“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.

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“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)

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“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.

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“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.

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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

THE SADDEST FILMMAKER IN THE WORLD: Guy Maddin, interviewed by Kristina McKenna (Arthur, 2004)

The Saddest Filmmaker in the World
Director Guy Maddin is highly resentful, terribly romantic and prone to melancholy. He also makes wondrous, utterly unique films. Kristine McKenna asks him how he does it.

Originally published in Arthur No. 10 (May 2004)

Guy Maddin was born in Winnipeg, Manitoba in 1956. He’s of Icelandic descent, and his father was a prominent hockey coach who lost an eye as an infant when his mother pulled him to her breast and pierced his eye with the pin from an unfastened broach. Maddin’s mother ran Lil’s Beauty Shop, a salon she named after her beloved sister. As a child, Maddin received a piggy-back ride from Bing Crosby. When he was seven years old his teenage brother committed suicide; when he was 14, his father died. These losses can be seen resonating in the films he’s subsequently made.

After earning a degree in economics at the University of Winnipeg, Maddin became increasingly obsessed with film while working a series of crummy jobs that included house painting and bank telling. When he was 29 he played a character named Concerned Citizen Stan on the cable access television show, Survival!, and the following year he completed his first film, the 26-minute short, The Dead Father. A moving portrait of a young man whose dead father haunts him in daydreams and nightmares, the film contains all the seeds that would later blossom into Maddin’s mature style.

Maddin has described digital effects as “grotesque artifacts of the present” and his predominantly black-and-white films operate on one level as an homage to the silent cinema of the ‘20s. Artificially aged through the incorporation of jarring edits that suggest old, broken reels of film clumsily spliced back together, soundtracks riddled with cracks and pops, and the mannered, melodramatic performing style he coaxes from his actors, Maddin’s films seem to call out from a remote, murky past. At the same time, however, they’re clearly the work of a late-20th century man well acquainted with the astonishing trauma of that bedeviled century. Fraught with anxiety and dread that often erupts into black humor, his films invariably circle back to a thematic point you’ll never find in an old silent film: the inevitable loss of that which we hold most dear.

In 1988 Maddin teamed up with his longtime collaborator George Toles on the brilliant Tales From the Gimli Hospital, a wickedly funny study of male rivalry and romantic longing. Two years later he completed his second film, Archangel, after which he contracted an incurable neurological condition called myoclonus which causes him to feel as if he’s constantly being touched. He soldiered on, nonetheless, and in 1992 he completed Careful, the story of an alpine village whose residents must forever speak in hushed tones, lest they trigger an avalanche. Twilight of the Ice Nymphs was released in 1997, and four years later he directed the filmed ballet, Dracula: Pages from a Virgin’s Diary, which will be released on DVD in May by Zeitgeist Video.

Maddin’s sixth film, The Saddest Music in the World, is currently in theaters. Based on an original screenplay by Kazuo Ishiguro, it’s a Depression era melodrama set in Winnipeg, where a beer baroness (played by Isabella Rossellini) hosts a competition to determine which ethnicity produces the saddest music. Out this August will be Cowards Bend the Knee, a film installation Maddin premiered last year in Rotterdam that will be released as a single panel projection. Maddin has also completed 18 short films; they’re difficult to find and they’re all fantastic, so don’t miss them if they come to your town. I had the privilege of speaking to Maddin last month, and these are some of the things he said.

Arthur: What’s your earliest memory?
Guy Maddin: My mother showing me her naked breast and telling me that’s where milk came from. My mother is no naturist, so that’s a strong memory. I also remember being stuck to the floor of the beauty salon where I grew up because everything there was coated in layer upon layer of ancient hairspray. I’d play on the floor and crawl around the nyloned ankles of all the women sitting in a row under the hairdryers, and whenever someone spilled a tray of curlers I’d gather them up and build little castles out of them. I was pretty young to be glued to a beauty salon floor.

Do memories enhance or impede our ability to enjoy the present?
You couldn’t make anything of the present without memories, so they make our enjoyment of the present possible. We’re constantly building up our library of memories, but we’re constantly losing memories, too, because we haven’t revisited them enough and finally they fade away. It’s as if you’re building on a beach that’s constantly eroding, so memories don’t really provide much of a foundation.

To what degree do we unknowingly fictionalize our own past?
Most people have a small set of stories they tell repeatedly that take on the quality of tales told around a campfire by cavemen. Those stories do become more like cave paintings than an accurate recounting of something that happened, and they become more beautiful and useful as a result. I willfully fictionalize my own past as much as possible, but strangely enough, I find the more I attempt to mythologize my own past, the more raw and cathartically confessional I become. In Cowards Bend the Knee, the protagonist is a man named Guy Maddin who’s a triple-murderer, hairdressing, hockey player–none of which I’ve ever been. But in the way that fairy tales can be incredibly true, despite the fact that they involve talking wolves, the character feels like an authentic version of me.

Is it true that in directing The Saddest Music in the World you copied various descriptions of depression and synonyms for sadness onto index cards to create a deck of 52 cards, then had each actor draw a hand of cards every day and use the suggestions on them to shape their performance that day?
Yes. I’m willing to try anything because I’d be revealed as complete impostor if I tried directing my actors conventionally. So I had these beautiful little sentences from Burton’s Anatomy of Melancholy, and synonyms from Roget’s Thesaurus, and it was just a way of forcing the actors to channel their lines of dialogue and their gestures through the suggestions on the cards. It worked, too–I think it refreshed their approach every day.

What elements of Ishiguro’s original script remain in your adaptation?
I had a real free hand in adapting his screenplay. In his version there was a contest, as there is in mine, but his took place in London on the eve of Perestroika. I switched the place and time to Winnipeg on the eve of the dissolution of Prohibition. Ishiguro’s main concern, which he made sure I included in every draft of the script, was the heartbreaking irony of Third World countries who are already suffering under immense privation, but are still compelled to exaggerate their privations because the competition for world charity is so stiff. So you get this grotesque sight of a starving populace pretending to be even hungrier than they are so they can be the sexiest charity of the season. Ishiguro wrote his script in the early ‘80s when the Ethiopian drought sparked several all-star pop fundraisers, so his concerns were essentially political. I’ve never been a political filmmaker, though, and I wasn’t interested in making a political satire.

Is it possible to make a film free of politics?
If you succeed in being honest about your characters a political reading will always be possible, but I think you can have a story that’s more timelessly political and explores the way hegemonics invariably work out. Some countries have more power than others and it forces them into inevitable roles. That’s apparent in everything from Euripides to Archie Comics.

Archangel includes a scene where a shower of bunnies rains down on a group of people huddled in a barn. You’ve described the scene as being so delightful that it’s a portent of something bad, which suggests you feel that any high point of joy must inevitably be followed by a fall. Do you think that’s true?
Yeah, I guess it’s that feeling you get right after the first time you masturbate—everything is cute until you’re on the far side of the parabola. Those white, fluffy bunnies seemed to fit so niftily into a phrase like ‘the white fluffiness of forgetfulness.’ I wanted everything to look cozy because forgetfulness can be as comfy as getting tucked in beneath a giant, goose-down duvet. In Henry Green’s novel, Back, there’s a man who loses a leg after being shot by a sniper hiding in a rose bush. There’s not just a thorn in the rosebush, there’s a bullet too—it’s fun to combine things like that.

What’s the difference between nostalgia, melancholy and grief?
Nostalgia and melancholy are relatively benign, but grief is something I’m terrified of. There’ve been times in my life when grief was called for and I just didn’t have it—when my father, my brother, and my Aunt Lil died, for instance. Instead of grieving in one big payment, I think I grieve on the installment plan in my films and in my dreams, where I encounter all sorts of unfinished business. The bill collectors come around almost every night, and I engage in uninhibited grieving in my dreams, then I wake up refreshed.

What do you think happens after death?
I’m afraid it’s nothing. It’s funny, if you believed it was nothing it shouldn’t be frightening at all. But then, no one understands what “nothing” really is.

You’ve said, “I don’t need anything to happen to me anymore. I have plenty of sadness in reserve. I can lie down with a fine, vintage memory and sip it all night long.” This suggests that sadness is a source of comfort for you. Most people go to great lengths to avoid feeling sadness; how do you explain your ability to embrace it?
I avoid pain like a normal person, but I digest sad memories the way other people listen to CDs or watch movies. I don’t do it so much anymore, though, because I’m such a busy adult with this movie-making, and melancholy takes time. You need big, white expanses in your daybook to enjoy it properly, and I’ve been a bit too busy. My girlfriend, who I’ve been with for four years, has sort of trained me not to talk about it so much, too, but it’s always been a major pastime for George Toles and I. Don’t get me wrong—we’re not just sitting around reminiscing about funerals—but when we’re screenwriting we’re openly fabricating our past and transforming it into an exotic blend of melancholy and joy, much in the way people blend whiskey or tobacco. When a sad song strikes someone at a point of the compass that’s so completely personal and unique that they can’t even explain why it’s so deliciously sad, that song has been transformed into a fantastic commodity.

Name a song that always makes you cry.
This is really sick, but some songs actually make me cry tears of pride. It has to be a song that’s not too good, because a really good song is beyond envy. But if it seems so simple and clumsy that I almost could’ve done it myself, I find myself sliding into a temporary reverie that I was, in fact, the author of this work. That’s why I like basement bands, early rock, and any period of the Ramones. There are primitive films that affect me that way, too–Bunuel’s L’Age D’or, for instance, or Jean Vigo’s Zero For Conduct.’

What was the essence of Vigo’s genius?
Some people have taste and aspire to make things, but they don’t have the technical skill or the experience to do it, but Vigo’s voice coincided perfectly with his talent. He was a primitive and he knew exactly what to do with that primitivity. He was probably aware he only had enough command over his actors to get stylized, blocked out performances, but he knew how to use that style of performance. And he gave his gifted cameraman and editor the same careless, open, free-for-all he allowed his actors. Every aspect of his work is so consistently primitive and out of control that it takes on a quality of control. Jonathan Rosenbaum made the observation that when some lost scenes were restored to L’Atalante it didn’t make the movie any better or worse, and you do get the sense that you could remove or reorder the sequence of the scenes and it wouldn’t affect this great movie at all. I’m not great at talking things out with actors, so my approach has always been to use broad narrative strokes, then try to cover up with lots of baroque effects and film grain. So I’m always looking for people who work in analogous ways.

You once commented “sometimes it’s liberating to be self-destructive.” Could you elaborate?
I may’ve been referring to a foolish decision I made a few years ago to have my diaries [From the Atelier Tovar] published. I happened to have them with me on an occasion when I met a publisher, and it came up in conversation that I kept these diaries. He asked if I’d ever considered publishing them and I replied no, then he asked if he could take a look at them. I said “Sure, take them–you can publish them as far as I’m concerned.” I regretted that instantly because I knew as I handed them over that a lot of people would be mad at me—and they were. But it sort of cleared the air, and I found out who my friends were. I’m really not sure what’s in the diaries because I’ve actually never even read them. The sound of my own voice, even written on a page, bothers me, so I don’t like the sight of my own handwriting. I’m kind of phobic—I’m about two steps removed from late Howard Hughes right now.

You’ve also said “you do the darnest, broad stroke, crazy things when you’re in agony.” When was the last time you were in agony, and what crazy things did you do?
There’s nothing like mad love to force you into a surreal experience of your own life, and when I said that I was probably referring to the agony of unrequited love. The first time it happened to me I was about 20 and I didn’t know how to deal with it at all so I made a jackass of myself. One of my favorite scenes in L’ Age d’Or is when its star, Gaston Modot, responds to getting jilted. He wanders around in an apartment, he tears open a pair of pillows and puts a handful of feathers on a windowsill, he picks up a giant plow, then he throws a burning Christmas tree out the window. It’s pretty liberating being that irrational because you get to blast things to smithereens. The second time I got hit I was old enough to have some dignity, which I unfortunately didn’t have. I was once at a party where this girl I loved was ignoring me, so I responded by phoning up a taxi for each person at the party—and there were about 50 people at the party. I remember pointing at people and saying ‘this taxi is for you!’ I finally realized I was making a fool of myself and got into one of the taxis myself.

What’s the most destructive thing about romantic love?
There’s all sorts of damage done, but it doesn’t feel like damage at the time because it feels so good to surrender yourself to the other person. It feels like everything you’ve been waiting your whole life for, and you give up so much of yourself in those early days without any sort of negotiation. But you’ve actually just signed over huge parcels of land that you can never reclaim unless you want to start a war at a later date. And maybe it’s just an excuse to have a war, because they feel pretty good too. It’s no mystery why love can turn to hate because those two emotions are extremely close when the stakes are so high and two countries are sharing a border. I’m in love with romantic love, that’s for sure, but there’s always a price and you have to decide whether it’s worth it. I’ve considered the alternative, which is being without my girlfriend, and that’s not an idea I’m crazy about. It’s not that I’m afraid of being alone—I can be alone standing on my head for 14 years and I’ve done it in the past—but I’d miss her and always be thinking of her.

What’s your definition of a bad decision?
Something that looks ludicrously irrational from the outside. But the thing about wild gestures and ill-conceived battle plans that cause massive collateral damage is that when the smoke clears, the desired result is often still attained somehow. Maybe the desired result was all the collateral damage, or to make a huge, imperialistic claim for your romantic self. There are many lessons to be learned from nature, so we’re well advised to remember those marshland mating rituals, with giant animals making bizarre noises while opening themselves up to their natural enemy.

Jung says we’re all archetypes playing out ancient, eternal fables. Freud says we’re simply animals enslaved by biological drives. Which sounds more accurate to you?
I’ve never been a very good student of either of them, but I have groped out a murky, working theory for myself that embraces aspects of both those positions. I believe there are stories painted on the insides of our stony heads, there for reading and re-reading and palimpsesting ourselves. But I also can’t help but see us as selfish alimentary canals sort of bumping into one another.

How selfish? Are people incapable of truly putting the interests of someone else above our own?
Probably, but that’s too reductive. If you love other people and are even willing to sacrifice your life for them, yet that somehow satisfies some need in you, are you selfish? I suppose you could call that selfish, but you’d be doing a disservice to the extremely complicated and inscrutable transistor-sized wiring of what’s really going on in our heads. But human nature certainly feels selfish enough of the time without it having to be selfish 100% of the time.

Is evil contagious?
It can certainly spread like wildfire, and it probably has a very short incubation period. Unfortunately, its symptoms usually aren’t so apparent to the host organism, even when they’re fully infected.

Your collaborator George Toles has described the impulses that swim up from the unconscious as “deliciously unsavory, unsightly and extreme.” Is the unconscious basically a fetid swamp?
Yes. It’s a bog filled with sperm and eggshells and old teabags and discarded statuary. There are lyrical things down there too, and every now and then, through an act of will and imagination, you can make something beautiful from those raw materials. But mostly it’s a roiling, furious, unforgiving and stinking realm.

You’ve commented, “Most filmmakers don’t have the nerve to be really cruel to their characters, to give them what they deserve and what the audience secretly wants, even of they don’t know it.” Do people enjoy witnessing the suffering of others?
Yes. A lot of it is just glee that it’s not them, and a chance to vicariously wonder what it would be like if it was them. That’s why people slow down around car wrecks. When I was a teenager I had this Lord of the Flies fantasy and I used to wander around the beach naked throwing stones at birds. In time I developed a really strong throwing arm, and one day I actually hit a sea bird in the head. It was surrounded by its flock, and all these birds cried as this bird floated off. There was an off-shore breeze that day, and the birds cried for hours as this bird slowly floated away. I’ve never thrown a stone since.

You’ve said that when you saw Eraserhead you thought “Wow, this is my biography. How did someone read my mind and project it onto the screen?” What aspects of that film resonated with you?
The general state of delirium Henry Spencer films himself in. I’d been a father of an unplanned pregnancy—I assume David Lynch had as well—and I remember feeling plucked from a state of quasi-virginal youth and stuck into this domestic situation with me as the completely impotent paper mache patriarch of a family. The tenor of my life during that period coincided exactly with the tenor of Eraserhead, which evokes those middle-of-the-night trips to the washroom where you don’t quite have your balance and you’re staggering and you have to brace yourself against a wall and you’re scared you’re not even peeing into the toilet. Then all of a sudden one of life’s truths comes swinging out of the darkness at you and says, “You’re 20 and you’re married and you have a child and your father’s dead and you’ll never see him again.” During waking hours when the sun is high all sorts of misty veils pile up and envelop you in a sort of amnesia, and your troubles seem somehow abstract or fictionalized. But in the middle of the night there are moments when there’s an unavoidable, painful truth right at the center of everything, and that’s what Eraserhead felt like to me.

How did you go about surfacing from that very deep lake?
I wasn’t aware that I had to because I kind of embraced it in a way. Parenthood has tremendous rewards and I loved it, just as Henry does. Every now and then he gives a little admiring look down at the baby–although mostly, of course, he just stares into his radiator. When you have a child you love that child more than anything you will ever love, and my daughter is a wonderful person. She’s a designer and someday I’d love for her to design a picture with me.

The actor Ross McMillan has said “In every scene George Toles writes there’s someone doing something to someone else.” How would you describe Toles’ sensibility, and what makes him an appropriate co-writer for you?
George is always doing something to someone else, and he’s never happier than when he’s manipulating a situation to create conflict. He treats every room like a stage in which a short scene must be played out, and he’s perfectly willing to fabricate misinformation or involve wives and lovers to get things going. George treats human beings like piñatas, and once you understand that about him it can be fun to be part of his ongoing theater improv involving real human stakes. I thought we would’ve broken up long ago, but we’ve only had one little bump in the road, and we both mourned each other’s absence so much that we decided to repress what we found annoying in each other. It hurt too much to be alienated from each other

Toles has described your third film, Careful, as “a pro-incest movie” ; do you see it that way?
I don’t think it converted many people to incest, but we did try to work under the banner of making a pro-incest movie. It’s hard to control an ideology, even if you’re a skilled propagandist, which I am not, and I think it ended up being a pro-repression movie that offers a patent lesson in what awaits you if you let yourself slip and do what you want to do. Everyone in the film ends up getting punished for letting slip.

A central theme in your films is male rivalry which you describe as a situation that’s homosexual without the sexuality; what sort of territory does this theme open up for you?
I’m just trying to make sense of male rivalry. I know that when I’ve been intensely competitive with someone they become a point of principle for me, and I actually come to my rival’s defense if someone else attacks them. There’s a certain jailhouse logic operating there, and it’s not much of a stretch to find some kind of sexual analog in it.

You’ve described yourself as highly resentful and competitive; who are you competing with now?
Right now I’m competing against the clock. I had a very elderly uncle, my Uncle Ron, who’s been in most of my movies, and he recently passed away at the age of 95. He tricked the system because everything went right for him—he lived a great life and died painlessly. But somehow, his death finally brought it home to me that you die. I can’t count on living to 95, so while I still have my health I’d like to make one masterpiece. That’s my dream.

What are the qualities a work must have in order to be a masterpiece?
It must have the quality of something that was always there, but was waiting to be expressed, and now it has finally been said. It carries an element of surprise with it because it’s obviously so right that it’s startling its gone unexpressed for so long. It doesn’t have to be big–in fact, my favorite writer, Bruno Schultz, is considered a minor writer because he didn’t leave a huge body of work. His complete body of work is, nonetheless, a masterpiece.

Which of your films is most fully realized in your opinion?
With Archangel I thought I was on my way to saying everything there was to say about how we love, but I was kidding myself and I confused myself and my viewers a lot in its execution. I was pretty happy with [2000 short] The Heart of the World, but it’s not trying to do as much as some of my longer films. I’m really proud of The Saddest Music in the World because there are moments in the montage sequences where the music works the way music is supposed to–as a mnemonic device that drags up all sorts of cargo. And there are things I really like about my hugely autobiographical film, Cowards Bend the Knee, which is a very primitive, low-budget movie.

What historical period is most compelling to you?
Although it’s true that all my films seem to exist in the past, I’ve never been much of a historian because I hate doing research. Every once in a while some historical episode does engage me, though, and at the moment I’m trying to learn everything there is to know about the Borgias. I’m drawn to them because they were bad and charismatic, they had cool, sexy names, and there were no small gestures in that family. There was fratricide and incest and it was all true–not that that should matter at all, because nothing’s really true anyway. I’m always amazed when a film boasts “based on a true story!” Who cares? Whether it happened or not, it’s how a story is told that’s important.

You lost many of your ancestors to an 1876 Pox epidemic in a Canadian town called Gimli, and you now maintain a Winnipeg scrapbook of newspaper clippings that include stories of mad dogs dragging off children, hockey stick bludgeonings, and a father shooting his children during a fight over a snowmobile. This brings to mind Michael Lesy’s book, Wisconsin Death Trip, which in turn is evocative of the Bunuel film, Land Without Bread, the Brecht/Weill opera, ‘Mahagonney,’ and your second film, Archangel, which is set in a region of Russia that experienced a collective amnesia following World War I. All these works deal with places that seem to have fallen under a sort of dreadful bewitching; do you think there are places that are cursed?
Yes, and they’re there for anyone who chooses to see them. There are invisible cities piled up all over the place, and if you occupy those spaces with just the right focal length on your spectacles you’ll see the skyline in all its, horrific, lugubrious, glowering splendor. And all it takes is a population of humans to create one of these places. Artists have been trying to pinpoint our humanness for a long time, and we seem to be inexhaustibly cruel and compassionate by turns, but nobody’s ever figured out why.

THE FIERY FURNACES, profiled by junior high schoolmate Margaret Wappler (Arthur, 2004)

Fire’s Club
Rootsy or folk? Post-punk or blues futura? The answer is: Yes. THE FIERY FURNACES might be all over the map, but Margaret Wappler finds out one thing’s dead certain—no one else is gettin’ in the band.

Originally published in Arthur No. 8 (January, 2004)

Listening to the Fiery Furnaces for the first time is like finding a pirate radio station while driving through the Great Smoky Mountains of Tennessee. The map swears you’re 100 miles outside Murfreesboro but in the pitch-blackness, can you trust something as arbitrary as coordinates on a piece of paper to define place? What really locates you is that station at the end of the dial, with its strange accent and colloquialisms.

The Fiery Furnaces—Matt and Eleanor Friedberger, a brother-and-sister duo residing in Brooklyn—are behind the latest pirate station in rock: they’ve flipped on a switch and defined a special place between the forest and the mountains. Sixteen songs appear on their debut Gallowsbird’s Bark (Rough Trade); it’s a trunk show of delicious oddities, lovingly stitched and fringed with twirls of piano, itchy funked guitar solos, lyrics like “In the Cracker Barrel dumpster I found a bag; Red-white striped, I opened it—gag” tickled along by prickly cool rhythms. It’s blues, post-punk and a traveling vaudeville show pieced together with equal parts confidence, naivete (is it going too far to suggest that songs all about foreign lands is a tad Peter Pan?) and a kind of manic curiosity that sees the Friedbergers grabbing hold of a sound from one decade, giving it a good shake and then setting it down and running off to the next decade—or several ones previous—leaving the listener in an enjoyably vertiginous tailspin. Matt might be a little too fond of those bluesy solos that made more than a few Led Zeppelin songs deflate and I cringe each time Eleanor sings that line “Mummy, Mummy, Mummy”—though I’m not sure if it’s because I really love it or can’t stand it—but who cares? The Fiery Furnaces’ gawky moments pose problems for the listener and themselves that are actually interesting.

The first 15 minutes of my Saturday afternoon conversation with the Furnaces were spent catching up (by the way, I went to junior high and high school in Oak Park, Ill, with Eleanor) but soon enough, it turned to other things—blues, identity and the comfort of being a brother/sister band. Throughout our talk Matt, four years her senior, and Eleanor played a funny game of cat and mouse—teasing, then supporting—sometimes sounding like the squabbling siblings from Wes Anderson’s Royal Tenenbaums. Here are some outtakes:

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R.I.P. Othar Turner and Bernice Pratcher, by Karin Bolender (Arthur, 2003)

Risen Stars Othar Turner and Bernice Pratcher, R. I. P.
Karin Bolender remembers the pillars of the Mississippi fife-and-drum tradition.

Originally published in Arthur No. 4 (May 2003)

If this was an obituary for Othar Turner, it could only be written in hieroglyphics and chickenscratch. Good thing it isn’t. What it aims to be instead, then, is a kind of ceremony, a page of wake on the occasion of this great old Mississippi musician’s departure.

As a farmer, woodsman, cane-fife player and maker, and leaping lord of the goat picnic—in so many aspects of what he embodied—Othar Turner was one of the last of his kind. His death is more like the death of an ancient king than anything else. He was as old as the dream-swamp and hill country that surrounded his plot of land, and even if he did boogie down like a satyr until his last days, no king lasts forever. The loss is multiplied by the doom we are left here to reckon with, now that Othar Turner has vacated his weather-beaten, wooden-bench throne.

The frightening thing is that this king knew some laws that aren’t written down anywhere, only remembered inside a number of hearts and ears. He lived the strange laws of his land, and in living them, he kept a kind of raucous, peaceful order in that small but significant corner of the world, Tate County, Mississippi. His kingdom, in terms of acreage, may have been only as big as the farm he kept near Yellow Dog Road in Senatobia, and of course the throng of kin and friends who hope to carry on the musical tradition. But that signature whistle and thump of his rang out far and wide. It gathered feet and skins from all over to come together at the picnic, once a year in the mercurial August air, and share in the thrills of the shimmy she wobble.

* * *

Death is never easy to face. In this case, the face you see may be the wrong place to look, if you wish to fathom what’s lost in the passing of the old man. Death, after all, gives shape to life by surrounding it in a boundless and swarming unknown, a darkness that laps at the edges of our little lights. In this sense, a wake might invite its disparate mourners to re-imagine not the dead man, but the space around him, and the place he’s vacated. And so breed hope for what will be sucked in, to fill up the vacuum he leaves behind. The black space is by no means an emptiness; it is land with history, tradition, mystery and grit, as thick and roilsome as the summer air is.

If you’ve heard the music Turner and his kin played, you already know this. The drums swell, grow huge and intricate as the night, as if some transubstantiation occurs by which the music becomes the same as the air, so that you breathe it into your lungs and it gets into your blood and beats there. Grown people and children and dogs of every shape rollick in the BBQ-goat smoke, some drunk on moonshine and some just on music, and the animal scents and heat-soaked wood and hay and raw dirt. Othar Turner as a man is inseparable from the mesh of time and place he exists in, which is as wild and singular as any there is.

For any kind of wake to be worthy of the Othar Turner clan, it must aim to have at least some of the encompassing spirit that prevailed at the Labor Day picnics he held for decades at his farm in Senatobia, Mississippi. These festival picnics were once a widespread tradition across the South, but by the late twentieth century, Turner’s was an anomaly. The earlier (late 19th, early 20th century) picnics were not only his stomping ground, but also where he learned to play. “The drum was history,” he said, in a 2000 interview in the journal 50 Miles of Elbow Room.

Enmeshed as he was in the picnic tradition, Turner was a magnificent master of ceremonies in his own right, blowing the fife, beating the drum, slaying goats and grinding among the crowd without missing a beat, to the imponderable age of 94 years. He was still hale and strong, playing his own handmade fifes and hoeing his rows, in the summer of 2002. The winter that came was a hard one. Turner reportedly caught a cough in the new year, cracked a rib, and landed in the hospital in February. He died at a friend’s home on the morning of the 27th.

Later that same night, his daughter Bernice Pratcher, who was more than instrumental in keeping the picnics and the local tradition of fife-and-drum music alive, followed him. She was only 48, but had suffered from cancer for many years. Even so, she was always beside him, playing and singing in the family band and managing its affairs. She personally made sure every neighbor and stranger who came to the picnics had a good time, and got a fair share of the rarefied BBQ, sauced and slapped between slices of Wonderbread. The news that Pratcher proceeded her father’s death so closely lends a new magnitude to the final song on the Rising Star Fife and Drum Band’s 1997 recording, “everybody hollerin’ goat,” where the voices of father and daughter among the lacy drums harmonize the refrain, “Glory, glory, Hallelujah!/When I lay my burdens down….”

Here is the old dream of a song so powerful that it draws every particle in its reach into a marvelous weave, in which we know we are tiny parts and also parts of the swamp and the stars. What we’ve got to mourn as a society, in the forms of Othar Turner and Bernice Pratcher, are human beings who knew some secrets of how to call others together in a place to recall and celebrate this warp, revel in it in an inextricable weft with cicadas and three-legged dogs and towers of pokeweed and smoke and naked dirt, and whoop with joy and dance. Too often in our world, this knowing joy gets stopped up in human names and faces-in the bottleneck of what each will wants, be it another country’s oil or a new toothpaste to make teeth white. When that happens, a wisdom infinitely bigger than the lives of an old man and his daughter is lost to us. This is a remembrance of the mesh, then, as much as the individual players. Thank you for all you gave, Othar Turner and Bernice Pratcher. Rise fast and far, and find peace.

ZIPLOCKED: RTX’s Jennifer Herrema talks with Trinie Dalton (Arthur, 2004)

Originally published in Arthur No. 12 (September, 2004)


ZIPLOCKED

Royal Trux are gone, but RTX lives on. Jennifer Herrema talks with Trinie Dalton about chasing that airtight classic rock sound.

Photography by W.T. Nelson

Jennifer Herrema has spent the last 18 years establishing her reputation as a rocker through Royal Trux, her partnership with singer-guitarist Neil Haggerty. Described (or dismissed) by critics as “conceptual acid-punk,” “hate-fueled rock,” and “dissonant junkie” music, Royal Trux found a home at Chicago’s start-up indie rock label Drag City in the late-‘80s, where they released several albums before—and after—scoring a lucrative three-record deal with Virgin Records in the go-go mid-‘90s in the wake of Nirvana’s success. Today, Royal Trux are split in two: Neil records solo albums as Neil Michael Haggerty and Jennifer has started a new band, RTX, whose debut full-length, Transmaniacon, arrives in September.

Recorded with guitarist Nadav Eisenman and bassist Jaimo Welch, Transmaniacon is a wildly produced album that has the feel, scope and drive of the classic ‘70s rock—Rolling Stones, Kiss, Rush, etc.—that Herrema admires. The album fucking rocks, a powerful growling 11-song reminder that Herrema can stand on her own as a singer/songwriter in the traditions of not only great female rockers like Joan Jett, but also among those male icons who dominate Classic Rock World.

After years living at the Royal Trux stronghold in the hills of West Virginia, Jennifer now lives in Southern California, where she’s taken up longboard surfing. Her tan is insane, especially accentuated by her platinum blonde hair and eyebrows. She looks healthy, and I can’t help but think that her new So-Cal beach house has influenced her music; Classic Rock and the beach go hand in hand. Her inimitable sense of fashion is strong as always—remember, this is the woman who virtually defined “heroin chic,” for better or worse—and she’s just finished modeling local designer Henry Duarte’s new line of denim jeans.

Breaking from our interview, she plays me her new song “Kitty Grommet,” which will accompany a denim wetsuit she designed for a show at Tokyo’s MoMA in honor of Hello Kitty’s 30th anniversary. Kitty Grommet cruises the waves looking cute, but Jennifer’s raspy vocals undermine the tune’s Pokemon-ish superhero theme-song tendency by dishing out some death metal growls. Herrema says she’s been perfecting her growl since Royal Trux required her to invent vocals for songs that “weren’t classically pop, where the vocals had to present themselves more as an instrument.” All her new projects are a mature culmination of past experiences with music and pop culture. She discussed her ambitions and sense of accomplishment with both Royal Trux and RTX over cookies and beer, after answering the big questions: How did RTX come to be? And, what motivated the break-up of two of rock’s most notorious musicians?

Arthur: So, you stopped touring with Royal Trux, your dad got sick, and you were dealing with other things in your life. Were you writing these new songs during that time?
Jennifer Herrema: Yeah. We cancelled that last tour, and within a year I knew what I wanted this record to sound like. I got the sound in my head. I just let it be a sound, kind of an amorphous blob. I didn’t want to nail it in too soon or else I’d be over it by the time I got my shit together. So I just kept it in my head. A year went by. Jaimo and Nadav were sending me things. I was listening to Nadav’s engineering and production stuff. I flew them out to meet me, and we all got along really well. They’re awesome, totally inspired.

The bass playing kicks ass on this album.
Yeah, Jaimo’s psycho. He’s only 22 or something. He’s got this energy. He’s amazing. Very different guitar player than Neil, but at some point he will be as good as what it is he does. I felt like I hadn’t met someone [since Neil] who could nail what it is they do so well. He takes direction really well. There’s no need to reference things. I’ll be on piano or start humming the riffs and he’ll do it. Part of it was learning a language, how to communicate. I had a real rapport with Neil. It was intuitive. But Jaimo and I have that communication.

What happened with Neil? I know he’s busy doing solo albums…
Well, we’ve been together since I was 15. We email each other all the time. We just needed to separate, to have time to fill the holes. When you compliment each other so well there’s all these deficiencies that occur because you’re always pleasing somebody else, and vice versa. We’ll be much stronger people [for going out on our own], like two wholes. That way, whether or not we play together again, it’ll be a benefit.

Royal Trux was clearly collaborative, but did you feel like ideas of yours weren’t happening because of the other influence? Of course, that probably goes both ways…
Yeah, that’s true. I mean, I love all of Neil’s solo stuff. But it’s different than what I want to work on. So it’s just like, break it off into two entities. I want to nail something solid, not that that stuff wasn’t solid. I just want to simplify.

“Simplified” is a good word to describe these new songs. They strive to be perfect, as if you’re trying to make the rock song a perfect thing.
Yeah, distill it and put it in a jar. That’s why live they’re going to have so much room to open the fuck up. They’re such a studio creation. I wanted them to be all tight. Ziplocked, all the air taken out of them.

RTX makes me reconsider classic rock. Classic Rock has such a clichéd image. But the great bands became classic by trying to invent the perfect song. Achieving that loud sound. What you’re doing is an extension of that.
Definitely.

It sounds new too, though.
It’s not retro. There’s a checklist in my head, like where the guitar sits in the mix, how the kick sounds.

Every era has its Classic Rock. I can hear different eras in your songs. There’s the 80’s metal sound, Def Leppard or Motley Crüe, then the 70’s arena rock thing, and the female punk heritage, the Runaways or Plasmatics. Suzi Quatro.
Yeah, Suzi Quatro. The songwriting, I wanted it to be really tight.

I guess you’ve been influenced by all different sounds, since you wrote these songs over a long period of time.
But that’s where the subconscious comes in. You’re not trying to find something, you just keep playing until you’ve got what you need. That’s the subconscious bringing back all the things you love. I love that sound, and it was implanted somewhere back there a long time ago. I love millions of sounds. But I had to put parameters on the record. I didn’t want it to be all over the map.

One thing that’s different [from Royal Trux] about RTX is the vocals. In terms of ugly music—ugly as beautiful, disharmonic—this album seems less in that aesthetic vein.
There was never a period when there was a conscious aesthetic. We were never trying to coax a lesson. It was what it was, it was never trying to be ugly. And to put tons of reverb on it—going back to Royal Trux—it didn’t make sense musically to do that now. Singing with Neil, the song’s keys were different.

You sang a lot lower?
Yeah, I had to. Neil has such a high voice. I can go high, but in order for us to sing together I had to take a place. It was cool, I had to stretch. I forced my voice to do things that didn’t come naturally.

You have more range now, I can hear your voice more on this album.
Oh yeah, these songs were easy. The melody line is very natural. I probably won’t lose my voice as often. I don’t really abuse my voice that much. It was more live, wanting to hear myself. Royal Trux would have two guitar players, two drummers, bass, and Neil’s got lungs. I have to push. People say I don’t have to push, we can hear you, but it’s like, “This isn’t about you out there, it’s about me having fun, so shut up.” That can get rough on your voice. But that was rare. People tell me to stop smoking but I love smoking.

Did you get the name for your album from the Blue Oyster Cult song?
Well there’s the BOC song, but that’s with the MC motorcycle club thing. It’s a fictitious word and the alliteration of it sounded like the album to me. I mean, when pronounced correctly. Trans-man-I-acon. But there’s also this Japanese video game called Transmaniacon in which a book is buried under NYC. And there’s a science fiction book. So it’s not just one thing.

The sci-fi reference puts that song “Psychic Self-Defense” in a different context.
Yeah, the album needed a space there. The album’s supposed to be like a book, to be read through. Of course, each song should stand on its own. But lyrically, there’s a sense the songs make. The sequencing came really quickly, and usually it’s really hard. Usually, it’s like playing Tetris. Nadav and I were talking about sequences, and we used the first sequence we burned. We were like, “That’s it, don’t fuck with it.”

Sequencing is a crucial element on my favorite Classic Rock albums. Brian Eno is so good at sequencing, but he’s not Classic Rock.
I love Brian Eno. I read this article about him years ago and he was talking about metal. He said it was the first ambient music. That made sense to me, because it’s so compressed. The reins are so tight, so it sails.

Maybe he was talking about Lou Reed’s Metal Machine Music, all that experimental stuff, Tony Conrad. Have you been listening to the new bands doing that droney metal now? Like Sunn0)))?
A little bit. Joe Preston, of Thrones, he toured with us a lot. And he’s doing something with Sunn0))). I like Thrones and I really like Joe a lot. He’s such an awesome dude. When he toured with us he brought his cat.

I love how the song “PB & J” sounds like a boy band song, all robotic.
We used a harmonizer on that. It breaks your voice into different octaves.

You employ a good blend of classic instrumentation with effects and machinery.
Oh yeah, we use effects. I’ve worked with so many engineers, and they’re a different breed. Not to say they’re all alike. But they use effects to make songs seamless. Sometimes that’s cool, but other times it’s like, “No, this is an effect and let’s fuckin’ hear the effect.”

When you use a harmonizer, for example, I think of corporate bands, bands who are totally manufactured. You seem so against that but then you exploit the possibilities.
It’s a balance. I don’t know what the hell’s going on. But I love Kid Rock. I love his production. He’s such a good producer.

Production is what saves your songs from being retro. Each song is produced in a new way. “Heavy Gator” is also really good, it sounds like a warped record. How did you do that? Did you fuck with the speed of the vocal track?
It’s not fucked with. There’s no real vocal effects. I think I quadruple- tracked my vocals and the way they went against each other, it sounds a little warped. That was a cool accident.

Some parts are muted and some parts are loud.
That’s a production thing. A volume thing. The way it’s canned.

Did you record on all different machines?
ProTools. We use tons of great preamps and stuff, but I’m so into ProTools. I’m not against analog or anything, but dude. You’ve got great gear and you’re getting the sounds you want. I love the sound of digital. Digital distortion. I love the sound of analog distortion, the thickness and warmth. Digital distortion is this whole other beast. You can just fuckin’ go in, you don’t have to power up. We’ve got tons of rack effects, we’ve got all these plug-ins, and it’s all right there. So you can walk in the room and try something really quick, boom, it’s the ease of it. With analog, it’s a ritual, the tape, how hard you’re hitting tape. But digital, it’s just different.

You must be a distortion expert by now. Who are your distortion heroes?
I don’t know man, there’s a lot of them.

You came out of a tradition of distortion—Sonic Youth…
Yeah, there was a lot of that going on but they were a whole generation ahead of us. There was this place on Long Island called L’Amours, and you could go see Skid Row, or Ratt. In New York, I saw a lot of those bands that you’re mentioning, but it was incidental. The punk rock shit, Bad Brains, Cro-Mags, I loved that shit. I saw the Bad Brains a lot. I liked GBH a lot. I like Metallica, but I love Megadeth. I like Rush a lot, I just saw them last week. Kiss, I love them. I went and saw them three weeks ago. The songs are fuckin’ great.

Do you keep up on new east coast noise bands? A lot of it seems more electronic. Have you heard Black Dice?
I like Black Dice. I saw Neil play last summer with Dead Meadow. I thought they were good, but after 20 minutes, I thought, “This is great, now wrap it up.” Loved it, but then I wanted it to be done. Or else I wanted something drastic to occur.

Do you think they’re the new Led Zeppelin?
Fuck no. That’s blasphemous. Don’t even go there. I totally dig Zeppelin. How can you not? I mean, this is the problem: Zeppelin is Zeppelin. There will be no new Led Zeppelin, and if there is, it’s gonna suck, just by the nature of trying to replicate something that’s bad to the bone. So the new Led Zeppelin has to be that good at what it is. It can be fuckin’ polka, I don’t care. If you try to be be the next Rolling Stones, you’ve already lost. Because the Rolling Stones kick your ass. If you want to be number two, go for it. It’s all good and fun, but fuck it.

JOSEPHINE FOSTER, profiled by Margaret Wappler (Arthur, 2004)

Originally published in Arthur No. 11 (July 2004)


Born Heller: Josephine Foster and Jason Ajemian


Sharing Time
Josephine Foster and the Supposed would like to teach the world to sing in perfect harmony—or whatever. Just so long as it’s expressive. Margaret Wappler passes on the lessons.

Josephine Foster is a 30-year-old woman but she seems like a child. That isn’t meant as an insult, or some sort of misty New Age proclamation. It’s just that her speaking voice is soft—hardly the force of nature it is while singing—and prone to drifting away mid-sentence, as if distracted by something shiny across the room. And as explanation for her drift, she offers, “I have Thai buffet in my belly” and admits to dozing off just moments before our phone conversation. Granted, these are only the telltale signs of an adult riding out a low blood-sugar crash in the mid-afternoon; they can be dismissed. But in her music, Foster easily sheds twenty-five years and expresses herself the way children do—unequivocally and without regard for solid foundations. Quite simply, she just goes for it.

“There is something to being the song, and not commenting upon it,” Foster says from Bloomington, Indiana, where she is staying with Brian Goodman, her bandmate in her newest venture, Josephine Foster and the Supposed, which also includes Rusty Peterson on drums. Being in the moment is important to Foster, as is expression—full and unhindered, sometimes clumsy. Whether with the Supposed on their debut album, All the Leaves Are Gone (Locust Music), or with her other collaborations, the charmed lullabies of The Children’s Hour and the homespun Born Heller, she explores dark, sticky cavities with no inhibitions. Foster’s voice is a rich quavering alto, that, with its rapid, Joan Baez-like vibrato, makes great leaps over the Supposed’s Age of Aquarius-inspired rock—if the Age had followed its every whim, no matter how labyrinthine, no matter how far it burrowed into the ground. Though the production is pretty clean, All the Leaves Are Gone has a dirty quality, but not sexy-dirty or some flimsy appliqué. It’s more elemental, primordial, as if these songs were recently unearthed. The instruments sound loose, almost broken; the rhythm catch as catch can. Expression trumps. The desire to sing repeatedly a lyric like, “I had a mother, my mother had a mother—no one knows her name!” is followed, giving the music the quality of a child’s inspired ravings.

Foster became interested in opera after watching singers perform in a church. “I was intrigued by the natural amplification of their voices. It just seemed like a sort of bizarre expression… a larger-than-life expression and sound.” Foster, who had studied a “mixed bag” of music, theater and performance in Colorado, her home state, went to Chicago’s Northwestern University to study opera but left after a year. “I sang at this master class for this fairly famous opera singer and I felt like all she did was talk about how I was too skinny and why did I eat only peanut butter and jelly sandwiches? It was really pretty absurd… I enjoyed what I learned but I realized pretty quickly it wasn’t going to be enough for what I wanted to express.”

She quickly met people through Chicago’s tightknit music community and started playing around, often hosting her own “house hootenannies, where everyone would come over and play music.” Attracted to archaic folk and Renaissance songs, she says she knew almost nothing about current pop music. “I wasn’t too interested because it just seemed really subdued and breathy. And pretty tame.” She did, however, have vivid memories of what she heard on the radio growing up and what her “ex-hippie-type guy” father listened to, music like Graham Nash and Jefferson Airplane. In particular, Foster feels a kinship with the latter: “I think there’s some sort of connection between what they’re doing and what we’re doing—they play slightly declamatory, expressive music that’s pretty similar to something like opera in some ways. The human voice is really being sung through.”

After several visits to Bloomington where Goodman was attending college, Foster crashed with him and his girlfriend, burnt out on Chicago and intrigued by the notion of a rock opera. But that idea soon dissolved; Foster thinks she’ll get to it eventually, maybe by collaborating with a filmmaker. Instead, Foster and Goodman, a “human jukebox who knows every rock song,” developed a different batch of Foster’s songs through improvisation and discussion. The title track, for instance, started out “very subdued,” but soon developed into something primordial and shifting, with koan-like lyrics holding down its center.

“I was so bored with [‘All the Leaves are Gone’], because it was really slow, kind of sad, and I was like, ‘Why don’t we just turn it into a dance song?’” The lyrics—which Foster describes as “slightly heavy”—don’t diverge too far from the statements: “There is no end to your sorrow… and tomorrow sorrow it will come again.” But the music, which sounds disarmingly loose and flapping at first listen, soon reveals itself to be joyously warped and unhinged, a lazy, blissed-out resignation to what feels like some sun-hazed dance at the temple right before the sacrifice. Just between falling apart completely and arriving at some destination point beyond the horizon, the rickety train that is Josephine Foster and the Supposed suddenly picks up speed and blows right by you.

Part of what makes their songs seem like a primer, like some recently recovered manual—to what, it’s hard to say—is their quality of following every impulse to its expressive endpoint. Indeed, every song hemming to nothing but its own organic, half-grown-over path serves a dual purpose: “I don’t have a very good memory so in order to remember something I write I usually have to make it something that I want to hear again. I have to make it pretty addictive to myself. So there’s a memorability in the words, a boldness in the imagery.” At their heart, these songs, despite their ornamentations, are constructed to be broken down, carried on, passed around. “It used to be a song was made to be shared and hopefully sung by many others. I hope my compositions go beyond me in terms of utilitarian value. I want them to be remembered, sung, by a tuneful amateur.”