tag:blogger.com,1999:blog-14809478593149242552024-03-18T20:10:10.782-07:00THE DELIRIOUS INSOMNIACThe Delirious Insomniac Freeform Radio Show haunted the airwaves of WLUW into the wee hours of dreary Monday Nights from 2007 to 2014. Host Arvo Fingers used his lengthy experience as a sleepless madman to wield surrealistic songs and sounds into a slithering swath for 2-4 hours a week. Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.comBlogger484125tag:blogger.com,1999:blog-1480947859314924255.post-66077860465329506182014-05-06T06:44:00.000-07:002014-05-06T06:53:32.549-07:00A Breeze between Dreams (6 hours, end credits)<div class="separator" style="clear: both; text-align: center;">
This is the final episode of the Delirious Insomniac Freeform Radio Show. It may relapse in some other form, perhaps, at another time, but only if the appropriate situation presents itself. Many thanks to those of you who have listened or participated! </div>
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There is something wrong with the editing program here at the station. It saves mp3s with the extension "14". What you can do is play it with Windows media player or an editing program and give permission to play a file with this extension. You can<a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di050614.14"> download here</a>. There is also a version in OGG format you can <a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di050614.ogg">download</a>. This is all I can do at the moment. Thanks for your patience. </div>
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Iggy Pop - Mask</div>
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Revolting Cocks - No Devotion (Live, You Goddamned Son of a Bitch)</div>
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My Life with The Thrill Kill Kult - Burning Dirt (Hand That Bleeds Mix)</div>
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Locrian - Eternal Return</div>
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Mac Blackout - Sometimes</div>
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Kraftwerk - Mitternacht</div>
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Trad Gras Och Stenar - Svarta Parla</div>
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Wire - Used To</div>
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Marilyn Manson - Cryptorchid</div>
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Dead Boys - <a href="http://www.lyricstime.com/dead-boys-not-anymore-lyrics.html">Not Anymore</a></div>
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Alice Cooper - Hallowed Be My Name</div>
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The Osmonds - Crazy Horses</div>
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Adam Parfrey - Nation Down For The Count</div>
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Trad Gras Och Stenar - All Along The Watchtower</div>
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Iggy Pop - Think Alone</div>
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John Zacherle - Hury Bury Baby</div>
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T. Rex - Mambo Sun</div>
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David Bowie - Breaking Glass</div>
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Brian Eno - Everything Merges with The Night</div>
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Brian Eno - Through Hollow Lands</div>
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Hali Gali Halid - Mirela</div>
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Funkadelic - Maggot Brain</div>
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Bernie Worrell - You're My Thrill</div>
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Giles > Giles > Fripp - I Talk To The Wind (2)</div>
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Danny Williams - I Talk To The Trees</div>
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The Smothers Brothers - I Talk To The Trees</div>
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Clint Eastwood - Tumbling Tumbleweed</div>
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T. Tex Edwards & Out On Parole - The Rubber Room</div>
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Porter Wagoner - If I Lose My Mind</div>
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Charley Pride - The Snakes Crawl At Night</div>
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Buck Owens - Who's Gonna Mow Your Grass?</div>
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Dolly Parton - You're Gonna Be Sorry</div>
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Lee Hazlewood - We All Make The Flowers Grow</div>
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Nancy Sinatra - The City Never Sleeps At Night</div>
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Blue Oyster Cult - This Ain't The Summer of Love</div>
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The Residents - Scene 1 (The Sandman) *From The Voice of Midnight* <i>request</i></div>
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Throbbing Gristle - Womb of Corruption <i>request </i>(Appended by internet feedback live in the studio)</div>
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Skin Graft - Excerpt from "ILL WILL" cassette on Ratskin Records</div>
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Blackfire - <a href="http://mistakebythelake.bandcamp.com/album/too-late">Too Late</a></div>
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Blackfire - excerpt from S/T cassette on Compulsion Rites *with*</div>
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Skin Graft - excerpt from track one of "Balance/d" CDr</div>
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Black Baat - excerpt from s/t cassette on Mistake By The Lake</div>
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Architeuthis Dux - Empires and Churches are Born Under The Sun of Death</div>
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Andrew Kirschner - excerpt from "Empty Vessel" cassette</div>
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SWANS - <a href="http://www.npr.org/2014/05/04/308392426/first-listen-swans-to-be-kind">excerpt from new album </a> "To Be Kind", track "Bring The Sun"</div>
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156 - excerpt from "Taking A Look At A Moment Lost" cassette</div>
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Nundata & Visdomstann - L'extraction Pre'ventive 3 inch CDR excerpt</div>
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Breaking The Will - excerpt from split cassette with Gnawed</div>
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XDUGEF - track 2 from Black Water 3" CDR</div>
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Zone Tripper - excerpt from split cassette with Gentleman Ringworm</div>
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Requiem - Addendum Two (from the album "Provenance")</div>
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Pauline Lombardo - Bitter Breath</div>
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WOLVSERPENT - Threshold: Gateway</div>
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N Colyar P - excerpt from "Maybe Looking In The Mirror" cassette</div>
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David Bowie - I'm Afraid of Americans (Trent Reznor remix V4)</div>
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Mark Stewart - These Things Happen</div>
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Copkiller - excerpt from split cassette with Cops on Polar Envy</div>
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Filth - excerpt from "Autoscopy" cassette on Rainbow Bridge</div>
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Whitey Alabastard - excerpt from split with Breakdancing Ronald Reagan</div>
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Pedestrian Deposit - excerpt from <a href="http://pedestriandeposit.bandcamp.com/album/eleventh-hour">Eleventh Hour</a> (<a href="https://www.facebook.com/events/508490459254949/">on tour now</a>)</div>
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Burning Star Core - excerpt from recycled cassette on RRRecords</div>
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skip skip ben ben - <a href="http://skipskipbenben.bandcamp.com/track/dead-floor">Dead Floor</a> (from Taiwan, excavated by<a href="http://theworldunderground.com/"> John Yingling</a> in his project to shed light on the world's underground music scenes)</div>
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Mixmaster Satan - excerpt from recycled cassette on RRRecords</div>
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Francis Dhomont - Allegro excerpt (with) *with*</div>
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Collapsed Arc - "Miniature Museum" excerpt (with) *with*</div>
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Dull - Broken String 1 *with*</div>
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MASS COMM - excerpt from "Present/Future Shock" cassette excerpt *with*</div>
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Night Gallery Episode "The Flip Side of Satan" excerpt</div>
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This episode is dedicated to the memory of:</div>
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<a href="https://www.youtube.com/watch?v=po5Tsij1mbs">Pete Myers, the Mad Daddy</a> ,<a href="https://www.youtube.com/watch?v=1Mf6qHVF1RA&list=PLDD259F6A42A7AFB6"> The Purple Knif</a>, <a href="http://www.zacherley.com/">Zacherley</a>, <a href="http://thewizardchicago.blogspot.com/2009/03/email-from-scott-marshall-burden-of.html">The Legendary Voidwatches at WZRD</a>, AND to Everyone who has ever guested, co-hosted, guest hosted, guest podcasted, syndicated, performed, listened to, called upon, or supported the Delirious Insomniac Freeform Radio Show in any way.</div>
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Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-24618824383119349952014-05-06T05:43:00.002-07:002014-05-06T05:47:22.693-07:00The Devil Makes Work For Idle Hands: An Interview with J.G. Thirlwell by Arvo Zylo<!--[if gte mso 9]><xml>
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<b><a href="http://foetus.org/content/wp-content/gallery/promotional/jgt-portrait-jpg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://foetus.org/content/wp-content/gallery/promotional/jgt-portrait-jpg.jpg" height="320" width="249" /></a></b></div>
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<span style="color: #999999;"><b> The transcript from our radio interview on wluw, with post script questions included. This is available in cooperation with <a href="http://roctober.com/">Roctober</a> and <a href="http://www.special-interests.net/">Special Interests Magazine</a>. More information on J.G. Thirlwell can be found at <a href="http://www.foetus.org/">WWW.FOETUS.ORG</a>. In print there is an extensive, comprehensive introduction. For those of you who are regular listeners, this artist hardly needs an introduction. All photos courtesy of www.foetus.org. </b></span></div>
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<span style="color: #999999;"><b>How was your trip to Australia?<span style="mso-spacerun: yes;"> </span>How was your performance?</b></span></div>
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<span style="color: #999999;">The performance was really good.<span style="mso-spacerun: yes;"> </span>I went down with my percussionist Peter Wise
and piano player David Broome from New York, and we added the Zephyr Quartet to
the ensemble down there in Adelaide.<span style="mso-spacerun: yes;"> </span>We
rehearsed there and opened for the Kronos Quartet.<span style="mso-spacerun: yes;"> </span>That was my first ever show in Australia,
then Kronos played one of my pieces on the bill as well, so it was kind of a JG
extravaganza.<span style="mso-spacerun: yes;"> </span>That was the only show I
played down there, and my first ever show in Australia.<span style="mso-spacerun: yes;"> </span>Actually, until last year, I hadn't been down
to Australia for 32 years, so now I've been down there twice in a year.<span style="mso-spacerun: yes;"> </span>It's kinda crazy.<span style="mso-spacerun: yes;"> </span>I went to Melbourne for a few days and saw my
mom, now I'm back. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Were there any personal memories, being raised somewhere
and then having not been there for 32 years, was there a distinct change?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well, that hit me much more last year so this time I knew a
little bit more what to expect.<span style="mso-spacerun: yes;"> </span>I went
down last year because my father was on the way out and I figured I wanted to
see him before he died.<span style="mso-spacerun: yes;"> </span>When I arrived,
I didn't recognize anything of the skyline.<span style="mso-spacerun: yes;">
</span>I stayed with my mom and she lives near where I grew up.<span style="mso-spacerun: yes;"> </span>When I got to that vicinity, I drove over the
crest of this hill, and then I recognized that there was going to be a railroad
track on the other side of the hill.<span style="mso-spacerun: yes;">
</span>That's where it was and then things started to click into place.<span style="mso-spacerun: yes;"> </span>One of the notable things was that the trees
were all thirty years taller.<span style="mso-spacerun: yes;"> </span>It's weird
to blink and...<span style="mso-spacerun: yes;"> </span>you know, things usually
look smaller and then when you go back somewhere they look bigger.<span style="mso-spacerun: yes;"> </span>Everything looks fancy now, nothing’s run
down. Within a couple of days, I had that kind of feeling that I had that drove
me to want to leave Australia in the first place, just this kind of suffocation
and a feeling of isolation down there.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I should say, I'm sorry for your loss.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well, thanks.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I get a similar feeling going on tour to smaller cities
than Chicago and last month I was able to go to New York.<span style="mso-spacerun: yes;"> </span>I sort of understand how someone could even
have that feeling in Chicago now that I've been to New York.<span style="mso-spacerun: yes;"> </span>It has such a unique energy that is only
really comparable to New Orleans, but still distinctly different.<span style="mso-spacerun: yes;"> </span>It's pretty hard to imagine living in New
York and then also living somewhere else even just in America.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Chicago's not exactly a hick town!</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Yeah, but you know, but it felt like the suburbs compared
to New York.<span style="mso-spacerun: yes;"> </span>I'd go to Cleveland or
Denver, and very highly populated places and that's all fine and good, but it
seems sort of like one neighborhood of Chicago by comparison.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well you know, at the same time, Australia is in a distant
hemisphere, and it's almost in the fucking South Pole.<span style="mso-spacerun: yes;"> </span>When I was growing up, I really felt
isolated, and I think a lot of people like myself might feel a kind of cultural
inferiority or maybe the feeling that you're surrounded by cultural
inferiority, or the feeling that you're displaced and you're somewhere you're
not supposed to be.<span style="mso-spacerun: yes;"> </span>My mother's
Scottish, so I spent a bunch of time in the UK when I was growing up and I
really felt that that was where I was supposed to be.<span style="mso-spacerun: yes;"> </span>Where there was snow at Christmas, and not
barbeques!<span style="mso-spacerun: yes;"> </span>I had always vowed that as
soon as I had the where-with-all, I would leave that godforsaken place and
never return.<span style="mso-spacerun: yes;"> </span>And I never did, until
last year. </span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Well that's admirable, I read about how you were an art
teacher at the age of 17 and such...<span style="mso-spacerun: yes;"> </span>You
definitely had that concept of a big fish in a small bowl covered.<span style="mso-spacerun: yes;"> </span>I don't know very many people who are able to
pull that off.<span style="mso-spacerun: yes;"> </span></b><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well I was a student teacher. Let's not say I was a fully
fledged art teacher with a degree or anything.<span style="mso-spacerun: yes;">
</span>I graduated high school when I was 16 so I was already out doing rounds
as a student teacher when I was 17.<span style="mso-spacerun: yes;"> </span>I
went to art school for two years.</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>London, after some time, fell short of what you hoped
it'd be?</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well I was in London at an amazing time, it was between '78
and '83.<span style="mso-spacerun: yes;"> </span>I'm really lucky to have been
there then, it facilitated what I did and what I wanted to do.<span style="mso-spacerun: yes;"> </span>Then when I got to New York, after being in
London for five years, New York was like the polar opposite of London.<span style="mso-spacerun: yes;"> </span>London is very dispersed geographically.<span style="mso-spacerun: yes;"> </span>It takes a long time to get around, whereas
at that time New York was very East Village-centric.<span style="mso-spacerun: yes;"> </span>Everything was in a concentrated area, you
could walk everywhere, it was a 24 hour city, the bars were open until
4am.<span style="mso-spacerun: yes;"> </span>Exact opposite of London.<span style="mso-spacerun: yes;"> </span>It had this incredible energy, and that
immediately captivated me, and made me want to stay. </span></div>
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<div class="MsoNormal">
<span style="color: #999999;"><b>I am sort of curious, and if it's none of my business,
that's okay, I'm curious about the gap...<span style="mso-spacerun: yes;">
</span>You were on tour with Immaculate Consumptive and you sort of decided to
settle in New York?<span style="mso-spacerun: yes;"> </span>You didn't have
much time between starting to do records and being signed to Some Bizarre once
you got there…</b></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I was already with Some Bizarre by the time I came to New
York.<span style="mso-spacerun: yes;"> </span>That year in '83, I'd gotten
involved with Some Bizarre, and I think between May and September of that year
I did a whole bunch of recording, which was all of the 12 inches and <i style="mso-bidi-font-style: normal;">HOLE</i>, and those things weren’t released
until the following year, I think.<span style="mso-spacerun: yes;"> </span>So
I'd already recorded all that material, and started some other material, which
became <i style="mso-bidi-font-style: normal;">NAIL</i>.<span style="mso-spacerun: yes;"> </span>I got to New York, really liked it here,
just kind of stayed here, went to LA, spent some time in the states, and
started some other projects (like Wiseblood and Stinkfist), and then kinda went
back to London and did some further recording, and went back and forth a bit
like that.<span style="mso-spacerun: yes;"> </span>It wasn't like I arrived
there and then said “Okay, I'm getting an apartment here today”.<span style="mso-spacerun: yes;"> </span>It was a little bit more gradual than that. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Well, for me at least, it's still very inspiring, because
I see that you went from squatting in London, and having maybe a couple of
synthesizers and working on an 8 track from time to time, to being signed to a
label and just kind of flying by the seat of your pants I guess, in the
states.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">That was an evolution that happened over a couple of years.<span style="mso-spacerun: yes;"> </span>I guess things went kind of fast, I guess I
was very prolific.<span style="mso-spacerun: yes;"> </span>At the same time, I
was holding down a full time job but every time I had a vacation I'd go into
the studio, and work pretty fast, and have the whole thing composed
beforehand.<span style="mso-spacerun: yes;"> </span>It's a different process
than I have now.<span style="mso-spacerun: yes;"> </span>Working with Some
Bizzare was timely because I had kind of gone as far as I could in this 8 track
studio environment.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>That's one of the situations where you had your notation
charts, and you were sort of working with what you can find in the studio?<span style="mso-spacerun: yes;"> </span>I just imagine you squatting and just having
a couple of keyboards, sort of just trying to chart things out and then going
into a studio where they maybe have some more instruments for you to work
with.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I didn't really use that many instruments.<span style="mso-spacerun: yes;"> </span>There was piano and keyboard, and not much
guitar. Some percussion, my synths, some gadgets.<span style="mso-spacerun: yes;"> </span>Probably no bass either.<span style="mso-spacerun: yes;"> </span>Sometimes I would find things on my way to
the studio and bring them in with me! </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I definitely want to ask you a lot of questions about the
more experimental side of your work.<span style="mso-spacerun: yes;"> </span>So
I have to ask, you were coming up with aspects of noise music with the band
that would become Whitehouse.<span style="mso-spacerun: yes;"> </span>I remember
reading that you were cutting apart tape loops and working with white noise,
and manipulating tape loops from there.<span style="mso-spacerun: yes;">
</span>I think I remember you also saying that you were using the razor blade
as sort of an instrument for tapes and things like that?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Oh, the razor blade is a very multi faceted instrument.<span style="mso-spacerun: yes;"> </span>To clarify the Whitehouse thing, that was
really William Bennett's domain, and I contributed vocals to one of his
albums.<span style="mso-spacerun: yes;"> </span>That was kind of the extent of
our work together even though we hung out a little bit.<span style="mso-spacerun: yes;"> </span>Conceptually, that was his deal, although I
think I sold him my first WASP synthesizer, which I kind of regret.<span style="mso-spacerun: yes;"> </span>Yeah, there's a lot of audio manipulation in
my early work, and tape loops and things like that.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>When you were working with Some Bizarre, you all of a
sudden had a free studio to work with but you'd have these pressing deadlines,
so you'd work for 36 hours sometimes.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Well, that wasn't because of pressing deadlines.<span style="mso-spacerun: yes;"> </span>It wasn't a free studio either, it was studio
time in a 24 track studio which is a jump up from where I'd been
technologically. I paid for it in the end! But yeah, sometimes I did long
sessions.<span style="mso-spacerun: yes;"> </span>The longest session I think I
did was 80 hours, which was insane, but that was on the track “Bedrock”.<span style="mso-spacerun: yes;"> </span>We'd gotten it mixed and it'd taken 24
hours.<span style="mso-spacerun: yes;"> </span>It was on an SSL desk and tape op
pushed the wrong button to save the automation and erased all of our fader
moves. We thought it wouldn't take long to get back to where we were, and we
ended up working around the clock 'cause I had to leave the country.<span style="mso-spacerun: yes;"> </span>It was like from Monday to Thursday working
on the mix of that track.<span style="mso-spacerun: yes;"> </span>That was the
longest mix though.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Coming back to present day, you're still doing a lot of
experimental work.<span style="mso-spacerun: yes;"> </span>A lot of people are
sort of calling you a musician, but maybe for lack of a better term, depending
on how you want to approach it, but I was recently reading how you made the
track for the split 7 inch with Teho Teardo.<span style="mso-spacerun: yes;">
</span>I'm really interested in the manual ways that someone can generate
frequencies.<span style="mso-spacerun: yes;"> </span>I know that you do
“freq_out”, and I've got the first CD of that.<span style="mso-spacerun: yes;">
</span>I was wondering how you deal with that territory, beyond laptops.<span style="mso-spacerun: yes;"> </span>I know that there're plenty of ways to do it,
and I saw that one of them was dripping water into a bass drum and having it
run through a pipe that would go through the other room?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">That was a thing that ended up on the split single with
Teho.<span style="mso-spacerun: yes;"> </span>That was actually a sound
installation called “Ecclesiophobia” [fear of churches] which I did in
Santarcangelo, a town in Italy.<span style="mso-spacerun: yes;"> </span>One of
the impetuses on my installation work is the environment where it will be.<span style="mso-spacerun: yes;"> </span>They'd sent me some pictures of this grotto
where they wanted to place me.<span style="mso-spacerun: yes;"> </span>That was
sort of what inspired to come up with some of these ideas and research some of
the elements I wanted to use to create that work, which ended up using an intravenous
apparatus to drip water onto a bass drum head.<span style="mso-spacerun: yes;">
</span>The bass drum was lying on its back.<span style="mso-spacerun: yes;">
</span>That was below the vaulted ceiling of this grotto, which was deep
underground. You had to go down some stairs and down a dirt tunnel to get to
it.<span style="mso-spacerun: yes;"> </span>Underneath the bass drum, there was
a light shining upward towards the intravenous drip, so when the water would
drip onto the bass drum head, it would cause a ripple, and then that ripple was
illuminated by the light below it, and that sent a shuddering reflection of the
ripple into the vaulted ceiling.<span style="mso-spacerun: yes;"> </span>I had a
contact mic and was sending the sound of the drip hitting the bass drum head
into the computer which opened a noise gate and sent a low frequency into the
next room, in which there was another bass drum. I had a subwoofer under that
bass drum.<span style="mso-spacerun: yes;"> </span>The subwoofer was vibrating
the bass drum head in there, which also had a pool of water in it, so that also
caused ripples.<span style="mso-spacerun: yes;"> </span>There was another light
under that, and that sent another phase of reflections up into that ceiling.<span style="mso-spacerun: yes;"> </span>So that was visual component, and the
conceptual backbone of what that piece was about.<span style="mso-spacerun: yes;"> </span>Then, there's a lot of churches in that town,
so I made a bunch of field recordings of the church bells striking.<span style="mso-spacerun: yes;"> </span>It was a very quiet in the day, very little
traffic on the hill where I was, so it was a good place to record the
bells.<span style="mso-spacerun: yes;"> </span>I combined these recordings with
a bunch of other bell recordings that I had sourced, and I had some bells of my
own.<span style="mso-spacerun: yes;"> </span>In that way, I was bringing the
bells from above down underground in this grotto, and they became some of the
audio components as well.<span style="mso-spacerun: yes;"> </span>I had 4
channels, a 4 channels speaker set up in that room as well.<span style="mso-spacerun: yes;"> </span>It was a composition that I slowly came up
with using tones, and the bells coming in and out, and various other elements.<span style="mso-spacerun: yes;"> </span>I performed that live a couple of nights, I
can't remember-- 3 nights, 2 nights or something.<span style="mso-spacerun: yes;"> </span>So it was kind of a combination of
installation and live performance/manipulation.<span style="mso-spacerun: yes;">
</span>At about 2 hours long, then I had to distill that down into one side of
a 7 inch, which was kinda difficult, but the essence is there on that 7
inch.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Wow!<span style="mso-spacerun: yes;"> </span>That's
amazing!<span style="mso-spacerun: yes;"> </span>That's really incredible.<span style="mso-spacerun: yes;"> </span>I'd like to ask you about a lot of<span style="mso-spacerun: yes;"> </span>the other things that are highly complex that
you've done.<span style="mso-spacerun: yes;"> </span>Your installation with LED
lights, and your installation for 47 channel [audio] sculpture...</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The one with...<span style="mso-spacerun: yes;">
</span>that's actually a sculpture.<span style="mso-spacerun: yes;">
</span>That was a mirrored sculpture that I did with controlled LEDs yeah,
“Narcissum Ascenda”.<span style="mso-spacerun: yes;"> </span>It was an eternal
mirror box which was suspended from the ceiling.<span style="mso-spacerun: yes;"> </span>Inside there were 27 LEDs hanging at various
angles.<span style="mso-spacerun: yes;"> </span>I got this piece of one-way
mirror which, after many attempts, I finally contorted into a tube which was
held together with bolts, and that went up inside this mirrored box.<span style="mso-spacerun: yes;"> </span>The idea being that when it's suspended from
the ceiling you crawled under it and stuck your head in the tube.<span style="mso-spacerun: yes;"> </span>Between the tube and the walls/interior of
the cube were 27 LEDs hung at various angles, which were controlled by a
circuit on top of the box, and they went through various programs of strobing
and fading and flashing and so on.<span style="mso-spacerun: yes;"> </span>You
put your head into the tube, your head would disappear but you just saw this
eternal field.<span style="mso-spacerun: yes;"> </span>That was a for a group
show in Ostersund, in Sweden. </span></div>
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<div class="MsoNormal">
<span style="color: #999999;"><b>I was really dying to try to find more images of
that.<span style="mso-spacerun: yes;"> </span>Maybe it's one of those that you
can't download a sculpture.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">No, you have to stick your head in it.<span style="mso-spacerun: yes;"> </span>I'm all for the non-downloadable
experience.<span style="mso-spacerun: yes;"> </span>It's now sitting in a crate
in my hallway.<span style="mso-spacerun: yes;"> </span>Maybe it will get
exhibited again one day.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>You did a sound installation that was 47 channels within
a huge metal sculpture?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">That was in Vienna, that was last year.<span style="mso-spacerun: yes;"> </span>That piece is called “The Morning
Line”.<span style="mso-spacerun: yes;"> </span>It was created by Matthew
Ritchie.<span style="mso-spacerun: yes;"> </span>I think it actually has 54
speakers, and 47 channels.<span style="mso-spacerun: yes;"> </span>Commissioned
by TBA21 [Thyssen-Bomemisza Art Contemporary].<span style="mso-spacerun: yes;">
</span>There was a round of compositions guest-commissioned by Franz Pomassl,
and so I was invited to write one.<span style="mso-spacerun: yes;"> </span>I
ended up writing a 38 minute piece that was something like 75 stems, and we
didn't have too long to spatialize it, but I think it turned out really well.
At the opening I performed along with that and now it's in the sculptures
archive of compositions.<span style="mso-spacerun: yes;"> </span>If you go to
Schwarzenbergplatz,in Vienna, at a certain time of day, that composition will
play. The compositions play back daily 9am to 10pm</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>The 75 stems, I probably should also ask this as it
relates to the 5.1 album with Manorexia.<span style="mso-spacerun: yes;">
</span>Was it a lot of complimentary pieces or is it intended to be 47
different things happening?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">It was one composition with 47 channels, each speaker doing
something discretely different. The challenge that I found was that you're
working with an audio field which is say 20 meters long and 8 meters tall.<span style="mso-spacerun: yes;"> </span>The speakers are secreted in the structure of
this sculpture.<span style="mso-spacerun: yes;"> </span>The listener can walk
through the sculpture, and where-ever they stand spatially, whatever speaker
they're standing next to, is obviously the loudest thing they are going to
hear.<span style="mso-spacerun: yes;"> </span>So if there is a part in the
composition where there are multiple sounds that are important to hear at the
same time, but they may be coming out of different speakers and locations, how
do you spatialize them?<span style="mso-spacerun: yes;"> </span>One sound is
maybe 20 meters away from the other sound.<span style="mso-spacerun: yes;">
</span>You're working within the limitations of it being outdoors, sounds
dissipating, the speakers aren't very large, that is a challenge.<span style="mso-spacerun: yes;"> </span>I worked with a system where I split up the
priority of the sounds into primary sounds that I wanted to be heard throughout
the system and then secondary sounds that could be throughout the system in
spatial areas, and then the third category of sounds, they could float, so they
could pan and move between speakers.<span style="mso-spacerun: yes;"> </span>And
then there were maybe 5 sections to the composition, so each section had to
then be considered in those permutations.<span style="mso-spacerun: yes;">
</span>We had to set up the program to do that and Tony Myatt designed the
software and the system and he and his team did an amazing job of figuring out
how to place these things in the program.<span style="mso-spacerun: yes;">
</span>So it was a lot of placing the sounds, going into it and adjusting the
volumes, and getting it as close as we could, as quickly as we could, to my
sonic vision of the piece.<span style="mso-spacerun: yes;"> </span>There’s a
shack on site, which housed the hardware and the software, and they had a
computer that could remotely change the parameters of the system while you were
standing inside the sculpture thirty meters away.<span style="mso-spacerun: yes;"> </span>We edged towards it and I think it was
successful.<span style="mso-spacerun: yes;"> </span>Again I responded to the
space and my knowledge of what other composers had created, and I wanted to
create something that reflected the grandeur of the surroundings in its climax.
I think I achieved it.</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Speaking of spatial elements, with freq_out, I've got the
CD that they came out with, and you know, some of the stuff is hardly audible
within the human ear, and I wonder if you keep that in mind when you're
assigned a certain frequency if some of<span style="mso-spacerun: yes;">
</span>the collective or some aspect of the collective is working with subsonic
frequencies to affect a person in the same sense as binaural beats (an online
sound program stocked with sounds to cause “euphoria” and “relaxation” etc) or
things like that where frequencies are supposed to cause a reaction in people?</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The idea behind freq_out is that the sonic spectrum is cut
up into twelve slices and each artist is given a slice to work within, and you
can't go above or below that frequency that you're delegated for that sort of
event.<span style="mso-spacerun: yes;"> </span>The lowest frequency is actually
0-25 hertz but most sub woofers don't even go down that low, and even if they
do, it's difficult to to get subwoofers that can handle that down low without
just cracking up.<span style="mso-spacerun: yes;"> </span>Its difficult for it
to resonate. The next frequency up is 25-60 I think, something like that, so
there's kind of a crossover of those frequencies so, when working in those
frequencies, you have to be mindful of what each other is doing.<span style="mso-spacerun: yes;"> </span>That's one of the reasons that the project is
created with the sites in mind.<span style="mso-spacerun: yes;"> </span>Each
time we do it, we go up one frequency, so if you did 0-25 at one freq_out,
you're going to be doing 25-60 and then going up the frequency spectrum.<span style="mso-spacerun: yes;"> </span>Usually we have a space where we work and
you'll kind of get glimmers of what each other is creating or you can get a
sense of the space, what you might want to say about the space, what you might
want to use to generate the sounds that you're working with.<span style="mso-spacerun: yes;"> </span>We all come from kind of different
disciplines so we all bring something different<span style="mso-spacerun: yes;">
</span>to the table.<span style="mso-spacerun: yes;"> </span>As a composer and I
can't help but bring compositional elements into the way that I structure my
frequencies. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>From the pictures, there're a lot of mixers and a lot of
cables but I don't see exactly what they're working with.<span style="mso-spacerun: yes;"> </span>Is it exclusively laptops?<span style="mso-spacerun: yes;"> </span>I read that Throbbing Gristle was using a
synthesizer to use subsonic frequencies to terrify their neighbors [with
frequencies that cause reactions in people].<span style="mso-spacerun: yes;">
</span>I don't know much about electronics so I wonder how many ways you can go
about conducting certain frequencies.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;">Usually we're not doing it to experiment on the bowel
movements of the audience. Normally the pieces are created with laptops and
burnt onto a CD.<span style="mso-spacerun: yes;"> </span>Those soundfiles are
looped and are all various lengths.<span style="mso-spacerun: yes;"> </span>It's
kind of a piece of eternal music that never repeats and it's installed into the
space that we're working in, usually on a multi channel system of 12 to 24
speakers.<span style="mso-spacerun: yes;"> </span>The space restrictions or the
parameters that are drawn by the nature of the space definitely influence the
placement of the speakers and the way that it's going to be experienced by the
audience, and also the duration.<span style="mso-spacerun: yes;"> </span>We've
done it overnight, 24-48 hours of it, we've done versions which have been like
a museum opening, we've done versions where it's been up for a week at a time
or two weeks.<span style="mso-spacerun: yes;"> </span>It really depends on the
space.<span style="mso-spacerun: yes;"> </span>In museums, underground, outside,
we've done it in a former strip club, the Communist Center in Paris, it's taken
on a lot of different forms.<span style="mso-spacerun: yes;"> </span>There are
parameters suggested by the environment and the resonance of the room, and the
amount of speakers, the physical space it is situated in. It's variable
proportions.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I'd like to ask what “Miasma” (or “Murnau”) was, “A
Meditation on Dimensional Densities Through Concurrent Temporal Passages”?</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Is that the thing I did with Lary 7?<span style="mso-spacerun: yes;"> </span>That was Brooklyn Lyceum and I can't really
remember too much about that but I think it was a collaboration with Lary
7.<span style="mso-spacerun: yes;"> </span>I don't know if you know who that is,
I don’t know that he's so well known outside of New York but he's a fixture on
the experimental avant garde scene here.<span style="mso-spacerun: yes;">
</span>He’s like a mad scientist, works with a lot of analog and vintage equipment,
making them do things that they're not supposed to.<span style="mso-spacerun: yes;"> </span>That particular night he was making
projections with glass slides, and in that environment there was some kind of
pyramid structure. I came up with some kind of audio piece to accompany that based
on a concept I had of temporal simultanaeity.<span style="mso-spacerun: yes;">
</span>The other thing, “The Pinch of The Baboon” (formerly known as “Murnau”),
that was another name for a different version of this improv ensemble I've had
with Oren Bloedow and Ed Pastorini called “Murnau”.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>We've
done that a few times.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><b>Which one of those had something to do with the
“aquasonic” which was sort of a string instrument that was made from water
vibrations? </b><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Oh, the aquaphone?<span style="mso-spacerun: yes;"> </span>I
might've used that in the pinch of the baboon.<span style="mso-spacerun: yes;">
</span>I got hold of that to do this piece with Tony Oursler where he did this
piece where he filmed a bunch of people playing solo instruments and then
combined them in a video installation, so everyone was “improvising” with each
other via their prerecorded video performance.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Are you aware of any plans of this stuff getting released
in any way?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">That stuff?<span style="mso-spacerun: yes;"> </span>No, it's
ephemeral.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>What are your feelings about the recording as the
artifact in present day?<span style="mso-spacerun: yes;"> </span>I notice that a
lot of the older stuff isn't being reissued on physical releases, at least not
yet.<span style="mso-spacerun: yes;"> </span></b><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I'm a strong believer in the recorded artifact, and I'm a
strong believer in the physical object as an artifact and fetish object.<span style="mso-spacerun: yes;"> </span>That's kind of how I started.<span style="mso-spacerun: yes;"> </span>I believe in the hard object. I don't really
release files, I release albums. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #999999;"><a href="http://foetus.org/content/wp-content/gallery/candid/1987-jgthirlwell-circa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://foetus.org/content/wp-content/gallery/candid/1987-jgthirlwell-circa.jpg" height="211" width="320" /></a></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Some of us are kind of burning to get a reissue of “DEAF”
or something like that, because it's like 50 or 60 dollars just to get a
damaged version, even on CD. </b><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">There's kind of a few things ahead of the queue for that,
before that would happen.<span style="mso-spacerun: yes;"> </span>The next
thing that's going to be off the ramp is this Foetus companion album to <i style="mso-bidi-font-style: normal;">HIDE</i>, which I'm finishing in the next
few weeks.<span style="mso-spacerun: yes;"> </span>That's got about ten or
eleven pieces, and then that will be rapidly followed by the soundtrack to a
film I scored a couple of years ago called “The Blue Eyes”, which is being
prepared as well.<span style="mso-spacerun: yes;"> </span>Those two albums will
be out this year.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Is this companion album still going to be inspired by
“the culture of fear”? </b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">There are pieces on there that were written around the same
time as <i style="mso-bidi-font-style: normal;">HIDE</i> and have the same kind
of conceptual thoughts behind them, yeah, that didn't quite make it onto the
album.<span style="mso-spacerun: yes;"> </span>Some of them were actually
written since then but they fit into the same mindset.<span style="mso-spacerun: yes;"> </span>Parts of them are being culled into this
opera that I'm eventually working on.<span style="mso-spacerun: yes;">
</span>“Cosmetics” (opera piece on <i style="mso-bidi-font-style: normal;">HIDE</i>)
is kind of a public workshop of what...There's another piece on the companion
album which is also another kind of large scale piece...<span style="mso-spacerun: yes;"> </span>[phone cuts out]</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>We were talking about your companion album to <i style="mso-bidi-font-style: normal;">HIDE</i> is going to be something of a large
scale opera once it's finished.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The album's not a large scale opera.<span style="mso-spacerun: yes;"> </span>There's a piece on <i style="mso-bidi-font-style: normal;">HIDE</i> called “Cosmetics”.<span style="mso-spacerun: yes;">
</span>That's kind of a work in progress. With these pieces I'm workshopping in
public for an opera that<span style="mso-spacerun: yes;"> </span>I hope to
realize in the next five years, and there's a piece on this next album which
will also evolve into that opera as well. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>If there's a god in the sky, then hopefully there will be
a big production.</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">That's the intention, I want to make it as difficult as
possible.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">One thing I like about <i style="mso-bidi-font-style: normal;">HIDE</i> is that while I know it does have a
political underpinning, it can be widely interpreted. I prefer that to
someone preaching specifically about something immediate such as
"Bush". I think things last the test of time and speak more
universally that way. Looking back on your old interviews, in one of them
you spoke adamantly that preaching should be something that's upheld, or held
in high regard. I wonder if you still feel that way now. How do you
regard temporal affairs in your work? </span></b></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">First of all I don't take responsibility for anything I said in
old interviews. I agree that <i style="mso-bidi-font-style: normal;">HIDE</i> is
quite a political work, and draws on the culture of fear, post-homeland
security control, paranoia, the rapture etc. My other works have been political
too but often more about personal (inter-relationship) politics. I try to veer
toward universal themes, they are more timeless. My old works have some
references to culture in the lyrics (Frank Sinatra, Jackie Collins, Sartre,
James Brown etc) but I don't do that now. Not today anyway.</span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>If there's anything else that you'd want to share as far
as the meaning of it, for instance, the video for “Here Comes The Rain”, it's
well, there's a lot of symbolism there, obviously there isn't any rain in there
[in the video].<span style="mso-spacerun: yes;"> </span>I see teeth being
removed and prescription pill bottles in abundance.<span style="mso-spacerun: yes;"> </span>I was wondering if that's also a side effect
of the culture of fear or there's another subtext to it …</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">It definitely echoes the ideas behind <i style="mso-bidi-font-style: normal;">HIDE</i> embodied in that video, but in some ways when you do a video,
you're making a visual interpretation of that song, and then sometimes it
becomes inextricably linked with the song in a way where that's the only
interpretation of it.<span style="mso-spacerun: yes;"> </span>In some ways,
that demeans the song.<span style="mso-spacerun: yes;"> </span>Sometimes, when I
see a video for a song, it makes the song worse, you know, I don't like the
song as much because it was better without a visual interpretation.<span style="mso-spacerun: yes;"> </span>However, I really do like the video for
“Here Comes The Rain”.<span style="mso-spacerun: yes;"> </span>It's probably one
of my favorites.<span style="mso-spacerun: yes;"> </span>It's obvious in the
first half of the video that something terrible has happened - I'm finding
these figures in the woods and they have their heads bound in burlap, and I go
through their pockets, and find prescription drugs. I'm going from body to body
finding these drugs, then this goat appears, which is, to me a symbol of
life.<span style="mso-spacerun: yes;"> </span>That was partially inspired by
being in Oman, seeing a lot of goats around.<span style="mso-spacerun: yes;">
</span>The goats there wander around like stray dogs. <span style="mso-spacerun: yes;"> </span>They give milk, they give meat, they're very
hardy utilitarian animals...<span style="mso-spacerun: yes;"> </span>So anyway,
next I disappear into my lair, and in there amongst my large collection of
prescription drugs is this girl with six arms who I'm tending to.<span style="mso-spacerun: yes;"> </span>To me, she is another a symbol of life, and
if she dies, the world will die.<span style="mso-spacerun: yes;"> </span>At one
point, her eyes flicker open, and it's very fleeting, but the goat's eyeballs
are transposed into her eyeballs.<span style="mso-spacerun: yes;"> </span>That's
some of the things that are running through that.<span style="mso-spacerun: yes;"> </span>Also, you know, the 6 arms, a figure that's
not really supposed to be a reference to Kali [a Hindu figure of time, change,
and eternal energy, sometimes represented as dark and violent] but I'm not
going to deny that there wasn't that that thought there.<span style="mso-spacerun: yes;"> </span>I really saw her as more of a spider
girl.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>If you're going to pick a video that would have what you
might call a finite interpretation, that one is wildly open for
interpretation.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Yeah, I didn't want to get too specific in it, you know. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The red, black, and
white Foetus color combo was at first inspired to some extent by propaganda and
pop art. Now that you have evolved, but kept with this concept, what new
meanings have you found with it and what keeps this limitation pragmatic?
Are you now inspired by the loud advertising of urban areas, as it
relates to the meaning in your recent work with Foetus?</span></b></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">The Red, White, Black and Gray
motif still has a lot of possibilities to me. I was always inspired by loud
advertising and where one’s eye falls when scanning a room. Lately I have been
exploring my palette in the context of minimalism. Interestingly I dig up some
screen prints I had made about 35 years ago, and hadn't seen since, and they
already hinted at that direction. There is a track on the new Foetus album,
"Red and Black and Gray and White", where the
lyrics came about partially thru researching cheerleader chants and military
cadence, where I use the idea of my palette as team colors and the flag.</span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>In the last two albums or so, you've become more, I don't
know, maybe not, you've become more outright with the symbolism, and I've
started to appreciate that.<span style="mso-spacerun: yes;"> </span>For
instance, your piece that you wrote that was about the fear of deserts, one
would superficially assume that it's just maybe a whimsical name, because it
was around the same time as there was a piece that was about having the fear of
naming things.<span style="mso-spacerun: yes;"> </span>Now I come to read that
it was inspired a desert that makes sound just naturally by the wind....</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Yes, the singing sands.<span style="mso-spacerun: yes;">
</span>That's a phenomenon that happens in various sand dunes.<span style="mso-spacerun: yes;"> </span>Excellent examples of it in Oman.<span style="mso-spacerun: yes;"> </span>I traveled to Oman and made some field
recordings of that.<span style="mso-spacerun: yes;"> </span>I went with my
friend and<span style="mso-spacerun: yes;"> </span>colleague Jacob Kierkegaard,
and we crossed the country and searched out the environment, and made
recordings of the call to prayer.<span style="mso-spacerun: yes;"> </span>A lot
of those things were kind of rolled into that piece, but the backbone of it was
that I was writing a string quartet commission for Kronos Quartet, and that
piece starts and ends with the sounds of the singing sands.<span style="mso-spacerun: yes;"> </span>It's kind of a moaning type of sound which is
caused by the wind pushing the sand up the dunes - it reaches kind of a
critical point, the sand starts to roll back down again.<span style="mso-spacerun: yes;"> </span>They're not quite sure what causes the
moaning sound but the sand drifting down possibly because of the shape of the
grains of sand or something but you get this kind of low moaning sound.<span style="mso-spacerun: yes;"> </span>I came back and wrote the string parts.</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Hopefully that'll come out on a recording some day, but …</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">They played it live in Australia when I was down there.
Hopefully they'll make a nice recording of it one day.<span style="mso-spacerun: yes;"> </span>Our relationship is continuing, I'm planning
to write my third piece for them this summer.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Oh cool, so you've got at least one more season, maybe
two of Venture Brothers under your belt.<span style="mso-spacerun: yes;">
</span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Season Five is finished and that starts airing on May 19<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>And yes, I think we’re doing season six.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Great!<span style="mso-spacerun: yes;"> </span>I wanted to
ask, especially with that material I was surprised to hear as much synthesizers
as I did, but it begs the question, if you're ever going to do maybe a purely
synthesizer album or something that's purely electronic, because I know that
you've done solo electronic performances.<span style="mso-spacerun: yes;">
</span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">It's possible.<span style="mso-spacerun: yes;"> </span>I've
been doing some work at the Elektron Musik Studion in Stockholm, and plan to
return there in May, we'll see what comes out of those recordings.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Is that where you were posting all of those pictures of
the old synthesizers that, some of them that Brian Eno favored and things like
that?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The VCS3, that was actually at STEIM in Amsterdam.<span style="mso-spacerun: yes;"> </span>Another electronic music studio workshop
place.<span style="mso-spacerun: yes;"> </span>I visited recently and also made
some recordings there.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><br /></span>
<div class="MsoNormal">
<span style="color: #999999;"><b>Do you think there's a potential of maybe a solo
electronic tour?<span style="mso-spacerun: yes;"> </span>I know that you've done
some serialist pieces within the last few years.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I don't think a <span style="mso-bidi-font-weight: bold;">solo
electronic tour</span>, maybe very special dates.<span style="mso-spacerun: yes;"> </span>The next tour I'm doing is actually Manorexia
in April/May in Europe, ten dates.<span style="mso-spacerun: yes;"> </span>I'm
not big on touring, I'm more about doing isolated shows and events.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I can understand that, it's probably pretty rough to tour
…</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">It's difficult for a seven piece ensemble that is not really
appropriate for playing in rock clubs.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Do you think the piece that you did that was inspired by
France Gall will ever get released anywhere?<span style="mso-spacerun: yes;">
</span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">No, that's highly unlikely.<span style="mso-spacerun: yes;">
</span>Some pieces are just meant to be played once and disappear.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I find that to be admirable, but as a fan, you know, it's
painful!</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The Residents had this theory of obscurity many years ago
before they released this album called <i style="mso-bidi-font-style: normal;">Not
Available</i>, and they decided that they weren't going to release the album
until they'd completely forgotten it existed.<span style="mso-spacerun: yes;">
</span>Sometimes it's good to do something, and then forget it exists.<span style="mso-spacerun: yes;"> </span>Maybe I could do some self-archeology in 15
years time.<span style="mso-spacerun: yes;"> </span>Otherwise there's not going
to be anything to unearth when I die.</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>I guess that means I don't ask anymore questions about
reissues then!<span style="mso-spacerun: yes;"> </span>Hopefully you didn't have
a falling out with this person but I'd really like to ask about Raymond Watts,
because I read an interview that he did where he said he was only interested in
noise, like um, just, he was only compelled by the sound of plastic bending and
things like this until he heard about your work.<span style="mso-spacerun: yes;"> </span>That he came to work with you and obviously
was influenced by you, I mean it's pretty evident in his work.<span style="mso-spacerun: yes;"> </span>I wonder if he ever told you anything about
that or how that came to be.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">It's fairly blatant that he was influenced by my work.<span style="mso-spacerun: yes;"> </span>One of his songs was such a rip off of me
that he dedicated it to me.<span style="mso-spacerun: yes;"> </span>He played
keyboards with me on one tour, the first European tour with a live band in
'88.<span style="mso-spacerun: yes;"> </span>And then we did some pieces
together on the first Steroid Maximus and that was about it. I'm not in
touch.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Being that you've got a lot of covers under your belt, do
you think that there's a cover album in the future?<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><span style="mso-bidi-font-weight: bold;">Actually, there are
a three covers on this satellite album, so that should be enough to satiate
you.<span style="mso-spacerun: yes;"> </span>Two that have been released but
haven't been available widely.<span style="mso-spacerun: yes;"> </span>One of
which is a cover “Warm Leatherette” and the other was a cover of a song by Nino
Ferrer .</span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>As far as sampling goes, how has that been something that
you have to deal with in the past? I know that there's been a lot of concerns
about clearing samples.<span style="mso-spacerun: yes;"> </span>I know that it's
often been very difficult to be able to tell whether you've been sampling or
whether you're playing something in the studio.<span style="mso-spacerun: yes;">
</span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I do samples as building blocks, as textures, and sometimes
as a muse, and sometimes I dissect things.<span style="mso-spacerun: yes;">
</span>They're very much part of my process, but not exclusively.<span style="mso-spacerun: yes;"> </span>I work without samples as well. I don't
usually use such large chunks that I've ever needed to clear one, or that I've
ever cleared one.<span style="mso-spacerun: yes;"> </span>I don't use them as a
backbone of a song like say The Black Eyed Peas might or something like that.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Yeah, that goes without saying, I mean you definitely
make a piece your own.</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I use them in kind of a sculptural and layered way. Or
repitched and otherwise altered. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>It's pretty impressive how you're able to restore some of
that stuff.<span style="mso-spacerun: yes;"> </span>Not necessarily concerned
with sampling, but that song “Wild Irish Rose” (on Steroid Maximus's first
album, an old woman singing with a very strained voice, almost mournfully), I
never would've thought of that, I don't know many people that would.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">The vocal of that piece was actually brought in by Don
Fleming [best known for producing Sonic Youth, Teenage Fanclub, and Hole and
his bands Velvet Monkeys, B.A.L.L.. and Gumball].<span style="mso-spacerun: yes;"> </span>He was working at a tape copying house where
people would bring in old tapes to have them transferred, and that recording
that of the voice in “Wild Irish Rose” was someone's grandmother singing that
folk song in their living room.<span style="mso-spacerun: yes;"> </span>We added
accompanying elements on top of that, it's such a haunting recording.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>Yeah it's definitely something of a masterpiece as far as
found sound goes.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Yeah.<span style="mso-spacerun: yes;"> </span>That was a good
gem. </span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><a href="http://foetus.org/content/wp-content/gallery/steroid-maximus-pp-muir/steroid-maximus-prospect-park-july2010-photo-by-ryan-muir-10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://foetus.org/content/wp-content/gallery/steroid-maximus-pp-muir/steroid-maximus-prospect-park-july2010-photo-by-ryan-muir-10.jpg" height="320" width="212" /></a></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">I'm also wondering how your stance
on Constructivism has changed, because it came up a fair amount in early
interviews?</span></b></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">Uh, I don’t remember having a stance on Constructivism. Of course
I deeply admire the design qualities and aesthetics and they have effected me
greatly but I don't work with the same social agenda as they did.</span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>With scrapping material, you're obviously someone who has
a great deal of concern for their work.<span style="mso-spacerun: yes;">
</span>Would you say that you've got 80% material that doesn't make it off of
the cutting room floor or is it a certain thing where if it's not going right
you try to chisel it out?<span style="mso-spacerun: yes;"> </span>Amon Tobin is
a type of person who said that if he's not feelin' it, he just scratches it and
moves on, he doesn't try to push forward with it.<span style="mso-spacerun: yes;"> </span>But maybe you're a type of person that tries
to squeeze it out.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Yeah, sometimes I'll look at folders of albums that I've
been working on and I'll find 30 pieces that were started, and I'll look at
them and I'll see that I maybe spent the morning on something or sometimes a
bit longer, just forgot about it, and usually I don't really return to those
things.<span style="mso-spacerun: yes;"> </span>But then there are other things
which don't seem to be going anywhere, but eventually I revisit them.<span style="mso-spacerun: yes;"> </span>I may see that there's potential there and I
work on it a bit more, and it can evolve over the course of several years.<span style="mso-spacerun: yes;"> </span>On the last Manorexia album, <i style="mso-bidi-font-style: normal;">Dinoflagellate Blooms</i>, there are pieces
on that that I worked on over the course of maybe 6 years, coming back to them
and revisiting them, and going “oh that's no good” and then coming back to them
and saying, yeah, I like the essence of this, what do I do to draw out the
essence?<span style="mso-spacerun: yes;"> </span>Revisiting and editing and
editing and then getting it down and finally realizing, yeah, this is actually
really good.<span style="mso-spacerun: yes;"> </span>It takes patience.<span style="mso-spacerun: yes;"> </span>And then sometimes I know something is good,
and then the mix will take forever.<span style="mso-spacerun: yes;"> </span>So
it really depends, it's not like I use every scrap of stuff that I do, I don't
know if I could really give you an accurate percentage rate of the
fallout.<span style="mso-spacerun: yes;"> </span>Having said that I would love
to hear Amon Tobin’s rejects.</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">When you started doing Manorexia,
you sat down to do an ambient or minimal album, and what resulted was not
necessarily ambient nor was it always particularly minimal, per se, depending
on how you approach it I guess. It was a sort of organic composition where each
movement fed off of the last, from what I recall you reading. The new
Manorexia album, despite being also in 5.1 surround, struck me as much more
minimal and ambient in overall effect, more transcendent in overall effect.
Was that something that was a natural effect as another dimension to
your more bombastic/epic output, or is it something you have been striving to
do? In other words, have you been striving to develop your more
minimal/spacial side over time, or is it a natural expression to counter the
otherwise hyperactive side of your work?</span></b></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">Yes it is a reaction or balance to my epic output, but it comes
out organically. I guess I need to have outlets for both of these sides and the
spatial side is winning a bit right now. I do think the last Manorexia is a
real distillation of what I've wanted to achieve with that project, and it was
carved out over a long period of time</span></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-autospace: ideograph-numeric;">
<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999;"><a href="http://foetus.org/content/wp-content/gallery/foetus-1985/001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://foetus.org/content/wp-content/gallery/foetus-1985/001.jpg" height="225" width="320" /></a></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>The questions I would have now are sort of dealing with
causation.<span style="mso-spacerun: yes;"> </span>It's multiple layered, it's
like now you're much different than you were about 15 years ago, and New York
is much different than it was about 15 years ago and I know that you do yoga now
and your area of New York is …</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">Is a great town for yoga!</span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>[Laughs] You said before that there's starting to be a
lot of fratboys and useless stores.<span style="mso-spacerun: yes;"> </span>The
fact that you used to not be able to take a cab home before.<span style="mso-spacerun: yes;"> </span>And I wonder how much you think that's
influencing your current work.</b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">You mean the gentrification of New York?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><b>It seems like you're maybe not necessarily dealing with
pleasant material but you're dealing with it in a more positive way.<span style="mso-spacerun: yes;"> </span></b></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999;">I think that any city evolves, and any city builds until it
dies and changes, and the process that surrounds me in New York is just a
repetition of what happened in Soho and then happened in Tribeca, and happened
in Williamsburg and<span style="mso-spacerun: yes;"> </span>has happened in
Dumbo.<span style="mso-spacerun: yes;"> </span>Artists move into a neighborhood
where rents are cheap, and maybe build up some kind of community and make it
attractive to people who wouldn't have moved there in a million years in the
first place, and eventually those people move in and push the artists out, and
the artists go somewhere else. That's a repeated pattern in this city and a lot
of other cities.<span style="mso-spacerun: yes;"> </span>The landscape changes
and Brooklyn is, I've been living in Brooklyn for 25 years, and it's a very
different aura than when I moved here.<span style="mso-spacerun: yes;"> </span>I
spoke earlier about the New York that I moved to, how very centralized it was,
how it was very East Village-centric.<span style="mso-spacerun: yes;">
</span>It's not that at all anymore, it's much more dispersed and a little
eccentric.<span style="mso-spacerun: yes;"> </span>A lot of what's happening
culturally is mostly happening in Brooklyn, and in a wide area of
Brooklyn.<span style="mso-spacerun: yes;"> </span>Not just Williamsburg or
Bushwick, and Queens, and all over.<span style="mso-spacerun: yes;"> </span>But
I'm still very drawn to New York, there's so much going on here culturally,
it's such an overload of that.<span style="mso-spacerun: yes;"> </span>That
really inspires me.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-22581320229818734932014-05-04T20:50:00.000-07:002014-05-05T01:54:14.109-07:00Overlays; An interview with travis (ONO)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKyhRo2wJ8QtFPGUX9UQBdBBUEX24TdbigkbSJPv2TZcCr9l-t8F7D93TsSyhLascxEUo2yluCssn82BNq7qcr82Nw_zt56phw9kS8EkBzhvjt4bl9X_hvh-DT47KXvVVIGXW4VeuiFBxr/s1600/SKMBT_C55011083115030.tif" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKyhRo2wJ8QtFPGUX9UQBdBBUEX24TdbigkbSJPv2TZcCr9l-t8F7D93TsSyhLascxEUo2yluCssn82BNq7qcr82Nw_zt56phw9kS8EkBzhvjt4bl9X_hvh-DT47KXvVVIGXW4VeuiFBxr/s1600/SKMBT_C55011083115030.tif" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">travis portrait by Arvo Zylo, during an ONO practice, with a generous amount of wine</td></tr>
</tbody></table>
<div align="CENTER" style="font-style: normal; font-weight: normal; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"></span></span><br />
In 2010, I wrote <a href="http://arvofingers.blogspot.com/2010/10/links-to-articles-ive-done-for-musique.html">an article</a> on the legendary band <a href="http://onomusic.bandcamp.com/">ONO</a>, and from there, I decided to interview <a href="http://travistravis.com/">travis</a> himself on the radio. I ended up transcribing the interview and having it published in issue #50 of Roctober magazine. In agreement with Roctober, I am sharing an abridged version of the interview here. ONO have a new LP out called <a href="https://monikerrecordsss.bandcamp.com/album/ono-diegesis">Diegesis</a>. </div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>You
started out playing piano as a child and you were getting yelled at
for tying wooden blocks to your fingers and things like that. You
were influenced heavily by gospel. What kind of music were you
playing as a child? </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">As
a child actually I was playing whatever my teacher told me to play.
I had this teacher who was not particularly gospel oriented but she
was what my mother considered a good piano teacher. I don't know
what that meant but I did drills and drills and drills. Nothing that
is memorable. And that was one teacher but my grandmother had a
different teacher in mind and she did concentrate on not so much
gospel but black music of the sort that was played and sung at
Tuskegee and places like that. We had big choirs and a very formal
piano behind it and of course none of it made any sense to me, but
yes I did attach sticks to my fingers. I played the piano in my
grandmother's parlor on Sundays. One day I attached these sticks to
my fingers and made all this racket! It was fun for m</span></span>e but actually
it wasn't fun because that was the end of the piano lessons for me.
But there were other issues that led up to that noise and it had to
do with how I was perceived and treated by males in the community
that caused me to attach these sticks to my fingers. Just because I
didn't care for music, because I didn't, and music didn't mean a
thing to me then, doesn't now, but the other side of your question
was the gospel. Yes, I actually collected anything that ---
Somebody I recall, a black college student, came to our house and I
don't recall where he was from but he was selling Columbia Record
Club subscriptions that you could get, these free 33 1/3 records.
And without my mother's approval or anybody's approval, I joined and
got anything by Mahalia Jackson. Disturbed everybody in our
household because suddenly these records started coming and imagine
somebody had accepted my word for it; that I was in any position to
order any of these records. And they wouldn't stop! Of course
eventually they stopped, but by then I had all these great Mahalia
Jackson records and that was--it was worth it.</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>That's
funny, up into the 90s you were able to do that, order anything you
wanted under the age of 18. It seems like you weren't particularly
that excited about music as you were about sound even at an early age
so I wonder how things culminated for you, what was the creative
outlet of singing or music like for you in high school and how it
sort of came to be sort of what ONO was and what your other projects
were like.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">As
a kid, very early on, my great grandmother established this church,
and this little community, called Carter's chapel. She and her
Native American husband, and I was a child, 3, 4, 5 years old. And
in Carter's Chapel what I did was sing in that church and I played
any kind of sounds I wanted in the church and because it was a small
church, a small community, now it feels as if I had my run of the
place. But in doing all these things, it turns out that they liked
the way I recited and so my school teachers would have me recite. At
Christmas time I'd do The Night Before Christmas in it's entirety at
the church and at the school and that was on one side of the family
in Amory, Mississippi. The other side of the family was up in
Itawamba County, which is much much smaller, not even 200 people
there, even now. In that place you had a church and school that were
pretty much combined and you knew everybody in it. I liked being in
that environment because I could do lots of things on stage. The
school had a stage, it was a large one-room school with eight grades
in it. The fun of it was, the stage meant that I would do all these
fun things but always by myself as I recall. It wasn't as if I were
interested in the public because I didn't have any friends, I had no
interest in anybody. I lived very much alone with my grandmother and
my grandfather and he was away because he taught school elsewhere.
So here I am in this environment in a school that has a stage, has a
piano and all that, and I can make all of this racket with my voice.
People would accept it and not say “NO, you can't do that”.
Outside of that, I had no real interest in getting involved in
things, musical or anything else because I was pretty much doing
whatever I wanted to do. I was not a bad child, but I was somewhat
undisciplined in terms of sound and what it meant. I was much more
interested in ritual I think, because in my grandmother’s yard I
created little churches and cemeteries and buried animals in my
little cemetery and sang for the rituals and made sounds for the
rituals. Now that was exciting! I liked that a lot! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>That
was before high school?</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Oh
yes, long before high school, because by high school I had to deal
with high school kids. I was younger than all the other kids in the
class. At first I had asthma and that came about because these
people burned down a huge amount my grandparents' land, and I was
really traumatized by that because the animals burned, the forest
burned. It was a huge, to this moment, memorable fire, and I
developed asthma out of that. This is before I was even 7 years old.
After that happened, I had this asthmatic condition, all the women
in the community gathered and had this midnight ceremony and they're
all dressed in white in Carter’s Chapel church and they're making
ritualistic sounds. They sound somewhat like Gregorian Chants, but
they're of strange origin, I'm not sure what they were. And then
they served me vinegar, and boiled eggs and egg shells that were
burned. I've not had asthma since then. It was the strangest thing
that night as they did this, as if they were doing their prayers and
making these noises over my head and body; right there at the altar,
and my whole body begins to shake and gush of mucus. It was very
peculiar. I can go on about this. It's a clear memory even now.
All these black women all dressed in white, with towels and linen and
these eggshells, and the smell of vinegar and the green smell of
herbal plants and all that. And I’ve not had any hint of asthma
since then. I'm sorry, that's not your question at all! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Oh
no, that's really interesting to me, because my initial question is
how did you become a singer. So that's very interesting and it also
makes me think of you using rituals and then all of a sudden there's
this ostensibly Christian gathering which really seems a lot like a
(pagan) ritual...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">It
is and it wasn't entirely Christian, because my folks you will
remember were native and there's this strange overlay of black
Christianity which on its own is very strange, and Pentecostalism and
Native American ritual. Because my folks on that side of the family
are Native American. And there are no images of crosses in this
church at all. Only in the last decade or so have they put up
crosses and the sign of deliverance in the Christian tradition.
Everybody’s a singer there. But it's the ritual as much as
anything else that I love. And I love Roman Catholic ritual for
instance, even though there are some very strange counterparts and
underlays, the idea of the ritual and how the ritual makes you feel
and when I’m getting dressed for a performance. Dressing is part
of the ritual. Making this transition from one facet to another or
playing multi facets. That for me is very exciting. It appeals to
me on a level that I probably don't like to think about that much;
but on a level that I like to do because it thrills me through and
through. </span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQw4Q04LrlBjVyKJZFw538RaltzlFpy9MKhhujQOm0gFrg6Ob4QJ1zN_RcoTUYrEspoKk4dKSY8qFiqEMSJ0pdzyKkvp-ml9XEkAkY4r2XziBCeQ9g3NTIDvWjIbhJuC7j7JBBjfVaVH9/s1600/IMG_8751.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQw4Q04LrlBjVyKJZFw538RaltzlFpy9MKhhujQOm0gFrg6Ob4QJ1zN_RcoTUYrEspoKk4dKSY8qFiqEMSJ0pdzyKkvp-ml9XEkAkY4r2XziBCeQ9g3NTIDvWjIbhJuC7j7JBBjfVaVH9/s1600/IMG_8751.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;">photo by Tamara Smith</span></span></td></tr>
</tbody></table>
</span></span> </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Yeah,
that's a question that I would have asked, about your wardrobe,
because you almost always wear white when you perform. I know that
there's at least some level of symbolism going on, but I didn't know
to what to degree.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">Well
white is the symbol of Death and Transfiguration in West African
cultures. Observe black funerals. In my performance, the white
comes in via Kundalini which you mentioned (in a previous
conversation). But Kundalini comes much later in my world, it comes
in fact, while I was in Cleveland; I studied Kundalini Yoga. And
there of course, Kundalini sieks always wear white cotton. And it's
worn because of the relationship to your auric consciousness,
expanding your auric presence, and it's very hard to hide true
emotions because of that. Your thinking becomes clear to those who
can read it. So, one only wears white cotton in the Kundalini
ashram. I was on my way to give up my world, surrender if you will,
because that's what Kundalini meant to me, relinquishing the will to
a higher consciousness. White is what I was wearing daily, when I
came here on my way to New Mexico to study with </span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">Harbhajan
Singh Khalsa Yogi-Ji. </span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
And so, realizing how it works in the light and the sense of being
able to, not conceal when you're wearing white. It appealed to me
and the way that white works on the stage and in the light, is
important to me, it's not just the white but because of the way most
stage lighting works and the harshness of it, and how much else is
working, your presence is magnified in the white light. I learned
later at Rose Croix University in San Jose, CA, there are endless
other uses of the vibratory values of color, but I like to consider
those when I am outside, when people are undisturbed by for instance
the kinds of lighting that you'll see on most theater stages. Not
just theater stages but music stages. I studied theater just a tiny
bit. It's a much more emotional lighting. But that's just the
lighting, in terms of the costuming, I like to feel that when I'm on
stage there's a freedom and a flexibility that I can explore, which
gives me a level of fun, another way of looking at Character. Who
are the people that I act. And the stage can give me that. I can be
in a specific environment where I'm forced to be one Character. I
can write many characters within say a 20 minute performance, and
Character is very important to what I do as travis and to what I do
with ONO. Another part of it is the frocks that I wear. I love
wearing incredible gowns, and I have hundreds of them in my basement,
not just gowns but costuming in general. But the gowns are
specifically worn, not just because of what does it mean to the
viewer to see this old black man performing whatever it is I'm
performing, changing into that Character through that gown (overlay)
and through those words and through all that noisy racket in front of
you so that it allows a sense of concealment if you will. David
Downs, with whom I studied Shakespeare at Northwestern, teaches that
the Character resides in the spine. I'm sorry, I’m ranting.</span></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Oh
no, I'm satisfied with that answer. There are a lot of things that
are peculiar about how things came to be. I hardly ever see anyone
playing a tabletop guitar, things like that. </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">P.
Michael forced me! I love the melancholy sound of the lap steel.
Being from Mississippi, you hear it in Country/Western. Its origins
have more to do with Hawaiian music. When I got to Chicago on my way
to New Mexico and ran into Kathy Brooks via her mother at
Northwestern University School of Law where they did not mind if I
wore frocks, even then. Yes, I have video footage of yours truly
running around, a supervisor wearing frocks, long gowns and wedding
dresses at NU law school! That's another story. Another person who
worked there was Amanda Wallace Brooks, Kathy’s mother. Over 6
feet tall. Wild, wild black woman. And Kathy had all this red hair
that just stood out way out about a foot from her head, very hippie
style; and she carried a gun; and she carried a machete and
everything. Well Kathy would come visit her mother and she was
incredibly fun. She wanted to know about me, she wanted to know all
of my biz-ness! I had no choice but to tell her. I gave her my
poetry and other stuff to read and she passes it on to her friend P.
Michael Grego, and P. Michael immediately comes to the office and
says “We are going to form a performing group to do this work”.
Actually I was working on a piece called the “The Nigger Queen”
which still isn't done, but P. Michael decided we were going to do
all this stuff. On January 5</span></span></span><sup><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">th</span></span></span></sup><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
1980, he starts the band. I provide the name ONOMATAOPOEIA, or ONO
for short, because I thought: I'm okay with a band, except that I
don't want to be limited by music because I am not interested in
music, I don't like it. I don't care about it. I have no interest
in doing it. I don’t want to compete with musicians. I do want to
do some kind of sound environment that is Fun to do. I mean really
Fun, and that I wouldn't be nervous about going out on stage at any
time no matter what. I wanted it to be Fun, and it is still Fun, I'm
happy to say. Then P. Michael called me at my office a few weeks
later, “Okay, I want you to go to Clark Pawners and buy this”.
He called it a dobro. It's not a Dobro, it's a lap steel guitar but
it has Dobro tuning. (P. Michael responds to the tuning.) So, I go
to Clark Pawners. I buy this lap steel, and he says “don't get
lessons”. And that meant that I could play with making all this
noise that I felt suited what the words were about and what the
environment that we were creating was about. Kathy was a
Shakespearean actress, and she would recite Shakespeare and I'd be
doing travis words and all this racket and P. Michael would be making
all this noise. It was a lot of Fun. That's how the lap steel comes
in. Many years later I actually advertised at The Old Town School
Folk Music, if anybody was available to give me some lessons. By
then I had 5 lap steel guitars. This guy Ken Champion, a Cowboy,
gave me lessons. He said if you pay this amount, I will come to your
house every other week for an hour and that was many years after --
that was 1990. ONO had been using the lap steel guitar since 1980.
He decided he would give me lessons on the Gibson. For me, Gibson,
Fender, none of it made a difference. But for him, the Gibson was
the one; and that's what I got the real lessons on. </span></span></span></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSbwKDgELzMwgsk5BO54z0-1Pt9CEbMwXnDapAFbdXWKCrhuIHiSOmO8RhYJlSDQ10FfhUjEv9jyM6CMiRnCm7VzxDTBiqsEmgW3JynWZRc9FZaD3_bE87doOrCa8UDX60RkAgCMa8ZOlD/s1600/IMG_9234.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSbwKDgELzMwgsk5BO54z0-1Pt9CEbMwXnDapAFbdXWKCrhuIHiSOmO8RhYJlSDQ10FfhUjEv9jyM6CMiRnCm7VzxDTBiqsEmgW3JynWZRc9FZaD3_bE87doOrCa8UDX60RkAgCMa8ZOlD/s1600/IMG_9234.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">travis with P. Michael, photo by Tamara Smith</td></tr>
</tbody></table>
</span></span> </span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>It
didn't cross my mind until this conversation, but you were leaving
from Cleveland on your way to New Mexico and you happened to run into
P. Michael on the way, at a gas station or something like that? </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">(Laughs)
Actually, it wasn't at a gas station, it was through Kathy. Kathy
actually introduced us because P.Michael is a very dear friend of
Kathy Brooks, and Kathy's mother was at Northwestern University
School of Law as an administrator and she and I worked together. I
had planned to remain in Chicago just for the summer, then I’d
continue on to New Mexico. I figure I've got time, I'm giving up all
my earthly possessions, this is my last hurrah, my last fling, my
last look at the world. By that time I was quite happy with giving
up everything. I'd studied Kundalini when I was in Cleveland I was
completely immersed in things like ... I studied Kundalini but I
also was studying Krishna Consciousness, studying KunTao Martial Arts
at the American KungFu-Karate Federation, and I was attending
meetings of the Theosophical Society and all this stuff about
brotherhood and philosophy and comparative religion, and getting even
further into Kundalini. I loved Kundalini, but the problems of
Kundalini teachers, had as much to do with my world then as now and I
had one issue that didn't make me happy. Everything about the study
was great, but what I didn't care for, and I'm bringing this up
because in the context in which you mention it, I wonder why no
matter what happened with P. Michael and Kathy, why didn’t I just
go on to New Mexico. But even as evolved as the Kundalini Sieks
were, they thought I was thee strangest character on the face of the
earth, and I didn't understand that. We had this ashram in beautiful
Overlook Drive. Very upscale Cleveland community, very rich. This
huge mansion we lived in and studied in. The teachers would put me
outside to do landscaping so that neighbors wouldn't be shocked at
seeing me. The sieks never understood why I wouldn't give up my job
at the Kidd Computer Center, in Bratenahl, OH, where I was a
supervisor of communications in a high security division of the
Defense Department and I loved it. Still I would wear spike heel
shoes, opened toed pumps with my Kundalini white. It disturbed the
sieks. I thought, when you're that evolved, what do the other
trappings mean anyway? And then they would ask “why did you do
it?”, and well, you have to wear something, and I loved wearing
high heeled open toed pumps and platforms. I wonder if that had
anything to do with my staying here and finding a place on stage
where I could wear anything I want, or nothing at all. I don't think
that it did, but it does concern me that those frictions, almost
fascistically, are applied religiously. Everybody gets a uniform I
guess. Krishna had a uniform, Kundalini, there's a uniform. And
then I was dancing all the time, in Cleveland, I was dancing every
weekend in the bars wearing my own designs.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I'd
like to ask what your feelings were about changing your name and
taking out your last name, as well as making it lower case.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
</div>
<div style="font-weight: normal; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I am a bastard. My
father’s name does not appear on my birth certificate. However, I
was enrolled in schools, including the University of Akron, using his
surname. Likewise, the military knew me by an alias. Although ONO
never traveled internationally, we were asked to travel to some very
controversial countries after the release of “Machines That Kill
People.” I looked at US Passport forms, but did nothing. Finally,
in 1987 I began to itch for travel as I had before joining the US
Navy. The State Dept. noted my name conflict. I took the
opportunity to name myself: Legally and officially my name is:
travis</span></span></div>
<div style="font-weight: normal; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Lower case probably
because of some sort of loss, denial or self-hatred. Curiously, it
was so natural for me I didn’t think about it. I have no real
sense of belonging. Mostly my world is silent and still. The legal
details are visible via the Link at the top of my Web page:
www.travistravis.com</span></span></div>
<div style="font-weight: normal; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Sure, there is a big,
hairy paragraph about my day in Court. The story, with pictures,
appeared in the Sun-Times and in all the suburban papers. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
just found out that you were writing poetry for an occult magazine in
Cleveland before you left, and I wondered what your involvement with
that was, to what extent it was. I obviously haven't been able to
see the poetry, I mean these magazines are going for $500 or
something like that.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I
was answering somebody on Facebook last week, and wow what pops up!
It was an ad for the Cincinnati Journal of Ceremonial Magick. I
wasn't in Cleveland then. Both during and after I left Cleveland I
was doing a lot of writing. I loved writing, and I performed my
writing. There was all this stuff going on stage in Cleveland.
Performances in the Eastman reading Gardens. Karamu House. Case
Western Reserve University. When I got to Chicago and was still
writing, I found this wonderful occult book store on Clark Street.
And I was attracted to it because it was such a strange spot. It was
a very odd place and I looked in to see what is it they do here, what
is the work like? I ran into this wonderful poetry, and as I looked
at the stuff I saw this beautiful magazine, the Cincinnati Journal of
Ceremonial Magick on display. The calligraphy was beautiful. It
appealed to me instantly. It turns out it was either their first or
second issue ever. They asked for submissions, and at the same time,
I was writing what I considered performance pieces. Actually, ONO
still performs these pieces. This is 1977, I'd just arrived in
Chicago in '76. And in '77 I'm up and down Lincoln Avenue which is
where everybody read poetry. There were a million coffee shops, and
the Great American Coffee House was the place to read because local
politicians would even come and hang out and read. I submitted a
poem to the Cincinnati Journal and they loved it; they loved my work.
They asked “Do you have more?” and at that point I was writing
in series. I had a series of 7 pieces called “Tango Delta.”
They said “Send it all, we want to publish it!” After that, they
asked for more and I sent more, then after that, they had a change of
command, a change of editor. That turned into a very strange,
peculiar situation because the old editor was uprooted, he wanted to
take my poetry with him to his new magazine, the new editor said it
belongs to the Cincinnati Journal of Ceremonial Magick and this went
on for months. And then I gave up and put an end to it, I said okay,
it gets published in the Cincinnati Journal. Then I gave another
collection to the other guy to make him happy. So now there are all
these very beautiful volumes out there, and they cost $500, I can't
imagine that! I still have a hard time thinking that what I'm saying
now is worthy of being on the radio! </span></span><br />
<br />
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHg_ahZFshdjG1UDMlquW7i62gJAk1_LBt9BYIeFFa2odaEnYI-q3JZ6FNgpGtwCDupHqljfiGUE3ld534nGR-GH9a63cIYXmAbJu5IBiyVLp3v7FRMp2LGgUUuz9uUgI99sXPLF_28bMy/s1600/travis1975ClevelandOHbySandiBlock2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHg_ahZFshdjG1UDMlquW7i62gJAk1_LBt9BYIeFFa2odaEnYI-q3JZ6FNgpGtwCDupHqljfiGUE3ld534nGR-GH9a63cIYXmAbJu5IBiyVLp3v7FRMp2LGgUUuz9uUgI99sXPLF_28bMy/s1600/travis1975ClevelandOHbySandiBlock2.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1975 photo by Sandi Block, courtesy of travis</td></tr>
</tbody></table>
</span></span> </span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Well,
I don't know, you're definitely a very interesting subject travis! </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well
thank you! There were a lot of bars when I was in Cleveland and in
coming to Chica</span></span><br />
<br />
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">go looking at the differences, these dance bars.
Mothers, The Orchid Room, Twiggy's because there were all these rock
'n' roll people located in the area of the current Rock 'n' Roll Hall
of Fame; the Allen Theater, WMMS-FM and all that. But there were all
these dance bars that I liked because I wanted to dance. And rock
'n' roll people didn't dance, they sat about and said “Wow Man”
but they didn't dance – I wanted to dance. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>This
stuff is interesting to me because you didn't see punk rock and say
“Oh this is what I need in my life”, you were already kind of---</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Lost!</span></span><br />
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>To
speak in terms of cliches, you were already thinking outside of the
box...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">I
was lost! Very lost. I'm still lost, but Noise helps me. </span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><b>
</b></span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
was told when we were in Columbus that you drive 90 mph and listen to
no music at all, even when driving for 6 hours. Is this true?</b></span></span><br />
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
</div>
<div style="font-weight: normal; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I did not drive for six
hours. I left my hotel in Worthington at 0830. I arrived 2113 E.
98th PL/Chgo at 1237. No music whatsoever during my drive. I find
music tiresome. However, I LOVE! the sound of my automobile engine,
downshifting. It thrills my groin. After I returned from the
military, my mother gave me a Chevy (Automatic gearbox). I traded it
for a 1967 MG(B)-GT. Manual transmission. Four-on-the-floor with
Five Overdrive. And now? Sadly, although my new jalopy reaches
140MPH, it is silent in Sixth Gear at 4000 RPM. Damn! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
wondered if you ever had any interest in making dance music. I know
that you had a friendship with Al Jourgensen while he was still doing
dance music and I know that you were in these dance bars and stuff...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">I
have never wanted to do music. Ever. Actually P. Michael is the
responsible party behind what I'm doing now, and I would probably be
in the Ashram, but because he wanted to do sounds and environments
that appealed probably to that same person I mentioned earlier who
was on the stage in Mississippi or even in my grandmother's parlor
with sticks on my fingers. And once I got to Chicago and started
going to</span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
day and evening classes at</span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
Northwestern University, University College studying art, then all
these possibilities opened up to me that I hadn't even thought of,
thanks to Dean Louise Love. In Mississippi, in 1946, one would never
think art or take art. Art did not exist in Itawamba County. But
once here and looking at things, you can combine genres, and have
sensibility as much as you dare. You pay the price but hey, if you
want to do it, there's a place people will let you do it, and that's
the fun part. In grad school I was doing overlays of sounds and
vernacular architecture, and it didn't matter how I made these sounds
anymore. And of course it shouldn't relate in a way to dance music.
I'm sure that there are experimental approaches to dance music but I
just haven't had the time or the reason to think in that direction.
Maybe before I'm dead. The computers that I have and the sonic
software that I have now; I would have fun with experimental dance
music. But at the moment I really need a lot more stuff going on
than music allows. Stuff like the words that can be heard. The
sounds that aren't just easily measured but have surprise in them and
have elements of concealment, elements that something fun is
happening. I'm having fun!</span></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
know that you mention “overlay” but I know that the ONO LP
“Ennui” had no overdubs...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">When
we go into the studio it's actually like an ONO show, we do all these
things straight through and when it's done, it's done. If somebody
wants to do some overlays, then I'm willing to do so, but of my own
volition would I say “go back and overdub and put in more tracks”
I wouldn't. I'm done, I'm half way down the block doing something
else and I think people should have fun with it, and in the meantime
I'm thinking about how to put it on stage and have fun with the live
version of it (overlay) because I don't want to have the live version
sound like the studio. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKWblnGWRSEXIXmqWW3XedziWDpp-q4nb3NnjdLAvNEW_VYkdVNgq5q-R0jBp-sJGvwC2ndiS0RHoGuHTiLLZsVdziA9tR55jNJ8kpfpAiyp7W0JVbZZ5XSal0G2VKY-Xrgvxmhkk5rr_/s1600/travis1975ClevelandOHbySandiBlock.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKWblnGWRSEXIXmqWW3XedziWDpp-q4nb3NnjdLAvNEW_VYkdVNgq5q-R0jBp-sJGvwC2ndiS0RHoGuHTiLLZsVdziA9tR55jNJ8kpfpAiyp7W0JVbZZ5XSal0G2VKY-Xrgvxmhkk5rr_/s1600/travis1975ClevelandOHbySandiBlock.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;">1975 photo by Sandi Block, courtesy of travis</span></span></td></tr>
</tbody></table>
</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I've
heard the story about ONO at the Cubby Bear, and if you have any
funny stories about ONO performances, this would be a great place for
it...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">(Laughs)
I hadn't thought of it. 1980 to 2011, what is funny now is very
often only funny in retrospect. Meaning that you can look at tragedy
with a comic eye. I've been along for the ride. Very often I will
do or go where ever P. Michael says to go, as long as it sounds fun.
“Oh the lights have gone out in the venue, and it's in the middle
of winter! Oh well, ONO's still going to play because we've got
candles that travis is going to make this huge altar out of. And of
course there was the time when we had candles and created the altar
for a film op, in fact, where Enemy [a live venue/loft space in
Wicker Park] is located now, I created this giant altar, it was so
beautiful with all these candles and white lace everywhere. And the
wind came through the window and set the lace on fire. And it's all
caught on video, of course we put out the fire, but there we are
having this ritual. We've got all these mannequins and candles and
suddenly BAM! This fire. It was so weird! And of course in Indiana
we went down, with Mark, this very cool filmmaker and musician from
Pile of Cows, down near East Chicago actually near those giant
refinery chimneys with fire pumping out of them day and night. Not
far from where I live actually. Mark wanted to film us, and we of
course said yes. And all the fire's pumping, it's very toxic, and
we're filming away, and it’s snowing, and security comes and throws
us out, and they get it on film. Those kinds of things are the fun
stories for me, and we got a lot more. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I'm
imagining now, now we take for granted the fact that venues are going
to be around, but in the '80s I think that the ability to play
somewhere was more rare, and also you had a lot more adversity, there
were a lot of people getting beaten up just to play punk rock. So
you put ONO in the mix, and there's probably a lot more adversity,
and plus you guys were playing in abandoned warehouses and in the
ruins of abandoned buildings... </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">That's
part of the fun. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>It
seems like a lot of fun, but as you say, it's easy to laugh about it
when it was a long time ago, but the electrical stuff is dangerous
right? </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">It
is dangerous. However, ONO was never limited to conventional
equipment. We loved Pile of Cows, who made their own instruments.
Actually it was so much fun to play with the Pile of Cows person a
couple of weeks ago at Empty Bottle Roctober party. That was very
cool. Years since I saw him. But Pile of Cows had this building
that was out I think it was in Des Plaines, and it burned, and what
did they do? They organized their fun bands, and they considered us
one of those and said “Come! It's burning and we're going to have a
party!” ONO packs up our noise-making stuff and out we go into the
ruins of it. There's a Cadillac that's still smoldering and the tree
branches are still smoldering. There I am wearing all this white
lace up in a tree with a length of chain and a metal garbage can
cover reciting occult poetry. That kind of thing is much fun. You
mention danger, there's always danger but by then I'd gotten used to
danger. Remember, long before I'd gotten to Cleveland or even got to
the military I've had life threatening issues all along, simply
because, in the Black Community, if you look like travis, and act
like travis, you get called names. Like PUNK! You're a “punk”!
And being a punk means something different in the Black Community,
and every Black Community I've ever been in than it does in your
community. And even when I was in Mississippi, being called a punk
was extreme, it meant, and still means, that your limbs can be
broken. It also means that you have no right to live. People get
killed. Men who are thought to be punks are thought to be men who
wear womens' clothes who like men and don't like women. That is of
course a limitation that's pretty far out, but that isn't even true
in the wider Black Community, but it is a perception that you do not
have the right to live. It isn't the over-arching Black Community,
but every Black Community I've ever been in, the idea of being called
a punk means that people can do anything to you, and they will not be
punished for doing so, because you don't have the same right to live
that straight people have. That has been there all of my life. My
mother's friends used to call me very very bad names, punk being one
of them, and I had to grow up with that. That also links to the
story of sticks on my fingers. I went to church every Sunday, with a
bible and the whole nine yards. I could recite the bible from one
end to the other to these mean, mean evil black preachers who had
very bad things to say to me – even though everyone knew their
past, and sometimes their present bad behavior, but they would never
consider defending me. This was before I was even a teenager, and
they're telling me what a bad creature I am. I am not human. You
don't get the respect of being called a human being. You are
subhuman, when you are called this “punk” creature. So I would
be called these wild and wicked names at school, and on the way to
church. Then one evening, these guys much older than me, attacked me
just blocks from my house, and I was protected only by my mother's
best friends' son. He said “leave him alone”. They were going
to strip all of my clothes off. They tied my arms to a fence. It
was very bad. They of course knew they'd get away with anything, and
I said nothing. Although nothing sexual happened, I was absolutely
terrified by it. Two weeks after that, coming back from piano class,
I go past the baseball field where they are playing and recognize one
of the guys that did the bad things to me, and I had this complete
breakdown. I'm sure it was a breakdown of some sort. I went up to
him, something I would never have done; I went up to him and hit him
with a baseball bat. I began beating him on the back, he fell and I
just beat him upon the face with it until he bled and bled and bled
and bled. People had very bad things to say to me about that. And
then, my mother came home from work and her words to me were “I am
going to beat your ass to a true perfection come Saturday morning at
Ten O' Clock”, and she did. She beat my ass until I bled!</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Wow...
Well, for good or ill....there's something that is really admirable
about you where you're a very free spirited person but you're also a
very disciplined person, and it's very rare to see that.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
suspected that something like that may have happened to you in the
military, and I told you I was going to ask you about that but maybe
I shouldn't...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">I
spent 6 years in the military remember. After boot camp, the Navy
sent me to Radioman “A” School in Bainbridge, Maryland, for
Communications training. You need a high security clearance, they do
big background checks on you and all of that. Even after my
background checks, and my security clearance had cleared, I was
pursued for 6 years because the Office of Naval Intelligence tried to
convince me or themselves or someone that I had committed sodomy at
some point in my life, and they never found any person or any
instance of this. Of course they couldn't. I had not committed
sodomy. But they were convinced, and I don't know who tried to
convince them. In communications, you've got to have security
clearances. If you have a top level crypto security clearance, you
cannot be thought of as being queer, you can't have a record, there
are a number of factors that are considered security threats. But
for reasons that I have no clue, the US Navy decided that I had
committed sodomy. They never found anything, any person or any
instance of it, but it meant that I went through years of lie
detector tests. It meant that I went through years of being
followed, over and over and over. And, ironically, I loved being in
the military. I had a great time in the military. But being
followed and getting lie detector tests about sodomy over and over
and over again was terrible! Especially since sodomy was something
so bad in Mississippi … You would never even say the word sodomy.
I joined the Navy when I was 17 years old. My mother signed. We got
these papers in the mail, and it was really weird. When you joined
in 1963, the Department of Defense sent you this batch of papers, and
the last few questions were “have you ever engaged in unnatural
carnal copulation with another person of the same sex?” And you
have to answer Yes or No. “Penetration however slight, is
sufficient to complete the offense”. (It's a great phrase. I've
never forgotten that phrase. I love that phrase.) “If your answer
was Yes, were you the active or passive partner?” That totally
freaked me out, but I joined anyways, because hey I was 17, I knew
nothing of sodomy and I wanted to see the world. And boot camp was
great. I went to “A” school. After the Navy’s background
investigations were completed, I got my security clearances, and then
I got my choice of duty stations. I chose Naval Air Station
Guantanamo Bay, Cuba. And there, on my 19</span></span></span><sup><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">th</span></span></span></sup><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
birthday, I get called by the local office of the Office of Naval
Intelligence for a full day of interrogation in which my body was
strapped in with lie detector monitors, wires and cables. They tried
to force me, or a single man tried to force me, I remember his name
to this very day. I remember what he wore, what he smelled like. He
tried to convince me that I was a sodomite. The word sodomy over and
over and over. Have you ever or did you not on this or that day over
and over and over, and all these machines are around me and they are
gauging my response. This went on for one full day, and when I got
back to the barracks that day, 6 of the communicators I was close to
disappeared entirely. They have never been heard from since. Their
beds/mattresses were turned back, their lockers cleared out, their
names removed from all records. Imagine how that made me feel! It
was like that. </span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><b>Wow.
Did you see battle? Were you on the front line or anything like
that?</b></span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
</span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I
did not. I was not engaged in direct killing of human beings. I was
trained to do so. In Cuba, during the Dominican Republic conflict, I
was part of that. And the reason was, as a communicator, your first
task is to make sure that communication lines are clear. So you get
training in weaponry, marksmanship, even archery, which I loved. I
kept my guns absolutely oiled and clean all the time! But the most
important thing for me was my purpose, and my purpose was as a
communicator, to make sure that those who were out there in the line
of fire were protected by good communication. I liked being in that
role. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Well,
the question I get from that is, I wonder what your stance is on gun
rights? </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well
the constitution gives you the right to bear arms, and I do not speak
against the constitution. There are a lot of things that the
constitution gives you the right to do, and in terms of a personal
opinion, I haven't formed one, and I like being in the position of
being a writer who can observe and not have to take a stance.
However, I have been very close to people on several sides of that
question. One person, a lawyer, whose lectures I never miss when
he's speaking publicly because it's a scream, he said, and says
often, everyone should have the right to bear arms and not only that,
he feels that you should be able to carry your weapon and not conceal
it. He says that is the best way of reducing crime because each
person will get a good sense of how long they would last because of
the size of the other person's weapon where they can see it. I have
a lot of trouble with that of course, but at the same moment, we
don't know, at this point in history, why do people carry weapons?
As a black person, I'm much more concerned that black folks do not
understand that the revolution is not over. What can you do? How
can you advance America's thinking without weaponry? As a Native
American, I clearly see how far we are denigrated without the use of
that form of force? How many ways are there to get your point
across? Do we really understand language? And with the amount of
cynicism that I see around me, that I find intriguing because people
are doing and being the very people that the New World gives them the
right to be and do. So, if they're killing each other off in droves
with their concealed or unconcealed weapons, this is the world that
we created, and we continue to create that world. This means that we
at some point call a halt to what we consider the constitution, and
say now we've got means of killing other people on the other side of
the world without drawing a single weapon. Now, what are we going to
do about the weapons that are on the south side of Chicago? Yes,
those conversations will happen, but I think they only happen when
people really want them to happen. And then we need to define the
terms, and what people make those political decisions. We may think
that art is not political, but all art is political, always. And so,
there are ways of carrying your gun without having weaponry or
bullets. You've got words, you've got sound. You've got all this
racket. You can ask well, “what kinds of sounds do veterans make?”
“What kinds of sounds do people who have fought wars make?”
“What is it they are trying to say?” “What do they have to
offer, what do they have to share with us?” I don't know, I have
no sense of that. Would I carry guns if I felt I had the reason to,
probably not. Simply because of the deaths that I've seen. And it
does me no good to talk about how people die, and the fact that for
every person who dies there's this mother whose reason we do not
identify with mothers and what is the relationship that we share with
women when we say that war should go on in the traditional sense. I
don't know. I think that on one level, we will do what we will do.
That seems non-philosophical because that's what always happens. Is
there something that we want from what we do and can we define it
over, say, short terms and advance the argument say five years down
the road or ten years down the road? This is like marriage. Should
you be married for ever and ever and ever? Is marriage a natural
state? No it isn't. But then it's a sense of order. There are so
many facets to it that in the end, for me, it's better to be able to
observe it, and find my own piece of it, and peace within it.
Although, I haven't found that peace within it, I'm just having fun
creating with what is happening.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><b>I'm
also not a political person, and I've been trying to think of ways to
explain this, because if you say you're apolitical then it must mean
that you're apathetic. I don't typically feel that way, I just don't
think that I'm particularly inclined to be an activist or someone who
can change anything. </b></span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
</span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well
maybe you don't see yourself that way but I do. When I see your
shows, such as the show that you did in Columbus, Ohio, or the show
following that at the Viaduct Theater – Highly political.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Well,
I had never thought of that. The idea of something being political,
I always think of an outside force. For me those things were
basically personal. Maybe it is political in a sense. I think in
terms of environmental issues and societal concerns that I'm going to
be who I am regardless of. Talking to some people who are
politically involved in a more literal sense, I have a difficulty
with that. People who will tell you “If you're not part of change,
you're part of the problem” and stuff like that. </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
being from the 60s of course, there were many many ways of being
politically active, and I was out there in the thick of it. I was
out there doing research, and of course, you couldn't say that that
was not activist as well because the people who were behind the
scenes sitting in the library digging up the numbers on the
Department of Defense, behind the fence, which was the big issue of
the day, and the Vietnam War. Well, I had been to Vietnam and I had
been in communication, and there were many things I couldn't say
because of my security clearances and all of those things. I did in
fact go to Washington and get tear gassed and all that goes with
that, and got rescued by the weathermen, the Weather Underground. I
learned to respect groups like that as well. I don't see their art
really as being any different from your wearing a mask on a stage
that you're torching. It's a stronger statement to people who have
looked at political movements. There are many of us.... Operation
PUSH, it was wonderful to work with, for a minute. There are women
who have thrown themselves down in front of 18 wheelers and all that,
and men too. At the same moment one of my fellow members of
Operation PUSH Choir, died after being dragged under a car driven by
a hit-and-run driver, in his wheelchair; dragged up and down the
street by people who didn't know that Operation PUSH exists. Their
relationship is “We can't know what we do not know” and
therefore when this person is in the position of making a statement
for a group that he is to represent is the person who kills him, well
I think it's no different from looking at our environment and saying
well, the environment is going to hell, and it has been going to
hell, and there's nothing I can do about it, but when you're on stage
with a mask on and you've got a torch that you are torching this
metal mask, you are making an environmental statement [I was actually
only using a belt sander]. The only difference for me is that the
audience is perhaps larger out there than you and me. But then, you
define who is your audience, because your audience expands with each
person who sees it and carries the message. And so those things
become equally as important, and it becomes less important for me to
make a political statement than it does for me to step out on stage
in a full costume whether it be a military uniform or a 50 foot
wedding dress and say “Here I am”. That is a political statement
as well. So I don't see personal distinctions to be made. It
depends upon what is your commitment to the cause and who is paying
as well. The economics of political engagement are as important as
what's said or done. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>You
know, I have to ask, did you have that opinion when you were in the
service? I imagine you in your military uniform wearing women's
underwear underneath just to stir things up, even if it's not your
particular fetish or anything, just to contextualize a conversation
you would have with some other person in that environment. It's
somewhat inspiring to think that you draw those conclusions from some
of your experience in the military. Instead being dumbed down or
brainwashed into being a normal person, you sort of stepped out even
further. I'm thinking about a person who faced a great deal of
adversity even the sense of your spiritual study. </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I've
never given it a thought. It sounds good as you're saying it, but
frankly it's odd. I feel as if I'm just living a life. I may be
entirely out of control and I probably ought to have more control
because I'm 65 years old and I ought to think about retiring and
being nice in my old age and getting ready for death and all of that,
but I don't care! But to answer your question, when I was in the
military, I was pretty outrageous. Once I got settled into boot
camp. The night I arrived -- I was in the Navy from 1963 to 1969, a
very formative period in American history -- we get to boot camp
(Great Lakes, Illinois) early in the morning, one, two o' clock.
Five o'clock reveille, meaning you just got in; you slept; haven't
had a shower or anything else, because they tell you five o'clock
you're going to be up. Well, at five o'clock they start pounding
hammers and actually garbage cans, it sounds like an ONO performance!
These garbage cans and all this racket because they know you're new
and it turns out that that very morning, all the hot water pipes were
frozen, and I refused to get into a freezing cold shower, and that
was the last time I ever refused. This big six foot tall Master At
Arms (his name was Simon, I shouldn't say his name but I remember him
perfectly), he picked me up … here I am a 136 pound shrimp,
snatches all of my clothes off and deposits me into this cold shower,
6 shower heads spraying on me. And that is how I learned to say
“Okay, what's next?” So I get to this environment of men. I'd
never been around men before in my whole life. Suddenly I'm 17 years
old and I'm in an environment where there are just these men and
they're military people, and we're learning to do military things
together. Well, at that point, I didn't have the tools of behaving
normally. I was simply who I was, and I'm not sure what that was,
but I was surrounded by all of these people and someone telling me
what to do every day, what to wear every day... All of this stuff
was happening, and I think it was because of my background in
Mississippi that I absorbed it that way. I went on with what was
happening and didn't even think twice about “How do I look and feel
contrasted to the rest of the people?” It was after boot camp …
and in fact, in boot camp, everybody is thrown into huge burning
ships and you learn to depend on each other for life and limb and
everything. So you learn this very close bond. After this you get
to duty stations where a huge amount of that training remains. But
at A School, where I went from boot camp, suddenly I had to think
about graduation and all of that. It turns out, somehow, I loved A
School, I became a communications supervisor there. So I had more of
my way about just about everything. Then aboard ship, it gets strange because, you're completely
removed from the world that you knew for nine months at a time.
Well, I was a great supervisor, and it turns out all the people that
I supervised loved me, and so what wound up happening, is that yes,
Arvo, we went, me and all my crew would go ashore and fuck together!
We would go to French ports and have these French prostitutes who
would wager about who could last longest with them. That's another
life, another part that, who knows how it was happening, but I was in
it, and so it wasn't as if I was being male or even queer or even bi
or anything like that, I was in the moment. That was for me. I was
doing some very very bad things with these sailors, in every port
around the world ... Let’s just say I was a sailor in the
traditional sense of the word, baby! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
appreciate your willingness to share these private things...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
you asked!(laughs)</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Well
there was part of that with the women's underwear and stuff, but it
doesn't seem like you've discovered yourself, it seems like you've
been this way.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">I
still haven't discovered myself, which is why it's so hard to answer
your questions! It is this trip, this ongoing event. And I guess
just as I haven't settled into “well how do I feel about this
political organization or that one?” I don't feel that I have to
discover myself because I want to be able to FEEL both sides of the …
If people disagree absolutely with something I say or do, I want to
be able to feel exactly what it is, and to hear them rather than to
overlay them with what I consider to be a truth. Because I'm still
changing too, the things I'm saying today will not be true in
tomorrow. I mean, personal opinions about myself today and the way I
feel about </span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><i><span style="text-decoration: none;">whatever</span></i></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
will not be true in X amount of time. And I'm willing to be that
flexible to change because I have to; because life has always been
that way for me. I can't count on tomorrow. </span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>You
definitely strike me as an agent of change. You do inspire a lot of
different opinions in people whether you seek out to do that or not.
I've had 49 jobs in my life, so my career path is different from
yours (not nearly as disciplined). You do have the spirit of someone
who throws a wrench into things, and it's fascinating to think of how
you interacted with people in the military that way, not specifically
women's underwear but...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Had
I any clue that it was easy to find them, I'm sure that I probably ….
I love the feel of good fabric against ….[we both laugh for a
while] But for so many things you know, the only answer is “I
don't know!”. It's not difficult to say I don't know what I did or
why, but I can tell you the environment around or how I see myself
having moved into it from various perspectives. Why? Simply because
people like you have asked me similar questions, and caused me to
think about it. And I'm happy for that. Otherwise, I'm as lost as
anybody else. And I don't think that's necessarily a bad thing, I
don't mind being lost. For right now, I'm able to learn so much
that, it has been good for me, and I don't have regrets. “Well gee
I wish I had or had not”, I don't have the time for that right now.
I am doing things that are fun to do, and I'm not hesitant to say “I
don't know why it works this way, let's go see what we can find out
of it”! So you've had 49 jobs, you've learned a lot of shit, Arvo!
</span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>You've
studied in the occult, you've practiced what you would call rituals
when you were a child, and I have to ask, did you have the desire to
change the situation around you, or was it more of a personal
dialogue with yourself of just discovering different concepts and how
they relate to the outside world? You're very adaptable, but I
wonder, did you believe in magic? Did you want to pull strings on
your personal situation if you're studying in the occult and you're
writing in these magazines... I don't know to what extent your
knowledge was, it could be strictly for poetic reasons that you're
reading things like that but I think about someone getting out of the
military and diving into that stuff, and I'm curious what your
perspective was.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I
didn't have a perspective. I thought, when I started looking at the
occult writings and such, it just fit what I was already doing.
Religious rituals I've always loved and being a part of it in church.
The idea that the occult has this wonderful language that has many
layers and many meanings always appealed to me. But what it actually
does, what the practice of the occult does is as foreign to me now as
it was then. The Cincinnati Journal and the people attached to it
did great rituals and all of those things. What the outcome of the
rituals were intended to be, I did not know, I was not at all
interested in. I was interested in the words, and how the images in
the words transform me rather than say, what would be the outcome of
rituals at New Year's Eve or rituals in parts of the world, because
they were literally everywhere. The reason why I think that I was
not as interested in causing phenomena, if you will, is simply
because I've always had phenomena around me. I mention briefly the
event at this church, when I was asthmatic, well for me that was
phenomenal, in the sense that whole ritual, and the result of all of
that... Would I try to create such events in other environments?
No, because I am not permitted at this point. Would I later in my
life? Who knows? But also, I see a path between my study in
Kundalini and the relation... physical phenomena; emotional
phenomena; phenomena caused by breathing techniques and/or diet. I
was studying Kundalini, reading with the Theosophical society and
with various other groups, and not the least of which was Kung Tao,
martial arts. And all of those things should be seen as one whole
for me rather than say just the occult, because I see them all
fitting into my interests of the day in how I was defining my world.
Once I got out of the military, in 1969, the world is all in all, a
very dull and boring place. When you don't have a theater of war or
some extreme and exotic place that you have to be, that you have to
do something very specific in, and that you have a communications
task in, or [you don't have] something that isn't related to the
military or international affairs... If you're in an ordinary city
like Chicago or Cleveland and you're back from 6 years of military
responsibility in places like the South China Seas or the Middle
East, what do you do? What do you do to make your life interesting?
There really isn't that much reason to live in an environment unless
you give it a reason. And what kind of reasoning do you give? I
wasn't thinking of it at the time, but I went back to Akron
University and discovered that jeez, I'm very very bored here. Off I
went to Cleveland, Ohio. Then between Akron and Cleveland, all of
these things, these 1960s people are now transforming themselves. I
run into this music community and these INSANE people in Cleveland
who are doing all of the things that people talked about years ago.
Peter and Krokus and Billy Bass and all those folks are in the
neighborhood. And on the weekends, you're going down to Mayfield
Road and designing new costuming to dance in. It gave me reason, fun
and excitement, and interest, in my life. Very often military people
do this: “I need to become a responsible citizen, I need to get
this degree or to do that” and people do that, but I did not, and I
don't know why I didn't do that. It's very irresponsible on my part
because I could've gone directly into schools and done lots of
incredibly wonderful things, and still got immersed in all of the
madness that was going on in Cleveland, instead of going to anti war
rallies. Remember I'm immediately out of the war, but still now I'm
going to anti war rallies in Washington DC and places like that. It
is logical on some level then, for me to get involved in Kundalini,
because it is this wonderful Yogic system. In fact all Yoga systems
are based in Kundalini and the idea that I could learn surrender,
that's what Kundalini is about at root, learn surrender. It took me
down a very different path. So suddenly I find myself in Kundalini
and Krishna Consciousness and I'm “in it,” and I love it! I'm
suddenly in this other world and I'm still going to anti-war rallies,
I don't know why I was doing this. I was probably out of my mind
then, probably still am, but those were the things that were exciting
and important to me personally. At that point, I had no idea about
art, no concerns. It was not even on my radar, but somehow I got
there. But those things come in a certain.... You're forcing me to
think about cause and causality, and that sort of thing, and I can't
say that I have any reason, and it's embarrassing to say but I don't
have any reason for writing in occult magazines, except that it was
an expression of beautiful things. I mean Beautiful writing! And
they rendered it in beautiful calligraphy! And once that started I
got published in 20 other magazines. It was beautiful work; the
words were beautiful, meant to be read aloud. That was important,
and it's still important. Later, in Evanston, I studied Calligraphy
with Peter Fraterdeus. It's almost like putting on layers of
clothing. After the military I was putting these other layers on.
And I'm where I am now, and who knows what that means. But I can't
say that there is something I was hoping to get out of occult
writing, but it was good for me in terms of my own writing, and
publishing in these beautiful magazines. That kind of beauty has
always been, for some reason, important to me. I don't know why any
of this is important to anybody on the radio, Arvo!</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>If
I remember correctly, you were a very good student, so you're going
to anti war rallies and you're studying these obscure spiritual
concepts, and you're doing sound experiments, and I don't know anyone
else who has done that at the same time. So it's fascinating to me,
if it's not fascinating to other people, I don't care! </b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">There,
now take that! [Laughs]</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I'm
kind of alarmed by your humility, but …</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
it isn't humility, it's just that I don't know … I'm not going to
pretend that there's a … I have no plan!</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">My
life isn't about plans. If you met my mother before she died, you
would've seen what my mother was like. She was a motorcycle biker.
A diesel dyke. The woman was insane! She was mad! She was crazy!
We even look alike, except I have more facial hair. In fact, just
before she died, she said, “Okay, it's time!”, and that was the
end of that. She had paid for everything: the burial, the vault, the
casket, the long gown that she was buried in, with pumps to match,
and the Sheriff's escort on the way to the burial. Everything, and
she said “Okay, I'm dying now!” that's it! That's my momma! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
hate to give you the impression that I'm asking about the causality
of your life, I'm more just intrigued about what it was like. As
much as we can dig into ourselves, a lot of us can't uh....</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
you're causing me to actually think about things that without this
kind of talk... I don't... you've been to my house, you know that I
was not likely to put them together otherwise, but you said we're
going to talk about maybe art, maybe bars, maybe... and then I said
“Oh gee, okay, well let me think about some of these …Then I
started thinking about it, and it forced me to look at “Well gee,
what a dismal failure my life has been!” But how much fun I am
having living it! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Well,
I wouldn't call it a failure...</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
come down to my part of town!</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><b>It
depends on how you measure it. That might be part of how you've
achieved so much. With another interview that I did, I spent a lot
of time, I typed out all of the questions, I had 6 pages of
questions. With this one, I have some notes. I know I don't need to
plan it that much out. I could've helped you prepare better, I
guess, but it seems to me that maybe I should've helped you prepare
less! </b></span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">
</span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well,
maybe, but when you said “Ah, we'll talk about some things...”It's
almost like focusing your brain, or channeling. So there are all
these things on my mind now that were not in particular order before
you said that you wanted to have this chat. And for that I am happy,
because it means that probably this summer, I'm going to get together
soon and say “I think we should make a little dance piece, you and
me, using computers, something that I would like to dance to”
because Arvo asked me about dance. Because I love to dance! Until I
got here on the south side (of Chicago), and people down here don't
dance. Isn't that ironic? It makes me crazy! So I have to do my
own dance, I just pump up anything that I can find and dance around
in my silk panties. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
have to admit I'm one of those people that don't dance, unless it's
to make myself or other people laugh. You know, I don't know if
I've ever told you this but I started out with electronic music
trying to make a kind of industrial dance music, and I just failed.
I failed terribly, and it became a sort of experimental noise music,
before I'd ever been listening to noise music. If I were to be
influenced by something that caused me to start making noise music,
it would be something like Atari Teenage Riot or KMFDM or something.
I do have a history with dance music, but not a fruitful one I guess.
</b></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Well
see, I don't necessarily mean traditional dance music either, because
I like to experiment as much on the dance floor as I do with sound.
Waves and waves of long, long, years ago I actually did some classes
with Laban Movement, this German concept. Laban was this very odd
movement that is not at all beat driven, and it's really wonderful.
And remember also, back in the 60s, when I was going dancing in these
gay bars in Cleveland and Akron, it wasn't about the beat and all; oh
no no no no! It had much more to do with what people now called
“vogue”, but without necessarily putting electronic music to it.
We danced to juke boxes. And you entered! the dance floor. You
entered! the club or bar. For instance, in Cleveland here was
Twiggy's and the The Orchid Room right down Prospect Avenue from me,
and I designed a new outfit every weekend, and I “arrived” in the
room, to whatever was playing. You moved to the ambience of the
room. It wasn't to the beat at all, and that I love. In fact, I
love this phrase: “All movement is dance”. I started doing this
stuff, Kundalini, Krishna and Kun Tao (Kundalini Yoga has all of this
wonderful movement), as dance in a staged environment. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;">I</span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span style="text-decoration: none;"><b>
consider myself fortunate that someone introduced me to Butoh, when I
was 20 or 21 or something like that, because I find it really
fascinating. </b></span></span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Yeah!
Well see, good thinking! Now look , it's midnight Arvo, we're going
to have to continue this another time because I have to be up and
working in 5 hours! </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Can
I have 2 more questions?</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Okay.
</span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>One
is “When did art come into play?” And the second one is “I
know that ONO did the soundtrack to Alice In Wonderland, and I wonder
what the motivation or the approach to that was. Did you think about
The Mad Hatter when you were making the music or anything like
that?”And then you can leave it however you like.... And I want to
thank you for taking the time.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">When
I get to Chicago, I'm at Northwestern University School of Law, and
P.Michael, Kathy and I are practicing/reading ONO stuff. I meet Mark
Berrend as I'm rollerskating home from my office at the law school,
and he's this huge German kid crashing into everything. We meet at
the water fountain at Diversey/the theatre building. And he says
[with travis's impression of a German accent] “I have no one to
skate with me, do you want to skate with me?” Sure. It turns out
Mark has this art show up. I bought my first piece of art; $450 for
this piece of art, wonderful piece. “Sir Edgar Ravenswood Enters
The Room From The Opera Lucia di Lammermoor.” We then become
roommates (never lovers, as some people thought). P. Michael had at
that point decided that he and Kathy and I are going to... Well,
P.Michael convinces Mark to buy a guitar and not take lessons. So we
have Mark, P. Michael and me, because Kathy just disappears... She
keeps in touch, but she has an extraordinary lifestyle. So Mark, as
an artist, his whole family are artists, decides we are creating
Abiogenesis studio. Okay. Suddenly I'm dealing with artists. And
it didn't matter at that point to me personally, except that whenever
there were art festivals and art events at Northwestern’s Evanston
Campus, or Chicago Campus, we played. And then later... Skip ahead,
because I create art with Mark, and in fact we create Abiogenesis
Studio, P. Michael, travis, Mark and it's in our house and it's
really fun because Mark knows all of this stuff, I know nothing. P.
Micheal is at the School of the Art Institute so it worked very well,
except that I was often disagreeable about concretizing an image, for
instance. I was always wrong. Later, in 2001, by then I was going
to Paris regularly. I go to Paris, and I'm at the Picasso Museum,
and various other places, and then suddenly it hits me in Paris,
where they show you the evolution of modern idioms, including African
masking and where Picasso's concepts originated, I thought “Damn,
this is mine!” I got on the next flight; came home; bought $100
worth of art materials at Utrecht, and the next morning at six 'o'
clock, I started painting. It was as simple as that. 2001. And
I've been painting ever since, religiously. Every morning I do art
stuff. Now my work is exhibiting in Tokyo. My Tokyo solo show just
came down last week, and another one man show will go up in Tokyo
next April, that's fun. I have another show in Europe at the end of
this summer. My interest in art has much to do with concepts that I
grew up with in Mississippi. There, art is decadent. Art for art's
sake really has no bearing on life to a Mississippian, a black
Mississippian. That's how I grew up. Any art work that you find
from Mississippi black artists are functional items. But that work
became known as Art outside of Mississippi. In Mississippi they're
functional objects. So that has everything to do with why my art
looks the way it does rather than “this is a piece of work that is
art for art's sake” not at all. And I like doing that although I
think that art for art's sake is much healthier, because a thing can
be its own good, rather than a function. Its own good becomes its
function. I think that also with black art, the nice position to be
in right now is evolving an idea about what does black art mean? Why
should it look like Eurocentric art? Because your world is
different, why shouldn't your art be different? If your world isn't
different, it's cool. Why force it to be? My experiences have been
fun in a different fashion than Eurocentric artists and I would like
to be able to represent that as well.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I'd
like to know more about your urine/sheet metal art pieces [travis has
had several pieces of sheet metal , and your garden installation. I'd
like to know if something significant spurred these ideas or what
your motivation was for it or what you are trying to say with it or
anything like that.</b></span></span></div>
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</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Art
For Art’s Sake is not a value in my background. Art historically,
Black American art Objects and Ideas that are, these days, recognized
as “Art” served a functional, utilitarian purpose. My Piss
Pieces, like virtually all of my work, seeks to define and limit my
creative boundaries. Despite “l’art pour l’art” art
historians base entire oeuvre upon “meaning.” My life is, so
far, meaningless.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>What
other artists where you inspired by?</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">I’m
too new to art to be tethered to “inspiration.” Every morning at
6AM I rise and I create for an hour. Period! I don’t wait for
inspiration. I’m unsure I would recognize Inspiration if she
kissed me. Although I am careless, I recognize that I need
discipline. Of course, I also need to pay my mortgage.</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>I
know there's Velvet Underground, ? & the Mysterians, The Stooges,
Sallie Martin, and so forth. Perhaps there is more that made an
impact on you? </b></span></span>
</div>
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<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Mahalia
Jackson. James Cleveland. Thomas A. Dorsey (I carried flowers at
his funeral). Brother Joe May. John Hampton (my mother’s
husband). Chopin (var. Polonaise). Stravinsky. I got to these
performers not because of their music alone. Their presentations
were dynamic! And old Black women singing highly emotional vocals in
Mississippi took me there. I spent my earliest years with my
maternal grandmother, Finous Mary Magdalene Wall Stegall. She had
very little to say about most day-to-day events, but she Hummed
(always SLOWLY) nonstop. Itawamba evenings often echoed with Hum
singers projecting from front porches. You could feel the train ‘a
comin’ half-a-mile away. Seemingly secret sounds wafted across a
gulch, and met contrasting Hums house to house. Sometimes
recognizable spirituals; sometimes deep, guttural chants that I
channeled as emotions, as the words were unrecognizable. People in
Itawamba identify, deep into their bones, when I present, say, a Con
Ta Te or a Kyrie, etc., in Latin. The word meanings occupy a
separate realm entirely. The Call/Response of academic lore is not
the Call/Response I experienced. There was, and remained until
recent years, an idiosyncratic sonic/rhythmic/metric disconnect that
was jarring and NOISY to outsiders. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Now,
the sound that we used for Alice in Wonderland. James Fotopoulos,
the filmmaker, saw ONO do “Heroin”, Lou Reed's song “Heroin”
in Go-Go Town, a venue in Bridgeport, the first time he saw us, and I
cannot believe that there I was doing “Heroin” wearing this long,
frilly dress and frightening people because I had a machete' and I
absolutely hacked myself out of this dress with this machete' and
people thought that I was losing my mind. But I was in it! The
noise accompaniment was PERFECT! (The song has always had a very
strong meaning for me. I met people in Cleveland that used uncut
heroin. Somehow, they felt they could tell me all their biz-ness!
and I would understand them. I didn’t, but I listened, and I
watched their behaviors and their logic.) That's when James
Fotopoulos decided ONO should do a part of his soundtrack. So after
that we get the script and look through what is happening and the
concept is a really great concept. And it goes off to P. Michael,
and P. Michael says “Okay, here's what we are going to do. And
then it turns out, we played this studio, Swing State in Lake Villa,
IL. Near Wisconsin, and out of the blue, we had been pouring over it
in rehearsal, and thought “Why not now?” We did this, and then
it became a matter of editing. Shannon Rose Riley out in California
then edited what we did, and added her overlay, because as you
remember, she was one of the original ONO members and so that's how
it came to be. It's actually a lot of fun, and you may have heard
that we're going to be performing the soundtrack this summer. </span></span>
</div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><b>Yeah,
I'm looking forward to seeing it, I didn't get to see it at Elastic
Arts last time.</b></span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">This
actually will be the whole of it, and besides it's going to have
James Fotopoulos’s film screening either behind it or at least with
it depending on how the space works. That will be fun. Okay! You
are an insomniac, you love to be up, I am not an insomniac, I am
going to bed. It was wonderful to talk to you darling, but I have to
go! Bye Bye! Thank you!</span></span></div>
<div style="margin-bottom: 0in; text-decoration: none;">
<br /></div>
Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-2809285249596860092014-05-03T15:33:00.000-07:002014-05-03T15:33:00.119-07:00Light Watkins, Teacher of Vedic Meditation (Previously Unpublished Article) I did an extensive interview with my meditation teacher, <a href="http://beginmeditating.com/chicago/">Light Watkins</a>, on the Delirious Insomniac Freeform Radio Show a few years ago. From that I wrote an article that never ended up being published until now. The interview is much more comprehensive, but it wasn't the kind of flow that would be adequate for a straight transcription like many other interviews I have done. It is here for archive purposes. Thanks again to Light for taking the time shortly before Thanksgiving a few Novembers ago. <br />
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“Meditation today is where yoga was 30 or 40 years ago, where people<br />just thought it was a weird thing that a bunch of hippies did”. Says<br />Light Watkins, Chicago's teacher of Vedic meditation, and that's<br />sort of an understatement. According to Light, there are about 15<br />people teaching this kind of thing across America, and maybe 40 across<br />the world, while NAMASTA, “The North American Studio Alliance”, claims<br />that there are over 70,000 yoga teachers in America alone. <br /><br />Many people peripherally have a vague understanding of the concept<br />of meditation from the efforts filmmaker David Lynch has made to<br />promote it. At least, this is how I came upon it. I read his book<br />Catching The Big Fish, I tried to save up $1,000-$2,000 and prepare to<br />spend six months in Iowa to learn the practice. I bought a book<br />called Everything You Need To Know About TM Including How To Do It .<br />Upon further investigation, I found out that the “Transcendental”<br />meditation that David Lynch promoted was very similar to the “Vedic”<br />meditation that Light Watkins espouses, and his relatively modest<br />alternative might very well be the only one in the midwest of its<br />kind, for those with a low income.<br /><br />Eventually I followed through and found myself in an empty, rickety,<br />and chilly old church being given a spoken mantra, an abstract sound<br />in sanskrit that is assigned to you by your teacher based on your personality, it<br />is meant to assist in “transcending”; going “deep” into a state of<br />being, rather than a state of acting or even thinking. I was being<br />told to repeat it over and over, whispering and slowly becoming more<br />quiet, until I am no longer even speaking it. <br /><br />From there, once I closed my eyes, the effects were immediate. I felt and saw waves of<br />light wash over the insides of my eyelids in a repetitive fashion, and<br />felt as if my veins had been excited by something other than caffeine<br />for once, something more respectful. Every sound became pronounced<br />and jarring. Rain bounced off of the windows like rubber pellets, and<br />it sounded like squirrels were quarreling inside of the walls. Cars<br />whizzed by like jet planes. <br /><br /> But still, I have to admit that it felt like a restfulness that reached beyond the realms of the deepest<br />sleep, and while it was not like this every time I practiced, there<br />was a progression in its results. Sleep became much more accessible,<br />emotional reactions or acknowledgment of stressful situations seemed<br />more out of step and unnecessary. Scientifically, meditation has<br />been proven to reduce blood pressure and relieve headaches among other<br />things. According to scientists, subjects who have been meditating<br />regularly for long periods of time have a proven resilience to outside<br />disturbance; their heart rates change much less when a dish falls to<br />the ground, for instance.<br /><br />The generally accepted approach to Vedic meditation is that it cannot<br />be taught through a book, it comes from the Vedas, who originally<br />passed it down verbally from generation to generation without writing<br />anything down. As a result, an emphasis on experience is favored<br />over studiousness, and the theoretical realm is given less merit than<br />one might expect. While Light cites the practice of Deepak Chopra as<br />something of an inspiration, Chopra seems to be the proprietor of a<br />“less comprehensive” offshoot of this kind of meditation called<br />“Primordial Sound”; mantras are given by email, and they are varied<br />from the original sources. <br /><br />Other meditation practices such as Zen-Buddhist are more “monastic” in nature, requiring a certain<br />activity during meditation, a specific focus on breathing, and also<br />perhaps chanting or a commitment to becoming a monk. Other kinds of<br />meditation warrant more occult purposes like astral travel, remote<br />viewing, or “focusing intent” and “grounding oneself” for “magickal”<br />purposes. Hearing these kinds of things as a person who tends to<br />identify with maybe 5% of what he is told, on average, Vedic<br />Meditation was rather refreshing; It fosters the world of active<br />movers and shakers more so than passive restraint of unsavory<br />thoughts, the suppression of things that one doesn't like .<br /><br />“VM” is not without its New Age accoutrements though. Introduction<br />classes bare a candle, a framed photo of an old master, and a bundle<br />of fruits and flowers as a sacrificial gesture in some capacity.<br />Meditators are advised not to meditate while their computers are on in<br />front of them. Light does speak of “cosmic consciousness”, or<br />“unified field theory”, some other ways to explain the universe,<br />everything being connected, synchronicity as a symbolic divining rod<br />of a higher being etc. etc. Regardless of this, the practice is<br />still ostensibly nonreligious, at least not in an intrusive or<br />indoctrinating way, and whatever the belief system is, it seems to<br />work. This is fair enough, because I wouldn't want to go to a<br />meditation class in the fluorescent light of a Rent-A-Center. The<br />symbolic gesture is enough to welcome serious, respectful<br />consideration, but not dogmatic voodoo "one of us" type talk.<br /><br />One of the side effects that is a testament to the resilience of a<br />long term meditator can be seen in the experiences of Light Watkins,<br />who not only travels around the major cities of America to teach, but<br />also has such faith in his “inner voice” that he travels to unknown<br />regions of the world without plans or much money. He has testified<br />that most times, he ends up having a place to stay and a handful of<br />friends by the time he even gets off of the plane. To Light, this is<br />not mere luck, it is the result of making immediate decisions without<br />the cerebral cluster of fearful "what if" logic; fight or flight instincts. Events that eventually<br />suit our best interests come from following what charms us, a<br />characteristic that some form of “infinite intelligence” rewards, according to Watkins.<br />Even the most resoundingly atheist skeptic would agree that perception<br />has some effect on the subsequent events of a person's life.<br /><br />In the distant past, people in all likeliness had to walk to the top<br />of a mountain with two pails full of water propped upon a stick against<br />their back, until Maharishi Mahesh Yogi came into the picture in the<br />late 50s. Even then, his academy existed inside of a cave within<br />the foothills of Rishikesh, India. The Beatles, overall, were<br />enthusiastic supporters of this practice, and even included a common<br />phrase variation associated with these kinds of meditation practices,<br />“Jai Guru Deva Om” which is intended as a tribute to “the divine<br />heavenly teacher”, or the source of “all existence that comes from<br />vibration”, in their song “Across The Universe”. Since then,<br />popularity in non-monastic meditation tripled, and has shown<br />exponential growth thereafter. However, it's not nearly as widely<br />accepted as Yoga; it is not being funded in prisons or at disaster<br />sites, for instance, nor is it as popular as somewhat bastardized<br />practices like home video Tai-Bo aerobics.<br /><br />This kind of meditation does seem to nurture the fundamentals of the<br />human spirit, with or without incense and exotic teas, and with enough<br />persistence, it doesn't even require you to believe in it. Whether<br />it was passed down from ancient times precisely or not, Light Watkins<br />doesn't seem to espouse other flighty concepts of world peace, as some<br />kind of group ideal, as much as David Lynch does. Light will be the<br />first to acknowledge that meditation only brings out the most pure<br />characteristics of a person, less inhibited by trauma or stress,<br />whether they are naturally passive and reserved or outgoing and<br />exuberant. "People who practice meditation like Howard Stern, Jerry<br />Seinfeld, or Russell Simmons", he says for instance, "are not exactly<br />iconographic for the concept of inner peace." And among all of this<br />stuff about a relaxed state of being and all that, I can't help but<br />think about survivalism. What if I am in a position where I am forced<br />to knock someone's block off? What if my taxi driver rips me off?<br />“Well, sometimes you have to pass consciousness onto someone in more<br />direct ways”.</div>
Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-33891494636184972292014-05-01T22:26:00.000-07:002014-05-01T23:07:30.083-07:00Paradise of Perfection, the heavily suppressed 2nd interview with Boyd Rice<div class="separator" style="clear: both; text-align: center;">
By Arvo Zylo</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7RocvmF39hsZe98xTSdtvoDBjMZX5ElHCOS48DHso83pQudrsD_zC15Uf9YZUI3jESeWslp0OSGrQCkEvY5K79NzU7FJxHZumGCsWzTeAyCVnDrFyG4d6fmjyaLaFR4SWQeu_R7G-d2z/s1600/P1020024.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7RocvmF39hsZe98xTSdtvoDBjMZX5ElHCOS48DHso83pQudrsD_zC15Uf9YZUI3jESeWslp0OSGrQCkEvY5K79NzU7FJxHZumGCsWzTeAyCVnDrFyG4d6fmjyaLaFR4SWQeu_R7G-d2z/s1600/P1020024.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><b><br /><br />Boyd Rice is one of the most simultaneously outspoken and private artists in contemporary underground culture. As an abstract recording artist [under the name NON] on a huge, prestigious label [Mute Records], he's defiantly trudged on several years without granting an interview, he’s neglected to mention major tours on his website, and he’s even canceled some in order to continue his writing. Until recently, he may have been one of the last people to make a creative living and no small amount of a rift in various circles, while only marginally engaging what the internet has to offer, certainly the only one I knew of with a post office box address on his website (which hasn't been functional for over a year) rather than an email address. Somehow, Boyd Rice seems to get by comfortably without accepting grants to support his work or harassing everybody every time something lucrative happens, while also working with a relatively sparse and insular target audience, many of whom hate his guts for reasons both justifiable and largely speculative. <br /><br />In the last ten years, he's written extensively on the bloodline of the Holy Grail, as well as a now sold out paperback entitled NO, (recently repressed with additional chapters) which expounds upon just how much he doesn't believe in the things that most people hold dear (individualism, freedom of choice, democracy, etc). 2007 marked the release of a book of collected writings from the early 80s on, called Standing In Two Circles; Soon to be reissued due to a shady publishing house, its subjects span everything from children’s bubble bath soap and Disneyland, to cruel sexuality and “nature’s eternal fascism”. <br /><br />Most recently, Twilight Man, the first entirely narrative book outing for Boyd Rice, was published in late 2011. This short tome tells in lurid detail the tragic and oftentimes morbidly amusing experiences that came along with being an alarm agent during the graveyard shift in mid-to-late 80s San Francisco. Between its covers there are tales of diner riots, reluctant fire fighting, wall-climbing elphen drug addicts, rat attacks, and a friendship with a sophisticated prostitute named Trixie.<br /><br /><br />Last year also marked the heaping, if precocious and clandestine 3 disc documentary on the subject of Boyd Rice: ICONOCLAST. The film is a dizzying and playful escapade of sound and fury, detailing Rice's modest beginnings in Lemon Grove, his progression to becoming a pioneering noise artist and counter cultural icon in 1980s San Francisco, and his inevitable move to Denver. There he would have numerous debates on national radio with televangelist Bob Larsen, and in the process of catching stride as a full time artist, turn his allegedly 9 room basement apartment into some kind of mythical shangrila filled with bygone knick knacks and occult regalia, up to and including supposed “Bullfighter” or “Partridge Family Bus” themed rooms, for instance. <br /><br />At four hours, the film still seems painfully abrupt, as it flies through fun loving stories about pranks and playfully off-color interviewee commentary, but it still fell short of being able to include a great deal of career highlights, not to mention more of the “dark side”; both of which are not small tasks. Rice would go on to eventually take part in releasing obscure music on his own Hierarchy label for a time (military marches, girl groups, and namely local Denver acts Ralph Gean and Little Fyodor), as well as spinning oddities for his “The In Sound From Way Out” night at Lion's Lair in the 90s, and helping design a now defunct Tiki bar [Tiki Boyd’s]. For publications in and outside of Colorado, he was interviewing old television stars and newly crowned rock stars, and he was making appearances not just on Good Morning Colorado but also on In Search of and Coast To Coast AM.<br /><br />ICONOCLAST is no longer in print due to “bizarre legalities”, and the film's director, Larry Wessel, publicly declared a falling out with his subject in an interview last November. The documentary is said to be awaiting an official release, alongside a heaping pile of projects from every dark corner of the unpopular, inaccessible, or largely forgotten cultural spectrum.<br /><br /> On a short list is the live (in France, 2011) DVD of musical accompaniment to the obscure cult movie Dementia from Rice's noise project NON which is set to be released before long. Bordel Militaire is a music project of which Rice is involved, whose aim is to fuse the structures of Exotica, lounge, and 60s music with that of industrial and power electronics. Other notable career moves include taking part in an album with some kind of homosexual leather band Hirsute Pursuit, writings on devil iconography in the 60s, and religious architecture in the space age (of which there was a power point presentation given at the Denver Modernism show in August). <br /><br />Nina Antonia, who also crystallized The New York Dolls in print before they got big, is now doing a biography on Rice, and another documentary of a more abstract nature is starting to rear its head. Assembled by Joel Haertling, and screened in Denver in last May, it is said to have taken something like ten years, and apparently there are time-lapse montages involved. Back To Mono, [seems to be inspired by Phil Spector’s box set of the same name] is Rice's first noise release in ten years, a return to his “roots” after getting into more musical and subtle territory, is now out and recently coincided with a European tour. <br /><br />Not long ago, Rice surprised everyone by breaking a long reclusive streak on the internet, and starting an official facebook fan page where he actually engaged his fans directly. Onlookers came to know that he appears to have a pet [taxidermy?] skunk, a penchant for wearing matching outfits with his girlfriend (now wife), and maybe more of an interest in prime time television than most might think. <br /><br />This interview was conducted in July of 2011, with several post script questions added along the way. It was slogged off and back burned by three different publications who perpetually made excuses or dragged their heels. I have included nearly everything, even the questions I initially took out because they could easily be seen as a bit self indulgent or whimsical. It is taken from an initial radio interview that was never aired due to numerous hysterical phone calls to the station saying that Rice is a "domestic terrorist", among other things. As a result, it was instead broadcast in nearly 20 different places around the world. Thankfully, the full interview is finally available for readers of the soon to be transformed Delirious Insomniac Freeform Radio Show's blog. </b><br />
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<b>What is your favorite spot in Denver? </b><br />
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<tr><td class="tr-caption" style="text-align: center;">Boyd Rice at Casa Bonita 2012, photo by Arvo Zylo</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqfh1w9fbGV4yEVGC7HWFiDcuGeoTkUAsQnsp-cbaHGZ8ZpyRfqn9x7QADur_kJ27xZeXEfaFpkaeOwK0YpqAuRPqr2MwEM8lqlGCd9nDe6fHjtdFlKhhpp9Jxs3j7VCzGCT9CuHP5yxM/s1600/Boyd+Denver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a>My apartment. It is much more glamorous and stimulating than any nightclub or anyplace else I could go. But I do love White Fence Farms and the Buckhorn Exchange. I recently took the head of my record company to the Buckhorn Exchange. And I took Marilyn Manson to Casa Bonita. When people from out of town visit, I’m the number one evangel of all of those places that are uniquely Denver. Even places like Davie’s Chuck Wagon or The Waffle House. They don’t have this stuff in London, New York or L.A.<br />
<b><br />Have you ever seen any performances at Red Rocks? </b> <br />
<br />
I saw the ABBA tribute group. I actually saw ABBA in the 70’s and the ABBA tribute group was better! They were called “Arrival from Sweden”.<br />
<br />
<br />
<b>You were commissioned to do a live soundtrack to, well I guess you said it [was supposed] to be Jean Cocteau's movie <i>Beauty and The Beast</i>, but...</b><br />
<br />
Yeah it was supposed to be because they knew I liked Cocteau, and they've written an article, an essay about Beauty and The Beast, so they thought it would be perfect for me to do that, but I guess there's some sort of financial concerns or something. The people at the Jean Cocteau society or foundation or whatever it is are about to re-release Beauty and The Beast with a Phillip Glass soundtrack. So I think some lawyers there were concerned that if someone else showed up and did another soundtrack, it would take attention away from that. So [I did] one of my all time favorite movies. When I first saw it at the age of 15 it was called Dementia and it's also known as Daughter of Horror. It's that strange movie, if you remember the movie, The Blob. When the blob comes into the movie theater, what they're watching on the screen is scenes from Daughter of Horror, so it's been one of my favorite movies since I was 15 or something. And [I went] to Paris for this film festival that shows bizarre movies and low budget movies and all that sort of stuff, to do the soundtrack to Daughter of Horror. <br />
<br />
When I first saw Dementia it was on a triple bill with Carnival of Souls. And I went to the triple bill, it was midnight on Halloween, and I still can't believe my father drove me over and dropped me off at this midnight movie, but it was Salvador Dali and Louis Bunuel's [Un Chien Andalou], and Dementia and Carnival of Souls. I just left the theater like I was walking on a cloud. These are three of the best movies I've ever seen. And I still love, I'm nuts about Carnival of Souls. I'm still nuts about the other two as well. They never grow old.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqfh1w9fbGV4yEVGC7HWFiDcuGeoTkUAsQnsp-cbaHGZ8ZpyRfqn9x7QADur_kJ27xZeXEfaFpkaeOwK0YpqAuRPqr2MwEM8lqlGCd9nDe6fHjtdFlKhhpp9Jxs3j7VCzGCT9CuHP5yxM/s1600/Boyd+Denver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqfh1w9fbGV4yEVGC7HWFiDcuGeoTkUAsQnsp-cbaHGZ8ZpyRfqn9x7QADur_kJ27xZeXEfaFpkaeOwK0YpqAuRPqr2MwEM8lqlGCd9nDe6fHjtdFlKhhpp9Jxs3j7VCzGCT9CuHP5yxM/s1600/Boyd+Denver.jpg" height="240" width="320" /></a><br />
<br />
<br />
<b>Adam Parfrey, in an interview I think a couple of years ago said that you two were talking about doing a 'Lovesville' album (companion to an album by 'The Boyd Rice Experience', 'Hatesville'). It doesn't seem like that's going to happen, but if you did another 'Hatesville' album, how do you think it would differ from the last one? </b><br />
<br />
I don't know that I would do another one. I think that's why Parfrey said “Hey, let's do the Lovesville thing”. But the only problem with that is when you're working with three other people or whatever, it's really hard to get people to actually go into the studio and do something. If I started doing that, it would probably take five or six years, if even it ever came out. At the time, everybody was excited about the idea of doing 'Lovesville' but everybody had an idea of what the cover should look like. “Oh this should look like a Lettersmen album, and we'll be wearing high school Lettermens t-shirts but one person will have L and the other will have O and the other V and E and so on. And so everybody was really excited about coming up with ideas of what it should look like but I don't think anybody had a clear cut idea of what it should sound like or what the content should be. I like the concept, but I had no idea what the content would be. What would I do if I'm doing an album called 'Lovesville'? [Laughs] I don't think it's been discussed in the last several years. Nobody's saying “Hey, when are we going to get together and do that?” <br />
<br />
<b>Do you think that working with other bands in the studio in the future is a possibility? I know that you did it with 'Receive The Flame' and some other stuff. Actually, some of those had conventional instruments I think. But do you visualize yourself doing that or is it just that you can do a lot of it yourself, no sense in complicating matters?</b><br />
<br />
I can't conceive of why that would be advantageous for me at this point. Working with someone like Doug (Douglas P., Death In June), he takes everything up exponentially. Working with a lot of people is just kind of difficult. Because I can hear in my head what I want to do before I go in, so it's effortless for me to do something. A lot of times if you have another person involved, you have to explain everything to them. It's like those movies where somebody's one a plane, a little Cessna, and the pilot passes out, and the guy in the tower has to talk them down and tell them how to land. For me, even just being on tour, and somebody's driving the van, it seems like that. It's like “No, idiot, just park right there, right there, that space right in front of you, it's not hard, it's not rocket science.” But I guess I'm a bit self-contained at this point in my life. Well, I probably always have been. <br />
<br />
<b>I know that when you and Frank Tovey got into the studio, you only used what was in the studio (without bringing any sound sources in). Do you think about things like that? Are you still working empty handed with a blank slate at certain points or is it always a very specific idea? </b> <br />
<br />
No, I have thumbnails sketches of what I want to do, and I have little bits and pieces of sound, and things that I can sample but a lot of times I have a very specific idea of what I want to do and go in, and it's just the very nature of recording stuff that it comes out being sometimes exactly the opposite of what you were intending. I actually like that, I like that there's some aspect to music that you can't control, so essentially you end up creating these things that aren't a by-product of your personality. That's always been one of my goals in music. I want to sort of let the music create itself, I don't want it to be a byproduct of my personality. A lot of people do that, they create something that's a byproduct of their personality and it's exactly what they intended it to be, but it can be dismal and boring. [laughs]<br />
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<br />
<b>You've got a new album coming out soon [came out in October] called Back To Mono, and I get the impression that rather than listening to a lot of new noise artists, you tend to forge your own path and create your own work. It seems evident with Blood & Flame, and a lot of other noise records you've done. But sonically, maybe you could share what direction you're taking with the new album. I know you're going back to your roots but I'm sure you're going to put a new spin on it. I'm curious what angle you've taken with this record. </b><br />
<br />
Well, I wanted to do something that was noisy and loud and as harsh as I could make it, 'cause I haven't really done anything like that for a long time, and of course I know the reason I haven't done that is because the market is flooded with people trying to do that, but a lot of them are using synthesizers, real musical instruments and I always try to create my noise other ways. I just thought, I bet I can still do something that is pure noise more or less, and make it stand out from the crowd. That was my intention and everybody who's heard it likes it, and thinks I've achieved that. <br />
<br />
<b>You've said in the past that you have a minimalist approach, but a lot of noise coming out now is one layer, very one-dimensional in its approach, but yet, your work has lots of different hidden textures and things like that going on so I wonder if you would still call yourself a minimalist...</b><br />
<br />
I do. I still think that I've always done that, but I think I've always had a different approach to it. I think that if you go back and listen to some of the earlier stuff, it might be one layer of something but it's a layer that has a complexity... Patterns, and patterns that change, so... I think there was an analogy that Brian Eno made at one time where he said that there's a difference between things that are natural and organic, and things that are man-made. And it's like the difference between looking at a piece of wood and looking at a piece of linoleum. Linoleum is sort of one-dimensional, whereas if you're looking at a forest out of a plane, it appears all to be green, but if you went down into the forest, you'd see a million different shades of green. And if you looked at every leaf on a tree, they'd be complex, and there would be patterns and diversity. I think that's a good simile. <br />
<br />
<b>Is it actually going to be in mono? </b> <br />
<br />
[Laughs] I wish! If I was a purist, it would have been in mono, but the very process I use creates these patterns that you need to hear in stereo. Of course, a certain amount of it is going to be in mono, just because it's live recording from the 70s or from 1980 or something. They were recorded in mono.<br />
<br />
<b>I know that you've got a lot of reissues happening, do you think any of the stuff on Mute [Records] will be reissued at any point? </b> <br />
<br />
Yeah, when I was just in London to do the festival at the Roundhouse, they were saying that they think in the next year they want to put out a box set where they re-release everything I've done for Mute. <br />
<br />
<b>Are you going to make it a fetishized box set? Some leather bound...</b><br />
<br />
We haven't gotten that far, they just pitched the idea to me and I said yeah, I'd love to do that, so...<br />
I'm sure, further down the road, if they're going to release everything, they want it to be special, so, you know, so you can have some private ownership in it, something that's the exact opposite of downloading for free off the internet. <br />
<br />
<b>How do you feel about that? Do you think it's something that should be outlawed? Obviously it's probably not an ideal way to experience an artist's work...</b><br />
<br />
[Excuses himself to do snuff] I grew up in the late 50s, early 60s, when I was a teenager, and I started going out and buying music. For me, part of the whole experience was sitting there with the album and looking at it, and sometimes it had the lyrics printed inside. It was a more personal experience of the music. There were albums with gatefolds, there were albums with huge posters. That to me, the music experience, even when it went to CDs, it seemed like there was less substance to them. 'Cause they were smaller and they didn't quite sound as good, and with the CD booklet you could have more things to look at, more pictures and stuff, but when you just download a single song off the internet from a band, I think that whole experience of getting into a band, and following them, it's been diminished because of the stuff on the internet. Obviously, it's reached the point of critical mass, it's beyond the tipping point. That stuff is going to happen whether you want it to or not, you just have to re-envision how you can market what you're doing and how you're going to make a buck off of it and survive, and still be able to eat, drink chardonnay, and do snuff. <br />
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<b>I find that it's an interesting climate right now, because with the context of creative outlets or with art, nothing can really be very surprising, or ironic, and I wonder how you feel, because you're a very cultured person, I wonder how you feel about new artists coming and... They believe in what they do, but how much of it is about promotion and how much of it is about the merits of their work... In the context of art history or what have you. I wonder how you feel about what's coming out now... </b><br />
<br />
I think it's really tough. Last August [2011], me and my girlfriend spent a month in New York and we went out to some art galleries, and we went to some openings and things. And these are a bunch of people who went to an art institute of some sort, and they were taught art history. A lot of them just seemed to be trying to remake the wheel. They were trying to replicate what they'd learned at the university. I think a person has to sort of, what's the term I'm looking for, it's like they have to be a 'worker in the wilderness' to create something. They're exposed to all of those influences, and they're influences rather than inspirations. We saw a bunch of things where it was just people doing Andy Warhol knock off stuff, where it's just a portrait of some cheesy celebrity, and this is forty-fifty years on. [laughs] That stuff may have had an impact when Andy Warhol was doing it, but it's just people trying to reinvent the wheel. I think art can serve a magical function, but I'm not sure the extent to which it can still manifest that possibility. <br />
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<tr><td class="tr-caption" style="text-align: center;">Rice in New York</td></tr>
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<br />
<b>It seems like you were definitely inspired by Andy Warhol for sure. Do you think that you applied that to your work? I'm personally inspired by his video portraits and some of the more repetitive stuff. </b><br />
<br />
I don't think he did, but his attitude did. I think there are a lot of artists, they might even be uninteresting artists and you don't even really like their work, but if you read a biography about what their life was like, the way they lived their life and embraced life, and their attitude toward it all... You can get something from it, and I think it was Warhol's attitude more than anything else that I liked. And I liked that he surrounded himself with all of these interesting degenerate characters. As a kid, being exposed to that was really.... impactful [laughs]. <br />
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<b>Yeah, I've been watching some of his documentaries, and speaking of documentaries...</b><br />
<br />
[laughs]<br />
<br />
<b>Your documentary is going to be reissued right? </b><br />
<br />
I've been distracted talking with people at Mute about upcoming show dates so I haven't inquired about their re-release of Iconoclast. But hopefully that's happening, it's just a long process. There are a lot of weird, bizarre legalities involved. <br />
<br />
<b>Larry Wessel recently made it public that you two had a falling out, but it doesn't seem like you to do it for the reasons he claimed. Is there any truth to what he said? </b><br />
<br />
I wish I knew what happened to Larry. He suddenly became very very angry toward me and refused to explain why. I know that at a certain point he was mis-medicated on Topamax, but was acting erratically months after going off the drug. At first his close friends were very concerned about his unstable behavior, but after a number of months they just got sick to death of it. I wasn't the first to have his phone calls blocked and I certainly wasn't the last. But this was the first time I've ever had to resort to that.<br />
<br />
I'm still not sure why any of this happened. It's perplexing and sad. This was supposed to be the beginning of a long term collaboration between Larry and I and instead it's the end.<br />
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<b>He said that you refused to allow him to interview Michael Moynihan, Lisa Carver, or your mother for the documentary. Is there any truth to that? If so, what would you have to hide?</b><br />
<br />
<br />
That's bullshit. Larry never wanted to question Lisa Carver because he considered her a "piece of shit" for writing that book about me. His own words. What I told Larry was that certain people would be bad interviews because they lacked personality and charisma. I stand by that. Moynihan would have been great, he was a witness to the whole period with Douglas Pearce (of Death In June, pioneering the “neo folk” genre). Interviewing my mom is preposterous. She's never had any idea of what I do. She's a little old lady who is very private and would be very uncomfortable doing something like this.<br />
<br />
How could I "not allow" Larry to put in anything he chose to put in? It's his film, and there's a lot of things in there I don't agree with. If there's anything not in this film that he wanted in, it's his own fault, not mine! After all, he had six long years to decide what did or didn't go into this thing.<br />
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<br />
<b>I know that there are two hundred hours of documentary footage, and I wonder if you're interested in sharing anything about what wasn't included. I know that I heard a story about when you were visiting a friend in the hospital that I thought was great. </b><br />
<br />
[Laughs] In the original edit we saw, that was still in there, where the story, to bottom line it, I went to visit a friend of mine in the hospital and he'd just had his spleen removed. His father was the first person in the history of the United States to have his spleen removed. So I went in, and this guy's all stitched up, he just had the operation and he said “Please don't say anything funny because I can't laugh, it causes me great pain”. I don't even think of this stuff, I was saying things that were making him laugh and he was in severe pain. It happened to be on the same day of the crash of Flight 182 in San Diego. From his hospital, we had a bird's eye view of this crashed plane and this pillar of flame and smoke. The whole sky was getting filled with smoke. Two planes, like a Cessna or something, crashed into a 747, and it wiped out a couple of square blocks of an area of San Diego. <br />
<br />
<b>I was under the impression that he blamed you for it, and it was making him laugh...</b><br />
<br />
[Laughs] I don't remember that but I get blamed for a ton of stuff I don't do, so if somebody blames me for the airline carrier, it's probably not unexpected. But of course, if there's two or three hundred hours of film, I have no idea what's been left out, I just know that I saw 4 different edits of this film, and every time one of my favorite things was left out. There was this great piece with Shaun Partridge's father, and he just said something like “What the hell's going on with this snuff crap, Boyd? You're not in jolly old England in the 1800s, this is the year 2000”. And it was just several seconds, but it was funny because you got to see Shaun's father, and he's a total character! Every time we see it, we go “Oh wow, whatever happened to so and so? They had a really funny good scene in here!” But you know, who knows? Who cares? It's still largely entertaining, and everybody who's seen it has liked it. I think there're a few sourpusses who said [in a shrieky old lady voice] “I don't like this movie, this isn't a good guy”. Everybody says, “I saw this and I laughed for four hours straight”. <br />
<br />
<b>I did enjoy it. I did ask Larry [Wessel, director of the documentary] if there was going to be a director's cut of the movie and he said no. So I guess that's all dust in the wind, those 200 hours or whatever they were. But is your opinion about the end of the world still the same? </b><br />
<br />
Yeah. If you're talking about the text I wrote for the Current 93 record in 1987 or 88. Is that what you're talking about? <br />
<br />
<b>It's also in Apocalypse Culture. </b> <br />
<br />
The end of the world is an ongoing process, it doesn't happen suddenly and without warning, it's just this slow process, and it's so slow that nobody recognizes it and they're just dragged into the grave along with it? <br />
<br />
Yeah [laughs].<br />
<br />
Yeah, more or less, [laughs] I probably believe that more now than I did when I wrote that, when I was 20 years younger or something. But at the same time I believe life goes on, and we're sort of living in the best of all possible worlds. You can look at everything and go “Oh things are getting worse and worse and worse” or you can look at it with the attitude of “You know what, enjoy this while it's here, because five years from now, you'll look back upon this very day and say, 'Oh my god, I was living in a paradise of perfection, and I didn't even realize it!'” <br />
<br />
<b>I find that's one of the most impressive things about you, that you don't complain. There're a lot of things going on that people could complain about but it seems like you just steamroll through it. </b><br />
<br />
Water off a duck's back. <br />
<br />
<b>What's your opinion of Whitehouse? Do you like them, or is it something that you don't find amusing?</b><br />
<br />
No, it's kind of like, I was there when all of this stuff started, I was there when noise music and all of this stuff, I was there way before it started. So when me and Throbbing Gristle were doing noise music and having our early shows, William Bennett was playing guitar or saxophone for Laura Logic. So, to people like me, it seemed like he was a day late and a dollar short. To me, the white noise stuff was, maybe if you saw it live and it was loud enough, there would be some visceral aspect to it, but I have a machine that has a setting for white noise, that you turn on just before you go to sleep and it puts you to sleep. I haven't really met any of those guys, well I met Sotos. He was like a big hideous panda bear or something. An unpleasant panda bear. He'd gone around saying certain things about me, and I met him in Chicago, and I confronted him. He was just a coward, he was just like “I never said that, I never said that!” People who [are] doing things where it's like shooting fish in a barrel or torturing cats or torturing children or something, maybe some people get off on it, but to me it's just sort of weak and cowardly. <br />
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<b>If I'm not mistaken, I think that you're on the same publishing company, and I thought that in Pearls Before Swine (a movie that Boyd starred in, whose part seems to have been written for him), you were reading a book called “Pure”,(a magazine that Peter Sotos ran for a time, of the same name, which supposedly led him to a child pornography charge) I thought you were reading an issue of his magazine, but maybe I was wrong....</b><br />
<br />
[Laughs] No, that was a fake book that my character had purportedly written. It was a book called “Pure”. And again, I had nothing to do with that movie. I just showed up and I read the lines that were written. People look at that movie and they go, “Oh wow, you feel exactly the same way I do about bondage and weird sex” and blah blah blah, and that's not me! I just sort of showed up and read the lines out of a script, but people look at that movie and think this is what Boyd's really like. And it's not! I'm not! <br />
<br />
<b>I haven't picked up the Bordelle Militaire CD yet, I'm not sure if it's even out yet, but...</b><br />
<br />
Yeah, I'm not sure, 'cause I haven't gotten it. But I'm sure once it's out they'll send me a copy. The stuff I've heard from them in the past is really good. It's sort of a cross between industrial music and exotica music. Very unusual mix. <br />
<br />
<b>But it works for you? I would imagine that you might not like that sort of hybridism. </b> <br />
<br />
The way they did it was really good. There's a guy, he's from Chicago, and he was in one of those early Chicago industrial bands, and I forget the name of his project but he's a guy, he wrote a book called Tiki Road Trip where he went around the United States and went to every tiki bar in the United States. The second edition actually included Tiki Boyd's. But he put out a CD that was a cross between Martin Denny and noise music. And it was really quite good, I just felt it was maybe a bit too good for its own sake because I got it, but I just thought nobody else in the United States is gonna get this hybrid! I like it, I think it's great but who knows if anybody else is gonna pick up on this. He probably shot himself in the foot with doing that, I don't know. <br />
<br />
<b>Well, I'm gonna check it out if you think it's evocative. </b><br />
<br />
Well, I thought it was good when I heard it, but that was probably 6 years ago or something. Good luck with tracking that down. <br />
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<br />
<b>People say that you are racist, but my question is, after reading your book, how would you prevent yourself from becoming racist? And what did that guy have against the Irish? </b><br />
<br />
Racist is an easy appellation to toss around. As I said in the book, before I left San Francisco I hated everybody. Denver calmed me down a lot because not everyone has a huge chip on their shoulder. In San Francisco they did. <br />
<br />
<b>As someone who watched it happen, what do you think happened between the 70s and late 80s to make things get so bad? Surely it's not all Reagan's fault. </b><br />
<br />
It's no one's fault. It was a fucked up time and place. I was just a witness to it all. <br />
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<br />
<b> I think it's stimulating that during this Occupy Wall Street movement so many people are now aware of the Federal Reserve, and the control that corporations have, I have been aware of it for a while, but I don't think many people knew about it as a whole compared to now. Do you think this kind of mutation of public opinion is a change for the worst? </b><br />
<br />
I'd suggest you reread my chapter from NO on "Rebellion". Until then, I love to see [these] schmucks showered with pepper spray. It's the only scenario short of a new Kent State that could truly warm my heart.<br />
<br />
<br />
<b>I'm not trying to ride you about being apolitical, I'm somewhat apolitical, politics are not my thing, so I think it's fascinating that while even the most apathetic people I know are getting into this Occupy Wall Street "movement", you are completely indifferent to it. </b><br />
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<b>How do things like Monsanto's genetically modified foods, or the fact that aspartame is in everything and pure sugar is replaced by high fructose corn syrup in almost everything, or even the fact that they're making your snuff illegal, how do these things not bother you to a degree that you would sympathize with someone trying to change things? I am not much of an idealist, but if people are trying to make it so that I don't have to worry about eating animals that are pumped with hormones or so that I don't have to pay $1,000 to get my teeth fixed, I can't exactly knock it, but are they all screwed up masochists? </b><br />
<br />
They're misguided. I can't sympathize with people who think vague slogans are going to change anything, because they aren't. Today's protesters are totally anti-government yet think that government is so all powerful it can fix anything. That's obviously not the case. These people see the government as Mom & Dad, as something that should take care of them & fix their "boo-boos". But it's not the government's job to fix your teeth & never has been. <br />
<br />
Even if they had a cogent agenda (and they don't), they're part of the system's little dog & pony show. All this is like a bad mix of the worst aspects of the hippie movement & punk, & I never cared for either. As for weird foods, eat them 'til you puke. They've been around for quite some time & no one has died from them. Sadly, people are living longer lives, not shorter. <br />
<br />
<br />
<br />
<b>I'm curious about what the 70s were like for you musically. I know that you didn't like a lot of the macho posturing of the rock that was coming out, I know that you listened to some glam, and I know that you were probably listening to a lot of girl groups and stuff. I wonder what else you were into, and how it was correlating with your development of noise music and things like that. </b><br />
<br />
You would've had to have been there to really appreciate what an execrable period of time the 70s was like for music. It was endless guitar solos and endless drum solos, and this sounds weird, but it's true: There were different groups of people who listened to things depending on what kind of drug they were on at the time. So a lot of my friends were pot smokers or on Quaaludes and red wine. They would listen to this stuff like Hocus Pocus by Focus that just went on forever. I wanted something that was fast and uptempo and loud and brutal. Most of this stuff, I'd hear Black Sabbath on the radio, and I'd think this sounds good, and I'd get the Sabbath album, and it's like even the stuff that was called 'Metal' or 'Heavy Metal', it wasn't harsh enough, it wasn't brutal enough, it wasn't loud enough, and it definitely wasn't fast enough. So in the early 70s, I got into The Stooges, who were in every Woolworth's cut out bin. You could get 'Fun House' and you could get 'The Stooges' for 97 cents. You could get the MC5's first album 'Kick Out The Jams', and that's what I was listening to. I was just thinking “God, why can't music be like this anymore?”. <br />
<br />
When David Bowie broke, his first order of business was to get Iggy Pop signed to his management company, and he did, and they put out that Raw Power album, which was fantastic. So it was like the best of times and it was like the worst of times. The strange thing is, is that Bowie also got Lou Reed signed to his record label, and both Iggy and Lou Reed did these kind of classic noise things. I think it was on The Stooges album or it might have been on 'Fun House', they did a thing called L.A. Blues, and it was just like 4 or 6 minutes of pure noise and feedback. Then Lou Reed of course put out Metal Machine Music. Strangely enough, those things didn't influence me or inspire me, but after I started doing my own noise music, I looked back and said “Oh my god, I've been into Iggy Pop and Lou Reed, and they both kind of went off in this direction, and maybe they only did it for 8 minutes or for whatever, but they at least did it, and those are the guys that I identified with. <br />
<br />
<br />
A lot of people do that stuff in the middle of a typical rock 'n' roll song, where it's just songs chugging along, and they do that, and they freak out for a while, and they go back to the bass and the drums, and the normal beat, and I find that boring. This I remember being right in the middle of the album or something, it was like “What the hell am I listening to?”. <br />
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<tr><td class="tr-caption" style="text-align: center;">Rice with David Johansen of the New York Dolls</td></tr>
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<b> know that you liked The Stooges, The New York Dolls, and T. Rex and stuff like that, and I'm wondering at what point rock 'n' roll crashed for you. It seems that punk rock didn't really satiate your appetite, so to speak. </b><br />
<br />
By the time punk rock happened, I was already recording music. So, when it happened everybody's like “Oh my god, there's this big rebellious thing from England”, and I listened, and the Sex Pistols sounded to me like The Monkees, and I thought they were The Monkees. They were from England, they were put together by a guy [that] owned a clothing store, they're singing about anarchy and they're singing about destroying everything. I've used this analogy over and over and over again, but they're using the same 3 or 4 chords that go back to Chuck Berry or to 'Louie Louie'. I wanted to love it, and it was really an extension of glam rock. These guys were obviously just influenced, everybody in the English punk scene saw the New York Dolls on the Old Grey Whistle Test, and they got excited as hell, and it took 'em a couple of years to get around to putting together bands but when they put together bands, they were trying to replicate The Dolls. To some extent they replicated the energy, the speed and all that stuff, but they didn't have the fun. <br />
<br />
<b>I know that you were friends with Jello Biafra, but I take it you didn't like The Dead Kennedys per se? </b> <br />
<br />
Nope! None of his contemporaries liked The Dead Kennedys! The Dead Kennedys were like, if Mad Magazine created a band to represent what punk rock was like, it would have been The Dead Kennedys. I knew Jello for 6-8 months before I saw The Dead Kennedys, and I really liked him. He was a smart guy, he was funny, but I saw the band and I thought, “Oh my god, this is god awful.” “This is like [groans]”. “California Uber Alles” and “Holidays In Cambodia”, afterwards Jello came up to me and he was smiling and he said “So Boyd, what did you think of my band?”. I said “You know, this kind of stuff really isn't my cup of tea”. And he just sort of went [in a funny impression of Jello Biafra] “Damn! Why don't any of my friends like my band? Why don't they like my music?” [Boyd kindly asks his girlfriend to get him another glass of wine, “the sweet stuff that he loves so much”] <br />
<br />
<b>Your girlfriend told me that you have a story about The Dickies. I wonder if you care to share it. </b><br />
<br />
It's not really a story, it's just that the guy who was the lead singer was a member of The Church of Satan. So I was at Anton LaVey's house one evening, and his daughter Karla came in and said “Dad, guess who's here?”. He said “I don't know Karla, who would that be?” She opens the door, and it's the lead singer of The Dickies, he'd just done a show at the I-Beam or something, and he came in, and spent the rest of the evening with us. He was a nice guy, I forget his name, but [his girlfriend informs him] “Leonard Graves Phillips?” He was an okay guy, he was good, you know, and he was a member of CoS so... I loved the fact that there was a band in LA covering 'Gigantaur the Space Aged Robot' and stuff like that. <br />
<br />
<b>You were telling me about a wig room. That was an idea that never quite happened but you had an art installation where nothing but wigs were glued to the walls or something like that? </b><br />
<br />
What I wanted to do was have a tourist trap in Hela, Arizona, which is like most days, it's the hottest city in the United States. When you're driving in the middle of the desert, you can drive for miles without seeing anything. So I wanted to create a tourist trap that was just full of bizarre stuff. People would have to stop and see, because there's nothing else to see out there, and for miles before you got there, you would just see “What is The Wig Room?”, and the word “wig” would be in horror/sci-fi font. So you're thinking “What is The Wig Room?”, and then you stop and go into this place, and there would be an entire room, it was like a typical American living room, but everything would be covered in wig hair. So it would be something that children would see when they were very young, and when they were adults, they would go “Did I really see that?” “Could that possibly be true?” There's a thing in New Mexico or Arizona or something called “The Thing” and you drive for hundreds of miles through the desert, you just see this “What Is The Thing”, and it looks really creepy, and you're just going “What could it possibly be?” I wanted to do something along those lines. It would have a ton more stuff in it, and my friend Allison Anders is a movie director, and she's always believed in my tourist trap project, she said “Boyd, one of these days I'll do a film and written into the plot line will be your tourist trap, and we can spend thousands of dollars creating this thing.” Usually when you do a film, you spend thousands of dollars creating something, then you spend an equal amount just tearing it down and hauling it away. She said “This would be great because we wouldn't have to have it demolished, it could be out in the middle of the desert, and you can be making money off of it”. So that's one of my fantasies that has never quite come true. <br />
<br />
<br />
<b>Grux [a long time experimental artist from the west coast] told me that I should ask you about Arizona, your time in Arizona with Monitor, or a tour around that time...</b><br />
<br />
That is so strange you asked that because [recently], me and my girlfriend went, and the Meat Puppets were in town. I haven't seen these guys in 30 years or something! So we come in just as they're ending their sound check, and we go back stage and hang out with them. They had all these great stories of stuff that I don't even remember doing. They said “Oh yeah, I remember one time we were in a coffee shop, and a woman was talking really loud, and just as we were leaving Boyd went right up to her ear and said [screams] SHUT UP!” I was like “Wow, that's fun, I don't remember that”. It was really fun and great to see those guys again because we spent a lot of time there. <br />
<br />
There was this strange punk rock club in Phoenix, that we played at with The Meat Puppets, and it was a wrestling club six days a week, and one day it was just open, and you could rent it. So it became a punk rock club, and you actually played on this wrestling stage that had blood all over it. There were pictures on the wall of female wrestlers from the 50s and stuff, it was a very very bizarre place. For whatever reason, we just went back there over and over. People in Phoenix really loved us, they really loved me, and I just got invited back over and over and over again, so I spent a ton of time in Phoenix. Oh and the other thing about the Meat Puppets is that they used to, their pot dealer was Moe Tucker? Is that the girl's name from The Velvet Underground? The Velvet Underground had a female drummer, and she eventually ended up in Phoenix, so when I would go with the Meat Puppets to buy their pot, she was their pot dealer, she just lived in a normal house in the suburbs, seemed like a normal mom and stuff. <br />
<br />
<b>But you were living in an abandoned house right? </b><br />
<br />
Well, eventually I was, initially I was just living in this strange place in Phoenix, and then I visited San Francisco or some place and came back. The place was no longer available so I spent a great deal of time sort of sleeping in graveyards and on the top of tombs and in abandoned houses, and just making a living off of selling my blood. <br />
<br />
<b>In one of the hottest places in the country, but you still make it sound fun. </b><br />
<br />
It was fun! It would have been more fun if I hadn't had a girlfriend who wanted to take every suitcase after suitcase after suitcase or make up case. Wandering around being homeless is probably much more delightful when you aren't carrying a bunch of luggage, and we didn't have a shopping cart. It was fun! It was one of the best periods of my life! It's one of those things that lets you know: What's the worst that can happen to you? You're gonna lose your job? Then what happens? You get kicked out of your apartment? Then what happens? What can anybody do to oppress you? They put you in jail or prison? So what? They're going to kill you? So what? Living as a homeless person for a number of months, I just thought “Wow, I can do anything!”. This isn't that bad, this is supposed to be the worst it can get, but it's really not that bad. Especially, I was a scammer. So I had like a thousand and one ways to get free stuff! [laughs] This sounds really bad, this sounds really low brow and disgusting, but it was actually really quite good, it was something that I feel strengthened me. <br />
<br />
<b>Scamming, I don't have any problem with that. I used to order pizzas and say that I was a vegetarian, and I'd say that there was a piece of sausage on every pizza that I got, so I'd get like 7 pizzas in one day. I'd just keep calling and saying “Listen! There's still a piece of sausage on my pizza!” </b><br />
<br />
Yeah, well, the story that the Meat Puppets were telling my girlfriend is that they remembered that we used to go out to the bars in San Fernando Valley, and I also did this a lot a place called Schaefer's there but in my wallet, I had a number of strands of every imaginable kind of human hair. I would get the mac and cheese, and if the guy behind the counter had red kinky hair, I would eat almost all the mac and cheese and put in the red kinky hair. Or if he had black greasy hair, I'd put in the black greasy hair. I'd call over to the waitress, and she'd go “Oh my god, I'm so sorry! I don't know how this could have happened! We'll comp you your meal, we'll get you anything else you want.” and I'd say “No, I'm sick at this point”. “Well, we'll give you a coupon so you can come back the next time for free.” And she'd call over the manager, and he'd just say “Oh we're so sorry”. I did this over and over again, and everybody was always apologetic, and then the first time I shaved my head, the manager looked at me and said “Listen mister, I'm going to remember your face, if you ever come in here and try to pull this crap, I'll remember you”. How could I possibly put one of my own hairs in my food when I didn't have any? <br />
<br />
<b>As an artist, you've shown work in galleries in the last few years or so, how is that shaping up? Are you still working at visual art? </b> <br />
<br />
Visual art or writing or music, it's all the same, I only do it when the inspiration hits me. Then I can be like a house on fire and just go at it. I'm not a guy who gets up every day and does something just to do it. Or I'm not the kind of musician who puts out a new album just because it's time to put out a new album. I can't do it until I get the bug about it. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnE-ah36Yx1P9H37rnPl1YC787NuLp8asl37X8Re4wB6EUcvFBxB2ms1A2yC6F9o1rBwoSVzG-lId32DEI-5yI3p6Mp773XLt6cbZWLsczTBVVCkx7dnbCyqNDuPHA3Or77jTa5Qe_UsD/s1600/Boyd+Tiki+Oasis+2010.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnE-ah36Yx1P9H37rnPl1YC787NuLp8asl37X8Re4wB6EUcvFBxB2ms1A2yC6F9o1rBwoSVzG-lId32DEI-5yI3p6Mp773XLt6cbZWLsczTBVVCkx7dnbCyqNDuPHA3Or77jTa5Qe_UsD/s1600/Boyd+Tiki+Oasis+2010.jpg" height="320" width="240" /></a><br />
<b>In another interview, you said that you'd like to be an artist in the future, or you'd like to be an architect in the future, different interviews. You said that you've still got a lot of stuff that you want to do. Maybe you don't want to let the cat out of the bag, but I'm curious what else you might be working on. </b><br />
<br />
There are all sorts of things on the back burner. I think the question was “Is there something you'd like to do that you haven't done”. And I said architecture. I actually got letters from people telling me how I could have access to architectural facilities and architectural universities. I don't want to ramble on and on about it but I love architecture, because it conveys a spirit that's intangible, and it's something you live with every day. Whereas, music, art, a book-- you've read it, it's on the shelf, music-- where does it go to when you're not listening to it? But buildings are there, you experience them every day. <br />
<br />
<b>I read that before, “They speak to the soul”, I liked the way that you put that before. </b> <br />
<br />
They certainly speak to mine. Don't even get me started! [laughs]<br />
<br />
<br />
<b>It seems like you're not studying in the occult too much anymore, and it seems like you've been successful at it, much more than many other people, so I was wondering if there is, you know obviously you've had experiences with misguided would-be occultniks, but I wonder if it ceased to serve you to read about these things or to practice this stuff, or if it's almost something that is automatic. </b><br />
<br />
I think you hit the nail on the head. It's just something that's so much a part of my consciousness that I don't have to think about it. I think the problem with a lot of these occultniks is that they're always talking about it, they're writing things about having a “power philosophy” or something. And you just go “Listen, dummycake, if you had any power whatsoever, you wouldn't even be talking about it.” You see people like Donald Trump or something, he's just doing it. He's not going around saying [in a kind of uptight, dippy voice impersonation] “I have a power philosophy and I believe that blah blah blah of the strong and...” I just think that, if you know it, you don't have to talk about it incessantly. I still think it's a fundamental thing in my life, it's simple. If you know what you want, you know how to get it. Most people don't know what they want or how to get it. Nos do must act (?) a famous person once said that, I won't tell you who it is.<br />
<br />
<b>I read it in an interview so I can look it up! <br />[laughs]</b><br />
<br />
<b>I was thinking about your attire and I was saying “This is a person that values and upholds the concepts of discipline and order, but also not someone who is so conservative that he wouldn't simply be inspired by something like, a lot of things that were on 60s television like Hogan's Heroes....</b><br />
<br />
I remember when I was going to summer camp the year it was coming on, and they showed all these advertisements for it, everybody was talking about Hogan's Heroes, they couldn't wait to see it. Strangely enough, I saw a lecture by Rod Serling, and he hated Hogan's Heroes! He was saying “This is the most immoral show in the history of television! A sitcom set in a concentration camp!” Of course, it wasn't a concentration camp, it was a prisoner of war camp. But it was just sort emblematic of the different attitude in that happy-go-lucky decade of the 60s where people could... Germans were still comedy relief. Something about America's psyche, where they want to make their villains either the most evil people on earth, or comic relief. They still use Charlie Manson for comic relief. He makes a bunch of weird faces and they click one where he's sticking his tongue out and looking goofy, and underneath it says “kooky Charlie Manson!” Do you really want to deflate your villains by making them into comedians? Or do you want them to be the most evil people on the earth? You've got to make up your mind, you've got to have one or the other. That was my attitude towards Hogan's Heroes. <br />
<br />
<b>I know that Marilyn Manson was big into Dungeons and Dragons and stuff like that, and that's something where you can't knock it because he was successful. Not maybe directly as a result of it, but role playing does have a benefit to people, that's definitely also in the realm Star Trek or things like that. Do you think that there are values to Dungeons and Dragons?</b><br />
<br />
I'm not really hip to it, but at some point somebody pointed me to something on the internet where they said “my entire philosophy came from Dungeons & Dragons” that there was a group of people in Dungeons & Dragons that were into Social Darwinism. I've never, when that stuff came out, if I was exposed to it when I was a 13 year old, I might have gotten into it, but by the time that came out I wasn't at the point of my life where I'd be playing role playing games. I know Karin [his girlfriend] was really into it, and got something out it. I think you can get something out of anything. I make fun of the Star Trek people but people take something away from that. We just saw this unbelievable documentary called “Trekkies” and it's like both sides of the blade, where on one hand they're just making fun of these people, and showing how ridiculous they are, and how extreme they can be, but on the other hand, you see that Catholicism, or Islam or Judaism-- It brings something to these peoples' lives. So you can't really be entirely dismissive of it, even though it might not be your own cup of tea. And I'm not comparing Islam or Judaism or Catholicism to Star Trek, but I'm just saying that everybody needs some mystical thing that's beyond their understanding to bring something to their lives. Whatever you find it in, good on ya! <br />
<br />
<b>You've got a fascination with The Partridge Family, and there's that temple so, there're merits to it at least...</b><br />
<br />
If you've studied the major world religions, there's really no difference between their basic beliefs and a TV show like the Partridge Family. There's all the different deities. You have a god, and you have some goddesses, and you have a little trickster god. So, it makes sense. To me, The Partridge Family Temple is no different than Hinduism. It's just more immediate because it happened in a period that most of us grew up in, and the clothes were better. <br />
<br />
<b>I know now that you are coming out with a book about the various characters you have known throughout life, and one thing at the top of my mind is, did you ever get to headbutt Wesley Willis?</b> <br />
<br />
Thank goodness, no. I gave him a ride to a music venue we were both playing in Chicago and it struck me that he was a sort of botched human being who was being exploited as a novelty by one person after another.<br />
<br />
<b>Marc Almond is another enigmatic figure to me. . Are you still in touch with him? Is there maybe a teaser anecdote about him you can share to punctuate excitement about your upcoming book?</b><br />
<br />
Believe it or not, Marc is a kindred spirit. Very much so. I showed some of his music videos to Anton La Vey and he loved them, thought the guy was both a genius and a true satanist. I first met Marc in the 80's when he lived off the Portobello Road and in 1993 I inducted him into the Church of Satan. He describes the incident in his autobiography, Tainted Life. <br />
I'm saving my best stories about Marc Almond for my book, but must say he is one of the must under-appreciated artists of the latter half of the 20th century. His body of work is better than Sinatra and Elvis put together; which is all the more impressive in that he wrote his own material. And he is as good a performer as either.<br />
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<tr><td class="tr-caption" style="text-align: center;">Rice and Z'ev</td></tr>
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<br />
<b>What else have you got on the boil? </b><br />
<br />
The author Nina Antonia is working on doing a biography of me. She did the first biography of The New York Dolls, and her authorized biography of Johnny Thunders is being made into a movie by Hollywood. It looks like my book NO is going to be translated into German, and my collected writings will be re-released later this year to coincide with the release of [a new noise album under the name NON] Back to Mono. I co-edited a coffee table art book of thrift store paintings which should be out later this year and right now I am putting together a book of my own art and photography for a British publisher. And I’ve contributed a number of articles to Outre Journal which is a very high-end publication out of Australia. One is a brief history of space age religious architecture and another is about satanic iconography in mid-century advertising. So I’ve been busy. <br />
<br />
<b>Will your upcoming art book coincide with any gallery exhibitions? </b><br />
<br />
Yes. It’s supposed to tie in with a major exhibition of my paintings in London. The book itself will be paintings, photographs and sculptures. I have the materials for it nearly ready to send off, but it’s a lot of work and the book isn’t something that’s going to happen right away.<br />
<br />
<b>So far as I can tell, you haven't performed in Denver since Z'ev was in town in 2008. Do you plan to play in Denver or anywhere else in the USA in support of your upcoming album? </b><br />
<br />
No. I have a European tour which kicks off in Moscow, and then hits a lot of other major cities. Dates are still being added as we speak. I get a lot of offers to do shows in Denver but none of them seem serious. I’ve been a touring musician for three decades and I’m used to dealing with professionals, so anything else doesn’t cut it for me. There may be a U.S. tour next year with Death in June, as it’s the 15th anniversary of the tour we did in the 90’s, but that remains to be seen. I hated our last tour here, so it hardly seems like something to commemorate! [Boyd later declared a civil falling out with Death In June on Facebook, and ended up touring the U.S. with Cold Cave].<br />
<br />
<i>Most photos courtesy of Karin Buchbinder. </i>Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com1tag:blogger.com,1999:blog-1480947859314924255.post-66584770845737562602014-04-22T00:07:00.000-07:002014-04-22T01:15:45.086-07:00Spiralling remains (I don't recognize them)<br />
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<a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di042214.14"><b>LISTEN </b></a></div>
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****<i>The portions of this recording where I am playing records sound like crap because I didn't know they weren't coming through well from the on air studio, so those parts of the archive have been amplified so that you can at least hear some of the recorded audio under grinding surface noise.... ahem.... which brings me to my next bit..... <b>There will be two more episodes of The Delirious Insomniac Freeform Radio Show and then it will stop being what it is.... </b> That is all....</i>.*****<br />
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Captain Beefheart - Hot Head<br />
Buddy Bow - Twistin' In The Jungle<br />
Clinic - The Castle<br />
The Bobbettes - I Don't Like It Like That Pt. 1<br />
1910 Fruitgum Company - Red Light<br />
T. Rex - Venus Loon<br />
Kebnekajse - Resa Mat Okant Mal (<i>"A Journey To Destination Unknown</i>")<br />
LARD - <a href="http://www.metrolyrics.com/sidewinder-lyrics-lard.html?ModPagespeed=noscript">Sidewinder</a><br />
Thomas Dolby - Europa and The Pirate Twins<br />
The Anti Group - HA<br />
Black Stools - We Are The Sect (Blunt Force Bible Study Mix)<br />
Theatre of Ice - excerpt from <a href="http://causeandeffectk7.bandcamp.com/album/the-haunting">The Haunting</a> Side A *with*<br />
De Fabriek - excerpt from Recycled tape on <a href="http://rrrecords.com/">RRRecords</a><br />
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Ministry - Grace<br />
Zone Nord - excerpt from recycled tape on rrrecords<br />
Emil Beaulieau - Untitled 3 from Moonlight In Vermont<br />
Skin Graft - excerpt from Side B of "Enemy" LP (I actually continued playing the Zone Nord cassette instead of this record on accident, forgot to cross fade the mixer while the record was cued through our monitors, sorry Wyatt!)<br />
<a href="https://soundcloud.com/architeuthis-dux">Architeuthis Dux</a> - Acropolis<br />
Novasak - Untitled track from split cassette with Vomir<br />
Amanda R Howland - You Are My Liver<br />
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Iggy and The Stooges - I'm Sick of You<br />
Nine Inch Nails remixed by Coil - Eraser (Reduction)<br />
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<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-59104686139492448142014-04-17T04:10:00.002-07:002014-04-17T04:12:57.816-07:00Night Ov the Crimson Moon <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9oWAfKTypunYpp1mDRIvVDLvn23-hd2iJIdVO2ZSRZ_fdQLqGTzsvVnLjWthrulDlbUzUlC46SZpwGyfxKdCM9373o4Vr1pu20sylyA11Ko12S2u4LBgjQ55Uut4cNB7RUtTLXbgLNKU/s1600/tumblr_n3zjnfFcnz1qdp6qlo1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9oWAfKTypunYpp1mDRIvVDLvn23-hd2iJIdVO2ZSRZ_fdQLqGTzsvVnLjWthrulDlbUzUlC46SZpwGyfxKdCM9373o4Vr1pu20sylyA11Ko12S2u4LBgjQ55Uut4cNB7RUtTLXbgLNKU/s1600/tumblr_n3zjnfFcnz1qdp6qlo1_1280.jpg" height="320" width="320" /></a></div>
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<a href="https://ia601409.us.archive.org/31/items/DIFFRS4152014/DIFFRS%204152014.mp3"> https://ia601409.us.archive.org/31/items/DIFFRS4152014/DIFFRS%204152014.mp3</a><br />
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1). Goblin - Zombi</div>
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2). Hawkwind - Lord of Light (live 1973)</div>
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3). Brian Boyce - Special Report</div>
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4). Deep Purple - Fireball</div>
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5). Crash Worship - Catatonic Dance</div>
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6). Coup De Grace - Adult Force (cass. 1894)</div>
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7). The Haters - Garboal</div>
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8). Godflesh - Pulp</div>
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9). Ash Pool - Big Bang Black Metal</div>
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10). Tryptikon - Breathing</div>
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11). Impetigo - Bloody Pit of Horror </div>
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12). Chrome - Blood On the Moon ( live In Bologna, Italy 1981) </div>
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13). The Monastery of Gyuto - La Grande Noir </div>
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14). Ennio Morricone - O.K. Connery ( from the soundtrack " Danger Diabolik" , 196?)</div>
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15). music from "Spider Baby" - Cannibal Orgy (sung by Lon Chaney Jr.)</div>
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16). Satanicpornocultshop - Chopstick Park</div>
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17). S. Isabella - Sunny Side Up Swordfish</div>
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18). Unfair Composition Consortium - (title in Japanese?)</div>
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19). KK Null - Theme Variation 1</div>
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20). QP Crazy - Kuroita (J Beeef Penis R&R)</div>
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21). *S - J+3-1 </div>
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22). title in Japanese ( from the compilation " Unacknowledged Pop Song Collection Vol. 666)</div>
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23). Justin Marc Lloyd - Seemingly Under-lion Self Talk in the Form Of Adam's Sharp and Heavy Apple</div>
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24). Justin Marc Lloyd - Five Minute Goals for dealing With Ascendent Inhabitants </div>
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....a few more cuts from the " Unacknowledged Pop Song Collection Vol. 666 " comp. i didn't write down..... then fades into the next show with Sarah.....</div>
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End.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-53825801432387961382014-04-01T00:45:00.000-07:002014-04-01T00:45:13.842-07:00On Psychic Theater (with guests Erin Morrill, Gannon Reedy, and Olivia Lilley)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WXhSUZNGCpzBC4QfEtUqSpWxN-dQ2G1CYBqim4shYWh71cXzhTbIrTp9EJjpynuECmyAwnetF0eld5dFJIglIrhevFHjZ7XiSPBDW-EtdkgLQAjl3UGl3PERGeTlDGFa0ZoIKsMV5Y9L/s1600/crumbthirdeye.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WXhSUZNGCpzBC4QfEtUqSpWxN-dQ2G1CYBqim4shYWh71cXzhTbIrTp9EJjpynuECmyAwnetF0eld5dFJIglIrhevFHjZ7XiSPBDW-EtdkgLQAjl3UGl3PERGeTlDGFa0ZoIKsMV5Y9L/s1600/crumbthirdeye.jpg" height="241" width="320" /></a></div>
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<div style="text-align: center;">
<a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/Di04012014_psychicPart1.mp3"> PART I</a></div>
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<a href="https://monikerrecordsss.bandcamp.com/album/ono-diegesis">ONO</a> - Burning of the Midnight Lamp</div>
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U.S. Tribes - excerpt from "Fast Relief" cassette</div>
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Tubeway Army - Every Day I Die</div>
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Nine Inch Nails - Running</div>
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Paul McCartney - Temporary Secretary</div>
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Conversation with <a href="https://www.facebook.com/olivia.lilley.9?fref=ts">Olivia Lilley</a> , <a href="https://www.facebook.com/gannon.reedy">Gannon Reedy</a>, and <a href="https://www.facebook.com/ekmpsychicartist">Erin Morill</a> (psychic improvised theater, <a href="https://www.facebook.com/improphet666">Improphet</a>) part one</div>
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Agitation Free - Haunted Island</div>
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Hula - Poison (Club Mix)</div>
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// Tense // - Work Hard Short Life</div>
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Fad Gadget - The Box</div>
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Linea Aspera - Eviction</div>
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<a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/Di04012014_psychicPart2.mp3">PART II </a></div>
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Conversation with <a href="https://www.facebook.com/olivia.lilley.9?fref=ts">Olivia Lilley</a> , <a href="https://www.facebook.com/gannon.reedy">Gannon Reedy</a>, and <a href="https://www.facebook.com/ekmpsychicartist">Erin Morill</a> (psychic improvised theater, <a href="https://www.facebook.com/improphet666">Improphet</a>) part two (including a live psychic past life reading for Arvo) </div>
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Wolf Eyes - excerpt from <a href="http://www.discogs.com/Various-Michigan/release/1708949">Michigan 6 LP</a> on RRRecords </div>
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Iggy Pop - Mass Production</div>
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Michael Gira - If You...</div>
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Vom Grill - excerpt from from "<a href="http://www.discogs.com/Vom-Grill-Sierbeesten/release/5274876">Sierbeesten</a>" LP Side A</div>
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Jeff Simmons - Lucille Has Messed My Mind Up</div>
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<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-50624216593685397682014-03-20T12:58:00.000-07:002014-03-20T12:58:29.968-07:00WONDROUS RUINS HOLD YOU<div style="text-align: center;">
<a href="http://www.soundohm.com/albums/covers/31f6db8b48cca7912d73bddf82c55d91.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.soundohm.com/albums/covers/31f6db8b48cca7912d73bddf82c55d91.jpg" /></a> </div>
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<a href="https://ia700708.us.archive.org/2/items/WLUWmarch14/WLUWM14.mp3">LISTEN </a></div>
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Osso Exotico + Zev -Untitled</div>
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Scotty Ward's Radical Reconstructive Surgery -Noonday Demon</div>
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Scotty Ward's Radical Reconstructive Surgery -The General</div>
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Wondrous Horse -Non Dicibile</div>
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Wha Ha Ha -Kairo No Bibi (2 Tracks)-1981</div>
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Derek & The Ruins -OdangDoh (from Saisoro)</div>
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Mong hang -Pang Japonica</div>
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Liars -Hold you Drum</div>
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******</div>
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Tornado's -Telstar</div>
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John Leyton -Johnny Remember Me</div>
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The Moon Trekkers -Night of the Vampire</div>
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Teledo -Sax Face</div>
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The Brown Fellinis -Zoomin</div>
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Senor Coconut; Glarys -No Te Vayas</div>
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Putumayo -World Lounge</div>
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Marcus Schmickler -Wave recorder </div>
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Marcus Schmickler -Metorillo 9</div>
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OOIOO -Meow Sound Icer</div>
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Putumayo -World Lounge 2</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-34329874184460345412014-03-18T23:00:00.000-07:002014-03-18T23:05:23.120-07:00Cold War Remnants <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjug9ZdqiRMS5cWZjeVyNoQWehLJe0MQhQ3e3LAenBWyne0vAC-PUL-VuATMDZmB5s68mhn0G_KJJJu70tKaFLg2UGH816gq0v_1-LR6PsLEjCUTfQBmvp9JNymzrCGCpSVUEHWMc2g94I/s1600/berlin_wall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjug9ZdqiRMS5cWZjeVyNoQWehLJe0MQhQ3e3LAenBWyne0vAC-PUL-VuATMDZmB5s68mhn0G_KJJJu70tKaFLg2UGH816gq0v_1-LR6PsLEjCUTfQBmvp9JNymzrCGCpSVUEHWMc2g94I/s1600/berlin_wall.jpg" height="231" width="320" /></a></div>
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<a href="https://ia700705.us.archive.org/24/items/MikekrauseDIFF3182014/Mikekrause%20DIFF%203182014.mp3">LISTEN</a> <br />
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<span style="color: #990000;">1). House At the Edge of the Park (Trailer)</span><br />
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<span style="color: #990000;">2). Death SS - Violet Overture / Chains Of Death </span></div>
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<span style="color: #990000;">3). Celtic Frost - Morbid Tales </span></div>
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<span style="color: #990000;">4). Hirax - Bombs of Death</span></div>
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<span style="color: #990000;">5). The Mentally ILL - Soldier 19</span></div>
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<span style="color: #990000;">6). Destruction - Bestial Invasion </span></div>
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<span style="color: #990000;">7). Terrorizer - World Downfall</span></div>
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<span style="color: #990000;">8). Abruptum - De Profundis Mors Vas Consumet</span></div>
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<span style="color: #990000;">9). Bathory - In Conspiracy With Satan</span></div>
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<span style="color: #990000;">10). Implog - Holland/Tunnel /Dive (12")</span></div>
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<span style="color: #990000;">11). Hunting Lodge - The Wolf Hour ,ect... (live)</span></div>
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<span style="color: #990000;">12). PGR/Merzbow/Asmus Tietchens - The Books of a Thousand Hands</span></div>
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<span style="color: #990000;">13). City of Worms - track 3 from " Whime " </span></div>
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<span style="color: #990000;">14). Severed Heads - Brassiere , In Rome </span></div>
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<span style="color: #990000;">15). P16.d4 - Kryptogramme (7-11)</span></div>
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<span style="color: #990000;">16). Controlled Bleeding - Only Obeyed Orders</span></div>
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<span style="color: #990000;">17). Controlled Bleeding - 3 tracks recorded live at CBGB's - (early 80's ?)</span></div>
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<span style="color: #990000;">18). Nekropolis - Inquanok </span></div>
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<span style="color: #990000;">19). Faust - Devoted Bone Dance</span></div>
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<span style="color: #990000;">20). Prince Charles + the City Beat Band - Cash, Money ("12)</span></div>
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<span style="color: #990000;">21). King Crimson - Cat Food</span></div>
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<span style="color: #990000;">22). Beastie Boys - What Goes Around</span></div>
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<span style="color: #990000;">23). Laraaji - Dance #1</span></div>
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<span style="color: #990000;">24). H.G. Lewis - Old Joe Clark (from "2000 Maniacs")</span></div>
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<span style="color: #990000;">25). Red River Dave - California Hippie Murders</span></div>
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<span style="color: #990000;">26). Black Sabbath - Born Again</span></div>
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<span style="color: #990000;">27). Dark Angel - Welcome to the Slaughterhouse</span></div>
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<span style="color: #990000;">28). Impetigo - Sinister/Faceless</span></div>
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<span style="color: #990000;">29). Grim Reaper - Final Scream</span></div>
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<span style="color: #990000;">30). Gas Mask Horse - 2 cuts from "Grimoire" </span></div>
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<span style="color: #990000;">31). Zebulon Kosted (Unit 731 - remix) / Throbbing Gristle - Dont Do What You are told Do What you want (mixed with audio from the Quincy 'Punk ' episode of the tv series and some wrestling audio clips from the 80's ) </span></div>
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<span style="color: #990000;"> </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-68582443043445531542014-03-12T18:48:00.000-07:002014-03-12T18:48:39.210-07:00If you know what it means, you'll find it terrible<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW86Cnn1unMr553XY2qhtWt8V8f38oN1wWfUpoeXHQNUAmWQnXiE7ZE0qQBTJT4q-nHiVdQv_wm8zn1jouk9nn2p0nAtcMXtfSE1ZVw8qAKbYIJhbQDpm0dTj7gImkBMwFPya5xX2S-Gw/s1600/double+helix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW86Cnn1unMr553XY2qhtWt8V8f38oN1wWfUpoeXHQNUAmWQnXiE7ZE0qQBTJT4q-nHiVdQv_wm8zn1jouk9nn2p0nAtcMXtfSE1ZVw8qAKbYIJhbQDpm0dTj7gImkBMwFPya5xX2S-Gw/s1600/double+helix.jpg" height="320" width="320" /></a></div>
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<a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/IfYouKnowWhatItMeansYoullFindItTerrible.mp3" target="_blank"><span style="font-family: Verdana,sans-serif;"><u>LISTEN </u></span></a></h2>
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<span style="font-family: Verdana,sans-serif;"><u><a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/IfYouKnowWhatItMeansYoullFindItTerrible.mp3" target="_blank">(to the show)</a></u></span></h4>
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<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Zen drums (forwards & back)</span><br />
<span style="font-family: Verdana, sans-serif;">Theodore Vassilikos Vocal Ensemble - Kherouvikon (Hymne des Cherubins) [from an <span id="goog_1855110674"></span><a href="https://www.blogger.com/">album<span id="goog_1855110675"></span></a> of Byzantine chants]</span><br />
<span style="font-family: Verdana, sans-serif;">Kluster - Electric Music & Texte [don't ask what he's saying, "if you know what it means, you'll find it terrible" - C. Schn.]</span><br />
<span style="font-family: Verdana, sans-serif;">Abdul Karim Khan (1872-1937) - Ab Maine Man Dekheri </span><br />
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<span style="font-family: Verdana, sans-serif;">+++</span><br />
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<span style="font-family: Verdana, sans-serif;">Markus Hauke & Mainz Percussion Ensemble - John Cage: Quartet for 4 Percussionists: II</span><br />
<span style="font-family: Verdana, sans-serif;">Sister Rosetta Tharpe - Didn't It Rain</span><br />
<span style="font-family: Verdana, sans-serif;">Aby Ngana Diop (Senegal) - Liital </span><br />
<span style="font-family: Verdana, sans-serif;">Hoagy Carmichael (1899-1981) - Washboard Blues</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">+++ </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Sudden Infant - Dream Hole</span><br />
<span style="font-family: Verdana, sans-serif;">Lasse Marhaug - Not Filled Nor Occupied [from "Hell is Empty" release]</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">+++ </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Bucket Brigade - Forbidden Planet Excerpt</span><br />
<span style="font-family: Verdana, sans-serif;">Philip Sanderson - 78 Revolving Potentiometers</span><br />
<span style="font-family: Verdana, sans-serif;">fossils - six part inventions</span><br />
<span style="font-family: Verdana, sans-serif;"><a href="http://www.akionda.blogspot.com/" target="_blank">Aki Onda</a> - Dream</span><br />
<span style="font-family: Verdana, sans-serif;">King Missile - Margaret's Eyes</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">+++ </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Flowerman - I want to live I want to give</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">[[originally broadcast on Tuesday, February 18, 2014]] </span><br />
</div>
<div style="text-align: center;">
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-19581307764710069872014-02-25T04:41:00.002-08:002014-02-25T04:41:35.739-08:00RRRecycled (5+ hours)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvfHofBGzAPD4CmI26GrFnIaY5UmaxZH_SeMs1p8epCcvDBs6ypXNaxgLu1uONolHbeMY8tlIyfKEefP3ib00AB6FxoAq9POJQfxyMoXwZ2fdeE3YugNxblPKDa_w3lEy9x_7ua3_LbY1/s1600/0001025_175.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvfHofBGzAPD4CmI26GrFnIaY5UmaxZH_SeMs1p8epCcvDBs6ypXNaxgLu1uONolHbeMY8tlIyfKEefP3ib00AB6FxoAq9POJQfxyMoXwZ2fdeE3YugNxblPKDa_w3lEy9x_7ua3_LbY1/s1600/0001025_175.jpeg" height="640" width="409" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
* All excerpts of recycled tapes released on <a href="http://www.rrrecords.com/">RRRecords</a> label, most courtesy of Ron Lessard (Thanks Ron!) *</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/diRRRecycled1.mp3">LISTEN </a></b></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Emil Beaulieau </div>
<div style="text-align: center;">
Smell & Quim </div>
<div style="text-align: center;">
Headboggle </div>
<div style="text-align: center;">
Napalmed</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Nmperign </div>
<div style="text-align: center;">
Clang Quartet</div>
<div style="text-align: center;">
Developer</div>
<div style="text-align: center;">
Pulse Emitter</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Mike Shiflet</div>
<div style="text-align: center;">
Gary Barftits</div>
<div style="text-align: center;">
Japanese Torture Comedy Hour</div>
<div style="text-align: center;">
Vocokesh</div>
<div style="text-align: center;">
Buddhist on Fire</div>
<div style="text-align: center;">
Haare</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Mlehst </div>
<div style="text-align: center;">
Relay For Death</div>
<div style="text-align: center;">
Ataraxic Ataxia</div>
<div style="text-align: center;">
Sterile Garden </div>
<div style="text-align: center;">
Macronympha</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Athenian Mercury</div>
<div style="text-align: center;">
Striations</div>
<div style="text-align: center;">
Knurl</div>
<div style="text-align: center;">
Dead Shall Not Have Died In Vain (labelled DSNHDIV)</div>
<div style="text-align: center;">
Trou</div>
<div style="text-align: center;">
Vomir</div>
<div style="text-align: center;">
Con-Dom</div>
<div style="text-align: center;">
<a href="http://www.discogs.com/artist/80077-Xper-Xr">Xper. Xr</a></div>
<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-88513121200450582972014-02-18T05:52:00.002-08:002014-02-18T18:04:47.883-08:00Gluttony : Feast for the Ears<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDAsgzjybMf1I1GDu8TtzvCvOTHZ1IIiFSGHc8nZhEp3alwGHtWAgMWDs0_BFY51U48lqTJx2YWwA40sYK7r3Vy6Sa4fUwE59kB89Chitb7E1g2BxL7G-F3lq95MoZD7xpXcUKa_S8ZPs/s1600/gluttony.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDAsgzjybMf1I1GDu8TtzvCvOTHZ1IIiFSGHc8nZhEp3alwGHtWAgMWDs0_BFY51U48lqTJx2YWwA40sYK7r3Vy6Sa4fUwE59kB89Chitb7E1g2BxL7G-F3lq95MoZD7xpXcUKa_S8ZPs/s1600/gluttony.jpg" height="240" width="320" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://archive.org/download/di021814_w_mike_krause/di021814_w_mike_krause.mp3">LISTEN </a> </div>
<div style="text-align: center;">
</div>
<br />
<br />
<br />
<br />
<div style="text-align: center;">
<span style="color: #990000;">1). The Laughing Record #1 </span></div>
<div style="text-align: center;">
<span style="color: #990000;">2). John Appleton - Chef D' Oeuvre </span></div>
<div style="text-align: center;">
<span style="color: #990000;">3). Death SS - Terror / Murder Angels (from early demos/recordings '77-'84 LP compilation )</span></div>
<div style="text-align: center;">
<span style="color: #990000;">4). Venom - Raise the Dead (early demo version)</span></div>
<div style="text-align: center;">
<span style="color: #990000;">5). Sacrifice - The Entity </span></div>
<div style="text-align: center;">
<span style="color: #990000;">6). Bulldozer - Don't Trust the Saint</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000;">7). Record Store Record - Weirdo Records (RRRecord's release of sounds inside various independent/ underground record shops; basically you could classify it as a field recording LP ) </span></div>
<div style="text-align: center;">
<span style="color: #990000;">8). Dave Phillips - Threnody for the Victims of Gluttony </span></div>
<div style="text-align: center;">
<span style="color: #990000;">9). White Noise - Black Mass : An Electric Storm In Hell (1968)</span></div>
<div style="text-align: center;">
<span style="color: #990000;">10). Unit 731 - Rape of the Amazon (from "What is Truth" Vol. 3 Double LP- 1990) </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000;">11). 4-Way Anal Touch Fight - Viking Horns/ Pelvis</span></div>
<div style="text-align: center;">
<span style="color: #990000;">12). Smersh - The Good Life (off of "God Bless America" Triple LP box set from RRRecords, 1985)</span></div>
<div style="text-align: center;">
<span style="color: #990000;">13). Due Process - 201 Middlesex</span></div>
<div style="text-align: center;">
<span style="color: #990000;">14). Necropolis - Pagan (1978)</span></div>
<div style="text-align: center;">
<span style="color: #990000;">15). Hunting Lodge - Exhumed (from the Triple LP box set "Shadows out of Time 1982-1983 " on Vinyl On Demand)</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000;">16). Hellhammer- When Hell's Near</span></div>
<div style="text-align: center;">
<span style="color: #990000;">17). Sonic Youth - Into the Groove (1986) </span></div>
<div style="text-align: center;">
<span style="color: #990000;">18). Chrome - Sub Machine</span></div>
<div style="text-align: center;">
<span style="color: #990000;">19). Broken Penis Orchestra - The Pope's Pot, Penis and Pussy (Nihilist Records 2005)</span></div>
<div style="text-align: center;">
<span style="color: #990000;">20). Dick Panthers - "Lucky Winner" (from the compilation " The Date Fork Seeps the River" Vol .1)</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000;">21). Wolf Eyes/Sickness - A Diet of Speed And Beer </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000;"><br /></span>
<span style="color: #990000;"><br /></span>
<span style="color: #990000;"><br /></span>
<span style="color: #990000;"> </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-76537305639946089092014-02-15T22:35:00.001-08:002014-02-16T11:26:51.579-08:00Arvo's appearance with soundoferror (Daniel Burke of Illusion of Safety) on WNUR February 10th<table class="playlist-tracks"><tbody>
<tr><td class="even"><a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/02-10-14W-arvo.mp3">listen </a><br />
(patchworks segment on synth music is separate 3-4pm and can be found <a href="http://www.mixcloud.com/soundoferror/patchworks-2-10-14-warvo-zylo/">here</a>)<br />
<br />
<br />
<br />
(((mainly sound collage)))<br />
<br />
<br />
2:26pm</td><td class="even">horrific child</td><td class="even">letrange monseier whinster</td><td class="even"><br /></td></tr>
<tr><td>2:36pm</td><td>r+g</td><td>w broken penis orchestra</td><td><br /></td></tr>
<tr><td class="even">2:43pm</td><td class="even">george flynn</td><td class="even">wound</td><td class="even"><br /></td></tr>
<tr><td>2:48pm</td><td>developer</td><td>rrrecycled cs</td><td><br /></td></tr>
<tr><td class="even">2:53pm</td><td class="even">lyrels</td><td class="even">xox k</td><td class="even"><br /></td></tr>
<tr><td>2:58pm</td><td>paul markus </td><td>dream part 1</td><td><br /></td></tr>
<tr><td class="even">2:59pm</td><td class="even">amdrew kirschner</td><td class="even">empty vessel</td><td class="even"><br /></td></tr>
<tr><td>3:14pm</td><td>amdrew kirschner++arp 2600 perc seq</td><td><br /></td><td><br /></td></tr>
<tr><td class="even">3:15pm</td><td class="even">jason soliday</td><td class="even">nueral shifting 7+ displacer</td><td class="even"><br /></td></tr>
<tr><td>3:15pm</td><td>mathew williamson</td><td>noise phase 4</td><td><br /></td></tr>
<tr><td class="even">3:21pm</td><td class="even">dorris norton</td><td class="even">warszawar</td><td class="even">norton computer for peace</td></tr>
<tr><td>3:29pm</td><td>jesse mejia-imrov w serge cgs ++</td><td>isa/christ/cruudeuces "human error"</td><td><br /></td></tr>
<tr><td class="even">3:29pm</td><td class="even">matt carlson</td><td class="even">at the chapel perf space seattle 5-13-11</td><td class="even"><br /></td></tr>
<tr><td>3:34pm</td><td>dandelion head</td><td>mourning in 4/4++ matt carlson</td><td>++decapitated hed</td></tr>
<tr><td class="even">3:40pm</td><td class="even">matt+dandelion head</td><td class="even">of feedback & sweepings</td><td class="even"><br /></td></tr>
<tr><td>3:44pm</td><td>= matt carlosn + decap + jason soliday</td><td><br /></td><td><br /></td></tr>
<tr><td class="even">3:45pm</td><td class="even">jsason soliday</td><td class="even">cartographic nightmares</td><td class="even"><br /></td></tr>
<tr><td>3:49pm</td><td>david ryle/fearwaves + arp 2600 blue meanie seq</td><td>= benge buchla 100 seq</td><td><br /></td></tr>
<tr><td class="even">3:56pm</td><td class="even">francois dumeaux</td><td class="even">deux renards</td><td class="even"><br /></td></tr>
<tr><td>4:08pm</td><td>nurse with wound</td><td>the musty odor of pierced rectums excerpt</td><td><br /></td></tr>
<tr><td class="even">4:12pm</td><td class="even">pod blotz </td><td class="even">swamp command excerpt</td><td class="even"><br /></td></tr>
<tr><td>4:20pm</td><td>manorexia</td><td>kinaesthesia</td><td>dinoflagellate blooms</td></tr>
<tr><td class="even">4:29pm</td><td class="even">andrew liles </td><td class="even">doubt you care</td><td class="even">all closed doors</td></tr>
<tr><td>4:30pm</td><td>hans grusel</td><td>another miserable day LP (excerpt)</td><td><br /></td></tr>
<tr><td class="even">4:33pm</td><td class="even">relay for death</td><td class="even">birth of an older, much more ugly christ excerpt</td><td class="even"><br /></td></tr>
<tr><td>4:36pm</td><td>chris connelly </td><td>the collapse of ether</td><td><br /></td></tr>
<tr><td class="even">4:47pm</td><td class="even">nine inch nails remixed by coil</td><td class="even">erased, over, out</td><td class="even">further down the spiral</td></tr>
<tr><td>4:49pm</td><td>alter</td><td>clarity I</td><td><br /></td></tr>
<tr><td class="even">4:49pm</td><td class="even">robert turman </td><td class="even">roto LP excerpt</td><td class="even"><br /></td></tr>
<tr><td>4:57pm</td><td>skin graft</td><td>dirge</td><td><br /></td></tr>
<tr><td class="even">4:59pm</td><td class="even">reynols</td><td class="even">recycled cassette excerpt</td><td class="even"><br /></td></tr>
<tr><td>5:19pm</td><td>mannequin hollowcaust</td><td>slow infector</td><td><br /></td></tr>
<tr><td class="even">5:24pm</td><td class="even">wilt</td><td class="even">cold grave</td><td class="even"><br /></td></tr>
<tr><td>5:30pm</td><td>murderous vision & fascist insect</td><td>blood out</td><td><br /></td></tr>
<tr><td class="even">5:30pm</td><td class="even">156</td><td class="even">mahakala awakes</td><td class="even"><br /></td></tr>
<tr class="lastRow"><td>5:33pm</td><td>alice cooper</td><td>because (there was also Foetus - "Mortgage" in there, and a track from Quttinirpaaq's "No Visitors" LP</td><td></td><td></td><td></td><td></td><td></td><td></td></tr>
</tbody></table>
Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-1274989746277893072014-02-15T18:49:00.001-08:002014-02-15T18:49:42.476-08:00RRRecords give aways starting/ Michael Krause to return Monday night<span class="userContent">Monday night marks the return of <a data-hovercard="/ajax/hovercard/user.php?id=642477153&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/michael.krause.399041">Michael Krause</a> to the <a data-hovercard="/ajax/hovercard/page.php?id=66181759886&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/pages/Delirious-Insomniac/66181759886?ref=hl">Delirious Insomniac</a> Freeform Radio Show, as well as the biginning of record give aways from the legendary noise label <a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.RRRecords.com%2F&h=5AQGESSMf&s=1" rel="nofollow nofollow" target="_blank">www.RRRecords.com</a>
. The following week, I will be playing RRRrecycled cassettes until I
pass out. This is at midnight central time (technically Tuesday
morning) on <a data-hovercard="/ajax/hovercard/page.php?id=164683636500&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/WLUWFM">WLUW-FM 88.7</a> Chicago or streaming at <a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.wluw.org%2F&h=rAQGun-aO&s=1" rel="nofollow nofollow" target="_blank">www.wluw.org</a> . Listen for the cue to call, 773508WLUW</span>Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-14788369503043972902014-02-15T10:53:00.000-08:002014-02-15T10:53:32.290-08:00A Million Mishaps<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAd9_N8NDxKJbW0Ib_V5EzPy48rvj9xxpazD0azKLJigvNpnEldX4rz1T1wXDO9oev9GrjBagjC9YgQLjgiwQsRMNuF5IL89DCqewFgG9i7elMwU8T_5qf8qZv29M24JzfDw_GKBZdv1M/s1600/vertical+sunset.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAd9_N8NDxKJbW0Ib_V5EzPy48rvj9xxpazD0azKLJigvNpnEldX4rz1T1wXDO9oev9GrjBagjC9YgQLjgiwQsRMNuF5IL89DCqewFgG9i7elMwU8T_5qf8qZv29M24JzfDw_GKBZdv1M/s1600/vertical+sunset.jpg" height="320" width="240" /></a></div>
<h2 style="text-align: center;">
<a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/AMillionMishaps.mp3" target="_blank"><span style="font-family: Verdana,sans-serif;"><u>LISTEN</u></span></a></h2>
<br />
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Rudolf Eb.er - PSYCHOPOMPOS I</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Brume - Landed</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Pain Teens - Invitation</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Vertonen - Hands Up, 1974!</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Storm Bugs - Car Situations (Nasal Passage)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Lily Greenham - Relativity (1974)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Ludo Mich & Blood Stereo - <a href="https://archive.org/details/LudoMichBloodStereoExcerpt" target="_blank">Awesome Alien Stew (excerpt)</a></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Jay Howard (Circuit Wound) - TV Casualties llllll</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">~d o u b l e m i n t g u m~</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Rogelio Sosa - <a href="http://freemusicarchive.org/music/Rogelio_Sosa/FESTIVAL_NRMAL_ESCENARIO_NEGRO_No_que_no/09_Puber-hostil" target="_blank">Puber-hostil</a></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Gordon Monahan - The Piano Thing (Screws, Nuts, Washers)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Failing Lights - (We Don't Want a) Death in the Home</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">The Spectrometers - <a href="https://soundcloud.com/cruditestapes/the-spectrometers-fallacy" target="_blank">Fallacy</a></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Asmus Tietchens - Ausverkauf</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Philip Sanderson - Defenestration at the Gravity Pit</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Pete Swanson - Pro Style (VIP)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Conrad Schnitzler - Das Tier</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++ </span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">[me yammering over Wattwurm by Liliental]</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
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<span style="font-family: Verdana, sans-serif;">Dr. John - Twilight Zone </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-27145275862978828662014-01-28T17:38:00.000-08:002014-01-28T17:38:24.176-08:00I, Libertine<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6D4sUKnpgcpBwhqesSXY-l6V8Y4F06CEYNE7HHWHmRCat-6eN8ZHlRRtPgIfNkTR3DR7BhODtMyKO7s1HQjJYRs3P3zu02kLoqOYFDPCutoQVGTDjWpxj3kru2GdRdwBDACec-bcbMFs/s1600/large_on_the_bowery_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6D4sUKnpgcpBwhqesSXY-l6V8Y4F06CEYNE7HHWHmRCat-6eN8ZHlRRtPgIfNkTR3DR7BhODtMyKO7s1HQjJYRs3P3zu02kLoqOYFDPCutoQVGTDjWpxj3kru2GdRdwBDACec-bcbMFs/s1600/large_on_the_bowery_04.jpg" height="180" width="320" /></a></div>
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<a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/I%2C%20Libertine.mp3" target="_blank"><span style="font-family: Verdana,sans-serif;"><u>LISTEN</u></span></a></h2>
<br />
<span style="font-family: Verdana,sans-serif;">Water Torture - Intro</span><br />
<span style="font-family: Verdana,sans-serif;"><a href="http://www.soundclick.com/bands/default.cfm?bandID=397293" target="_blank">666 Braw Destroyer</a> - Here come the PoWRNoizGiRlZ</span><br />
<span style="font-family: Verdana,sans-serif;">LLL - Untitled</span><br />
<span style="font-family: Verdana,sans-serif;">TOTO - Rosanna (excerpt)</span><br />
<span style="font-family: Verdana,sans-serif;">KK Null & John Wiese - 1 (from Mondo Paradoxa)</span><br />
<span style="font-family: Verdana,sans-serif;">Bene Gesserit - In the Living Room</span><br />
<span style="font-family: Verdana,sans-serif;">Kuupuu - susipoika siniset</span><br />
<span style="font-family: Verdana,sans-serif;">Joseph Moskowitz - Panama Pacific Rag</span><br />
<span style="font-family: Verdana,sans-serif;">Vespre - entrue des intouchales</span><br />
<span style="font-family: Verdana,sans-serif;">Victor Valentine - Le micro-contact ou quand les oignons me feront rire les carottes me feront pleurer</span><br />
<span style="font-family: Verdana,sans-serif;">+++ </span><br />
<span style="font-family: Verdana,sans-serif;">Jean Shepherd - 11/15/1965 (Broadcaster's Hell)</span><br />
<span style="font-family: Verdana,sans-serif;">Jory Vinikour - Set of Four: Ostinato</span><br />
<span style="font-family: Verdana,sans-serif;">SETI-X - Fifth World</span><br />
<span style="font-family: Verdana,sans-serif;">~ the wind ~</span><br />
<span style="font-family: Verdana,sans-serif;">Gurdjieff - Improvisation, June 8, 1949</span><br />
<span style="font-family: Verdana,sans-serif;">Jonatas Manzolli - Berocan</span><br />
<span style="font-family: Verdana,sans-serif;">+++ </span><br />
<span style="font-family: Verdana,sans-serif;">Bob Bellerue - OutsideTheBox</span><br />
<span style="font-family: Verdana,sans-serif;">Minamata - Emle</span><br />
<span style="font-family: Verdana,sans-serif;"><a href="http://www.amphibianworship.blogspot.com/" target="_blank">TOAD BIRTH</a> - Tactile Organ Horror Story</span><br />
<span style="font-family: Verdana,sans-serif;">Zbigniew Karkowski - Waves and Radiation</span><br />
<span style="font-family: Verdana,sans-serif;">+++ </span><br />
<span style="font-family: Verdana,sans-serif;">So Percussion - Threads: II Recitative</span><br />
<span style="font-family: Verdana,sans-serif;">M. Nguyen Van Minh-Con - Nam Nhi-tu</span><br />
<span style="font-family: Verdana,sans-serif;">~ the crowd ~</span><br />
<span style="font-family: Verdana,sans-serif;">Fear - Let's Have a War</span><br />
<span style="font-family: Verdana,sans-serif;">Anonymous - Snake Attack</span><br />
<span style="font-family: Verdana,sans-serif;">Balinese Beast - Plastic Bags</span><br />
<span style="font-family: Verdana,sans-serif;">Skinny Puppy - Incision</span><br />
<span style="font-family: Verdana,sans-serif;">Chris Brown - Invention #2</span><br />
<span style="font-family: Verdana,sans-serif;">+++ </span><br />
<span style="font-family: Verdana,sans-serif;">Brick - Dazz</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-40938011366619203452014-01-25T02:39:00.002-08:002014-01-25T02:39:45.533-08:00Arvo In Cleveland/RRRecords giveaway/showcase soon<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJgiN0KQ30TtTAEfXmO_WucE-Oz551FimDXqRe9b7xfOniJ6EksE6dI0JnenedZPRATHw4U-UlL76Qxzp3ZMmDzlBjdXxbofAVLy8Vb1I58f_8Mubr3zi94iV-umcUfARZtK7IonQWwl1/s1600/100_0005.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJgiN0KQ30TtTAEfXmO_WucE-Oz551FimDXqRe9b7xfOniJ6EksE6dI0JnenedZPRATHw4U-UlL76Qxzp3ZMmDzlBjdXxbofAVLy8Vb1I58f_8Mubr3zi94iV-umcUfARZtK7IonQWwl1/s1600/100_0005.JPG" height="240" width="320" /></a></div>
I will be in Cleveland for a week, and when I get back, there will be a huge LP give away of <a href="http://rrrecords.com/">RRRecords</a> label material plus a showcase of recycled cassettes on the <a href="http://deliriousinsomniac.com/">Delirious Insomniac</a> Freeform Radio Show, broadcast on 88.7FM WLUW Chicago. <br />
<br />
<b>A Benefit for Stephen Petrus (Murderous Vision)</b><br />
https://www.facebook.com/events/255520887946121/<br />
<ul class="uiList _4kg _4ks">
<li><ul class="uiList fbEventTimeWeatherInfo _509- _4ki _6-h _704 _4ks">
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<div class="fbInfoIcon lfloat">
<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yJ/r/UmLbGfwEuH6.png" title="When" width="16" /></div>
<div class="lfloat" content="2014-02-07T17:00:00-08:00" itemprop="startDate">
<span class="fsl"><a href="https://www.facebook.com/events/calendar/2014/February/7" rel="dialog" role="button">Friday, February 7, 2014</a></span></div>
</div>
</li>
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/y0/r/MY8128-Z6ed.png" title="Time" width="16" /></div>
<span class="lfloat fsl fcg"><span class="fcb"><span title="7:00pm in your time">8:00pm</span></span> until <span class="fcb"><span title="1:00am in your time">2:00am in EST</span></span></span></div>
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</ul>
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yT/r/K6_TY47YS3x.png" title="Description" width="16" /></div>
</td><td class="_51m- vTop _51mw"><span itemprop="description"><span class="fsl"><div class="text_exposed_root text_exposed" id="id_52e3906a09f7e6816484565">
MISTAKE BY THE LAKE PRESENTS PETRUS FEST!!!<br /> <br /> <br />
as many of you know, stephen petrus (murderous vision) lost everything
he owns including his home in a house fire. well its time to rally the
troops and do what we do best, TAKE CARE OF OUR OWN!! Let's get NTC
JUMPIN! <br /> <span class="text_exposed_show"><br /> $10 (all cash goes to petrus)<br /> <br /> ANDREW COLTRANE (MICHIGAN NOISE LEGEND!!!)<br /> <br /> DOG LADY ISLAND (MI MASTER OF ELECTRONZ)<br /> <br /> ARVO ZYLO (CHICAGO INZANE WEIRD NOISE!!)<br /> <br /> MOLTAR (west virginia weirdo electronix/synth confusion!)<br /> <br /> WITCHBEAM (CLEVELAND OG, MYSTIKAL MYSTERY SOUNDS)<br /> <br /> FRAGMENTS (CLEVELAND SYNTH HOMIES ZACH TROXELL AND JEFF HATFIELD GETTIN ALL KINDS OF AWESOME!)<br /> <br /> BLACK VISION (CLE INDUSTRIAL/MINIMAL VETERANS. PETRUS/KIRSCHNER/HOWLAND)<br /> <br /> JASON RODRIGUEZ + STOPPED CLOCK (CLEVELAND EXPERIMENTAL/NOISE FEATURING JROD, DAVID RUSSELL AND JOSH NOVAK!)<br /> <br /> DJ BAAT ON THE ONES AND TWOS SPINNIN THAT WEIRDO STUFF!!<br /> <br />
DONATIONS OF ANY KIND WILL BE ACCEPTED (GEAR, RECORDS, MUSIC, CASH,
FOOD, WHATEVER) PLEASE NO CLOTHES! STEPHEN HAS ALREADY GOTTEN MORE THAN
ENOUGH (THANK YOU EVERYONE WHO DONATED HIM CLOTHES!!! YOU RULE!!!!)<br /> <br /> PLEASE INVITE EVERYONE YOU KNOW, LETS GET THIS CLEVELAND NOISE OG BACK ON TRACK AND SHOW HIM HOW MUCH WE LOVE HIM!!!</span></div>
</span></span></td></tr>
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<span itemprop="geo" itemscope="itemscope" itemtype="http://schema.org/GeoCoordinates"></span><a class="_8o _8t lfloat" href="https://www.facebook.com/NowThatsClass" tabindex="-1"><img alt="" class="_s0 _rw img" itemprop="image" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-ash3/592162_133828389539_1114922925_q.jpg" /></a><div class="fbPlaceFlyoutEllipsis fsl fwb fcb" data-hover="tooltip" data-tooltip-display="overflow" itemprop="name" style="width: 260px;">
<a href="https://www.facebook.com/NowThatsClass">Now That's Class</a></div>
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<span class="visible"><span class="fsm fwn fcg">11213 Detroit Ave</span>, <span class="fsm fwn fcg">Cleveland, Ohio 44102</span></span></div>
</div>
<a href="https://www.facebook.com/l.php?u=https%3A%2F%2Fwww.bing.com%2Fmaps%2Fdefault.aspx%3Fv%3D2%26pc%3DFACEBK%26mid%3D8100%26rtp%3Dadr.%257Epos.41.482656343208_-81.765535905689_Now%2BThat%2527s%2BClass_11213%2BDetroit%2BAve%252C%2BCleveland%252C%2BOhio%2B44102%26cp%3D41.482656343208%257E-81.765535905689%26lvl%3D16%26sty%3Dr%26rtop%3D0%257E0%257E0%257E%26mode%3DD%26FORM%3DFBKPL2%26mkt%3Den-US&h=PAQGYZNTm&s=1" rel="nofollow dialog" role="button" target="_blank">View Map</a> · <a href="https://www.bing.com/maps/default.aspx?v=2&pc=FACEBK&mid=8100&rtp=adr.%7Epos.41.482656343208_-81.765535905689_Now+That%27s+Class_11213+Detroit+Ave%2C+Cleveland%2C+Ohio+44102&cp=41.482656343208%7E-81.765535905689&lvl=16&sty=r&rtop=0%7E0%7E0%7E&mode=D&FORM=FBKPL1&mkt=en-US" rel="nofollow" target="_blank">Get Direction</a><br />
<br />
<b>Arvo curating NOISE LUNCH (Theme is radios)</b><br />
https://www.facebook.com/events/574431545985002/<br />
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yJ/r/UmLbGfwEuH6.png" title="When" width="16" /></div>
<div class="lfloat" content="2014-02-02T13:00:00-08:00" itemprop="startDate">
<span class="fsl"><a href="https://www.facebook.com/events/calendar/2014/February/2" rel="dialog" role="button">Sunday, February 2, 2014</a></span></div>
</div>
</li>
<li class="fbEventTimeWeatherInfoSection"><div class="clearfix pvm prm">
<div class="fbInfoIcon lfloat">
<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/y0/r/MY8128-Z6ed.png" title="Time" width="16" /></div>
<span class="lfloat fsl fcg"><span class="fcb"><span title="3:00pm in your time">4:00pm</span></span> until <span class="fcb"><span title="7:00pm in your time">8:00pm in EST</span></span></span></div>
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yj/r/CkUsr6b1mSA.png" title="Where" width="16" /></div>
</td><td class="_51m- vTop fbEventLocationInfo _51mw"><span class="fsl"><span itemprop="location"><span><span class="_5inl">Now That's Class - 11213 Detroit Ave - Cleveland, OH</span></span></span></span></td></tr>
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yT/r/K6_TY47YS3x.png" title="Description" width="16" /></div>
</td><td class="_51m- vTop _51mw"><span itemprop="description"><span class="fsl">Noise artists using radios as the theme, a serialist radio group performance at the end.<br /> <br /> Malware<br /> X Terminal (tentative but likely)<br /> From Beyond (Beth Tree, Marcia Custer, and friends)<br /> Dissilient<br /> Daniel Bellinger<br /> The Brown Jeans Radio Orchestra<br /> Glacial23<br /> Monster Ridden Tokyo<br /> Arvo Zylo (Chicago)<br /> Makeshift Serialist Radio Ensemble <br /> <br /> Band set order t.b.a. <br /> <br /> Free event, donations gratefully accepted.<br /> 4pm sharp start time</span></span></td><td class="_51m- vTop _51mw"><span itemprop="description"><span class="fsl"> </span></span></td><td class="_51m- vTop _51mw"><span itemprop="description"><span class="fsl"> </span></span></td></tr>
</tbody></table>
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Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-12475225338896278062014-01-21T04:07:00.000-08:002014-05-06T10:59:46.549-07:00Void Compartment / Brothel Box Bewitchery (with guest DJ Demchuk)<br />
<br />
<div style="text-align: center;">
<span style="font-size: x-large;"><b><a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/2101201400.00.105h00m10s.mp3">LISTEN</a></b></span></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.rgbstock.com/cache1sQcfQ/users/x/xy/xymonau/300/nDbTDJM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.rgbstock.com/cache1sQcfQ/users/x/xy/xymonau/300/nDbTDJM.jpg" /></a></div>
<br />
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<div style="text-align: center;">
Foetus - Mandelay</div>
<div style="text-align: center;">
Compactor - Alarm*</div>
<div style="text-align: center;">
Regosphere - A Man Is Nothing*</div>
<div style="text-align: center;">
Swollen Organs - Conceal Our Wounds*</div>
<div style="text-align: center;">
<i>*from a <a href="http://theauditor.bandcamp.com/album/when-one-has-nothing-left-make-ceremonies-out-of-the-air-and-breathe-upon-them">benefit comp</a> for Stephen Petrus*</i></div>
<div style="text-align: center;">
Murderous Vision - <a href="http://murderousvision1.bandcamp.com/track/the-dying-dream">The Dying Dream</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
NAMANAX - Promethean Screams</div>
<div style="text-align: center;">
Tom Recchion - Oozings</div>
<div style="text-align: center;">
*DJ Demchuk's circuit bent toy in there at the end*</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Live circuit bent/DJ set by <a href="http://www.mixcloud.com/djdemchuk/">DJ Demchuk </a></div>
<div style="text-align: center;">
(approx 1 hour)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Optiganally Yours - You're Something Special To Me</div>
<div style="text-align: center;">
Smokey Robinson & The Miracles - You Neglect Me</div>
<div style="text-align: center;">
Joe Tex - I Wanna Be Free</div>
<div style="text-align: center;">
Brenda Lee - A Marshmallow World</div>
<div style="text-align: center;">
T.Rex - The Wizard</div>
<div style="text-align: center;">
Janie Jones - The Witches' Brew (Alternate Version)</div>
<div style="text-align: center;">
Sonic Assassins - Golden Void</div>
<div style="text-align: center;">
The Writing On The Wall - Lucifer Corpus</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Horrific Child - H.I.A.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Bob Ostertag - The Surgeon General</div>
<div style="text-align: center;">
How To Destroy Angels - And the sky began to scream</div>
<div style="text-align: center;">
Fad Gadget - The Box</div>
<div style="text-align: center;">
Not Breathing - Worlock Radar</div>
<div style="text-align: center;">
Container - Refract</div>
<div style="text-align: center;">
Perc - Stoq (Original Mix)</div>
<div style="text-align: center;">
Rrose - The Surgeon General (Her Insides Laid Bare)</div>
<div style="text-align: center;">
*talkng over* Robert Rich - excerpt from "Somnium"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Lee Gamble - Kuang Shaped Prowla</div>
<div style="text-align: center;">
Decapitated HeD - Void Containment</div>
<div style="text-align: center;">
Tommy Four Seven - Enki - Original Mix</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
This Morn' Omina - Totemism (Modern)</div>
<div style="text-align: center;">
Imminent Starvation - Afraid of the Dark</div>
<div style="text-align: center;">
Joel Brindefalk - Monitoring My Own Death</div>
<div style="text-align: center;">
League of Automatic Composers - Martian Folk Music</div>
<div style="text-align: center;">
Contagious Orgasm - Met-Des</div>
<div style="text-align: center;">
Jacob Kirkegaard - Izanami</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Sonic Youth - Silver Shirt</div>
<div style="text-align: center;">
Sharlyn Evertsz - <a href="https://museumofmicrocassetteart.bandcamp.com/track/cunt-authority">Cunt Authority </a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
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<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-82171180471412776922014-01-14T08:48:00.001-08:002014-01-14T08:54:53.554-08:00Fossil Night<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: center;">
<a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/FossilNight.mp3" target="_blank"><span style="font-family: Verdana,sans-serif;"><u>LISTEN</u></span></a></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh20vsGYFIKan-Lx66MdIo6IDKnjhunTGDwWS7A8xzLbwnCc3qMsvkuqWkZGsovN5_Y7L-LRH3iFjvsFKhWiSQ2n50H0YmXxoc6qJyTIOj6dJwWI2lep0psVvkRVZ8UqHagAHImpGUcOOE/s1600/night+raccoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh20vsGYFIKan-Lx66MdIo6IDKnjhunTGDwWS7A8xzLbwnCc3qMsvkuqWkZGsovN5_Y7L-LRH3iFjvsFKhWiSQ2n50H0YmXxoc6qJyTIOj6dJwWI2lep0psVvkRVZ8UqHagAHImpGUcOOE/s320/night+raccoon.jpg" width="320" /></a></div>
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<br />
<br />
<span style="font-family: Verdana,sans-serif;">Man Forever - Ur Eternity</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Silica Gel - Trade Ya</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Syphilis Sauna - Erebus Empty:Son of Discord</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Markus Hauke/Mainz Percussion Ens. - Part III of John Cage's Quartet for 4 Percussionists (Axial Symmetry)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;"><span style="color: #6aa84f;"><a href="http://rambutan.bandcamp.com/" target="_blank">Rambutan</a></span> - Distant Cone</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">cyg - the internet is boring</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Hrissaido - tsamiko</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Sid Ramin & Orchestra - Granada</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Asmus Tietchens - Bescheidenes Vergnugen</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Volcano the Bear - She Vang Moon</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Skullflower - False Magic Kingdom</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Marcel Duchamp - Musical Erratum...</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;"><a href="https://soundcloud.com/inappropriatekinglive" target="_blank">Inappropriate King Live</a> - Space Trees</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Dokaka - Appetite for Pee During the Math Exam</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;"><a href="http://kuronekomusic.com/artists/chicago-sound-map" target="_blank">Chicago Sound Map</a> performing Ernst Karel's "Heard Laboratories"</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Saigon Automat - Tra-Vinh</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Sleep Chamber - Ov This Flesh</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;">Franco Battiato - Anafase</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-46876623718502136022014-01-08T14:05:00.002-08:002014-01-08T14:51:38.207-08:00Hiss Hiss! Bite! Chomp!<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: center;">
<u><a href="https://ia600403.us.archive.org/2/items/DirtyMoskowitz/HissHissBiteChomp.mp3" target="_blank"><span style="font-family: Verdana, sans-serif;">LISTEN </span></a></u></h2>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghloXcGeHwA70EnSTpENWG0pB64-n0Uom32rpydQ8v4RZqAoWtCTU-IkhKWQ_9R7oEn3aa1SNLWCbB1ddXvrILuM7QsTQXmR0I2fgx-KwI15Dk-sWXcrzncr7JVfWOlP7gPp6OcJDODD0/s1600/hiss+hiss+bite+chomp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img alt="I'm gonna gitcha" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghloXcGeHwA70EnSTpENWG0pB64-n0Uom32rpydQ8v4RZqAoWtCTU-IkhKWQ_9R7oEn3aa1SNLWCbB1ddXvrILuM7QsTQXmR0I2fgx-KwI15Dk-sWXcrzncr7JVfWOlP7gPp6OcJDODD0/s1600/hiss+hiss+bite+chomp.jpg" height="214" title="" width="320" /></span></a></div>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">The Coasters - Framed</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Lord Executor - Seven skeletons found in the yard</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">The Vampires of Dartmoore - Hallo, Mister Hitchcock</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Igor Wakhevitch - Sang Pourpre</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Deviation Social - Machines Convulse</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Ain Soph - 2 Parte</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Hungry Hungry Hippos!</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Philip Glass - Koyaanisqatsi</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Borful Tang - The Tides of Land</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">RLW - Cars</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Mourning Dove (The Cornell Lab of Ornithology)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Matt Davignon - Blind Cave Tetraatt Davignon</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Matt Davignon - Mold</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Cicciolina Holocaust - In Tempore Non Suspecto</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Suppression - Elite/Stranglehold</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Vom - Cock Thoughts</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Evan Parker vs. Disinformation - London's Overthrow</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Beatless - Dork N'Twaddle</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Aaron Dilloway - Look Over Your Shoulder</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Jay Clayton & The Donald Knaack Percussion Ensemble - A Flower & Second Construction (Both by John Cage)</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Oso El Roto - Amor maldigo</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Opera Mort - Hommage </span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">El G - Der Prediger</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Hirsche Nicht Aufs Sofa - Im Kote Tiefster Gemeinheit</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">+++</span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">King Radio - Man Smart Woman Smarter</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-29780189716385624492014-01-07T01:42:00.000-08:002014-01-09T05:36:08.830-08:00A Longing Devoured His Face<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjov8g4z-tMCs38BTUonfZhA62q6JOleAvjPi-Sr2bSMhI5q6pnBqdrWxB0EKAePTiBXj9PJNzNwzomFnRQoynxAmA-rttnS2wrKVxYAKVhdHD1LaBjMtJp9Ir5-4n_XX3JDuNgdho3ae1y/s1600/tantalus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjov8g4z-tMCs38BTUonfZhA62q6JOleAvjPi-Sr2bSMhI5q6pnBqdrWxB0EKAePTiBXj9PJNzNwzomFnRQoynxAmA-rttnS2wrKVxYAKVhdHD1LaBjMtJp9Ir5-4n_XX3JDuNgdho3ae1y/s1600/tantalus.jpg" height="320" width="206" /></a></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di010713.mp3"><b><span style="font-size: x-large;">LISTEN</span></b></a> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/V2VO9OP_rw6XykqKtR-Tu5-sXsvJbXYbmJwGDR8AJDWgh3heJoxqBl0THxy7Hr1rkPbcQm6zyBGt8S2gP4SHRrw=s1600" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="http://3.bp.blogspot.com/budtMAHXe9aio1sBRO3mA3yW8i0Z8YgAliQN3NpYPbl51IwCBBhJ9z2aM1p_4fs9IKrtB64XYIBxG_wl-zrhPrg=s1600" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
COUGHS - Fright Makes Right</div>
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Nisi Period - Echo of Suggestion</div>
<div style="text-align: center;">
Endon - The Spasm of Confession</div>
<div style="text-align: center;">
ELOE OMOE - excerpt from untitled 12" LP</div>
<div style="text-align: center;">
BEAST - <a href="http://beastresonator.bandcamp.com/album/red-marrow-one">Bone Axis </a></div>
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<br /></div>
<div style="text-align: center;">
Origami Swan - Transdimensional Subatomic Regurgitation</div>
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Horseback - Broken Orb</div>
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Vocokesh - The 7th Crown</div>
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marthastewartdying - Scarecrow</div>
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<br /></div>
<div style="text-align: center;">
German Shepherds - Why Did You Give Yourself Cancer? *</div>
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Elizabeth Harper - Green *</div>
<div style="text-align: center;">
(*from <a href="http://scottmarshall.org/wit/index.html">What Is Truth? compilation series</a>)</div>
<div style="text-align: center;">
X-TG - Abschied</div>
<div style="text-align: center;">
<a href="http://www.i-absentee.com/sow/dog.html">SOW</a> - Victim</div>
<div style="text-align: center;">
Impact Test - St. James Infirmary</div>
<div style="text-align: center;">
Four Way Anal Touchfight - Borealis</div>
<div style="text-align: center;">
<a href="http://www.discogs.com/artist/328821-Ctephin">ctephin</a> - excerpt from "Streamin' Sarin Corrosion (Live in St. Louis + OKC)" (from split 6x3"CDR "<a href="http://www.discogs.com/Ctephin-Xdugef-6x3-Deluxe-Noise-Filter/release/1197771">Deluxe Noise Filter</a>" Gas Mask can release with XDUGEF) </div>
<div style="text-align: center;">
Column One - <a href="http://www.discogs.com/Column-One-Antiphona/release/4635795">Antiphonia</a> (excerpt)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Heven't Orizon't - aiaiai</div>
<div style="text-align: center;">
Bob Bellerue - excerpt from side A of "<a href="http://bobbellerue.bandcamp.com/album/brokelyn">Brokelyn</a>" (track title "091809") </div>
<div style="text-align: center;">
Illusion of Safety - "Serge Euro Improv 12-6-12"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
George Harrison - excerpt from "<a href="http://dangerousminds.net/comments/beatle_george_harrisons_brief_journey_into_experimental_electronics">Electronic Sounds</a>"</div>
<div style="text-align: center;">
<br /></div>
<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-35567997577136119132013-12-31T00:57:00.001-08:002014-01-08T01:54:56.116-08:00A Memory Clot like Forever<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-size: x-large;"> <a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di123113.mp3">LISTEN</a></span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIKysYW2tb9EySqmY5boAI2r5FGyyCUcDlWfnkOu-OOpG3kf64swkj9Ci8LhqQJGjH64h_tyhKBP0mAgMP742d8a9Zh8amBSor0-DUvJ_T_3zS_Y54y9-IY_E5GUJcZL5B3fQTSzC1yCb9/s1600/creepy_x_ray_skull_black_white_print-r9141aa575946481d957b390f0c8ca9a8_w2q_8byvr_512.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIKysYW2tb9EySqmY5boAI2r5FGyyCUcDlWfnkOu-OOpG3kf64swkj9Ci8LhqQJGjH64h_tyhKBP0mAgMP742d8a9Zh8amBSor0-DUvJ_T_3zS_Y54y9-IY_E5GUJcZL5B3fQTSzC1yCb9/s400/creepy_x_ray_skull_black_white_print-r9141aa575946481d957b390f0c8ca9a8_w2q_8byvr_512.jpg" height="400" width="400" /></a></div>
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Emil Beaulieau (Minutoli) - G.G. Junkie</div>
<div style="text-align: center;">
Hell Garbage - Death Valley Six Six Sixty-Nine</div>
<div style="text-align: center;">
Vertonen - Small Cuts (For Jason Zeh)</div>
<div style="text-align: center;">
Anne Guthrie / Richard Kamerman - Civil Twilight: 5:23</div>
<div style="text-align: center;">
Maurizio Bianchi - Belzec</div>
<div style="text-align: center;">
Thirteen Hurts - Thrombosis</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Dj Hyperactive - excerpt from "<a href="http://ravearchive.com/mixtapes/Hyperactive/Volume_06_-_Acid_Ingestion">Acid Indigestion</a>" </div>
<div style="text-align: center;">
Vasectomy Party - So Glad You've Heard!<a href="http://www.discogs.com/Various-Dialtone-Aggressor-1/release/4984493">*</a></div>
<div style="text-align: center;">
FUN - excerpt from track 1 of "6-7-82" CDR</div>
<div style="text-align: center;">
tasuketekun - excerpt from "light sleep"</div>
<div style="text-align: center;">
XTUL - excerpt from "Vestigios"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Various-Record-Store-Record/release/3066426">Record Store Record</a> (Second Layer) </div>
<div style="text-align: center;">
AMFJ - <a href="http://amfj1.bandcamp.com/track/h-si-andar">Húsið Andar </a></div>
<div style="text-align: center;">
OGO+LEDA - Atlatl</div>
<div style="text-align: center;">
Nervesandgel - I Don't Want To Wake Up</div>
<div style="text-align: center;">
Dan Friel - Scavengers</div>
<div style="text-align: center;">
Clang Quartet - Christmas Amid Catastrophe</div>
<div style="text-align: center;">
Gas Mask Horse - excerpt from single sided LP on American Tapes</div>
<div style="text-align: center;">
Nascitari - August's Revenge* (from <a href="http://www.discogs.com/Various-Dialtone-Aggressor-1/release/4984493">Dialtone Aggressor zine</a>)</div>
<div style="text-align: center;">
Justin Marc Lloyd - Panic Dreams</div>
<div style="text-align: center;">
Victimes De Regime - excerpt from "Come and Die!" CDR</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Circuit Wound - excerpt from "Patience is Waste" CDR</div>
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<div style="text-align: center;">
<br /></div>
<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-61420352437781168082013-12-24T04:12:00.000-08:002013-12-24T04:12:29.013-08:00Sometimes We Fly Just To Shake the Shit Off (After Hours show featuring T.A.Z. / Dreadlords)<br />
<div style="text-align: center;">
<span style="font-size: x-large;"><b><a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di122413.mp3"> LISTEN</a></b></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNx275r6sdGtis09pEd8G4ZBCH92v_RCQyFqBLZY-Qximb2PJiNnRHOKVCA8V9A_rXnAUumuSVszDJNApnPdObB7Dv5ZPJ3UT4w54JgBUpU6MN77sUN69WlUma6K0oSr056t96lHmOJIy3/s1600/atom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNx275r6sdGtis09pEd8G4ZBCH92v_RCQyFqBLZY-Qximb2PJiNnRHOKVCA8V9A_rXnAUumuSVszDJNApnPdObB7Dv5ZPJ3UT4w54JgBUpU6MN77sUN69WlUma6K0oSr056t96lHmOJIy3/s320/atom.jpg" width="314" /></a></div>
<br />
<div style="text-align: center;">
Nino Rota - Tema Della <a href="http://en.wikipedia.org/wiki/La_Strada">Strada</a></div>
<div style="text-align: center;">
Accept - Fast As A Shark</div>
<div style="text-align: center;">
45 Grave - Violent World</div>
<div style="text-align: center;">
Whiplash - Last Nail In The Coffin</div>
<div style="text-align: center;">
Mysticum - The Rest</div>
<div style="text-align: center;">
Orange Goblin - Red Tide Rising</div>
<div style="text-align: center;">
DANAVA - Where Beauty and Terror Dance</div>
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<div style="text-align: center;">
Agony Bag - Rabies Is A Killer</div>
<div style="text-align: center;">
Moby - What Love</div>
<div style="text-align: center;">
Marilyn Manson - Angel With Scabbed Wings</div>
<div style="text-align: center;">
White Zombie - Gentleman Junkie</div>
<div style="text-align: center;">
Gaye Bykers on Acid - Don't Be Human - Let's Be Frank</div>
<div style="text-align: center;">
Hula - Feeding The Animal</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Live Performance by <a href="http://t.a.z./">T.A.Z.</a> / <a href="http://dreadlords.bandcamp.com/">Dreadlords</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Stratos Pagioumstis / Duo Mavra Matia - Two Dark Eyes</div>
<div style="text-align: center;">
Bain Wolfkind - Bankrupt Soul</div>
<div style="text-align: center;">
Kommissar Hjuler / Mama Baer - Zwei Eineperson Pt. 1</div>
<div style="text-align: center;">
Burzum - Feeble Screams from Forests Unknown</div>
<div style="text-align: center;">
Chrome - The Manifestation (of The Idea)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Anti Group - Broadcast Test</div>
<div style="text-align: center;">
Vas Deferens Organization - Reverie</div>
<div style="text-align: center;">
Death In June - Heaven Street</div>
<div style="text-align: center;">
Lungfish - Shed The World</div>
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<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0tag:blogger.com,1999:blog-1480947859314924255.post-84687553617812984012013-12-17T04:54:00.000-08:002013-12-17T04:54:31.209-08:00Reckoning / No Advantage (5 Hours)<br />
<div style="text-align: center;">
<span style="font-size: x-large;"><a href="https://archive.org/download/TheDeliriousInsomniacFreeformRadioShow/di121713.mp3">LISTEN</a></span></div>
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Anna Von Hausswolff - Epitaph of Theodor / Deathbed</div>
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<a href="http://www.suntimes.com/news/obituaries/24402017-418/lorna-donley-founder-of-post-punk-band-da-who-became-librarian-dies-at-53.html">DA!</a> - Dark Rooms</div>
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Nina Hagen - Taschi - Tarot</div>
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Doris Norton - WARSZAWAR</div>
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The Shadow Ring - Wash What You Eat</div>
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Van Dyke Parks - Widow's Walk </div>
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Zbigniew Karkowski and AUBE - excerpt from "<a href="http://vimeo.com/81899709">Collaberation</a>" 1998 (thanks to Daniel Menche for sharing)</div>
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The Residents - Edweena (excerpt)</div>
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DEVO - Golden Energy</div>
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Antonius Rex - Incubus</div>
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Chuck and Enid Olson - There's Something About That Name</div>
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Christian Death - Sick of Love</div>
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SWANS - Trust Me</div>
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Hanna Hirsch / Sewer Election - Inget Overtag</div>
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Endometrium Cuntplow - Phasing In</div>
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Thirteen Hurts - Population / Inoculation</div>
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NOVASAK - Untitled Track 5 from "Cumulative Errors" CDR</div>
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Black Boned Angel - No Redemption But My Own</div>
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Godflesh - Black Boned Angel</div>
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The Mount Fuji Doomjazz Corporation - Knock By The Stairs</div>
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Black Math Horseman - Bird of All Faiths and None / Bell From Madrone</div>
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<a href="http://cursebaltimore.bandcamp.com/track/between-the-wardrobe-the-wall">Curse</a> - Between the Wardrobe and The Wall</div>
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Prostate - <a href="http://soundcloud.com/prostateband/interm">Interm </a></div>
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<a href="http://www.phantomairwaves.com/">Michael Esposito</a> and Jochen Arbeit - All The Fucking Voices</div>
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<a href="http://www.antiqbook.com/boox/myt/88420.shtml">Nightcast </a>- The Infinite Killer</div>
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FOETUS - Pratheism</div>
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Excessive Force - Stormraiser</div>
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Thrones - Epicus Doomicus Bumpitus</div>
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The Stooges - Open Up and Bleed</div>
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The Groupies - Primitive</div>
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The Avengers - Be A Caveman</div>
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Diabolito - The Jungle</div>
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The Steelers - The Flame Remains </div>
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Darrow Fletcher - My Young Misery</div>
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Joe Bataan - Ordinary Guy</div>
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Skeeter Davis - I Forgot More Than You'll Ever Know </div>
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Death In June - Fall Apart (<a href="http://www.youtube.com/watch?v=x1-ooU0gQ_g">Rose Mix</a>)</div>
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Richard Kamerman - excerpt from track 3 of "Mecaniq Electroniq" CDR</div>
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GX Jupitter-Larsen & Cheapmachines - Continuous Tunnel Clock</div>
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Sisto Rossi - excerpt from "Stovekisser" cassette</div>
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Mass Marriage - <a href="http://absurdexposition.bandcamp.com/track/nothing-underneath">Nothing Underneath</a></div>
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Lustmord & <a href="http://en.wikipedia.org/wiki/Robert_Rich_%28musician%29">Robert Rich</a> - excerpt from "Stalker" </div>
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<br />Arvohttp://www.blogger.com/profile/00706534774355981063noreply@blogger.com0