand, mixing philosophies both ancient and contemporary, arts practice, popular icons and ritual within a game of possibilities. The playing of the game has for Genesis become a devotional activity; as Jung suggests the 'irrational third' the child/ play/ creative impulse/artist, is not only a psychological phenomena pertaining to the chatotic anarchic aspect of the personality, but can also become a philosophy for living which offers an alternative Game Play and a virtual Hypertext body, requiring 'religious repetition and renewal by ritual', since it is the vehicle of emergence. A process through which -one 'becomes'- an idea becomes material, and an ideology becomes concrete.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white;"><span style="font-family: monospace;">In interviews with Genesis P-Orridge, one of the recurring themes is concerned with his own childhood practice of creating and retreating into spaces, bunkers, going underground, and descending into the dark. In the proximity of body and earth, Genesis suggests that for him, there was no distinction between life and death. This is the point at which 'Bodies, and manifestations and thoughts are irrelevant'. The suggestion here is that such circumstances have assumed initiatory, seminal significance. Such experiences are in keeping with those commonly associated with 'marginals', Shamans, medicine-men, mystics, etc. Within the context of myth and ritual practice, such behaviour typifies the joourney of the 'ephebe'/initiate who is stripped of status and identity and thrust into a world of chaos and contrary values. 'Marginal situations' are those which tend to remove the individual temporarly from his or her normal social existence, allowing a person the opportunity to 'indulge in excesses in their own way'. During primitive initiatory rituals the period of marginality is often conjoined with a 'period of licence', when the ephebe is encouraged to indulge in behaviour which is not normally sanctioned by the tribe or the society in which the rite takes place. All such marginal behaviour reflects some opposition to normal social features. Oppositional experiences might include the explorations of the sensations of near death, the exercising of strong desires (of the Will) both practically and through the development of magical practices, the exploration of personal alternative sexuality, and the practice of deep introspection on a par with techniques of archaic 'ecstasy'. The empirical nature(s) of the child/artist and of play and the creative impulses, seem inextricably suited to these marginal regions which also exist within the realms of chaos and crisis. The theme of chaos and crisis created by oppositional principals finds a common resonance within Jung's discourse concerning the collision of the conscious and the unconscious: '...out of the collison of opposites the unconscious psyche always creates a third thing of an irrational nature, which the conscious mind neither expects nor understands. It presents itself in a form that is neither a straight yes" nor a straight no", and is consequently rejected by both. For the conscious mind knows nothing beyond the opposites and, as a result, has no knowledge of the thing that unites them. Since, however, the solution of the conflict through the union of opposites is of vital importance, and is moreover the very thing that the conciuos mind is longing for, some inkling of the creative act, and the significance of it, nevertheless get through</span></span><cite style="background-color: white; font-family: monospace;">'.</cite><span style="background-color: white; font-family: monospace;"> </span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Here Jung draws attention to the creative impulse which is stimulated by chaos, crisis and the collision of opposites. Within this kind of creative atmosphere, the concept of death is ever present since the license of possibilities offered to the ephebe is also a sea in which he or she could drown. Baudrillard has termed such a sensation 'Exoticism': 'Exoticism is the acute and immidiate perception of an eternal incomprehensibility'. </span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">This idea is echoed in the work of Genesis P-Orridge who frames his reponse within the altogether more positive view, suggesting that 'play' within such a sea of, what Baudrillard has termed 'incomprehensibility', and what Genesis terms 'possibility' is a purpose in itself: </span><cite style="background-color: white; font-family: monospace;">'</cite><span style="background-color: white; font-family: monospace;"> Since there is no goal to this experiment other than the goal of perpetually discovering new forms and new ways of perceiving, it is an infinte game. An infinite game is played for the purpose of continuing play, as opposed to a finite game which is played for the purpose of winning or defining winners. It is an act of free will. No one can 'play' who is forced to play. Play is, indeed, implicitly voluntary'.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Genesis uses incidental, as well as self generated crisis, to evoke, stimulate and manipulate creative impulses, and autonomous states of mind. He also allows himself to be used by other people: '...you allow everyone else to come through you, and transmit through you all the anger, and confusion that they have felt since they were born. And that's the job of the artist, whatever medium they use; to be a vessel and a vehicle for the mind, the dreams, the unconcious mind of the people who are confronted with their art'.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">The celebration of distress, hurt, anger, through art is likened by Genesis to an 'exorcism and an expression of the neuroses, the fear and the liberation of a tribe' The 'artist' (creative agent) Genesis takes on the role as 'vehicle', and of 'vessel' through which to channel the hurt of the 'tribe' as one fulfilling a responsibility for the well being of that tribe. The creative impulse towards 'being' the artist 'vessel' is perhaps, in itself a vehicle through which to channel some of his own personal distress. In this way, the artist takes on the archetype roles of Martyr, Hero/Warrior, Christ figure, playing out the possibilities inherent in each of these possessions. Consumed by these personified creative state, the field of perceptual possibilities is forced to broaden. The creative gaze of the artist turns from parents, to school, to institution, to government, to humanity. With each transference, he uses actual instances of injustice and hurt in his own life to identify the 'similarities' and type of control used by larger regimes. So the child becomes a victim frustrated by the mechanisms of enforced control which dictate it's existence. Through confrontation, and absorption into such situations, the artist is forced into martyrdom, acts of terrorism and spiritual scrutiny. Genesis forces himself into dangerous physical and psychological areas where the act of survival becomes creative. Such situations are experienced and supported within the complex framework of private rituals, which serve to focus Genesis, both physically and psychologically, on a given purpose, idea or path of exploration.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Experiences within altered state of consciousness can be likened to the childhood practice of creating separate, marginal 'spaces'. Experiences within such 'spaces' or altered states of consciousness, are never fully articulated, but are manipulated by Genesis into images, symbols, fragments of sound, and words. Such images and symbols are only 'responses' which present themselves to the concious mind - they are possibilities, not solutions. Genesis allows fragments of information to break through into the conscious, making a positive decision not to attempt to define, or fully describe their meanings. Such information is manipulated into the everyday situation, and into popular culture, which again can be associated with the preoccupation of creating spaces, in this sense, imaginative/sensual spaces. Genesis P-Orridge is pro-active in the development and exploration of personal disciplines and mechanisms for the purposes of holding back logical rationalism which might block access to creative states of altered perception. The personal battle is then to maintain such altered states on a semi-sensual/ experimental level, almost on a full-time basis. In this way Genesis P-Orridge moves beyond passive, intellectual descriptions of the principals of political, economic, psychological control, and places his physical, emotional, and psychological self in the path of destruction. By doing so, he is able to formulate theories, models and manifestos which not only embody the innate possibilities of practical responses, but also highlight the level of sensual connectedness which ties the politics of the internal self to the strategies of external systems of control. Evidence of this kind of association between personal and social politics, can be seen in 'Giftgas' which moves from 'a children's story' to 'a medical casebook' into a manifesto and 'political theory'. Culture is viewed as the battleground, or playing field, onto which theories, models, amnd manifestos are thrown. The emphasis in writings such as 'Giftgas' shifts from pain to pleasure, as the notions of fear and guilt, desire and freedom, are constantly replayed, generating quantities of variations on a theme, 'possibilities', and posed questions, which remain attractively open ended. These are TRANSMISSIONS -'projected areas of learning', which are intellectually interactive. They contribute to the 'live ammunition' which is littered about the battlefield of culture. The battle for the 'self' is, and should be, NOTHING SHORT OV A TOTAL WAR. The idea is projected not the solution.</span><br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">'The Basic premise in all my work has always been, if I think about something and it seems to make sense, to project it into the public arena of popular culture. To see wether it survives or not in it's own right, to see what happens and what is confirmed and denied and what creates interesting interactions and confrontations. To use popular culture as the alchemical jar and see what happens. Why I have to do that, I don't know. It's just been a drive for so long'.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">Despite their dominant silhouette, these 'spaces' are devotional, they are 'cathedrals' of possibility, the words and the images enacted within these spaces set off cascades of effects which, when viewed on mass, grow into labyrinthian, chaotic constructions not unlike the areas within the psyche from which they came.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">'What we need to do now is build, for our own protection and survival, we need to build speculative maps for peaople to make some kind of sense out of what appears to be random'.</span><br />
<br style="background-color: white; font-family: monospace;" /><span style="background-color: white; font-family: monospace;">A Postmodern view of culture would be that Culture is merely a collecting point for 'information', a battleground of possibilities. The projections of notional, or possible 'selves' are 'breathed' in and out of culture. Culture provides a database of possibilities, and the process of breathing information in and out, is the physical mechanism which assists personal development.</span>jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-5188646569519044072014-11-23T10:36:00.001-08:002014-11-23T10:37:27.776-08:00VIRTUAL MIRRORS austin osman spare essay 1995<ul style="background-color: white; font-family: monospace;"><ul><b>VIRTUAL</b><br /><b>MIRRORS</b></ul>
THEE PROPHETIC PORTALS <b>OV</b> AUSTIN OSMAN SPARE<ul><b>IN SOLID T.I.M.E</b></ul>
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<tr><td><tt><cite>"Since all phenomena (or phenomenally appearing things) which arise present no reality in themselves, they are said to be of the noumena (in other words, they are of the Voidness, regarded as the noumenal background or Source of the physical universe of the phenomena). Though not formed into anything, yet they give shape to everything. Thus it is that phenomena and noumena are ever in union, and said to be of one nature. They are, like ice and water, reflection and mirror, two aspects of a single thing."</cite>The Seven Books of Wisdom - Tibetan text.<br />In the case of a mirror, there is a third aspect, the subject/viewer. Mirrors reveal and conceal. Their mystery permanent, their hints at doorways, windows, points of entry, and thresholds just out of reach of our conscious minds. T.I.M.E. The Imaginary Mass Emits. Image. Idea. There can be no separation, scientifically or subjectively. The atavistic face gazes down into a crystal pool. Ice-cold water. Grunts. A hand shatters the image, fear gaunt and haunting passes across, a shadowy cloud, and through all T.I.M.E. that momeant can persist, be reclaimed.<br /><cite>"What is Time, but a variety of one thing?" </cite>Austin Osman Spare.<br />These momeants of T.I.M.E. accumulate, are listed under memory in our modern synapses, are posited as all ways retrievable, amorphous. Nothing is forgotten, all is permitted. In a stinking cave, muttering babies scream and scratch, furs undulate in copulation. In one corner, bright-eyed first marks are daubed on a wall. They are marks to function, marks of place, of T.I.M.E. They are marks to draw results and persist beyond one human lifetime. Instinct has arisen, snake-like, coiling it's SELF into intuition and suggested the very power of suggestion. No-one noted down from a book this PROCESS, it grew from watching the elements, closeness to life-sources, death-forces that modern persons are divorced from. On this damp stone there is a curve, it is land, horizon, ejaculation, movement.<cite><br /></cite><cite>"Magick consists in seeing and willing beyond the next horizon." </cite>The Sar.<br />Mrs. Patterson stares down. Pencilled into existence. It is her as she WAS when she took Austin Osman Spare at 14 years old and initiated him into the art of sexual magick and a power-full system of sorcery (a primal oral tradition preserved through female bloodlines) that she had rediscovered and regenerated through her covert communion across T.I.M.E. with systems and techniques that grew from a most animalistic and pure union of instinct and inherited DNA encryptions. This woman knew, and she taught Spare, how to travel through T.I.M.E., and just how malleable and manipulable a form of energy and matter I.T. was. ( where I.T. = Imaginary Time). She also instructed Spare in techniques that could empower him to remain Present in L-if-E, after an apparent physical death. She was a medium, but her guides were not the "New Age" romantic, and patronising ikons of native peoples and tribes. Not just Indian Chiefs, Pharoahs, Tibetan Rinpoches or aborigines. They were more like the creatures of Clive Barkers "Hellraiser" visions, or the demons in "Evil Dead". They were the deepest, most atavistic and raw representations of the alien that we can experience. Equivalent, if you will, to a seriously hard-core DMT entity confrontation. Mrs. Paterson understood a most particular secret. Her medium was her SELF. She was quite able to travel through mirrors and throughout T.I.M.E.<br /><cite>"Look at me, my face: do you not detect a close resemblance, it is hardly surprising - I look like everybody. You will learn why later. Say it aloud then, or are you afraid now: that I resemble you, that I am your living image. You are standing before a mirror."</cite></tt><br />
<h6>
<tt>
Lord Patchogue.</tt></h6>
<tt>
<br />There is a drawing in my possession by Spare, a pencil and gouache, finished in 1928. The main figure is Mrs. Paterson. Coming from behind her head, making a blister in a shimmering green pencilled aura, is a half completed face. It belongs to no-one, everyone. It is her at times, it is cavalier, it is also Austin Osman Spare. This one picture contains all the secrets Spare never wrote down, and his books are thorough, precise, and often opaque. Spare appears in the bottom right-hand corner, represented as he projects he will look as an old man, eyes closed, concentrated, manifesting, it would seem, the other beings in the picture. Remarkably, his projection of an older SELF is uncannily accurate.<br /><cite>"he interest alone was valid, at least, who can<h5>
find his path without recourse to the senses.</h5>
The five illegitimate senses. By "interest" should be understood the stake, the promise of some comfort, a pleasure, a discovery."</cite><h6>
Jaques Rigaut.</h6>
<br />What Spare is doing is "tricking" us. All his writings are symbolic, they were never intended to be taken literally, as illustrations, on any level. His writings are primarily journals, decorative encryptions of basic techniques of travel. But they are appendices to the REAL work. This special trick was to convince everybody that his drawings, paintings, and images were symbolic, fantastical, products of his imagination. They are in fact the essence of his sorcery. Like all great sorcerers, he hid his central secret in apparently commonplace medium. What we discover in this key picture is that he is actually kneeling. It is actually a "photographic" record of his prediction of both his own bodily death, and his worship of Mrs. Paterson as the keeper of immortality. <strong><br /></strong><cite>"Lord Patchogue dashes to the mirror to assure himself that he is still there, not really he himself, but his nose, the nose that he saw only a few minutes ago. It is not so much his existence he doubts as that of each of his attributes, and if not of their existence then of their legitimacy."</cite><h6>
Lord Patchogue.</h6>
<br />Spare made consistent use, for very specifically sex magickal reasons, of late middle-aged prostitutes who would normally be considered "brash" and heavily made-up. Women who could, in his mind, represent Mrs. Paterson at the age she seduced and instructed him, and thus charge more powerfully his sexual magick rituals and Sigils as a result. Just as the sorcerer repeats elements of ritual over and over again, and uses the same magickal tools, incenses, incantations and so on repeatedly to achieve a cumulative effect, so Spare recreated a virtual sorceress to revisit, the precise intersections of T.I.M.E. and Space that she had imprinted in his brain. Through this reputedly sordid, but actually visionary method of sexual magick was able to return at Will to a potent portal, an access point into the matter of T.I.M.E. itself, and then, even deeper, into what we can only call Timelessness, though outside T.I.M.E. might be a more accurate way to articulate the state. These women were close enough to Mrs. Paterson in cosmetic physical appearance and characteristics to be used as a focussing visual key enabling him to be accelerated at the momeant of orgasm, just like a particle accelerator, into direct, inter-dimensional contact with her, and the infinite previous hers that had ever existed. This is more easily understood contemporaneously, now, in a post-DMT experiential environment. In other words, DMT would be a very good equivalent experience of what this catapulting might feel like. However Spare could recreate this at Will, and via WILL TO... over and over agen, with deep lucidity and in a state of sexual intoxication, rather than biochemical intoxication.<h6>
A drug free splitting of the atoms of T.I.M.E.!</h6>
<cite>"Lord Patchogue stands up. He studies his full-length portrait in the mirror. Five senses are not sufficient for his chance companions; once more they shall miss the show; they are no more ready to perceive the presence of mystery than they think of death."</cite><h6>
Jaques Rigaut.</h6>
When Mrs. Paterson died, he was able to take a particular aspect of her lifesource and literally preserve I.T., still "living" into this, and one or two other, pictures. This is not to be misunderstood as in anyway vampiric. That is not what we're dealing with here. This is a much more deeply fundamental sorcery. Spare is consensually keeping open a portal of connection between the primal interdimensional knowledge and entity that was represented by the physical manifestation within linear T.I.M.E. by Mrs. Paterson's existence on this particular earth, at a partiocular alloted momeant. In the same mysterious way that, if you Will, a mirror can contain all that it faces in what seems an equally "real" world, so Spare's pictures can hold the entirety of the images and entities that he represents in them. They are THERE. The frame is exactly intended to be experienced as, and function as, the edges of a mirror. Although, becuase it is a plastic, more fixed medium, we often cannot see around the inside edges by moving, as we can with a mirror. As we cannot all ways change the amount, and depth of what we see simply by moving, as we can with a mirror. Do not be fooled by mundane physics. There are specific periods when, remarkably, the opposite is true, and these images do indeed become exactly the same as mirrors, representing an entire portal into a parallel omniverse. Further, I would suggest, indeed insist, based upon my own personal experiences, and those of many other colleagues who have acted as controls, and/or guinea pigs in my experiements with these pictures to act as confirmation, or dismissal of the actuality, that these pictures do not just become virtual mirrors. They become living portals that animate, through which entities can travel, accessing our "world" and bidding us into theirs.<br /><cite>" I only murder that I may return." </cite>Mary Bell - Child Murderess aged 7.<br />In the picture, when Mrs. Paterson died, he fixed her in this picture. We see him. He sinks INTO her chest, is absorbed, they rise together, androgenous, genderless both their faces, and all their ages superimposed to create one alien being. One inter-dimensional entity. He has drawn himself dying, conjuring himself into this picture in advance of that event, so that he may all ways return. Like the Cocteau character crossing back and forth through the mirror. <cite><br /></cite><cite>"Art can contradict Science." </cite>Austin Osman Spare.<br /><cite>"Art is the truth we have realised of our belief"</cite> Austin Osman Spare.<br /><cite>"Do you see those flowers growing on the sides of the abyss whose beauty is so deadly and whose scent is so disturbing? Beware..." </cite>de Guatia.<br />In these sorcerous images, these his purest incantations through Art, Spare uses a graphic skill and technique second to none. Yet his most commonly seen works can appear deliberately fast and loose. The nearest modern parallel would be Salvador Dali, who could suggest perfection and hypereality in a few precisely placed marks and intersections, and through his works worship HIS own personal sorceress Gala. Dali's photoreal technique is accurate in an unearthly way too, and Dali uses delerium and dislocation of the senses to catapult himself, and us, through the parameters of madness and obsession into his personal landscape and environment. Dali occasionally masturbated into his paints, particularly painting the leather strap across Hitler's back, and made good use of the canvass as a virtual mirror viewed from one static position. I would argue that Dali, despite his genius, was a naive, struggling to describe glimpses and fragments of vision, with an ad hoc quasi-magickal perception and aspiration. Dali did not build, though he hungered too, a system as unique, primal, timeless, and fully administered by informed, cumulative, and inter-dimensional arcane knowledge as Spare. Spare KNEW all too well what he was doing, conjuring, and building. A method of physical, and neurological immortality, a means to step outside T.I.M.E. Dali really wanted too, but remained finally, restrained by his inability to travel beyond use of his imagination. For Dali, the mirror was a solid barrier into which he could gaze, but not travel. Spare was the very material of the mirror, the destroyer of it's boundaries, or limitations, and finally usurped every definition or mirrorness creating a virtual portal that accessed all momeants of T.I.M.E. past, present, future, none, in every possible and impossible infinite combination. T.I.M.E. is you see a solid, through which all passes, all is seen from a vantage point. As we lear to move our point of perception, so we act like a lens, or a mirror's surface viewed from above. Light, thought, life, passes through us, expanding outwards. We can place our mirrors anywhere, perceive them from any direction. Thus we are potentially everywhere, in every possible T.I.M.E. and every possible dimension. All travel is possible. We are an amorphous infinite density of matter. The matter is T.I.M.E. I.T. is all a matter of T.I.M.E. T.I.M.E. is malleable and thus both the portal and the means of travel. We can leave, we can return, we can cease to exist. This is the "virtual mirror" of Spare. These are the prophetic portals. But they do not prophecy Art. They prophecy an end to materiality. A disinegration, a dissipation of our corporeality beyond anything so far confessed in the small wooden box of physics.<br /><cite>"The future is in the past, but it is not wholly contained in the present."</cite> Hoene-Wronski.<br />Brion Gysin was another such artist of the future, another such alchemist and sorcerer who used Art to create T.I.M.E. and inter-dimensional travel. He used a different style. More abstract, more directly concerned with encryption, coding and decoding, and with a clear appreciation of post-linguistic magick.<h6>
"Rub Out The Word"</h6>
he would emphasis. He too was absolutely aware of the implication of his experiements and their functions. Both Gysin and Burroughs accepted as a given that the central power of their works was to trick T.I.M.E. and through another system of cumulative effect, manipulate and navigate mortality and all sources of pre-recorded L-if-E; brain; entity; location and the process of control that locks us out of this inviolate humane right to transcend physicality. Gysin was a practising magickian first and actually described at length to me in Paris his long T.I.M.E. practice of mirror staring, and the incredible melting of consensus reality that resulted for both him, and many others of the Beats. He suggested that there are "hot spots" in cultural engineering, and vehicles of convenience that accelerate the inevitable for those reckless and/or courageous enough to risk all for a possibility of disincarnation, of leaving behind the host physical body forever in a necessary transmutation into otherness, alien being, that must be the only valid goal of any of us if forward motion and discovery are truly our agenda. In traditional Western Occulture this letting go of all preconceptions, all expectations, all value systems, all inherited moral imprints, all concepts of SELF preservation, and all distictions is referred to as "The Abyss". <cite><br /></cite><cite>"See a cliff, jump off." </cite>Old TOPI Proverb.<br />Both Spare and Gysin lived to pursue, and attain, new dimensions. They understood the hunger to pursue successful systems of sorcery, not knowledge. This alone made overt collaboration with magickal groups impossible. Where the need for nostalgic elitism, power implied by academic recall, and self-image measured by the length of one's bookshelf far too often camouflage mere self-agrandisemeant, and the essence of motivation is the servility of others. Gysin incorporated tape-recorders, permutations, projections, trance musics, mathematical formulae. Spare incorporated his own body, sexuality, and dimensional fluidity. Both were prophets of portals of virtuality and developments in quantum neurology that later became possible, and, as egalitarian (to a degree) access to cyberspace and other synthetic worlds expands globally, now become at the very least more likely, I would propose inevitable. The world we appreciate in a mirror. That world where as we get close, appears to be a large, and equally as "real" as this supposedly more physical consensus reality; and the world of Spare, where the frame of the image is arbitrary, where creatures, and perceptual environments are frozen in a precise cryogenic graphic. These worlds are mere precursor of the apparently limitless, and multi-dimensional possibilities heralded by the microchip. This century wills to be remembered eventually as the century during which the cut-up, the splitting of atom by relativity; of mind by psychedelic compounds and of linear thinking by cultural nihilism were the primary themes. Spilling over into social fragmentation, online alienation, and a dataglut that by its very scale, insists on acceleration of response by our brains, and a highly developed perceptual skill of instant, and arbitrary assembly "to see what is really there" as W. S. Burroughs has stated.<br /><cite>"Lord Patchogue and his reflection slowly advance towards each other. They consider each other in silence, they come to a halt, they bow. A great dizziness seizes hold of Lord Patchogue. It was brief, easily done, and magickal: forehead first, he suddenly springs forwards. He strikes the glass, which shatters, but there is no one on the other side."</cite><h6>
Jaques Rigaut.</h6>
<br />Spare was aware that mystery and magick, in themselves, generate at the very least a morbid fascination, and reaction in humanE persons. He consciously used his books, his twisted Beardsley-esque graphics , his atavistic writings, to attract our interest after his physical death. Not for reasons of ego. I would contend that it was to reactivate his "mind" and re-animate his psyche. Sound far-fetched. Well, personal anecdote, take it or leave I.T.<br />One of the Spare paintings that I used to own (now in the collection of Chris Stein) was called "The Ids". Every New Years Eve strange things would occur. Most noticeably, the two faces of Spare himself, that faced each other, would re-animate. Many different guests would suddenly gasp and say, did you know that the faces in that painting have "come alive". "They are arguing." None of these observers knew who Spare was, or any of his, or my own, ideas. Eventually I checked and found that Spare died on New Years Eve 1956. A medium called Madame Bruna, also, on a social visit, was shocked and disturbed by the "Mrs. Paterson" image. In fact, it was these repeated witnessings of the faces becoming real, moving, talking, changing, that led to the thoughts in this essay. In the case of the "Mrs. Paterson" picture, nobody felt anything malevolent. Just a powerful experience, of people "trapped in a mirror". "The Ids" however, was different. Something one could only think of as "bad" always happened when it animated. It got so predictable and incontrovertible that I took to putting it in a cupboard, facing the wall for a period before, and after New Years Eve each year. The last phenomenon was particularly odd. Before travelling abroad I arranged for two people to caretake my house in Brighton. I warned them, almost like in a fable like Hansel and Gretel, that they must not touch, move, or hang up the Spare painting "The Ids". Which was in the loft space of the house, facing the wall. I told them it may sound superstitious or stupid, but please trust me on this one. I guess, inevitably, they felt this as a challenge and chose to not only turn the picture facing outwards in the loft, but to spend a night staring at it and sleeping in the same space. Apparently, as they tell it, after an hour or so, the picture seemed to fill the room. Spare argued with himself, as usual. Then a new thing happened. The central face of a one woman (there were three women's faces above Spare's heads) came alive too. The picture seemed to grow into a huge mirror, filling the visual perception of one whole end of the loft. The room seemed to fill with green mist, and then holding her hand out, this woman walked out of the "painting" and came towards them.. In the inanimate painting, the heads are floating in a green field, no bodies. They have heavy make up on. Like the prostitutes Spare favoured for his psycho-sexual sorcery. Both people paniced, and ran from the loft. Locking the door behind them. From that time on, various destructive events affected the house, and them. They had let loose, in classic horror film style, an entity, that WAS malevolent, and with it's own agenda. One of the two people became alcoholic, both had mental breakdowns. By the way, Chris Stein WAS aware of this side of the paintings Astory, when he purchased it.<br />Spare had been shrewd enough to make ALL his secrets non verbal, and non-linear. Not one explanation of these secrets is contained overtly in his writings. He was, in the best covert cultural traditions, working for his SELF alone. Only the atavistic hintings, and the "Virtual Mirror" drawings and paintings can articulate, and bear witness to, his phenomenal achievements.<br /><cite>"The Universe is a creative PROCESS carried on by man's imagination, an operative power capable of becoming more supple, more animate."</cite> Teilhard de Chardin.<br />What is happening in these certain key pictures? I would propose a few speculations. All ideas have an image. We are originally an heirglyphic species, before the restrictive linguistic and alphabetical systems we use now were adopted. Adopted I might add, purely for reasons of control, and the compression of both vision and potential in all of us. All the materials used to create and fix an image are material. They are formed of patterns of atoms and molecules, charged by certain energies that hold their specific clusters together in some way. Modern psychology also tends to accept that Ideas are material entities, like animals and plants. All mythological ideas, Jung suggests, are ESSENTIALLY REAL, and far older than any philosophy. They originated in primal perceptions, correspondences and experiences. The catalytic element that regenerates a reaction between entitic Ideas and a spectator and that favours parapsychological events, is the presence of an active archetype. In the specific case of Spare's virtual mirror art, this element can be anything from an obvious glyph (condensing and compressing a desire), a non-decorative aesthetic arrangement, or in the most intense "portal" works, an invisible charge of energy which somehow calls the deepest, instictual layers of the psyche into action. The archetype is a borderline phenomenon, an acausal connecting priciple, closest in explanation to deliberately controlled, SELF-conscious synchronicity. When Spare describes in certain of his texts "Self-Love" as, if you will, the engine of his sorcery, I believe he means SELF-CONSCIOUS, yet egoless. When he uses the word CHAOS, which he profoundly championed from the start of the century, he is leaving a key evidentiary clue and amusing himself. Austin Osman Spare's "CHAOS" is both a sugnature, and a signpost into future T.I.M.E. ( ChDVH (CH) = JOY=23) Thus we get CH-A.O.S. Both his name, and his confession of secret sorcery.<br /><cite>" Art is the instinctive application of the knowledge latent in the subconscious" </cite>A.O.S.<br />After Mrs. Paterson died, Spare was waiting to be inside her again. Fused with her sexual-magickal energy. Inside her also, in the sense of two liquids mixing to create a third amalgam. Two cosciousness' as well, the "THIRD MIND" of Brion Gysin. This is not romantic fiction. This is a prediction of some of the inter-dimensional forays that are subscribed to very convincingly by Terence McKenna, and other such botanical voyagers. In this key picture by Spare, what we are really seeing is both his projection into the actual future moment of his own death, and the way Mrs. Paterson looked exactly at the moment of her death overlaid. His aim in all his sorcery was to reunite his spirit and hers, captured within the dimensions of his artworks so that through this PROCESS they could both quite literally, live forever. An interesting twist on the idea of great art making the artist immortal! In this case I mean immortal quite literally. They do still live. Just as our concepts and assumptions about reality, and varieties of perception have been forever revised by the advent of virtual reality, and quantum psychology, so our concepts of linear existence are confounded by the manifestation held in stasis in these virtual mirrors.<br />Keep in mind all ways the Cocteau "mirrors" the passing through. The "other side" where different rules of physics and continuity apply. We are finally accepting that everything is truly in constant flux, that the malleability of all matter and all constructs is not just theoretical, that T.I.M.E. is equally an energy and matter as flesh, and that projected images and virtual worlds are as valid and vibrant as the basic inherited consensus possibility that we tend to arrive trapped in squealing and pissing from our mother's vaginas. We are witnessing the realisation that everything everyone says is true. That evertything BELIEVED is real. That bodies are mere vehicles for transporting our BRAIN and that mortality is primarily a philosophical control process. Why, my children, even that dear old anarchist construct "The Bible" was assigned the alchemical message more significant than Mr. Robertson might chose to consider.<br /><cite>"Have I not said that faith can move mountains" </cite>some old prophet or other!<br /><cite>"The marvellous is not rare, incredulity is stronger than miracles"</cite><h6>
J.Rigaut.</h6>
<br />Apart from the more dramatic animations already mentioned, many unprompted witnesses have been shocked to see Mrs. Paterson's eyes close, open, cry, her whole head turn. Quite literally a living portrait. Magick makes "dreams" real, makes the impossible possible, focusses the Will to...Throughout occult circles in all ages crystal, water, polished metal, mirrors of all types have been used for oracular purposes. Spare's massive achievement is that he recognised the potential of art, of image, to be the most powerful magickal mirror of all. A window in T.I.M.E. An interface with death. An interdimensional modem. In his art he captures not just an image but a life-force. What seems to happen is that the individuals consciousness' contained within the art remain dormant in this reality until they come into contact with the minds of certain others, or as an intersection with linear T.I.M.E. sets in motion a preprogrammed "software" sequence of interactions. Primal, atavistic "aboriginal" peoples knew this. Sometimes facilitated with botanical catalysts they would invest immense and potentially limitless powers in specific totem images and glyphs or sigils. This use of the image as scrying mirror and as neurological nuclear energy is very different as a function of "art" to the post-patronage, post-craftsperson 20th Century norm of Art, with that horribly big "A". In contemporary elitist art you actually don't get anything much back except aesthetics. You certainly don't get mum-mification and T.I.M.E. travel! But we must never forget that all art grew from sorcery, and from the concealment of gnostic, and alchemical proceedures from those who would be "King". Art was synonymous with, and a direct aspect of Magick. It was functional, and it was dedicated to the processing of immortality, and the opening and preservation of portals. ( By the way, I would argue that "cyberspace, or the PSYCHOSPHERE as I would prefer it was called, is an extension of this perception and function in just the same way and we are just glimpsing the beginnings of the somewhat cack-handed access we've so far realised.)<br />Anyway...Spare achieved the forgotten. That which vested interests in all status quos considered impossible, even blasphemous; a two way comunication where HIS image reacts to and with the viewer. It has a life of its own. The nearest parallel, a virtual mirror in which you can see another world., one that we cannot touch, the glass remaining solid and frustrating us. What this energy held within his images is doing is transcending the barriers of observed T.I.M.E. so that what we are seeing is a five-dimensional object or image. This form of energy wills to have existed at all times, and wills to exist at all times.<br /><h6>
<cite>"One cannot traverse the mirror with impunity,it is not possible."</cite> J. Rigaut.</h6>
<br />An objective (Hah!) and critical survey of the available data would establish that perceptions occur as if in part there were no space, in part no T.I.M.E. Space and T.I.M.E. are not only the most immediate "certainties" for us, they are the most misleading, doomed to be discredited as separate and abstracted states imminently. They are also usually considered empirical certainties too since everything observable is said to happen as though it occured in Space and T.I.M.E. In the face of this overwhelming "certainty" it is understandable that "reason" should have the greatest difficulty in granting validity to the peculiar nature of "delerious" phenomena, or paranormal events. But anyone who does some amount of justice to the<h6>
facts</h6>
cannot but admit that their apparent space-timelessness is their most essential quality. The fact that we are totally unable to imagine a form of existence without Space or T.I.M.E. by no means proves that such an existence is, in itself, impossible, and, therefore, just as we cannot DRAW from an appearance of space-timelessness, any ABSOLUTE conclusion about a possible space-timeless form of existence, so we are not entitled to conclude from the apparent space-time quality of our perception that there is NO FORM of existence without Space and T.I.M.E. I would imagine though that any of you fortunate enough to have had a particularly enervating moment of psychedelic experience will be more empathetic to the speculative space-timeless state! <strong><br /></strong><h6>
<cite>"The reverse is just as good as the right side:it is necessary to wait there."</cite></h6>
Jaques Rigaut.<br />Just as "physics" now tends to allow for "limitedness of space", a relativisation, it is beginning with Catastrophe Theory/Fuzzy Geometry/Chaos Maths/and other quantum disciplines to posit a "limitedness" of both T.I.M.E. and Causality. In short, nothing is fixed, "IT'S OFFICIAL!", the possibilities alone are endless ( the banner/slogan of a magazine I founded in 1968 called COPULATORY HADES).<br /><cite>"Conscious looking is a search for verification of the notions that impel the search, and all ways has a circular mirroring element within I.T."</cite>Genesis P-Orridge.<br />In Spares most critical images, it seems a medium has been synthesised whereby the essence that survives death, but is usually beyond our communication, has been transmitted into an object that we are familiar with i.e. a painting or drawing. And we are therefore familiar with trying to interpret or receive information from. Because of the familiarity of the medium of painting, we don't put up paranormal, sceptical, or too many emotional barriers. We expect to try and see what the artist wanted to present, wanted to communicate ( though personally I see little of that in contemporary "deceptual art" as Gysin used to say) If Spare said he was going to capture himself within the frame and canvass, and facilitate immortality, or at least, a very different medium of mortality, demonstrating "life" after apparent death, most observers would switch off, or scream ridicule tinged with an inate fear of the unknowable. There would be an interference with the transmission. Because Spare seduces us by allowing us to dupe our SELF into assuming what we view is an artwork, a picture, when in fact it is a "photograph" of a mirror of an actual, or virtual reality, a mortality software if you will to, because of the self-deception we remain open-minded. This open-mindedness is essential to the functioning of the sorcery at the critical T.I.M.E. intersections that animate I.T. (New Year's Eve for example) and increases the chances that the phenomenon of actual physical changes.<br />The observer, if fortunate enough, wills to see that which many of us in this rightly post-existentialist age choose not to believe in, or to be heartily sceptical of, namely living, moving, changing images of a post-death entity, or brain-essence. This is all as acutely programmed as any software, except, allah be praised, it's NOT binary, not an either/or programme. Which probably explains Spare's success, as, surprise surprise we DO NOT, never did, live in an either/or universe, and all binary systems are fallacious, serving only to block the righteous evolution and maximising of potential of our species, a species programmed in it's DNA for only one ultimate function, to transcend all need for a physical body, fixed in linear T.I.M.E. and Space. You will see this entity reacting to you, it receives and transmits direct into your conscious five senses. It must also be transmitting directly into your other levels of consciousness too, and your other hypereal senses. Presumably we transmit back to what is there, so what is there wills to change by absorbtion over the years as it reacts to and is triggered by all the various observers. All these factors mingle and mix, and mutate. Mutation, after all being the sincerest form of flattery.<br />The "soul" (advert for the BRAIN as Dr. Timothy Leary once suggested to me) is generally said to be visible through the eyes, the mirror of the soul. The eyes, jewels of actual brain exposed directly to the outside. The neuro-visual screen of the BRAIN. In the key Spare work centered on Mrs. Paterson and executed in 1928, her eyes are neither open, nor shut, and this is true in many of Spare's virtual mirror works. They are neither rejecting the possibility of seeing a captured "soul", nor openly inviting I.T. This half-open, half-shut limbo suggests responsibility lies with the viewer to choose whether or not to commune with any frisky entities that manifest. In fact, on many occasions an interesting further mutation frequently occurs. The eyes become ALIEN, not disimilar from the classic Schwa portrayal. As if coated with an almost reptilian film of non-human skin. This alien quality seems to be amplified by Spare's technique of painting himself old when he was in fact young, and of course later, painting himself young when he was by then old. Forming an infinite envelope of T.I.M.E. in effect. Spare moves back and forth through T.I.M.E. as he succeeds in presenting us, via the image with the apparently impossible, or miraculous - IMMORTALITY. Sorcery has all ways made effective and functional use of the process of reversal to confound expectation even at the root of the most sacred and central scientific assumptions.<strong><cite><br /></cite></strong><cite>"Lord Patchogue launches himself through the mirror a second time. A crash of splintering glass. Lord Patchogue stands before another mirror, facing Lord Patchogue. On his forehead, the cut is bleeding once again. Lord Patchogue repeats </cite>"I am a man trying not to die" <cite>And when he passes through the third mirror amidst a noise which is now familiar, he knows that he wills to meet Lord Patchogue whose forehead will be bleeding more heavily in the fourth mirror and who will tell him </cite>"I am a man trying not to die".<h6>
Jaques Rigaut.</h6>
<br />The psyche, in its deepest reaches, seems well able to participate in an existence beyond the web of Space and T.I.M.E. This dimension is often dubbed "eternity", or "infinity" yet it actually seems to behave; if we for the moment take Spare's art as repreentative and more vitally, FUNCTIONAL, and in no way symbolic; as either a one way or two way mirror dependent for it's operation upon a translation of the unconscious, into a communicable image that bonds the actual atomic structures of the graphic image with its driving forces unlocked from the unconscious into a fixed or mobile source of power dependent upon previous viewers, and with more critically, our own individual abilities to interface directly with it.<br /><cite>Accept nothing, assume nothing, all ways look further, be open-eyed as well as open-minded and don't kid your SELF." </cite>Genesis P-Orridge.<br />Keeping the speculation simple for now. If in theory, as all matter is actually vibrating tiny particles with lots of groovy names, it is just possible that we could walk through walls. Then it is also theoretically possible to lock clusters of the same particles and energy into the fabric of an image giving it the ability to move, change, alter and animate its content. The only gap of credibility being first hand experience. We don't usually believe anything until it happens to us. We only really know what we have experienced, belief is rooted in recognition.<br />Every now and then as I type, you'll not be surprised to know, I wonder if this is going to sound too "out there", "crazed" as you the observer read it. I already know it gets a little opaque, for which my less than humble apologies, and of course it assumes you know what the fuck I am referring to vis a vis the paintings themselves. Oh well, tough. This subject leads us to a bigger "picture" a discussion of the parallels between virtual space, the creation of deities, immortality and the Psychosphere from a Processean perspective that will to arrive on another occasion. But I digress... <strong><br /></strong>Imagination opens to synthesis larger than the sum total of reason. New images reflect more than logical synthesis can produce. There is a radical discontinuity in every truly creative idea or discovery.<br /><cite>"I.T.'s all a matter of T.I.M.E.." </cite>Genesis P-Orridge.<br />Projection direct from image to viewer involves more than the logical mode of thinking. An idea cannot exist separate from an image. For example, the Virgin Mary image embodies the idea of "compassion" perhaps. A Goddess or God is a figurative image of an idea. Images are the root language of social freedom and self expansion as much as words and alphabets are the roots of social control and self limitation. Science attempts to explain the omniverse objectively (yes, even now most of them) therefore it cannot explain "art" or more particularly the unique effects or phenomena Spare generates within "art". This is not a possible function of Science. (To be fair Science is, now, thankfully, beginning to include the point of viewing in its theories to great effect.) Science cannot tell us why Spare's images can alter, why his faces change, eyes open and close, colours vary. Photographs are said to steal "souls" they certainly capture a moment in T.I.M.E. Freeze I.T. So do the images and oracles of "art". For art was originally revelatory, prophetic, functional, shamanic. Fully integrated into every detail and aspect of life.<br /><cite>"He who transcends Time escapes necessity." </cite>Austin Osman Spare.<br />Spare's images capture the PROCESS of creation, the thoughts of the creator, and the memories of the viewer.<h6>
(CHANGE THE WAY TO PERCEIVE AND CHANGE ALL MEMORY - G.P-O.)</h6>
These memories of the viewer recall past events and feelings that are more compact, briefer than when they took place originally. They are compressed. Memories are Past-T.I.M.E. accessed into Present-T.I.M.E. T.I.M.E. is not however linear, all T.I.M.E. exists similtaneously and points in every direction similtaneously. I.T. is quaquaversal, omnipresent, in fact, all the usual definitions of "GOD" in the Catholic Church. There is really no reason why Spare's paintings and images should not capture T.I.M.E., thought and experience, then recreate and expand it in the viewers mind.<br /><cite>"All nature is a vast reflection of that which is within us, or else we could not know it." </cite>Austin Osman Spare.<br />Subjective experience is no less "real" than objective conjecture. All roads lead to Rome in a mirror to mirror function. This function of mirroring is found in the trance state in a simple direct way. The higher techniques of idea and artist's illusory skills makes effects and phenomena active through the dimensions of Spacelessness and Timelessness in ways normally consigned to the sceptical parking lot of modem existence. T.I.M.E. mirrors T.I.M.E.<br /><cite>"Embrace reality by imagination". </cite>Austin Osman Spare.<br />Years of trying to rationalise inexplicable "experiences" dis-integrate and only the most extreme speculations and constructs of impossibility begin to get close to giving answers that we see and feel. We are "HERE TO GO" as Brion Gysin succinctly stated. But not just here to go into inner and outer space, though that PROCESS is one part and conceptual parcel of the final aspiration. We are here to go OUT of the physical body. To enter the solid pool of T.I.M.E. To be fully integrated into that matter, of T.I.M.E., that connects us with EVERY moment, in every direction, and every parallel or conflicting omniverse that ever was, wills to be, or intends to be. Intention is the key and the PROCESS is the product.<br /><cite>"The Life Force is not blind. We are." </cite>Austin Osman Spare.<br />T.I.M.E must be reassessed as a "SOLID" as a form of "CONSCIOUS-NESS" as the key element in the atomic scale. As the covert energy hidden in the Million and One names of deities. Life is ONLY a brief physical manifestation outside the circles of T.I.M.E. We can re-enter the T.I.M.E. pool, and we can re-manifest. This is exactly the same as entering the virtual wordl of "cyberspace/psychosphere" when you log on. Our appreciation of the implication of logging on must be developed from this deification perspective. Once logged on, we are vulnerable to all the agendas, traumas, neuroses, and brilliances of all other logged on individuals. We have re-entered a pool. No different to the pool of T.I.M.E., or the gene-pool, or "racial memory/DNA" pools. This pool I will to name the "<h6>
SPATIAL MEMORY</h6>
". Our understanding of time travel, physicality, possibility, and the malleability of T.I.M.E. and existence in a new contrived virtual world is prophecised by Austin Osman Spare, by Brion Gysin, by many artists and creators. This shift in our perception of T.I.M.E. and mortality is going to be the most important arena of discussion and philosophical, cultural engineering in the 21st Century.<br /><cite>"What is death? A great mutation to your next SELF." </cite>Austin Osman Spare.<br />The primary quest in Art, Life, Science, Brain has become a quest for reliable, repeatable methods for inter-dimensional travel and communication. Beyond the body and through the prophetic portals. Einstein, Spare, Gysin, Leary, McKenna and all the other visionary synthesists have contributed to the cumulative effect upon which sorcery is based. We can all play. By being aware of the implication of logging on. By designing conceptual and physical grids within the Psychosphere to facilitate accurate post-physical travel. By shouldering the responsibility we have accessed of "GOD/GODDESS BUILDING" our actions are the PROCESS that leads to the final unity and the vanquishing once and for all of any, any, EITHER/OR paradigms at last. This is the T.I.M.E. which shall end. This is the calendar that ceases to exist. T.I.M.E. and LIFE are not synonymous or fixed. Both are solids and can be shaped to our WILL TO...<br /><h6>
"The man trying not to die has propelled himself into the very essence of the mirror; he walks automatically, without curiosity; he manipulates time; he speaks with refraction; he communes with sight itself, without expectation; because he cannot do otherwise. With each step another mirror shatters. Another life is captured. All times intersect in his eyes."</h6>
Genesis P-Orridge/Jaques Rigaut.<strong><br /></strong><br />GENESIS P-ORRIDGE California 1995.<br /><br /><br /><br /><br />1.To be continued with a follow, detailed explication of the five Process-Eon Spheres of influence and the internal implication for immortality via the "internet" or Psychosphere.<br />2. For readers wanting to see/read more of Spare's works and ideas we suggest you write to the: TRANSMEDIA FOUND...NATION, P.O.Box 11534,OAKLAND, CA. 94611, USA. for a liist of available materials.</tt></td></tr>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-36164146697410293852014-11-12T03:11:00.002-08:002014-11-12T03:11:43.765-08:00William Burroughs Nothing Here But the Recordings rerelease<div class="_5pbx userContent" data-ft="{"tn":"K"}" style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 1.38; overflow: hidden;">
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Did a great video interview with Genesis Breyer P-Orridge today to discuss William S. Burroughs, the creation of the album "Nothing Here Now but the Recordings" and it's reissue on Dais Records next month. Thanks to Lou @fishdream and Chris @chrisrubinostudio for shooting the interview. Photo by Gillian @etherortheother</div>
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<img alt="Did a great video interview with Genesis Breyer P-Orridge today to discuss William S. Burroughs, the creation of the album "Nothing Here Now but the Recordings" and it's reissue on Dais Records next month. Thanks to Lou @fishdream and Chris @chrisrubinostudio for shooting the interview. Photo by Gillian @etherortheother" class="scaledImageFitWidth img" height="487" src="https://scontent-b-iad.xx.fbcdn.net/hphotos-xap1/v/t1.0-9/p526x296/10704130_10204544744071289_2871558198027367757_n.jpg?oh=204afa866097fdccc99ec1f8161dfb1e&oe=54E8AF59" style="border: 0px; height: auto; min-height: 100%; position: relative; width: 487px;" width="487" /></div>
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<a ajaxify="https://www.facebook.com/photo.php?fbid=10204544744071289&set=a.2819410237094.141356.1014031694&type=1&src=https%3A%2F%2Fscontent-b-iad.xx.fbcdn.net%2Fhphotos-xap1%2Fv%2Ft1.0-9%2F10704130_10204544744071289_2871558198027367757_n.jpg%3Foh%3De6f62789e3521107d33deeaee734b407%26oe%3D54ED7F49&size=640%2C640&player_origin=timeline" class="_4-eo _2t9n _50z9" data-ft="{"tn":"E"}" href="https://www.facebook.com/photo.php?fbid=10204544744071289&set=a.2819410237094.141356.1014031694&type=1" rel="theater" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0470588) 0px 1px 1px; color: #3b5998; cursor: pointer; display: block; position: relative; text-decoration: none; width: 487px;">From Genesis....</a><a ajaxify="https://www.facebook.com/photo.php?fbid=10204544744071289&set=a.2819410237094.141356.1014031694&type=1&src=https%3A%2F%2Fscontent-b-iad.xx.fbcdn.net%2Fhphotos-xap1%2Fv%2Ft1.0-9%2F10704130_10204544744071289_2871558198027367757_n.jpg%3Foh%3De6f62789e3521107d33deeaee734b407%26oe%3D54ED7F49&size=640%2C640&player_origin=timeline" class="_4-eo _2t9n _50z9" data-ft="{"tn":"E"}" href="https://www.facebook.com/photo.php?fbid=10204544744071289&set=a.2819410237094.141356.1014031694&type=1" rel="theater" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0470588) 0px 1px 1px; color: #3b5998; cursor: pointer; display: inline !important; line-height: 15.3599996566772px; position: relative; text-decoration: none; width: 487px;"><span data-reactid=".6q.1:3:1:$comment10204544744071289_10204550759661675:0.0.$right.0.$left.0.0.1:$comment-body.0.0" style="background-color: #f6f7f8; color: #141823; line-height: 15.3599996566772px;"><span data-reactid=".6q.1:3:1:$comment10204544744071289_10204550759661675:0.0.$right.0.$left.0.0.1:$comment-body.0.0.$end:0:$0:0">It was great being able to time travel back to early 1971 when we met "Uncle Bill" at his Duke Street St. James apartment, and how it took about 7 years to convince him to let us create this album with Sleazy (coil/tg) and James Grauerholz. The album i</span></span><span data-reactid=".6q.1:3:1:$comment10204544744071289_10204550759661675:0.0.$right.0.$left.0.0.1:$comment-body.0.3" style="background-color: #f6f7f8; color: #141823; line-height: 15.3599996566772px;"><span data-reactid=".6q.1:3:1:$comment10204544744071289_10204550759661675:0.0.$right.0.$left.0.0.1:$comment-body.0.3.0"><span data-reactid=".6q.1:3:1:$comment10204544744071289_10204550759661675:0.0.$right.0.$left.0.0.1:$comment-body.0.3.0.$end:0:$0:0">s now regarded as the definitive example of Bill's tape recorder experiments in the 50's and 60's, applying Brion Gysin's cut up concepts to sound, noise and language. Djin <span class="_1az _1a- _2es" style="background-image: url(https://fbstatic-a.akamaihd.net/rsrc.php/v2/yu/r/Vz2DDr8B8FU.png); background-position: 0px -3511px; background-repeat: no-repeat; background-size: auto; display: inline-block; height: 16px; margin: 0px 1px; vertical-align: top; width: 16px;"></span> Gen</span></span></span></a></div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-82708551701916430302014-10-26T05:43:00.001-07:002014-10-26T05:43:58.001-07:00Genesis Breyer P-Orridge recording notes on the Nine Inch Nails ‘Howler’ Remix Breyer P-Orridge ‘Howler’ Remix<br />
Some words about the remix, taken from Genesis Breyer P-Orridge's correspondence with Trent Reznor: <span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; line-height: 18.2000007629395px;">While I'm Still Here (Breyer </span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; font-weight: bold; line-height: 18.2000007629395px;">P</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; line-height: 18.2000007629395px;">-</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; font-weight: bold; line-height: 18.2000007629395px;">Orridge</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; line-height: 18.2000007629395px;"> '</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; font-weight: bold; line-height: 18.2000007629395px;">Howler</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; line-height: 18.2000007629395px;">' </span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; font-weight: bold; line-height: 18.2000007629395px;">Remix</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; font-size: x-small; line-height: 18.2000007629395px;">) appears on the deluxe package of the 2013 Nine Inch Nails albums "Hesitation Marks" </span><br />
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Lady Jaye, my other half, we married Friday June 13th 1995, was raised from a small child by her grandmother. In 1996, whilst living happily on 10 acres of redwoods with a creek & waterfalls and no neighbours, we heard Mimi, her gran, was severely ill, with colostomy bag, unable to walk and increasingly overwhelming Alzheimers. We agreed to leave California to go to Queens and take care of Mimi 24x7. After a year or so Mimi had to go into full time care as her dementia was so out of touch with “non-sensus reality”.<br />
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When we went to work with Sean on your beautiful song he told me his grandmother had just passed away a week ago from Alzheimers and dementia!<br />
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This all felt significant, though we don’t know your story and would never ask.<br />
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We had recorded Howler monkeys at LA zoo as they woke at dawn in 1996…and kept that tape for some special project. That is what is in the background. The trumpet is a Tibetan Thighbone trumpet, 300+ years old, the thigh of a virgin once owned by Trungpa Kunley of the “crazy Path” of Buddhism. There’s also a Shiva Sadhu’s serpent shaped trumpet. Both said to destroy demons…or in Western speak, release hormones that balance mental issues.<br />
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The voice at start and end is Lady Jaye talking about MIND is the being, not the body, just before s/he dropped her body. We wanted it to all be as intimate as you implied it was.<br />
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We are proud that the remix WAS included on the deluxe package.<br />
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We hope that information helps you see the story we were trying to tell with sound. We always feel music is storytelling, psychic hygiene/healing for our chosen tribe.<br />
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<br />jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-88913574210669780652014-10-25T22:33:00.003-07:002014-10-25T22:33:49.864-07:00Proposed 3-way book project between Genesis, Grant Morrison, and Douglas Rushkoff in the early 2000sProject Circa 2001-2002. This would have been interesting. Morrison has stated that the reason it never came together was due to losing touch with many of his acquaintances during the personal ordeal he went through in the creation of his comic's work THE FILTH.<br />
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More from Grant Morrison's take on the project.<br />
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<span style="background-color: #eeeeee; color: #666666; font-family: Raleway, 'Helvetica Neue', sans-serif; font-size: 20px; line-height: 34.1742477416992px;">We countercultural luminaries all tend to hang out together at seminars and summits all round the world so I’ve known Doug for years (he was a fan of The Invisibles and I loved his Cyberia book, so we hit it off fairly quickly) and met Gen at the Disinfo Convention in 2000, when we were both speakers and felt like I’d known him all my life. The book we talked about doing together wasn’t Pop Mag!ck (that’s the name of the book I’m currently writing about the new magical system I’ve developed over the last twenty five years of occult practice) but the brief idea was for us all to get high on Ketamine and talk about the universe until a book of discussions popped out. I’ll be seeing Doug again soon at the Omega Institute workshops in August so we’ll probably get moving on this again in some form.</span><br />
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-23492289030843796412014-10-25T02:30:00.001-07:002014-10-25T02:35:53.165-07:00Genesis P-Orridge "Exile and Exhilaration" early 1990's message on Youtube.Youtube user Conrad Holt has saved and uploaded the "Exile and Exhilaration" message recorded by Genesis in the early 1990's following Gen's exile from England. This circulated on VHS copies for many years. I believe this to be one of Gen's most important works with the talk of Television "Programming" and those controlling "The Light" being more relevant today than ever, showing just how far ahead Gen was thinking in the 1990s.<br />
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<b><span style="font-size: x-large;">PART 3 </span></b><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/G-RY2yx1P40" width="420"></iframe>jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-7026388071972492842014-10-09T15:32:00.000-07:002014-10-09T15:32:11.034-07:00Process Church of The Final Judgement letter to Stan Lee editor of Marvel Comics 1972<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-BnjVnivy0YY/VDcMkIyIlpI/AAAAAAAABXQ/szNsspeDtb4/s1600/stan%2Bletter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-BnjVnivy0YY/VDcMkIyIlpI/AAAAAAAABXQ/szNsspeDtb4/s1600/stan%2Bletter.jpg" height="640" width="464" /></a></div>
<br />jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-74285696919749061072014-10-09T15:29:00.000-07:002014-10-09T15:29:18.764-07:00Original source tape for COUM Transmissions "Sugarmorphoses"<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-Et6AdGuqur4/VDcL7ApszXI/AAAAAAAABXI/3NBg4OP6fLM/s1600/10703540_10204323277654767_5289264343524542595_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Et6AdGuqur4/VDcL7ApszXI/AAAAAAAABXI/3NBg4OP6fLM/s640/10703540_10204323277654767_5289264343524542595_n.jpg" /></a></div>
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<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19.3199996948242px; text-align: left;">Original source tape for COUM Transmissions "Sugarmorphoses" Released on LP by Dais Records in 2011. Provided by Ryan Martin.</span></div>
jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-40448927161036393862014-10-03T13:06:00.000-07:002014-10-03T13:06:21.239-07:00Psychic TV/PTV3 USBAlso couming in November will be the Psychic TV / PTV3 USB. Containing high quality mp3 and WAV files of all the vinyl released since 2010's "Maggot Brain vs Alien Brain" to "Snakes"...over 3 hours worth of music...It also glows in the dark and is partitioned so that you can store up to 4 gigs of your own stuff on it too!
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Y0IR7kPfMCI/VC8BlApfFHI/AAAAAAAABW4/QF4pQcwapKM/s1600/10622928_713775518676270_4366816434643920851_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Y0IR7kPfMCI/VC8BlApfFHI/AAAAAAAABW4/QF4pQcwapKM/s400/10622928_713775518676270_4366816434643920851_n.jpg" /></a></div>jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-23418403860890900852014-09-30T22:19:00.001-07:002014-09-30T22:19:37.893-07:00Bight of the Twin – a film by Hazel Hill McCarthy III with Genesis Breyer P-Orridge<div style="background-color: rgba(40, 40, 40, 0.0980392); border: 0px; color: #555555; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px; margin-bottom: 20px; padding: 0px; vertical-align: baseline;">
Check out the latest documentary from <a href="http://www.hazelhillmccarthyiii.com/" style="border: 0px; color: #e70202; font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Hazel Hill McCarthy III">Hazel Hill McCarthy, III</a> and <a href="http://www.genesisbreyerporridge.com/genesisbreyerporridge.com/Genesis_BREYER_P-ORRIDGE_Home.html" style="border: 0px; color: #e70202; font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Genesis P-Orridge">Genesis Breyer P-Orridge</a>,</div>
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<blockquote style="background-color: rgba(40, 40, 40, 0.0980392); border-left-color: rgb(221, 221, 221); border-left-style: solid; border-width: 0px 0px 0px 1px; color: #777777; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 17px; font-style: italic; line-height: 24px; margin: 0px 0px 20px; padding: 3px 20px 0px 19px; quotes: none; vertical-align: baseline;">
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<a href="https://www.indiegogo.com/projects/bight-of-the-twin" style="border: 0px; color: #e70202; font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Bight of the Twin">Bight of the Twin</a> is more than just another documentary film. This film itself is Vodun – it’s an object that has been activated by creation and by supporting this project, you get to participate in this ritual. We want you to join us in making a documentary film that will take viewers to Ouidah, Benin, the geographic heart of the Vodun religion, where friends and collaborators, director Hazel Hill McCarthy, III and cultural engineer Genesis Breyer P-Orridge, explore the relationship between Vodun and Western secular art and performance by trying to answer the question of what embodiment is.</div>
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Bight of the Twin is many things film, art, drama, exploration, and Vodun. But beyond all this, it is also a film that is also working to give back to the community of its creation. Our goal is to assist children over 14 years old in continuing their education at the local school and onto higher education. After our last visit to Benin, our friends, family, and crew members raised money and provided the local school with 60 new benches and desks that were also built locally. We are setting up a charitable organization so that we can continue to help the school and its students in the long term. So while you are helping us create a film, a piece of art, you are also helping the community that is inspiring our work.</div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-88502590604180821492014-07-03T10:16:00.000-07:002014-07-03T10:16:39.517-07:00MW PRESENTS AN EVENING WITH GENESIS P-ORRIDGE<div class="singlewrap" style="border-bottom-left-radius: 0px !important; border-bottom-right-radius: 0px !important; border-top-left-radius: 0px !important; border-top-right-radius: 0px !important; border: 0px; box-shadow: none !important; box-sizing: border-box; color: #b3b2b3; float: left; font-family: Conv_DINPro-Regular, Helvetica, Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 0px; padding: 0px; position: relative; width: 576.65625px;">
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<article class="main-content" style="box-sizing: border-box; color: black; text-align: justify;"><div style="border: 0px; box-sizing: border-box; font-size: 13px !important; padding: 0px 0px 15px;">
MuffWiggler and Private Island are teaming up with MOCA to present an evening with Thee Genesis Breyer P-Orridge.<br style="box-sizing: border-box;" />This exciting night of programming will include a presentation and signing of Genesis’ new book released by First Third Books. The evening continues with a premiere glimpse at Hazel Hill McCarthy III’s newest film, <a href="http://bightofthetwin.com/" style="-webkit-transition: color 0.15s linear; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #fc6c0f; margin: 0px; outline: 0px !important; padding: 0px; text-decoration: none; transition: color 0.15s linear;" target="_blank" title="Bight Of The Twin">Bight of the Twin</a>, which documents Genesis’ pilgrimage to the origins of Voodoo in Ouidah, Benin and their serendipitous discovery of the practice of Twin Fetish. The screening will be followed by a rare conversation between Hazel Hill McCarthy III and Genesis Breyer P-Orridge, and will conclude with a special modular synth performance featuring <a href="http://www.djmrex.com/" style="-webkit-transition: color 0.15s linear; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #fc6c0f; margin: 0px; outline: 0px !important; padding: 0px; text-decoration: none; transition: color 0.15s linear;" target="_blank" title="DJMREX">DJMREX</a>. Come join us in celebrating one of the most exciting and versatile contemporary artists of our time. Expect a few surprises!</div>
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<a href="http://bightofthetwin.com/" style="-webkit-transition: color 0.15s linear; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #fc6c0f; margin: 0px; outline: 0px !important; padding: 0px; text-decoration: none; transition: color 0.15s linear;" target="_blank">Bight Of The Twin – Film KickStarter Page</a></div>
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<a href="http://store.muffwiggler.com/collections/djmrex-merchandise" style="-webkit-transition: color 0.15s linear; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #fc6c0f; margin: 0px; outline: 0px !important; padding: 0px; text-decoration: none; transition: color 0.15s linear;" target="_blank" title="DJMREX MW">DJMREX – MuffWiggler Store</a></div>
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Poster Design By <a href="http://www.srgdesign.com/" style="-webkit-transition: color 0.15s linear; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #fc6c0f; margin: 0px; outline: 0px !important; padding: 0px; text-decoration: none; transition: color 0.15s linear;" target="_blank" title="SRG">SRG</a></div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-20952070801645418322014-07-03T10:05:00.001-07:002014-07-03T10:05:04.862-07:00From the Quietus:Genesis P-Orridge Vodun Film: Kickstarter by Hazel Hill McCarthy III<span style="background-color: #f4f5f7; color: #71767a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; line-height: 21px;">Please help donate to the production of the film! Visit our kickstarter page today!</span><br style="background-color: #f4f5f7; color: #71767a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; line-height: 21px;" /><a href="https://www.kickstarter.com/projects/827802640/bight-of-the-twin/" rel="nofollow" style="background-color: #f4f5f7; color: #112233; cursor: pointer; font-family: Helvetica, Arial, sans-serif; font-size: 16px; font-weight: 700; line-height: 21px; text-decoration: none;" target="_blank">kickstarter.com/projects/827802640/bight-of-the-twin/</a><br />
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News<br />
Genesis P-Orridge Vodun Film: Kickstarter<br />
The Quietus , June 30th, 2014 18:11<br />
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We talk to film-maker Hazel Hill McCarthy III about her new documentary with Genesis Breyer P-Orridge, Bight Of The Twin, following h/er journey to Benin to trace the origins of Vodun and take part in the Twin Fetish ceremonies - watch a trailer below<br />
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<a href="http://vimeo.com/98400799">http://vimeo.com/98400799</a><br />
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Last December, Genesis Breyer P-Orridge and Los Angeles-based artist and film-maker Hazel Hill McCarthy III visited Ouidah in Benin to make a documentary exploring the origins of the religion Vodun. While there, P-Orridge was initiated into the Twin Fetish, a Vodun practice that celebrates twins - particularly resonant in Benin, which has the highest national average of twins per birth and where they carry a sacred meaning - honouring her relationship with h/er late wife and pandrogyne partner Lady Jaye Breyer P-Orridge. As McCarthy writes of the film: "In this story we begin to see the link between pandrogyny and the Twin Fetish, an activation of a complete state and in fact the true fundamentals of Vodun religion." Have a watch of the trailer above.<br />
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McCarthy has now started a Kickstarter project to fund the completion of Bight Of The Twin by returning to the country in September for the annual Twin Ceremonies for West African twins. The project is aiming to reach a target of $18,000, with rewards for backers ranging from original stills from the film and Thee Psychick Bible: A New Testameant books and DVDs all the way to executive producer credits and a West African Boubou/Bubu dress or suit made by the official tailor of the heads of Vodun - head to their Kickstarter page for full details and to make a pledge. We talked to McCarthy over e-mail to find out more about the film.<br />
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Can you tell us a little about your history and past work with Genesis P-Orridge?<br />
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Hazel Hill McCarthy III: I started working with Genesis in 2008, designing Thee Psychick Bible and archiving Psychic TV and Temple ov Psychick Youth videos for what became the accompanying DVD. Genesis and I worked almost exclusively in the Brooklyn apartment that s/he had shared with Lady Jaye, which was an extremely enlightening and warm experience. At the time I had my own project space in Los Angeles called Show Cave, creating content and curating a series of touring video shows, specifically Licker License and Gentle Jousting, that dealt with perceptions of gender. Since then Genesis and I have collaborated on a number of projects, such as Weird Woman, XXX Sigil and transFormation, the latter being part of Genesis' retrospective at the Warhol Museum.<br />
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How did the inspiration for this project come about?<br />
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HHM III: In 2011 Gen and myself travelled to Kathmandu for a kind of spiritual retreat. I happen to read a piece in The Guardian about the annual Voodoo festival in Ouidah, Benin, and immediately became fascinated by the spectacle and performance, pageantry and beauty of the costumes adorned by the priests and spirits. Then, among my discovering the grandeur of this mountainous foreign land, things started to unravel in Nepal. Genesis was rushed to hospital after suffering a severe gall bladder infection and was in a critical condition. Sitting by h/er side in hospital, in desperation, I told her, "If you make it out of here alive, we will travel to Ouidah, Benin for the annual voodoo festival to find our parallel selves." S/he agreed and, thankfully, recovered remarkably quickly. True to h/er word, we set the date for the December after h/er retrospective at the Warhol Museum.<br />
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Given the twin ceremony and the memory of Lady Jaye, was it a very emotional project with which to get involved?<br />
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HHM III: Upon our arrival in Africa late into a hot, sticky sub-Saharan night we began a steep learning curve about what type of situation we had readily put ourselves in. The initiation and the ceremony happened very quickly, actually on the evening of just day two of being in Ouidah. The chaotic allure of the town and the people really gave little time to stop and reflect in any significant way, but we all felt the depth of Gen's emotions. The fact there is a ceremonial aspect to twinning that is for anyone losing their other half, their twin, and it is meant to give an overt representation, an acknowledgement of loss really resonated with Gen's circumstances after Lady Jaye's death. For Genesis it was something that was meant to be, an awakening of how to grieve, how to bring Jaye home. Poetically, s/he now walks again with h/er twin in NY.<br />
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How did you go about researching the film? Were you conscious of not fetishising the traditions and ceremonies?<br />
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HHM III: A lot of the film is really about an attempt to immerse fully into a culture though there has, of course, been research. Professors Suzanne Preston Blier at Harvard University and Darcy Greene at Michigan State University have been greatly influential in contextualising Vodun art and culture. I've also been assisted by the work of Professor Christiaan Monden at Oxford University and his research following the West African phenomenon of twins and its uncanny abundance in numbers per birth, although we were unfamiliar with any specific twin fetish before we went to film. It truly was a serendipitous moment to be involved with the priests and adept of the Twin Fetish. Our goal is to return to the annual Twin Ceremonies at the end of September for the living and the dead twins. This is where the twins of West Africa come together in Ouidah to celebrate.<br />
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How did the people in Benin react to you and the film?<br />
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HHM III: From the get-go we were well received but certainly after Genesis was initiated into the Twin Fetish, everyone interacted with h/er and the small film crew with enormous warmth. There was an unspoken acceptance that came in the form of a little wooden statue, the twin. In fact, other twins freely came to interact with Genesis and h/er twin. Of course there was an awareness of the filming, which is regularly restricted until a cash payment is extracted, but the longer we stayed seen with the Vodun chiefs the easier it got. That said, we had to continue being conscious of what was acceptable to film and what was a disrespectful overview of Beninese culture. For example, the abundant bocio (empowered objects) are very special. They are energised with intentions and purpose. To film them without any context or purpose would have been a direct discourtesy.<br />
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I know in the film Gen says it ended up not as expected... can you talk about that now, or will that be revealed in the film?<br />
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HHM III: It is a developing story. We went to document the annual Voodoo festival and the people who partake in its endeavours. With Genesis by my side we were to ask questions and soak in what we learned. My feeling is that the outsiders, the alternative, the counter culture, or whatever you want to describe it as, is the natural human state. The rawness of Vodun is the most pure form of art, life and existence. As artists we have a need to find and explore ideas of activation and purpose. So what started as a benign look at Voodoo and Western culture became an intense, intimate participation in the practice of Vodun Twin Fetish and we found that Vodun is truly a religion of kindness and love. The film explores this love and kindness, bringing to light the beauty of Vodun with a hope of dispelling common misconceptions of it as a dark and ominous religion.<br />
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What will the Kickstarter project fund?<br />
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HHM III: The Kickstarter will fund the production to return to Ouidah for the Twin Ceremonies. This will complete Genesis' pilgrimage with her twin and complete the story of the film. I will be returning to Africa, accompanied by Cyrusrex and my husband, Douglas J. McCarthy. They will be writing and recording the film's soundtrack on location using modular synths and effects with Genesis also writing and performing vocals - everyone drawing deeply from the environment.<br />
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Trailer credits: Genesis Breyer P-Orridge, Dah Gbedjinon, Adepts, Drew Denny, Douglas J. McCarthy, Lewis Teague Wright, Eric Nordhauser, Hypolite Apovo and Emmanuel Sardou Gbedjinon.<br />
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Tracks by COUM Transmissions, DJMREX and Atem Heinjacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-69781862759221996672014-01-05T14:52:00.000-08:002014-01-05T14:54:44.597-08:00‘A different cultural universe’: Genesis Breyer P-Orridge in conversation with Barry Miles ‘A different cultural universe’: Genesis Breyer P-Orridge in conversation with Barry Miles <br />
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VIDEO LINK HERE: <a href="http://vimeo.com/80664319">http://vimeo.com/80664319</a><br />
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<a href="http://vimeo.com/80664319">Genesis Breyer P-Orridge in conversation</a> from <a href="http://vimeo.com/roughtradeshops">Rough Trade Shops</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<img alt="" src="http://images.dangerousminds.net/uploads/images/genesisPorridgeClownMushroom.jpg" height="645" width="465" /><br />
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In an event that was held in London recently to discuss <a href="http://www.firstthirdbooks.com/">First Third Books</a> publication of <a href="http://dangerousminds.net/comments/genesis_breyer_p-orridge_the_life_of_a_radical_and_uncompromising_artist_in">the monograph about her life</a>, Genesis Breyer P-Orridge was interviewed by another countercultural luminary, Barry Miles, a man who brought Beat and underground culture to Britain in the 1960s via associations with Allen Ginsberg, The Beatles, the <a href="http://www.internationaltimes.it/archive/">International Times</a>, “<a href="http://en.wikipedia.org/wiki/The_14_Hour_Technicolor_Dream">The 14 Hour Technicolor Dream</a>” concert event, the <a href="http://en.wikipedia.org/wiki/Indica_Gallery">Indica Gallery</a> and bookstore (where John Lennon met Yoko Ono) and the <a href="http://www.youtube.com/watch?v=k-qiHHg7Rsc">International Poetry Incarnation</a> at the Royal Albert Hall. Miles, as he is known, has also run an amazing record label (I Can See for Miles), and he’s written a gazillion books, including biographies of Frank Zappa, William Burroughs, the coffee table book <em><a href="http://www.amazon.com/gp/product/1402728735/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1402728735&linkCode=as2&tag=dangeminds-20">Hippie</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=dangeminds-20&l=as2&o=1&a=1402728735" height="1" style="border: currentColor !important; margin: 0px !important;" width="1" /></em>, two volumes of his autobiography (which I highly recommend) and Paul McCartney’s officially sanctioned biography, <em>Many Years from Now</em>. <br />
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I’m sure Genesis was quite pleased at the choice of Miles to lead the questions—after all he was right in the thick of seminal sixties cultural events the young Neil Megson would have read about in IT—even if Miles ultimately gets but a few words in edgewise. The discussion begins with how a teacher at school told Neil about Jack Kerouac’s <em>On The Road</em>, and how he resolved to meet the real life person the “Old Bull Lee” character was based on—William S. Burroughs—and soon would…<br />
This event was taped at Rough Trade East in London, November 7th, 2013<br />
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-7285558745331551022013-12-08T20:03:00.002-08:002013-12-08T20:03:51.471-08:00Psychic Tv Live 2 Brooklyn shows to close out the Y-era of 2013<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-g6O6JOutn7Q/UqVA4fWGksI/AAAAAAAABUk/AQQrMgAvfAY/s1600/1479485_10151804394743803_198090985_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-g6O6JOutn7Q/UqVA4fWGksI/AAAAAAAABUk/AQQrMgAvfAY/s640/1479485_10151804394743803_198090985_n.jpg" width="456" /></a></div>
<br />jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-74993536442180183952013-12-08T20:00:00.002-08:002013-12-08T20:00:36.122-08:00Pre-orders up now for next Psychic Tv 12" from Angry Love Productions<h2 style="background-color: whitesmoke; border-color: rgb(221, 221, 221); border-style: solid; border-width: 1px 0px; color: #444444; font-family: 'Myriad Pro', Myriad, Helvetica, Arial, Verdana, sans-serif; font-size: 25px; font-weight: normal; line-height: 19px; margin: 0px; padding: 10px 30px; text-shadow: rgb(255, 255, 255) -3px 3px;">
OTTT28 "GREYHOUNDS OF THE FUTURE" 12" - 1st (PATCH) EDITION</h2>
<ul class="hlist" id="details" style="background-color: #eeeeee; color: #777777; font-family: 'Lucida Grande', Helvetica, Arial, Verdana, sans-serif; font-size: 11px; line-height: 19px; list-style: none; margin: 0px; padding: 10px 0px 0px 30px;">
<li style="display: inline; margin: 0px 5px 0px 0px; padding: 0px;">Vendor: <a href="http://porridgeshoppe.myshopify.com/collections/vendors?q=GPO" style="border-bottom-color: rgb(191, 232, 255); border-bottom-style: solid; border-bottom-width: 1px; color: #7ab8da; margin: 0px; padding: 1px 0px; text-decoration: none;" title="GPO">GPO</a></li>
<li style="display: inline; margin: 0px 5px 0px 0px; padding: 0px;">Type: <a href="http://porridgeshoppe.myshopify.com/collections/types?q=12%22" style="border-bottom-color: rgb(191, 232, 255); border-bottom-style: solid; border-bottom-width: 1px; color: #7ab8da; margin: 0px; padding: 1px 0px; text-decoration: none;" title="12"">12"</a></li>
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<div class="money" id="price" style="background-color: #eeeeee; color: #cc0000; font-family: Georgia, 'Times New Roman', serif; font-size: 26px; line-height: 19px; margin: 0px; padding: 30px 0px 30px 60px;">
$ 28.00<br style="margin: 0px; padding: 0px;" /><br style="margin: 0px; padding: 0px;" /><span style="color: #666666; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 9px; font-weight: bold; line-height: 12px; margin: 0px; padding: 0px;">Price includes shipping and handling in the USA only. Overseas orders are subject to additional fees calculated at checkout.</span></div>
<div class="textile" id="description" style="background-color: #eeeeee; color: #777777; font-family: 'Lucida Grande', Helvetica, Arial, Verdana, sans-serif; font-size: 12px; line-height: 19px; margin: 0px 179.09375px 0px 30px; padding: 0px;">
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OTTT28 - Psychic TV 12"</div>
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"Greyhounds of the Future b/w Alien Lightning Meat Machine Part II"</div>
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Random recycled colored vinyl</div>
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Edition of 230</div>
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Comes in traditional Angry Love 'handmade' packaging bearing rubber stamps, includes limited edition patch + insert.</div>
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*****PLEASE NOTE THAT THE PATCH IN THIS EDITION HAS TWO COLOR VARIATIONS AND WILL BE SHIPPED OUT RANDOMLY. CUSTOMERS WHO PURCHASE TWO COPIES IN THE SAME ORDER WILL BE GIVEN EACH VARIATION.**** </div>
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<span color="#ff0000" style="color: red; margin: 0px; padding: 0px;">THIS IS FOR PRE-ORDERS AND WILL SHIP BY THE END OF DECEMBER 2013</span></h1>
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<span color="#ff0000" style="color: red; margin: 0px; padding: 0px;">Place your order at </span><a href="http://porridgeshoppe.myshopify.com/products/ottt26-silver-sundown-7">http://porridgeshoppe.myshopify.com/products/ottt26-silver-sundown-7</a></div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-79709163952164487632013-11-24T18:56:00.001-08:002013-11-24T18:56:28.121-08:003 New PSYCHIC TV Releases On Cold Spring<br />
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: 700;">Cold Spring Newsflash - 19th November 2013</span></span><br /><hr align="center" noshade="" />
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-weight: 700;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnUlJSju4JZHxkvYsilYlh9OVL8VdJ3lcQQFRnBlWVnDtiobQVpGP22Q0IBElvvwu2up3Ma497QONjLPU7-6vntlETvyo_NTpIVKm5Q-Y1dzL76J5mnf-WtKFqiE04fWeoQ-dprmHYLVk7xFIstxfMjyViZc1006abECzejaVUN96KsftyJw-KdFzX8LTQBahz&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">PSYCHIC TV</a></span> - 'Live At Thee Marquee'</span> <span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">CD (<a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">Cold Spring CSR189CD</a>) - £7</span></div>
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</td><td style="border-spacing: 2px;" width="505"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">PSYCHIC TV's complete, unheard show, recorded at the prestigious Marquee Club, London, 20th May 1986. For this event Psychic TV were: Genesis P-Orridge, Alex Fergusson, Mouse, Matthew Best. Tracklisting: 1. Intro, 2. Ov Power, 3. She Touched Me, 4. Just Like Arcadia, 5. Supermale, 6. I Like You, 7. Riot In Thee Eye, 8. Interstellar Overdrive, 9. Unclean, 10. Godstar, 11. We Kiss, 12. Roman P., 13. IT. Ltd x 1000 copies, featuring an 8-page booklet of unseen photos.<br /></span><span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7BV9LYytfkJqzDheZPjHQ1EQ72KaH811e1X5GWruYz8FMZGVHAnn2MweaC78NUB_NtnzdmIBBeqc7X6apyG_I3kn_h0kkr4jdgPWguolXNRpe-XcOpk2ZUoppc-4MGiPHKp9Xy7udWe9fTcYX1RFz5yxnKm78OqOumfHhe1_0TW2vry6w_P-t8wxChXB8gjttNS6zfzWb_9o&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Psychic TV Titles</a>• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Cold Spring Titles</a></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></td></tr>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-weight: 700;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnppRFlM5T28aIM3XcPPfX_uSec7fyZcsYvS7aJZhIcmW_nlmxwyCsWblHDw0wEFosACJ5sQEJxLX59SJO3HlZvXJ-7xI8WKErGNjQH3bQXHzReJqova4dGOaoW5tOxyYLf4Y2E1-IF0ZzEueUzoFOg2svXf9KSjcYqkKISq71QRWAg8cOlNJ8sBafBkVvjXaM&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">PSYCHIC TV</a></span> - 'Thee Fabulous Feast Ov Flowering Light' CD (<a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">Cold Spring CSR188CD</a>) - £7</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnppRFlM5T28aIM3XcPPfX_uSec7fyZcsYvS7aJZhIcmW_nlmxwyCsWblHDw0wEFosACJ5sQEJxLX59SJO3HlZvXJ-7xI8WKErGNjQH3bQXHzReJqova4dGOaoW5tOxyYLf4Y2E1-IF0ZzEueUzoFOg2svXf9KSjcYqkKISq71QRWAg8cOlNJ8sBafBkVvjXaM&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank"><img border="0" height="200" src="http://www.coldspring.co.uk/Covers2/csr188cd_200.jpg" style="border: 0px;" width="200" /></a></span></div>
</td><td style="border-spacing: 2px;" width="505"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">PSYCHIC TV in a unique line-up - a unique show, recorded 19th May 1985 at Hammersmith Palais, London. For this event Psychic TV were: Genesis P-Orridge, Alex Fergusson, Max Prior, Mouse, Hilmar Örn Hilmarsson, Dave Ball (Soft Cell), Rose McDowall (Strawberry Switchblade, Sorrow, Coil, Current 93). Tracklisting: 1. I Like You, 2. Just Like Arcadia, 3. Godstar, 4. Unclean, 5. Baby's Gone Away, 6. Southern Comfort, 7. We Kiss, 8. Thee Starlit Mire, 9. Ov Power, 10. Gen Poetry, 11. Tribal. This is a completely unheard show, with unseen photos! Ltd x 1000 copies.<br /></span><span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7BV9LYytfkJqzDheZPjHQ1EQ72KaH811e1X5GWruYz8FMZGVHAnn2MweaC78NUB_NtnzdmIBBeqc7X6apyG_I3kn_h0kkr4jdgPWguolXNRpe-XcOpk2ZUoppc-4MGiPHKp9Xy7udWe9fTcYX1RFz5yxnKm78OqOumfHhe1_0TW2vry6w_P-t8wxChXB8gjttNS6zfzWb_9o&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Psychic TV Titles</a>• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Cold Spring Titles</a></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></td></tr>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-weight: 700;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnh0xss9WBpiVKNXkEtLnFwrfdbJmNStO2xbVW5J3h6pNLBnvfXKZ2ZqIWTgTdN8HXGRirY_sOvi3CmGjpdqfYSVQjCMd8g6noKiIRVDWiQldnzaIXTs0II3yNvS5DqBmahxx0VoueUWqlneh7y6GVabPK-_Ieb9KLckS1bHkbZqamNtVlEH0MLF2F1uche4xB&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">PSYCHIC TV</a></span> - 'Hacienda'</span> <span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">CD (<a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">Cold Spring CSR187CD</a>) - £7</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnh0xss9WBpiVKNXkEtLnFwrfdbJmNStO2xbVW5J3h6pNLBnvfXKZ2ZqIWTgTdN8HXGRirY_sOvi3CmGjpdqfYSVQjCMd8g6noKiIRVDWiQldnzaIXTs0II3yNvS5DqBmahxx0VoueUWqlneh7y6GVabPK-_Ieb9KLckS1bHkbZqamNtVlEH0MLF2F1uche4xB&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank"><img border="0" height="200" src="http://www.coldspring.co.uk/Covers2/csr187cd_200.jpg" style="border: 0px;" width="200" /></a></span></div>
</td><td style="border-spacing: 2px;" width="505"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">PSYCHIC TV, 5th November 1984, Manchester. This was PSYCHIC TV's first show at NEW ORDER / FACTORY's legendary HACIENDA club! For this event Psychic TV were: Genesis P-Orridge, John Gosling (Zos Kia, Coil), Paul Reeson, and Alex Fergusson. Tracklisting: 1. Intro, 2. Enochian Calls, 3. I Like You, 4. Unclean Monks, 5. Unclean, 6. Roman P., 7. Southern Comfort, 8. Godstar, 9. Thee Starlit Mire, 10. Thee Shining. This is the complete show with unseen photos! Ltd x 1000 copies.<br /></span><span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7BV9LYytfkJqzDheZPjHQ1EQ72KaH811e1X5GWruYz8FMZGVHAnn2MweaC78NUB_NtnzdmIBBeqc7X6apyG_I3kn_h0kkr4jdgPWguolXNRpe-XcOpk2ZUoppc-4MGiPHKp9Xy7udWe9fTcYX1RFz5yxnKm78OqOumfHhe1_0TW2vry6w_P-t8wxChXB8gjttNS6zfzWb_9o&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Psychic TV Titles</a>• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Cold Spring Titles</a></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></td></tr>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-weight: 700;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnx5lvvJxaKM7jH7oh9_RajbGTwy1VrC86sHWc-8lSasbzbZF0atDIL0VjT7yhaO7_B-C2B4gziTQAmRJ4lLAqBNW891xBgtVN9SOX56qkdHhOUQ-VprWEF25bD7X36-ykp7JJeIldQS_kyv9Ramty2cuT89-SLx8QnCSEy4Mwpc23sm-jweBMjY0RzBB6k6Sp&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">PSYCHIC TV</a></span> COMBO #2 - 'Live At Thee Marquee CD & Thee Fabulous Feast Ov Flowering Light CD & Hacienda'</span> <span style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">CD<br />(<a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">Cold Spring CSR187CD + CSR188CD + CSR189CD</a>) - £18</span></div>
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<span id="yui_3_13_0_ym1_1_1385347814460_11041" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7GntM6givAlnx5lvvJxaKM7jH7oh9_RajbGTwy1VrC86sHWc-8lSasbzbZF0atDIL0VjT7yhaO7_B-C2B4gziTQAmRJ4lLAqBNW891xBgtVN9SOX56qkdHhOUQ-VprWEF25bD7X36-ykp7JJeIldQS_kyv9Ramty2cuT89-SLx8QnCSEy4Mwpc23sm-jweBMjY0RzBB6k6Sp&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" id="yui_3_13_0_ym1_1_1385347814460_11040" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank"><img border="0" height="200" id="yui_3_13_0_ym1_1_1385347814460_11039" src="http://store.coldspring.co.uk/image/cache/data/CSR/csr160-1-2-250x250.jpg" style="border: 0px;" width="200" /></a></span></div>
</td><td id="yui_3_13_0_ym1_1_1385347814460_11024" style="border-spacing: 2px;" width="505"><div id="yui_3_13_0_ym1_1_1385347814460_11023">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">BUY ALL 3 RELEASES FOR A SPECIAL COMBINED PRICE!</span><br /><br /><span id="yui_3_13_0_ym1_1_1385347814460_11035" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">PSYCHIC TV - 'Live At Thee Marquee' CD (Cold Spring CSR189CD)<br />PSYCHIC TV - 'Thee Fabulous Feast Ov Flowering Light' CD (Cold Spring CSR188CD)<br />PSYCHIC TV - 'Hacienda' CD (Cold Spring CSR187CD)</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span><span id="yui_3_13_0_ym1_1_1385347814460_11033" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7BV9LYytfkJqzDheZPjHQ1EQ72KaH811e1X5GWruYz8FMZGVHAnn2MweaC78NUB_NtnzdmIBBeqc7X6apyG_I3kn_h0kkr4jdgPWguolXNRpe-XcOpk2ZUoppc-4MGiPHKp9Xy7udWe9fTcYX1RFz5yxnKm78OqOumfHhe1_0TW2vry6w_P-t8wxChXB8gjttNS6zfzWb_9o&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" id="yui_3_13_0_ym1_1_1385347814460_11034" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Psychic TV Titles</a>• <a href="http://r20.rs6.net/tn.jsp?f=001a9jpbcK1n5wnhMdSCDQS0tj5cDTjevQVwRGnA5sig-5sYg7gDYbf7ACV3ENYfPhMjKLb4T8G1Jmivnlk1OAbpbdmSBIJVQz8da2RoKhzyDGnUeaoMxAH14ViihJfV1mcKxAgZQcxpebbqll1hPoJ2PRlmwNYjfcERCMODA5EmipM1ZG_hMkDg0ax03InfIJDHZ24_aP1o6p3Ld5noYVeVaF0AM_tQP6qTP2MCWRgHoEG-WlfC2uMEQ==&c=RcMyzh0REuRV5Ay3uX7nvZ1vat-rs8wuAdJttiEjNhjnv7eS_d4xNA==&ch=dDGB41tHtLMZjqXDQDAFcZgJ4XQUJVF9fCi3a_yxx--wuO4-QMaUCA==" id="yui_3_13_0_ym1_1_1385347814460_11032" rel="nofollow" style="background-color: rgba(0, 0, 0, 0); color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank">All Cold Spring Titles</a></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-49565806540780697482013-11-06T09:45:00.000-08:002013-11-06T09:46:46.859-08:00Dazed Digital-Bizarre gifts and mementos from the life of a pandrogynous art/noise legend<header class="titles" style="color: #222222; font-family: sans-serif; font-size: 16px; line-height: 22px;"><h1 class="title" itemprop="headline" style="font-family: letter_dazedbold; font-weight: normal; line-height: 1em; margin: 0px 0px 12px; padding: 0px; text-transform: uppercase;">
GENESIS BREYER P-ORRIDGE</h1>
<h2 class="strapline" itemprop="description" style="font-family: letter_dazedbold; font-size: 1.4em; font-weight: normal; line-height: 1.1em; margin: 12px 0px; padding: 0px; width: 720px;">
Bizarre gifts and mementos from the life of a pandrogynous art/noise legend</h2>
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<span class="heading" style="display: block; font-size: 0.9em; line-height: 1.3em; max-height: 2.5em; overflow: hidden;">Genesis Breyer P-Orridge</span></a><div class="gallery-label-arrow ir" style="background-color: transparent; background-image: url(http://www.dazeddigital.com/cassette.axd/file/Content/images/arrow-right-d43d101b248b80a27302713333a66ae0bc32f01b.png); background-repeat: no-repeat no-repeat; border: 0px; color: transparent; font-family: a; font-size: 0px; height: 71px; left: 169px; line-height: 0; position: absolute; text-shadow: none; top: -1px; width: 24px;">
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<em>Taken from the November issue of Dazed & Confused:</em></div>
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The life and work of Genesis Breyer P-Orridge (who refers to h/erself as “we” since amalgamating with late wife Lady Jaye in their Pandrogyny project) is marked by an unending devotion to exploration. Through Early Worm, the Exploding Galaxy, COUM Transmissions, Throbbing Gristle, Psychic TV, Thee Majesty, PTV3 and beyond, the artist, composer, thinker and performer has made it h/er business to cut apart reality and splice it back together again while expanding boundaries of sound, physicality, belief and consciousness. </div>
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In P-Orridge’s high-rise apartment in downtown New York, artefacts from various explorations across the globe are strewn about the premises. Given h/er belief that bodies are merely vessels that house our greater, more spiritual selves, what sort of power can we find in these inanimate objects? </div>
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“There’s no way of knowing whether we’re here or if someone is dreaming us,” P-Orridge says. “My dreams are as real as this. Therefore, what’s real? You have out-of-body experiences from meditation, extreme pain or using psychedelic chemicals and you’re like, wait a minute, these walls can just dissolve. It seems solid, but is it really? So these objects are inculcated with some form of energy that can be absorbed and retained. They help me function. The talismans hold power by being believed in, just like people with their crucifixes. All we can say is that we found they have assisted my navigation through this apparent reality.”</div>
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<figure class="inline-img" style="margin: 0px 0px 22px;"><img alt="Motorcycle Jackets" class="img" src="http://images.dazedcdn.com/786x700/dd/1050/3/1053959.jpg" style="border: 0px; height: auto; max-width: 620px; vertical-align: middle;" /><figcaption class="img-caption" style="font-size: 0.85em;"><span class="credit" style="display: block; font-size: 0.85em; font-style: italic; width: 620px;">Photography by Fumi Nagasaka</span></figcaption></figure><div class="embed-content" style="margin-bottom: 24px;">
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<strong>Motorcycle jackets</strong></div>
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“The Illuminati jackets are from Thee Temple ov Psychick Youth’s motorcycle club – that’s what they called them-selves. They were based in Portland. When we were touring in the late 80s, we’d drive up to Portland and then six of them would actually follow us all down the west coast: two in front, two behind and two at the side. It looked fucking fabulous. And there were these people doing merch who had a heavy Volkswagen thing behind that, so it was a real convoy going through. Blew the citizens’ minds, it did! We also used to have Hells Angels colours and Gypsy Jokers too. We gave back the Hells Angels colours as tradition demands, but kept the Gypsy Jokers. Then one day we were walking down the road in Hackney and a whole crowd of Hells Angels surrounded me and said, ‘Why are you wearing those colours?’ And we said, because I’m a member of the Gypsy Jokers, and they went, ‘We want it! Give it to us!’ And we went, ‘No!’ But it so happened we were on a bridge over a canal, and they got out their spanners and chains and said, ‘Here’ the deal. You either give it to us or we beat you half to death and throw you in the canal so you drown.’ So I gave it to them. Because, you know, you can’t argue with that. Really a sad day. I still miss that jacket. </div>
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<strong>Breyer P-Orridge clone DNA</strong></div>
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This is a clone of me and Lady Jaye. It’s all the DNA necessary to create something that’s made from both of us. It’s a mini version of the alchemical wedding. Both of us integrated. It’s got pubic hair, hair from the head, eyebrows, toenails, fingernails, skin off of heels, blood. </div>
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THESE TALISMANS HOLD POWER BY BEING BELIEVED IN. THEY HAVE ASSISTED MY NAVIGATION THROUGH THIS APPARENT REALITY</div>
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<strong>Derek Jarman’s seaside gift</strong></div>
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We met Derek in 1969 when we were in the Exploding Galaxy. That was the period when gay lib street theatre and being a transvestite as a political act began. So on the weekends we would all dress up in drag and run around Portobello Road, doing fake opera and ballet and hugging people and kissing men, and so on. Then there was a gap of time as often happens, and we were walking down Tottenham Court Road and heard this incredibly distinctive, posh voice: ‘Gen, is that you?’ And it was Derek. He lived above a cinema and we went for the traditional British cup of tea and reconnected. He was really excited by the idea of Throbbing Gristle, and was even more excited by Psychic TV because he was into magick. So he started to ask me, could you do soundtracks? So TG did <em>In the</em> <em>Shadow of the Sun </em>and<em> </em>Psychic TV also did one which was originally called <em>Mirrors</em>. Instead of money, he would give me paintings and objects. This one is from Dungeness, where he had his cottage. It says on the back that he carved that piece of clay on a beach in 1961. It’s beautiful, isn’t it? And it has memory. Thank God Scotland Yard didn’t take it. </div>
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<figure class="inline-img" style="margin: 0px 0px 22px;"><img alt="Dream Machine" class="img" src="http://images.dazedcdn.com/786x700/dd/1050/3/1053962.jpg" style="border: 0px; height: auto; max-width: 620px; vertical-align: middle;" /><figcaption class="img-caption" style="font-size: 0.85em;"><span class="credit" style="display: block; font-size: 0.85em; font-style: italic; width: 620px;">Photography by Fumi Nagasaka</span></figcaption></figure><div class="embed-content" style="margin-bottom: 24px;">
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<strong>Dreamachine</strong></div>
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This one arrived in the mail unexpectedly in a parcel. We opened it and there was this dreamachine (a stroboscopic flicker device created in 1961 by Brion Gysin and Ian Sommerville, William Burroughs’s ‘systems adviser’ and lover) with a note from this guy called Johnny Smoke, this very intensely, self-consciously eccentric person. He said, ‘I’ve been making dreamachines and if it wasn’t for you, I wouldn’t know how. So I’ve had the idea of making them available the way that Brion Gysin wanted.’ So we said, that’s great! He’s asked me to do some kind of template of the inside and paint it or write on it for a special Breyer P-Orridge dreamachine. He’s made one with fur on the outside. He’s pimping dreamachines! Next he’ll have a low-rider one with hydraulics. But it’s just great that it’s there because that’s what Brion wanted. He didn’t care if it became public domain. He just said they are a really good tool for activating the internal mechanism. </div>
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<strong>Tridents</strong></div>
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We once took these through customs. They said, ‘Hey, what are you? Neptune or Satan?’ It was fortunate they were amused. We got them all in Kathmandu, where there are these shops with Tibetan and Nepali stuff, necklaces and stuff. The tourists want all the shiny bits, but this one shop is run by a guy who has one lightbulb and everything is covered in dust. It’s obvious he doesn’t care if he sells anything, and that’s where we go rooting around. We feel a compulsion to rescue these because to us they feel alive. And they shouldn’t be in the corner turning rusty, they should be respected like animals. They’re spiritual orphans and we’re their foster parent.” </div>
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<em><a href="http://www.firstthirdbooks.com/books/genesis-breyer-p-orridge/" style="color: black;" target="_blank">Genesis Breyer P-Orridge</a>, a limited-edition book of unpublished personal photographs, is published by First Third Books on November 4</em></div>
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jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-48539536096207590742013-10-13T04:56:00.003-07:002013-10-13T04:57:02.077-07:00COUM Transmissions Home Aged & The 18 Month Hope LP pre-orders!"Pre-orders up for the new COUM Transmissions “Home Aged & The 18 Month Hope” LP which features a compilation of various recordings and interviews spanning from 1971-1975. COUM Transmissions was a Fluxus-inspired performance art group founded in 1969 by Genesis P-Orridge (then Neil Andrew Megson) after a stint with the Exploding Galaxy Commune and would go on for the next ten years and eventually morph itself into the industrial music pioneers, Throbbing Gristle." via Dias Records
http://shop.daisrecords.com/collections/vinyl/products/coum-transmissions-home-aged-the-18-month-hope-lpjacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-56909067891832955492013-09-22T06:17:00.001-07:002013-09-22T06:17:34.427-07:00William S. Burroughs & the Wreckers of Civilization <span style="color: #666666; font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 20.390625px; text-align: justify;">Written by Matthew Levi Stevens and published by RealityStudio.org </span><br />
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William S. Burroughs & the Wreckers of Civilization</h4>
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by Matthew Levi Stevens</h3>
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<a href="http://cdn.realitystudio.org/images/people/genesis-p-orridge/genesis-p-orridge.william-burroughs.xerox-from-nme.1981.jpg" style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-width: 0px 0px 1px; color: black; font-family: inherit; font-style: inherit; font-weight: 600; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank"><img alt="Genesis P Orridge and William S. Burroughs, circa 1981 (xerox from NME)" height="394" src="http://cdn.realitystudio.org/images/people/genesis-p-orridge/genesis-p-orridge.william-burroughs.xerox-from-nme.1981.400.jpg" style="border: 0px; float: none; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 2px 10px 2px 0px;" title="Genesis P Orridge and William S. Burroughs, circa 1981 (xerox from NME)" width="400" /></a><br /><i>Genesis P Orridge and William S. Burroughs, circa 1981 (xerox from NME)</i></div>
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Sometime in 1973 William S. Burroughs received in the mail to Duke Street an apparently irate letter, complaining: </div>
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“Dear William S. Burroughs, I’m so tired of you and Allen Ginsberg exploiting the fact that you know me – telling everybody just so you can get into parties free. Will you please cease and desist?”</div>
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A little while later he received a small booklet called <i>To Do With Smooth Paper</i>, which he acknowledged with a postcard. Subsequently, he received a shoebox containing a plaster-cast of a left hand, minus the thumb, on which had been written “Dead Finger’s Thumb.” Intrigued, Burroughs wrote back, and before long was extending an invitation to visit to a young man going by the unlikely name of <a href="http://www.genesisbreyerporridge.com/" style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-width: 0px 0px 1px; color: black; font-family: inherit; font-style: inherit; font-weight: 600; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank">Genesis P-Orridge</a>.</div>
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Born Neil Andrew Megson in Manchester in 1950, the psychedelic prankster and would-be Beatnik who called himself Genesis P-Orridge had discovered the Beats when an English teacher going by the nickname “Bogbrush” had introduced him to Jack Kerouac’s <i>On The Road</i>, and then shortly thereafter he found a copy of Burroughs’ <i>Dead Fingers Talk</i> in a motorway services shop. This was in 1965, and before long young Megson, like so many others of his generation, was busy turning on, tuning in and dropping out as fast as he could: growing his hair, hitchhiking to London to see The Rolling Stones and Pink Floyd, and spending time in the commune of David Medalla’s Exploding Galaxy. By the early 70s, Megson had become Genesis P-Orridge (changing his name legally by Deed Poll) and had thrown himself with abandon into the newly-emerging world of Be-Ins, Happenings, and Performance Art — with a sideline in collaged Mail Art.</div>
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In April 1972, an arts collective in Toronto calling itself General Idea started to issue a magazine called<i>File</i> (a satire on <i>Life</i>), which included a kind of contacts section catering to the international Mail Art scene, in which artists and writers could request imagery to work with, named “The Image Bank” in a nod to Burroughs’ <i>Nova Express</i>. It was inevitable that P-Orridge would come across a copy in London:</div>
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<bloackquote><br />I was looking through it and noticed “William S. Burroughs, Duke Street, St. James” and his request was for “Camouflage for 1984.” And I thought “oh, he won’t still be at this address, but I’ll send something anyway” and so I sent him a small book of about 30 pages, and each page was hand drawn calligraphic collages, and it was called “To Do With Smooth Paper” — and I was really shocked, about a week later I received a postcard that said “Thank You for the smooth paper, William S. Burroughs” — Shock horror, and excitement all at once! And I thought “wow, he really exists — and he writes back, too!”</bloackquote></div>
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Around this time P-Orridge was visiting London from the North of England, preparing to relocate, and would stay in the studio space of an artist friend Robin Klassnik. (As it happened, the address was 10 Martello Street, in Hackney, the basement of which would later become Throbbing Gristle’s rehearsal-cum-recording space, the infamous “Death Factory.”) After the incident of “Dead Finger’s Thumb” — apparently a cast of the left hand of the folk singer Donovan (although P-Orridge says <i>“the story of how I acquired that isn’t that important!”</i>) — there had been a further exchange in which P-Orridge sent Burroughs the phone number of his London friend. Arriving for his next visit a couple of weeks later, Klassnik informed P-Orridge:</div>
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“Some stupid bloke rang up asking for you, pretending to be William Burroughs — so I told him to piss off and put the phone down on him!”</div>
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Eventually, after a further exchange, Burroughs wrote to P-Orridge, sending his phone number and instructing him that the next time he was coming down to London he should call, arrange to get a cab round to Duke Street, and Burroughs would pay for it.</div>
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And so it was that on his next visit P-Orridge found himself whisked from Victoria Station in a taxi to Dalmeny Court, Duke Street St. James, and upstairs to the small, spare flat. The lift opened straight into the hall, which also contained an Orgone Accumulator. In the small living room there was a desk, filing cabinets, and a typewriter — more like an office where somebody worked than a home in which they lived, P-Orridge thought. There were Brion Gysin paintings on the wall, the first P-Orridge had ever seen, a photo of Allen Ginsberg with the stars-and-stripes top-hat, and a pen drawing that P-Orridge had sent, which he was touched to see that Burroughs had put a hand-woven Moroccan ribbon around. There was a colour TV with a remote control — also the first P-Orridge had ever seen — a Sony tape recorder, and a full bottle of Jack Daniels. </div>
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There was also a lifesize cardboard cut-out of Mick Jagger, which prompted P-Orridge to ask “Why did you do that stupid interview with David Bowie?” — to which Burroughs replied <i>“Advertising!”</i></div>
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Burroughs had a live-in companion, a young Irishman called John Brady, that he had met cruising nearby Piccadilly Circus and invited to move in with him. Says P-Orridge:</div>
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…he was living in London, and it was an Irish hustler called John who was sharing the apartment with him — who used to hang out in Piccadilly, y’know, doing something or other sexually to get money! And William always seemed to prefer young hustlers because there was no need for an emotional attachment. There was no danger of being embroiled beyond a controllable point. So I think that that was one of the reasons that he began to almost exclusively look for sexual pleasure among professional young hustlers. There was too much fear of pain to go into a relationship, a form of love.</div>
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It could be a precarious arrangement at the best of times, with the middle-aged writer often at the mercy of his Dilly Boy’s drunken temper, but for today things were civilized enough: Johnny “the Sailor” staying long enough to meet P-Orridge and take a photo of him and Burroughs together before going out, leaving them alone to talk.</div>
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<a href="http://cdn.realitystudio.org/images/people/genesis-p-orridge/william-burroughs.genesis-p-orridge.duke-street.1973.photo-by-johnny-brady.jpg" style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-width: 0px 0px 1px; color: black; font-family: inherit; font-style: inherit; font-weight: 600; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank"><img alt="William S. Burroughs and Genesis P-Orridge, Duke Street, 1973 (Photo by Johnny Brady)" height="331" src="http://cdn.realitystudio.org/images/people/genesis-p-orridge/william-burroughs.genesis-p-orridge.duke-street.1973.photo-by-johnny-brady.400.jpg" style="border: 0px; float: none; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 2px 10px 2px 0px;" title="William S. Burroughs and Genesis P-Orridge, Duke Street, 1973 (Photo by Johnny Brady)" width="400" /></a><br /><i>William S. Burroughs and Genesis P-Orridge, Duke Street, 1973 (Photo by Johnny Brady)</i></div>
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My very first question to him, a living, breathing, Beatnik legend in the flesh was… “Tell me about magick?” …William was not in the least surprised by my question. “Care for a drink?” he asked.</div>
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P-Orridge had asked Burroughs whether or not he still used cut-ups in writing, and he replied “No, I don’t really have to anymore, because my brain has been rewired so it does them automatically!” Putting on the TV to watch <i>The Man From U.N.C.L.E</i>., he explained “Reality is not really all it’s cracked up to be, you know…” and began hopping through the channels on the TV with the remote — at the same time mixing in pre-recorded cut-ups from the Sony tape-recorder — until P-Orridge was experiencing a demonstration of cut-ups and Playback in Real Time, Right There Where He Was Sitting:</div>
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I was already being taught. What Bill explained to me then was pivotal to the unfolding of my life and art: Everything is recorded. If it is recorded, it can be edited. If it can be edited then the order, sense, meaning and direction are as arbitrary and personal as the agenda and/or person editing. This is magick.</div>
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Burroughs went on to describe his theories about the pre-recorded universe, quoting Wittgenstein, and describing with obvious relish his experiments with tape recorders at both the Chicago Democratic Convention in 1968 and, closer to home, on the streets of London, where he used “Playback” to wage psychic warfare against the Scientology HQ and the infamous Moka Coffee Bar. In addition to the street-recordings, cut-up with what he called “trouble sounds” (i.e. police sirens, screams, sound effects of explosions and machine-gun fire taped from the TV), Burroughs had also taken photographs of his targets. As part of his explanation, he showed P-Orridge one of his journal scrapbooks in which he had posted two photos: a simple black & white street-scene, with the relevant building clearly visible, and then another beneath it from which he had carefully sliced out the “target” with a razor-blade, gluing the two halves of the photo back together so as to create an image of the street with the offending institution removed. The same principle could clearly be applied to photos of people that you wanted to “excise” from your life, he said.</div>
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After much talk of street-recording and playback, working their way steadily through the hard liquor, eventually they went for a meal — Burroughs taking P-Orridge to dinner at the nearby Aberdeen Steak House on Haymarket. “They had all these foreign waiters, and they were all like ‘Good eeevening, Meester Weelliam’ — and it was just like something out of one of his books!”</div>
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P-Orridge states that Burroughs’s closing remark to him that first meeting was <i>“How do you short-circuit Control?”</i> and later memorialised the meeting in a poem that he sent, illustrated with a drawing of “Uncle Bill,” to the Mail Art magazine <i>Quoz</i>, which in part reads:</div>
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Poem for Uncle Bill:</div>
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UB who UB<br />Supposedly an evil power<br />Yet<br />An old man<br />Sometimes it showed<br />Drinking whisky<br />Till it slurred<br />…<br />Passing a Rolls Royce<br />E promise to buy you one<br />Complete with chauffeur<br />…<br />We agreed to eradicate<br />A few phenomena and parted.</div>
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A legacy of that first encounter that would have a major bearing on P-Orridge’s next project was Burroughs’ use of tape recorders. Forming the group Throbbing Gristle with Chris Carter, Peter Christopherson, and then-girlfriend Cosey Fanni Tutti, P-Orridge would help to invent a new genre of music that they dubbed “Industrial.” The idea was to strip back music even further than the “back-to-basics” of Punk to create a kind of Garage <i>musique concrète</i>, in which the processing and manipulation of found sound was a key part of the semi-improvised mayhem that was as often sonic assault as it was about the alchemy of sound. Their launch at the Institute of Contemporary Arts in London’s The Mall saw an unprecedented backlash in the press in response to their confrontational shock tactics and uncompromising “anti-music.” The <i>Daily Mail</i> of 19th October 1976 infamously quoted the Tory MP Nicholas Fairbairn that “These people are the wreckers of civilization!”</div>
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P-Orridge’s bandmate Peter Christopherson, operating in a defiantly “non-musician” capacity, was also an aficionado of Burroughs. The discovery of Burroughs’ <i>Naked Lunch</i> at the back of W. H. Smith’s one rainy Saturday afternoon had been a revelation to the 13 year old boy. Certain from a very young age that he was a homosexual but feeling stifled by his academic family background in the North of England, he would say later, quite simply, “It changed my life!”</div>
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A talented photographer who helped to design high-profile rock album covers as a day-job, in his spare time Christopherson delighted in taking photos of young male friends in what appeared to be compromising situations, carefully staged. One particular set of images was for his friend John Harwood’s boutique “Boy,” which appeared to show youths beaten and bloodied by Skinhead thugs. Another was an early set of promo photos for the Sex Pistols, taken in the public toilets at the YMCA — apparently declined by Malcolm McLaren because they made the band look “too much like psychotic rent-boys”. These kinds of extracurricular interests had earned Christopherson the affectionate nickname “Sleazy” from his bandmates — a nickname that would endure with friends and later fans throughout his life. When it came to Industrial Music, his role in Throbbing Gristle completely bypassed conventional instrumentation of any kind. Inspired by Burroughs, he would enthusiastically apply and develop such ideas as he had read about in <i>The Job</i> and <i>Electronic Revolution</i> with found sound and loops, frequently cutting up recordings live, from prepared tapes and treated radio and TV sources.</div>
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<a href="http://cdn.realitystudio.org/images/people/genesis-p-orridge/william-burroughs.sleazy-christopherson.the-bunker.ca1977.jpg" style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-width: 0px 0px 1px; color: black; font-family: inherit; font-style: inherit; font-weight: 600; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank"><img alt="William S. Burroughs and Sleazy Christopherson, New York, The Bunker, circa 1977" height="400" src="http://cdn.realitystudio.org/images/people/genesis-p-orridge/william-burroughs.sleazy-christopherson.the-bunker.ca1977.400.jpg" style="border: 0px; float: none; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 2px 10px 2px 0px;" title="William S. Burroughs and Sleazy Christopherson, New York, The Bunker, circa 1977" width="400" /></a><br />William S. Burroughs and Sleazy Christopherson, New York, The Bunker, circa 1977</div>
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In 1977, Christopherson was in New York on business and visited Burroughs at The Bunker, taking with him a portfolio of his “boy” photos. Burroughs was really enthusiastic about the images, and talked about wanting to incorporate them in a book alongside the text he was then working on, <i>Blade Runner</i>. (“Nothing to do with the film,” Christopherson made clear.) Regrettably the publisher wouldn’t run to the expense. Nonetheless they bonded over a bottle of vodka, Christopherson later recalling: ”I remember getting very, very drunk with him… and it was one of those times where you could sit for a long time and not say anything and feel OK about it. Maybe that has something to do with the place, which is a converted YMCA…”</div>
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But he also had a more practical idea: “I suggested that it would be great to release a record of his original cut-up recordings… we really wanted people to be able to hear what they actually sounded like.”</div>
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Genesis P-Orridge had also been suggesting the same idea:</div>
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I thought of doing the LP in 1973, it was about the first thing I suggested to him when I met him. And I wrote him letters suggesting it again and again and again for the following eight years, and suddenly one day James Grauerholz wrote back and said “Okay.” Just when I thought he was never going to do it!</div>
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So eventually it was agreed, and arrangements were made for P-Orridge and Christopherson to go over to Lawrence, where in the middle of the summer heat they spent a frantic and humid week in a motel room with inadequate air-conditioning, a rented Revox tape-recorder, going through a shoebox full of old tapes. By all accounts the actual tapes were in a pretty poor condition, and it sounds like they were duplicated for posterity not a moment too soon. As P-Orridge told Vale in an interview for Re/Search:</div>
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He just agreed to us taking the tapes away, fifteen hours of them, and editing them down to an LP. It’s a good job we got them, ’cause they were recorded over twenty years ago and the oxide was actually crumbling off the tapes as we held them.</div>
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<a href="http://cdn.realitystudio.org/images/people/genesis-p-orridge/industrial-records-promo.jpg" style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-width: 0px 0px 1px; color: black; font-family: inherit; font-style: inherit; font-weight: 600; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank"><img alt="Industrial Records Promo for Nothing Here Now But the Recordings" height="573" src="http://cdn.realitystudio.org/images/people/genesis-p-orridge/industrial-records-promo.400.jpg" style="border: 0px; float: none; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 2px 10px 2px 0px;" title="Industrial Records Promo for Nothing Here Now But the Recordings" width="400" /></a><br /><i>Industrial Records Promo for Nothing Here Now But the Recordings</i></div>
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The album, titled <i>Nothing Here Now But The Recordings</i>, came out in May 1981 on Throbbing Gristle’s Industrial Records label, serial number IR0016. It was a significant release. There had been previous records of spoken word from William S. Burroughs, starting with the classic <i>Call Me Burroughs</i> issued by the English Bookshop in Paris in 1965 and reissued the following year on the ESP label; and then in 1971 a recording of Burroughs reading a draft of <i>Ali’s Smile</i> was released in a very limited edition of only 99 copies. But this was the first time that recordings of the actual cut-up experiments with tape would be made available.</div>
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It would also be the final release on the Industrial Records label, followed by the demise of Throbbing Gristle later that year. Notifying their fans and followers with a simple postcard, reading “Throbbing Gristle: The Mission Is Terminated,” in many respects things had come full circle for the Wreckers of Civilization: passing on the baton to the next generation with the challenge, example and inspiration of the cut-up experiments of William S. Burroughs and Brion Gysin.</div>
<div id="endnote" style="border: 0px; color: #666666; font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.7em; margin: 0px 0px 8px; outline: 0px; padding: 9px 0px; text-align: justify;">
Written by Matthew Levi Stevens and published by RealityStudio on 29 July 2013.</div>
jacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com1tag:blogger.com,1999:blog-7820718949908458089.post-75403225087713180612013-09-14T03:46:00.001-07:002013-09-14T03:46:04.603-07:00THE GENESIS OF GENESIS BREYER P-ORRIDGE.' V magazine articleArticle link <a href="http://ht.ly/oor7S">http://ht.ly/oor7S</a><br />
<br />
PHOTOGRAPHY COUM (FROM BREYER P-ORRIDGE ARCHIVE)<br />
THE GENESIS OF GENESIS BREYER P-ORRIDGE<br />
<br />
TEXT DANIEL MCKERNAN<br />
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Genesis Breyer P-Orridge (First Third Books this November), which took nearly a year's time to compile and edit, is the first artist monograph for the multi-disciplinary legend and icon and spans half a century of history, personal archives and artworks. This 323 page book, with an introduction by Mark Paytress and photo commentary by Breyer P-Orridge, has over 350 images ranging from iconic photographs and artworks taken from early COUM Transmissions' infamous 1976 Prostitution exhibit at the ICA in London, to as-of-yet unpublished promotional imagery of Throbbing Gristle and early Psychic TV band shots, to the Pandrogyne project with Lady Jaye Breyer P-Orridge, and the most recent imagery from the current retrospective at The Andy Warhol Museum, up through September 15. I sat down with the artist and collaborator Leigha Mason to discuss the efforted editing of the collection of memories.<br />
<br />
Daniel McKernan: So whose idea was it to do this book?<br />
<br />
Leigha Mason: Fabrice Couillerot's idea. He had done the book for Felt. He had made a Felt book and made a Serge Gainsbourg book, and he had approached Gen with doing a book. S/he said s/he wanted me as editor. So he came to New York and we met and we got along really well and we just spent days―it was when I had 1:1 [the now defunct Lower East Side gallery]―and we spent days putting out photos all over the gallery floor and moving them around...<br />
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Genesis Breyer P-Orridge: As you can imagine, there were thousands of photos and bits… There were just hundreds of pictures from Nepal. And then photos in Haiti from our honeymoon, and it just goes on and on...<br />
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DM: Are these the archives that Ryan Martin and Jason Louv helped you organize?<br />
<br />
GBPO: Yes, I mean, they helped catalog the archives that went to the Tate, but these are all—<br />
<br />
LM: This is different―this is like, pulling out shoeboxes from Gen's closet.<br />
<br />
GBPO: My personal archives. Basically, really allowing people into the deepest intimate aspect of our life. That's why in the deluxe edition there's a brown envelope rubber stamped with a warning saying that if you open it, some of the photographs are very intimate and may be offensive to you, so you open it at your own risk. And that's where the sexy Polaroids are.<br />
<br />
LM: Yeah, so it was Fabrice's idea to do the book, and then we developed the structure and the kind of conceptual underpinnings of the book together.<br />
<br />
GBPO: It's impossible to do everything. That's why it's so good that we've got Leigha, because for me, every picture tells a really emotional story. So we want them all in. We want to put out a book that's 20,000 pages long!<br />
<br />
LM: The first edit was about 800 to 900 pages.<br />
<br />
GBPO: Oh, it's been such a struggle.<br />
<br />
DM: How did you two meet? Did you work together before Leigha's Spit Banquet performance/video piece that was in the recent Pasolini themed exhibit, “I Killed My Father, I Ate Human Flesh, I Quiver With Joy: An Obsession With Pier Paolo Pasolini,” curated by Invisible Exports, at the Allegra LaViola Gallery in February and March of 2013?<br />
<br />
GBPO: Leigha's friend Matt was doing most of the gold-leafing for our works. One day he asked Leigha to come over and help to do a straight line because no one else could paint a straight line. Leigha and Matt were also doing performances together, and we invited them to perform at the closing event of the "Thirty Years Of Being Cut Up" exhibition at Invisible Exports.<br />
<br />
LM: That was long before Spit Banquet. We just become good friends.<br />
<br />
GBPO: It's really good for me to have another artist to bounce ideas on, like I did with Jaye. If we're just alone all the time, we're always afraid of getting into tunnel vision, and as you know, we hate the idea of habits and we like to keep breaking behavioral traits or even perception traits. So having someone to go, What do you think? and then responding, Well yeah, but you've done that before―what if you did it this way? or, No, that photo doesn't need to be there because you've already got that information here... So that is part of how we work. She's my muse and we bounce things around together. And she's incredibly dedicated and smart. The Warhol Museum wanted to include Spit Banquet in the short films evening we're doing there. It's also that thing we've talked about before where instead of competing it should be about supporting each other―reciprocal advice, reciprocal assistance. Not be the biggest name on the marquee but just to get stuff done that is interesting or that's challenging. That makes people stop and even laugh, for God's sake. There's a lot of dark humor in what we do―look at It's That Time of the Month sculpture—it's just an art deco clock with tampons in it. It's a joke, and they say we were threatening the government in Britain. Now, how dangerous is that? And yet it was discussed in Parliament and they threatened to take away my passport. So, there are weak spots in the culture. You don't even know where they are until you hit them. But if you don't cast your net wide and you don't keep collaborating and sharing and asking and looking and listening, you'll never know where those are and when you press those buttons it's becoming more and more important to destabilize the status quo. I think we all knew, even before this guy Snowden, that they'd been building a totalitarian digital system. The complacency that people have with the technology is very disturbing to me and it needs to be seriously reassessed.<br />
<br />
DM: Do you know if Snowden made it out of Russia yet? To Venezuela?<br />
<br />
GBPO: I think he's still in the transit lounge. The bit that amazes me is that anyone thinks it's a surprise. There's this idea of digital farms where they have sub-power stations collecting information so they can store everything forever, localized.<br />
<br />
DM: Until the digital dark ages.<br />
<br />
GBPO: It's funny, we were thinking this morning, that way back in the mid-seventies, we wrote an essay for a book called Decoder... My essay said that the next war is the information war. This is where the next war is going to be. Who's got the most information? Who's got the most data? And it's happened, which is what we call, See the inevitable. Like we thought industrial music was inevitable, or we thought the tattooing craze was inevitable. That's the cultural engineering aspect of observing the ebbs and flows just underneath the surface of the media and starting to suspect where the waves are taking us and then exposing it.<br />
<br />
DM: I was curious about the differences between this new book and the now out of print, Painful But Fabulous: The Life and Art of Genesis P-Orridge. <br />
<br />
LM: The new book is going to be much more of an image-based art monograph.<br />
<br />
GBPO: It implies the same message. It implies that you can make every day of a life exciting, worthwhile, challenging. You can actually live an entire life as an adventurous story of your creation. And even though there are ups and downs, it's always worth it, compared to surrendering to the status quo.<br />
<br />
LM: Yes. In terms of differences, the new one is much more of a biography and images and it's more personal. Rather than how different people see Genesis, it's more of Gen's own notes and archives and personal photos.<br />
<br />
DM: Aside from Thee Psychick Bible and Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle―are there any others I'm not aware of? Those two and Painful But Fabulous?<br />
<br />
GBPO: We're doing one called Breaking Sex which will be primarily about identity and gender and the ownership of the narrative of your life, alternative ways of exploring consciousness and, ultimately, ways to genuinely break negative behavior patterns. And then the ultimate project is still to set up small alternative villages, communities―not communes, but communities―that are experimental think tanks on different ways to live and different ways to have small societies based on sharing, generosity, kindness, and courage, instead of fear, paranoia, greed and intimidation. We're at a very interesting spot of the evolution of the species.<br />
<br />
DM: The music on the three seven-inches that are going to accompany the deluxe edition was done with Ryan Martin from Dais Records, Sean Ragoon from Cult of Youth, and Blind Prophet Records?<br />
<br />
GBPO: Yeah, we went in and did four tracks in two days. And then the third single we've not heard, but Mark Paytress, who is the editor of MOJO Magazine, whom we've known for years and years, he is going to write the introduction and sort of interpret the captures. And he had an interview where he edited bits of me and Jaye, so it's both of us speaking, which is nice. We didn't even know he had it.<br />
<br />
DM: I see early photos of Jhonn Balance and Sleazy. Are these mostly photos of early Psychic TV?<br />
<br />
GBPO: Basically. I mean, at that point, some of the others hadn't done anything for the band yet. Some were photos to deliberately make it look like there was an actual movement going on. Like, a propaganda photo. And it worked―by us all wearing these outfits we made it look like it was much bigger than it was and then it became much bigger than it was [laughs]! The things they say though are so insane! Things like this where it's only a tiny movement of the indicator of the little arrow of culture as to whether it would expose or whatever―if someone decided to make it their crusade for whatever reason, then we're all back to the beginning again, fighting for the same rights.<br />
<br />
DM: What are some of the extra bits that people will get in the deluxe edition?<br />
<br />
GBPO: Comes with the three records...<br />
<br />
LM: The deluxe edition has the main book, a second book, three seven-inch singles, and a poster. The second book is part catalog of artworks, part documents (like the document where Neil Megson changes his name to Genesis P-Orridge). There are hospital bracelets from when Gen and Jaye got their breast implants, and then there's a few—<br />
<br />
GBPO: [Pointing at details of the artwork included in the catalog] These are all dope bags, commenting on the Christian myth. Amazing how they work, isn't it? And this is the new piece we made for 1:1 called My Funny Valentine, which is a Polaroid of Jaye turned into a mandala. But then it's all these bums and things, the way you see it completely changes when you do that. Part of a series we've been doing… We found these in the back garden. Worms making love to themselves. And we actually had wild roses in there and we came back from the tour and there they were, all these worms having sex with themselves and all these roses. And we just thought ovaries and vaginas―seeing the world―and that one's a mixture of worms and the lip, how they fit together―the way the world intertwines with collage now, the cut up technique, seeing what's really there. And the birth certificate? Isn't that in there?<br />
<br />
LM: Yes, the birth certificate, that's in there. There's also some really funny early report cards from Gen's elementary school teachers saying like, Neil refuses to give over to conformity, and, He's very smart but he seems to live in another universe—from when Gen's like, nine. And then there're some personal diary entries, some early news clippings… The most exciting thing about the book is that it's a real testimony to somebody who merged art and life and I think that this second book of documents is totally furthering that.<br />
<br />
GBPO: These clippings go back to the sixties... And that's the original lineup of COUM: Pinglewad, he was at school with me, that's Spidey, Gas Mantel III, he was at school with me, and this guy is Ray Harvey, who even then was covered from his head to his feet in tattoos. He was a complete illiterate but a natural genius―if you gave him a tambourine and a microphone, he would just make up Captain Beefheart-like songs. And he would bang the tambourine until it was in bits and there was just blood on his hands.<br />
<br />
DM: Do you keep in touch with any of them?<br />
<br />
GBPO: We stayed in touch with Pinglewad for quite a long time and Ray Harvey. We sent him a copy of the record he was on, The Sound of Porridge Bubbling, and just not long after that, he died. Spidey―we don't know where he is. These are pieces of diaries.<br />
<br />
LM: The Worm was a publication that Gen did at university. <br />
<br />
GBPO: It got banned. So we broke in after it was banned, stole all the copies back and gave them away free. They weren't happy because it said on the front, How To Make a Molotov Cocktail, and on the back it was a diagram of where the oil tank was at the head of the university’s house [laughs]. We didn't say anything should be put together... I mean, it was a bit naughty. These are more diaries from the sixties, early seventies. That was an article that some paper did on venereal disease and the young [points to a picture of self]. There's my birth certificate… There's my communion or baptism.<br />
<br />
DM: As far as all the archives that you went thru for this―I remember in the Breaking Sex documentary that you'd said that when Scotland Yard raided your house in England they took away two tons of your archives. Is that something that you ever had returned to you?<br />
<br />
GBPO: No, they never returned anything.<br />
<br />
LM: In the documents, there's a reference to―we couldn't print the whole list because it was so massive―but there is a reference to a huge inventory of things that they took and destroyed or “lost.” Scotland Yard wrote a letter―and the letter is in the second book―basically saying that they don't know what happened to her stuff and, Too bad, if you want to sue us you can try, but it will take years and a lot of money.<br />
<br />
GBPO: Yeah, you have to put down a £60,000 deposit to begin to sue Scotland Yard, which is $100,000. With no guarantee, there's no bill of rights, no guarantee you could ever win unless you're a multi-millionaire. This is from my lawyers about Scotland Yard basically. This page spread is funny because this one's from the whole Prostitution show when my tampons were sited as why we were “wreckers of civilization”―and then the next page is from Sir Nicolas Serota [Director of The TATE] congratulating us on the fact that they've moved the tampon sculptures into the National Collection of Fine Art with the Turners and everything. It's just so ironic. So there's lot s of little documents like that that if people really look, it tells a lot of the story. Plus, the fact that we've had to fight off the authorities literally year in, year out. They've tried to shut me up legally several times and put me out of the country once. And I'm still not officially allowed back even though I go back sometimes. This is when they started suing me for doing post cards. Here's a letter from Burroughs writing on my behalf trying to find me a lawyer. Because they said that my postcards of the Queen were indecent―not obscene―indecent! And the difference is, with obscene you have to get a jury to all agree it's obscene and likely to deprave and corrupt society. But if it's called indecent then the only proof you need is one person to say, I was offended! There's no defense. So they charged me with indecent mail. And he was friends with Lord Goodman who ran the Arts Council and was a big deal lawyer, high aristocracy. One of the things that still surprises me is how often the powers that be, the government, Scotland Yard, the Lords that represent the Queen, have tried to shut me up. It's not very common in this day in age for artists to be attacked on that level for what they're saying and doing and creating. So, we thought it was important to include some of the documents of that to make it clear that when people say, It's all been done―there's nothing you can do to subvert the status quo―there is. Ironically, usually when you're not trying. That's the strangest part.<br />
<br />
LM: So the archives that we're talking about all started after that or...<br />
<br />
GBPO: Or things that were hidden in houses that they didn't know about.<br />
<br />
LM: Yeah, so there was a lot of reaching out to people from way in the past, who Gen hadn't been in contact with for years, or even second-hand from those people, so we got a lot of stuff sent to us from various people. Gen and I are in New York, Fabrice is in Paris so he did a lot of going back and forth between Paris and London, meeting people and working really closely with photographers like Sheila Rock, and she brought out tons of photos of Gen and Sleazy and put us in touch with other photographers. Jean-Pierre Turmel had a lot of stuff that he gave us.<br />
<br />
GBPO: Yeah, Turmel did Sordide Sentimental [Records] back in the seventies. The first record he released was Throbbing Gristle's “We Hate You Little Girls” [as a split] with “Five Knuckle Shuffle.” And then Ian Curtis rang me up and said, We love this record, do you think this guy would want to do one with Joy Division? and I said Yeah, he likes Joy Division, so we put them in touch and Joy Division was the next. “Dead Souls” paired with “Atmospheres.”<br />
<br />
DM: I'd mentioned Orlan as a like-minded artist.<br />
<br />
GBPO: We're showing an interview that we'd done with Orlan out at the Andy Warhol Museum when we do an evening of short movies. We went to Coney Island and while we were discussing the body and art in really serious terms, we were bouncing up and down in front of those funhouse mirrors that distort you.<br />
<br />
LM: I actually think Orlan is approaching things very, very differently. I think of Gen's practice more in the context of someone like Derek Jarman, who was making such beautiful films and just by him being who he was, they were political statements.<br />
<br />
GBPO: Oh, absolutely. It's refusing to censor your expression of how you see life. That your perception of what's going on is more important than your own safety. That's what Derek was definitely doing. He couldn't wait to tell the world that he was HIV positive because it meant that he was absolutely an outsider and absolutely unashamed of it. And it had a huge positive effect in Britain on the whole gay activist scene, and still does. He's still an inspiration to people.<br />
<br />
LM: That's always a major issue with "politics." People are so obsessed with normalizing and naturalizing everything, a focus on inclusion... The emphasis should be on the opposite, like for a rupture in the established system which is obviously failing everyone.<br />
<br />
GBPO: People should invent their own gay marriage, and fuck the world. Yes, legally they should be allowed to share insurance and everything else but the actual establishment, neo-Christian ceremony―fuck it. What are you doing? Saying, Oh, please accept me! You know: I like to suck cock but please pretend I don't―it's just like, no! A gay marriage is where people suck each other off at the end instead of kiss. That would fuck things up.<br />
<br />
DM: People have been doing these Pink Mass ceremonies where a Satanist has been marrying gay people on the grave of Fred Phelps' mother.<br />
<br />
GBPO: Who's Fred Phelps?<br />
<br />
DM: God Hates Fags.<br />
<br />
GBPO: Oh, that guy [laughs]. Yeah, that one's good. They need to dramatize what they're feeling and Derek Jarman was from the sixties of course, we're sixties, we're the bridge between the Beatniks and now, and it worries me that young people are sort of distracted by the disconnection of the internet where it's all almost like gossip―you put up your things but no one is responsible for the source of it. And there's still plenty of room to shake things up if people step back and think, What can we just do that's really what we mean and not symbolic of what we mean? When we gave our lectures at universities, first of all, there is curiosity in your generation [born in the eighties] because we've been literally breaking attendance records at universities like Yale as guest speakers. And people come up afterwards and ask, How can we find out more about this? It's so amazing and inspirational to realize that life and art are the same and that love is unconditional. And we often say as an example now, if you want to buy a book, you go to Amazon.com and type in the name of the book and you click and it gets sent. But when we had to get a book in the sixties―not like, Oh, poor me, but―we had to lie to our parents that we were going to London to visit somebody's grandparents and then hitchhike down to London with the train money so that we could have something to spend, meet all these weird people and truck drivers and people who want to give you a blowjob and everything on the way down there, listening to their stories, wandering around in the streets ‘til you meet somebody who says, Do you wanna crash at my place? and then search Soho through the porno shops because the only people who had Burroughs and everyone were the porno shops because they'd heard Henry Miller and Burroughs were obscene. So that's where you went for Jean Genet, Burroughs, Henry Miller and everyone. And then you came back meeting lots more people. What's the difference in the enrichments between those three days and adventure―versus the click. It's a huge loss of richness.<br />
<br />
DM: I'm seeing John Waters this weekend on Fire Island. He just got back from doing a hitchhike across the country for his new book Car Sick.<br />
<br />
GBPO: The first time we met him―Jaye and myself―we were at a party at PS1 for Alanna Heiss who used to run it and help set it all up―and John came in and saw me and Jaye standing there looking as identical as we could. He came immediately over, flying towards us and we smiled and he saw our gold teeth and his first words were, Can I lick your gold teeth? and we said, Of course, John, and he did. That's how we met. So when you see him, say hi from the gold teeth. Our obsession, as you said, is that life and art are truly inseparable and the media are absolutely random and just, whichever works at the time. And who are you talking to? Not the converted, because they're converted. So, you're trying to find ways to set up situations that don't have to be confrontational but do cause people to stop and go, What is that about? And, Why have they done that? That's why the Warhol retrospective is so important. Because thousands of people who will go there because they've heard that Warhol is weird or just heard that he's collectable or whatever it might be―and then they'll be confronted with thirty years of artwork―a whole floor. And hopefully they'll see the connections, that it's a way of seeing, a way of perceiving. But you know that we've told you over and over again that for me it's a mystical, spiritual journey. It's got nothing to do with the right gallery and career and everything else. It's got nothing to do with how much money you make or don't make. It's about speaking.<br />
<br />
EXTRA CREDITS<br />
IMAGES COURTESY OF GENESIS BREYER P-ORRIDGEjacurutu3http://www.blogger.com/profile/10296237001205355147noreply@blogger.com0tag:blogger.com,1999:blog-7820718949908458089.post-34360725779437757602013-08-30T15:02:00.002-07:002013-08-30T15:02:59.850-07:00Genesis Breyer P-Orridge Guardian Article August 2013<div id="article-header" style="background-color: white; background-repeat: no-repeat no-repeat; border-collapse: collapse; border-color: rgb(209, 0, 139); clear: left; color: #333333; font-family: arial, sans-serif; font-size: 12px; line-height: 15px; margin: 0px; min-height: 68px; padding: 0px; position: relative;">
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Genesis P-Orridge: 'People's lives should be as interesting as their art'</h1>
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The Throbbing Gristle founder, once branded a 'wrecker of civilisation', talks about being given a poetry prize by Philip Larkin and reaching marital unity through plastic surgery</div>
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<img alt="Genesis P-Orridge" height="276" itemprop="contentUrl representativeOfPage" src="http://static.guim.co.uk/sys-images/Guardian/About/General/2013/8/29/1377785056828/Genesis-P-Orridge-010.jpg" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;" width="460" /><div class="caption" itemprop="caption" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #666666; font-size: 12px; margin: 0px; padding: 0px;">
Genesis P-Orridge: 'The press portray me as outrageous, but we have a way with animals.' Photograph: Andy Kropa/Getty Images North America</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Hi Genesis! Your new photographic retrospective book about your life contains images of nudity and genital mutilation. <a href="http://www.theguardian.com/music/2013/aug/29/genesis-p-orridge-throbbing-gristle#1" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;">(1</a><a href="" name="1back" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">)</a> Yet some fans might be more shocked by the one of you as a cute little boy clutching a rabbit.</strong></div>
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For the first nine years of my life we<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> <a href="http://www.theguardian.com/music/2013/aug/29/genesis-p-orridge-throbbing-gristle#2" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;">(2</a><a href="" name="2back" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">)</a> </strong>weren't allowed pets because of my asthma, apart from that rabbit, which lived outdoors in a hutch. But we've had dogs since 1969. The media portray me as outrageous, but we have a way with animals and can train dogs so well that they don't need leads. We once took the dog shopping, went home and two hours later thought: "Where's the fucking dog?" We ran back like a maniac and she was still there, sitting outside the butcher's.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">How did cute little Neil Megson become the </strong><a href="http://images.nymag.com/arts/art/profiles/genesis090913_2_560.jpg" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">notorious Genesis P-Orridge</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">?</strong></div>
<div style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin-bottom: 13px; padding: 0px;">
<a href="http://www.solsch.org.uk/page/default.asp?title=Home&pid=1" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Solihull School</a> radicalised me in terms of who are the enemy. All the other kids were being told: "You are the future leaders of Britain. You will be MPs or military generals." Then there was me. We started an underground magazine complaining about the school rules and actually got some of them changed, like the one which insisted that boys of 6ft 4in with stubble should always wear their school cap. It was ridiculous!</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Were you a bit of a handful, even then?</strong></div>
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There's one of my old school reports in the book. The English teacher – nicknamed Bog Brush because of his moustache – put: "Neil seems to live in a completely different universe to the rest of us. Very weird but very intelligent." We'd been quoting Tibetan Buddhism in essays about Shakespeare and stuff. He did recommend Jack Kerouac's On The Road to me, though, which convinced me that people's lives should be as interesting as the art they make. A lifelong manifesto.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Were you really given a prize at Hull University by </strong><a href="http://books.guardian.co.uk/greatpoets/larkin/0,,2260117,00.html" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Philip Larkin</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">?</strong></div>
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We went there to study philosophy and economics. God knows why. Within three weeks we thought: "We can't do this." So we started writing poetry. Philip Larkin – the librarian there – gave me the prize, and not long afterwards told the Times I was the most promising young poet in Britain. Which, of course, immediately stopped me writing poetry.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Most people form bands to be famous, make money and have sex. What motivated you to form </strong><a href="http://www.theguardian.com/music/throbbing-gristle" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Throbbing Gristle</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">?</strong></div>
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Well, we were already getting plenty of sex! We'd been doing this thing called <a href="http://www.youtube.com/watch?v=yDisazVj0sY" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Coum Transmissions</a> and I remember wearing gas masks outside Hull town hall and this guy in a suit rushing up asking: "Who are you people?" The British Council sent us to Milan with Gilbert and George to represent British <a href="http://www.theguardian.com/artanddesign/performance-art" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="More from guardian.co.uk on Performance art">performance art</a>, but one day I was talking to this old man in the pub who'd been gassed in the first world war. He'd said: "I understand you're trying to wake people up. But how many people in this pub would get it? Why don't you do something accessible, like music?" So we did.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">How did you invent industrial music, which became a genre that has since inspired everyone from David Bowie to Marilyn Manson to Nine Inch Nails?</strong></div>
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It was a process of reduction. We decided we didn't want a drummer, because that would immediately anchor us in rock history. At the beginning, we hit my bass strings with a leather glove to provide a rhythm. Chris Carter started building drum machines and weird gadgets.<a href="http://www.theguardian.com/music/musicblog/2010/nov/25/peter-sleazy-christopherson" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Sleazy Christopherson</a> experimented with tape machines and cut ups because he was into [William] Burroughs. <a href="http://www.vice.com/en_uk/read/cosey-fanni-tutti-597-v17n11" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Cosey [Fanni Tutti]</a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> </strong>wanted to play lead guitar, which at the time was unheard of for a woman. We got one from Woolworths, but she said it was too heavy. So we took an electric saw and cut off the excess wood. That's how she ended up with that style of guitar.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">How did you write songs?</strong></div>
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We jammed every weekend throughout 1975, recording everything and listening to it back so we could use the best bits. Later, we added my deadpan Lou Reed voice and the various stories. It was about taking lyrics and imagery to the logical conclusion. Nothing was too extreme. Nothing was taboo.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Your first performance – the notorious </strong><a href="http://www.brainwashed.com/tg/live/ica.htm" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">"Prostitution" show at the ICA in 1976</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> – catapulted you to national attention.</strong></div>
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Yeah. We had a plastic art deco clock filled with used tampons called It's That Time of the Month. The whole country was in uproar. Now those tampons are in the Tate National Collection of Fine Art – with the Turners, the Rothkos and the Constables.'</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">How did it feel to be branded "wreckers of civilisation" in the House of Commons?</strong></div>
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We were so proud. We had a flyer with that on it the very next day. The irony of it was that Sir Nicholas Fairbairn – the [Tory] MP who called us that – was involved in various sex scandals. And his mistress, a House of Commons secretary, tried to hang herself outside his office. It was classic British hypocrisy: everything we were against.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Is it true that </strong><a href="http://www.youtube.com/watch?v=32fosxfzT-4" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">TG's 20 Jazz Funk Greats album</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> was returned to the shops by irate jazz funk fans compaining: "This isn't jazz funk. It's horrible noise!"?</strong></div>
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There was a lot of dark, twisted humour in TG.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Your </strong><a href="https://twitter.com/GenesisBPO" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Twitter page</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> says you're "STILL!" a member of TG. Does that mean the band still exists?</strong></div>
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I never quit the band even though the <a href="http://www.theguardian.com/music/2010/nov/01/throbbing-gristle-genesis-p-orridge" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">others said I did</a>. I just didn't do the last two gigs for reasons that will become clear eventually – it was the people around them on the business side. But Sleazy died not long after, so maybe it was the end of our natural life as a band.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">TG and your other band </strong><a href="http://www.allmusic.com/artist/psychic-tv-mn0000375945" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Psychic TV</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> both became international cults without entering the mainstream. Would you have liked hits?</strong></div>
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Well <a href="http://www.youtube.com/watch?v=s1yr8w_vZ5E" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Godstar</a> <strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="http://www.theguardian.com/music/2013/aug/29/genesis-p-orridge-throbbing-gristle#3" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;">(3</a><a href="" name="3back" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">)</a></strong> got to No 29. But going on Top of the Pops would have ruined everything. It would have made it much more difficult to write books, do art exhibitions and <a href="https://en.wikipedia.org/wiki/Thee_Temple_ov_Psychick_Youth" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">set up religions</a> and be taken seriously. Once you have a hit, it just becomes another old song. Mick Jagger is 70 and still singing Satisfaction every concert. That would drive me insane.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Were you really the last person to speak to Joy Division's Ian Curtis before he killed himself?</strong></div>
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Ian Curtis was a young genius. We were the last person he spoke to on the phone. He said: "I don't want to go on the American tour. I'd rather be dead." He sang our song Weeping – about suicide – down the phone. We were ringing people in Manchester, saying: "You've got to go round to Ian's because he's going to try and kill himself." The people we got through to went, "Oh, he's always being dramatic" and the other people were out. Even now it really upsets me.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">In 1992, you were hounded from the UK by the tabloids and the police, amid allegations of "Satanic ritual abuse"? What happened?</strong></div>
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Sleazy had made this film of young boys: LA skateboarders who meet this guy who puts an implant in their arms so every time they press a button they get an orgasm. After a while it burns out the nerves, so they put it in their cocks. It was all fake, but when I first saw it, I said: "Sleazy. People will think this is real."</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">So you aren't a Satanist, Gen?</strong></div>
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That's so far from what we are. We were actually in Kathmandu using our own money to help Tibetan monks feed beggars and refugees when the papers called us "Satanists". Scotland Yard raided my house and took everything, then told my lawyers that if I'd tell them who made the film, they'd forget all about it. But we wouldn't snitch. We lost everything: two homes, our children gave up their friends. Sleazy never thanked me. That was disappointing.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">You moved to America and met Lady Jaye Breyer <a href="http://www.theguardian.com/music/2013/aug/29/genesis-p-orridge-throbbing-gristle#4" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;">(4</a><a href="" name="4back" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">)</a>, your second wife, musical collaborator and soulmate. Where did you find her?</strong></div>
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In a friend's dungeon. We were in the middle of a not very pleasant divorce, so every so often we'd come to New York for a break and basically go wild. We were fast asleep with all these torture instruments after being awake for three days, woke up and this beautiful tall, slim girl wearing 60s clothing with a Brian Jones haircut walks past, then gets changed into this really sexy leather outfit. I was thinking: "Dear universe, if I can be with this woman for the rest of my life, that's all I want." She came over and we were in love from that moment. We got a windfall from a court case and rather than do what everyone else does and buy a Ferrari and a big house, we realised it meant we could be free to never work, just be in love and create things. Thank goodness, because we spent every minute together for the whole time she was physically on this planet. If we'd have done things the normal way, we'd have just seen each other at dinnertime when we were tired.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">Why did you </strong><a href="http://latimesblogs.latimes.com/movies/2012/04/ballad-of-genesis-and-lady-jaye-film-plastic-surgery-merge-identity-movie-psychic-tv.html" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title=""><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">start pandrogyny</strong></a><strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"> [having plastic surgery to look the same as each other]?</strong></div>
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Well, you know that moment when you meet someone and think: "I want to eat you, be immersed in you?" It began like that, and then we began to see more ramifications in terms of how society is controlled and evolution. Humans have to realise they're not individuals, but individual parts of the same organism, with responsibility to each other.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;">The photographs of Jaye and of you after her death <a href="http://www.theguardian.com/music/2013/aug/29/genesis-p-orridge-throbbing-gristle#5" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;">(5</a><a href="" name="5back" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">)</a> show a deeply moving, intimate side of you that the public has never seen. Was it difficult sifting through those photos?</strong></div>
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My friend Leigha Mason selected them because it was impossible for me. My parents and all the animals in the photos apart from Musty, my Pekinese, are dead. Lady Jaye has dropped her body. We believe in reincarnation, but that was really hard.</div>
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Footnotes</h2>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="" name="1" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">(1)</a></strong> The book <a href="http://www.firstthirdbooks.com/books/genesis-breyer" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Genesis Breyer P-Orridge</a> is published by First Third Books in deluxe and standard editions.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="" name="2" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">(2)</a></strong> Genesis usually refers to h/erself in the second person as "we".</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="" name="3" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">(3)</a></strong> 1985 Psychic TV single, a tribute to dead Rolling Stone Brian Jones.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="" name="4" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">(4)</a></strong>Former nurse Jacqueline Breyer, also known as Miss Domination. After marriage Genesis adopted the name Genesis Breyer P-Orridge.</div>
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<strong style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 0px;"><a href="" name="5" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px;">(5)</a></strong> In 2007, from a heart attack related to stomach cancer.</div>
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