“The Concrete Wilderness” by Paul Cullum (Arthur, 2004)

Originally published in Arthur No. 13 (November 2004)

The Concrete Wilderness
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

* * *
Discussed herein:

Medium Cool (1969)
Directed by Haskell Wexler
(Paramount Home Video)

Look Out, Haskell, It’s Real (2001)
Directed by Paul Cronin
(www.thestickingplace.com)

Tell Them Who You Are (2004)
Directed by Mark Wexler
(currently awaiting distribution)

Soldiers Pay (2004)
Directed by David O. Russell, Tricia Regan and Juan Carlos Zaldivar
(DVD extra with Uncovered: The War on Iraq, directed by Robert Greenwald, available through http://www.cinemalibrestudio.com).

* * *

“This is a potential throw of the dice that could bring the media on our heads and cut the Democratic Party in half; my view is that we would have by far the larger half.” —Speechwriter Pat Buchanan in an internal 1972 White House memo advocating confrontation as policy

In these last dark days before November, as we count down to occupation or deliverance, rage or terror, the mind reclaimed or compulsory reeducation from the soles of the feet up, one film lights our way clear. In 1968, John Wayne directed The Green Berets, which famously ends on the beach at Da Nang with the sun setting in the east—a special effect of such audacity that it rivals the scripted ways we’ve choreographed combat ever since. Superman could sooner circle the earth and turn back time.

But that’s not the film I’m thinking of. I am thinking of its polar opposite.

In 1968, Haskell Wexler took his reputation as A-list cinematographer, respected documentarian, verité pathfinder, his Oscar for Who’s Afraid of Virginia Woolf? and his good-faith line of credit at the studios and rolled them all on one admitted act of madness. Hired to direct a film version of the novel The Concrete Wilderness by the inmates running the institution at Paramount—Peter Bart, Robert Evans and Charlie Bluhdorn—Wexler wrote a script, drew up a budget, hired a cast and then, without telling anybody, junked it all to make the movie he wanted. So instead of a young boy cultivating pigeons in Central Park, we have Robert Forster playing a news cameraman oblivious to his role in the news around him, documenting the pigeons drawn to Lincoln Park in Chicago in August, 1968—the ones who would justify the police state being advocated inside the Democratic Convention hall to clamp down the era. In the process, Wexler managed to capture the one battle royale at the crest of the culture war on 35mm film. With the Clinton brain trust (Carville, Begala) now steering Kerry to port, highlighting the war hero-turned-agitator, and with the Reagan brain trust (Peggy Noonan, Michael Deaver, possibly Lyn Nofziger) reportedly guiding Bush to starboard, with its “Swift Boat Veterans” and “Hanoi Jane” alarmism, that war is still being fought today.

What paralyzes film as a medium of topicality is that it is automatically at least three years past its sell-by date by the time you see it—the time it takes a script to gestate and gel, executives to deliberate, actors to commit, the big trucks to roll, months of editorial synthesis and the media to be alerted. You’d have to look to Soderbergh and Erin Brockovich or Traffic, or before that David O. Russell’s still underrated Three Kings, nominally about the first Gulf War, to find studio directors willing to engage the topical issues of the day. If conflict is the crux of character, and the world today stoked with conflict to burn, no wonder so many four-wheel-drive studio vehicles wind up rusted and abandoned, axle-deep in mud.

Medium Cool remains the one narrative feature which proves the exception: Conceived in January during the Tet Offensive, it was constantly deflecting off the times throughout production. As such, it marks a kind of travelogue of the ‘60s: Lyndon Johnson declined the nomination in March, throwing the August convention into free-for-all. Martin Luther King is shot in April, the ghettoes burn and Forster and soundman Peter Bonerz (later of The Bob Newhart Show) are sent to “Resurrection City,” the tent city on the Washington Mall housing the remnants of King’s Poor People’s March, or to debrief black activists in their Chicago apartment. Campaign workers are interviewed outside Kennedy headquarters; when Robert Kennedy is assassinated a month later, the film recreates the interior of the Ambassador Hotel kitchen where he was shot (off the line, “So it’s on to Chicago, and let’s win there”) and sends its fake news crew to the actual funeral. We get probably the first discussion of the Kennedy assassination (the first one) in a Hollywood film, and certainly the first mention of the dangers of artificial sweeteners.

Much of this context is to be found in a fine companion piece inexplicably left off the DVD—Paul Cronin’s Look Out Haskell, It’s Real: The Making of ‘Medium Cool’, a 55-minute documentary currently screening on the Sundance Channel. Cronin has contributed to books on Cassavetes and Herzog and made films on Alexander Mackendrick, the director of The Sweet Smell of Success, and Amos Vogel, founder of New York’s Cinema 16. Here, a cavalcade of ’60s action figures sit for interviews—Studs Terkel (listed in Medium Cool’s credits as “Our Man in Chicago”), SDS activist-turned-author Todd Gitlin, Chicago 7 lawyer Leonard Weinglass—or are visible in outtakes: Allen Ginsberg wanders through the frame in Lincoln Park; Jesse Jackson stands atop a car in D.C., fist raised.

Buried beneath Medium Cool’s breakneck speed and ruthless experimentalism are any number of lean-to set pieces that could have been—and sometimes were—movies in themselves Buried beneath Medium Cool’s breakneck speed and ruthless experimentalism are any number of lean-to set pieces that could have been—and sometimes were—movies in themselves (last-minute floor passes to the convention hall were arranged by Warren Beatty, and similar shots found their way into The Parallax View; a subplot of a TV station forwarding demonstration footage to the police and FBI is basically the dramatic engine of Under Fire, relocated to El Salvador).

But it was the Chicago riots that earn the film its purple heart. In the face of Mayor Daley’s mandate to police to “Clear the fuckers out of the city,” and armed with hipster recon from producer Jonathan Haze (Seymour in the original Little Shop of Horrors), who was partying with the future Chicago 7 every night, Wexler put his first-time actress, Verna Bloom (Dean Wormer’s wife in Animal House), literally in harm’s way—in a manner that makes Herzog seem restrained. At the very moment that Russian tanks were rolling through Prague, we can experience U.S. armored personnel carriers and Jeeps mounted with fully-loaded 50-caliber machine guns subjugating the Windy City and hippies in football helmets piling up park benches, medics at the ready. Chants of “Pigs eat shit” and “Pigs are whores” are intercut with a cop clubbing a protester, shouting, “You stinking commie!” (giving a whole new cluster of meanings to Carl Sandburg’s “hog butcher of the world”). And through it all snakes Bloom in a bright yellow dress, as incongruous in her surroundings as the little girl in red in the otherwise black-and-white Schindler’s List. In the aftermath, we see the carnage in real time, while a disembodied woman’s voice wails on the soundtrack, “You motherfuckers!” Among the victims are Wexler himself, his eyes being flushed out with water, debilitated by a tear gas canister fired point blank at the camera.

Yet for all its celebrated verité, the film is awash in Godard. A poster of Belmondo from Breathless hangs over Forster’s fireplace; the bookended car crashes are airlifted straight out of Weekend; and the final shot is Wexler himself, who turns the camera on the audience—the tracking shot that closes Contempt, superimposed over the old Paramount newsreels—to a chant of “The whole world is watching.” Forster’s character is named John Cassolaris as a concession to John Cassavetes, who was originally slated to play the part under his own name, and Bloom’s character can be glimpsed in the opening cocktail party scene, an hour before she is introduced (she precedes the line “beaten to death by a mob”). And a death is foretold on the radio minutes before it occurs.

This extends to the line that gives the documentary its title—“Look out, Haskell—it’s real!”—which appears before the CS canister goes off in their face. It was, by Wexler’s own admission, added in post-production, since war zone conditions prevented them from shooting synch sound. And the speaker of that line? Haskell’s son Mark Wexler, who has just directed a reportedly irascible portrait of his father called Tell Them Who You Are, in the fashion of Aiyana Elliott’s The Ballad of Ramblin’ Jack, so new that it has only shown twice at the Toronto Film Festival (where Roger Ebert raved about it). This is the Haskell Wexler who was fired from One Flew Over the Cuckoo’s Nest and The Conversation, who famously clashed with Michael Moore on Canadian Bacon and who risked industry condemnation by interviewing the Weathermen in Underground, which was subpoenaed by the FBI, and following Jane Fonda to North Vietnam to shoot Introduction to the Enemy (he also joined her for both Coming Home and Klute, for which he won his second Oscar). Can’t wait to see it.

* * *

And where are the cinematic rabblerousers of our own day? Well, on the verge of releasing I Heart Huckabee’s, his first film in five years, Three Kings director David O. Russell has taken the occasion of Warner’s planned re-release of his 1999 film to make a half-hour documentary on Iraq, The Sequel.

Soldiers Pay (declarative, not possessive), co-directed with Tricia Regan and Juan Carlos Zaldivar, catches up with Three Kings bit players, real-life Kelly’s Heroes, armchair Ottomans and fruit-salad generals who somehow got sucked into Operation Desert Nam. Between the water-rationed Marines describing Haliburton mercenaries who pull down $300K, or supply sergeants out “requisitioning” computers to play videogames on, we get the occasional 1,000-word picture, like a khaki-clad warrior squatting next to graffiti that reads: “Ha Ha—Our God’s Better Than Your God.”

When Warner’s caved to political pressure and scrapped the whole thing, microdistributor Cinema Libre stepped in and offered to piggyback the featurette onto Part 3 of Robert Greenwald’s Anti-Bush Tetralogy, Uncovered: The War in Iraq (Unprecedented and Outfoxed are on DVD; next up is Unconstitutional, on the Patriot Act). Meanwhile, as a land bridge linking the two (films and wars), consider this scene from a New York Times profile that ran September 12, 1999, two years before you know what:

“After listening to Mr. Bush’s remarks to the Hollywood crowd, Mr. Russell decided to tell him that Three Kings would be coming out just before the primaries and did not reflect favorably on his father’s leadership in the Gulf War. ‘You could see this look of uncomprehending concern and panic wash over his face,’ Mr. Russell recalls. Mr. Bush again seemed to be studying Mr. Russell’s clothes. ‘And then he immediately snapped into Presidential mode, and said, ‘Well, am I going to have to go finish the job?’”

* * *

DVDs/videos courtesy of Cinefile, the official video store of Arthur. Contact Cinefile at (310) 312-8836 or http://www.cinefilevideo.com.

“Rove Elephant” by Paul Cullum (Arthur, 2004)

Originally published in Arthur No. 12 (September 2004)

Rove Elephant
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

* * *

BUSH’S BRAIN
Directed by Michael Paradies Shoob and Joseph Mealey

“The whole art of war consists of a well-reasoned and extremely circumspect defense, followed by rapid and audacious attack.” — Napoleon

“Controversy? … What controversy?”

Such is the tagline in ads for Michael Moore’s Fahrenheit 9/11, his excoriation of the Bush imperial presidency—devised in guilt and darkest rancor, nutrient-fed at Cannes and currently growing geometrically on the steroid hash of raw media frenzy. Although it’s not widely remembered, Moore may have tipped not one, but two national elections now with his last-minute full-court antics. His very public support of third-party candidate Ralph Nader had a decisive effect in 2000, regardless of how he parses it now. But back in 1998, three weeks before the mid-term elections, Moore sent out a series of mass e-mailings on his frustration over the impeachment proceedings, and urging angry young disenfranchised liberals to hold their nose and vote Democrat. That was the election that unseated Newt Gingrich’s Contract with America foot soldiers, and a woozy punditocracy attributed it to a last-minute appearance by Clinton on Black Entertainment Television, which supposedly energized his latent black base. But everybody I know saw those e-mails; they managed, like they say in Network, to articulate the popular rage:

“Yes, most of the Democrats suck,” read Michael Moore Newsletter #11 from TVNatFans@aol.com on October 8, 1998 at 21:44:47 EDT. “I rarely vote for the sorry, wishy-washy losers. But this election is not about how I feel about them—it’s about us using them to whack the right wing for good. Imagine if the Democrats are voted in by overwhelming numbers (when all the pundits are predicting a Republican landslide). The message would be loud and clear to all these new Democrats—the American public wants the agenda of the Christian right removed from the halls of our United States Congress!

This led, in a straight line, to Moore’s career as author, propagandist, gadfly, jester, freedom fighter and hero to the French. And power to him. Except now it looks like he may be sucking up all the oxygen in the room. Because another political documentary which could be of crucial benefit to an undecided electorate—more than Control Room, the Al-Jazeera doc; more than The Hunting of the President, about open season on Clinton—is apparently not slipstreaming into theaters behind him, but is instead perilously close to going unreleased in time for November’s election.

Bush’s Brain, co-directed by Michael Paradies Shoob and Joseph Mealey, presents in horrifying, clarifying detail the sinister ministrations of advisor-without-portfolio Karl Rove, who occupies the post position on George W. Bush’s speed-dial, and who his enemies liken to no less than a co-president of the United States. Politics as policy, the Big Lie, junkyard dog attack ads, means justifying ends, operating out beyond the event horizon—all are part and parcel of what the film calls “the mark of Rove.” Based on the book Bush’s Brain: How Karl Rove Made George W. Bush Presidential by reporters James C. Moore and Wayne Slater, the film features a who’s who of talking heads—Molly Ivins, Joe Wilson, Sen. Max Cleland—even Bill Clinton from a 2000 California recall photo op—in charting Rove’s rise and rise from the Texas of Ann Richards and Jim Hightower to one that is remorselessly Republican. And while the two-decade-old extranea of Texas electoral politics may seem of limited interest to a country with bigger problems on its plate right about now, it is said that Washington, D.C. is run by just three individuals—George Bush, Karl Rove and House Majority Leader Tom “The Hammer” DeLay—each of them angry Texans with a taste for wetwork. This shows where they come from. As with the Moore film, there may not be much new in the telling, but as we’ve just learned all over again from the Hallmark cards coming out of Abu Ghraib, one picture really is worth 1,000 words.

Continue reading

“The Rules of the Game” by Paul Cullum (Arthur, 2004)

Originally published in Arthur No. 11 (July 2004)

The Rules of the Game
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

* * *

DVDs/videos discussed here:
The Kingdom of Credibility Trilogy:
o The Humiliated (De Ydmygede) (1998), directed by Jesper Jargil
o The Exhibited (De Udstillede) (2000), directed by Jesper Jargil
o The Purified (De Lutrede) (2002), directed by Jesper Jargil
[Contact the filmmaker at Jesper Jargil Films, jesper.jargil@mail.dk, Fax: +45 3314 2655; PAL tapes only available]
o The Five Obstructions (2004), directed by Jørgen Leth and Lars von Trier (currently in general release)
o Tranceformer: A Portrait of Lars von Trier (1997), directed by Stig Björkman (available on the Criterion DVD release of von Trier’s The Element of Crime)

* * *

“In the rain forest of the Cameroon in West Central Africa lives a floor-dwelling ant known as Megaloponera foetens, or more commonly, the stink ant. On occasion, one of these ants while looking for food is infected by inhaling a microscopic spore from a fungus of the genus Tomentella. After being inhaled, the spore seats in the ant’s tiny brain and begins to grow, causing changes in the ant’s patterns of behavior. The ant appears troubled and confused; for the first time in its life, it leaves the forest floor and begins to climb. Completely spent and having reached a prescribed height, the ant impales the plant with its mandibles. The fungus continues to consume first the nerve cells and finally all the soft tissue that remains of the ant. After approximately two weeks, a spike appears from what had been the head of the ant. This spike is about an inch and a half in length and has a bright orange tip, heavy with spores, which rain down onto the rain forest floor for other unsuspecting ants to inhale.” —The Museum of Jurassic Technology

Were he not already so ubiquitous, this might seem like the season of Lars von Trier. Dogville, the first part of his “USA Trilogy” (to be differentiated from his “Europa Trilogy”—The Element of Crime, Epidemic and Europa/Zentropa; and his “Golden Heart Trilogy”—Breaking the Waves, The Idiots and Dancer in the Dark) appeared earlier this year to begin the excoriation of the American character by European cinema, a process just put to decisive referendum by the awarding of Michael Moore’s Fahrenheit 9/11 the Palme d’Or at Cannes. Stephen King’s The Kingdom Hospital, an adaptation of The Kingdom I and II, von Trier’s successive miniseries on Danish television, appeared as a much-touted ABC series and suffered mightily by comparison. And The Five Obstructions, co-directed by von Trier and his mentor Jørgen Leth, equal parts documentary, experiment and intervention, currently scuttles its way around the arthouse circuit.

The latter presents von Trier at his comical best. Resembling Fassbinder refashioned as a Muppet (Fassy Bear?), he is at once imperious and cuddly, using his private empire to force Leth, his former film instructor at the Danish Film Institute, into repeatedly remaking The Perfect Human, the film von Trier rates closest to perfect. “This little gem,” as he calls it, is a 12-minute 1967 black-and-white short that marries an insouciant formal abandon to a faux anthropological take on upscale hipsters, in the manner of Peter Sellers’ The Running Jumping & Standing Still Film (which handed Richard Lester his directing style on a platter) or, more pointedly, title designer Saul Bass’s Why Man Creates. Leth is the one who famously introduced “the rules of the game” into von Trier’s way of thinking, the intense penchant for order which, as we know from Tranceformer, a 1997 documentary by Stig Björkman, implicitly appealed to this son of radical academics who was raised free of restraints of any kind. (Tranceformer also informs us that at age 12, “Lars Trier” was the child star of Clandestine Summer, a winsome Swedish-Danish TV series, and that he added the “von” in film school—as in “Erich von Stroheim,” Teutonic tyrant and classical sadist—in much the same way Francis Ford Coppola appended his signature to exchange the quotidian for the epic.) The Five Obstructions is justified as homage and a form of therapy, von Trier’s magnanimous gesture to force his mentor out of his “provocative perverse perfection.” Yet it ultimately borders on autobiography, as von Trier judges and rejects not only his patriarch, but his own aesthetic foundations, subjecting them to outsize pressures as if to test their structural worthiness—like Steven Soderbergh did in interviewing his mentor, Richard Lester, in Getting Away With It.

Continue reading

“The Outsiders” by Paul Cullum (Arthur, 2004)

Originally published in Arthur No. 10 (May 2004)

The Outsiders
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

* * *

Works discussed in this column:
Nashville (1975), directed by Robert Altman, written by Joan Tewkesbury (Paramount Home Video)
Tanner ’88 (1988), directed by Robert Altman, written by Garry Trudeau (HBO Home Video)
Tanner “Fireside Chats” (2004), (The Sundance Channel)
Secret Honor (1984), directed by Robert Altman, written by Donald Freed and Arthur Stone (Vestron Video)
The Nashville Chronicles, by Jan Stuart (Limelight Editions; http://www.limelighteditions.com)

* * *

“Listen, you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up.”
—Travis Bickle, Taxi Driver

“New rule: You can’t be an outsider if you’re already president.”
—Bill Maher

Was it Richard Nixon who invented the outsider in American politics? Nixon, the festering Quaker, who so resented the Kennedys, the liberal Harvard elite, the charismatic cabal of ineluctable privilege, that he made his presidency an armed encampment, and codified his enemies into the world’s most exclusive guest list?

Before him, the century’s presidents were patricians and gentleman intellectuals, academics and company men, generals and crooks and tentacled leviathans rising from the Senate. Aprés Nixon and his designated stand-in Ford, we got Carter, the peanut farmer-nuclear physicist; Reagan, the rancher-statesman, and his stand-in Bush; Clinton, the wonk-lothario-honorary black president; and now Bush Redux, the Jim-Bowie-at-the-Alamo president. Trailing behind them was a comical retinue of apron-clad inepts and third-party spoilers—H. Ross Perot, the Weenie King from Preston Sturges’ Palm Beach Story; Ralph Nader, the stooping Jimmy Stewart from Mr. Smith Goes to Washington. Their only thing in common was that they were somehow outside the institutional cesspit of D.C. power–“in,” but no longer “of.”

Nixon was certainly the unsung inspiration for ’70s cinema, the flailing windmill against which the disaffected tilted. It’s not just that the ’70s were the ’60s on film, the natural bridle of adolescence against authority. The decade is a bell-shaped descent converging on the vortex of Watergate and Nixon’s flight from power in 1974. A Shakespearean figure who screened Patton repeatedly the weekend before he ordered the bombing of Cambodia, Nixon was the role model for Michael Corleone in the Godfather Trilogy, the dissembling mayor in Jaws and the Emperor in Star Wars, and the literal heavy of Hearts and Minds, Medium Cool, Shampoo (staged on the day of his reelection) and All the President’s Men. His tenure directly inspired the agitprop of M*A*S*H, Catch-22, Coming Home and Apocalypse Now; the political paranoia of Taxi Driver, The Parallax View, Three Days of the Condor and Marathon Man; and the institutional corruption of Serpico, Chinatown, The Conversation, Sugarland Express, One Flew Over the Cuckoo’s Nest, Night Moves and Network. But no more political allegory survives the decade than Robert Altman’s Nashville—conceived during the Watergate hearings, filmed during Nixon’s resignation and released in time for the Bicentennial.

In honor of the election year, Altman’s six-hour miniseries Tanner ’88, originally made for HBO with Doonesbury satirist Garry Trudeau during the 1988 election, is currently being rebroadcast on the Sundance Channel, complete with recently-filmed one-minute “Fireside Chats” with the original cast to accompany each episode (which hopefully will show up on the rumored Criterion DVD due this fall). But Nashville, available in widescreen format with plenty of extras from Paramount Home Video, is where the director first explored the nexus of politics and celebrity. Altman’s putative masterpiece is contractually the story of the country music capital of America, although like Taxi Driver, it is revealed in its final moments to be a pathography of political assassination. In Jan Stuart’s The Nashville Chronicles (Limelight Editions Books), an artfully researched volume of behind-the-scenes anecdotes and historical context, Altman calls the film his “Grand Motel.”

Coming off of Thieves Like Us in Northern Mississippi, Altman sent writer Joan Tewkesbury to nearby Nashville to sop up the city and keep a rigorous journal. Working from instinct, Tewkesbury charted two dozen characters on a grid and compiled a 175-page script, which despite numerous memorable lines (Ned Beatty’s Delbert, the local fixer, tells Michael Murphy’s John Triplette, the oil-slick California advance man, “Well, I admire your optimism, I was just wondering if it was regional.”), Altman tossed in the air, hoping through improvisation to hew closer to an America they all felt was about to redline.

“It was set up like a rug,” remembers Tewkesbury, “like you were weaving a rug. And when he told the actors to throw away the script and forget the dialogue, there were actors who did every stitch of dialogue as it had been written, and then there were others who had this magnificent other stuff. What you find out is that the words are nice and dialogue is great in plays and on television, but what these kinds of films really are about is tone and behavior. And so the words, in a funny way, are like clues. But you cast for behavior and cast for tone, or against it, to bring it to life.” (Tewkesbury is currently a consulting producer on CBS’s The Guardian, which is doing some interesting stuff under the radar.)

The finished film follows Tewkesbury’s script scene for scene, beat for beat, and she constantly worked with the actors to keep their improvs on point. Altman, who had hired real Vietnam draft dodgers living in Vancouver to populate the mining camp in McCabe and Mrs. Miller, and who would use ex-addict Synanon members as casino gamblers in California Split, packed real country-music fans into every frame, and added session players like fiddle phenomenon Vassar Clements for, in Tewkesbury’s elegant phrase, “unencumbered authenticity.” And politics, which hung like an ominous cloudbank, seemed to infuse everything. Tewkesbury patterned Triplette after John Dean and other Watergate witnesses, which Murphy expanded to include a college acquaintance who became a ratfucker, one of Nixon’s dirty tricks team. Music City patriarch Haven Hamilton (initially written for Robert Duvall), based on country-music titans like Hank Snow, Conway Twitty and Tex Ritter, was played by Henry Gibson based on Henry Kissinger, for the power, and Bob Hope, for the longevity. It was Gibson who, wounded in the final assassination scene, improvised the line “We’re not Dallas.” (Murphy starred in Tanner ’88, and both actors showed up in Paul Thomas Anderson’s Magnolia as an Altman homage.)

Looking for a way to unify the film’s emerging politics, Altman added third-party candidate Hal Phillip Walker, whose radical platform is voiced via a loudspeaker mounted atop a campaign van that segues between scenes. To handle the rhetoric, narration and logistics of the campaign, Altman approached Thomas Hal Phillips, a novelist who had been invaluable on Thieves Like Us as the head of the Mississippi Film Commission, and whose family was heavily involved in state politics. Phillips identified himself as an FDR Democrat, but had run his brother Rubel’s campaign for governor of in 1963, which virtually invented the Mississippi Republican Party. Once on set, his family’s political connections proved invaluable: He pulled strings so the British Chaplin could get her work visa, got permission to close down Interstate 65 to film the opening traffic jam and recruited extras for the political smoker and striptease (and confirmed that such things occurred when cast and crew were horrified by the reaction). With Denver political operative Ron Hecht, acting on Altman’s instructions to “invade my movie,” he set up an actual campaign office and strategy in the midst of the primary election for Tennessee governor.

With a voice like warm syrup, in the manner Shelby Foote or David McCulloch (the Ken Burns/Seabiscuit guy), Phillips recorded his voiceover in a single 18-minute speech–which, in some sort of karmic transfer, is the exact length of the missing portion of the Watergate tapes. Full of folksy palliatives and Old Testament constructions like “It is the very nature of government to strain at a gnat and swallow a camel,” his declarations were considered extremely prescient when Jimmy Carter mounted a similar down-home populism to win the Presidency a year later. Consequently, many interpreted it at the time as Altman’s cynical jab at soft-headed demagoguery. Yet, viewed three decades later, in once again newly politicized times, Walker’s platform seems to push Howard Dean or Dennis Kucinich-style progressivism toward a new militancy, in a way that is less modest proposal than common sense. His call to ban lawyers from Congress may be a legislative stretch. (“A lawyer is trained for two things and two things only: To clarify, that’s one; and to confuse, that’s the other. He does whichever is to his client’s advantage. You ever ask a lawyer the time of day? He told you how to make a watch, didn’t he?… Congress is composed of 535 individuals; 288 are lawyers.”) And replacing the National Anthem with Woody Guthrie’s “This Land Is Your Land” might border on the comical. But taxing the churches’ “vast holdings of land and corporate investments” or abolishing the Electoral College is long overdue.

Those parts of the speech excised or indecipherable in the film itself, but included in the full text available in Tewkesbury’s published script, make the point all the more:

“With proper leadership and effort, we can wipe out crime as surely as this country wiped out polio or smallpox… Today in America, with its unmatched resources, it is exceedingly ridiculous, a total absurdity, that any citizen with any ailment, mental or physical, should go medically unattended… Can it possibly make sense to regiment farms and farmers when people are ill-fed, if not downright hungry?… To tax the salaries of people on poverty-level incomes, then turn around and give back in food stamps twice the amount of the tax?… Every community needs special programs for the mentally ill, the aged, the retarded, the handicapped. To fall short in these areas is to bring disgrace on all our houses.”

Tracked down at his rural home in Corinth, Mississippi, Phillips, now 80, claims he was totally sincere.

“I more or less believe what I wrote,” he says. “I don’t know where they got that, because I had my whole heart in it. It was different, but we were running a different race. The things that I believe in, a Republican or a Democrat could both say them. Carter hadn’t come on the scene yet, but that was what I was thinking of. And I really took it seriously, that any candidate that would come out and say some of those things would get a lot of attention.”

At Altman’s behest, Phillips revived the Walker character once more in 1987’s O.C, and Stiggs, but by then he had slipped into parody, more Wally George-style Orange County wrestler-Republican than aging idealist. Walker just published his first novel in two decades, Red Midnight, and claims he’s a Hillary Clinton supporter in 2008.

And Altman and Nixon’s paths crossed once more, in Secret Honor, a one-man play starring Philip Baker Hall as a paranoid, suicidal Richard Nixon with raccoon eyes and Eddie Munster hair who looks like Robert Blake in Lost Highway. Nixon’s “secret” is that he faked the Watergate tapes “to lead Congress to the tip of the wrong iceberg,” hiding the fact that his superiors planned to keep him in the White House for eight more years and the war going indefinitely, ensuring a steady flow of heroin to the Mob and kickbacks of U.S. aid from Saigon into CREEP, the Committee to Re-Elect the President.

These days, they just give the money back in tax cuts and cut out the middleman.

* * *

DVDs/videos courtesy of Cinefile, the official video store of Arthur. Contact Cinefile at (310) 312-8836 or http://www.cinefilevideo.com.

“The Golden Notebooks” by Paul Cullum (Arthur, 2004)

Originally published in Arthur No. 8 (Jan. 2004)

The Golden Notebooks
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

DVDs/videos discussed in this column:
The Work of Director Spike Jonze (Palm)
The Work of Director Chris Cunningham (Palm)
The Work of Director Michel Gondry (Palm)
Schizopolis, directed by Steven Soderbergh (Criterion)
K Street, directed by Steven Soderbergh (HBO, not available on DVD/video)

* * *

“There is no need for you to leave the house. Stay at your table and listen. Don’t even listen, just wait. Don’t even wait, be completely quiet and alone. The world will offer itself to you to be unmasked; it can’t do otherwise; in raptures it will writhe before you.” —Franz Kafka

“One day I found a big book buried deep in the ground. I opened it, but all the pages were blank. Then to my surprise, it started writing itself….” —Bjork, “Bachelorette”

K Street is getting really good.

The half-hour HBO series, which just completed its initial 10-episode run, features a real James Carville and Mary Matalin at a fake D.C. lobbying firm on the real K Street inside the Beltway, with fake characters, real cameos and real events driving the plot. Working from sketched outlines by screenwriter Henry Bean, whose The Believer is the most politically provocative film in recent memory, each episode is directed, shot and edited by Steven Soderbergh five days before airtime in furious run-and-gun fashion, literally buzzing on instinct and the exquisite threat of failure.

When Soderbergh directed Schizopolis, his $250,000, quasi-incomprehensible, bilingual absurdist farce, virtually everyone was mystified. He rigorously defended the film at the time, citing the need for raw experimentation to reenergize his filmmaking. And with the effervescent Out of Sight, the almost Cubist The Limey and Oscars for Traffic and Erin Brockovich following it up, it’s hard to argue with him. More recently, the dismally received Full Frontal was, in retrospect, merely a working template for the callous immediacy, oblique editing and telegraphed detail of K Street, now much improved from the watertight op-ed pieces of its earliest installments.

The freedom to experiment and fail has been bred out of American movies—or, rather, reversed: filmmakers are free to experiment only after they fail, on their own time and their own dime. Studio fare has become largely critic-proof precisely by courting diminishing expectations, just so it can rise incrementally above them.

Which is one of the incidental pleasures of viewing the collected short works of music-video mainstays Spike Jonze, Chris Cunningham and Michel Gondry, being released simultaneously on DVD through the Directors Label, an imprint at Chris Blackwell’s Palm Pictures. (Blackwell, whose Island Records brought reggae to an unwitting world, remains the consummate billionaire-fan—financing short-film magazine RES and the touring RESfest, or releasing the 10-hour Cremaster cycle.) Working from a shared lexicon, with often the same bands (Daft Punk, Chemical Brothers, Bjork), Gondry in France and Jonze as part of the crew at Satellite, the vanguard subsidiary of Propaganda, are credited with reviving the moribund music video form in the early ’90s. And the British Cunningham, with a pedigree that includes heading up the FX crew for David Fincher’s Alien 3 at 19 and doing animatronic design for Kubrick’s abortive A.I., is arguably the most famous filmmaker under 30 who hasn’t yet directed his own feature.

Viewed together, these compilations of music videos, short films, commercials and documentaries—each with a 52-page booklet of interviews, photos and drawings—all demonstrate a surprisingly coherent style, whose permutations may well play out over dozens of features. It’s easy to spot the world view of Jonze’s Being John Malkovich or Adaptation in Daft Punk’s “Da Funk,” in which a guileless innocent with a giant dog’s head and full leg cast hobbles his way around a Taxi Driver Manhattan, or the seeds of Michel Gondry’s Human Nature in the fairy-tale forest imagery of “Human Behavior” and his five other Bjork videos. (All three features are written by Charlie Kaufman, as is Gondry’s upcoming The Eternal Sunshine of the Spotless Mind.) And it’s fun to speculate how Jonze’s formal goofs might have informed Harold and the Purple Crayon or his upcoming Where the Wild Things Are, or how Gondry’s ambulatory cartoons might have presaged his Green Hornet, from a script by Robocop’s Ed Neumeier. Cunningham’s long-gestating Neuromancer, in particular, written with author William Gibson, which the Matrix trilogy is only the latest to desecrate the memory of, might have been an extrapolation of any number of his dread-filled universes on display—from the Manhattan where a crack addict’s limbs shatter like porcelain in Leftfield’s “Afrika Shox,” to the creepy Osaka Home for Mentally Disturbed Children in Squarepusher’s “Come on My Selector,” to the 2001-inflected assembly line in Bjork’s icy, autoerotic “All Is Full of Love.” Cumulatively, each seems like an accidental narrative, strangely driven by autobiography.

The Spike Jonze DVD, like its creator, is affable, garrulous, slightly ADD perhaps, but enthusiastic and generous to a fault. The former Adam Spiegel took his professional name from Spike Jones, the 1940s satirical big-band leader whose most famous hit was “Der Fuehrer’s Face,” to accommodate an already pronounced trickster ethic that would one day dream up Jackass. In addition to documentaries on Houston bullriders and Fatlip, formerly of the Pharcyde (who deserves a standing part in any future Spike Jonze film), there are 16 videos included (of the 40-plus he has directed). These are invariably conceptual one-offs (the Pharcyde rap backwards in “Drop”; Christopher Walken dances and flies in Fatboy Slim’s “Weapon of Choice”; kids play Biggie and Puffy in “Sky’s the Limit”) or outright jokes (M.C. 900-Foot Jesus mails himself home in a box in “If I Only Had a Brain”; the Beastie Boys mix cop-show cliches in “Sabotage”).

This is the side of him apparent in Fatboy Slim’s “Praise You,” where “B-boy choreographer” Richard Koufay (actually Jonze himself) and the fictional Torrance Community Dance Troupe descend on the Mann Bruin Theater in Westwood for a live performance of stupefying execution—a conceit taken all the way to a performance at the MTV Music Awards (dutifully chronicled in a third half-hour documentary, where emcee Chris Rock can be heard saying, “Fatboy Slim? Looks more like White Boy Retarded.”) Along the way, we discover that’s Axl Rose getting off the bus as the guy runs by on fire in Wax’s “California”; that the dancing mailbox in Bjork’s “It’s Oh So Quiet” (the inspiration for Lars von Trier’s Dancer in the Dark) is the voice of Ernie on Sesame Street; and that Anson Williams (Potsie on Happy Days) refused to appear in Weezer’s “Buddy Holly” video (which places the band inside a composited episode) until David Geffen wrote him a personal letter.

Cunningham’s DVD is darker, colder and vastly more cerebral—the mimetic equivalent of Goya’s famous title “The Sleep of Reason Produces Monsters” (depicting a collapsed poet beset by bat-winged cormorants). Like J.G. Ballard, Cunningham returns repeatedly to images of council flats, industrial landscapes, eroticized technology and human anatomy, particularly its numerous pathologies. Originally trained as a painter and sculptor, he worked for several years as an illustrator for Britain’s 2000 A.D. comics before specializing in prosthetics and then robotics–in his words, “the evolution from flesh to machine.”

But it’s his two videos for Aphex Twin, aka Richard D. James, that are his masterworks. “Come to Daddy,” against an onslaught of harsh industrial drones and urban collapse, uses ghostly video images and gangs of angry children, all of them with James’ bearded face superimposed, to sustain a deep irrational fear—tapping into the same disturbing imagery as Don’t Look Now or Cronenberg’s The Brood, or the same sudden terror that David Lynch used to access so effortlessly. Following up with “Windowlicker,” his stated effort “to make a more commercial video for Aphex,” he opens on a strident parody of hip-hop stereotypes, rolling in a low-slung convertible on the freeways of downtown L.A., where two players are well into the launch trajectory of an incessant monologue that employs, by my count, 47 “niggas,” 21 “motherfuckers,” 11 “bitches” and 21 free-floating “fucks”—it starts out, “I hope we find some motherfuckin’ bitches, nigga, man, I’m horny as a motherfucker, nigga—you know what I’m sayin’, nigga?” and progresses accordingly. Four minutes and 22 seconds into the video, everything screeches to a halt as a ridiculously long stretch limo displaces them in frame and disgorges Aphex Twin, who performs a crotch-grabbing, pirouetting dance with parasol—ZZ Top meets Michael Jackson—leaving the gentlemen and their two prospective consorts to stare in wide-eyed wonder. (Also intriguing is a teaser for Rubber Johnny, a powerless figure with a giant head in a wheelchair, described by Variety as “a live-action underground comic about a guy who lives with a mean dog.”)

By contrast, everything in Gondry’s endlessly inventive body of work can be summed up in the title of the 80-minute documentary he prepared especially for the DVD: I Have Always Been 12. Combining the technical and conceptual, he fashions a row of dancers into a live-action video effect in the Chemical Brothers’ “Let Forever Be,” somehow forces the industrial imagery from the window of a commuter train into the rhythms of their “Star Guitar,” creates a split-screen symmetrical Moebius strip of continuous action in Cibo Matto’s “Sugar Water,” replicates the White Stripes in Legos in “I’m in Love with a Girl” and then makes them into stop-action human time-trails in “The Hardest Button to Button.” A born inventor (his grandfather, Constant Martin, invented one of the earliest synthesizers, the Clavioline, which can be heard on the Beatles’ “Baby, You’re a Rich Man”), he is constantly shown attaching wires to Bjork’s fingers to create a keyboard-triggered Spirograph or scratching into the groove of a record and yelling, then playing back his own voice. (Bjork is clearly the unsung hero here, having discovered Gondry, championed the others early on and introduced them all to each other. At their L.A. premiere at the Egyptian Theater, Bjork was the guest deejay.)

Gondry’s images seem mostly rooted in a pre-adolescent scatology and the fear of sex: The disc includes animations about farting and a short film where David Cross plays a life-size, papier-mache turd. (Even the name of his former band, Oui Oui, is a homophone for urination.) And according to his mother, four times a week between the ages of five and nine, Michel had the same nightmare, where the letter I enters the letter U. As George Carlin once said about the train going into the tunnel at the end of North by Northwest, “You don’t have to be Fellini to figure that one out.” In fact, much of Gondry’s raw material appears undigested from his dreams. Actively ridiculing Freud (even as his work resembles an open case study), he attributes a survival function to dreaming: Natural selection has carried it through half a billion years to release deep forgotten emotion at night, which re-bonds monogamous mates every morning, thus preserving the structure of the family across the millennia.

Dave Grohl, whose Foo Fighters video for “Everlong” features a couple’s dueling dreams, recounts how Gondry justified the giant prosthetic hands he was forced to wear by admitting he was once plagued by similar nightmares.

“It was insane and ridiculous and inane,” says Grohl in the documentary, “and it didn’t seem like it made any sense. But then after he explained it to me, I thought… Maybe every one of his videos is some crazy nightmare or phobia or something inside of him that he’s afraid to tell anybody else, and he just makes videos or puts it into film. It’s a head trip.”

In raptures it will writhe before you.

A second trilogy of discs from Mark Romanek (One-Hour Photo), Jonathan Glazer (Sexy Beast) and Sanji (Propaganda) is reportedly in the works.

* * *

DVDs/videos courtesy of Cinefile, the official video store of Arthur. Contact Cinefile at (310) 312-8836 or http://www.cinefilevideo.com.

“Blacks Off Earth Now!” by Paul Cullum (Arthur, 2003)

Originally published in Arthur No. 7 (Nov. 2003)

Blacks Off Earth Now!
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

* * *

“A rat done bit my sister Nell with Whitey on the moon.
Her face and arms began to swell and Whitey’s on the moon.
I can’t pay no doctor bills, but Whitey’s on the moon.
Ten years from now I’ll be paying still, while Whitey’s on the moon.”
—Gil Scott-Heron

When William S. Burroughs completed his paranoid masterwork Naked Lunch in 1959, not even his closest friends—Jack Kerouac, Allen Ginsberg, Gregory Corso; born cheerleaders all, and no slouches in intuiting the teleology of social control—would have labeled it out-and-out prophecy. And yet a mere half-century later, we’re confronted with a totalitarian state that insatiably advances its influence and exports its dissatisfaction; a quisling media reduced to advocating these imperial ambitions; religious zealots as the new carnival barkers; a police apparatus bent on self-perpetuation; universal surveillance; lawless outlands designated as zones of amoral commerce; and addiction masked as consumer need. Not to mention a far-right party (which Burroughs labeled the “Liquefactionists”) dedicated to liquidating everyone but themselves.

Visionaries, it would seem, often turn out in retrospect to be mere stenographers who have become somehow temporally misfiled.

The same may well prove true of free jazz pioneer and denizen of Saturn Sun Ra, whose legendary 1974 cult film Space Is the Place has just been lovingly restored by Plexifilm in a special 30th anniversary edition. This chronicle of interplanetary black colonization, NASA conspiracy and an epic Manichean poker match for the fate of the world-kind of a quasi-documentary Buckaroo Banzai filmed in the middle of proto-revolutionary, Cointelpro Oakland-contains 20 minutes of newly restored footage (mostly interracial sex scenes), interviews with the director and producer (middle-aged white men) and home movies of Sun Ra and his Intergalactic Myth-Science Solar Arkestra goofing and playing in front of the Pyramids in Luxor, Egypt in 1972 (at roughly the same time that Kenneth Anger, equally besotted with Egyptian imagery, was shooting scenes for Lucifer Rising with Donald Cammell and Marianne Faithfull at the same location).

In 1971, Sun Ra and his band had traveled west from Philadelphia at the invitation of Bobby Seale of the Black Panther Party to Oakland, California, where they lived in a Panther house and Sun Ra taught at Berkeley. By 1974, amid increasing factionalism, no less than Eldridge Cleaver had kicked them out, and they were headed back to “the City of Brotherly Shove.” But not before producer Jim Newman and director John Coney lured him into a prospective half-hour concert for the local PBS affiliate, which somehow mutated into one of the oddest documents ever committed to celluloid.

The film opens amid a welter of space jazz, on what looks like a yellow Sony Playstation controller drifting through space-actually Sun Ra’s spaceship, captured in pre-digital blue-screen on 16mm film. As the mothership lands on a lush tropical planet (in reality Golden Gate Park), Sun Ra and his entourage stroll through an enchanted garden the equal of the fantasy sequences in Heavenly Creatures-with floating bubbles and hovering trilobites topped with red orbs encased in glass and exotic flowers bearing fruit of orange hands and wine glasses. Draped in flowing robes and an Egyptian headdress topped with a large sun dial, Sun Ra (who wrote all his own dialogue) proclaims, “We’ll set up a colony for black people here-see what they can do on a planet all their own, without any white people there… Another place in the universe, up under different stars.” Then as he conjectures relocating them via “isotope teleportation,” “transmolecularization” or simply teleporting the entire planet through music, we see Sun Ra suddenly spinning clockwise away from us into deepest space, like the lifeless Gary Lockwood, Jr. in 2001. All this before the opening credits.

Suddenly it’s 1943, in a Chicago nightclub, where a local gangster (the Overseer, played as a kind of satanic pimp by Ray Johnson, one of the bank robbers in Dirty Harry) demands that Sun Ra-then a piano player known as Sonny Ray-be ejected for his discordant style. Sonny’s jazz arpeggios quickly escalate into overpowering chord inversions, as glass shatters, smoke billows from the piano, the dancers are blown out of their tops and the crowd riots and stampedes toward the exits. Just as quickly, Sun Ra and the Overseer are faced off against each other across a red velvet table in the middle of a vast desert, where they compete in an arcane card game using a modified ghetto-fabulous Tarot deck (featuring Cadillac Eldorados and nude sirens) for the fate of the earth.

From there, Sun Ra wanders through contemporary Oakland as the contest plays out-convincing the locals he’s a galactic emissary, opening a storefront “Outer Space Employment agency,” and generally using music to cure the addicted, raise the drunken, reform the exploitive and search out the enlightened.

“Are there any whiteys up there?” asks a skeptical youth at a neighborhood rec hall.

“They’re walking up there now,” says Sun Ra, with his implacable hipster academic delivery. “They take frequent trips to the moon. But I notice none of you have been invited.”

Meanwhile, two field agents from NASA (including Morgan Upton from comedy troupe the Committee) sit in cramped, smoke-filled rooms hunched over reel-to-reel tape recorders, combing through his every word for some sign of conspiracy. After an attempted tryst with a couple of the Overseer’s call girls-where, pointedly, they can’t get it up-the NASA gumshoes kidnap Ra and hold him hostage in an abandoned warehouse. “Come on, Ra,” one of them says, “how do you convert your harmonic progressions to energy? There’s a black space program, isn’t there?” As a specialized form of torture, they leave him trussed up and trapped in headphones that play an endless brass band rendition of “Dixie.” But Ra escapes, the chosen are beamed out of their settings as economically and decisively as the luckless beauties in Mars Needs Women and all are led aboard the spacecraft, in what seems very much a template for the last scene in Close Encounters of the Third Kind three years later. (In fact, the five-tone melody used for alien contact was lifted from the intervals in Sun Ra’s “Lights on a Satellite,” recorded in 1960. “Did you ever see Star Wars?” he once asked an interviewer. “It was very accurate.”) As Sun Ra’s spaceship seeks the new black world, the earth supernovas behind him.

Threaded throughout the narrative are live performances of the Arkestra, which were actually filmed at a soundstage on the Embarcadero owned by the Mitchell Brothers, who were just then in pre-production on their breakthrough feature Behind the Green Door. In fact, the two projects shared production costs, a platform built for the band was used to mount a sex contraption in the porn film, and Space Is the Place cast member Johnnie Keys appears as one of two black studs who pleasure Marilyn Chambers using an elaborate pulley system in the latter.

Director Coney, in the accompanying interview included on the DVD, claims the film was “an homage to cheesy science-fiction films of the ’50s and ’60s” like Rocketship X-M (1950) and Cat Women of the Moon (1953). Traces of Jodorowsky’s Holy Mountain, LeRoi Jones’ (later Amiri Baraka’s) play The Black Mass and Black Muslim theology can be detected-notably the concept of the Mothership, in which Black Scientists were to return to earth to mark the end of the 25,000-year reign of the white mongrel race, and which was in turn appropriated wholesale by George Clinton and Parliament/Funkadelic. Clinton name-checks Sun Ra in the liner notes to the 1974 LP Standin’ on the Verge of Getting’ It On; other noted acolytes include Pink Floyd, the MC5, the Grateful Dead and, perhaps oddest, Bobby Beausoleil—star of Kenneth Anger’s Invocation of My Demon Brother, inspiration (through his nickname, Cupid) for Arthur Lee’s band Love and confederate of Charles Manson (and convicted murderer)—who toured California throughout the mid-’60s in a copycat group called the Orkustra.

The Overseer can be one of the Celestial Overseers from The Urantia Book—inspiration to Stockhausen, Elvis and Gene Roddenberry in his creation of Star Trek, which Sun Ra reportedly was reading from daily. The robed, hooded, mirror-faced being accompanying him in the opening scene seems taken from Maya Deren’s Meshes of an Afternoon, shot in 1946 but unavailable until much later (although with the extent of Sun Ra’s readings in arcane and secret texts, who knows?). Or the cosmology could just as likely have come from outer space itself. Biographer John Szwed, author of the exhaustive Space Is the Place: The Lives and Times of Sun Ra, puts him, in his East Village days, in the same company as Moondog and Joe Gould—legendary eccentrics who walked the streets to the delight of an uncomprehending public. One of Sun Ra’s favorite stories, commemorated in the song “Advice for Medics,” was that when he played a mental hospital in Chicago in the ’50s, a woman reputed not to have moved or spoken for years walked slowly to the piano and screamed at him, “Do you call that music?”

Sun Ra rarely slept, lived on vitamins, fruits and food supplements, and ardently believed he had been abducted by aliens at an early age, through a process he termed “transmolecularization.” He considered music a physical, celestial force capable of transforming governments, enlightening races, curing disease (Norman Mailer once claimed a Sun Ra performance cured his cold) and, yes, propelling spaceships, for which he and his band were merely the collective antennae. Gibberish? Pseudo-science? Mumbo-jumbo? Exactly what they said of Burroughs and his Mayan scholarship, South American miracle drugs and language-as-a-virus theories around the time Space Is the Place was first gestating. And yet, just this week, no less than NASA has detected a pressure wave traveling through space from a black hole in the Perseus Galaxy Cluster 250 million light years away—a sound wave 57 octaves below middle C on the piano, with a frequency of once every 10 billion years. According to scientists, it is a B-flat.

“It is possible,” says Andy Fabian of the Institute of Astronomy in Cambridge, England, “that other galactic clusters are singing in other tones.”

Nothing to do now but wait.

DVDs/videos courtesy of Cinefile, the official video store of Arthur. Contact Cinefile at (310) 312-8836 or http://www.cinefilevideo.com.

“This Is the Way the World Ends (Or, Don’t Say I Didn’t Try Dystopia)” by Paul Cullum (Arthur, 2003)

Originally published in Arthur No. 6 (Sept. 2003)

This Is the Way the World Ends (Or, Don’t Say I Didn’t Try Dystopia)
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

DVDs/videos discussed in this column:
o The Dead Zone (1983)—directed by David Cronenberg, written by Jeffrey Boam; based on the novel by Stephen King (Paramount Home Video)
o Starship Troopers (1997)—directed by Paul Verhoeven, written by Ed Neumeier; based on the novel by Robert Heinlein (Columbia/TriStar Home Video, Special Edition)
o The Handmaid’s Tale (1990)—directed by Volker Schlondorff, written by Harold Pinter; based on the novel by Margaret Atwood (MGM/UA Home Video)
o Death and the Maiden (1994)—directed by Roman Polanski, written by Rafael Yglesias; based on the play by Ariel Dorfman (New Line Home Video)
o The Designated Mourner (1997)—directed by David Hare, written by Wallace Shawn; based on his play (Image Entertainment)
o The Revolution Will Not Be Televised (2002)—directed by Kim Bartley & Donnacha O’Briain (Power Pictures; VHS available for $29.99, please specify NTSC or PAL)
o Afghan Massacre: The Convoy of Death (2003)—directed by Jamie Doran (Atlantic Celtic Films; VHS available for £19.99/approx. $32.00 from http://www.acftv.net, please specify NTSC or PAL)

* * *

“I only want to say this once: If America insists on flirting with a fascist future, I shall give them one.” —Paul Verhoeven (director of Starship Troopers)

“By the time they came for me because of my liberal views, it was too late—there was no one left to speak up.”

That’s Pastor Neimoller, German Christian cleric, famously lamenting the blind eye he turned toward Communists, Jews and union leaders during their respective Nazi roundups. Words like “Nazi” and “fascist” are loaded ones these days—packed with C-4 and strung with tripwires, to dissuade the hapless malcontent from trampling across them too casually. But a mere 36 months in the life of the republic has turned us into a nation of screenwriters, imagining more and more implausible reversals of expectations in our long march to the third-act twist: stage-managed coronations, Wall Street intifadas, Zionist cabals, prophylactic invasions, the treason of superpatriots. The one thing it teaches you, living here in the heart of Hollywood (as if such a thing exists), is speculative reality: All things are true until they’re not. Best to follow these branches out to their logical ends, lest we be caught unawares.

And so, in curious times such as these, I do what I’ve always done: Turn to the movies. Here are five moments from five films—bleak dystopian visions of an American future, courtesy of a Canadian, a Dutchman, a German, a Pole and a Brit—which these days I find playing over and over in my head. Plus two new documentaries which might explain why. We often find our convictions in popular film, and probably the courage to live by them. If the artists of the age see fit to issue such auguries—field jeremiads from the antennae of the race—then we ignore them at our peril.

Continue reading

“YOU AND WHOSE ARMY?: Is George W. Bush Addicted to Cocaine?” by Paul Cullum (Arthur, 2003)

Originally published in Arthur No. 5 (July 2003)

YOU AND WHOSE ARMY?: Is George W. Bush Addicted to Cocaine?
A “Camera Obscura” column by Paul Cullum

CAMERA OBSCURA is a regular column examining the world and its lesser trafficked tributaries, recesses and psychic fallout through the filters of film, video and DVD.

DVDs/videos discussed in this column:
o Horns and Halos, directed by Suki Hawley and Michael Galinsky
o Journeys with George, directed by Alexandra Pelosi
o Uncle Saddam, directed by Joel Soler
o What I’ve Learned About U.S. Foreign Policy: The War Against the Third World, compiled by Frank Dorrel
o Unprecedented: The 2000 Presidential Election, directed by Richard Ray PÈrez and Joan Sekler

“If George W. Bush has not used cocaine, he ought to say it. If he has, he ought to say it and then say how he overcame it.” —Sen. Orrin Hatch (R.-Utah)

Is George W. Bush a pederast? Neo-fascist? Born-again zealot? Serial rapist? The question itself brooks no compromise; to raise it is tantamount to treason. The exact incidence and degree of oral-genital stimulation tolerated by a standing president may be suitable for the Congressional Record, but try suggesting we have a Crackhead-in-Chief, and see how far it gets you.

Yet given our president’s globally mystifying behavior of the past two months, no less than the paragons of the Fourth Estate have at least flirted with the concept in polite company. Following Bush’s televised press conference on March 7t, Maureen Dowd in the New York Times labeled him “the Xanax Cowboy” and observed that, “Determined not to be petulant, he seemed tranquilized.” Tom Shales in the Washington Post put a finer point on it: “It hardly seems out of order to speculate that, given the particularly heavy burden of being president in this new age of terrorism … the president may have been ever so slightly medicated.” Another New York Times editorial, by Paul Krugman, compares Bush’s pre-war behavior to that of Captain Queeg in The Caine Mutiny, famously fondling marbles and paranoidly raging about missing strawberries.

That national leaders can be addicted to drugs may be less an aberration than the historical norm.

Continue reading

BULL TONGUE by Byron Coley & Thurston Moore from Arthur No. 13 (Nov 2004)

first published in Arthur No. 13 (November, 2004)

BULL TONGUE
Exploring the Voids of All Known Undergrounds
by Byron Coley and Thurston Moore

When we first heard about Derek Bailey he was touted as being the most astounding and unusual guitarist on the planet. Upon checking his LPs out in the mid-’80s we were taken aback by the fact they were so scrape, scrape, plink, plonk minimal and alien. Yeh weird but come on, it was hardly no wave Arto Lindsay/Glen Branca/Pat Place action. It wasn’t until we saw the cat physically play that we really got it. His wit and sophistication was profound and mesmerizing. Totally unique and personable and genuine. He was also a central figure in all that was becoming mythic about both European and American free improvisation. A genre at once distinct from free jazz and any avant garde tendencies towards “open music.” Throughout the ’80s-’90s till now Derek and the world community of improvisers he’s in association with have been documented relentlessly for our contemporary generation to reference and respond to. The genre, by and large, can be caught in its own stylistic graveyard at this point in time, but such masters as Derek stand alone in their devotion and ritual of playing and defying standards and expectations. Wire Magazine scribe Ben Watson has authored a hefty 443-page book entitled DEREK BAILEY AND THE STORY OF FREE IMPROVISATION (Verso 2004). The first half of the book relies on Derek’s oral history of events from his days as a working class youth learning jazz guitar to his tenure with Gavin Bryars and Tony Oxley as a trio called Joseph Holbrooke where they pretty much formulated the concept of free improvisation as an identifiable discipline distinct from jazz. His voice is hilarious and generally scabrous as he recounts the development of the genre. It gives you great insight into his world and his method though it hardly stands as a history of the much larger activity and personage of free improvisation. Neither does the second half of the book which is primarily a forum for Watson’s Marxist studies applications. Which, if you’re not a Marxist scholar, is potentially interesting as such, but it’s written in the academic language of Marxist studies and relentlessly couches Derek and free improvisation as models in which to Marxist riff. It’s a bit bitter and stale (and thankfully tee-hee references itself as such). It’s like Watson knows he’s harshing us with text that is a disservice to Derek’s actual intellectual being but he’s overly content and obsessed by it’s all-figured-out self righteous angle. Kind of a drag. And there’s a very limited panel of guitarist reference points that reoccur that is primarily Stefan Jaworzyn and Rudolph Grey. Which, to those in-the-know is amusing, but to a novice it’ll prove continuously obscure. (The book severely limits its readership by being for those well-versed in the history and it’s participants already.) And Watson makes the most inane statements in regards to contemporary avant garde noise and other free/outsider activities misreading Derek, setting up Derek as icon which is not only completely wrong and unfair to the artists working but to Derek hisself. It’s a classic misinterpretation of creative inspiration and assimilation. It all goes to further prove that Marxism’s for squares. The book grinds down to revisions of Company concert and record reviews. A real bummer is the discographical omission of the DEREK BAILEY/ONE MUSIC ENSEMBLE split LP on Nondo (DPLP-002) from 1976. Come on! But if you’re into Derek’s playing as much as we are, you have to read this, it’s not half-bad—Watson expresses some nice insights into the nature of the culture of free improvisation. But unfortunately, it’s not half-good either.

FAT WORM OF ERROR are all set to record an LP for Load Records, celebrated home of East Coast noise and bizarro skree. Hopefully it’ll be as great as the CD they have out now on Yeay! Cassettes. FWOE have become the most enjoyable noise/dada/freak out act New England has seen since Sweet Pie stomped around the Fat City club in Wilmington, Vermont back in ’72 (check out Sweet Pie’s Pleasure Pudding LP on ESP-Disk). The members are old ex-Deerhoofers and Caroliners and Angst Hase Pfeffer Nasers. The music? Damn, it is so super fucked—two guitarist blipping and zapping through really battery dead fx boxes and a drummer who seems to be having a constant mescaline hand buzzer flash attack and a singer who will roller skate right over yr ass if you don’t move quick. It’s that good. This disc is called “NZZNZZZZNNZNZNNN” or NZNNZNNZZZZZZNNNZZNNZNZ. Ask for it by name.

You could do worse things than check out the new Nidnod label outta Suffolk, England. Pretty much a CDR label, though one that packages its CDs in simple and elegant sleeves and wrapped in brown packing, string-tied and with evocative world postal stamp. The release that caught our brainbox was the ‘sateen suutelemat’ cassette by Finland’s kuupuu which is Jonna Karanka of kukkiva poliis. kukkiva poliis were last heard on the Lal Lal Lal compilation Buried Dead – A Sociological Survey on Finnish Youth’s Secret Musical Activities and they struck a cool harmonic sphere of a chord in our heads. kuupuu is a soundworld not too unlike Fursaxa but with a more damaged faerie-like whiff, it floats and shines like a wasted marsh gas. The other release on Nidnod that we found rather frying was by long time New Zealand basement noise prince WITCYST. His …as nidnod CDR is excellent from track to track employing languid machine hums to burnt noise engine squeach. Also available from the label are good-looking discs from Culver, Neil Campbell, Opaque, Karina ESP, Cheapmachines, Midwich, Violence Beyond the Snowline and others. As far as the Finnish Lal Lal Lal label is concerned, they are the flashpoint for Finn underground noise and psyche-folk greatness (they call it humppa music) and should be delved into immediately. Highly recommended are anything by Maniacs Dream, Kemialliset Ystävät, Avarus, Sipriina, The Anaksimandros, Toni Laakso, keijo, Master Qsh, Rauhan Orkesteri and a most incredible and insane 7” by THE DEMARS called “Veriläiskiä” which is a bunch of 8- and 12-year old Finnish kids just going off, screaming, cursing, smashing drum machines. Real groovy. Besides Lal Lal Lal, there’s a helluva lot more action happening in Finland right now with underground labels and clubs. Worth looking into is Kevyt Nostalgia Records who have re-released the infamous Kemialliset Ystävät cassette, originally on Lal Lal Lal, on double vinyl. Kemialliset Ystävät, which is basically some dude named Jan Anderzen, creates a strange hypno-sound utilizing a sole-created psyche-tongue language. He’s been releasing some pretty great cassettes since 1996. Kevyt Nostalgia puts on shows at the Nostalgia-klubi in Helsinki and they just recently hosted our USA friends Fursaxa and Christina Carter. Right on. In Tampere, there’s Sweetcore Records who have released music by the improvising ensemble Drakes Medicine who supposedly kick some kind of ass. So, yeh , Finland’s fucking burning baby.

Hats off to Three Lobed Records down there in North Carolina who’ve been releasing CDs by Philadelphia’s stone heavy BARDO POND playing in ever more expansive situations. A real killer is the Bardo Pond collaboration with TOM CARTER, the superb dreamfield guitarist from Charalambides. Also available is a CD by Bardo Pond “other” band PRAIRIE DOG FLESH, a unit shrouded in some kind of Philly haze of gauzemind dating back to the ancient days of 1993. More releases are due starting now and if, like us, your mind craves Bardo Pond sound you’re in for some deep diving.

Ed Hardy at the venerable Eclipse, a distribution house for much of what we write about here as well as being a killer label releasing fine art documents in limited editions has put out a solo LP by Bardo Pond’s guitar visionary Michael Gibbons under the aegis 500mg. And if that sounds like something you’d drop on your tongue to wither away the reality of earthbound meat dreams than you are so right. The LP’s titled Vertical Approach, it’s co-released by Galactic Zoo Dossier and it’s absolutely awesome. Gibbons reaches in and glides through his eye head laying down a sweeping master stroke. Both serene and intense, the dude has freaking hit it square in the cerebral cortex o-zone. And if you’re still in a Norway frame of freakout then check out the Eclipse LP release of “Puhalluspelto” by PAIVANSADE. Total dreamskull.

Carbon Records has been celebrating its ten years on this planet by issuing a seriously hep series of CDs from its home up there in chilly Rochester, NY. So far they’ve tossed out sides by JOE + N, which is pretty much the guys who run the damn thing but make some sick weirdo sound spoo to boot, as well as MIKE SHIFLET, solo noise recording angel from Columbus, Ohio who runs the Gameboy label/empire (they released that first glimpse into the sonik wonder that be 16 Bitch Pile Up). Shiflet’s CD is called Xenakis Youth and it’s a monster car rally of blat adventure. Also cool discs by Ming, The Dead Machines, Crawlspace, Coffee, and Tom Carter & Shawn McMillen. Soon come are three more, culminating with a due-to-be-damaged one by Dylan Nyoukis, so get on it cuz at the end of it all Carbon will issue a wooden box in which to keep these babes in. Good deal.

Since you’re thinking about Shiflet and Gameboy know that one of the newest Gameboy releases is one of their most wicked. It’s a duo 3” CD by CARLOS GIFFONI AND LASSE MARHAUG called Lesbian Brunch. Living here in the lesbian capitol of North America we know the delights of late morning food with this particular demographic. It brings out the true dyke we all have rocking within and Norway’s Marhaug and Brooklyn’s Giffoni get way down to business by slipping and sliding tonguestar electronics just right. Yum.

ERIC ERLANDSON who is a dynamite guitarist and who spent most of his formative shredding years in Hole has obviously had his own personal tour of hell. He’s been lying low these days to some extent though he’s always out there sniffing the new action. One thing he’s surprised us with recently are a couple of staple zine lit books Another Think Coming (Bathtub Seed Press/Absence of Feel Publishing) and Fatal Flower Garden (Trophy Wife/Lollipop Gag Publishing). They’re both wild mind autobiographical sojourns, a mix of narrative tale, poetry and visual text collage puns. Very nice.

DYLAN NYOUKIS was able to spurt out a couple of nice pieces of Nyoukis content between porn shoots and window washing way down in the south of Blighty. Ear pricking kindness comes from his BLOOD STEREO project which is pretty much him with Karen Constance, an amazing lass we wrote about at length in last issue’s column. Here Comes Blood Stereo is in a DVD box and issued by Greek label Absurd. Absurd began in 1996 as a noise fanzine basically an extension of Genital Grinder fanzine which had been debating ball-crunching noise since 1989. As a label it evolves at whim and has released a varying slew of strange n’ odd stuff. Another Nyoukis gotta-have is his The Mysterious Blue Soups of the South CD in which he enjoys some long and not so long distance collaborations with like minded individuals such as Neil Campbell, Kyle Lapidus and Ebay absurdist Kenui Ullin. It’s released by the twisted Belgium label Audiobot with an exquisite fold out cover with obi-strip all designed and screenprinted by Janus Prutpuss who did covers for Trumans Water and others.

Another great silkscreen audio/visual jammer on Audiobot is the Moving Gelatin in a Translucent World CD by Rochester NY’s PENGO. We mentioned Joe+ N whilst rapping about Carbon, well Joe’s in this group as well playing electric detonation guitar along with the infamous Jason Finkelbeiner and electric power zapper Nuuj. Pengo has been slaying audiences for awhile now and recently have really come into their own. A recent gig opening for the To Live And Shave In L.A. original line-up tour (with Andrew W.K. on drums—this group was a goddamned motherfucker!) had mouths first watering then wagging for many miles. Dennis Tyfus did the artwork which is heavy card pages of birds and foliage in a psycho-layered realm of lysergic solemnity. It’s a good ‘un. Audiobot also has two CDs by JULIAN BRADLEY who you may know as one of the cats in Vibracathedral Orchestra. Julian has made consistently interesting cassette and CD releases through the years of his guitar pulsations and chord change chaos. Both A companion As Glamorous As Sleeping On Wheels and Ditch Us In the Doorway are two of his finest, especially as they are slipped in silkscreened 7” sleeves and attached to square cut piece of old LPs. Audiobot has other cool CDs in silkscreened madness by such crazed luminaries as RICHARD RAMIREZ (Texas noise butcher/gay satanist), REYNOLS (Argentinian dadaists/mental patients) and CRANK STURGEON (Massachusetts noise beast/maple seed demon).

Julian Bradley has a female friend with groovy blonde hair who is, amongst other things I suspect, a pretty happening writer. All I know is her name is Lauren and she’s been issuing an ongoing lit/art journal of her work the last few years called Pretend I Am Someone Else. It reads fast with ruminations of female identity and emotion and scurries through dream talk where sensations threaten to consume. Good stuff. We’ve seen the last two of four issues to date.

We mentioned how Tom Smith’s To Live And Shave In L.A. toured the Midwest and New England in late September and how it absolutely ripped. They were hawking new Smack Shire shite which is Tom’s label. The hottest item, besides the BUSH IS FILTH tour t-shirt was the long-awaited-and-salivated-for SIGHTINGS/TOM SMITH collaboration disc. Rest assured this mommy smokes tough. Tom’s relentless poesie damage howl rides the wave of Sightings black hole grind and gloop. Tom’s penchant for sweatfuck techno skuzz comes into play here and there and it makes you wanna run over a cop whilst laughing insanely to the archangels swooping in. Sightings guitarist Mark Moran joined the “original” To Live and Shave for the tour along with Andrew W.K. and Don Fleming on guitar and Ben Osker and Rat Bastard on fractured toolboxes. Each night was a madhouse of big beat jizz psychosis. Smack Shire has released an archival disc by the group XEX. I think Brian Turner of WFMU can explain it best: “For all the moaning I’ve done over the years about growing up in a culturally detached small town in Pennsylvania though my formative years of discovering weird-ass punk and new/no wave music, the truth is simply that the most mind-boggling ideas and warped musical aesthetics sprung from these places. Amidst the sea of coked-up Cinderella wannabes who played my high school anti-drug rallies, the Kevin Cronin-of REO-produced big-fish-in-a-small-pond rock gods that walked down our streets, and the sheer overload of crapola, there were mutants who had it up to here with all of that silliness. For example: HB was a one man Magic Band who would tell stories for hours while whacking away on drums in a pierogi parlor like a cosmic Sam Ulano, The Delusions were what the Velvets coulda been in a coal mining town, and Psychatrone Rhonedakk made hobbit-like basement synth gurgle for years and years and never stepped on a stage. 100 miles from New York but not quite there, they never quite got recognized, and they sure confused a lot of locals. I sure appreciated ’em for merely existing in an oppressive musical locale where the town’s one promoter was too busy hosting dance shows on TV where he got out of a Rolls flanked by ho’s and booking wheezy hair-metal reunions. xex must have been in a similar boat down in South River, New Jersey. Sporting black garb, blurting arps, and bizarro names like “Thumbalina Guglielmo” and “Waw Pierogi” (holy hell, more pierogis!) these guys represented a totally bonkers aesthetic that seems like it was taking its cues from what was being hyped in the NYC underground scene about that time: Eno, Talking Heads, etc., but in fact this music is choking under something more black, toxic, and totally Jersey. While they sang about mall rat zombies who ran around trying to catch up with fashion, they also addressed nuns and nerve gas. Musically, it sounds like it has more to do with German nuts like Grauzone and California’s zonked synth-gothers Factrix or Nervous Gender than anything else remotely in xex’s radius. What gives? Tom Smith did radio shows for a while on WFMU, and was entrenched in the LP library listening to odd finds in backwards order starting at ‘Z’ when he came across this lost gem. It totally blew our brains. There’s zilch about them on the web, as well (apparently not even the hip New York papers gave ’em a mention), and he has been threatening to reissue this baby for some time. Here ’tis at last. Turn up the minimal synth NJ underground!”

Bran(…)Pos is the name used by S.F.’s Jake Rodriguez, (who supposedly was a child star in All in the Family spin-off Gloria) and he’s been releasing cool sounding cassettes and CDs of chittering noise and choogling beat driven junk jive the last couple of years. There was great split release with Mammal last year on the Animal Disguise label and Bran(…)Pos has just returned from touring the USA all summer with such dada noise practitioners as Nautical Almanac and Vertonen. Sold on tour was a new CD on Chitah! Chitah! Soundcrack called Chirphuis which shows Bran(…)Pos in self-proclaimed easy listening mode. In a sense it kinda is easy-noise but it will still get under your skin and shred it from within regardless.

Two amazing documentaries on two of the most fascinating filmmakers of the last century have been released on DVD by Zeitgeist Films. The first being IN THE MIRROR OF MAYA DEREN, a film by Martina Kudlacek. Maya Deren was an exquisite artist form the 1940s/50s who could easily be considered one of the most poetic and astounding experimental filmmakers at the advent of avant garde cinema. Viewing her back and white films is sublime eroticism without any pandered suggestion. They are dream visions through shadow and light. Her most celebrated film was Meshes in The Afternoon which took a prize at Cannes in 1947. The DVD has great commentaries by Jonas Mekas and Stan Brakhage (who’s short hand-painted film on Deren, Water for Maya, is, with other previously unseen rarities, included) with a score by good horn player/bad dresser John Zorn. The other doc is BRAKHAGE, a film by Jim Shedden. If you happen to dig the Criterion Collection’s By Brakhage DVD you will definitely need this. Stan Brakhage made over 400 films outside of the mainstream industry of cinema and his work with color and paint creating flicker film still challenges and inspires artists in all mediums. This is the first real doc on Brakhage where you can hear his side of the story. it also includes two early docs from the ’60s and ’70s. For anyone interested in avant garde cinema, both of these are essential.

HIGHWATER BOOKS is a publishing concern out of Montreal by way of New Jersey. If you can dig that symbiotik clash then you can dig that they have some very hip graphic/comix art mania on their shelves. First off is a fat and chunky tome by MAT BRINKMAN, one of the dudes, along with Lightning Bolt, who helped put the Fort Thunder art collective of Providence R.I. on the map. This book, Teratoid Heights, follows the adventures of amoeba like tooth/gum beings into the convex world of LIFE. If you stick your head in this and follow through it will amaze you by its flow of genius. Highwater is also the place for work by Brian Chippendale from Lightning Bolt (though most of it is sold out these days) as well as issues of the Fort Thunder graphic rag Paper Rodeo.

L’oie de Cravan has published a beautiful large book called Pamplemoussi by GENEVIEVE CASTREE in an edition of 800 copies and we suggest you get yours now. It’s a 12 x 12 chronicle of dreams and nightmares accompanied by the space sweet vox of Genevieve on a 12” record. The most magnificent production that the always righteous L’oie de Cravan has spun out to date. C’est fuckeeng awesome. They’ve also published a tinier item by GIGI PERRON which is a single strip of une jeune femme experiencing pre-menstrual syndrome titled SPM (syndrome pre-menstruel). The comic is rolled up ala tampon with string attached. Sweet.

Writer/artist JOCKO WEYLAND who came to light for a lot of peeps when Grove Press published his personal and insightful Answer Is Never: A Skateboarder’s History of the World has been editing a small zine of collected art and advert images. Each issue has a perverse flow with contributions coming in from all sides of the weirdo planet (some contributors, like Charles Bukowski and Henri Michaux and Jack Goldstein, are dead!). It’s called ELK and it’s up to 7 issues so far.

Time Barn Books in Nashville has done us all a favor and reprinted poet CHARLES POTTS’ seven-part poem written back in 1975, Compstrella/Starfield. Potts was revisited a few years back by us when we republished through Glass Eye Books his immortal Little Lord Shiva collection from the ’60s. His writing always offers great insight to love, laughter and candid cosmic enlightenment. It can be heady and hilarious and is, compared to a lot of psychedelic earth wordsmen, fairly smooth to the pallate.

Ian Mackaye you may know from such Washington D.C. rock ‘n’ roll outfits as Fugazi, Grand Union, Embrace, Minor Threat and The Slinkies. He oversees Dischord Records there and since the early 80s has been documenting his town in all its amped up glory. Recently he’s joined forces with Amy Farina, who we recall as the awe-inspiring drummer of The Warmers, which was a Dischord band that included Ian’s kid bro Alec, in a new duo called THE EVENS. The Evens have done a few low key gigs the last year or so and are flat-out great. Super-inventive guitar/drums/vocals interplay with a strong balance between inside melodics and outside experimentation. Hopefully records will spring forth. Discs that have sprung lately are new ones on Ian’s other label Northern Liberties. It’s a label set up for Ian to promote music maybe a little off the deep end from what Dischord generally deal with. Which is particularly true of the first three releases. DANIEL HIGGS is a superfreak poet/tattoo artist (amongst other things surely) from Lungfish and on Magic Alphabet he really gets his freak on by offering a CD’s worth of jews harp improvisations. ET AT IT are something we know nothing about, but whoever they are they have a engagingly weird yet mellow swing vibe. The CD is called I Count and there is some definite number head rocking going on. The other title is Sixteen Songs by DON ZIENTARA. Don has been instrumental and important to the Dischord years as he’s recorded the motherlode of work that’s been issued. Here is his own collection of compositions, pretty strange and personable.

FOXY DIGITALIS has been amazingly productive this last year, releasing baskets full of CDRs of excellent outside folk and psyche and drone experimentalistix. Wonderful music drifts from New Zealander (now U.K.er) PETER WRIGHT, Finland’s MUSTI LAITON and an awesome sonikscape sweep by a group called HUSH ARBORS.Their site is rich in info and offers interviews with Tara Burke (Fursaxa) and more.

We reported a column or so back about the two girls from Osaka called AFRI RAMPO. They hit the USA again this late summer and tore it up for those in attendance. We found out their name means either “Naked Rock” or “Naked Shoplifting.” One girl’s name is Oni, which means “devil”, the other is Pika Chu which means…”pikachu”. Whatever, we’re there regardless. And we’re happy to report that a CD is available from Gyunne Cassette. It’s all in Japanese characters so we don’t know too much about what it’s called but it’s a decent representation of what they do live. And let it be known: live is where total meltdown occurs. You may wanna check Afri Rampo’s own site as they have an independent CD release floating around of live recordings which is pretty raw and murky but gets pretty psycho nonetheless.

Of all the anti-worst-president-ever compilations blowing out these insane days our favorite has to be No W…NOW! A Musical Petition Against George W. Bush on Passive Aggressive Records. With a surprisingly charged declaration liner note by GLEN BRANCA and a line up which includes NYC space-zonk duo WHITE OUT, Philly free sax envelope pusher JACK WRIGHT, master blues dream star LOREN CONNORS and squeezebox sound wizard PAULINE OLIVEROS as well as art from ERIC DROOKER, this sucker delivers a sonorific slap. The CD is a benefit for the highly progressive non-profit organization Not In Our Name , an on-going project in creating awareness of Bush/Cheney’s insane crusade.

Loren Connors has been involved with creating a limited set of artworks that are superb and beautiful in their zen mind consciousness. As facilitated by design artist Masumi Raymond, Loren has created the the collection Wild Weeds in a suite edition, (8 silk screen prints, #’d signed edition of 7), and a folio edition (6 silkscreen prints, #’d signed edition of 20). Also an artist’s book entitled Winter Dawn (#’d signed edition of 25). There is also a seletion of original drawings by Loren available from the site. Loren’s work has always resonated with the concept of bliss and prayer, his earthbound vision startling, amusing and elevating those who deign to become entranced by it. The work he has done here is exquisite and rareified and probably beyond the pocketbook means of most. Fortunately it can be viewed on the site—there’s even a short film of Loren working on the pieces. All in all, they are remarkable and surely a remarkable new chapter in Loren’s ongoing creative life.

Norway’s Sindre Bjerga has released some heavy 7”s this year on his Gold Soundz imprint and they are all the tits. Three of them come in uniform design sleeves identified solely by a artist/title sticker and numbered. First up is one by CHRISTINA CARTER. Christina is an astounding singer with the most incredible claw guitar style we’ve ever witnessed. She is mesmerizing and all her work from Charalambides through Scorces and onwards has been gorgeous and special. This is one of her more spooked out recordings. Second up is VIBRACATHEDRAL ORCHESTRA from the UK and it’s a live frazzle of a piece and it cooks not unlike Cactus’ ‘Ot ‘n ‘Eavy LP did if it were truly psycho-melted. Third is VOLCANO THE BEAR from Leicester UK spinning down a surrealist vibe. Also new on Gold Soundz is a 7” by AVARUS which is co-released with Humbug, Imvated, Veglia and Audiobot. We mentioned Avarus earlier when raving about new Norway and let it be known this is some burning drone love rock. Open up and swallow.

A weird new split 10” from Dunedin New Zealand has come to us and we welcome it lustily. One side is EYE which is Nathan Thompson & Peter Stapleton and the other is THREE FORKS which is Tim Cornelius, James Currin and Donald McPherson. It is fantastic to hear Peter Stapleton these days playing some new and excellent sounds. Both these combos are from the continually vibrant scene in Dunedin which gave us so much pleasure with the Xpressway label and particularly, and still, the remarkable Dead C. The label is called UM as far as we can tell and this lathe is the first of an ongoing series documenting the new Dunedin experimentalists. Not sure where to go for this, but try the lathe-cutting joint Peter King, where it got made—they may have a lead.

After processing all of the above we needed to clean out our sensors and went to our old favorites DEVILLOCK for help. Devillock is Justin Lewis from Minneapolis and he’s been putting out killer cassettes and CDRs of sonarific rip sluice that work the canal like amped corncob q-tip electrik tweezer pull. Seriously. Real flinty. His label is Tone Filth and he’s been threatening to issue some mean sides very soon such as the Three Legged Race cassette which is Robert from Hair Police’s solo joint and an LP by Michigan’s crazed son Charlie Draheim.

Good luck, good day, we got shit to do, so do you, and, as always , please send two of each o’ your thangs for us to contemplate and process. Mmmmmm…

Bull Tongue
P.O. Box 627
Northampton, MA 01061
USA

contacts:
Absurd: http://www.anet.gr/absurd
Afri Rampo: http://www.afrirampo.com
Animal Disguise : http://www.animaldisguise.com
Audiobot: http://www.freaksendfuture.com/labels/audiobot.php
Carbon Records: http://www.carbonrecords.com
Chitah! Chitah! Soundcrack : http://www.soundcrack.net
Loren Connors artwork: http://www.masumiraymond.com/7%20loren.htm
Devillock: tonefilth.justinchrismeyers.com/devillock/
Eclipse: http://www.eclipse-records.com
ELK: http://www.elkzine.com
Eric Erlandson: Ericevol@aol.com
Fat Worm of Error: http://fatwormoferror.suchfun.net/
Foxy Digitalis: http://www.digitalisindustries.com
Gameboy: http://www.gmby.net
Glass Eye Books: http://www.yod.com
Gold Soundz: http://www.tibprod.com/goldsoundz.htm
Gyunne Cassette: http://gyuune.k-server.org/
Highwater Books: http://www.highwaterbooks.com
kevyt nostalgia: http://www.kevytnostalgia.cjb.net
Peter King: http://home.comcast.net/~cassetto/Lathe7.html
Lal Lal Lal: http://www.haamu.com/lallallal/
Nidnod: http://www.a-version.co.uk/nidnod/
Northern Liberties: http://www.dischord.com
Not In Our Name: http://www.notinourname.net
L’oie de Cravan: http://www.cam.org/~cravan
Passive Aggressive: http://www.passiveaggressiverecords.net
Pretend I Am Someone Else: wakeuptomakeup@yahoo.co.uk
Smack Shire: http://www.smackshire.com
Sweetcore: http://www.kevytnostalgia.cjb.net
Three Lobed: http://threelobed.com/tlr/
Time Barn Books: http://www.thetimegarden.com
Tone Filth: tonefilth.org
Verso Books: http://www.versobooks.com
WFMU: http://www.wfmu.org
Yeay! Cassettes: http://yeay.suchfun.net
Zeitgeist Films: http://www.zeitgeistfilms.com

BEYOND THE LAW: Mark Pilkington on Aleister Crowley’s present-day followers (Arthur, 2004)

Originally published in Arthur No. 11 (July 2004)

BEYOND THE LAW
A century after its first transmission to Aleister Crowley, The Book of the Law continues to inspire several thousand of its followers. Mark Pilkington, a committed agnostic, stared deep into the eye of Horus, and this is what he found there.

Noon. April 10, 1904, an apartment on 26 July St in Cairo’s Boulaq district. The man known as Chioa Khan sat down at his writing table, fountain pen in hand. As it had at the same time on the previous two days, the voice—deep, musical and fierce—began to speak:

“Abrahadabra; the reward of Ra hoor Khut. There is a division hither homeward; there is a word not known. Spelling is defunct; all is not aught. Beware! Hold! Raise the spell of RaRa-Hoor-Khuit! …
Now let it be understood that I am a God of War and of Vengeance… I will give you a war-engine. With it ye shall smite the peoples; and none shall stand before you…
Worship me with fire and Blood; worship me with swrods and spears…let blood flow to my name. Trample down the Heathen; be upon them O warrior, I will give you of their flesh to eat!”

After exactly an hour, the transmission ended and Liber AL vel Legis, or the Book of the Law, the holy book of the religion of Thelema, was in the hands of Man. Only the scribe, one Edward Alexander Crowley, called Aleister, the Great Beast, had heard the voice, which came from an entity he knew as Aiwass, or Aiwaz. Aiwass, Crowley would later write, took on a “body of fine matter, or astral matter, transparent as a veil of gauze or a cloud of incense smoke”. It manifested as a tall dark man in his thirites, with the “face of a savage king… eyes veiled lest their gaze should destroy what they saw.” The New Aeon had begun.

The 29-year old Crowley—poet, mountain climber, chess champion, painter and occultist—and his new, and newly pregnant, wife Rose Kelly, renamed Ouarda (Arabic for Rose) for this, their honeymoon trip, had reached Cairo in early February after spending time in Paris and Ceylon (Sri Lanka) with their friend, the Buddhist monk Alan Bennett. After ascending through the ranks of the legendary Hermetic Order of the Golden Dawn in London, and almost single-handedly destroying it following feuds with the poet WB Yeats and its leader Samuel MacGregor Mathers, Crowley was largely off magick at this time: he was more interested in swaggering about Cairo in a turban, honing his golfing skills and learning Arabic and a few Sufi fakir tricks. Rose certainly had little interest in conversing with her holy guardian angel; the spirits that chiefly interested her being those that came out of a bottle.

On March 17, perhaps to keep his hand in, Crowley decided to show Ouarda the sylphs, lesser air elementals from the astral realms. He recited a quickie invocation, the Rite of the Bornless One, and the couple waited. To both their chagrin, Ouarda saw nothing. Instead she slipped into a dreamy state and said, “They’re waiting for you”. The following day Crowley invoked Thoth, the Egyptian god of Magic, as Rose made further odd announcements. “It is all about the child,” she said, “all Osiris.”

Over the next few days, the messages were in full flow. Rose, who had next to no knowledge of Egyptian mythology, stated that the voice speaking through her was Horus, the sky god. She then recited instructions for a ritual, to be performed by Crowley, invoking the falcon-headed deity. Carried out on March 20, the Beast declared the invocation of Horus a great success.

Perplexed by his wife’s sudden working knowledge of Egyptian high magic, Crowley set her another challenge, to identify Horus amongst the artifacts on display in Cairo’s Boulak Museum. After missing a few images, Rose stopped before a glass cabinet and exclaimed: “There he is!” The cabinet she pointed to held a wooden stele (an inscribed marker) from the 26th dynasty (664-525 BC), called the Stele of Revealing. On it was a painting of Horus in the guise of Ra-Hoor-Khuit. The stele’s muesum ID number was 666, the number of the Beast of Revelation, the Sun, and Aleister Crowley himself.

Over the following two weeks, more information followed. Rose was being contacted by an emissary of Horus called Aiwass, who proceeded to give Crowley strict instructions in preparation for further transmissions. On April 8th , 9th and 10th, at noon precisely, Crowley was to sit in the drawing room of their rented apartment and write down everything that he heard.

The resulting transcript of 65 handwritten pages became the Book of the Law. Crowley, referred to in the text as “the prince-priest the Beast” was “the chosen priest and apostle of infinite space,” while Rose became the first in a succession of Scarlet Women, to whom “is all power given.”

Stripped to its bare essentials, one could say that the message of the book is as follows: a new Aeon of Horus is dawning, with Crowley as its prophet. The old gods were to be swept away and to be replaced with the new laws: “The Word of the law is Thelema… Love is the Law: Love under Will … Do what thou wilt shall be the whole of the Law…Thou hast no right but to do thy will… The word of Sin is restriction… Every man and every woman is a star.”

The third part of the book seems vaguely prophetic, warning of terrible wars and bloodshed to come: “I am the warrior Lord of the Forties: the Eighties cower before me, and are abased. I will bring you to victory and joy: I will be at your arms in battle and ye shall delight to slay.”

Though at first he tried to ignore the book, it became clear to Crowley that its message was to be his life’s work: as he would later write: “I, Aleister Crowley, declare upon my honour as a gentleman that I hold this revelation a million times more important than the dicovery of the Wheel, or even the Laws of Physics or Mathematics. Fire and Tools made Man master of his planet; Writing developed his mind; but his Soul was a guess until the Book of the Law proved this.”

***

April 10, 2004: Crowley died 57 years ago, a bankrupt heroin addict, in a boarding house on England’s south coast, his role as magician occasionally reprised at parties given for his landlady’s children. Rose, the first Scarlet Woman, was committed to a mental asylum with alchoholic dementia in 1911. She left the hospital, and Crowley’s life, some time later. The gods don’t always look after their own, but their message lives on.

Today, as a small band of Thelemites—adherents of The Book of the Law—traipsed around Cairo in much the same way Crowley and Rose Kelly had done, chanting “om”s in pyramids and enjoying the city’s manifold delights, so another 300 or so sat patiently in the main hall of the Ethical Society building in London’s Red Lion Square, awaiting the day’s first reading from Liber AL vel Legis (LAVL).

Conway Hall, as it is better known, has hosted a multiplicity of strange events in its time, all staged under the admirably Thelemic motto “To Thine Own Self be True.” My own recent memory conjures up a trance channelling of the ascended master Maitreya by Benjamin Crème, one of Alan Moore’s more spectacular “beat sceances,” a particularly deranged performance by esoteric electronicists Coil and a heady dose of David Icke’s alien reptoid hysteria.

At 10am, a gong rings out across the room and a middle-aged woman, exuding no more menace than a librarian or teacher, walks over to the podium and begins to read part one of LAVL. Her sonorous, soporific delivery gives the impression that the transmission is being channelled all over again. When she has finished, the woman, called Jean, dabs her eyes with a handkerchief. It’s a low-key start to a day that, if lacking in magickal fire, will provide a good deal of insight into the state of Thelema today.

Next comes Michael Staley, co-organiser of the conference. A civil servant by day, alarmingly unassuming in appearance and manner, Staley is in fact a senior member of the Typhonian OTO, the magical order under whose aegis the day has been assembled [See sidebar for more information on the Typhonian OTO.] Furthering the sense that this was some kind of church hall meeting from a parallel dimension, he informed us that refreshments were available in the lobby, and that there would be a raffle at the end of the day, the price of entry to which included a glass of wine. “We don’t want to encourage rowdiness,” he cautioned. Crowley would have turned in his grave, if he hadn’t been cremated.

As TOTO-OHO [see sidebar], the master of the Mauve Zone, Kenneth Grant himself, had been invited to address the conference, but had declined the offer, being “increasingly reclusive of late”—in fact nobody but his close colleagues have seen him for at least a decade. But Kenny G, as he is affectionately known, did send a message of cheerful encouragement: “Time and the universe are coming to an end after 26,000 years…the Sata Yuga is dawning… on December 21, 2012 the Sun enters the womb of Isis and a new Isis will infuse the planet.” Those of us who are not initiated can only assume that this is a Good Thing.

Staley’s own presentation, “The Letter Killeth but the Spirit Giveth Life,” highlighted some of the key issues of the conference and the key problems of being a 21st-century Thelemite. Central to this, Staley felt, is the need to steer Thelema away from the cult of the Great Beast himself. “Thelema is more than Crowley,” he said, “he was, after all, only a medium for the message of Thelema…a human mind serving as an outcropping of a greater cosmic consciousness. We should only consider Crowley to have some deep insight into The Book of the Law if he himself had written it—which he claimed not to have done.”

This matter of authorship remains the great question within Thelema. However, few people would deny that LAVL bears Crowley’s imprint. Western magic expert and Crowley biographer Francis King notes in The Magical World of Aleister Crowley, that LAVL is “written in a heavily jewelled prose strongly reminiscent of some of the writers of the 1890s,” while biographer and Thelemite Israel Regardie, points out that it contains “inummerable subtle references to Qabalah and Tarot—all contents of Crowley’s own mind, materials derived from the Order [The Hermetic Order of the Golden Dawn] which shaped his life.”

Of course, even LAVL’s most famous proclamation “Do what thou wilt” is borrowed from Rabelais (via St Augustine who wrote, “love and do what thy wilt” in his fifth-century Homilies on the First Epistle of St John)—is the name Thelema itself. To hardcore Thelemites, however, this is further evidence of Thelema’s role in history, not unlike the way that Creationist Christians consider fossils to be further proof of God’s mighty imagination. Nietzsche’s “will to power” philosophy must also get a name check, though Crowley denies—perhaps unconvincingly—having read the moustachioed nihilist previous to LAVL’s transmission.

“I was bitterly opposed to the principles of the Book on almost every point of morality,”Crowley would later write in his autobigraphical Confessions. “The third chapter seemed to me to be gratuitously atrocious. My soul, infinitely sad at the universal sorrow, was passionately eager to raise humanity.” But if there’s one thing we can say about the man, it’s that he was inconsistent in his ideals: the sadistic sturm und drang of part three of LAVL—“mercy be let off: damn them who pity! Kill and torture; spare not…”—doesn’t sound out of character for a man who would later describe humanitarianism as “the syphilis of the mind.” Crowley also famously forbade anyone from studying LAVL too closely, then went on to write three commentaries on it. So should we really take him at his word when he denies any hand in authoring the text?

It seems unlikely that many people—if any—are to be drawn to Thelema except through the notoriety of Crowley as a character, and we should never underestimate his appeal. He is, after all, perhaps the most famous occultist in history and a true bad boy of rock and roll, long before rock and roll even existed—and it’s through the rock and roll of Led Zeppelin and others that most people today will encounter him. Needless to say, while many of his ideas and achievements are to be admired, his treatment of other people is not, and nor are his struggles with alcoholism, heroin addiction and bankruptcy.

Such moralising aside, we might ask whether taking Crowley out of Thelema is like taking Jesus out of Christianity or Mohammed out of Islam. Not so, says Martin Starr, author of the Thelemic history, The Unknown God, and a speaker at the conference: “Crowley’s name is nowhere mentioned in The Book of the Law, but you will find Jesus in the New Testament and Mohammed in the Koran. I don’t think you can remove Crowley from the discussion, but he need not be the center of it… The last thing the world needs is another cult of personality.”

In meeting the surviving members of the first OTO chapters in the United States, Starr found that, as with many spiritual sects, there was a certain amount of cognitive dissonance between the claims made for Thelema, peoples’ personal experiences and what actually happened to them. There was also a deep sense of millennarian angst within the group. LAVL is considered prophecy by true Thelemites, and warns that the planet must be bathed in bloodshed and war before humankind is ready to usher in third aeon. The two World Wars and incessant skirmishes of the 20th century would certainly constitute such a period—and, as has been suggested, the “war engine” described in chapter three could be equated with the atomic bomb—but human history is virtually defined by its battles and conquests, and this current century looks to be no exception.

Starr also highlighted the political intentions behind the early OTO. LAVL is not a humanitarian text, nor is it particularly tolerant of other cultures: ”Curse them! Curse them! Curse them! With my hawk’s head I peck at the eyes of Jesus as he hangs upon the cross. I flap my wings in the face of Mohammed and blind him. With my claws I tear out the flesh of the Indian and the Buddhist, Mongol and Din.” Order Head Theodore Reuss had intended for the OTO to be the seed for a new system of government, an elite court based on a strongly feudal system—suggested by LAVL lines like “the slaves shall serve”—while a later Brazilian Thelemite Marcelo Motta, also sought to transform society through rituals performed at an OTO compound.

Swedish Caliphate OTO member Carl Abrahamsson spoke to the conference about just such a speculative Thelemic state. Thelemic politics, he said should secure the rights of man like love, liberty and movement. Parts of LAVL do read like a liberal dream of the late ‘60s, all free love and sun worship, but dark shadows loom: not least with the right granted to Thelemites to slay those who oppose such freedoms. Thelemocracy, as we might call it, would practice “tolerant intolerance,” would promote a meritocratic, theocratic aristocracy and encourage individual endevour and self-improvement. Abrahamsson suggests an unpaid council of Thelemic elders to adjudicate over state matters, but as a panel of the speakers later in the day revealed, getting Thelemites to agree on anything at all, let alone matters of state importance, would make herding the 72 demons of the Goetia seem easy.

A look around the conference hall may also have raised qualms about the future state of Thelemia. The day’s audience was at least 80 percent male and, with a few notable exceptions, at least if shallow but oh-so-important outward appearances are anything to go by, not exactly representative of the cream of an elite society. It’s my guess that convincing the rest of society to bow down to the might of the Thelemites’ swords could be more difficult than anyone here has anticipated.

***

As you’d expect, there was also some good old fashioned gonzo magic(k) to contend with during the day. Furthest out there by a moon shot was American Margaret Ingalls, known as Nema, a wiccan high priestess and TOTO thelemite who works with what she calls Maat magic; Maat, the daughter of Ra, the Egyptian Sun God, representing truth, justice balance and honesty.

Struck by a vision of a golden-skinned humanoid named Natan, Nema learned the secrets of humankind’s future, in which we are to become Homo Veritas and develop a greater sense of a shared species consciousness. Working towards this, Nema conducts group time travel workings—in which Natan unveils the mulitverse to his audience—and also monthly astral meetings of the 100 or so members of her Horus-Maat lodge. Held on an astral moonbase at the time of each new moon, participants all around the world slip into a trance state and enter interstitial existence. Here they project magical sigils into the astral menstrum and communicate with beings from other dimensions, afterwards mailing accounts of their experiences to an email discussion group. While corroborative details are rare in participants’ astral journals, it does apparently happen often enough to keep them coming back for more.

Mogg Morgan of Mandrake Press discussed the central role of sex magick in Thelema, reminding us that “If you want to succeed, you have to suck seed!” Before receiving LAVL, Crowley and Kelly would have enacted the ritual of the Cakes of Light, in which male semen and female menstural blood are combined and ingested. Morgan demonstrated that the Cakes of Light rite was practiced in ancient Egypt and even appears in the Old Testament, which isn’t something they teach you in school. Now, about those cookies in the foyer…

Veteran psychic quester Andrew Collins recounted his encounters over three decades with a malevolent Crowleyesque spirit entity. In keeping with the ideas of Kenneth Grant and TOTO, the entity first manifested in the 1970s, during the hypnosis of a woman who felt that she had been abducted by extraterrestrials. The entity instructed Collins and the abductee to recreate a lost magical order with the “Inner Book of the Law” at its center. To instigate the new movement they were to perform a rite at the site of Crowley’s short-lived Abbey of Thelema at Cefalu, Sicily. Several mediums warned Collins away from the situation and the working never took place, but the entity returned sporadically via a number of different spirit channels. The Crowley-thing has returned to Collins in recent years however, steering him towards a buried relic that may or may not be a “grail cup”—an upcoming book promises to reveal more. In the days prior to the conference, Collins had been out in Cairo, paying tribute to the spirit of LAVL with open air magical workings and a visit to the Stele of Revealing in the Cairo Museum. Possibly a parting shot from the Crowley-thing, Collins was struck with a severe bout of Aiwass’ Revenge on the way home.

* * *

Thelema is very much alive in the 21st century, its endurance in part due to its flexibility as a perennial philosophy of individuality. In the words of Martin Starr, it is “capable of being applied to any number of pre-existing belief systems, but essentially bound to none of them.”

Despite the conference title of Thelema Beyond Crowley, it seems that planet Thelema is still having difficulties escaping the gravitational pull of the Great Beast’s great domed head. Many pagans steer clear of Thelema because of its associations with a man who is still considered bad news by a community that is itself demonized by the world’s dominant religions.

Of course, many new magicians and occultists are drawn to these areas precisely by the stories they hear about figures like Crowley. Without the fire brought to the dark arts by such charismatic personalities, Thelema and magick are in danger of fizzling away with the older generations of magi. As they mature as magicians, those who stick with the path will accept their youthful and enthusiastic naiveties for what they were, but something needs to excite and inspire them onto that path in the first place. For some it will be Buffy, for others Led Zeppelin and the Beast himself. As one speaker pointed out, Crowley actually makes for a very good guru, because as you become older and wiser it’s increasingly difficult to maintain any illusions about his personality, and the impulse to idealize the man—for that is what he was—swiftly dissolves.

As the conference ended, I supped my complimentary glass of red wine, munched my cheese sandwiches of light and chatted with other attendees about whether Atlantis is still off the coast of Cuba—the answer, apparently, is no—and who would make a good Crowley in a biopic. The day had been a success: the speakers had presented interesting material, and most importantly, the centenary had been commemorated in some fashion. But I also realised that it had lacked exactly what Crowley and others like him had, the thing that had drawn his followers, and the merely curious like myself, to him.

For me, and I suspect many others who are fascinated by it, magick needs fire, be it holy or unholy; it needs drama, energy and pazazz; it needs the whiff of risk and of the sulphurous stench of danger; and most of all it needs mystery. The Beast, whether or not he was a successful human, had all these things in abundance. Remove Crowley from Thelema and (at the risk of upsetting many Thelemites) I believe you remove much of its Magick. So much of the man is imbued in the philosophy that he brought into the world—albeit, perhaps, unconsciously—that to extract him from the equation is to extract its very lifeblood.

Magick, particularly Crowley’s magick, is complex, both intellectually and morally, reflecting the far-reaching minds in which it was forged. Magick is an art, and while art can always be appreciated when divorced from its origins, the more you know about the minds and forces that shaped it, the richer that appreciation becomes. And is this not ultimately what High Magick is about, “knowledge and conversation with the holy guardian angel”—with the creator—with your self?

Estimates for the number of current adherents worldwide range from 5-25,000, suggesting that, while theirs is not a small religon, the state of Thelemia is a long way from entry to the United Nations. But it is out there. As one speaker told the audience: “Thelema is happening whether or not people know where it’s coming from. The law of Thelema is a law of nature, like gravity.” The forces brought into play by Crowley, Kelly, Aiwass and subsequent generations of Thelemites are here to stay.

“The Book of the Law is Written and Concealed. Aum. Ha”

SIDEBAR: A Brief History of the OTO
by Mark Pilkington

The seeds of the OTO—Ordo Templi Orientis or Oriental Templar Order—were planted at the close of the 19th century by a wealthy Austrian chemist, Karl Kellner, who had traveled widely and steeped himself in Freemasonry, Rosicrucianism and the mysteries of the East. The Order itself emerged in 1902 thanks to the input of another compulsive joiner of orders, Theodor Reuss. A journalist by trade, Reuss was also heading a revival of Adam Weishaupt’s 18th century Bavarian Illuminati. With only a handful of members, including, briefly, the celebrated mystic Rudolph Steiner, it’s thought that not a lot happened within the OTO until Reuss met Aleister Crowley in 1910, appointing him “National Grand Master General X° of O.T.O. for Great Britain and Ireland.” Crowley and Reuss proceeded to reorder the Order, with the Beast writing some new rituals, most notably the Gnostic Mass, the OTO’s key ceremony, which is still keenly performed to this day. As his health declined, Reuss made Crowley Frater Superior, or Outer Head of the Order (OHO) in 1922, and he proceeded to significantly re-align the Order towards his own Thelemic ideals, remaining its OHO until his death in 1947.

On the Beast’s demise, leadership of the OTO passed to a German living in California, Karl Germer, whose occult interests had seen him do time in a Nazi concentration camp. Physical lodge meetings came to an end under Germer, and his death in 1962 left the group struggling with a power vaccum. The vacancy was eventually filled by one Grady McMurty, an obedient, veteran member of the Californian lodge, who had enjoyed friendly correspondence with Crowley in the early 1940s.

Also vying for the position, however, was an Englishman, Kenneth Grant.

In 1945, Grant had spent several months living with Crowley in the Hastings boarding house where he ended his days, serving as his personal assistant in exchange for first-hand magical teaching. He would later co-edit Crowley’s Confessions, with John Symonds, and write several influential, though to most people—even those who have read them—impenetrable books. These “Typhonian Trilogies” merge Crowleyan ideas with supernatural fiction legend H. P. Lovecraft’s Cthulu Mythos, something one can only imagine would have displeased both authors immensely.

In 1955 Grant set up his own order, the New Isis Lodge, which sought to open up interdimensional channels of communication with whatever entities were out there and, following Karl Germer’s death, made a bid for global OTO leadership. When this failed, Grant transformed his New Isis Lodge into the Typhonian OTO (TOTO), referencing the fearsome—and appropriately Lovecraftian—many-headed Graeco-Egyptian dragon goddess, Typhon, mother of the murderous Set. Just in case this wasn’t complicated enough, the American OTO now calls itself the Caliphate OTO, and recently survived a very unmagical legal battle to retain ownership of the name OTO, all relevant assets and the official position of being the OTO recognized by Crowley, who, being long dead, presumably was not consulted on the matter.

Further info:
CALIPHATE OTO : http://oto-usa.org
TYPHONIAN OTO: http://user.cyberlink.ch/~koenig/staley.htm
CROWLEY TEXTAS ONLINE (inc LAVL): http://www.hermetic.com/crowley