“TELL US ABOUT THE RECORDING AT NASA.”

Bottom left corner: still from the notorious “Something for Joey” video.

Who put the kick back?

Post-gig interrogation:

Mercury Rev’s Jonathan Donahue

BY DEREK WEILER & DAVE FISHER

ORIGINALLY PUBLISHED IN FILLER MAGAZINE, APRIL, 1996 

LIFE IS KNOTTED with frustrations and disappointments, but if you can wait them out and stay alive, you might just see some payoff after all. At least, that’s what the area’s Mercury Rev fans learned on a cold snowy night in December, when the Buffalo group finally brought its stoned soul picnic back to Toronto. After an embarrassment of riches early in the band’s career — with two Toronto appearances in the space of a year — Rev fans were then stymied at every turn. Dinosaur Jr’s J. Mascis threw them off a double bill at the last minute in April 1993, and Rev then mysteriously failed to make a scheduled bill-sharing with Luna in September of ’95.

So it was a much-changed group that finally did take the stage at Lee’s Palace, December 5 [1995]. Nominal frontman David Baker had been ousted, leaving songwriter and guitarist Jonathan Donahue to consolidate his position as the Mercury Rev alpha cat, and the group was touring behind a brand-new Bakerless LP, See You On the Other Side. The new model is still terminally trippy — check out the epic transcendence of “Racing the Tide,” which then segues effortlessly into an Eastern-flavored lovefest dubbed “Close Encounters of the Third Grade” — but more focussed and potent than ever before, boasting better use of Suzanne Thorpe’s lovely flute.

Live, the new Mercury Rev was a head-rattling affair, with a deafening wall of whitenoise giving way to barely perceptible shifts in tone and melody (and they did sneak in a solid cover of the Velvets’ “Ocean”). Throughout the set, looped images were projected onto the stage, filling up the wall behind the group with the repeated sight of an alien autopsy at one point, and two androgynes fucking at another. And the jovial Donahue waxed candidly about the group’s problems crossing the border: they were nailed for “contraband” merchandise (T-shirts to sell), for unspecified drug offenses, for “having an alias” (presumably thanks to guitarist Grasshopper), and, just for good measure, for firearm possession.

That last took our naively Canadian sensibilities a bit by surprise, though in retrospect, it shouldn’t have come as too much of a shock, since a close look at the back cover of See You On the Other Side reveals a morose Donahue contemplating his trusty revolver and its scattered lead cargo. In any event, Dave managed to nab the armed one for a quick interview after the set to probe the matter (among others) further. And although talking to two fanboys immediately after a show cannot be high on anyone’s list of things to do (unless, of course, he was actually having the time of his life, and his perpetually pained expression could be put down to a simple hemmorhoidal itch), Donahue was unfailingly courteous and straight-up.

The gospel is as follows: read, or yo’ soul be lost. [DW]

You mentioned during the show that you “hit for the cycle” at the border crossing today. What happened?

Basically, they got us, it just boils down to that.

Are a lot of fines coming your way?

Yeah, we paid a lot in fines to get here. We didn’t actually get thrown in the slammer, we had a choice to post fines.

What were they for?

Well, there were different fines for different things. There was a lot of problems — drugs and weapons and contraband. The shirts were illegal, and using an alias. It was just a big mess.

What were the drugs?

I don’t… I can’t really comment.

What were you doing bringing a gun into Canada?

We’ve had a lot of problems on tour recently, a lot of crazy people. I’ll use the word “stalker,” not like a sexual rapist, but just crazy people who went beyond the bounds of fan-band relationships and started doing things that were really sort of sinister and dangerous.

Is this the reality of touring in America today?

No, not generally, it’s a reality of where we live. We don’t live in the ghetto, we live in the mountains where there’s just lots of rednecks, and lots of crazy people, bears and coyotes. I carry a gun all the time, just to check my dog from getting eaten by a black bear or to protect me from walking down the wrong country lane some night and getting jumped by yahoo rednecks in pickup trucks.

Do you feel more paranoid in the countryside than the city?

Neither one… actually, both of them. It’s not like walking around with a Glock in your hand ready to pop somebody, it’s just the nature of the business where we live. Everyone in the bars carries them, there’s no real fistfights. If you have a problem with someone in a bar, the guns are drawn. It’s immediate, and it’s not something you either fuck around with or take very lightly.

This isn’t the first time you’ve had problems getting to a show in Toronto. You were supposed to play here about two months ago.

Right, we were supposed to play with Luna, but that had nothing to do with the border. It was more internal problems, trying to get people together. We just didn’t get it together in time for that.

What happened with the scrapped Dinosaur Jr. show you were supposed to play in ’93?

We quit the tour in Buffalo the night before, it just wasn’t working out so well.

Rumour had it that Mascis booted you guys.

No, I think what it was, was that J. [Mascis] thought somewhere along the line that we were a bit too weird for his audience. Along the same lines we started playing street hockey during sound checks. He didn’t like it, so we just left. He later came and saw us at Lollapalooza and apologized to us, and said he was having problems with his mind or something and didn’t want us playing games.

So, the ball hockey story is true?

Oh yeah, the hockey story is all true.

I take it you’re a sports fan… apparently you’re all Buffalo Bills fans.

Oh yeah…yeah, yeah.

The last time you played Toronto was the night after their third Super Bowl.

Yeah, that was their first one against Dallas when they got blown out, that would make sense. It was pretty much like the Bills were in the Super Bowl every year of our existence, the first four or five years.

I remember after the show David Baker was pretty bummed about it. Anyhow, he’s gone now, so can you tell us about the circumstances of David’s departure from the band?

It was personality. That’s what it boils down to. He didn’t write any music or anything, so it didn’t have anything to do musically. There was a lot of personality clashes between him and some of us, and it seemed like it wasn’t becoming productive to make music any more. It was too difficult.

At the Toronto shows, he’d leave the stage periodically to sit on the stage or go to the bar and drink while you guys played. Was this typical for him?

Yeah, he didn’t like us to play songs like “Car Wash Hair” or “Frittering” because he didn’t sing on them, so we didn’t play them very much, but when we did he’d go for a walk or something.

As far as the tension existing with David in the band, do you find it more comfortable now without him?

Yeah, musically it’s eased a lot, we’re able to play a lot of songs that people wanted to hear but he wouldn’t really allow us to play too much.

You totally ignored Boces tonight. Are there songs from the first two albums that you don’t feel comfortable playing now?

Boces was really painful to make. There was a lot of drug abuse and alcoholism, just a lot of tough times making it. I love it a lot, but it’s kind of like seeing an ex-girlfriend where you had a really painful breakup, and it’s just not easy going up to her every night and saying, “Hey, how’s it going, how’s your new boyfriend?” It’s one of those situations, so every once in a while we’ll choose something off there, but we really gotta work up to it.

Stories were built up in the British music press about the fistfights with the band. Was this exaggerated?

No, not in the early days, there was plenty of fights on stage, I was there in the middle of it. I threw punches, I got hit, y’know, whether or not we carried on like in the British press for weeks on end as if it was Mike Tyson versus Riddick Bowe, it wasn’t like that. But there was plenty of fights, plenty of drunken backstage brawls.

Do you recall the last one?

Probably when David was in the band, probably at some point during Boces. I don’t recall the specifics of it though.

What do you think of his newest project Shady?

[pause] … I listened to the album and thought he probably could have taken a little bit more time with it. But I was very proud of him for doing that, because he’d never written any music and didn’t know how to play any instruments, and so for him to jump right out of our band and do that was, I think, very good for him. It kept him mentally happy and took the pressure off from just being an ex-lead singer who didn’t do anything again.

Have you spoken with him since?

Yeah, he comes to see us when we play. He lives in Chicago, we actually saw him a week ago.

He has a lot of guests on his record, including members of Rollerskate Skinny. I’m interested in your opinion of them, given that some people have come to call them the British Mercury Rev.

They toured with us on their first tour ever, and I think they could’ve been the next great thing, they could’ve taken what Mercury Rev was doing and even gone a step further, they were really amazing. But they had internal problems and now Jimi Shields lives in Chicago. I don’t know whether the rest of the band is still together, but Jimi’s now got a band called Lotus Clown that’s kind of like Rollerskate Skinny but with a twist. They were just on tour with us up until last night.

Are the reports of Mercury Rev never rehearsing in the early days accurate?

Yeah, we never practiced up until the new record, because it was too difficult getting six people like us in the same room. You couldn’t even tune up before two people would be going at it, so you’d just go, “Fuck it, let’s go to Denny’s and eat and forget about it.”

Dave Fridmann’s not with you either. Did he start the tour? What’s his status?

The thing with Dave is that he writes and records with us, but he’s married and he has a kid, so he can’t do the six-week tours. We just record and write with him, but he has to stay in Fredonia, down in Buffalo, that’s where he lives. So he sticks around there and does a lot of studio work with a lot of other bands.

He just did some production work on the latest Flaming Lips record. You were formerly with the Flaming Lips…?

That’s right, for two records.

Why’d you leave?

Well, I started Mercury Rev first. Mercury Rev started recording Yrself Is Steam around 1987. I got about halfway through that and I’d known Wayne [Coyne] for a little bit. I just started writing with them, not really thinking that Mercury Rev was going to be doing anything more than making nature film soundtracks, so I did two records with the Flaming Lips, In a Priest-Driven Ambulance and Hit to Death in the Future Head. When I was in the band, they were very lean years, there wasn’t any money. We were making great records, but nobody was paying attention like there is now. Really, we had no money, so the success they have now is long overdue.

Will Dave Fridmann continue to be part of future Mercury Rev projects?

Oh yeah, yeah, he’s been in the band all along. We hired two friends of ours from Kingston to fill in for the live show on the bass and piano.

Kingston…?

Yeah, I’m from Kingston, it’s right on the Hudson River in the Catskill Mountains of upper-state New York.

How’d you end up in Buffalo?

Some of us went to college at UB [University of Buffalo] — some did, some didn’t — and that’s how we sort of met in Buffalo for four or five years in the mid-80s.

You were film students, right?

Grasshopper’s the film student-major-master.

One of your instructors was Robert Creeley?

That’s right. I took a lot of English classes with him, he’s a great poet and a big influence. I can’t remember if I ever even graduated… I don’t think I did, because I went out on tour and stuff like that. Creeley grew to become our — what’s the word? — mentor or something. We studied and we talked with him a lot just about different things, we were really in love with what he was doing and still are.

What other writers are you fond?

Antonin Artaud… I’ve read a lot of his stuff. I read the Bible pretty much daily, I stay up on that.

Any particular reasons for reading the Bible?

[Mimics a gospel/blues singer]

If ahh don’t read mah Bible, mah soul be lost, nobodies fault but mine.

A handful of you also took courses with Tony Conrad…

He was sort of Grasshopper’s teacher and mentor at UB. Grasshopper still stays in contact with Tony from time to time.

You said Grasshopper was the film student. Was he responsible for the “Something For Joey” video?

A lot of the ideas for that was David Baker’s. He was also a media studies student, and he and Grasshopper would do a lot of the ideas for the videos. That was what drove David and made him happy, doing the videos. I think that’s where he had the most prominence actually, at least in the band.

The video was slightly controversial. Did it receive any play on MTV?

It probably got the typical two or three plays on 120 Minutes, but where it got the most was on the Playboy channel. It was us and Aerosmith for, like, five months, ten times a day.

How did you score Ron Jeremy [porn star] for that video?

Through a stripper friend of ours. He wanted two hundred bucks, so that’s what we paid him.

How many videos have you made?

We’ve made five now, I think.

Are those available for purchase?

Not as of yet. We’d like to do a compilation in a couple of months after we’ve made a couple more videos for this record. We’ll probably put out the compilation just for fans, so they can buy the older stuff and get some weird footage.

You record your music on 35mm magnetic tape…?

Yeah, not all of it. The first album was recorded on it, on an old film machine we stole from the University at Fredonia. We did Yrself Is Steam on it, some of Boces, and a bit of See You on it, but it’s real old and doesn’t work very well. Songs like “Close Encounters” have it, and I think bits of “Racing the Tide” and “Empire State.”

You like the sound it produces?

Yeah, we do. It’s kind of broken, so it has a warbly effect to it that sounds like one of those bad tapes you put in your VCR. We’re just never able to reproduce these sounds on a regular fifty-thousand dollar machine. 

Is it cheaper to record using the film machine?

No, no, you have to buy mag stock film and all this kind of crazy stuff. It’s actually more expensive.

How did the Dean Wareham collaboration come about? We read somewhere that you and Jimy Chambers did a little session work for Galaxie 500.

No, that’s not true. We’d met Dean just as Galaxie 500 had broken up, but never played with them. Grasshopper plays on a couple of Luna records and Jimy might’ve played on one, but Galaxie had broken up a few months before we got Dean to record on “Car Wash Hair” with us. I guess the relationship had started up with Grasshopper, he hooked up with Dean in New York somehow.

The North American release of See You On the Other Side came a half-year after the British release. Why such a long delay?

They had to bounce their production schedule so they’d be able to move some things around. By the time they get the tapes, they need another month-and-a-half to kick it out.

So, it wasn’t a problem with Columbia having other priorities or having trouble marketing you?

No… well, sometimes they prefer it. The big labels take a lot longer getting their wheels in motion, at least in America. In England it just flies out the door as soon as they get it.

The lyrics weren’t printed with the CD sleeve here like they were in Britain, either…

No, we were disappointed about that. They are in the U.K. and we asked them to do the same here, but they claimed time constraints and said they couldn’t put the lyrics in without postponing the September release date.

Why did you sign with Columbia, and how long is the deal?

Well, we first signed to Rough Trade for a week, then they went bankrupt. We then signed to Columbia for a four firm record deal, which presumably means they wouldn’t drop us for four records. Yrself Is Steam was the first, so we’ve still got another to do. I don’t know what we’ll do after it’s expired. They’ve never said they wanted to drop us, so we’ll have to wait and see.

Are you satisfied with how they’re handling you?

I don’t know any other labels that can offer us better. We had millions of offers, but we chose them because of the offer they gave us, and they had Bob Dylan and a lot of classic bands. They didn’t have any, like, Stone Temple Pilots at the time. We wanted to be around the Miles Davises and stuff. Columbia had this vast amount of archives, old photos and tapes and stuff that you can go through. We just took it for that, because it was like signing to a big library with a world of history of music.

You played with Bob Dylan. Was that through a label contact?

No, I don’t think so, that was through Bob’s manager or somebody like that.

I’ve seen that gig alternately mentioned as having taken place in England and Yale University…

No, it was definitely at Yale, we never played with him in England.

How did that show go?

Well, it was only the second or third show we’d ever played, so we didn’t know what we were doing. We didn’t even know what we were doing to record, so we just went out and slopped out some of the songs from Yrself Is Steam and made a lot of noise.

It was around this time that you played the Reading Festival in England.

Yeah, that’s right, that was about our third show. I think it went… we played a show in Fredonia at BJs Bar, which holds about ten people, that was our first show. Then Bob Dylan, then another small show, and the Reading Festival. I think that’s the order … two, three, four, something like that.

So, tell us what that was like-going from an audience of ten people, then straight to Bob Dylan and the Reading Festival for your first-ever batch of shows.

[pause] … It was pretty fucked up, man. You can imagine when some guy in England calls and says, “We want you to come over and play.” So you think, alright, we’re going to go over and play for twenty people. So we said, “What … for twenty people?” And he said, “Yeah, there’ll be twenty.” We said, “Well, that doesn’t seem like that’s going to make us any money, playing for twenty people.” He said, “No, not twenty. Twenty-thousand.” We’re like, “Whaddaya mean, twenty-thousand people!?! That record’s only been out three weeks, there’s not twenty-thousand people in the world who’re going to listen to Mercury Rev in three weeks. Who the fuck’s going to want to see us…?”

So we showed up, and there were tons of bands on the bill, and we went out and John Peel was with us. He announced us, and interviewed us and gave us some really good plugs. He was a big fan, and that sort of catapulted us.

How was the buzz in the U.K. stirred up about the band in the first place?

We went over and played a small club just before Reading and we rocked. There was about 400 people there, most of whom were apparently journalists.

Where did their interest originate?

Somebody had gotten a hold of Yrself Is Steam when we were making our nature soundtracks. A lot of those songs were just for nature film soundtracks.

What were these…? College projects?

No, just sitting around the house, doing what young bands do, dicking around recording to the television with some polar bears, y’know. Somebody got the tape and said that if we could do a few more songs that we might be able to put it out as an album. We didn’t really care, so we did a few more. He put them out in England, then we got a call saying we were getting some good reviews. It was all a bit of a joke to us because we didn’t know England from, like, y’know, Albany, or any of those papers. Even being in the Flaming Lips, they had not done anything there yet or broken in any way or had any British press, at least not to the extent that I had any idea or could understand what was happening to Mercury Rev.

Your albums all feature a real diversity of sounds — What sorts of music you were listening to growing up?

I imagine in high school it was probably everybody from AC/DC to the Clancy Brothers. My mom was right into Broadway shows, she has almost every Broadway show record ever made, so that’s certainly a factor … some old cowboy songs … nothing like alternative or punk rock, neither was a big factor. I loved the Sex Pistols, but beyond that I didn’t find much merit with a lot of what was going on at the time.

Growing up and hearing a lot of Broadway show tunes, I presume “Everlasting Arm” was pretty much your idea.

Yeah, I generally write most of the songs, not to say all of it, but the lyrics and the chords and the idea of the atmosphere are mine, then the rest of the band comes in and puts their stuff on top. I’ve always liked Broadway shows. I don’t mean like wimpy Andrew Lloyd Webber, but the older stuff like Camelot. I’ve always liked the way the songs were constructed, very intimate, lots of atmosphere, and they didn’t need, like, thirty-thousand Marshall stacks to make a really powerful song for people to remember. That’s always intrigued me, and that’s what we tried to do with the new record, to show people and prove to ourselves that you don’t need tons of distortion to have a really powerful song.

Do you see yourself writing more music for the visual arts?

We’ve done a lot of films already, but unfortunately, none of them are the size of Ace Ventura or Batman, so you don’t see our name in lights. But we do a lot of work for things like the BBC and nature films; we’ve done a bit of ambient stuff for some independent filmmakers, particularly European ones. We’ve done lots of obscure independent films, recorded for some of Howard Nelson’s films.

There were rumors about the new record having some of the songs recorded in Elvis’s jungle room at Graceland, and at Cape Canaveral…

We recorded some things at NASA but not in the jungle room, at least not that I’m aware of. Baker and Grasshopper would sometimes bring in some little cassettes with noises, and they may have been giggling in Elvis’s jungle room, but I’ve never been to Graceland so I wouldn’t know where that story came from.

Tell us about the recording at NASA.

I think at the time our interest was perked about some space stuff and we went down and they had these huge old warehouse laboratories, some of them they would barely use. We would just go in there, wandering away from the guided tours for about twenty minutes here and there, turn some shit on, and then with our little portable Mister Microphone we’d go, “Yah yah yah, blah blah blah, we’re in NASA, whoo hoo, we’re in NASA, isn’t this funny, ha ha ha ha!” Then they’d kick us out and we’d take the tour the next day and go do it again. We did it for three days — go and sit in some spacecraft, and Baker would sing and we’d all be banging with sticks on the sides. It was just stuff that little kids do, having fun.

Was any of the tape used on record?

Yeah, some of it was used on Boces, probably the “Space Control” segment [“Continuous Drunks and Blunders”] and probably one or two other things as well. I mean, it was never set up with drums or anything, it was just some weird odd effects that we’d try to wing and hope we’d get enough to tape before the tour guides said, “What the fuck are you guys doing?!?”

You played the Velvets “Ocean” tonight. Do you play any other covers with any regularity?

We used to do “Tears of Rage” by The Band. They live about ten miles away from us in the Catskills. We love them, they’re a big influence. The Velvets and The Band are two of our biggest influences. We used to do a cover of Miles Davis’ “Shhh/Peaceful” which went into “Very Sleepy Rivers.”

You mentioned before the possibility of a future video release. Before we wrap up, could you talk about plans for a new record?

Well, new Mercury Rev material is still slowly being worked on and is still a long way down the road, but we’ve got a side project called the Harmony Rockets. We’ve got a record that’s coming out in January. It was out for a week here and they recalled it for some artwork. It was what we played before we went on tonight. It’s mostly instrumental, but there’s some vocals on the beginning of it, it’s me singing. Basically, what it is, is most of Mercury Rev, that you see up there [on stage], were trying to kill a Friday night in the mountains, got really wasted and wandered down to a local Civil War bar. They needed an opening band, so we brought some old analog effects with us and some guitars and just whooped up whatever we were doing for, like, forty minutes and stopped. Somebody had a tape, figuring it was y’know, Mercury Rev, so they sorta recorded it shittily.

So, the entire album is live?

Yeah, just made up on the spot. There’s not a damn thing that was practiced ever, it just sort of happened, but it came out really nice. We like it, we were pretty surprised.

Okay, I guess we should let you go and pack your gear.

Yeah, definitely. Thanks, take care.

Text & photos copyright

D. Weiler and D. G. 

WHO IS THE POE TOASTER?

Poe’s birthday celebrated with cognac and roses

BALTIMORE, Maryland (AP) — A small crowd gathered at the old church where Edgar Allan Poe lies buried, waiting, as they do every year, for the arrival of a stranger.

    A black-clad man arrived just before 3 a.m. Saturday, marking the poet’s birthday with the traditional graveside tribute: three red roses and a half bottle of cognac. Only this and nothing more.
    It is a rite that has been carried out by a mysterious stranger every January 19 since 1949, a century after Poe drank himself to death in Baltimore at age 40.

    This year’s birthday tribute was normal and subdued compared with last year, when the stranger left a note that enraged Baltimore Ravens fans.

    Borrowing from Poe’s “The Masque of the Red Death,” the note read: “The New York Giants. Darkness and decay and the big blue hold dominion over all.”

    Red and blue are the Giants’ colors and “the big blue” is a team nickname. The Ravens, who take their name from Poe’s most famous poem, were to meet the Giants later that month in Super Bowl XXXV. The Baltimore team ended up winning the game handily.
     “My own theory is that after the near riot that occurred last year when he insulted the Ravens, this guy thought, ‘I’ll just stick to the tradition and not cause the trouble,’ ” said Jeff Jerome, curator of the Edgar Allan Poe House and Museum. Jerome and 15 invited guests watched from inside the church.

    Jerome said the man, wearing the traditional black hat and coat, with a white scarf concealing his face, appeared to be different from last year’s so-called  Poe Toaster.

    “He appeared to be a younger man,” said Jerome, who has witnessed the ritual for 20 years. “He stood erect and walked quickly.”

    The man made no gestures, other than the secret signal he sends Jerome to show he is the genuine Poe Toaster, as he laid the tribute.

    The three roses represent Poe, his wife and his Aunt Maria Clemm, who are buried beneath the newer monument. The cognac is a mystery, Jerome has said, because there are no prominent references to it in Poe’s works.

    Poe was born in Boston and raised in Richmond, Virginia. But Baltimore, where he lived for several years during the 1830s, has adopted him as one of its own.

    A prolific poet and critic, Poe wrote comedies, detective stories and tales of the macabre, including “The Fall of the House of Usher,” “The Pit and the Pendulum” and “The Tell-Tale Heart.”

TERENCE MCKENNA: WE’RE RICH PEASANTS

TERENCE MCKENNA: “I assume that we’re all peasants, really. When was the last time you spent time with someone who formulates American foreign or social policy? I don’t spend time with those people. We’re rich peasants, of course. Don’t confuse poverty and peasantry. We’re rich peasants, but we’re totally in the dark, and the great ones come and go on their sleighs to and from the castle, and we mark their comings and going, but we have no idea what’s brewing up there. Every once in a while, they stumble, and we get LSD, or the Internet, or something else that slips through the cracks. It’s impossible to control history, and it’s wonderful that so many people are trying, because it makes for such an interesting game.”

(from a Jan 1998 interview with Charles Hayes, printed in Shaman’s Drum, Number 60)

Christian Ratsch on Pilsenkraut

PILSENKRAUT (via erowid.org)

(pilsen – imagine, to fantasize, to have a vision, kraut – plant, shrub)

[Experiment with utmost care – tropanes can be deadly when used wrong.]

On making the real pilsen, as told by Christian Ratsch

Transcribed from tape by N. Ipo

Henbane has been used for several purposes. The ancient greeks used it for divination in Delphi, the english have used it for hunting chicken (hence the henbane). The celts used it to kill old people unable to travel with the tribe. Germans used to it to make pilsener, beer. ‘What?’ you ask, ‘I thought they used hops in making beer.’ True, but this was before the Czecks invented new brewing technique in 19th century, using a special yeast and lots of hops producing beer with yellow color and bitter taste known today as pilsener. The original pilsener was brewed with henbane instead of hops, hallucinogenic plant instead of an sedative. It quite easy to brew henbane-beer – pilsen.

Pilsener

20 liters of water
1 liter of malt (Use readymade malt)
1/2 liter honey
40 grams of dried henbane leaves
yeast for beer (amount depends on the product)

Find container that’s big enough. Cook the henbane in water for 5 to 10 minutes. Dissolve the malt in couple of liters of water, dissolve the honey, add henbane leaf-water. Add yeast. It might be useful to add a little bit more yeast than recommended because the tropane-alkaloids affect the yeast. Don’t close the container, it may explode [because of the pressure, I suppose –N. Ipo]. According to Ratsch, 40 grams of dried henbane leaves is enough to kill a person,
so don’t drink all the 20 liters all by yourself. =)

Brew should start fermenting after 1 and 1/2 days and the fermentation should be finished after 4 or 5 days. Red pilsener beer is now ready. You can also bottle it, add a few drops of honey to each bottle and let ferment for another week or two. Serve on easter, eclipses and solistices, preferably chilled. Store as normal beer.

Do not use belladonna as an substitute, it contains atropine, which, according to Ratsch is, “no fun.” Henbane contains mainly scopolamine, especially if it is dried. Scopolamine might work nicely for you, or it might not – one just has to find out if one is a ‘scopolamine-person’.

Christian Ratsch lectures about the pilsener: “Well, I have to tell you some of the effects, too – [snickers, laughs] – when we drink it we usually gather with some friend, 6-8 people, and, er, then we have these big horns, you know, real drinking horns, and… er.. Its the best thing to drink from because the drinking horn, its, its like I have one like this size, very, very nice… You touch it and it feels like an erotic body or somethin very [mutter]… So you drink from this, and then you pass it around. This was actually what our ancestors did for their rituals, they had these horns, drinking it, giving, saying something, a greeting of a god or greeting to the ancestors… …And they drink so much, and it is said, in the sources, “until the gods are among them.” So, what does it mean? Its an entheogenic experience. Well, we did the same thing, and it turned out, that, ..er well, the gods weren’t there, but we were elevating to them. So, er, the effect is like, it starts to loose up your body and you feel like really smooth and really relaxed and then you have nice body sensations and nice sensations on your skin and you think and this could be nice for some erotic adventures and you close your eyes and suddenly and suddenly you stay in your red mist and you feel your body elevated. Its really beautiful, interesting feeling, and what is very amazing: you don’t get alcoholic effects from it, and this beer has about 4 to 5 percent alcohol… …I drink about 2.5-3 liters of henbane beer to get the full effect. You can drink more of course, but you may start to hallucinate badly. The hallucinations caused by nightshade plants are very unpleasant most of the time. Because – this is what I call the ‘true hallucinations’ – you see something which is just not there, you’re not aware about you’re hallucinating it. So you start to hallucinate scenes from real life. I observed an doctor under the influence of scopolamine, and he was just sitting there for four hours writing recipes and I observed a teacher and he was sitting at his table for hours and, and doing some corrections and test – but there was nothing [laughters] He was just totally… Just total hallucination. And that’s a typical sign of over-dosage – you don’t wanna do that. I found the beer the best, er, the easiest way to control the amount of tropane alkaloids you want to ingest…”

[About Henbane]
“It’s very easy to grow and it’s beautiful plant and its very unique how it looks like with its long buds and flowers. Its -if you see the plant you will know its a magic one. Its really amazing.”

[About brewing]
“Q: When you’re cooking the henbane does it matter if you boil it? [?]

Ratsch: Well I boil it for a couple of minutes, well, the tropane alkaloids will stay, they are very stable, strong molecules.
Q: [Mumble, mumble mumble]
Ratsch: No, when I figured out how to the henbane beer I started to brew mandrake beer. And, [laughs] that’s very interesting too. You can use the same recipe and instead of forty grams of dried leaves of henbane you use about forty grams of the dried root of mandrake the same way. And er thats pretty strong and interesting. I found the effect different from henbane. And the chemistry of mandrake is quite different from other nightshade plants. There has been very little experimentation done with mandrake… …I just recently did some research, literature search for personal experience with mandrake – doesn’t exist. Its really amazing…”

HORGAN MEETS CHRISTIAN RATSCH

“The Psychedelic Sorcerer” (via johnhorgan.com)

In November, 1999, I traveled to Basel, Switzerland, for a meeting called “Worlds of Consciousness,” a forum for research on altered states. At the meeting I met and interviewed scientists such as Albert Hofmann, the discoverer of LSD; the Swiss psychiatrist Franz Vollenweider, who is mapping the neural effects of psychedelics in humans with brain-scanning research; and the pharmacologist David Nichols of Purdue University, who probes the biochemistry of psychedelics with animal studies [see Chapter Eight of Rational Mysticism for an account of the meeting].

The most colorful character I met was the German anthropologist Christian Ratsch. If scientists like Hofmann, Vollenweider, and Nichols represent the rational superego of the psychedelic community, Ratsch is its id. Throughout the meeting, he was dressed in black leather: pants, hat, boots, fringed jacket. His slouch and half-lidded eyes gave him a reptilian air. His features were vaguely Asian; I learned later that his mother was Mongolian, his father German. Ratsch had reportedly never cut his waist-length, raven hair or Fu Manchu beard.

Because most of Ratsch’s books and articles are in German, he is less famous than Terence McKenna, but he is renowned among the psychedelic cognoscenti. I first heard about him from the chemist Alexander Shulgin, who praised Ratsch’s encyclopedic knowledge of the plants and fungi used in shamanic practices. Others described Ratsch as not only an expert on but also a practitioner of psychedelic shamanism, and ayahuasca shamanism in particular.

When I asked Ratsch for an interview on the first day of the conference, he eyed me suspiciously and replied in a gravelly, insinuating, German-accented voice that he was too busy; maybe later in the conference. Actually, Ratsch was busy. In spite of his stoner’s demeanor, he was a dervish of activity. As a co-organizer of the conference, he introduced speakers, led panel discussions and served as master of ceremonies during an evening homage to Albert Hofmann.

In a lecture titled “Keys to Other Worlds,” Ratsch informed us that there are an infinite number of keys—pharmacological and non-pharmacological—to the spiritual realm, and each of us must find the key for his or her individual psyche. As Ratsch spoke, he prowled around the stage caressing a “key” that looked suspiciously like a phallus.

Ratsch finally agreed to speak to me on the morning of the meeting’s last day. We sat at a small plastic table in a cafe in conference center’s lobby. Nursing a bottle of Coke, Ratsch seemed hungover, or stoned, or both. His eyes were slits, his voice a croak. Even in this brightly lit, antiseptic setting, he seemed to be peering at me through the smoke of a fire in some primeval jungle.

He expressed amusement with a kind of groan-grunt, keeping his mouth closed as if to minimize the expenditure of energy: “Hmm hmm,” or, if he was slightly more amused, “Hmm hmm hmm.” When truly merry, he laughed through a barely open mouth: “Heh heh heh.”

His demeanor made it clear that he found this interaction—me asking him questions, him responding—absurd. I felt absurd myself, preparing my tape recorder and yellow pad and pen as he drowsily watched me. I nonetheless forged ahead in my plodding, earnest fashion, and Ratsch played his part, too, giving me a view of spirituality that was as nihilistic—anti-Buddhist, anti-Christian, anti-religious—as any I had encountered yet.

He was born in 1957 in a Bohemian community in Hamburg, Germany, where he still lived. His father was an opera singer, his mother a ballet dancer. He started learning about shamanism and sacred plants at 10 and had his first drug experience at 12. He earned a doctorate in Native American cultures, and he spent three years living with a tribe in southern Mexico, investigating shamanism first-hand. He is an independent scholar, who supports himself primarily by writing and by organizing conferences such as this one. Universities “don’t pay enough, and there’s too much censorship,” he explained. “I call the universities the graveyards of science. Hmm hmm.”

When I mentioned that another scientist described him as a modern, westernized shaman, Ratsch shook his head. “I am just a researcher, nothing else,” he replied. “To be a shaman means to be called by the Gods and heal people
and help people, and that’s not my way. I’m here to translate the shamans’ work into our culture, to understand them better and maybe to protect them.”

Does he believe, I started to ask—but Ratsch cut me off.

“There is no belief involved,” he said, spitting out “belief” like an expletive. “It’s pure experience, nothing else. Belief is the forerunner of faith, and that’s religion.” He waggled his head, looking at me, then grunted approvingly: “Hmm.”

What about the claim that shamans have supernatural powers that allow them to harm and heal others? I persisted. Does Ratsch believe this? He laughed out loud. “If you start getting into shamanism,” he assured me, his eyes narrowing, “then you better believe the unbelievable and expect the unexpectable.”

What about the ghosts and spirits that shamans and others supposedly see during ayahuasca trips? I asked. Are those just in your head, or are they out there? “It’s outside. If it’s in here,” Ratsch said, pointing to his own pitch-black pate, “we’re sick.” He added that visions are truth, but “believing in ghosts is maybe not the truth.”

Ratsch distinguished between shamanic experiences and those induced by meditation.

“Meditation is the way inside,” he explained, “and shamanic traveling is to go outside.”

Ratsch has little respect for meditative paths such as Buddhism.

“I don’t think of Buddhism as a spiritual path. It’s a religion,” he said. “It’s based on very strange, paradoxical ideas. For example this notion: ‘Don’t kill.’ But then they eat meat.” The Dalai Lama “loves meat.”

Surprised, I said that I had assumed the Dalai Lama was a vegetarian.

“No. Hitler was a vegetarian.”

Ratsch also objected to Buddhism’s encouragement of monasticism and celibacy. The Dalai Lama and other Buddhists monks are “incomplete,” Ratsch said, because they deny their sexuality. “You get crazy and weird if you don’t have a partner.” Ratsch assured me that he has “a lot of sex.” (I could hardly doubt him. Although Ratsch’s wife, the anthropologist Claudia Muller-Ebeling, was at the conference, one or more young women always seemed to be orbiting around him.)

Ratsch believes in enlightenment, which he defines as “a state of complete understanding,” “total loss of ego structures,” and “just being one with everything.” The spiritual path “starts with the enlightenment, and then you can try to get this integrated into your life. It’s not the other way around.” Ratsch abhors so-called spiritual leaders who claim that enlightenment can only be achieved through decades of meditation and other spiritual practices.

“That’s such a bad lie, and an exploitation of needs,” he snarled. His cool irony had vanished; he was momentarily vehement, passionate. Then he paused, regaining his composure, his lizard-like, Mona Lisa smile. “This is my point of view.”

Enlightenment “has nothing to do with all these spiritual teachings.” It merely requires “the right molecule to hit your brain.” Enlightenment is an intrinsically transient state, like an orgasm; in fact, some Amazonian societies use their term for orgasm to describe mystical states. “You are not in a permanent state of orgasm,” Ratsch said. “It’s one peak, and then you have to recharge your batteries.”

Orgasms loom large in Ratsch’s worldview.

“We are like almost crystallized orgasms from our parents,” he said. “Hopefully, my parents had the greatest orgasm when I was conceived. Heh heh heh.”

Asked about his drug preferences, Ratsch replied that ayahuasca “is the best shamanic medicine ever discovered. And I like it—definitely not as a recreational drug. I love recreational drugs, of course.”

Ratsch enjoyed taking small doses of LSD when going to a party or the opera.

“Richard Wagner is the greatest on acid,” he said. Twilight of the Gods is “the greatest piece of art ever written, the most shamanic and mystical play ever. From Ring of the Nibulungs you can learn everything.”

Have his psychedelic experiences convinced him that there is life after death?

“I don’t know.” Ratsch shrugged. “I have a certain vision I got on a DMT trip, and it will be the most beautiful…” He smiled dreamily.

Can he be sure this will happen?

“How can I?” he replied with a snort of incredulity.

Well, I said, some Buddhists and Christians have very specific beliefs about life after death.

“That’s their problem. Hmm hmm.”

When I told Ratsch that a psychedelic trip years ago had left me with a sense that there is something fundamentally wrong with reality, or even God, he nodded.

“I have seen many people tripping. And it happens from time to time that they think everything went wrong, or they did something wrong. Because of them, they destroyed the universe, and stuff like that. That’s”—he waited a beat—”not healthy. Hmm hmm.”

I laughed too, and asked him if he had ever had such a trip. No, he had never had a bad trip. “I don’t know what that is.”

You’re very fortunate, I said.

“Yes! Definitely. Very fortunate.”

I asked him if he had any thoughts on why life is so filled with suffering.

“The universe is about life and death, and both belong to each other. It’s two poles of the same thing. And every minute we kill to live.” Buddhism attempts to deny this basic fact, or suggests that it can be altered. “That’s why Buddhism is based on a lie.”

I asked what he thought of Terence McKenna’s time-wave theory and his prediction that the apocalypse could occur in 2012. “Complete bullshit. Hmm hmm.”

Ratsch had once asked McKenna if he really believed the time-wave theory, and McKenna had answered, No, not really.

“But that is because we are good friends,” Ratsch said. “He wouldn’t admit that in the public.”

Ratsch said he has much more to learn from drugs about “the shamanic world, and the use of plants, the meaning of nature.” This search for meaning is endless, he emphasized. “If the search for knowledge stops, then you’re basically” — he paused — “dead, as a living, exploring being.” The universe “produces people like us to learn about itself.” This self-exploring process “goes on and on and on. And nobody knows where it goes and what happens. And I think that’s part of enlightenment, to understand that there is no aim.”

A waitress clearing a table beside us knocked a bottle onto the floor. Ratsch watched bemused as the bottle ponderously rumbled toward us and clanked against the base of our table.

Certain rare mortals are so cool that they seem transhuman. They appear immune to embarrassment, angst, guilt–all the negative emotions that wrack us ordinary mortals. Christian Ratsch has this quality. I believed him when he told me that he had never had a bad trip. I used to envy those who had attained transcendent coolness, but now I wonder whether it represents a deficit of feeling, of empathy. I prefer sages with hearts, like Huston Smith.

I found Ratsch’s sorcerer schtick entertaining, though. Moreover, as I went over his views of mysticism and enlightenment, I realized that they are not as outrageous as they sounded to me at first. His comparison of enlightenment to orgasm echoes the hypothesis of the brain-scientists Andrew Newberg and Eugene DAquili that our mystical capacity evolved out of our orgasmic capacity. Ratsch’s rejection of monasticism reflects that of Kabalists, who believed that only happily married men are stable enough to follow the mystical path.

Like the skeptical mystic Susan Blackmore, he does not believe in ghosts or life after death. He rejects the notion of enlightenment as a state of final knowledge, contending that if the search for knowledge ends, life ends. The point of visionary experiences is the experiences themselves, Ratsch suggests, not the knowledge or beliefs that might be gleaned from them. In the same way, the aim of life is to understand that there is no aim.

Actually, Ratsch qualified that principle somewhat at the end of our conversation. After he yawned pointedly, I said I had just one more question: What is the secret of life?

“Get high. Heh heh heh.”

PREPARING FOR OMNICORP

FROM TODAY’S NEW YORK TIMES:

The Balance of Media Power Is Poised to Change

By THE NEW YORK TIMES

Regulation: F.C.C.’s Chief Seeks to Remove Restraints

If all goes according to plan, 2003 will be the most important year in the tenure of Michael K.
Powell as head of the Federal Communications Commission.


    Mr. Powell
is preparing to unleash a set of proposals in the next few months that
will unshackle the nation’s largest broadcasters and telecommunications
conglomerates from restraints that have prevented them from growing. He
is armed with a broad deregulatory agenda and a series of court opinions
that have questioned or struck down some of the agency’s most pivotal and
longest-lasting rules.


    “This
will be the most important year for these industries and the commission
since the passage of the Telecom Act seven years ago,” said Scott C. Cleland,
the chief executive of the Precursor Group and a regulatory analyst.


    While
many of the issues before the commission defy traditional partisanship,
it does not hurt that with a Republican Congress, many of Mr. Powell’s
strongest allies now control the relevant House and Senate committees and
are likely to provide few political obstacles.

    In the
Senate, for instance, Mr. Powell will now be reporting to a commerce committee
that will be headed by Senator John McCain, the Arizona Republican who
recruited him for the job of F.C.C. commissioner in 1997. Mr. McCain replaces
Senator Ernest F. Hollings, Democrat of South Carolina, who was Mr. Powell’s
toughest critic and opposed many of his proposals.


    At
the top of Mr. Powell’s list is his plan to relax or eliminate a variety
of restraints on the size of the nation’s broadcasters and cable owners.


    The
ownership rules that the commission will reconsider restrict a newspaper
from owning a TV station in the same city. They prevent a media conglomerate
from owning two television networks. They prohibit a network from owning
stations that broadcast to more than 35 percent of the nation’s homes.
They restrict a broadcaster from owning two television stations in the
same market unless there are at least eight other competitors. They restrict
a company from owning more than eight radio stations in the same market.
And they prohibit a cable company from owning more than 30 percent of the
national market.


    The nation’s
largest local telephone companies are also expecting to win substantial
regulatory relief this year, from requirements that they provide the individual
elements of their networks to competitive startups at à la carte
prices that the phone companies say are too low.


    “This
will be a very pro-investment deregulatory decision,” said Mr. Cleland.

    “It will
encourage the incumbents to invest more because they won’t have to resell
at lower prices. It will be great news for the incumbents and for the Lucents,
Nortel and other equipment players. It will be very bad news for the competitors
who depend on regulatory subsidies.”


STEPHEN LABATON

Satellite Television:
DirecTV Is at Center of a Power Shift


After
more than two years of shifting alliances, ferocious bidding wars, and
behind-the-scenes regulatory wrangling, the media moguls Rupert Murdoch
and John C. Malone are within striking distance of acquiring control of
the satellite television service DirecTV, a strategic beachhead that could
alter the balance of power in the industry.


    With
11 million subscribers, DirecTV, part of the Hughes Electronic subsidiary
of General Motors, is the largest satellite broadcaster in the country
and the third-largest pay television service. Federal regulators recently
blocked a deal for G.M. to sell Hughes to its satellite rival EchoStar
Communications as anticompetitive, leaving Mr. Murdoch, the chairman of
the News Corporation, and Mr. Malone, the chairman of the investment company
Liberty Media, as the two remaining contenders for the business, and they
are currently bidding as partners.


    They
want DirecTV in part to help their channels. The News Corporation owns
Fox News and Fox Sports, and Liberty Media owns Starz Encore and has stakes
in Discovery, Court TV and others. A satellite system would guarantee distribution,
increasing the channels’ leverage in talks with the six major cable operators,
which together account for 80 percent of the nation’s cable subscribers.


    Both
Mr. Murdoch and Mr. Malone are old hands at using control of major pay
television systems to benefit favored channels. Mr. Murdoch operates a
satellite network that stretches from Europe to Latin America.

    Mr. Malone
built Liberty Media while he was the chief executive of Tele-Communications
Inc., which before it was sold was the largest cable company in the country;
he made investments in new pay television channels and then carried them
on his company’s systems. Owning a major satellite service would make it
easier for both companies to once again start channels, said Derek Baine,
an analyst at Kagan World Media.


    But it
may mean stiff new competition for cable companies. Analysts say that the
News Corporation can use its size to lower expenses for satellite equipment,
possibly enabling the company to set lower prices, while using its channels
to promote DirecTV. Mr. Baine said both companies are likely to make DirecTV
into a much more vigorous competitor for cable customers.


    And the
means of their competition could send ripples through the rest of the television
business: DirecTV is already wooing customers with digital video recorder
set-top boxes that make it easy for subscribers to record programs, view
them when they want, and fast-forward past the commercials. Analysts say
that they expect the new suitors to escalate the effort, an ominous possibility
for broadcasters who sell advertising.


DAVID D. KIRKPATRICK

Magazines: U.S. Publishers
Take Cues From the British


The success of Maxim, the
bawdy British-owned men’s magazine whose start-up in the United States
has taken young male readers by storm, has publishers on this side of the
Atlantic wondering whether the American way is the only way.


    The British
publishing industry is a frantic place that is driven by the whims of the
newsstand ˜ 80 percent of magazines come from single-copy sales. American
publishers have noticed that British editors know their way around a newsstand
and have been hiring them in droves. With costs escalating and advertising
slumping, American publishers are looking to reduce the expense side of
producing a magazine and maximize its impact, a formula the British seem
to have down pat.

    British
magazines may not be the qualitative equivalent of American publications,
but they seem to have no trouble meeting the needs of the magazine-buying
public. Many British magazines make do with staffs that are half the size
of their American counterparts and much less well compensated. And the
lack of layers means that there is no endless editing and reiterating of
copy until ˜ as some writers might claim ˜ most of the life dribbles out
of an idea.


    “The
age of celebrity editors and monstrous staffing are over,” said Felix Dennis,
owner of Dennis Publishing. “This is not a business of sufficient margin
to permit that kind of excess.”


    There
are some components of the British publishing environment that no one in
America is in a hurry to emulate. The dogfight at the newsstand has compelled
publishers to start using “cover-mounts,” a practice in which a consumer
product is “poly-bagged” with the magazine. That means British consumers
can get a garden trowel or a pair of thong underwear along with their magazine.


    Underwear
aside, even the quintessentially American publisher, Time Inc., is looking
to IPC Media, the British publisher the company bought last year, for new
tactics.


    “Postage
is going to continue to increase and paper will rise, so costs are going
to have to be looked at,” said Norman Pearlstine, the editor in chief of
Time Inc., a unit of AOL Time Warner. “There are differences in the market,
but I think there are some approaches in Britain that are worth thinking
about.”


DAVID CARR

THE CITY OF THE SUN

Cahokia Mounds: The CITY OF THE SUN

The remnants of the Mississippians’ central city – now known as Cahokia for the Indians who lived nearby in the late 1600s – are preserved within the 2200-acre tract that is the Cahokia Mounds State Historic Site, located just eight miles east of downtown St. Louis, Missouri, near Collinsville, Illinois.

YOU GO, DEVENDRA!

From the New York Times:

POP REVIEW | DEVENDRA BANHART

‘Dogs Are Dreaming Lovesongs,’ and That’s Not All

By KELEFA SANNEH

When you first hear Devendra Banhart’s high, braying voice, you may be tempted to laugh: the two words that spring to mind are “tiptoe” and “tulips.”

    It’s hard to say whether Mr. Banhart would be pleased to hear himself compared to Tiny Tim. But in any case, his music is too compelling and too weird to be merely a put-on.
    
On Sunday he played a short, intriguing set at Tonic, sitting cross-legged on
the stage with an acoustic guitar in his lap, singing about a world in which animals and plants act out mysterious allegories.

    Mr. Banhart, 21, just released his excellent debut album, “Oh Me Oh My . . . The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit” (Young God). He tends toward verbosity, but many of his songs last little more than a minute, just long enough for him to sketch an image.

    On Sunday he was joined by Will Lemon, who sometimes played harmonica and sometimes percussion, although his only rhythm instrument was a container of roasted soybeans. Mr. Banhart usually picked broken chords on his guitar, sometimes strumming when the songs grew more forceful.

    Near the beginning of the set he played “Michigan State,” one of his longest and most memorable songs. At the beginning there was barely any music, just Mr. Banhart’s tentative voice: “My friend has my favorite teeth/They bend backwards when she breathes/And it whistles.”

    By the time the first chorus arrived, the narrator was no longer a mere observer. The delicate introduction gave way to a more insistent two-chord pattern, and Mr. Banhart’s voice got louder and plainer in the refrain, an unusual lyric of desire: “Oh, Michigan, Michigan state, how I’d love to live in
you.” In Mr. Banhart’s anthropomorphic world, states have just as much personality as teeth, or
dogs.


    The second verse of “Michigan State” is a series of not-quite-logical propositions.    

With each flight of fancy, his voice grew more urgent, which created the
impression that he was rushing toward a momentous conclusion: “The salt keeps the sea from feeling heat/And my toes have my favorite feet/If I sweat salt and the earth sweats heat. . . .”

    Mr. Banhart’s voice trailed off, as if he were overwhelmed by the possibilities, and then he sang the chorus again.

WHY JOHN WATERS LOVES CHRISTMAS

Why I Love Christmas

From Crackpot by John Waters

Being a traditionalist, I’m
a rabid sucker for Christmas. In July I’m already worried that there are
only 146 shopping days left. “What are you getting me for Christmas?” I
carp to fellow bathers who haven’t even decided what to do for Labour Day.
As each month follows, I grow more and more obsessed. Around October I
startle complete strangers by bursting into my off-key rendition of “Joy
to the World.” I’m always The Little Drummer Boy for Halloween, a grouchy
one at that, since the inconsiderate stores haven’t even put up their Christmas
decorations yet. November 1 kicks off the jubilee of consumerism, and I’m
so riddled with the holidays season that the mere mention of a stocking
stuffer sexually arouses me.


    By December
I’m deep in Xmas psychosis, and only then do I allow myself the luxury
of daydreaming my favourite childhood memory: dashing through the snow,
laughing all the way (ha-ha-ha) to Grandma’s house to find the fully decorated
tree has fallen over and pinned her underneath. My candy-coloured memories
have run through the projector of my mind so many times that they are almost
in 3-D. That awful pause before my parents rushed to free her, my own stunned
silence as I dared not ask if Granny’s gifts to us had been damaged, and
the wondrous, glories sight of the snow semi-crooked tree, with balls broken,
being begrudgingly hoisted back to its proper position of adoration. “O
Christmas tree! O Christmas tree!” I started shrieking at the top of my
lungs in an insane fit of childhood hyperventilation before being silenced
by a glare from my parents that could have stopped a train. This tableau
was never mentioned again, and my family pretended it never happened. But
I remember–boy, do I remember!


    If you
don’t have yourself a merry little Christmas, you might as well kill yourself.
Every waking second should be spent in Christmas compulsion: career, love
affairs, marriages, and all the other clutter of daily life must take a
backseat to this holiday of holidays. As December 25 fast approaches, the
anxiety and pressure to experience “happiness” are all part of the ritual.
If you can’t maintain the spirit, you’re either a rotten Communist or badly
in need of a psychiatrist. No wonder you don’t have any friends.


    Of course,
You-know-who was supposed to have been born on Christmas, but the real
Holy Trinity is God the Father, the Son and the Holy Santa Claus. You don’t
see fake Josephs and Marys in department stores asking kids what they want,
do you? Face it, mangers are downwardly mobile. True, swiping a sheep or
a wise man for your apartment from a local church is always good for a
cheap thrill and invariably gets you in the paper the next day. And Madalyn
Murray O’Hair (the publicity-crazed atheist saint) always gets a rise by
successfully demanding in court the removal of Nativity scenes from her
state capital on Christmas Eve. But we all know who the real God is, don’t
we? That’s right, the Supreme One, Santa Claus.


    But if
you think about it, Santa Claus is directly responsible for heroin addiction.
Innocent children are brainwashed into believing the first big lie their
parents ever tell them, and when the truth finally hits, they never believe
them again. All the stern warnings on the perils of drugs carry the same
credibility as flying reindeer or fat men in your chimney. But I love Santa
Claus anyway: All legends have feet of clay. Besides, he’s a boon to the
unemployed. where else can drunks and fat people get temporary work?


    Of course,
to many, Santa is an erotic figure, and fore these lucky revelers, the
Christmas season is a smorgasbord of raw sex. Some people just go for a
man in a uniform. Inventive entrepreneurs should open a leather bar called
the Pole where dominant wrinkle fetishists could dress like old St. Nick
and passive gerontophiliacs could get on all fours and take the whip like
good reindeer. Inhaling poppers and climbing down mock chimneys or opening
sticks ‘n’ stones from the red-felt master could complete the sex-drenched
atmosphere of the first S&M Xmas bar.

    You could
even get fancy about it. Why hasn’t Bloomingdale’s or Tiffany’s tried a
fancy Santa. Deathly pale, this never-too-thin-or-too-rich Kris Kringle,
dressed in head-to-toe unstructured, over-size Armani, could pose on a
throne, bored and elegant, and every so often deign to let a rich little
brat sit near his lap before dismissing his wishes with a condescending
“Oh, darling, you don’t really want that, do you?”


    Santa
has always been the ultimate movie star. Forget White Christmas, It’s a
Wonderful Life and all the other hackneyed trash. Go for the classics:
Silent Night, Bloody Night, Black Christmas or the best seasonal film of
all time Christmas Evil (“He’ll sleigh you”). This true cinematic masterpiece
only played theatrically for a few seconds, but it’s now available on videocassette
and no holiday family get-together is complete without it. I t’s about
a man completely consumed by Christmas. His neurosis first rears its ugly
head as he applies shaving cream to his face, looks in the mirror, hallucinates
a white beard and begins to imagine that he is Santa Claus. He gets a job
in a toy factory, starts snooping and spying on the neighbourhood children
and then rushes home to feverishly make notes in his big red book: “Jimmy
was a good boy today,” or “Peggy was a bad little girl.” He starts cross-dressing
as Claus and lurks around people’s roots ready to take the plunge. Finally,
he actually gets stick in a nearby chimney and awakens the family in his
struggle. Mom and Dad go insane when they find a fat lunatic in their fireplace,
but the kids are wild with glee. Santa has no choice but to kill these
Scroogelike parents with the razor-sharp star decorating the top of their
tree. As he flees a neighbourhood lynch mob, the children come to his rescue
and defy their distraught parents by forming a human ring of protection
around him. Finally, pushed to the limits of Clausmania, he leaps into
his van/sleigh and it takes off flying over the moon as he psychotically
and happily shrieks, “On Dancer! On Prancer! On Donner and Vixen!” I wish
I had kids. I’d make them watch it every year and if they didn’t like it,
they’d be punished.


    Preholiday
activities are the foreplay of Christmas. Naturally, Christmas cards are
you first duty and you must send one (with a personal, handwritten message)
to every single person you ever met, no matter how briefly. If this common
courtesy is not reciprocated, never speak to the person again. Keep computerized
records of violators and hold the grudge forever; don’t even attend their
funeral.


    Of course,
you must make your own cards by hand. “I don’t have time” you may whine,
but since the whole purpose of life is Christmas, you’d better make time,
buster. We Christmas zealots are rather demanding when it comes to the
basic requirements of holiday behaviour. “But I can’t think of anything
. . . .” is usually the next excuse, but cut those people off in mid-sentence.
It’s easy to be creative at Christmastime. One year I had a real cute idea
that was easy to design. I bought a cheap generic card of Joseph and Mary
holiday the Baby Jesus and superimposed Charles Manson’s face in the place
of the homeless infant’s. Inside I kept the message “He is born”. Everybody
told me they loved it and some even said they saved it. (For the record,
I’m against donating your cards to nursing homes after Christmas. One would
think that after all these years on earth, senior citizens would have had
a chance to make a friend or two on their own. Don’t do it!) This season,
I’m dying to produce my dream card that I’ve wanted for years. I’ll be
sitting in a Norman Rockwell-style Christmas scene, dressed in robe and
slippers, opening my gifts moments before I notice a freak fire that has
begun in the tissue paper and is licking and spreading to the tree.


    Go deeply
in debt over Christmas shopping. Always spend in exact correlation to how
much you like the recipient. Aunt Mary I love about $6.50 worth; Uncle
Jim–well, at least he got his teeth fixed–$8. If your Christmas comes
and goes without declaring bankruptcy, I feel sorry for you–you are a
person with not enough love inside.


    You can
never buy too many presents. If you said “Excuse me” to me on a transit
bus, you’re on my list. I wrap gifts for nonexistent people in case somebody
I barely know hands me a present and I’m unprepared to return this gesture.
Even though I’m the type who infuriates others by saying “Oh, I finished
my shopping months ago,” as they frantically try to make last-minute decisions.
I like to go into the stores at the height of Christmasmania. Everyone
is in a horrid mood, and you can see the overburdened, underpaid temporary
help having nervous breakdowns. I always write down their badge numbers
and report them for being grumpy.

    If you’re
a criminal, Christmas is an extra-special time for you and your family.
Shoplifting is easier and cars in parking lots are loaded with presents
for your children. Since everyone steals the checks you must leave for
the mailman and garbagemen, I like to leave little novelty items, like
letter bombs. Luckily, I live in a bad neighbourhood, so I don’t have to
worry; the muggers live in my building and go to the rich neighbourhoods
to rob. If you’re quick, you can even steal the muggers’ loot as they unload
the car. Every child in my district seems to get rollerskates for Christmas,
and it’s music to my ears to hear the sudden roar of an approaching gang
on skates, tossing back and forth like a hot potato a purse they’ve just
snatched.


    “Santa
Claus Is a Black Man” is my favourite Christmas carol, but I also like
The Chipmunks’ Christmas Album, the Barking Dogs’ “Jingle Bells” and “Frosty
the Snowman” by the Ronettes. If you’re so filled with holiday cheer you
can’t stand it, try calling your friends and going caroling yourself. Especially
if you’re old, a drug addict, an alcoholic or obviously homosexual and
have a lot of effeminate friends. Go In packs. If you are black, go to
a prissy white neighbourhood. Ring doorbells, and when the Father Knows
Best-type family answers, start screeching hostilely your favourite carol.
Watch their faces. There’s nothing they can do. It’s not illegal. Maybe
they’ll give you a present.


    Always
be prepared if someone asks you what you want for Christmas. Give brand
names, the store that sells the merchandise and, if possible, exact model
numbers so they can’t go wrong. Be the type who’s impossible to buy for
so that they have to get what you want. Here was my 1985 list and I had
checked it twice; the long-out-of-print paperback The Indiana Torture Slaying,
the one-sheet for the film I Hate Your Guts and the subscription to Corrections
Today, the trade paper for prison wardens. If you owe someone money, now
is the time to pay him back, mentioning at the same time a perfect gift
suggestion. If you expect to be receiving a Christmas stocking as a forerunner
to a present, tell the giver right off the bat that you don’t go for razor
blades, deodorants or any of the other common little sundries but anticipate
stocking stuffers that are original, esoteric and perfectly suited to you
and you alone.


    It helps
to be a collector, so the precedent is set on what to expect as a gift.
For years friends have treated me to the toy annually selected by the Consumer
Affairs Committee of Americans for Democratic Action as the “worst toy”
to give your child at Christmastime. “Gobbles, the Garbage-Eating Goat”
started my collection. “That crazy eating goat” reads the delightful package,
and in small print, “Contains: One realistic goat with head that goes up
and down. Comes complete with seven pieces of pretend garbage.” This Kenner
Discovery Time toy’s instructions are priceless. “Gobbles loves to eat
garbage when he’s hungry, and he’s ALWAYS hungry. (1) Hold Gobbles mouth
open by the beard. Stuff a piece of pretend garbage straight into his mouth
and (2) pump the tail until the garbage disappears.” It ends with an ominous
warning, “Feed Gobbles only the garbage that comes with the toy,” and in
even smaller print “If you need additional garbage, we will, as a service,
send it to you direct. For 14 pieces of garbage send $1 (check or money
order; sorry, no C.O.D.) to . . . . ” I can’t tell you the hours of fun
I’ve had with Gobbles. Sometimes when I’m very bored, Gobbles and I get
naked and play-play.


    Over
the years my collection has grown. There’s “My Puppy Puddles” (“You can
make him drink water, wet in his tray and kiss you”). “Baby Cry and Dry”
about whom the watchdog group warned: “Take her out of the box and she
smells, the odor won’t go away” and “Baby Cry for You.” (“The tears don’t
just drop out, they whoosh out in a three-foot stream.”) Of course, I still
cover the winner of the first annual prize (before my collection began)–a
guillotine for dolls. “Take that, Barbie.” “Off with your head, Betsy Wetsy!”


    No matter
what you think of your presents, each must be answered with an immediate
thank you note. Thinking of what to write can be tricky, especially for
distant relatives who send you a card with two crisp $1 bills inside. Be
honest in your reply–“Dear Uncle Walt. Thank you for the $2. I bought
a pack of Kools and then put the change in an especially disgusting peep
show, it was fun!” or “Dear Aunt Lulu, I was thrilled to receive your kind
gift of $5. I immediately bought some PCP with it. Unfortunately, I had
a bad reaction, stabbed my sister, set the house on fire and got taken
to the hospital for the criminally insane. Maybe you could come visit me?
Love, Your nephew.”

    I always
have an “office party” every year and invite my old friends, business associates
and any snappy criminals who have been recently paroled. I reinforce all
my chairs, since for some reason many of my guests are very fat, and after
a few splintered antiques, I’ve learned my lesson. I used to throw the
party on Christmas Eve, but so many guests complained of hideous hangovers
I had to move up the date. No more moaning and dry heaving under their
parents’ tree the next day as their brothers and sisters give them dirty
looks for prematurely ejaculating the Christmas spirit.


    I usually
invite about a hundred people and the guest know I expect each to get everyone
else a present. Ten thousand gifts! When they’re ripped open at midnight,
you can see Christmas dementia at its height. One thing that pushes me
off the deep end is party crashers. I’ve solved the problem by hiring a
door many who pistol-whips anyone without an invitation, but in the old
days, crashers actually got inside. How rude! At Christmas, of all times,
when visions of sugarplums are dancing orgiastically through my head. One
even brought her mother–how touching. “GET OUT!” I snarled after snatching
out of her hand the bottle of liquor that she falsely assumed would gain
her (and her goddamn mother) entry.


    I always
show a film in one room: Wedding Trough (about a man who falls in love
with a pig and then eats it) or Kitten with a Whip (Ann-Margret and John
Forsythe) or What Sex Am I? (a clinical documentary about a sex-change
operation). When it’s finally time for the guests to leave, I blatantly
get in bed and go to sleep; they know they better get home. Santa is on
his way.


    Christmas
day is like an orgasm that never stops. Happiness and good cheer should
be throbbing in your veins. Swilling eggnog, scarfing turkey and wildly
ripping open presents with your family, one must pause to savor the feeling
of inner peace. Once it’s over, you can fall apart.


    Now is
the time for suicide if you are so inclined. All sorts of neuroses are
permitted. Depression and feelings that it somehow wasn’t good enough would
be expected. There’s nothing to do! Go to a bad movie? You can’t leave
the house between now and January 1 because it’s unsafe; the national highways
are filled with drunks unwinding and frantically trying to get away from
their families. Returning gifts is not only rude but psychologically dangerous–if
you’re not careful you might glimpse the scum of the earth, cheap bastards
who shop at after-Christmas sales to save a few bucks. What can you look
forward to? January 1, the Feat of the Circumcision, perhaps the most unappetizing
High Holiday in the Catholic Church? Cleaning up that dirty, dead, expensive
Christmas tree that is now an instant out-of-season fire hazard? There
is only one escape from post-Christmas depression–the thought that in
four short weeks it’s time to start all over again. What’re ya gonna get
me?