OCTOBER 29, 2004
By Iona Miller and Bobbee Precious
You remember him from Throbbing Gristle and Psychic TV,
DJs: Don Bolles (LA) and Scott Ewalt (NYC)
Plus: Danielle from Gwar with her Tesla Coil,
and Bolles’ 'Kitten Sparkles' Dream Machine
“New art is always shocking,
because you don’t know what you’re looking at. . .
It’s about boundaries being permeated and transgressed.
It makes people nervous when there aren’t any boundaries.”
~Lisa Phillips, Director, New Museum of Contemporary Art, NYC
“With male nudes in full display, pornography a common source material,
and explicit imagery the norm in galleries and museums,
sex in art has become fun, disturbing, raunchy—even cerebral.”
~Linda Yablonsky, Art News, January 2004
The current political climate, product of the present administration, is one of suppression of both personal and artistic freedoms. Paradoxically our constitutional guarantees are in jeopardy of being rolled back, allegedly for our own security. But how secure is a mentality that would softpedal sex by draping nude statues, censoring NEA grants based on their subjective version of “suitable content,” or simply cutting art programs from school curricula?
Rolling back artistic freedom is like trying to hold back the tide of artistic evolution. It simply cannot be done. The pagan spirit is more fundamental than the parochial, and the artist is perhaps its main contemporary exponent, especially those comitted to sexual art. The thread of sexuality is woven through the whole cultural history of art. When order becomes too rigid, atavistic forces of entropy arise to dissolve that outworn system back into chaos for creative restructuring. This is nature’s way. And the artist’s way, too.
Suddenly everything seems politically backward, like we’ve entered some Bizarro Universe or parallel dimension, where black is white and white is black. America has swung from lukewarm liberal “political correctness” toward the increasingly fascistic pole, or certainly toward plutocracy. We’ve experienced many of these reactionary reversals in our government since the 60’s.
Most of our hard-won social and environmental programs of the last few decades have been eliminated or eroded beyond recall. The national debt skyrockets daily, while we are promised tax cuts which only mean that our grandchildren will pay at premium rates instead of us.
Educational enrichment programs in the arts for those same children are drying up, heralding a poverty of the spirit perhaps even worse than that of the pocketbook. We now live in dread of the potential “second coming” of the Bush Administration…but there is certainly no ‘rapture’ in it. We suggest the counterpoint of Thee Second Couming as the palliative alternative.
I’m not just another malcontent commenting on the obvious here, though. I come from roots in the original revolutionary “Underground.” I am the direct descendant of Stephen Hopkins, oldest signer of the Declaration of Independence. As his legacy and living voice, I still stand for the values of freedom and expression he stood for publicly when lives were on the line and true freedom hung in the balance.
My fellow artists and filmmakers stand with me. Come to The Icehouse with us and revive the patriotic spirit of the Revolution. We rest content in the thought that “If we build it, you will coum.” Come once for the spirit…and come again…to celebrate uncensored sexual art. Stay for the entertainment. As a commited participant, not just an observer, help us declare our own Bill of Rights:
In that spirit, Subcutaneous Productions presents THEE SECOND COUMING, a glorious convocation of seminal Underground artists returning to Phoenix to join voices, raise a hue and cry, and say despite governmental pressures toward conformity and repression, they will NOT be suppressed.
In fact, they WILL continue to zealously pursue both their bliss and their uncensored artistic visions, following eagerly where the Muse leads, especially in the name of freedom of speech and the right to dissent, be wonderfully outrageous and sexual too.
In Understanding Media, Marshall McLuhan conjectured,
“If men were able to be convinced that art is precise advance knowledge of how to cope with the psychic and social consequences of the next technology, would they all become artists? Or would they begin a careful translation of new art forms into social navigation charts? I am curious to know what would happen if art were suddenly seen for what it is, namely, exact information of how to rearrange one’s psyche in order to anticipate the next blow from our own extended faculties.”
Fabulous musical artists for this show include Genesis P-Orridge with Thee Majesty (including Larry Thrasher) and former Swans’ vocalist, Jarboe. Genesis has resurrected THROBBING GRISTLE and PSYCHIC TV recently for limited engagements while he focuses mainly on THEE MAJESTY, which combines the best of them all.
NYC-based, ‘pandrogenous’ Genesis – now known as Breyer P-Orridge along with his wife Miss Jackie -- is acclaimed for his groundbreaking artistic, musical and occult creations. He has focused high-voltage avenues of experimentation into magick, performance art, poetry, music, collage, painting, writing and video for over 30 years.
This technoshaman claims to have had a close encounter of the weird kind as a very young child with notorious magician Aleister Crowley, who happened to be dead at the time. The drive instilled in him by this initiation first came to flower in the Coum Transmissions and his Sigils, created with alchemical soror mystica Cosi Fanni Tutti. Our show title is both a pun on Gen’s infamous history and his second appearance in our fair city.
Billing himself as a “cultural engineer,” this anti-godfather’s legacy has spawned acts such as Nine Inch Nails and Marilyn Manson. But in Gen’s case, it is clearly no “act,” but the real thing. He is an artist of great foresight, substance, and intentionality. Though associated with Chaos Magick, he can be quite deliberate in externalizing and projecting his vision of himself through his work and his effect as a cultural “strange attractor.”
Artists are the chaotic attractors of the social field. While conventional artists may enjoy great favor, the ‘strange attractors,’ including leading edge and extreme artists have a special role as catalysts in contemporary life. Artists have always drawn others beyond the limits of their ordinary awareness, confronting them with another reality, initiating them into a world of profound meaning without conventional boundaries.
No stranger to sedition, GPO is the first man exiled from his native Britain in 100 years. The Vampire Lestat himself has nothing over this global star, whose immortality is assured, as anyone can read in his scintillating biography, Painful But Fabulous: The Lives and Art of Genesis P-Orridge.
In the cyberpunk zine Mondo 2000, the protean performer insisted, “I like romance and glamour and distortion. The whole point is to give so many possibilities we’re dazzled and confused. Isn’t that why people use drugs? People want to be randomized, scared, excited. They want to be told they have to give a blow job to 28 people or they won’t get their dinner.” He makes his dinner by blowing our minds.
The artistic life is a chaotic arc of inspiration upon inspiration, following the Muse. Artists walk what for others is ‘the road not taken’ (chaos theory’s bifurcation or forking), sometimes going ‘where angels fear to tread.’ Their charismatic influence pulls others into their orbits, and the small effect of one personality potentially spreads its influence over the world (butterfly effect), sometimes over history. The history of art is one of the richest threads of our cultural heritage.
P-Orridge claims no fixed point in time, space, or his career, declaring: “Never assume the position of a previous character.” Influential in the body art, occult, fetish, and rave scenes, early in his career he founded the industrial genre with his band Throbbing Gristle. He then created the first British acid house band, Psychic TV, which distinguished itself in a pantheon of trance groups with a personal blessing from the psychedelic Zeus himself, Timothy Leary.
Now, Thee Majesty combines this repertoire of metabolic music with spoken word and collaged speech, echoing Gen’s cross pollination and sorcerer’s apprenticeship with Beat icons, poets Brion Gison and William Burroughs. This is GPO’s inspiration for his “cut up method” of composing.
Morphing wildly from passage through hyperdelic barriers, Gen’s electronic soundscapes are always richly reflective of an interiority that is ‘Aha!-some’ in its breadth. He will also be screening his ‘Pandrogeny’ films, which document his latest body art project, during his band’s performance in The Courtyard. (Ozzie WHO???)
“Music must now be aware of the subtleties of its effects. Its structure must take into account the metabolic and neurological effects and power of music and harness them for its own deconditioning, anarchic ends. The empty carrot of success and respect must be seen for the transparent confidence trick that it is. Drugs of addiction must be bypassed. The real war must begin. The decoding is possible. Our own code becomes more sophisticated and effective,” according to Gen.
Larry Thrasher appeared on several Psychic TV discs: Electronic Newspaper Issue 1 1994, A Hollow Cost 1994, Ultradrug 1994, Cathedral Engine 1995, Electronic Newspaper Issue 2 1995, Electronic Newspaper Issue 3 1995, Thee Fractured Garden 1995, Sirens 1995, Splinter Test ~ Electric Newspaper Issue 4 , Trip Reset 1996, Breathe , Splinter Test ~ Spatial Memories 1997).
San Francisco-based Thrasher met Genesis P-Orridge in 1993, while mastering and editing "Splinter Test" for Caroline Records. He started performing live with Psychic TV, playing tablas and samples and joined the band with the release of "A Hollow Cost". Eleven releases later Larry finds that he has achieved international status under the various incarnations (Psychic TV, Thee Splinter Test and Thee Majesty). Larry continues to collaborate with Genesis on these sound collage/spoken work projects.
Artists magnetically draw the attention of others to their creations, to their vision, into the imagination, into the collective future. We might think of them as the ‘indicator species’ of the social ecology, the evolving cultural landscape. Orbiting far from the norm, they provide a negentropic counter-balance – an evolutionary burst, social innovation -- to conservative forms and institutions, which tend to ossify leading to stasis and decay.
Art changes the way people perceive reality, how they see life and their place in it. These negentropic innovations become embedded in social structure. Realizations, insight, empathy are implicit. They show us windows of prescient emotions and impulses, their unframed works rending the veil of the human unconscious.
Jarboe has had a fruitful solo career, as well as collaborating with Michael Gira as Swans, in work that assures her indepedent underground icon status. She will be presenting an acoustic set with a solo guitarist, charming us all with her throaty yet haunting vocals. She reminds us that “Love will tear us apart again.” She will also be giving new meaning her penchant for self disclosure, displaying her graphic vaginal prints in the White Column Room, along with the print media of our other participants.
Exerpts from her bio:
"Jarboe's musical explorations have led to select comparisons to other female musicians with regard for their success in penetrating the otherwise male-dominated 'rock' subculture. An extensive interview with her is the opening segment in ReSearch/Juno Books: Angry Women In Rock [Volume I ] alongside Chryssie Hynde and Joan Jett. She is also one of the 7 artists featured alongside Nina Simone, Liz Fraser, and Kate Bush in the Women's Studies/Cultural Theory book from the U.K.'s Creation Press: Catamania.
Jarboe's direction with her recorded and performed projects leads towards producing a brand of energy that is specifically her own. Inspiration is drawn from a variety of charged sources, spanning from her early exposure and participation in snake-handling revivals in the Mississippi delta, to parents who were in the FBI, to participation in a lounge act, experimental performance art in gallery & live radio settings, and her 14-year collaboration with worldwide concerts (clubs, theatres, festivals, live radio, European television) and critically acclaimed recordings in Swans. Her delivery can be at turns innocent, knowing, seductive, & vitriolic - contained in melodic and experimental compositions with a wide range of musicians and artists.
Jarboe's primary objective is to close in on the gap in the audience/performer relationship with a complete submission and vicarious experience through her performance. This is at times done through visceral vocals and music from a variety of cultures and sound vignettes. Through her performance work, she has optimized her repertoire to include a vast variety of voices, from the shy school-girl to seductress to 'demon.'
Jarboe's private agenda over the course of her life has been to fine tune endurance- physical, emotional, and spiritual. Through efforts in such disciplines as weight-lifting, kick boxing, mountain-climbing, studies in Tibetan Buddhism, and her intense work with Swans, she has journeyed her body towards exhaustion specifically with the intent of rebuilding/reinventing identity and exploring the structure of persona."
Photographic prints of Jarboe by underground filmmaker will be displayed in the White Column Room. Fascinated by guns and sexually charged violence, New York photographer Richard Kern made his start as part of the Cinema of Transgression in the mid-‘80s. His most notorious films include the black-and-white road movie Fingered, with Lydia Lunch. You Killed Me First is a short film at the suburban dinner table that ends in mayhem, where even the cute bunny rabbit gets slaughtered. His other works include provocative titles like Manhattan Love Suicides, Submit to Me, and The Evil Cameraman. Kern went on to direct a number of music videos for the likes of Sonic Youth and Marilyn Manson, but has since focused his attention on photography, including his compilation book New York Girls.
As our title suggests, two of our leading acts, performance artist Genesis P-Orridge and pioneer of digital fine art, filmmaker Laurence Gartel, are returning to Phoenix for their second visits. It is literally their “second coming” to the city. The current flowering of the art scene in Phoenix has intrigued and delighted them both, and they are eager to return and meet their public here in the fantastic Ice House Alternative Artspace. Each has, in his own way, pushed past the boundaries of the art world and mainstream society, engineering the culture and molding major societal trends.
Our special celebrity guest artist, Gartel <www.gartelmuseum.com>is well known for his mainstream work but has a taproot deep in the Underground scene. Miami-based, Gartel is the Godfather of digital art, beginning his career in electronic arts and media long before nearly every home got a PC. Way before Photoshop, he threw away his paints, realizing this was the medium of the future. He will be displaying his vintage nudes from 20 years ago in the White Column Room, and offering prints for sale.
He and his work are a fixture in the hot, hot, hot South Beach, Miami scene. His more recent works document the incredibly lively and offbeat fetish scenes in the Miami area and Atlanta. His documentary film, “GARTEL:The Art of Fetish” reveals the wicked underbelly and playfully ‘tortured’ soul of this community with a sensitivity and sense of humor that is kind as well as candid in its approach. It will be screening in The Cathedral Room. He just finished two amazing new media audiovisual DVDs that totally rock.
Gartel’s work has been exhibited at the Museum of Modern Art, Joan Whitney Payson Museum, Long Beach Museum of Art, Princeton Art Museum, PS 1, Norton Museum and in the permanent collections of the Smithsonian Institution's Museum of American History and the Bibliotheque Nationale. Find his biography in "Who's Who," "Who's Who in the East," "Who's Who in America," "Who's Who in American Art," and "Who's Who in the World."
Born and raised in New York City, Gartel had the opportunity to teach Andy Warhol how to use the Amiga Computer, went to School of Visual Arts, with fellow art student, graffiti artist Keith Haring, where he earned his BFA degree majoring in Graphics, and started his electronic career working side by side with Nam June Paik at Media Study/Buffalo in upstate New York.
Gartel has many associations with over- and underground musicians such as Debbie Harry (Blondie) Sid Vicious (Sex Pistols), Stiv Bators (Dead Boys) Johnny Thunders (New York Dolls) Ace Frehley (Kiss) and Wendy O. Williams (Plasmatics). Recently, Gartel has created artwork for such pop culture stars such as Justin Timberlake and Britney Spears, and in March showed works by former Marilyn Manson bassist, Gidget Gein.
His monographs include:
"Laurence Gartel: A Cybernetic Romance" (1989) published by Gibbs Smith, Utah. Introduction to the book is written by video guru Nam June Paik.
"GARTEL: Arte & Tecnologia" (1998) published by Edizioni Mazzotta, Milano, Italy. Introduction to the book is written by noted art historian and critic Pierre Restany. 250 pages over 400 color plates.
The Italian Art History Textbook: "La Storia Dell Arte" , (published by Editions Giunti, 2001, Firenze), opens with Michelangelo and culminates with GARTEL on the last page representing "New Visual Languages."
Upcoming events and releases include:
"GARTEL: Digital Art Survey: Creation Development Evolution" - Keynote speech,
IV-04 London, July 2004.
"GARTEL: DANCE / TRANCE and other LIVING THINGS" - DVD project for Universal Entertainment, Los Angeles. Release date: Fall 2004
"GARTEL: 30-Years of Digital Art", Coral Springs Museum of Art, FL, June 2004.
There are two kinds of freedom: ‘freedom from’ and ‘freedom to’. Once we are free of the shackles of limitation, the burden is on us to exercise that liberty in a creative way, recognizing our own limitations. There is no progress in mere boundary-breaking. We have to have somewhere to go. Purpose must underlie pain, or it is pointless. There is no creative spirit in complete anarchy, yet there is in Chaos.
The relationship of control and freedom is very much like that between order and chaos. Science has shown that order emerges from the creative edge of chaos. The creative process is similar in that one must use both reins of constraint and freedom: technical mastery and understanding of the medium and forces at work plus the counterpoint of imaginal freedom can produce something truly unique.
Processes that appear to be quite chaotic can actually produce their own optimal boundary conditions. The same is true in art, so rather than endless failed attempts to describe meaningful experience, the true artist can explore beyond limits to produce a flowing fount of fully rendered images that have maturity, clarity, radiance, luminescence – works that simply shine forth and will not be denied.
Similar dynamics apply to the place of the leading edge or extreme artist in society: as shaman, as pathfinder, as seer of the future, as one who dares to go where the timid but voyeuristic would love to peek. When our senses become overwhelmed by rhythm, flux, and color we can enter altered states that open us to new experiences, new ways of thinking, new ways of being, new ways of seeing. This fresh point of view reflects a fundamental psychic shift.
Bob Judd’s animations, in various installations at Thee Second Couming show, reflect this spirit. His bold thrust employs the fundamental chaos dynamic in his ‘Eye Candy’ projections, simultaneously immersing and overwhelming the viewer in a colorful riot of muted sexual imagery. This breakthrough experience is meant to decondition residual sexual hangups and open the viewer to uncritical experience of the imagery. Its intention is transcendence, not shock or disgust. In order to reach psychological breakthrough, we must courageously pass through our fears and pain. And Judd guides us on that journey.
The recent Superbowl controversy over Janet Jackson’s breast is a good example of the underlying Puritanical disposition of American culture. While it may have been inappropriate for a general audience, the sexual content was far milder than the overt ritualized violence embodied in the football game. Much as the Clinton ‘blowjob’ was no big deal in Europe, this ‘accident’ need have raised little more than an eyebrow. But that is the sexually-overreactive hypocritical society we live in.
Judd says, “Let’s have more sex and less violence!” Judd’s means of ironically attacking this deeply engrained mentality and smashing its artifical boundaries is to use blatant, but modulated imagery, which happens to be homosexual but might just as well be hetero.
This explicit psychic attack on prudery uses a palette of subliminal ‘pornographic’ imagery, which is actually incidental to the effect. There are no sex acts portrayed, only impersonal rapid cut and distorted frames which are nearly impossible to decipher consciously. While he would love to glorify the penis symbolically, he is even more interested in the transgression and trancendence it implies.
Recent murmurings in the mainstream artworld (Art News, Jan ‘04) seem to agree with and justify him. The ithyphallic icon is back in vogue, moreso than since Roman times. There has been a veritable rash of penises in films, galleries and museums, lately. For centuries the female form has been the object of aristic veneration, but the erect penis, in particular, has remained taboo. But this boundary has been crossed and even the powers that be in the elite art culture are seeing it for what it is meant to be – not only disturbing, but “raunchy, fun, and even cerebral.”
The dark and hidden world of Bondage and Domination has turned into a fun night out of people watching and release of frustration for the suppressed working class at the local dungeon. Similarly, graphic sexual imagery has become so common-place that it is defused, even banal. It is redundant to point out it undergirds and permeates advertising and is available at every video store and in every livingroom in America. Unlike our more culturally sophisticated European counterparts, Americans still act like sophomoric teenagers when confronted with blatant sexual art.
Judd’s intention is to break through that false dichotomy with his psychological atom-smashing. He is justified in doing so, since many artforms over the centuries have celebrated the body, maintaining vital contact with our erotic element. Art values rather than devalues the sexual image, even when wrongly perceived as an affront. In this way the ordinary becomes extraordinary. To deny its potency is to deny our essential nature and the vulnerability of our naked awareness.
IV. Acceptant Judgment
What begins as shocking becomes familiar once emotional merger is consummated through suggestive penetration. Art expresses an essentially inward experience. Though for some the distinction between art and porn is vague, explicit or compelling artistic depiction of the fringes of human sexuality is not the same as perversion or obscenity. It brings images back from the extreme edge of society to the mainstream for consideration at all levels, shamelessly chronicling the unvarnished human condition.
Art, unlike pornography, contains an essential emotional content. It aims at stimulating the largest sex organ – the mind -- rather than just the genitals. Erotic art is always more than merely aesthetic. The function of the artist has always been to look unflinchingly into the dark heart of humanity and describe the living, breathing processes of human life as frankly as possible. The artist’s mandate is to look at everything.
Erotic art serves the same purpose as all art: objectifying self-knowledge as it springs forth from artistic imagination. It mobilizes a spectrum of emotions: nakedness and vulnerability; shock, shame and disgust; fear and awe; power and helplessnes – and liberation. Much like ‘safe art’, ‘normal sex’ has become all too familiar and boring outside of the bedroom.
More than narcissistic indulgence, every generation has its own style of feeling and freedom, determined by chaotic forces including artists who shape that vision. We are jaded by socially assimilated clichés and neo-tribalisms like the fashionably-bare midriff, tattoos, and piercings. Erotic art’s purpose is more than to shock, to confront, even to transgress. It explores the threshold of sanity and insanity, narrowing the definition of obscenity and expanding the definition of art as a legitimate context for sexual expression.
Our own “Supreme Court of Chaos” has acceptantly judged that we shall continue to shamelessly celebrate the body with its endless permutations in all its forms and facets of human expression, reporting back the candid impressions of our artistic vision in as fiercely accurate a way as possible. We hope you enjoy exploring our point of view.
Our culture’s ubiquitous preoccupation with sex is undeniably emphasized in advertising media. We might say, with the sexual connotation implicit -- they shove it down our throats. So why shouldn’t it continue appearing in our galleries, museums, music venues, and screening rooms in ever-renewing forms? Surrealism bent and stretched our notions of physical embodiment with bizarre, dreamlike qualities. Low brow art has proven that all that implies beauty and truth is not necessarily beautiful to look at in its stark reality, but worthwhile to consciously examine, nevertheless.
Today’s “Know Brow” art fearlessly stares at it all, if not in the face, where it clearly counts. Perhaps the Third Eye really lies below the waist. Why not realize that “many of the masterpieces of modern art depend on perversion to make their dramatic point”? (Kuspit) Robert Bak suggests, “Fetishism is the model for all perversions.” Still, the seductiveness of the bodies is subsumed in the seductiveness of the overall image or scene. In this context, one’s oeuvre (body of work) means more than one’s fleshy meat.
Contemporary sexual identity is in flux, creating new sexual types and titillations by actively changing our psychology and sexuality. The future of reconfigured sex is pangendered – ‘pandroGENous’ (P-Orridge) -- a liquification not only of the organs, but also of all the formerly presumed limitations of our biology. Visual, theatrical and biological experimentation in this area is ongoing at the fringes and in the dungeons of contemporary society, as people play imaginatively with their bodies and sexual personae.
We will also continue craving strong cerebral and aesthetic responses, as well as somatic experiences. Rather than supplanting the sexual aim, sexual art is vital -- it is preparatory…the seed of “coming attractions.” It is merciless and unrestrained cultural foreplay, designed to rouse us from our indolence, from ambivalence. Why not let it ravish us?
Only those who categorically exclude themselves for whatever reasons will absolutely not be allowed in. Everyone else can fight over the gorgeous event tee shirts! We are accepting applications for volunteers, especially those with stagecraft or construction in their backgrounds.
It is absolutely almost positively certain that a fine time will be had by all at THEE SECOND COUMING, even those only attending in their “chip bodies”, checking in through our lasciviously illustrated E-zine. This is an exclusive West Coast engagement for Thee Majesty, so we also expect a great turnout of TOPY and fans from L.A., Hollywood, San Francisco, and Colorado.
Beginning around 3:00 PM, opening acts include, Ginger Coyote and the White TrashDebutantes; screening of films about 60’s San Francisco gay icons, The Cockettes and Bob Judd’s ‘Eye Candy’ projections, with Wall Text by Iona Miller. Guest appearances by Danielle from Gwar with her Tesla Coil, and smokin’ NYC DJ and underground actor Scott Ewalt in the Silver Room will keep the house rockin’. Rock photographer Joseph Cultice will circulate. Danielle from Gwar will be channeling 18,000 volts through her body and throwing lightning bolts off her hands for fun. We’re working on a couple of surprise guest stars, hopefully occult filmmaker Kenneth Anger, and No Wave poet Lydia Lunch, just returned from her European tour.
Don Bolles, is bringing his psychotronic Dream Machine from Silver Lake to the Silver Room. He was Phoenix native Jimmy Giorsetti, but renamed himself after the murdered journalist, who’s trashed car was later curiously found in the Ice House basement. Bolles was the DJ for now-defunct All Night Truck Driver’s Show on Mars FM, and the Arturo Batman show on KPFK, both in L.A. Find him now at KXLU.com. Bolles recorded records by Non and Throbbing Gristle, and now “spews short-wave raio noise” as Kitten Sparkles. He contributes to Ben Is Dead, LA Weekly and Mouth to Mouth. He’s a former member of The Germs (bastard sons of Iggy Stooge; Joan Jett produced Germs Incognito), who were covered in fanzines Slash, Flipside, Generation X, Panic, Lobotomy, etc. Also in Celebrity Skin (Triple X records) and .45 Grave, LA leaders of the 1981 Goth-Punk explosion, (including Phoenix-bred guitarist Paul B. Cutler). And who could forget 3 Day Stubble with Don on bones?
The best bands have always walked that line between love and hate, chaos and magnificence. The Velvet Underground, The Jesus and Mary Chain, The Sex Pistols, The Centimeters. The Centimeters have the distinction of being voted L.A.’s weirdest band, and having one of their CD's produced by long-time fan David J of Bauhaus. David J liked the band so much, he invited them to tour with Love and Rockets, and open for their final show at the Roxy. Nora Keys, with her operatic voice, is an anomalous throwback to the silent movie era, like Theda Bara returned from the silver screen desert to haunt our urban nights. Pale as a waning moon, twig thin and utterly compelling, she throws her sylph like form through a series of impossible contortions while twisting her face into a pantomime parade of grotesquery that transfixes the assembled throng. She conjures electric tension with the rest of her bandmates.
The crowd will be eclectic, including perennial fans of our visiting artists, the underground, rave and punk scenes, the gay community, and the curious mainstream art lover. This is a chance to take a true “walk on the wildside” and see how the other, well -- not half -- but maybe 10% live. You know when you show up in a crowd for whom everyday is like Halloween, it is going to be one wild time as we play long into the night.
Come for the art, or come for the music, or come for both. Certainly, not everyone will ‘get’ everything we are trying to express in the whole gestalt of this show – it’s ‘suchness’. It is a visceral experience, as when Hendrix inquired, “Have you ever been experienced?”
Perhaps one of the simplest ways to explain is as a “just so story.” It is simply the noncommercial meeting of a group of old and new friends, a time for reunions and joyous play, on the eve of that most celebrated of pagan holidays, Samhain. What could BE more perfect? Dionysus himself would be ecstatic.
Arrive early and share the joy or exorcise your demons! The Devil will take the hindmost, and is sure to be there.
Cheers from Cyberia,
About the organizers: Bobbee Precious, aka technoshaman Bob Judd, (subcutaneous.org) is a local Phoenix artist and filmmaker, and alumnus of Arizona State and Novocom Media. He has been acclaimed for his multimedia work and award-winning films, such as ‘Bovine Vendetta’ and ‘Jesse Helms Is Cleaning Up America’, one of which was shown on the SciFi Channel. He was a lip-synch animator for the smash comedy Southpark for two years. He is currntly designing The Cockettes website.
Iona Miller (http://www.geocities.com/iona_m) is a psychotherapist, multimedia artist and webauthor of numerous metaphysical and transdisciplinary works. Her published work includes The Modern Alchemist (Phanes Press) and The Magical and Ritual Use of Perfumes (Destiny Books; ITI), and the anthology PsychedelicsReimagined (Autonomedia). Iona and Bob have been synergetically collaborating for a couple of years now, recently showing together in Gartel’s Cyberotica extravaganza in Miami last December ’03.
“No animals were charmed in the making of this production.”