Thee majesty videos on youtube

2001
Thee Majesty - Flowering Pain Give Space

Genesis p-orridge reading/lectures/psychick rallies/ and general misc videos on youtube

ACID HOUSE ERA




JUNE 2007
Genesis P-Orridge at 205 Club, NYC for a dexter sinister reading

Genesis p-orridge INTERVIEW / DOCUMENTARY videos on youtube

Temple Ov Psychick Youth
Psychic Tv Psychlopedia
Volume One - "EDEN 3"
Interview with Genesis-P-Orridge & Peter "Sleazy" Christopherson





1986
Network21 pirate TV (Clip)
Genesis P Orridge talks about Brion Gysin's dream machine


1986 full network 21 episode
genesis begins speaking about dreammachine around 7:00 mark)


Psychic TV Interview on New Music (Toronto 1990)




1999(?)
Genesis P Orridge talks about WIlliam Burroughs and then talks with Mario Pazzaglini on two separate Infinity Factory shows hosted by Richard Metzger




1999(?)
Genesis P Orridge about Throbbing Gristle on Infinity Factory interviewed by Richard Metzger (Part 1 of 4)


Genesis P Orridge about Throbbing Gristle on Infinity Factory interviewed by Richard Metzger (Part 2 of 4)


Genesis P Orridge interviewed about Throbbing Gristle on Infinity Factory by Richard Metzger (Part 3 of 4)


Infinity Factory Throbbing Gristle Genesis P Orridge Part 4 of 1



1999(?)
Robert Anton Wilson & Genesis P Orridge on Infinity Factory Part 1 of 6



Robert Anton Wilson & Genesis P Orridge on Infinity Factory Part 2 of 6


Robert Anton Wilson & Genesis P Orridge on Infinity Factory Part 3 of 6


Robert Anton Wilson Genesis P Orridge on Infinity Factory Part 4 of 6


Robert Anton Wilson Genesis P Orridge on Infinity Factory Part 5 of 6


Robert Anton Wilson Genesis P Orridge on Infinity Factory Part 6 of 6




Genesis P-Orridge - Relocating The Sacred
here is a circa 1999 news posting on this event from Gen's old "next-new-way-on" website.

RELOCATING THE SACRED VIDEO STREAM ONLINE AND CDRom:


During our weekend in Preston, Lancashire as participants of the Relocating The Sacred In Contemporary Performance Practice Genesis P-Orridge gave a keynote speech, did a live interview with the public along with a representative of Jah Wobble and then Thee Majesty performed live in the Guildhall. An long time friend; ally and supporter of all our incarnations, JOHN BENTHAM, appeared and with our full consent recorded everything we did on a palmcorder. Samples of his documentation can be viewed and downloaded FREE from:


www.punkcast.com/56



s6k Arts Interview w/Genesis




SOFT FOCUS interview part one of four
Genesis P-Orridge interviewed on Soft Focus at the Guggenheim Museum, NYC


SOFT FOCUS interview part two of four


SOFT FOCUS interview part three of four


SOFT FOCUS interview part four of four


THE TRANSFORMATION OF GENESIS P-ORRIDGE by Kel O'Neill & Eline Jongsma



XLR8R TV Ep. 108: Genesis P-Orridge, Better than the Beatles

To you tube or not to youtube?

Thanks to all the new viewers of the archive and those who have decided to become a follower of the postings. Hope you are enjoying thee archive thus far...

I have been debating with myself over whether to include some of the Genesis material that is on youtube here on the archive. My hesitation would be that I wouldn't be presenting anything that no one else could find on their own with a simple search, yet there there is some great and rare material that has been uploaded to youtube,genesis interviews,live shows, rare tracks etc etc.....So please let me know your thoughts,let me know if you would like to see these videos all collected together alongside all of the information in thee archive or if you would rather just find it on youtube yourselves!
Thanks again..
J3

inventory of items seized from gen's home by scotland yard in the early 90's

LIST OF ITEMS TAKEN FROM
33, ROUNDHILL CRESCENT AND
50, BECK ROAD, HACKNEY, E.8.
TO BE RETURNED TO MR. GENESIS P-ORRIDGE'S REPRESENTATIVE TO RECONSTITUTE HIS ARCHIVE.

1. Bag 5. Seal No. G71023 Cardboard Box containing Quantity of Human & Animal bones.

Contained in Box 2.

2. Wax Candle ("model") of Human Skull.x 1
& Containers containing Quantity Cut Hair x 2

3.Container containing quantity of snake skin x 1

4. Cow Bell x 1

5. Wooden Carving x 1

Contained in Box 3. Bag.6.
Seal No. G359196.

6.Polaroid Camera x 1 (very delicate please do not break, pack carefully)

7. Quantity of Sculptured Skulls.

8. Goblets x 6

9. Piece of Granite x 1

Contained in Box 4. Item 7. Seal No. M53948

10. Arts Council Commissioned Shamanic Sculpture from I.C.A. Retrospective 1976. Described as "Spiked pole with Dildo on Each End, and Feathers Attached". x 1

Marked as Item 5. Bag. 9. Seal No. B26141

11. South American Rainstick. Described as "Long Narrow Drum".Musical Instrument. x 1

Contained in Bag 7. Bag 10. Seal No. B24431.

12. Large Drum carved out of Tree Trunk.( Rare Antique African Drum.) x 1

Marked as Item 8. Bag 11. Seal No. B25548.

13. Carrier Bags containing Quantity of Pulleys,Locks & Chains x 2.


Bag 14A. Seal No. B25260.

14. Carved Wooden Knife x 1. Bag 14A. Seal No. B25260

15. Cast Metal Knife x 1.Contained in Box.9.

Bag.14. Seal No. H91811.

16. 1 x Cardboard Box marked "Temple Records" containing:-
Photo Albums Containing Quantity Of Photographs. x 2
Envelopes containing: Quantity of Photographs x 10.


Contained in Box 10.
VIDEO CASSETTES: Seal No. H91811

1 x DEAD CAT
1 x FACES
1 x FEAST OF FOOLS
1 x HITLER-A CAREER
1 x KIM GETS CUT
1 x MAIN GIG VIDEO PTV
1 x MONITORS TWO
1 x MOONCHILD
1 x NEW BACK VIDEO
1 x PSYCHIC TV
1 x RITUAL (?)
1 x SAVE THE BLACK RHINO (Promo Vid by World Wildlife Fund)

Contained in Box.11. Bag 15. Seal No. B24371.
U-MATIC CASSETTES:
Artist In Residence Art Performances x 2 open to Public,Massachusetts College of Fine Arts, during weeklongvisiting "Artist In Residence Workshops".

1 x MASTER of "ritual" ie.Performance Art Theatre Piece in Boston, USA.
1 x MASTER of "ritual" 1.
1 x MASTER of "ritual" 2.
1 x MASTER of "ritual" 4.
1 x ROVING CAMERA 1.
1 x ROVING CAMERA 2.

Contained in Box.12. Bag.15. Seal No. B24371.
1 x STAALPLAAT
1 x STATIONARY CAMERA 1
1 x STATIONARY CAMERA 2
1 x STATIONS A.
1 x STATIONS B.

Contained in Box.13. Bag.16. Seal No. B24399.

1 x Wooden Cabinet Containing: Quantity of Condoms, Chains, Locks & Miscellaneous Items.

Contained in Box.14. Bag. 17. Seal No. B25947.

1 x Chest containing: Quantity of Marital Aids, leather straps etc.

Contained in Bag.15.

Bag.18. Seal No. B24753

1 x Hat Box containing:1 x Human Skull wrapped in Cloth (actually a rare museum piece with etching & engraving, real gold & semi-precious stones)

Contained in Bag.16.

VIDEO CASSETTES. Bag. 19. Seal No. H91484.

1 x BERLIN ATONAL FESTIVAL PTV
1 x BIRTH OF GENESSE
1 x BITS
1 x BRION GYSIN READING AT OCTOBER GALLERY
1 x BUNNY
1 x CHARLES MANSON
1 x COMMUNES & FARMS
1 x CROSSES
1 x DEREK JARMAN
1 x THE DEVIL RIDES OUT
1 x DOWN
1 x THE EXPERIMENT AT PETALUMA
1 x FETISH

Contained in Box.17. Seal No. H91484
1 x FRANKFURT
1 x FREAKS
1 x GLEN MEADMORE
1 x HACIENDA - MASTER
1 x HACIENDA1 x HAFLER TRIO
1 x HEATHEN EARTH
1 x HELTER SKELTER
1 x LYCEUM - LONDON FEB 1981
1 x LYCEUM - Pt 1
1 x LYCEUM - Pt 2
1 x NORTHAMPTON
1 x PARIS 12/9/81

Contained in Box.18.
1 x PAULA & GENESSE
1 x PRE-GIG & SOUNDCHECK
1 x PSYCHIC RALLY IN HEAVEN
1 x PSYCHIC TV
1 x PSYCHIC TV & WEDDING
2 x PTV INTERVIEW 1
1 x RED RONNIE
1 x ROLLING STONES LIVE
1 x SAN FRANCISCO
1 x SATYRICON
1 x SCARED TO LIVE
1 x SERIAL KILLER DENIED

Contained in Box.19.
1 x SOFT CELL
1 x SPK & THROBBING GRISTLE AT HEAVEN
1 x RAFTERS 4-12-80
1 x TG
1 x TG AT GOLDSMITHS
1 x TG AT OUNDLE SCHOOL
1 x TG AT SHEFFIELD UNIVERSITY
1 x THROBBING GRISTLE 1
1 x THROBBING GRISTLE 2
1 x T.O.P.Y.S.C.A.N.
1 x TRUE GORE
1 x UNDERSTANDING ART LANGUAGE
1 x VIDEO PROGRAMME
1 x 2001 & THE DOORS
1 x UNTITLED UHS CASSETTE

Contained in Box.20. Bag.20 Seal No. H91484.
1 x EDITED MIXES
1 x JOY
1 x LIVE AT THE PYRAMID 1
1 x LIVE AT THE PYRAMID 2
1 x LOVE WAR RIOT
1 x LOVE WAR RIOT 2
1 x RIOTS IN THE EYE
1 x TORONTO
1 x TORONTO NTSC
1 x SCOTCH VIDEO TAPE SPOOL

Contained in Box.21. Bag.28. Seal No. H91082.
6 x PHOTO ALBUMS

Contained in Box.22. Bag.28. Seal No. H91082
5 x PHOTO ALBUMS

Contained in Box.23. Bag.28. Seal No. H91082.
5 x PHOTO ALBUMS

Contained in Box.24. Bag.28. Seal No. H91082.
4 x PHOTO ALBUMS

Contained in Box.25. Bag.29. Seal No. H91706.

Quantity of Correspondence.
Quantity of Photographs.

Bag.30. Seal No. B25728.
Quantity of Correspondence.
2 x Photographs.

Contained in Box.26. Bag.32. Seal No. F25459.
1 x HARDWARE1 x ROCK N ROLL 1967
1 x ROCK N ROLL 1967
1 x TDK MUSIC
1 x TEXAS CHAINSAW MASSACRE

Contained in Box.28. Bag.33. Seal No. H90579.
4 x Folders Containing: Quantity of Press Cuttings.

Contained in Box.29. Bag.34. Seal No. B24391.
8 x Photograph Albums.

Contained in Bag.30. Bag.35. Seal No. B24525.
1 x Photograph Album.

Contained in Box.31. Bag.35. Seal No. B24525.
2 x Photograph Albums.

Contained in Box.32. Bag.37. Seal No. H90780.

1 x BODY APOCALYPSE
1 x FROM THE HEART OF THE WORLD
1 x HEAVEN & EARTH MAGIC
1 x JIM JONES
1 x JONESTOWN SURVIVORS
1 x NEW MUSIC
1 x MY LEFT FOOT1 x PEEPING TOM
1 x PERSONAL SERVICES
1 x PRPCP/VIDEO TRANCE MISSION
1 x PSYCHIC TV/HORROR HOUSE

Contained in Box 33. Bag.37. Seal No. H90780.
1 x PSYCHIC TV
1 x PYROMANIA
1 x SEX,LIES, & VIDEOTAPE
1 x SHARON TATE
1 x STATIONS OF THE CROSS
1 x TIMOTHY LEARY
1 x THE WANDERER

Contained in Box.24. Bag.38. Seal No. F25500.28
Photographic Wallets containing: Quantity ofPhotographs.

Contained in Box.35. Bag.41. Seal No. G 68980.
1 x AMISH
1 x APOCALYPSE NOW
1 x BRAINSTORM
1 x CAVE OF DESIRE
1 x CHARLIE IS MY DARLING
1 x CYBERDOME1 x DECODER
1 x DESPARATE LIVING
1 x DOLPHINS
1 x DREAMS LESS SWEET
1 x DUNE
1 x FOOTSTEPS
1 x GENESSE'S BIRTHDAY
1 x HELLO DALI1 x I.C. WATER

Contained in Box.36. Bag.41. Seal No. G68980.
1 x IMAGINING OCTOBER
1 x INITIATION OF A SONG SHAMAN
1 x IN THE SHADOW OF THE SUN
1 x JARMAN DOCUMENTARY
1 x JOY1 x LIVE IN TORONTO
1 x MAPLE SYRUP
1 x MODESTY BLAISE
1 x NANOTECH
1 x PERFORMANCE
1 x PINK FLAMINGOS

Contained in Box.37. Bag.41. Seal No. G 68980
1 x PINOCHIO
1 x PITTSBURGH
1 x POLYESTER
1 x READY STEADY GO
1 x RECORDING HEATHEN EARTH
1 x ROLLING STONES
1 x SCANNERS/SHIVERS
1 x SCREEN
1 x SHOW REEL-BRAZIL
1 x SOUTH OF WATFORD
1 x STONES1 x TG DESTINY

Contained in Box 38. Bag.41. Seal No. G 68980.
1 x THEE FILMS
1 x THE ICE PACK
1 x THROBBING GRISTLE
1 x TIME ZONES1 x TORONTO
1 x TYRANNY OF THE BEAT
1 x VELVET UNDERGROUND
1 x VIDEODROME1 x WARHOL DOCUMENTARY
1 x THE WICKERMAN
1 x THE WOLF SAGA
1 x XMAS 1982
1 x ZAGREB SHOWS 1991

Contained in Box.39. Bag.44. Seal No. B24345.
6 x Photograph Albums Containing: Quantity of Photographs.

Contained in Bag.40. VIDEO CASSETTES: Bag.45. Seal No. T57317.
2 x AKIKO HADA
1 x ANN TAYLOR
1 x ANTONY BALCH & BRION GYSIN
1 x BALCH & BURROUGHS1 x BITS1 x BURROUGHS/JARMAN
1 x CABARET VOLTAIRE
1 x CATALAN RUSHES
1 x CLIP KLAPP BUM
1 x CORONATION STREET
1 x DECODER
1 x DELIA SMITH

Contained in Box.41. Bag.45. Seal No. T57317.
1 x GATES OV MY SOUL
3 x GODSTAR
1 x GOOD VIBES & PARTY
1 x GUYANA
1 x HELLO DALI
1 x HIROSHIMA
1 x JOY
1 x LARRY RED
1 x LA MAIN MORT
1 x MIRACLE OF LIFE

Contained in Box.42. Bag.45. Seal No. T 57317
1 x MONDO MAGICK
1 x NOBBY's DREAM
1 x OCTOBER 1989
1 x PSYCHIC TELEVISION
5 x PSYCHIC TV
1 x RCA VIDEO 8
1 x THAILAND
2 x THEE FILMS

Contained in Box.43. VIDEO CASSETTES: Bag.45. Seal No. T 57317

2 x THROBBING GRISTLE
1 x TUBE 7/3/86
1 x TV WIPEOUT
2 x VARIOUS
1 x VIDEO FEEDBACK
1 x WILLIAM BURROUGHS
1 x 23 SKIDOO
1 x UNTILED VHS CASSETTE

Contained in Box.44. Bag.45. Seal No. T 57317.
3 x UNTITLED VHS CASSETTES 1-36 x UNTITLED VHS CASSETTES 5-10

Contained in Box.45. Bag.46. Seal No. H91867
1 x AROUND MIDNIGHT
1 x CANDY SAYS & WICKED
1 x EL TOPO1 x ERASERHEAD
1 x FINAL ACADEMY 1962-3
1 x FINAL ACADEMY 1982
1 x FIRE AT HACKNEY
1 x GUN ON VIDEO
1 x HOLY MOUNTAIN
1 x INITIATION OF A SHAMAN
1 x JANET STREET PORTER INTERVIEW

Contained in Box.46. Bag.46. Seal No. H 91867.

1 x JIMI HENDRIX EXPERIENCE
1 x JOHN PAUL 2 - THE PILGRIM POPE
1 x LUCIFER OVER LANCASHIRE
2 x MANCHESTER POLY
1 x MOUTH OF THE NIGHT
1 x NEW YORK HOSTAGE COPS
1 x OV BIRTH
1 x PAULA P-ORRIDGE
1 x PAULA P-ORRIDGE/PUBES
1 x PSYCHIC TV
1 x RABID

Contained in Box.47. VIDEO CASSETTES: Bag.46. Seal No. H91867.
1 x ROSEMARY'S BABY
1 x R.U. EXPERIENCED
1 x SEX MADNESS
1 x SHOCK CORRIDOR
1 x SOUTH OF WATFORD
1 x SOUTHERN COMFORT1 x SPITTING IMAGE
1 x STREET LEVEL
1 x TATTOO DOCUMENT
1 x TIBET TEMPLE
1 x WITCHCRAFT THROUGH THE AGES
1 x YOUR BODY/WE KISS

Contained in Box.48. Bag.47. Seal No. B 24728.
1 x METAL GONG
1 x WOODEN BEATER

Contained in Box.49. VIDEO CASSETTES: Bag.36. Seal No. F25629.
1 x ALICE IN WONDERLAND
1 x BANGKOK
1 x BARBI1 x BARBARELLA1 x THE BEATLES
1 x THE CARE BEARS
1 x CARESSE 1984
1 x CHIP AND DALE
1 x THE FLINTSTONES
1 x THE HULK
1 x HEAD
1 x THE LADY AND THE TRAMP
1 x THE LITTLE MERMAID

Contained in Box.50.VIDEO CASSETTES: Bag.36. Seal No. F25629.
1 x MADONNA
1 x MADONNA - THE IMMACULATE COLLECTION
1 x MADONNA - TRUTH OR DARE
1 x MARC BOLAN
1 x MARY POPPINS
1 x MUPPET BABIES
1 x PEE WEE's BIG ADVENTURE1 x PSYCHIC TV
1 x RAIDERS OF THE LOST ARC
1 x RAINBOW STORIES & RHYMES
1 x ROBIN HOOD

Contained in Box 51. Bag.36. Seal No. F 25629.
1 x SEPT 89
1 x SLEEPING BEAUTY
1 x SNOWMAN
1 x SWISS FAMILY ROBINSON
1 x SYLVANIAN FAMILIES
1 x VOGUING DOCUMENTARY
1 x WATCH WITH MOTHER
1 x THE YOUNG GODS
1 x 50's & 60's COMMERCIALS 2

Contained in Box 52. Bag.40. Seal No. F23180.
1 x AFTER IMAGE
1 x ASTORIA
1 x BIG LOVE
1 x CARESSE VOL.1
1 x DEN HAAG 84
1 x DREAM EXPOSURE
1 x EVENTWORKS
1 x GOTTINGEN LIVE
1 x HYPERDELIC - DO NOT SEND
1 x HYPERDELIC - MASTER W.SOUND
1 x L'EDAD DE ORO

Contained in Box.53. VIDEO CASSETTES: Bag.40. Seal No. F 23180.
1 x MANTIS
1 x NOTTINGHAM
1 x PARADISO
1 x PSYCHIC TV - BERLIN 83
1 x PSYCHIC TV - HELTER SKELTER
1 x PTV
1 x PSYCHIC TV LIVE
1 x PTV NOTTINGHAM
1 x PTV TOWN & COUNTRY CLUB
1 x PTV BERLIN
1 x PTV EUROPE
1 x BOX OF SLIDES

Contained in Box.54. VIDEO CASSETTES: Bag.42. Seal No. F 25277.
1 x ALTERED STATES
1 x AMERICAN TAIL
1 x ART RAGE
1 x BAKA 1 & 2
1 x BACHIR ATTAR
1 x BOOK OF KELLS
1 x THE BUZZ
1 x BUZZ SHOW CH.4
1 x CLAN OF THE CAVE BEAR
1 x CLOCKWORK ORANGE
1 x THE DAMNED
1 x DECODER
1 x DOLPHIN NEWS
1 x DOLPHIN PICKETS

Contained in Box.55. VIDEO CASSETTES: Bag.42. Seal No. F 25277
.1 x DOLPHINS
1 x DOORS
1 x DOUGAL & THE BLUE CAT
2 x DREAMACHINE
1 x ENOCHIAN
1 x EPIPHANE
1 x FUNNY EARS
1 x GEN ON GERMAN TV
1 x GISELLE1 x GODSTAR ON TUBE
1 x HEAD1 x THE HOLY MOUNTAIN
1 x 60's THE ROCK & ROLL YEARS
1 x JUNG Pt.2

Contained in Box.56. Bag.42. Seal No. F 25277.
1 x THE LAST MOVIE
1 x LIMELIGHT PRESENTATION TAPE
1 x LIVING PLANET Pt.1
1 x LIVING PLANET Pt.21 x MIKE SECURITY
1 x MONTEREY POP
1 x NOMAD
1 x ORANGES AREN'T THE ONLY FRUIT
1 x PHAUSS ALAMUT
1 x PTV DUSSELDORF
1 x RARG
1 x READY STEADY GO
1 x REPTILES & AMPHIBIANS

Contained in Box.57. Bag.42. Seal No. F 25277.
1 x SAMPLES AUDIO
1 x STAN BRAKHAGE1 x SURVIVAL RESEARCH LABORATORIES
1 x SYLVANIAN FAMILIES
2 x TOWERS OPEN FIRE
1 x TRIPT MIRACLE PTV (?)
1 x WHIRLPOOLS OF THE AIR
1 x WIND IN THE WILLOWS1 x THE WIZARD OF OZ
1 x THE WODABE TRIBE1 x YOUR BODY

Contained in Box.58. Bag.43. Seal No. F 26094.
1 x PSYCHIC TV Tape 1. (Probably an Audio D.A.T.)
1 x PSYCHIC TV Tape 2. ( " " )
8 x Wallets Containing Photographs
1 x Envelope Containing Slides1 x Address Book
1 x Quantity of Loose Photographs
1 x Childs "pooh Bear" Sewing Kit (!!!)

Contained in Box.59.

Please note that various items, which are not, nor everwere ours, are excluded from this list. In particular items belonging to our ex-tenant @ 33 Roundhill Crescent,who lived in the downstairs self-contained flat, but hadfull access to all rooms & files of the house since ourdeparture in Dec 91 to the Far East on Business & Charityworks.

RE: ITEMS FROM 50 BECK ROAD.
Bag.1. Seal No. K 90063.
1 x White Letter Holder Containing:Quantity of Correspondence addressed to, 50 BECK ROAD.
Please return ONLY Items of Correspondence Addressed to:
Mr G. P-ORRIDGE.
Ms. P.J. BROOKING.
Mr & Mrs P-ORRIDGE.
TEMPLE RECORDS.

NONE OF THE OTHER ITEMS BELONG TO ME (GENESIS P-ORRIDGE)OR MY WIFE PAULA P-ORRIDGE (ne. BROOKING). WE PRESUME THEY BELONG TO EITHER MR. DOMINIC PARKER WHO LIVED THEREFOR 2 YEARS AS A TENANT. OR THEY MIGHT ALSO HAVE BELONGEDTO VARIOUS PREVIOUS TENANTS. WE HAVE NOT LIVED THERE SINCE1985.

Please deliver all the above items, SAFELY, and carefully, to the address our Lawyer, Mr Paul Spraggonwill give to you as per our instructions.

Yours Sincerely.Mr. GENESIS P-ORRIDGE .9th November 1992.

IMPORTANT.
9th November 1992

To: SCOTLAND YARD
LONDON, U.K.

Dear Sirs,
Please find attached the list of Items taken from ourhome at 33 ROUNDHILL CRESCENT on or around 16th February 1992 which are requested to be returned immediately to "The Genesis P-Orridge Archive" as per the instructions of my Lawyer Mr Paul Spraggon, of Hills/Searle, London.

We have omitted items that did not belong to us. We have tried to remain accurate to your labelling system in thelist we were given. It is hard to know exactly what someitems are as they all seem to be labelled "front room"yet Mr & Mrs Paul Cecil of 15 Roundhill Crescent, who werepresent during the entire time of this seizure quitecategorically tell us that items were taken from:

The Loft Bedroom.
The Top Floor Front Office
The Top Floor Small Entirely Black Bedroom
The Top Floor Rear Office
The First Floor Front Living Room
The Bookshelves on the 2nd Floor Landing
The Shelves /Cupboards outside the Kitchen on the 1stFloor
The Tenants Self-Contained Flat on the Ground Floor FrontRoom Section

This leads us to an important query. Mr Paul Cecil, and Mrs Jackie Cecil, of 15 Roundhill Crescent, Brighton, who let the Police into our house at 33 Roundhill Crescent to avoid unnecessary destruction of our front door, and who were present during the whole time of the seizures, have already sent us a list that they made independently of what they saw taken away by your officers. They wrote this down as they followed your Officers through our house, wherever possible noting "evidence" numbers.

Unfortunately, the list of things that they feel sure they saw taken does not match the lists you have given to Mr Paul Spraggon to hand on to us.

This is particularly disturbing as it includes irreplaceable Art Archive documentation of some value, including workscommissioned by the Palais Des Beaux Arts, Brussels, the ArtsCouncil of Great Britain, and the British Council. My Archiveis my life's works, and was in the process of beingcatalogued, and then later sold to an American University Collection. In fact Mrs. Jackie Cecil was the person in theprocess of Cataloguing everything before this seizure, and isthus MOST qualified to know exactly what was indeed takenaway. She has, as does her husband, precise knowledge of themajority of this unique art Archive.

Equally as worrying, is the failure to list various sections of our childrens growing up, and births. Inparticular, slides and videos taken by the Doctor &midwives at Caresse's and Genesse's home births, which are obviously irreplaceable, and sentimentally priceless.The unnecessary seizure of these in particular has causedimmeasurable emotional anguish and damage to my wife, Paula and myself.

Here follows a List of specific Items Mr & Mrs Cecil saw taken which do not appear to be included in your lists. The inaccuracy of your Room descriptions makes this much harderto clarify.

OFFICE: TOP FLOOR FRONT:
Police took Box SLIDES of GENESSE'S BIRTH.
Police took Box SLIDES of KARLSUHE Music Performance in Germany.
Police took Box SLIDES of CAVE OF DESIRE Party @ Heaven, in London.
Police took Box SLIDES of COUM Abstract Colours, actually a Music Score.
Police took TWO old address books, one brown leather, one brown card cover.

BEDROOM:TOP FLOOR FRONT:TO SIDE OF FRONT OFFICE ABOVE:ALL WALLS AND CEILING PAINTED BLACK: FUR COVERED DOOR:

Police took small DAGGER with Z on it, and LEATHER THONG off wall.

Police took NEW GUINEA FETISH SHAMAN'S KNIFE. Made from a Human Thigh Bone, with a Wax Head, eyes made of Cowrie Shell, and Wool as Hair. This was on the Chest Of Drawers. It is an Antique, purchased in Covent Garden at a reputable antique shop, and a museum piece, worth over 1000 pounds Sterling. Part of our anthropological collection.

OFFICE : TOP FLOOR REAR: ADJACENT TO BLACK BEDROOM:

Police took large full colour photo of tattooed, hooded man by STEFAN RICHTER, German Photographer from Plan Chest. This is an illustration for a German Book.

Police took diary with PINK MARBLED cover from Left Hand drawer of desk.

Police took black leather filofax from desk.Police took TWO YELLOW CARDBOARD BOXES containing 35m SLIDE CAROUSELS full of Art Performance Slides.

Police took Art Council Of Great Britain Sponsored COUMBlack Plastic Display Folders of Arts Council, and British Council Performance Documentation, and all NEGATIVES. These are irreplaceable, and of great value historically and financially.

Police took RED BOX FILE labelled: SEX,POWER,MAGICK which is written documentation of Arts Council Sponsored Performance Art Works from the 1970's and the Master of a book to be Published in the USA by an Art Publisher. This is the Master and utterly irreplaceable.

Police took a display folder labelled "BIG HOUSE" folder. Irreplaceable book prototype.

Police took photograph of Genesis & Paula in front of a TV Monitor in Seattle, at the C.O.C.A., Centre Of Contemporary Arts, U.S.A. after a video installation commission.

Police took Samples of printed materials from small tower of green metal drawers:
These included: Brian Jones Postcards; Changed Priorities Cards; PTV Fan Club letters; Abolish Fear Establish Trust Cards; Wake Up sheet; Temple Press Leaflets; PTV Gig Flyers.

There were also about SIX Boxes of Slides in the SelfContained, downstairs Flat, of mainly previous Installations,and Theatre pieces from COUM in the 1970's. These have alsobeen taken by the police and not listed. They areirreplaceable pieces of Art history and as such priceless.

If it is the case that you ARE holding even more than these Items taken that you have not yet listed, then we should very much like a FULL and COMPLETE List of exactly what else you have seized and omitted from this initial list.

If in fact you have lost, damaged, misplaced, or destroyed,any or all of the above, and possibly other as yet,unidentified Items, then we request that you immediately supply our representative Mr Paul Spraggon, with full andreasonable information as to how to obtain proper andadequate damages and compensation.

Finally. During the Police action at 33 Roundhill Crescent,Brighton the officers concerned smashed the door of the TOPFLOOR FRONT BEDROOM painted all black. This door was thedoor covered in fur. The Officers claimed they could not openthis door, and that it was locked. In fact it had NO LOCK ofany kind, and therefore could not ever be shut and not opened.

At the time the Officers concerned promised thatcompensation for this unnecessarily damaged door would be paid to us in due course. Mr & Mrs Cecil were witnessboth to the door being broken without reason or need, andthe promise of compensation. To date no further mention ofthis compensation has been made. I would therefore formallyrequest immediate information re: claiming compensation fordamage to this door be given to Mr Paul Spraggon so that hemight pursue this matter with utmost urgency on our behalf.

Yours Sincerely,
Genesis P-Orridge

No Response to these communications has ever been received.No compensation for damage to property received. Noacknowledgment of the erroneous and bogus nature of thiswhole seizure ever made public. When our then Lawyer asked if we could return to England as we are charged with nothing he was told "off the record", we cannot guarantee their physical safety if they return. We have since lost our house in Brighton. During xmas 1992 it was broken into andvandalised. The Brighton police were called. They failed to report the burglary or damage stating "We know whose house this is." When friends tried on further occasions to get police action they were told, the report did not appear in any log. No police officers recalled being present after the 999 call. In fact two squad cars came, on two separate occasions, they were shown around the house. The second set of officers said "What do you expect us to do, try and find the people who did this?". Later, when the Police Station Desk Sergeant was called to ask if they had any news regarding this serious crime, he again denied all knowledge that it ever took place, or that the Police had been informed.

Douglas Rushkoff Blogs about his PTV3 experience as keyboardist....

The following blog posts re-posted from http://rushkoff.com/


Posted on November 23 2003

Me and Genesis

The next incarnation of PsychicTV – PTV3 – will debut at the Coral Room in NYC on December 5. According to the press release:
“The line-up ov PTV3 is Douglas Rushkoff, Lady Jaye, Electric Eddie, Isaiah Singer,Alice Genese, Genesis Breyer P-Orridge. With video sculptures presented by HONEYGUN LABS, and live sound mixed by Scott Reiter. This event is cosponsored by BBgun Magazine whose new issue features Breyer P-Orridge and Psychic TV ideas. With host Lyle Derek,deejay sets by Nick from the YEAH YEAH YEAHS and more.”
More info at BBGun Magazine.





Posted on December 6 2003

Music as Medium
Well, we did it. Neither the blizzard nor the resultant gridlock were enough to keep us, our equipment, or 400+ people from showing up last night at the Coral Room for our first gig as PTV3 – and my first real gig as a keyboard player.



Predictably, a few of the people writing listings for the event assumed that I was on the roster as an author, and announced that I was doing a ‘reading’ on the same bill with a music performance by Psychic TV. Sorry to anyone who came expecting that! (And sorry to the guy who brought Media Virus for me to sign, that I didn’t have time to talk. Do send an email if you like.)



It was quite a profound event for me. On the one hand, PTV and its associated industrial scene is a little removed from my own aesthetic sensibility. When it comes to music listening, I’m more Neil Young and Boards of Canada than Throbbing Gristle. And some of my friends were a bit freaked out by seeing Genesis P-Orridge perform up close and personal – gold teeth, d-cups, and mania. He’s an acquired taste.



Luckily for me, though, the set list emphasized Psychic TV’s musicality more than its industrial roots. That’s partly because those of us in the current line-up are there as musicians first, and quite focused on songs and sounds. So it has more of the quality of Genesis singing with a rock band than a traditional PTV or Throbbing Gristle performance.



But to play in a band, and a tight band at that, for an hour or so, for several hundred enthusiastic PTV fans, was a peak life experience for me. Really. Giving a talk to a thousand college kids and answering questions is definitely a high – but it’s not the same. (If doing rock gigs was a regular thing for someone, and she had the chance to do one big lecture to a thousand college kids, would that feel as special to her as the rock show felt to me? Maybe.)



Chalk it up to early mid-life crisis if you like, but whenever I played piano as a kid I imagined myself actually *in* one of the bands I was pretending to play along with. Although playing alone gave me pleasure, it was at least in part the pleasure of anticipating the day when I’d do this for other people. Chalk it up to the principle of social currency, but it’s the connections that matter. Playing a particularly intense organ section last night, I felt the reality of what I’ve been talking about all these years: the music itself is just a medium for interaction. It’s an excuse for a kind of intimacy between the members of the band, and between the band and the audience.



In a sense, it doesn’t matter what the music sounds like or what the lyrics say. These are just the agreements we make in order to enter the state of consciousness and connection, together. (That’s why we want our rock or hiphop stars to have some sort of integrity or hipness – so we feel safe letting go. We don’t want to find out they’re sold out or molesting babies.) For some, I’m sure the music we were playing was, no doubt, too dark or loud or perhaps even too gentle for them to take the leap into sharing that space with us. Not every invitation is right for everyone. (Chances are they wouldn’t have braved the storm if they weren’t already committed to this scene in some way.)



But for pretty much everyone I could see from the stage last night – fans who had more of a history with this music than many of us in the band, even – it is Genesis’s very fierce, self-indulgent depravity that gives them permission to let go and join with us in the reverie. And that’s all that matters: access to one another, by any means necessary.

Posted on July 8 2007

And now for something completely different…

Some of you might remember I served as the keyboard player for Genesis Breyer P-Orridge’s recently (re)-formed band, PTV3. It was a terrific experience, though not one I could keep up given my other responsibilities as father, husband, writer, and teacher.


The band’s first album, Hell is Invisible…Heaven is Her/E just came out. Luckily for me, they kindly let me sit in and lay down a few tracks for a song on which I share a writing credit, as well (not for lyrics, but the music).


I don’t have a copy of the album yet, myself, but I ordered one from Amazon (actually, use the link and then click on ‘new and used’ for cheaper retailers) and invite you to support this band in the same way. They’re a dedicated bunch, and deserve to be out there doing this as long as they choose to. If you’re looking for some interesting music, also check out some bands I’ve been following lately: Block Party, The Freedom Haters, and a hiphop artist named Propaganda Anonymous.

Gen's chapter in Love Sex Fear Death: The Inside Story of The Process Church of the Final Judgment --feral house 2009

Reposted from http://www.realitysandwhich.com/


This article appears in Love Sex Fear Death: The Inside Story of The Process Church of the Final Judgment by Timothy Wyllie, edited by Adam Parfrey, published by Feral House.
The editors requested that Genesis Breyer P-Orridge pitch in a chapter concerning the influence of the Process Church on his own explorations into cult dynamics, particularly with TOPY, or Temple Ov Psychick Youth, whose own "holy book," Thee Psychick Bible, is being printed in an expanded edition in 2009 by Feral House. Genesis' research on the Process Church found its way, through Boyd Rice, into Apocalypse Culture (Amok Press, then Feral House) back in the mid-'80s.


The Process is the Product
Genesis Breyer P-Orridge

This article appears in Love Sex Fear Death: The Inside Story of The Process Church of the Final Judgment by Timothy Wyllie, edited by Adam Parfrey, published by Feral House.

The editors requested that Genesis Breyer P-Orridge pitch in a chapter concerning the influence of the Process Church on his own explorations into cult dynamics, particularly with TOPY, or Temple Ov Psychick Youth, whose own "holy book," Thee Psychick Bible, is being printed in an expanded edition in 2009 by Feral House. Genesis' research on the Process Church found its way, through Boyd Rice, into Apocalypse Culture (Amok Press, then Feral House) back in the mid-'80s.



Since the mid-'60s, my teenage years, I have been profoundly obsessed with human behavior -- whether there can be a system, technique, chemical, belief system, discipline that is able to reprogram entrenched, inherited patterns of behavior. Is there any way to short-circuit control, erase compulsive and reactive responses? Can we re-invent a SELF consciously in order to maximize its potential and, hopefully, our satisfaction in life? My lifelong search is for focused mutability, and to change the means of perception; to challenge every status quo as a matter of principle and never rest, never assume or imagine that the task of reinvention has a finite ending. Permanent change toward a radical, positive and liberating evolutionary mutation of the human species is the core essence and motivation of every single aspect of my creativity.

Parallel to this aesthetic and philosophical obsession has been an almost symbiotic series of similarities of problems and spookily parallel media issues that feel as if they are delivered to me like an advisory commentary from The Process. I've come to value The Process as a manual of strategic repair for my own life journey when serious conflicts with "control" occur. At other times I use my Process archives as a means of problem resolution. This gradual but lifelong adoption of my (possibly misconstrued) understanding of The Process has developed an almost oracular quality, sometimes implying what we should or should not do in the various ways we've approached monolithic culture at any given time.

In order to contextualize the ongoing interaction of The Process with key moments during my life, and in particular with reference to Thee Temple Ov Psychick Youth decade within my art practice and occulture research, a little background is required.

The very first mention of The Process that we were consciously aware of was in an early issue of OZ magazine. To this day OZ remains the most psychedelic underground publication of the '60s and '70s. With white print on yellow overlaid with clashing green art nouveau graphics, it was able to generate an internal environment equally as challenging as an actual acid trip. An OZ writer trumpeted a somewhat overblown warning to "freaks" that The Process was an insidious "mind control" cult fraught with oppressive psychotherapeutic technologies and covert monetary greed. Needless to say, and as is often the case, the more vivid and paranoiac the descriptions of the group were, the more they were defamed, and the more enticingly mysterious they appeared, the more obdurate our fascination became. Later we would realize, with hindsight, that salacious articles in The News Of The World and other gutter press that we had found starkly compelling when adolescent had been sensationalized investigations into The Process.

My friends and I financed hash purchases by street-selling OZ and International Times, the two primary publications to have grown out of the British '60s post-acid, under-the-counter-culture. The other way we raised money was by selling books. We would persuade our parents we were going to London on the train to see a Magritte exhibition at the Tate and would be staying with a friend's grandparents in Purley, London. Then we'd sneak off by bus to the motorway and hitchhike to London, thus saving our money for food, fun and live music. Our appetite for new ideas, contrary philosophies, drug experimentation and alternative communities and lifestyles was insatiable. We were teenage neo-Beatnik dreamers searching for novelty for its own sake and extra-sensualist perception.

One weekend, whilst hanging around on the Kings Road outside Granny Takes A Trip (the shop selling the ultimate in dandy-flavored flower-child clothing), we saw a meticulously groomed, long-haired and bearded guy wearing a black cloak with dark clothes beneath. My instincts told me he represented an antithesis of the shock of colors and informality of the typical hippie. And he was selling a magazine. I got close enough to see it wasn't OZ, or IT, but a strikingly colored Process magazine.

To this day, it is impossible for me to explain why this minimal event touched me so deeply, but my intuition compelled me to discover what I could about this vilified group. What was it about The Process that unified contradictory elements of the counterculture into rabid condemnation and paranoia? I realized that The Process were the same group accused of being the "Mindbenders of Mayfair" and later further alleged by the gutter press, and later Ed Sanders (who should have known better!) to have programmed the Manson Family, Son of Sam and who knows how many other notorious serial killers. The Process became symbolic of the neo-hippie bogeyman! Anyone able to shatter society's complacency on such a deep level resonated with my own compulsive urge to strip away imposed behavioral patterns so that my life could be an unfolding, autonomous narrative written by my self-conscious choices.

By 1969 I was living with the Exploding Galaxy in Islington, London, surrendering my creativity, personality and my future to an extremely demanding commune. We tried to break down as many inherited values, inhibitions, and gender roles as possible through rigorous mutual deprogramming, often including humiliation if you contradicted the "founders." Later I founded COUM Transmissions, a performance art group that during the first half of the 1970s delved deep into character archetypes and social -- especially sexual -- taboos and physical limitations, often utilizing pain, restriction, my own blood, enemas and muscular stress. We wanted to create a morally clean slate upon which we, and only we, then designed an independently constructed ethical identity. As our public explorations became more and more intimate, media attention focused upon our work in an ever more antagonistic style until, after the opening in October 1976 of our retrospective "PROSTITUTION" at London's I.C.A. Gallery, a huge tsunami of outrage, disgust and scurrilous defamation drowned all meaning in contrived denunciations, the (now) most infamous being "These people are the wreckers of civilization!" Questions were asked in Parliament, our Arts Council grants were withdrawn overnight, and I was threatened with having my passport cancelled if COUM tried to perform in Canada, where we had been booked to go next.

When you are the subject of exposés in the yellow press, finding one's sincere and optimistic intentions ridiculed and twisted to deliberately alienate the public, it quickly becomes apparent that your message gets lost in the hysterical noise of slander. I recall The Process experiencing an even more extreme smear campaign at the time, which started me thinking about how to avoid the soul-destroying impact when the governing powers, those grey beings with a vested interest in maintaining privilege and influence, attack you with unrelenting fervor. It might seem exciting to see your face on the front page of national newspapers calling for you to be "put in a cage and the key thrown away" but there is a realization, by the target, of vulnerability to hysteria-triggered violence by bigots and fools, destruction of relationships from the intimidation, and the malicious degradation involved. It made me realize WHY The Process chose to leave the U.K. But I had seen NOTHING yet in terms of Establishment vitriol and witch-hunting with myself the scapegoat!

In the mid-'70s when I began to read about Western magic, beginning with Aleister Crowley but in particular Austin Osman Spare, I came across the W.S. Bainbridge book (Satan's Power) on The Process, which rekindled my interest and feeling of kinship with the group. I had co-founded Psychic TV (with Alex Fergusson) in 1981, with another, more complex, integrated project in mind than COUM. During long winter discussions with my inspirational collaborator Monte Cazazza, we considered what might happen if a rock band, instead of just seeing fans as an income flow and an ego booster, focused that admiration and energy toward a cultural- and lifestyle-directing network? What would happen if we created a "paramilitary occult organization," as we dubbed it at first, that shared demystified magickal techniques? Sleeve notes could become manifestos, a call to action and behavioral rebellion. I had had out-of-body experiences, had noted that ritual seemed capable of "making things happen" by directed orgasm, and I wanted to learn more about why even this ad hoc shamanistic approach was so effective. Bit by bit we took this daydream more seriously. We examined The Process in particular for the "best" in cult aesthetics. We needed an ideology, levels to achieve, secrets to reveal to those involved, symbols and uniforms, regalia and internal writings. I began collecting any original Processean publications I could find, building an alternative library of possibility.

We called our experimental organization Thee Temple Ov Psychick Youth [sic]. TOPY's uniform combined grey priest shirts we bought at Roman Catholic suppliers with grey military-style trousers and combat boots. Embroidered patches in the vesica (vaginal) shape with a "Psychic Cross" and 23 were sewn on jackets and shirts to identify the TOPY community. We looked again at The Process and saw that the long hair and beards had a powerful impact once collected together en masse. The TOPY haircut had a long tail of hair at the back of the head, and then the rest of the head was shaved in reference to earlier spiritual disciplines. Long hair for Sadhus and Babas, shaved hair for Hari Krishnas and so on. Ascetic and decadent, the contradictory eternal balance. The Psychick Cross was the most instantly effective strategy for generating very quickly the impression of a serious, focused, militant network. The Psychick Youth look was so strong that it seduced and attracted males and females to adopt it quickly. A handful of Psychick Youth dressed up had an immediate visceral impact far beyond what might be expected from such small numbers. Looking back, I feel our proposal that symbols and outfits should be unique but FEEL familiar was a highly seductive and effective strategy.

Designing a cult from scratch and then deciding what its belief system might be, improvising as you go along, turns out to be a lot of fun, and a LOT of work!

It was particularly the Psychic TV records that spread TOPY both in the U.K. and abroad. Our first albums gave an address to write to to find out more about TOPY. We received inquiries from the U.S.A. and Canada, then France, Germany, Sweden and on and on. We became very exposed through interviews in the media, a methodology Lady Jaye called "Dazzle Camouflage," drawing in primarily music fans rather than already serious seekers of occult knowledge and techniques at the beginning. This dilettantish segment of our network created a serious credibility issue amongst more established magical fraternities and devotees. Mischievously so, we dubbed them The Museum of Magic.

TOPY grew far more than we had ever imagined, even though we demanded a rigorous series of sex magickal documents (called Sigils) charged via orgasmic fluid, blood, saliva and hair, plus innovative texts stating the Individual's deepest secret desires. We had been constructing TOPY initially "to see what happens" when demystified occult and shamanic practices are released non-hierarchically into popular culture. What will be the impact of several hundred, later several thousand, Individuals masturbating to a common desire and purpose at exactly the same time all across the world? It had never been done before, so we saw this as a contemporary research into the effectiveness of these techniques. As months went by they shifted en masse from the more mundane urges for sexual partners, new apartments and money into far more esoteric goals that dissected human behavior, possible origins of life, matter, collective living experiments and consciousness. Most Individuals would find themselves working with language and image to create symbolic glyphs and non-verbal systems to map out the nature of time, existence and perception as perceived during ritual. This journey we all made together became a communally experienced process and led me back to the other, original Process looking for new models to apply as TOPY became a global, organically mutating way of life.

For example, in 1988 a new zone was created in TOPY STATION in Brighton, which was named the KALI CIRCLE. This was a females-only group. As often happens in close-knit communities, the Kalis in TOPY noticed they all menstruated at the same time, their biological clocks synchronizing their proximity, reinforced by the monthly intimacy of sigilizing. Through reading and discussion of women's magickal powers and the deeply alchemical resonance of menstrual blood, it was proposed by all genders to experiment with seeing this monthly time as an opportunity to harness all the incredible intensity and potency rather than fight it or feel threatened by shifts in Kalis' behaviors. When a Kali wore her red cotton tied on her wrist, none of her behaviors or actions could be questioned or criticized. She would be seen as being in a heightened and positive state of awareness, reversing the classic male-oriented "Oh God, she's got PMS again!!!" responsive attitude.

As we grew in numbers we had to keep improvising new structures and solutions to administer TOPY and began looking for assistance and "advice" from outside. My ongoing interest in The Process had, as already mentioned, resulted in my collecting every publication, newspaper file, freedom of information folder and any other memorabilia from rare booksellers in England and the U.S.A. I started reading Process magazines, of which we had a full set scanned by a friend, and the books including EXIT, Humanity Is The Devil, Satan On War, even transcripts of L.A. police interviews with bikers after the Manson murders that a journalist friend from Hull University acquired for me, vindicating our skepticism as to those accusations being bogus in the (oops!) process.

What became apparent to those of us at the center of TOPY was that to evolve and remain relevant, TOPY must become a template for a new, relevant and alternative way of life. That The Process, for good or ill, thrived by proposing a fully engaging system of living combined with spiritual and mental exploration. That to expose flaws in behavior and personality, and to have any chance of revelatory and revolutionary breakthroughs, the group must immerse themselves 100% in devotion to the group and fearless surrender to any potential challenges and innovations, even at the risk of personal disintegration and mental collapse. Transformation can only occur if the Individual is prepared to sacrifice all they have, including a previous personality, and displacement of a status quo, smashing old loops and habitual patterns is essential.

TOPY discovered that a certain ratio of Individuals were so dissatisfied with their current state of mind, the lack of magic (in all senses) and of connection to others, of outmoded sexual roles and gender expectations and archetypes that they were prepared to move into a far more "Processean" approach to this burgeoning community. With our archive of Process publications, and a probably idiosyncratic interpretation of the messages and structures they had used, we began a migration to Brighton, England. Why Brighton? We wanted a better environment for my daughters Caresse and Genesse. Plus Brighton had a history of alternative culture and liberal ideas from the '60s and earlier. So, with my family and two hardcore Ratio Five TOPY Individuals, Sister Shadows and Brother Words, we bought a large Georgian house in Brighton, complete with an extra self-contained apartment. Sister Shadows and Brother Words sold their London home, as we had, to move a few houses further down on the same street.

We kept the London TOPY Access Point (one of several houses we had squatted in Hackney in 1973-76) as an HQ where several TOPY Individuals lived full-time and where our original "Nursery" was still active. A "Nursery" was a room in a TOPY house exclusively dedicated to magickal sex rituals and sigilization. The TOPY Station in London's Nursery had a rather gothic baroque décor that included an old Victorian dentist's chair that had seen its dentist owner commit sex crimes on it before he was caught and convicted and sent to prison. Just as The Process' flirtation with implied "satanic" beliefs and other sensationalist mischief ended up biting them nastily, so TOPY's amusement with the darker aspects of humanity also backfired in a hauntingly similar way.

At the TOPY Station in Brighton, one method we took directly from The Process was Telepathy Raising sessions. Each Monday at the TOPY meals, we would begin with a blessing: "This is my Cross, This is my Life, This is my Wisdom." Then we would all hold hands in a circle around the table, or if there were too many Individuals, around the large living room. Everyone would focus inside with eyes closed, even the children present, and after ten minutes a book opened and the images seen by an Individual would be written down. As the months went by there was a clear increase in similarities. One time in particular almost half of those present saw some image that included a lion.

Loyalty and fidelity went hand in hand. They were even more resilient and lasting amongst TOPY individuals who participated in communal sigilizing. Each TOPY house had a "Nursery" devoted to generating, maintaining, and amplifying psychic and magickal energies. We believed we were experiencing genuine visions, out-of-body experiences, inter-dimensional portals, and ongoing connection to some power or phenomenon that we saw as a positive interrelationship with synchronicity. It was apparent to us all that committed repetition of a personally developed magickal language and set of talismanic objects could literally "FORCE THE HAND OF CHANCE." We were also sure that by using orgasm to, in a sense, "post" a desire, the usual laws of probability broke down and increased one's effectiveness in reinforcing your will. The sexual orgasm as reprogramming was not a new idea, having been used by the OTO and The Process and earlier magical organizations for centuries, but TOPY did away with obfuscation and deliberate theatricality and made public the "secret of all ages," while publicly confessing that sex magick was central to our contemporary occult way of life. This was both our selling point and our downfall, in much the same way that adopting the Gods by The Process opened the door to a media feeding frenzy of libelous half-truths and misrepresentations that continue to this day.

Not long after the TOPY equivalent of The Process Omega moved to Brighton, a steady trickle of fully committed Individuals had followed us there. We soon had five houses that were all TOPY Individuals. It became clear we needed to keep everyone occupied, and that we had a marvelous resource to create experiments together in living and designing a TOPY way of life 24x7 similarly to the way The Process came into its own. We began to have a TOPY communal meal every Monday. Just as Timothy Wyllie and Edward Mason describe The Process improvising additional structures and disciplines in an ad hoc way, and Mary Ann and Robert would note developments, observations and concepts during long meetings of the original hardcore members, so we would discuss problems arising from communal living, sexual friction, the purity of group sigils as opposed to lecherous exploitation, new options for the command structure. In particular I drew on my experiences living in communes most of my life, first The Exploding Galaxy, then The HoHo Funhouse, then COUM Transmissions and now TOPY.

One exercise that was really potent and fulfilling was the TOPY Life Story. Each Monday one Individual would be chosen, or would volunteer, to tell their life story. The rule being that NOTHING is left out, no matter how distressing, humiliating, traumatic, or depressing. The WHOLE truth. Usually this was the first time anybody had told his or her real story. The act of trust involved in revealing such vulnerability was immense. We discovered so much about each other this way and learned why people had certain issues, or habits, or personality loops and quirks both positive and negative. Interruptions were not allowed, but questions, no matter how intimate, could be presented afterwards and had to be answered. The first one or two stories were difficult to present. But once one or two had narrated their innermost experiences and pains, it became easier and easier for others to participate. It was revealed to us over and over how many boys and girls had suffered sexual abuse, and often combined with violence. This prevailing social ugliness by which we had all been damaged became a bond in its revelation that created intense mutual loyalty amongst the TOPY Brighton contingent. Our compassion for each other deepened and has remained as dedicated and mutual loyalty all these years later. Surprisingly, this "Life Story/Confession" in which one Individual told all others present every detail of their life up to TOPY, leaving nothing out no matter how traumatic or distressing, gave us all strength, and I credit this exercise above all others with creating a bonding and trust that not even Scotland Yard could penetrate when "The Troubles" came!

At its peak in the late 1980s TOPY had around 10,000 Individuals sigilizing and/or connected worldwide with Access Points in England, Scotland, Holland, West Germany, U.S.A., Canada, Italy, Australia, Sweden (and Scandinavia). So, contact and purchase of The Grey Book (our basic mission statement and explanation of sigils and magic) was Ratio One; sending in sigils at all even if the required 23 were not achieved was Ratio Two; active involvement in an Access Point and/or completion of 23 consecutive sigils was Ratio Three; administration of an Access Point, or active participation in a TOPY Station and/or living full-time in a TOPY house was Ratio Four; and full-time dedication of one's life and works to TOPY projects like Temple Records, Temple Press and being full-time prime administrator of a TOPY Station and/or co-running TOPY GLOBAL STATION in Brighton, on a need-to-know basis was Ratio Five. We never released this development to the general public or TOPY Individuals, as we were concerned that it would create elitism and smell of hierarchies. We mainly used these demarcations to decide who got to read more sensitive memoranda and/or were informed of legal and media crises as our world disintegrated in a way uncannily identical to The Process did 20 years earlier.

TOPY included heterosexual couples with "open" relationships, monogamous couples both gay and straight, transsexuals, and quite a few couples with children plus single mothers. During the TOPY years especially we visited other communes, in particular becoming close to the Zendik Farm, a commune/cult dating back to Los Angeles in the acid '60s whose emphasis is on self-sufficiency by organic farming and ecological awareness; we studied the Manson Family, the Moonies, the Children of God, The Source, the Mel Lyman Family, Jim Jones, the Source, the Cockettes, and came to know people at Morningstar Ranch (another '60s holdover in Sonoma County). Many of these communes and cults experimented with separation of children from their biological parents to try and avoid inherited conditioning and emotional dependency-though I wonder if it wasn't, consciously or not, a way to try and ensure fealty to the group and by implication the group guru/leader/figurehead/enlightened superbeing, thereby assuring new, ever more fanatical followers who would have known no other way of life or belief system.

Timothy Wyllie confesses that the Process attitude to children was careless and potentially rather mean-spirited, seeing them almost as a hindrance to the spiritual advancement of individual members and a nuisance, that he sees as pretty shameful.

Fortunately, as I myself had two daughters, children did have a place in our ever-evolving ways of living. Both my children and several others were adopted quite instinctively as special Individuals in their own right. We created a TOPY naming ceremony for each child. We included them in films and on records. The only declared policy was to always talk to them in exactly the same language we would use about an issue or question for an adult.

As we shared our theories and experiences with each other we began adding the slogan:

THEE PRODUCT IS THEE PROCESS or THEE PROCESS IS THEE PRODUCT.

Through a mutual friend, Eve, I was introduced to Timothy Wyllie. Eve knew of my "fascination" with The Process and my search for the realities behind it, rather than accepting the tiny, vague amount of gratuitous misinformation available, when she introduced us. Timothy was everything I'd hoped he might be and more, and his sharp, dry intelligence and wit combined with his encyclopedic knowledge and application of spiritual matters blew me away in the same inspirational cosmosis of energy that Brion Gysin and William S. Burroughs had. Timothy was living in New York at that time and was directing his beneficent resources toward dolphin sentience, extraterrestrials and angels. Brighton had a Dolphinarium where two dolphins suffered terribly, both psychologically and physically, from cruel conditions. TOPY decided to try and close the Dolphinarium by boycotting the entrance every single weekend and peacefully asking people not to go inside and thus financially collude in the ongoing torture of these supra-intelligent beings. For over a year TOPY picketed the Dolphinarium, eventually enlisting the support of animal rights groups. Psychic TV, Julian Cope, Captain Sensible of The Damned and other caring friends participated in benefits. TOPY Individuals visited local schools getting the children involved in dolphin art projects and study groups. We even released a CD called Kondole (the Aboriginal name for a whale spirit) to finance the campaign. Eventually we succeeded and through a charity of the Aga Khan, our two dolphins were flown to the Turks and Caicos for rehabilitation. Timothy Wyllie had inspired us and as a marvelous side effect he has become a lifelong friend and mentor.

Timothy became my oracular fallback position. He had already been through all this and more, so in times of isolation, desolation and doubt I would call him for advice. We could both see a pattern that intimated trouble ahead in my public and private life. So I called upon the TOPY network to donate good quality children's and baby clothes, packed them up in large numbers and flew my family to Nepal. We linked up with Samye Ling's monastery there and financed, out of my savings, a twice-daily clean water and meal kitchen at Boudenath Stupa in Kathmandu. Some days we fed 300 to 400 Tibetan refugees, lepers and beggars. In between we took teachings and meditated. The clothes were distributed to refugee families in need to help them survive the winter.

A strange synchronicity was revealed to me reading Edward Mason's text for this book. During the later years of TOPY we began to feel that obsessing on personal self-improvement and "therapy" was not enough. We wanted to develop a system of practices that would finally enable us to consciously change our behavior, erase our negative loops and become unencumbered with psychological baggage. The Process too, certainly at its inception, seems to me to have had similar high ideals. Where the two experiments diverge is the incipient hierarchy that ultimately seems to have disintegrated The Process. TOPY, on the other hand, struggled really hard to avoid having a "Leader" or an "Omega," despite the surprisingly tenacious appetite of TOPY participants to create a "Leader," a guru figure, who was then resented for not having all the answers. My rejection of the pressure to become the Omega figurehead caused a splintering and jealousy that we never really resolved before we declared on a postcard sent to everyone on our mailing list:

CHANGED PRIORITIES AHEAD T.O.P.Y. NOMADS

The schism that had ruined the momentum of The Process was, we had felt, about the distribution of power amongst the Omega and, to a slightly lesser extent, how those alliances within the inner circle(s) and also the depth and distribution of loyalty amongst the members got played out. By 1991 a money schism within TOPY was rupturing ten years' dedication. I could no longer afford to subsidize all the printing, postage, meetings and merchandise. We also faced a more threatening, sinister matter of a yellow media witch-hunt. I started to question the wisdom of referencing The Process as our tactical mirror and things were getting spooky in all the wrong ways.

Just before I had taken my family away from East London to Brighton in 1988, we were thrust into the public eye on a national level when The People newspaper ran a vicious and sensational full-page article with the headline: "THIS VILE MAN CORRUPTS KIDS-DEMI-GOD FEEDS POP FANS ON SEX, SADISM, AND DEVIL RITES." We discovered we'd been under surveillance; casual and close friends and neighbors alike had been interrogated and bullied. Shades of "The Mindbenders of Mayfair" set off warning bells in my head! I had been officially declared an enemy of society, a wrecker of morals as well as civilization, and a target for any unscrupulous journalist and nutcase on the street using outrage as an excuse for intolerance.

A TOPY Individual working in the local post office warned me that our mail was being opened and copied by the "authorities." Not long before this, Scotland Yard had raided Mr. Sebastian's tattoo and piercing studio, later charging him and several other men, none of whom ever knew each other, with being a "gay S&M porn ring." They were tried in the Old Bailey, usually reserved for serial killers, spies and the worst of the worst criminals. It became notorious as "The Spanner" case. The case was tried by one judge, who eventually ruled piercing and tattooing a criminal act of grievous bodily harm, a charge immediately below manslaughter with a sentence of up to seven years. One poor man received three years in prison for piercing his own foreskin. Souvenir photos he got developed for himself alone were the damning evidence. All were found guilty, thus setting a legal precedent in Britain to prosecute anybody with a piercing or tattoo, or who created one! Suddenly, in 1991, my body, and those of many of TOPY's Individuals, was illegal. It seems impossible now just 15 or so years later to believe this was true. Copies of Modern Primitives, the classic ReSearch book we'd helped put together and were featured in, were seized at customs. Clearly a right-wing faction of the Tory government, in collusion with powerful figures at Scotland Yard, was on a mission to marginalize, penalize and viciously shatter the lives of a blossoming gay scene and new contemporary social groups like us that they saw as conspiring to undermine decent family values, which meant TOPY in general, and myself in particular.

Suddenly a fax arrived from Sister Shadows and Brother Words at the Vajra Hotel in Kathmandu: " SERIOUS TROUBLE-CALL HOME IMMEDIATELY!"...

The witch-hunting media bomb had exploded.

On Saturday, February 15, 1992, 23 Scotland Yard detectives from the Obscene Publications Squad, armed with a search warrant and video camera, raided our Brighton home. They seized two tons of photographic, video and other material (African drums, ethnic art, sex toys, children's fluffy toys...even the dentist chair!). On Sunday, February 16, 1992, The Observer newspaper ran a story entitled "Video offers first evidence of ritual abuse." It reported they had a film of a "bloody satanic ritual" which they'd passed on to the police. Small fragments of this video were included in a one-hour TV documentary series on Channel Four, Dispatches, in which the journalist Andrew Boyd claimed it "shows abuse of young adults in what is clearly a ritual context. Sex and blood rituals are taking place beneath a picture of Aleister Crowley. The trappings of black magic are obvious." Blurred and distorted images were televised.

By Sunday, February 23, The Independent on Sunday reported that these videos claiming to be the "hardest evidence ever of satanic child abuse" were actually made nine years earlier. One video was created for Spanish national television's Le Edad D'Oro program on Psychic TV, and the other as performance art commissioned by Channel Four, featuring film director Derek Jarman as the visual presenter of a fictional cult in an exercise of how media can manipulate perceptions and control responses! Derek was quoted saying, "At first I was horrified and then very angry that they had so misrepresented scenes from the video. It was not even about child abuse or murder. It seemed too much when you had a lady on the telly, blacked out, saying she had killed her child. I mean, doesn't anyone smell a rat?"

On March 22, the author, researcher and presenter of Dispatches admitted to inconclusive research, misleading identification and entirely fabricated testimonies.

But the damage was done. I was advised by my lawyer that if we returned from Nepal, Scotland Yard would arrest me and hold me for questioning indefinitely, and take my two daughters into custody who would then likely be interrogated for evidence of child abuse. A false accusation at this low point in the British history of abuse usually led to your children being in the State's care for two or more years, regardless of truth. We have never to this day been charged with anything, not even a parking ticket. Yet none of my belongings or my seized archives and property have been returned; in fact, Scotland Yard has implied it was all destroyed, for no legal reason. As a result of finding myself in exile I lost both my homes, my record label and my sources of income pretty much overnight!


The houses alone would be valued now at $1 million. The authorities who colluded in this baseless attack on my lifestyle have never apologized for their bogus accusations. Not one shred of evidence was ever found, nor was the "basement" where all the awful events took place. Not surprising, as our home was built on rock so hard no basement could have been dug even if we had wanted one. Overnight my children lost all their school friends, their extended families, every photo of them growing up. My father passed away during my exile and I was unable to see him even once before he died, nor could I attend his funeral. All this just to publicize a pseudo-Christian author's grossly fabricated scare-mongering book, written in the hope of importing "satanic abuse" hysteria to the U.K. Cheap advertising by cheap minds.

Our attorney told us in a frank phone call that our best course of action was to protect our children and go into exile, as someone at Scotland Yard had said off-the-record that they could not guarantee my physical safety if I returned. He saw that as a thinly veiled threat. But there WAS an upside. Despite all the vicious pressure put upon TOPY Individuals and my family and friends, not one person chose to even pretend there was an iota of fact in the accusations.

Since dropping out from University in 1969 to join the Exploding Galaxy, I had tried my utmost to seek out ways and means of changing not just my own behavior, but ultimately that of the human species. I saw a gifted species of beings who had developed miraculous technologies over thousands of years, yet had ignored applying the same depth of application to its behaviors. We are still locked into negative, dark, aggressive, intimidating social constructs and systems that perpetuate brutality and destruction for untold billions of people. It seems essential for not just for the survival of our species but for a new, improved (we hope) evolutionary phase of human dedicated to wisdom, not war; inclusion, not exclusion; activation, not inertia, with a trajectory toward empowered pandrogeny rather than any outdated binary perceptions of nonsensus reality. In other words, I am an unapologetic utopian idealist, and I believe that too is a positive and constructive essence at the core of TOPY and its progenitor, The Process.

In one of those classic magical moments I had thrown a heap of post in my bag as we left England. Whilst trying to make sense of becoming an exile and refugee overnight I idly opened one envelope. It was a letter from Michael Horowitz, archivist for Dr. Timothy Leary, and his partner Cindy Palmer. In it he had written, "If you ever need a refuge, call me at this number." I did, and he immediately offered me and my family sanctuary at his home in Petaluma, where we lived in Winona Ryder's old bedroom for several months.

The bogus accusations of satanic complicity were one of the reasons we wanted this book to be assembled and published. In the malicious roar of innuendo and fake shock that has fueled a decades-long industry of imaginary conspiracies and fantasy horrors, the sincere and coherent concepts and creation of a self-contained original culture and dedicated search for spiritual truth are buried. We wanted this book to rehabilitate the gratuitous and vicarious sensationalism that has plagued a balanced and authentic appraisal of The Process. To re-evaluate what it was, what it tried to be, what it hoped to be and why it grew to be so central in both my psychological and spiritual quest and the phenomenon that was TOPY.

TOPY was built almost as an anti-cult. We hoped to avoid the traditional methods of engendering belonging by rejection of the past, so the names were used to give a sense of equality. After a year or two, we noticed that people with lower numbers were copping an attitude at TOPY gatherings, implying "I was here way before you! You're Eden 425 and I am Eden 10." So to prevent this we began randomly mixing up the numbers every year so that no sense of superiority or specialness could even be implied. (Needless to say there was NO number One and 23 23s!) What we did eventually decide to recognize after several years was that dedication and longevity of application worked for the greater good. Over and over in both Timothy Wyllie's and Edward Mason's texts they stress the autocratic, matriarchal and expectation of strict obedience imposed upon The Processeans by the Omega. There's no question that a totalitarian system can facilitate maintaining an unorthodox organization. There were times we coveted such monolithic techniques, but in the end TOPY persevered with as democratic a system as possible. My friend Z'EV once said, the most astute and unique aspect of TOPY in relation to other groups is that YOU walked away from being a leader when you could have been...

At first Timothy Wyllie was reluctant to discuss The Process. I understood why; I was, and really still am, reluctant to discuss TOPY with casual acquaintances. There is pain and disappointment there. It is hard for anyone to imagine being attacked over and over again not just by the yellow media but by the government, harassed by the police, and alienated from friends and foes by the taint of lies and innuendos of vile secret behaviors and associations. I was forced into exile for my role in creating TOPY, I lost my two homes, my children lost every sense of continuity and security overnight along with the vast majority of our belongings, and had two tons of our archives confiscated and probably destroyed as a direct consequence of my investigations of sex magick/directed orgasm and shamanism combined with proselytizing piercing and tattooing when it was still a secret and taboo, nay, illegal activity.

I can see how The Process experienced an equally irrational campaign to destroy, cripple financially, and break the will of their members for having the audacity to build a set of Logics that included the names of the Gods-Jehovah, Satan, Lucifer and later Christ. Hindsight tells me that, just as TOPY underestimated the outrage that inclusion of sexuality in its mission would cause, to its folly, so The Process misjudged the ongoing bigotry and hypocrisy of the establishment when they included Satan and Lucifer in their panoply of gods. Who would have guessed, though, that in the swinging '60s liberation from inhibition and oppression, there would still be such a furor over those antiquated notions? Why do certain concepts like "Satan" or the open inclusion of orgasm and sexuality in an experimental search for a more integrated way of life cause politicians, clergy and journalists to dub me, for example, a "wrecker of civilization"? Or a national newspaper to trumpet that I should be "bound in chains, locked in a cage and the key thrown away"?

This book may not answer that question directly. But keep in mind that fear of the unknown, coupled with the exposure of corruption in places of power, and a dreary but paranoid policy of maintaining the superiority of vested interests long after they are redundant, at all costs, underlies the façade of our mundane daily culture. Freedom of thought, self-designed ethics and a questioning mind with an altruistic belief in the potential for positive evolution in our human species can expose to the light the impoverished decay of society. The Process was ostracized and forced into exile in the United States, and then my family and I were forced into exile in 1991 for our essential involvement and faith in TOPY. Let this book remain a warning to us all that as long as we live in fear, a fear that serves the agenda of others, we are a doomed species. Unless we embrace evolutionary transcendentalism as a species we will remain clever rats, losing our potential to be infinitely special and aware.



Image by belkus, courtesy of Creative Commons license.