Craig Kauffman, maker of sublime ultra-minimal vacuum molded acrylic wall hangings and original member of the famed Ferus gallery gang in the mid-60’s (along with the likes of Eds Ruscha and Kienholz, Wallace Berman, Warhol, etc) has died. I’ve always loved his somewhat erotically-shaped and candy-like art-for-art’s-sake and what I’ve heard described as a “finish fetish”. Oh, so smooth and shiny !
This project stemmed from your original desire to do a memoir, but seems to have become something much more.
Originally, I had the idea that I could work with the idea of memory and perception in the context of writing a memoir. I probably didn’t remember my life that accurately, and perhaps not that interestingly, but if I made my memoir open-source and brought people who had their own memories of interacting with me in their own lives — during the late ’60s/’70s and the period when I was doing Mondo 2000 and earlier magazines — then something really interesting would come of that. It’d be a literary experiment and an exploration of memory and psychology. That’s where it started.
On one level it seemed really self-indulgent; in another way, it seemed like a fairly original project. There’ve been a lot of books where it’s “as told to,” starting with a book called Edie by George Plympton, where they go around and talk to a whole lot of different people and quote them verbatim about some person’s life and what they witnessed.
My feeling was this would dig a little bit deeper, more interactive and more probing. Eventually, largely as a result of thinking about raising capital to get started on Kickstarter, trying to get the equivalent of the small amount book companies give for an advance, I decided I needed to narrow my focus. People would be interested in doing this just with Mondo 2000 and the magazines that preceded it. So it was narrowed down to a period from 1984-1997, starting with a magazine called High Frontiers that mutated into Reality Hackers and then Mondo 2000.
Mondo 1995: Up and Down With the Next Millennium’s First Magazine by Jack Boulware (SF Weekly)
Genesis Breyer P-Orridge and Thee Majesty are performing live at Issue Project Room in Brooklyn on May 23rd. Not to be missed if you live nearby.
Thee Majesty began in 1998 as a spoken word project, originally founded by Genesis Breyer P-Orridge of Throbbing Gristle, Psychic TV and Bryin Dall of 4th Sign of the Apocalypse, A Murder of Angels and Dreams Into Dust. Featuring P-Orridge, Thee Majesty is made up of a revolving group of members including Morrison Edley of Psychic TV. Thee Majesty’s music is a mix of spoken word performance art against Dall’s free-flowing guitar rhythms and Edley’s atmospheric percussion.
In a typical Yes Lab project, an activist organization will come to the Yes Lab with a target—e.g. Monsanto, or war profiteers, or one of those “too big to fail” banks, or greedy health insurance companies, or a bad government policy—as well as a goal: to affect public debate, push for legislation, embarrass an evildoer, etc. Depending on ability, they will pay a fee to help the Yes Lab keep going.
We’ll work with the group to develop the smartest, most effective plan to accomplish it. We’ll help assemble the team from within the group as well as our mailing list, we’ll train folks as necessary, and we’ll check in on the project until it’s successful.
Like most well-intentioned start-ups, the Yes Men are now looking for funding. A target of $50,000 would ensure a 6-month period of, “disruptive, productive media events keeping the public reminded of what’s wrong, what could be right, and what’s in store if we don’t change our ways.” To help launch the Yes Lab—and receive some interesting Yes Men goodies in return—click here.
An amazing Eno-era live version of the For Your Pleasure LP classic that I’d never seen before. And our man Brian is a delight here, heavily treating Manzanera‘s epic guitar solo by rhythmically altering the VSO on the tape decks he’s running the guitar through. Good shit ! Ferry is also in ultra-fine form, though he seriously muffs the lyric at 3:16, it’s kind of endearing. Jah bless a You-tube !
In our supposedly post-racial world (not counting you, tea-baggers) it’s difficult to conceive of the indignities thrust upon Lena Horne for the crime of being of undetermined race, but her luminous beauty and mellifluous voice made her the “negro” who was safe for white America. She used this inroad to criticize the treatment of black soldiers during her many USO tours which led to her being “blacklisted” by Hollywood for many years. Of course civilization eventually evolved enough to begin celebrating her for her actual talents and not for her potential to pass as a white woman. Goodbye, gorgeous.