The Genesis Breyer P-Orridge online archive

"Thank you" Redux PTV

2012-02-11T15:44:00.000-08:00

From Edely of PTV on the fothcoming "THANK YOU" redux

In time for our upcoming Australian debut, PTV3 presents mini version of our entirely original new song about our Beloved Lady Jaye called "THANK YOU". Edited to now fit on a 7" record, this intensely moving and psychedelic track is split on to 2 sides as "Thank You (Parts I & II)". Utilizing recycled colored vinyl, each slab is completely unique and comes housed in a recycled craft paper jacket emblazoned with a removable embroidered patch attached to the front cover. Includes an 8 page booklet featuring handwritten Breyer P-Orridge lyrics (stamped on page 5 with the BP-O seal of authenticity) as well as 2 postcards designed exclusively for this release (one design: one for mailing and one for keeping). Each package was lovingly and assembled by hand. This release, limited to 230 copies only (hand numbered on the back), is the second in a new series of Angry Love Productions "Handmade" vinyl records. Please note that the image shows variation of vinyl color and your purchase will contain ONE slab of vinyl. Available at our forthcoming Los Angeles and Australian gigs as well as on the webshoppe!

Purchase at
http://porridgeshoppe.myshopify.com/products/thank-you-redux-tour-7

RadioValenciaSF Podcast up now for interview with Genesis and "Ballad of Genesis and Lady Jaye" director Marie Losier

2012-02-06T01:27:00.000-08:00

RadioValenciaSF Podcast up now for interview with Genesis and "Ballad of Genesis and Lady Jaye" director Marie Losier:

http://radiovalencia.fm/nosuchprogram/2012/02/04/no-such-program-1-4-1-genesis-breyer-p-orridge-and-marie-losier-03-february-2012/

PTV3 2012 dis-concerts

2012-01-28T22:53:00.000-08:00

PTV3 2012 dis-concerts

February:

Sunday, February 26th @ The Echoplex - Los Angeles, California
http://www.attheecho.com/2011/12/20/sunday-02-26-12-echo-slow-motion-present-psychic-tv-beastial-mouths-echoplex/

March:

Saturday, March 3rd @ Adelaide Festival - Adelaide, Australia http://www.adelaidefestival.com.au/2012/music/dreamers_genesis_breyer_p-orridge_and_psychic_tv_and_philip_brophys_stadium

Saturday, March 24th @ Johnny Brenda's - Philadelphia, PA
http://www.johnnybrendas.com/event/89045/

May:Friday, May 18th Gig @ S.K.I.F. 16, Sergey Kuryokhin International Festival - St Petersburg, Russia
http://www.kuryokhin.net/

Sunday, May 20th @ P!PL club - Moscow, Russia
http://piplclub.ru/

Just confirmed! PTV3 Russian gigs...

2012-01-23T23:12:00.000-08:00

May Friday 18 Gig St Petersburg @ S.K.I.F. 16
http://www.kuryokhin.net/

May Sunday 20 Gig Moscow @ P!PL club
http://piplclub.ru/

Furthur details forthcoming...

The Genesis Breyer P-Orridge Interview w/ Wes Holland jan 2012

2012-01-13T04:29:00.000-08:00

The Genesis Breyer P-Orridge Interview w/ Wes Holland

Interview originally published in the January issue of Rhythms magazine, 2012

Genesis Breyer P-Orridge is a legendary artistic figure. Beginning his career in the late 1960’s with the confrontational performance collective COUM Transmissions, he later fronted the highly influential industrial music group Throbbing Gristle. In the early 80’s he formed the trans-media psychedelic band Psychic TV in conjunction with his community based Temple ov Psychic Youth fellowship.

Since then he’s remained incredibly prolific, but is perhaps best known in recent times for his ‘Pandrogyne’ project he undertook with late wife Lady Jaye - “for he and her to fuse and become one single being.” Lady Jaye tragically passed away in 2007, and to this day Genesis has remained dedicated to the pandrogyne (evident by the continual way he refers to himself as ‘we’ instead of ‘I’).

Ahead of his first ever Australian appearance as part of the Adelaide Festival, Wes Holland delves deep into the life and art of GPO.

I’m always intrigued to read about your work with COUM Transmissions. Stuff you were doing in the 60’s and 70’s would turn heads even if it was happening today… what was COUM all about and what fuelled it artistically?

We were at Hull University in England’s north and after three weeks of doing economics and social history we knew we’d made a terrible mistake in our choice of subject. So we stopped going to lectures all together, and started to do my own interventions, performance and improvised weirdness on campus and in the streets. In the summer of 69 a performance art group called The Exploding Galaxy arrived from London headed by David Medalla, a kinetic artist of note from the Philippines.

They were short of people because some of them had gone on the hippy trail to India, and so they put the call out to anyone on Campus who’d be interested in performing with in their weird and wonderful improvised performance group. Everyone said ‘Get Genesis!’.

So we joined them and hitchhiked to London. There, we hung out with William S Burrows for a while. The Exploding Galaxy was a very rigorous psychological therapy designed to destroy habitual behaviour of any kind. To try and de-condition all social and familial and peer group influence so that you could truly begin to create a unique and personal narrative for the story of your life.

COUM started out much more as street theatre and provocations. I remember one of our favourite activities was at the beginning of the weekend, we had a room called the costume room. There were various stereotypes of what we considered the British public at the time. There was a middle aged arrogant, bitchy Christian woman called Harriot Straightlace as well as a baby, a clown, a vicar and an alien brain - a visitor from some other planet. And there were costumes to go with each character. Each Friday you’d draw lots to become one of those characters. But then you had to be them 24 hours a day for the whole weekend… three days. Shopping, sleeping, and everything. You’d stay in character as if you were them. That’s an example of one way we were breaking down archetypes and inherited stereotypes trying to find out where behaviour begins, who controls it, which of it is necessary and how much of it is about control.

It got us more and more fascinated. We became friends with Burrows and then Brion Gysin. Burrows said to me in 70 or 71, “How do you short circuit control?.. That’s your task Genesis. To find out.” That was the beginning of the real evolution. COUM went from street theatre down to eventually just me and (soon to be Throbbing Gristle members) Cosey Fanni Tuti and Sleazy (Peter Christopherson). We were starting to do role play switching… Cosey would start out as female and me as male, and then we’d switch to become the opposite. It got even more intimate with sexual taboos and transgression and who decides where and what is appropriate? Because it’s different in every country and culture. Therefore it’s arbitrary. Therefore it can be chosen. That was COUM.

From out of COUM came the legendary Throbbing Gristle, what did you set out to achieve as a rock and roll group?

COUM started out very underground. We got more and more extreme and started to include bodily fluids and blood in our work as well as fake and real injuries… what is real? What is not? What is trickery? What is not? Where is the borderline between real and unreal? Awake and asleep? Alive and dead? Where are those lines and who decides? And are they even relevant?

Suddenly, we found we were being accepted by the British council and getting grants and performing at big arts events. We even represented Great Britain with Gilbert & George in Milan in 1976. As soon as all of that started to happen, we just thought “This isn’t what we want. We don’t want to become another member of the establishment, we have to change direction. What else can we NOT do? Ahh, none of us can play instruments! Let’s be a rock band! Let’s reconstruct rock music!”

The first thing we all agreed on was NO drummer. Drummers inevitably set up certain patterns that are so traditional that the responses of the other musicians are sort of drawn to expected techniques and sounds. We wanted to get away from that, and mirror the world we lived in which was post-war Britain. We grew up playing in the bomb craters in Manchester. We’d seen the results of war. We wanted our work to be a reflection of the Western European experience after a huge war. What was relevant to us? The decay and the industrial landscape. The steam engines we’d go past on the way to school were being cut apart and turned into scrap metal. The mills that used to make cotton and natural fabrics were closed because of nylon and manmade fabrics. We saw this contradiction. This fake modernity of Harold MacMillan’s slogan ‘you’ve never had it so good’. There was nothing relevant to the youth of the time at all.

We experimented with cut-ups to completely make it impossible for our conscious, habituated memory of music, to control what we play. If we do cut ups using tape recorders and so on, then we’ll create music that’s new. Music that is irrational and illogical to average ear. To reflect what we saw as the decay of British power and capitalism and fake freedoms.

I asked Richard Fearless from Death In Vegas recently about his love of Throbbing Gristle. He described you as the first electronic band to have a punk energy. He said the first time he ever saw TG, you came on stage and slammed the house lights on. It was blindingly bright, deafeningly loud, but incredible. Take me through a Throbbing Gristle live gig in the early days and that energy that came out of the shows.

We used to find unusual places to play. We played in a closed down school run by Spanish anarchists. It was semi-derelict and they’d created a rough stage out of scrap wood and burned bonfires inside the building to keep it warm. We’d use halogen lamps pointed at the audience as one of our ways of rejecting the normal idea of ‘audience looks at the band/band looks at the audience’. Instead its people almost blinded by the lights so that they have to address the music and the sound.

In those days there were no samplers and there were no synthesizers. (TG’s) Chris Carter, who is an electronic genius, built his own synthesizer. Sleazy built the equivalent of a sampler by using eight walkmans that went through a keyboard that could create rhythms so he could play it with his fingers and jam. All those tapes could be anything. He did lots of field recordings; he bugged the offices of a mercenary group and recorded them. He tape recorded illicit gay sex in public toilets and added all those things in subliminally – all of that was directly influenced by Borrows and Dysin.

We also built all the speakers ourselves, and they were loud. For my bass guitar we had bass bins taller than me that we could climb into. And four 4x12 amps as my monitors! A 200 watt bass amp just to moniter my bass so when we hit it, it made your clothes move. For a gig at Butler’s Wharf (London) we had two PA’s. One at the front was ours, and a normal one at the back which had a feed of our mix. We mixed everything ourselves, Chris Carter mixed everything live on stage. So for the audience, if they tried to back away from the extreme volume, it actually got louder!

We did all sorts of tricks like that. We once played inside a square cube of scaffolding covered in tarpaulins and we had cameras on us, so you could see us playing through the monitors inside a building. So if you wanted to SEE us play, you had to be inside watching the televisions, but there was no sound. If you wanted to HEAR us play, you had to go on the roof and look down five floors.

We did all kinds of things to mess with the idea of the band being the focus and the music being the really important effect. We thought of it as functional, metabolic industrial music. When Lady Jaye saw the first reunion gig at the Astoria in London she said “We’ve always loved these records… but now I get it. Now I get what people used to talk about.” Just today we were talking to some people who saw us when we played in New York at the Masonic Temple and they said the same thing; “We saw you live and we felt how loud it was, and how our bodies were affected, at that moment we understood the legend.”

I’ve heard you say that Throbbing Gristle was a band built on anguish, while your band that came afterwards Psychic TV, together with your Temple ov Psychick Youth fellowship, was about joy, friendliness and happiness.

Yes. That’s based on my position as the singer and the lyricist. In Throbbing Gristle, all the lyrics and melodies were dark… if you can call Maggot Death, Blood Bait or We Hate You (Little Girls) melodies!

In those days, between ‘75 and ‘81, we were really angered and disgusted. Just as much as all the people who formed punk bands. Disgusted at the hypocrisy and the bigotry and the attempt to continue this fake concept of the perfect England. That was not our experience. Our experience was in Palace Square demonstrating against Vietnam and seeing people beaten with clubs and trampled by horses. Our experience with Britain was very disillusioned. Disillusion and a lack of power to change things. The slogan from the 60’s rang true: ‘No matter who you vote for, the government gets in.’ That sense of helplessness and the inability to truly change things leads you to look for experimental alternatives of your own and to analyse what it is you would like life to be like, what it is you would like to see the human species do to evolve. To take away it’s primitive, disgusting love of violence, depression, power, control and riches for its own sake. The things that we believed was destroying the world.

So Psychic TV was our attempt to look for ways to set up communities and alternative networks where those who have enough in common could recognise each other. By the end, in Brighton in the late 80’s, we had five Temple Of Psychic Youth houses. Every Monday we’d all meet, one house would make the food and you’d all debate and analyse our issues with the world, our issues with ourselves and how we were operating as a community and failing…

Earlier this year I managed to track down a copy of the book Genesis P-Orridge book ‘Painful But Fabulous’. One of the most interesting parts was the selection of press clippings from articles written about you and your work with TOPY in the 1980’s. Tell me about being called names like ‘the sickest man in Britain’ and it leading to you being exiled from England?

“Put him in jail and throw away the key!” they used to write. In the early 70’s we squatted a whole street in Hackney and we moved in artists, writers and other creative people with families into the houses. We convinced the local council to allow us to stay legally and pay rent, and then after a few years they gave everyone the right to buy their house plus they put on new roofs and renovated the buildings. To this day there is this whole street of houses that is still part of this co-op in Hackney. Practical stuff. In Brighton we closed down the dolphinarium. Every weekend for a year we picketed the dolphinarium. Politely. We gave people leaflets explaining the dolphins were in this tiny circular pool with so much chlorine they were blind and when the dolphins died they give a new one the same name so nobody knows. After a year, they closed down. They used to make 1.5 million pounds profit a year, and the year we picketed them, they went bankrupt. Meanwhile, we’re being attacked by English newspapers for being ‘degenerate, evil monsters’ when we’re actually doing more good work than most people.

I’m in intrigued by the story behind the Psychic TV song Godstar - the theme from the unreleased Brian Jones film. Tell me about growing up obsessed with Brian Jones and the impact he had on your life.

I met the Stones in 1965. My father worked for a company that did corporate cleaning contracts, and we got two free VIP tickets to this show called Thank Your Lucky Stars. By luck, the Stones were there doing 19th Nervous Breakdown. As we had a VIP pass we were backstage, and all of a sudden I banged into Mick Jagger. I said “I’m so sorry Mick, could you sign my VIP card?” He took me upstairs and introduced me to the rest of the band and we spent half an hour there, talking and hanging out. Brian Jones had this incredible atmosphere around him. Very ethereal, as if he was partly here and partly in another dimension. Of course he was incredibly androgynous. All of the Stones became more androgynous through his influence. Even today, if Brian Jones walked into a club or a shop dressed in his clothing, people would stare and say “My goodness, how exotic!”. So that had a profound influence on me as a 15 year old. He became symbolic to me of both the exotic idea of androgyny but also experimentation. He did all the musical arrangements. He brought in the sitars and the marimbas and the harpsichords and all these instruments that were involved in the most classic Stones songs. Of course he did the first real world music record with the Master Musicians of Joujouka for the Brian Jones Presents the Pipes of Pan at Joujouka album. I’ve still got one of his jackets. We were doing a gig and afterwards a guy comes up to me and says “I know how much you like Brian Jones, I used to be one of their roadies.” We recognised his name, and he gave me this jacket. It was a Houndstooth jacket they wore at the beginning to be more like The Beatles, and when I put it on, it fitted perfectly. It was almost spooky.

The film The Ballad Of Genesis and Lady Jaye was released this year. It’s an intriguing story… take me through yours and Lady Jaye’s experience with Pandrogeny?

It started out as instinctive. But it’s Lady Jay who deserves the notoriety.

The first day we met was in a dungeon where she worked as a dominatrix. We’d been up for three days on ecstasy and finally crashed on the floor amongst all the torture instruments. When we woke up when we heard voices and we saw this woman walking back and forth in the other room. We could tell she was wearing all original 60’s clothing with a Brian Jones bob. She started to undress smoking her cigarette very glamorously, as she changed into a fetish outfit. We found ourselves saying “If we can be with this woman for the rest of our lives, that’s all we want”. She was being told things like, “Don’t go in there… the guy in there is a weird English artist and you don’t want to go near him,” So of course she’s thinking “I must meet this person!”

She took me home and dressed me in her clothes the very first day I met her, then she took me to a slave auction. We were standing there watching this auction happen, and then we noticed a man next to us who was moving in a strange way. We looked down and she had one of her five inch high heels on the back of a naked man’s hand. He’d crawled up and begged her to hurt him. She was just grinding his hand with her high heel for 20 minutes while she was talking to me, so nonchalantly. We just thought, this woman is amazing.

We fell in love at first sight. It was so all-consuming that we wanted to become each other, to never be separated. So to represent that obsessive desire to fuse and become one being, we began to dress alike and do our hair alike.

Then we thought about it more theoretically and thought about what Burrows had said… “Where is control?” We thought control is DNA. DNA is the ultimate recording device. It’s the biological tape and in order to cut it up, you have to deny its power. How do you do that? By changing yourself in a way that DNA wouldn’t make you. By rejecting the body that DNA would give you. It wasn’t that we wanted to look identical, so much as, we didn’t want to grow to be the body that DNA wished us to be. So we started to do little things at the beginning. We got tattoos of her beauty marks on my face. We got our lips made the same size. She got her eyes surgically made more like mine. Then her nose and her chin. Then we got our cheeks done to match. Then on Valentine’s Day 2003 we went for it full on with matching breast implants. We woke up holding hands, looked down and thought “these are our angelic bodies.”

At that point it became a much more serious problem. We were out of the binary system of male/female, which is what we wished to do. We wanted to reject inherited systems of thought, inherited values, archetypes and stereotypes, genders - to truly build ourselves as two halves of one. That’s what we called the pandrogyne… the positive androgyne. The powerful androgyne. The political androgyne.

From that we started to think about cutting up DNA and the future. We thought about Bryan Gysin and how he said “We’re here to go into space”. How would we go into space? If you reject the idea that the human body is finished and is sacred, then to go into space we could become cold blooded. We could hibernate. We could grow fur. We might not needs legs anymore because of weightlessness. Once you dismiss the idea that the human body looks way that DNA wishes it too, and you let your imagination run wild, you could have gills and go under the sea. You could have feathers or fur, or horns and suddenly anything you imagine you can be, you’re liberated to actually choose, not just the narrative, but the physical logo of the human body that you present to the world. “Viva la evolution!”

You’re originally from Manchester, one of rock music’s great cities. One Mancunian who had a profound effect on your life was your friend Ian Curtis…

In the 70’s we became very good friends. He started writing to Throbbing Gristle as just a fan to buy the Second Annual Report album through mail order. He would ring me whenever they (Joy Division) came to London. He’d always ask me to take him around all the secret military shops that we knew of in Islington where he could buy uniforms and memorabilia, mainly from the second world war. We’d go shopping together, we became very good friends. When they were recording the Closer album he invited me down to the studio pretty much every day to listen to them recording. He told me that he was really influenced by Frank Sinatra, and so was I. The phrasing of Frank Sinatra is what got both of us.

We were the last person he spoke to the day he died. He rang me up from Manchester and he would often ring me late at night, very depressed. This particular night, he sang the song Weeping from our D.O.A. The Third And Final Report Of Throbbing Gristle LP, and he sang it word perfect. There was something so eerie about the way he sang it. That was actually my song about trying to commit suicide after Cosey left in 1978, the same year as the record. We just knew intuitively that Ian was going to commit suicide that day. In those days there were no cell phones. Hardly anyone had answer machines. We were ringing everyone we knew in Manchester, including Factory records people, saying “Somebody’s got to get around to Ian’s house, because he’s going to try and top himself!” Those who answered their phones just laughed and said, “He’s always saying stuff like that, he doesn’t mean it,” but we said “No, he really means it, please go to his house!” But no one would go. That’s why we wrote the (Psychic TV) song I.C. Water for him. The ‘I.C.’ is for Ian Curtis, but it’s also ‘I.C.’ as in ‘I See White’ and ‘Icy Cold’.

I’ve heard you describe yourself as a cultural engineer… what do you mean by that?

On September 3rd, 1975 in London Fields Park we said to (industrial music pioneer) Monte Cazazza “this music that we’re making needs a name”. We were explaining what we thought it should be like. He said “you’ve already named it, you keep saying ‘industrial’.” It was Monty who pointed out to me that I’d named this genre of music, industrial music.

The Modern Primitives book about piercing and tattooing was suggested to be researched by me. We arranged for most of the interviews and most of the content. In those days there were only about three people in the world doing that kind of tattooing. That book changed the world. Piercing, tattooing and liberation of the body and the skin became a way of expressing one’s self. The innate power of it remains. And now every town and village in the world has got a piercing and tattooing expert.

It’s not only industrial music and piercing and tattooing. We were very involved in the early days of rave. We also predicted in the industrial culture handbook that occult magic would become trendy again, and be reassessed which it did.

That’s being a cultural engineer. Literal manipulation of the culture almost subliminally, hiding behind the camouflage of being a silly eccentric rock star. Lady Jaye used to call it ‘dazzle camouflage’. You do it so obviously in front of people, they don’t see what you’re doing.

Genesis Breyer P-Orridge & Psychic TV will perform at the Adelaide Festival on Saturday March 3. Details at adelaidefestival.com.au

Psychic TV - "Thank You Part 2" @ Reggies Chicago 2011

2012-01-13T01:58:00.000-08:00

Recent performance of "Thank you part 2" from Chicago.

Audio Release of "Thank you"
In time for our upcoming United States dis-concerts, PTV3 presents an entirely original new song about our Beloved Lady Jaye called "THANK YOU". Clocking in at over 17 minutes, this intensely moving and psychedelic track is split on to 2 sides as "Thank You (Parts I & II)". Utilizing recycled colored vinyl, each slab is completely unique and comes housed in a recycled craft paper jacket emblazoned with a removable embroidered patch attached to the front cover. Insert features handwritten Breyer P-Orridge lyrics. Each package was lovingly stamped and assembled by hand. This release, limited to 230 copies only (hand numbered on the back), is the first in a new series of Angry Love Productions "Handmade" vinyl records. Please note that the image shows variation of vinyl color and your purchase will contain ONE slab of vinyl. Available at the gigs and exclusively at our webshoppe at: http://www.porridgeshoppe.myshopify.com/

Better Living Through Circuitry Genesis P-Orridge interview

2012-01-13T01:52:00.000-08:00

Segment of interview segment with Gen from the year 2000 electronic music scenes documentary "Better Living Through Circuitry"

Genesis P-Orridge 2001 intro Of Ohgr show

2012-01-13T01:48:00.000-08:00

This paticular Ohgr performance in 2001 had Genesis P-orridge
coming out before the show starts, doing a short introduction.

ohGr

June 19th, 2001

New York City, New York @ Limelight

original collage by Genesis Breyer P-Orridge on new Prurient double-7″ release

2012-01-04T15:08:00.000-08:00

The tirelessly prolific Dominick Fernow aka Prurient is back, this time with a double-7″ release entitled Wrapped In The Flame Of Illusion, Masked In The Clay Of Behavior.

The release comes courtesy of LA-NY label Dais Records, purveyors of all that’s good and grim in industrial, noise, neofolk and black metal (past releases have come from the likes of Cold Cave, aTelecine, Lord Foul and Tor Lundvall). It’s comprised of four tracks, which Dais describe thus:

“Recorded within the bleak transitional period immediately prior to the sessions that would now become known as Bermuda Drain, Dominick Fernow sketched out four compositions which can only be framed as ‘ambient power electronics’. Some of Fernow’s most destitute works to date, this release captures Prurient at its most vulnerable and sedate, reflective and rapt. Compositions that throw away that past decade of experience, only to start at the foundation of his art.”

Bermuda Drain, which was one of FACT’s top 10 albums of 2011, was something of a break-out success for Fernow; it was virtually a synth-pop record, albeit a superbly angsty one, influenced by stark European techno and also doubtless by Fernow’s now permanent role as keyboardist in Cold Cave. Wrapped In The Flame Illusion is the first vinyl offering from Prurient since Time’s Arrow, an EP addendum to Bermuda Drain which came out late last year.

The cover design of Wrapped In The Flame Of Illusion – which is limited to 500 copies, and available to pre-order here http://www.daisrecords.com/store/product_info.php?products_id=62
– features an original collage by Genesis Breyer P-Orridge. The Throbbing Gristle co-founder has enjoyed a fruitful relationship with Dais in recent years, issuing several records of his own through the imprint, including archival offerings from COUM Tranmissions and Psychic TV.

Every y-era Dec 23-Jan 23....

2011-12-23T02:27:00.000-08:00

The OTTT ning was activated Dec 20th last y-era and the ONE TRUE TOPI TRIBE project was set into motion one year ago today on Dec 23 By Genesis,Jaon Louv and myself.

Every y-era Dec 23-Jan 23 is the OTTT solstice ...a one month period of transition/aka a knew y-era phase of transformation.

Genesis has chosen this image to mark this OTTT calender date. It is my gift of Gi joe Lady Jaye action figure, whom the beloved Lady Jaye took her name from.

Quick update From Genesis ..

2011-12-20T02:14:00.000-08:00

A few brief notes from an email from Gen to share with you...

"My next priority is a totally new art exhibition for Invisible-Exports opening on Feb17th. 2012, Also the movie "Ballad of Lady Jaye & Genesis" goes on general release in Canada & USA in Feb/March!!! Amazing. It opens in 4 cinemas similtaneously in early March in the Bay Area! As well as across the USA! We are editing a dvd of outakes to go with movie dvd. Writing another 12inch etc etc...you can imagine how hectic maybe.but all is positive which is hope-full."

Here is my present to Genesis for "Happy flying bufallo day" (OTTT does not celebrate christmas as it is)
1986 Gi joe Lady Jaye action figure, Whom Jaye took her name from.

a few other notes ...

Just a quick post with some updated info and to say thanks to all who attended the December 2011 PTV3 Dis-concerts. We had a great time playing the new material and entertaining you all! A lot of emails are coming in looking for copies of the Mother Sky / Alien Sky 12”. Our supply has sold out.

To order, visit
http://www.vanitycaserecords.com/index.php?/shop/shop/

We will soon have a small handful again, but in the meantime….

Strict Textildruck and Merch Society have released a new t-shirt design by Morrison Edley ODowd featuring lots of glow in the dark ink…check it out here:
http://www.merchsociety.com/item/10969/Psychic+TV+-+T-Shirt+-+Psychic+Cross+Pattern++-+asphalt/

Keep checking back for more updates about what’s happening in 2012…there will be a lot!

Psychic TV - Thank You (Part One) (exerpt) Live From Austin!

2011-12-14T01:11:00.000-08:00

Psychic TV live in Austin, Texas on December 9, 2011.

Upcoming Psychic Tv performance In Chicago and recent Chicago radio interview with Genesis

2011-12-06T20:36:00.000-08:00

In addition to an annual show in Brooklyn this month Genesis Breyer P-Orridge will bring Psychic TV to only two other cities. One is Austin. The other is Chicago - Sunday Dec. 11, 2011 at Reggies Rock Club to be exact. Tickets are still on sale (and available in "general" and "VIP" varieties).

Recently The Delirious Insomniac Freeform Radio Show hosted a telephone interview with Genesis Breyer P-Orridge.

The archive is here http://posterityplaylists.blogspot.com/2011/12/those-who-remain-at-surface-do-so-at.html

From Host Arvo of Delirious Insomniac Freeform Radio Show: "I have integrated some of the things s/he said into a short article on h/er that will be in the next issue of Newcity, here in Chicago, as part of promotion for the PTV show on December 11th. If you want, I can send you a link to that article some time around Thursday I'm guessing." Artcile link coming soon!

also Arvo sent along an older episode including a sound collage , featuring Genesis Breyer P-Orridge's reading at the Swiss Institute. Here is the archive Link
http://posterityplaylists.blogspot.com/2009/12/delirious-insomniac-forged-teeth.html

Also,to conicide with the Austin Gig...
AUSTIN - December 9 - Genesis P-Orridge, Thee Psychick Bible

Domy Books and (R)EVO industries are pleased to present

Thee Psychick Bible

A book signing with Genesis Breyer P-Orridge*
7-8pm
913 E Cesar Chavez, Austin, TX 78702
http://domystore.com/

+ followed by Psychic TV at Elysium

"THANK YOU" is here!

2011-11-30T23:44:00.000-08:00

In time for our upcoming United States dis-concerts, PTV3 presents an entirely original new song about our Beloved Lady Jaye called "THANK YOU". Clocking in at over 17 minutes, this intensely moving and psychedelic track is split on to 2 sides as "Thank You (Parts I & II)". Utilizing recycled colored vinyl, each slab is completely unique and comes housed in a recycled craft paper jacket emblazoned with a removable embroidered patch attached to the front cover. Insert features handwritten Breyer P-Orridge lyrics. Each package was lovingly stamped and assembled by hand. This release, limited to 230 copies only (hand numbered on the back), is the first in a new series of Angry Love Productions "Handmade" vinyl records. Please note that the image shows variation of vinyl color and your purchase will contain ONE slab of vinyl. Available at the gigs and exclusively at our webshoppe at: http://www.porridgeshoppe.myshopify.com/

UPCOMING PTV3 DISCONCERTS...
PTV3 will be playing a whole new hyperdelic, trancedelic, set of the new series of songs..

(including "Maggot Brain"/ "Alien Brain"/ "Mother Sky"/ "Alien Sky"/ "Thank You" and more surprise tracks! Altered States Welcome!!! For the realisation of this series PTV3 will be: Jeff "Bunsen" Berner, Alice Genese, Morrison Edley ODowd, Genesis Breyer P-Orridge & Jess Stewart.

Sam Zimmerman & Jeanne Angel will create an all new video lightshow to trip out your retina.

Austin Texas on Dec 9th,
Chicago on Dec 11th
and New York, Club EUROPA in Williamsburg on Dec 15th ( with Bryin Dall (solo project with film) and also with CULT OF YOUTH)

gen Djin

Propaganda andHoly Writ of The Process Church of The Final JudgmentSex Issue • Fear Issue • Death Issue

2011-11-24T15:47:00.000-08:00

Propaganda andHoly Writ of The Process Church of The Final JudgmentSex Issue • Fear Issue • Death Issue

The Gods on War in text and read by Genesis Breyer P-Orridge, Lydia Lunch, Adam Parfrey and Timothy Wyllie

avaliable at http://feralhouse.com/

To follow up on the Feral House release, Love Sex Fear Death: The Inside Story of The Process Church of The Final Judgment, written by Timothy Wyllie, here are full color reproductions of the Process Church’s notorious and rare thematic magazines, all boldly imaginative and decades ahead of their time. This edition, limited to 1,200 copies, also includes the essay, “The Gods on War,” written by the cult’s “Omega,” which reveals how the Gods Jehovah, Lucifer and Satan have vowed apocalyptic vengeance against man. An audio recording of “The Gods on War,” with Lydia Lunch, Genesis Breyer P-Orridge, Adam Parfrey, and Timothy Wyllie is available as a download to every book buyer. When they’ve become available, these extremely rare magazines have sold for a thousand dollars each, or more.

This oversized hardcover edition is co-published by Ajna Offensive and is limited to 1,200 copies. Audio download included.

Order “Propaganda and Holy Writ of The Process Church of The Final Judgment” from Feral House directly and you will also receive:

1) Complimentary CD of the remarkable “Restored to One” recording by Sabbath Assembly: all songs drawn from actual Process Church hymns.

2) Signature of Timothy Wyllie on a special card. Wyllie designed and illustrated the magazines seen within the “Propaganda and Holy Writ” release.

3) Free download of Lydia Lunch, Adam Parfrey, Genesis Breyer P-Orridge and Timothy Wyllie reading “The Gods on War.”

NOTHING HERE NOW BUT THE RECORDINGS notes

2011-10-09T23:43:00.000-07:00

"Nothing here now but the recordings" was an album compiled by Genesis of William S.Burroughs audio work, Released via Industrial records in 1980.
Genesis P-Orridge, founder of Throbbing Gristle, salvaged these recordings from Burroughs’ archives and was responsible for their preservation and release. The recordings highlight Burroughs’ influence on concrete poetry and industrial music. The recordings also spotlight Burroughs’ link with the sound experiments of Carl Weissner and Henri Chopin who published Burroughs on vinyl and in magazines in the late 1960′s and early 1970′s.

Notes on the release follow, all borrowed from the extensive Burroughs archive site http://realitystudio.org/

Borrowed from the article The Lost Tapes of Carl Weissner, Claude Pélieu and Mary Beach, 1967-1969

by Edward S. Robinson
...Burroughs’ own recordings, however, remained in the vaults. Initially recorded for the purposes of his own personal research, the tapes were not intended for public consumption. It wasn Genesis P-Orridge of Throbbing Gristle who convinced Burroughs to allow him to release a selection of these experiments commercially. After spending many long hours going through the tapes, Orridge compiled the hour’s worth of material that was released as Nothing Here Now But the Recordings on Industrial Records in 1980

.Nevertheless, Burroughs’ influence on music, particularly the music of the avant-garde, precedes the public release of his experimental recordings, primarily on account of his book Electronic Revolution (1970, 1972, 1976), which expounds the theoretical contexts of some of his practical experiments with audio. Throbbing Gristle were among the first to explore the possibilities of using tape loops, cut-ups, samples and “found sounds” to make music. It was in this work that Burroughs’ influence on music became truly tangible.This was true of many of the bands involved in the Industrial scene that exploded on both sides of the Atlantic between 1978 and 1984. They immersed themselves in studio experimentation and the application of techniques first explored by Burroughs and Gysin some 20 years previous. The reason for the delayed spread of the Virus in sound recordings was largely due to the lack of technology to facilitate widespread experimentation prior to 1978. But once Burroughs and Gysin had made the “breakthrough,” it was almost inevitable that their ideas would spread.
The appeal of Electronic Revolution is obvious. While those who had followed Burroughs’ writing through the cut-up experiments would have been able to admire the many qualities of the writing, and even the methodology behind it, to the extent that it was possible to “write like Burroughs,” Electronic Revolution revealed new possibilities, demonstrating the potential for the written word to develop and mutate in new directions off the page. It also represented a “call to arms” for dissenters, providing as it did directions for sonic terrorism with the potential for “real” results:

…make recordings and take pictures of some location you wish to discommode or destroy, now play recordings back and take more pictures, will result in accidents, fires, removals. Especially the latter. The target moves. We carried out this operation with the Scientology Center at 37 Fitzroy Street. Some months later they moved to 68 Tottenham Court Road, where a similar operation was carried out…

Like Naked Lunch and The Third Mind, Electronic Revolution is a “how-to” book, a handbook, with instructions for the replication of the author’s techniques to achieve specific effects. “Riot sound effects can produce an actual riot in a riot situation. Recorded police whistles will draw cops. Recorded gunshots, and their guns are out.”14 Burroughs explained the function of site-specific recording and playback thus:

…playback on location can produce definite effects. Playing back recordings of an accident can produce another accident… We carried out a number of these operations: street recordings, cut in of other material, playback in the streets …(I recall I had cut in fire engines and while playing this tape back in the street fire engines passed.)… (I wonder if anybody but CIA agents read this article or thought of putting these techniques into actual operation.) Anybody who carries out similar experiments over a period of time will turn up more “coincidences” than the law of averages allows.

It was the capacity to achieve a specific desired effect, as Burroughs’ empirical testing of the theories demonstrated, which proved a significant factor in the book’s appeal to a certain audience. Although Burroughs believed that “the influence of fiction is not direct,” he always intended for his writing to have a tangible effect upon the reader in some way — after all, “if your writing had no effect, then you would have something to worry about.”

FIVE QUESTIONS from Genesis BREYER P-ORRIDGE From rebel rebel anti style site

2011-10-04T01:53:00.000-07:00

http://rebelrebelantistyle.blogspot.com/

Genesis Breyer P-Orridge (born Neil Andrew Megson 22 February 1950) is an English singer-songwriter, musician, writer, and artist. P-Orridge's early confrontational performance work in COUM Transmissions in the late 1960s and early 1970s along with the industrial band Throbbing Gristle, which dealt with subjects such as prostitution, pornography, serial killers, occultism, and P-Orridge's own exploration of gender issues, generated controversy. Later musical work with Psychic TV received wider exposure, including some chart-topping singles. P-Orridge is credited on over 200 releases.

FIVE QUESTIONS from Genesis BREYER P-ORRIDGE

Q1. One could draw a line connecting your work to the “modern primitive” movement, Acid House, the industrial movement, punk rock, Timothy Leary, the Merry Pranksters, the Beat Generation all the way back to the Dada-ists. After 5 decades of artistic expression, including inspiring, creating and collaborating some of the aforementioned, where do you see your art going next?

In 1993 we met Lady Jaye. We have, as you say, met and collaborated with many amazing artists and literary figures in our journey. Derek Jarman, W.S. Burroughs, Brion Gysin, Ken Kesey, Dr Timothy Leary and a host more. We can honestly say, with hindsight and serious thought that Lady Jaye is the MOST remarkable human Being we have EVER met. From the beginning we began playful dressing up. We were the “Plague” for a reading at Jackie60!

We both believed in a direct karmic link between the Inquisitions and S&M Domination. The witches burned and tortured now wear the oppressors outfits and use their tools to torture males of power. Soon we were dressing the same, doing our hair the same. We saw our SELFs as two halves of a whole. Burroughs and Gysin credited their mutually created cut-ups with writing, photos and tape-recorders to a “THIRD MIND” that only existed as the union of the two of them through pieces of Creation. Lady Jaye and myself believe all that we create, and our very physical existence, when evidenced by our ever more determined rituals to integrate totally body and soul were a “THIRD BEING” which we called the Pandrogyne. A Positive Androgyne. Each of us was literally “The Other Half” of this being. The Alchemical hermaphrodite as storm troopers of a future in potentia. Burroughs asked me, how do you short circuit control? This led us via all kinds of scientific and consciousness exploration to conclude DNA is a probable contender for the location of control. We feel it is a recording device that goes back to single celled slime mold billions of years ago. Making it also the common denominator of “life”. We speculate that mitochondria could be the superior life form on earth and human beings are useful containers, deliberately given an unnecessarily short lifespan. We are hosts to this parasitic species. Where do the thoughts of DNA stop and our autonomous consciousness begin? By breeding constantly we unwittingly perpetuate our rival species who may have come from off earth.

NOW! We wanted to confound these little blighters. Our first act was a vasectomy. A denial of the continuance of DNA via my body. We see bodies more as a biological coral reef a congomerate of clusters with more than one agenda. Lady Jaye calls the body a cheap suitcase. We get discarded once our DNA has run its current programs. The human body is NOT SACRED! It is just a biological container for its precious cargo of consciousness. “YOU” and “I” are not the body itself. That is a container. “You” and “I” are the mind that resides within our cortices. Once we saw that DNA was a crucial sector of “control” we wanted to at least symbolically reject DNA and its usual control over exactly how our body looks and functions biologically. Which led us to cosmetic surgery procedures. The initial LOVE motivation of wanting to literally be physically consumedby each other and so be able (we dreamed) of becoming ONE single being after we both drop our cheap suitcases. A single being the sum total of both consciousnesses fully integrated and still aware of an autonomous memory of itself and thus viable for infinite time and space, even dimensional travel together for eternity. We have worked with reincarnated Rinpoches from Tibet for many years and are convinced certain beings can remain identity intact after death AND return and get reborn to continue spiritual work on earth should they choose. Why not aim for the stars? Brion Gysin said we are here to go…we agree. The human species as it is now is still at a primitive, theoretically larval stage. We have so much more potential to grow and develop. Our technological environment is far advanced over our spiritual growth. This imbalance has led to totalitarian capitalism which unchecked will destroy all species ever more rapidly. If we DO move out to colonize space, Pandrogeny suggests we use science to find how to hibernate like bears, frogs and many other creatures. Long journeys would become feasible. Perhaps we could become cold blooded to save on heat in space. Become shorter, maybe short legs are all we need in space without gravity. In fact once you realize that this body we have is dictated by DNA without your say, and you let go of assuming this is the end of our evolutionary design, the possibilities become endless. Grow fur, feathers, gills to swim, horns for decoration. Many hued skin. We have become apathetic and inert. Entropy is a natural law, when we stop using ourimaginations for the most incredible dreams of new perception, we are on the slow road to extinction. So, now we’ve shed a small light on what was an intricate grueling but ecstatic journey Lady Jaye and my SELF made, we can tell you the answer to question one.

We see our works going ever more deeply into the genetic and biological research required to make people aware that “This time around you CAN be ANYBODY, with ANY BODY”. (Dr Timothy Leary with a slight addition).

My personal goal is to prepare myself mentally, spiritually and physically to drop my body and then, we pray, find Lady Jaye’s “consciousness” awaiting me. Then we shall flow happily into each others essence in total unconditional surrender to BIG LOVE and become one “pandrogyne of pure mind” created from our two halves. Our work will metaphorically and literally always refer one way of another to this endless quest for moments of perfecting. Let our species awaken and perhaps begin to apply their massive resources to unifying our species instead of fragmenting it. We MUST start to truly see our SELF as one cell of a massive, beautiful organism called the Human Species. Once we perceive our SELF as a tiny part of a whole we would inevitably phase our conflict and be active only in the greater good. If food is needed it is supplied to the part of the species “body” that requires it. Once we see ourselves as totally integrated with every other person. Parts of a whole, like Lady Jaye and my SELF are parts of our whole too the likelihood of destructive and selfish choices diminishes.

VIVA LA EVOLUTION!!!

Q2. In 2009 “30 Years of Being Cut Up,” a retrospective of your collages was presented at Invisible-Exports and the Tate Gallery acquired 40 years’ worth of your art, writing, correspondence, video and audio. You have also lectured at universities and given talks at Rutgers. Do you feel you have now been accepted by the establishment?

There are days when we WISH we could “sell out” or whatever that is or how that is done we’ve never known. It is true we give Lectures sometimes at Colleges and Universities. Recently at MoMA in New York, Rutgers, and NYU. We have always

felt it vital for an artist to share both those who have inspired their path and work AND the conclusions and information they have retrieved during more extreme body and out of body experiences. Perhaps our explorations, some taken at risk, can be useful, functional or even just a flag saying “You are not alone” to a person in the boonies who is isolated, maybe picked on. So we accept talks to SHARE what we can IN CASE it is useful in some way, maybe even as a warning. The Establishment normally reward your surrender into their cabal with seductive invitations to power gatherings and soirees. They also funnel money to their favorites ( in the mediaeval sense of favorites). As long as young people come and tell me they are inspired or encouraged by my words we will continue to talk. We’d LOVE to begin teaching a seminar at NYU, or Columbus, any college in New York really. Any offers? So far we’ve not even been offered a degree or a blue “lived here” plaque on the old Funhouse in Prince Street, Hull…so it is a wary truce. But we are actually glad to be finally taken more seriously for our entire body of work rather than be cheaply dismissed for a miniscule number of more easily sensationalized moments decades ago.

Q3. In your early years, how did your parents react to your work?

We dropped out of Hull University after one year in 1969 and hitched to Islington to join David Medalla’s “Exploding Galaxy” commune. On the way to London we went and told my parents who’d sacrificed a lot to put me through a really good private education via scholarships. My mother cried a little and hoped we’d go back and “Get a degree first”. We refused. My father was angry. He only called me by phone ONE time between 1969 and his death in the late 90’s. When we changed our name to Genesis P-Orridge legally my mother cried a lot more! She saw it as a rejection of them and my ancestors. She too only phoned me once herself since then this year when she died at 92. However, during especially COUM Transmissions times she usually just said “OH Gen, is that really necessary?” So the first 20 years alienated both my parents. They found the endless sensationalist press embarrassing at social functions where all their friends knew all about what her naughtyson got up to. In the last decade or so she began to be very PROUD of my works. She would often say, “Well you were always 30 years ahead of your time dear,” It really changed when we curated a night at the Royal Festival Hall, London. Being pre-war generation she admired the Royal Family. So the Queens own theatre was a big deal. Then the Tate

Britain added my archives (what was left) to the National Collection and to her this was real vindication. She was always careful never to ask about the CONTENT though. My mother adored Lady Jaye and this mellowed her to me and our works together. She took tits and make-up in her stride, Not even blinking.

Q4. Has the concept of ‘Pandrogyny’ been welcomed by transgender community?

PANDROGENY is not about switching gender. It is about the deep ramifications of identity, social, economic, violent, political, religious conditioning however and about peer group and familial pressure too. Inevitably gender inequities are entwined irrevocably in all this. One way we try and explain the different emphasis Pandrogeny is more concerned with. Some people feel they are a woman trapped in a mans body. Some people fell they are a man trapped in a womans body. A Pandrogyne just feels trapped in a body.

We have little control, as yet, over length of life. If we could have our dream it would be to have a vagina, asshole, penis and breasts. We want it all! We also find binary systems anathema to radicalized evolutionary forces. The increase in visibility of thetransgender and transsexual, even intersexed community are all wonderful progress to us. And as we are almost always assumed to be a woman when out and about, we find it simpler to reinforce transexuality that way. By leading life 24x7 as a female appearing Pandrogyne we HAVE had bigots and thugs attack us. We suffer curb crawlers too with hetero rape in mind. Don’t imagine it is easier to be pandrogenous. And we support all our GBLT communities 100%. Having said all that, it has so far ONLY been a small minority of transgendered people who have expressed disdain, even anger at us. The picture that some trans people see during transition is a holy grail perhaps of finally being a woman and being WHO THEY REALLY are. And we can see that there is a certain acceptance in terms of a stereotype of “woman” being imagined. It is so psychologically complicated. Just remember if you feel we blur the issues, we would be burned on the stake next to you if the fundamentalists got their way. And as an aside, personally, we identity as a female. But we are not bothering to change our voice or walk etc. We want to be an accumulation. A spanner in the identity machine. Nearer the beginning with Jaye being as much alike and feminized was enough. NOW we see there’s a huge amount of work to do to end injustices, CHANGE human behavior for good and succeed in liberating our selves our bodies beyond gender and sexual stereotypes to a whole new evolutionary paradigm. Transsexuals, for reasons of protection and support, tend to form groups and take care of each other to varying degrees. Pandrogynes are ALL inclusive, the deepest nature and behaviors is our province. Can we CHANGE humans from self destruction, hypocrisy, fear and suppression from those in power?

We believe we can and Pandrogeny is one tool.

Q5. It struck me that, more than 30 years after a Tory member of Parliament seethed to the Daily Mail, “These people are the wreckers of civilization”, you still have the power to shock and confront people in a way that many of your contemporaries have lost. Do you think there are any artists/performers today who could carry the mantle of “Wreckers Of Civilization”?

We have felt slight twitchings of something happening. Go to our website www.truetopi.ning.com where we are trying to create a network with the primary reason for this ning is to brainstorm on the realities of setting up autonomous, creation driven (ie. Art etc) coum-unities. Who buys the land? Who owns it? How do you survive? Who cooks, cleans, gardens? Having lived in communes and collectives of various types most of my life we HAVE seen the best and worst of such experimental coum-unities. Our legacy, could we have one, would be to begin a long lasting web of small self motivating coum,-unities and retreats. Avoiding the myriad pitfalls that destroy nearly all communes in a year. As to specific artists who might be termed “Wreckers”….not so far. But that doesn’t mean they are not out there. However, our belief is the Individual, look at me!, ego sodden, uniquely inspired devoid of influences artists are less and less relevant. And as global structures collapse. Zones set up for shared pressures will also be collections of artists, musicians, writers, thinkers, mechanics, and lovers. VIVA LA EVOLUTION!!

Psychic TV / PTV3 announces new 12" and US mini tour dates:

2011-09-25T00:51:00.000-07:00

Psychic TV / PTV3 announces new 12" and US mini tour dates:

"Mother Sky/Alien Sky" is our new long play 12" vinyl from Vanity Case Records in Leeds, UK will be released on October 23rd, 2011 on heavenly blue & white vinyl. Limited edition of 500 copies. (A portion will be sold on the webshoppe as an autographed edition with extra goodies of course). To support this release, we will be playing several dis-concerts in the USA only. Plans are being hatched to bring out a tour-only slab of vinyl featuring our 16 minute new epic entitled "Thank You". These would be sold at our US appearances, Adelaide Festival in Australia (March 2012) and a few for the webshoppe for our European friends!

Friday Dec. 09, 2011 at Elysium in Austin TX
Tickets: http://www.secret-oktober.com/?page_id=1298
$13 advance / $18 door
Psychic TV / PTV3
CHANT
Coma in Algiers
DJ SLIVER

Sunday Dec. 11, 2011 at Reggies Rock Club in Chicago, IL.
Tickets: http://www.ticketfly.com/purchase/event/61041?utm_medium=bks
$15 advance / $20 door / $50 VIP
Psychic TV / PTV3
Claw Toe
(more tba)
DJ SLIVER

ONE TRUE TOPI TRIBE Annual Celebration and Invokation
Thursday Dec. 15, 2011 at Europa in Greenpoint, Brooklyn, NY.
Tickets: http://www.ticketweb.com/snl/Search.action?query=Psychic+TV
$23 advance / $25 door
Psychic TV / PTV3
Bryin Dall (live soundtrack to The Life & Death of Jordan)
Cult of Youth

Comics writer Grant Morrison Discusses Genesis in the Letter Column of the Dc / vertigo comic "The Invisibles" issue 19 (1996)

2011-09-24T23:14:00.000-07:00

In answering a writer who asked if Morrison had read int othe ideas of The Temple of Psychick Youth, Morrison replies...

"...I haven't read a lot of temple stuff. I'm aware of Genesis p-orridge and his ideas mainly through interviews but i have no idea how the temple evolved without him.The sigil method, as i'm famliar with it, was developed by occutist and artist Austin Osman Spare (1888/89-1956) and passed through the Chaos Current by Peter Carroll and Ray Sherwin in the early ' 80's.

Morrison would term his Invisibles work " A hypersigil"

-From" his intro "POP MAGIC!". In Richard, Metzger. Book of Lies: The Disinformation Guide to Magick and the Occult. The Disinformation Company. 2003 (also included chapters by Genesis which would later appear in the Psychic Bible.)

"The 'hypersigil' or 'supersigil' develops the sigil concept beyond the static image and incorporates elements such as characterization, drama, and plot. The hypersigil is a sigil extended through the fourth dimension. My own comic book series The Invisibles was a six-year long sigil in the form of an occult adventure story which consumed and recreated my life during the period of its composition and execution. The hypersigil is an immensely powerful and sometimes dangerous method for actually altering reality in accordance with intent. Results can be remarkable and shocking."

COUM TRANSMISSIONS 'Sugarmorphoses' LP Cold Spring Records

2011-09-21T22:29:00.000-07:00

From Cold Spring records...
In stock: COUM TRANSMISSIONS 'Sugarmorphoses' LP. Genesis P-Orridge (Throbbing Gristle, Psychic TV). Recorded 1974, Ho Ho Funhouse. Ltd 1000

http://www.coldspring.co.uk/

Adopt films nabs documentary "The Ballad of Genesis and Lady Jaye" as first acquisition

2011-09-20T01:20:00.000-07:00

Adopt films nabs documentary as first acquisition

By Tim Molloy
Wed Sep 7, 2011 12:49pm EDT

NEW YORK (TheWrap.com) - Adopt Films, a new independent distribution company formed by October Films co-founder Jeff Lipsky and former exhibitor Tim Grady, have announced their first acquisition, the award-winning documentary "The Ballad of Genesis and Lady Jaye."

The company plans to release French-American filmmaker Marie Losier's film in the U.S. in the first quarter of 2012.

Adopt Films, which will be based in New York, plans to acquire independent English-language films, both narrative and documentary, as well as foreign language films.

"I truly feel this might be the single best time to launch a new independent distribution company since Bingham Ray and I plotted out October in my then-living room in Sherman Oaks in 1990," said Lipsky. "Our focus at Adopt will be on films that have theatrical potential, first and foremost. I'm not a glass half-full kind of guy about the ongoing potential theatrical audience for independent films, I'm a glass three-quarters-full kind of guy."

He said he hoped Adopt's first releases would be as eclectic and high profile as such early October films as "Adam's Rib," "The Tune," and "Tous les matins du monde."

"Adopt will be in a better position to fully exploit our films in all media because we'll have fully exploited each film's table-setting theatrical rights first," Grady added.

Added Losier: "I am so happy to have met a ball of energy, ready to put all their talent, passion and dreams into my first feature film! This is going to be a wonderful adventure and a precious honor to be the first Adopt Films release."

Lipsky and Grady negotiated the deal with Losier and her producing and business partners Steve Holmgren and Martin Marquet. The film tells the story of a love affair between British musician and artist Genesis Breyer P-Orridge, founder of industrial bands COUM Transmissions, Throbbing Gristle and Psychic TV, and New York performance artist Lady Jaye (Jacqueline Breyer).

The film premiered at this year's Berlin Film Festival, where it won the prestigious Teddy and Caligari Awards. It was an official selection at this year's South by Southwest (SXSW), Tribeca, Hot Docs (Toronto), and San Francisco International Film Festivals.

Lipsky began his distribution career with "A Woman Under the Influence," working with his mentor, John Cassavetes. He was an executive at New Yorker Films, Samuel Goldwyn Films, and Skouras Pictures.

He is also a filmmaker, whose films include "Twelve Thirty," "Childhood's End," and the 2006 Sundance Film Festival Dramatic Competition selection "Flannel Pajamas."

THEE RE-EMERGENCE of A TRUE TOPI TRIBE (A message from Genesis)

2011-09-16T18:07:00.000-07:00

The following is a message from Genesis for all OTTT members

---------------------------------------------------------------------------------------------------
Dearest Friends,

We have been through so much, all ov us. Each in their unique ways. NOW! Everybody with sense can see that there is a crumbling ov thee old economic ways. For coum T.I.M.E. we have been talking in our Lectures about thee untenable structure ov current systems. We live on a beauty-full planet, full ov miraculous natural and technological things, butter by thee very fact that this world is finite in size and raw content there are undeniable limits to everything. Thee ongoing model for economies is based upon ever increasing "GROWTH" and "PRODUCTIVITY". As thee human species has multiplied ever more quickly thee once apparently limitless resources exploited by thee Colonial, then Industrial, and finally Digital eras has revealed an OBVIOUS fact. In a finte world there are inevitably finite resources. And as we all know those resources, not just oil, but potable water,food, wood, in fact EVERY raw material used in manufacturing, are now revealed to be fast declining and running out. Infinite, permanent growth, and infinite permanently expanding productivity go literally against the laws of Nature. There will be surges ov strategies to give an illusion ov solutions by yet again raping Africa and other "underveloped Third World nations". These "New Markets" will sustain coum aspects ov thee failing materialist economies for a decade or so. Butter, in thee end I.T. will have to be faced that consumption of a finite "cake" lasts only as long as thee cake. There is no magick wand to wave to do a Christ and make thee fishes and loaves miraculously never run out. Thee first nation to realise thee oncouming disasters was China. They have led thee way with TOTALITARIAN CAPITALISM. Thee imposition ov virtual slave labour by intimidation and violence. We all conform to our particular countries systems in part due to awareness that punishment and imprisonment are a constant coumpanion via police, secret surveillance, and if necessary marshall law. All societies use intimidation to impose structure, no matter how discreet or benevolent I.T. may seem.

Thee current panics worldwide are symptomatic ov a slow realisation ov thee inevitability ov collapse ov ALL economic systems worldwide. Globalisation has accelerated this process. One wonders how deliberate or stupid those changes were? Butter that's too much to cover here.

We set up OTTT with Jacurutu and others to initiate a dialogue and discussion by relatively like-minded, commonly Creative beings. Brainstorming these issues we wondered, who will be best prepared to survive and adapt when a "Greece" happens in thee U.S.A.? I.T. seemed probable this would be Survivalist Groups ov all stripes; outlaw Biker gangs; in thee cities crimanal gangs and illicit drug networks; armed forces bases and ov course thee very politicians whose ostrich denials and greed for power for I.T.s own sake has led to this ongoing mess.

I.T. seemed therefore, important to seriously begin copnsidering, planning and thrashing out a way for our own ad hoc, anarchic chosen famille to be prepared for hard T.I.M.E.s ahead. To study thee existing templates ov thee various groups most likely to succeed in surviving and protecting their people. What are thee qualities and structures that give them an edge? Is I.T. even possible to develop a truly working autonomous yet POSITIVE and creative group ov Individuals coum-unity that has staying power? We lived in communes and collectives almost continuously from 1969 until 1992 when we were forced into voluntary exile from thee U.K. Even then, in California we had an open house policy for friends in need ov a place to live and work. Coum ov those people respected us for our generosity, coum later turned out to see our kindness as a weakness.

And THIS is why we feel there is a need to figure out, in advance, how viable this dream and practical concept REALLY IS! Having spent y-eras in communes we can speak from experience most end within 2 y-eras. Often due to conflict over kitchens, cleaning,food and bathrooms. So many people declare their coummitment and talk thee talk butter once ensconced in a coum-unity expect everyone else to resolve issues, supply food, clean up and so on. Their covert attitude is, "What is yours is mine, what is mine is mine". I.T. only takes one or two assholes to destroy everything by disillusioning thee dedicated.

Another problem is "authority". Is there a council, chosen by all who try and oversee thee safety and developmeant ov thee coum-unity? Does one person inevitably becoum "Leader" and eventually becoum thee scapegoat for any mishaps or failures. Often these Alpha types generate secret jealousy and bitterness when forced to make unpoular decisions and therein is another disintegration. Coum-unities are thee hardest social model to perpetuate successfully. Money is ALL ways a terrible problem. Does everyone put all they own into thee pot and if so, who oversees thee use of that? If coumone leaves can they demand their contribution back? We want this NING to coumtinue in thee super positive way I.T. has created its SELF without any initial guidance at all. We are really impressed with how many groups and contact points, ideas and trust has been established by you all so fast.

We recently read a book published by Processmediainc.com. I.T. is a coumpilation ov articles written in thee 1960's and earlier 1970's when thousands ov groups ov all stripes tried to form coumunes across thee U.S.A. Ov these, today, probably less than 23 survive. All those who survived have a philosophy, or spiritual aspect, a unifying belief system that means enough to them to accept problems, to resolve issues for thee best for all and all have to subjugate ego to varying degrees for the collective health. We are hoping that thee ONE TRUE TOPI TRIBE can re-emerge from this ailing culture and gradually, after a LOT ov soul searching and extreme honesty, establish one or more coum-unities that will survive. I.T. is NOT easy, rarely fun at thee start, hard work, I.T. requires SINCERE surrender to thee group. A house full ov egos and/or strong opinions is not easy to develop in positive long term ways. WE are totally serious about this aspect ov OTTT. I.T. has all ways been a lifelong hope.

PLEASE, we cannot recommend too strongly that ANY Being here who even just imagines they'd like top make this happen, READ THIS BOOK as soon as possible.

"THE MODERN UTOPIAN" ( Alternative Communities of the 60's and 70's) by RICHARD FAIRFIELD.

We consider I.T. essential reading. You will soon realise how HARD creating a coum-unity is, AND how even more difficult I.T. is to sustain one for any length ov T.I.M.E.

Please forward this posting to everyone on thee NING if you can.

cari saluti,

Genesis BREYER P-ORRIDGE NYC September 2011

Knock Knock. Who’s there? 9/11...with Genesis Breyer P-Orridge

2011-09-03T10:54:00.000-07:00

Ever look in the mirror and realize that ten years have gone by in a flash?

Julie Atlas Muz and Thirsty Girl Productions presentKnock Knock. Who’s there?

9/11. 9/11 Who?

You said you’d never forget!

The 10th Anniversary Memorial

Political 3-Act Cabaret!Sunday 9/11/11

With all-star cast including: Breyer P'Orridge, Sweetie, Amanda Lepore, Stanley Love, Bunny Love, Bambi the Mermaid, Jelly Roll, Dirty Martini, Julie Atlas Muz, National Theater of the United States of America, Reverend Billy and the Church of Earthaluja, 5 Crew Dynasty, Alien Comic, Sherry Vine, Rose Wood, Tigger!, Jennifer Miller, The Pixie Harlots, Murray Hill, World Famous *BOB*, Justin V. Bond, Sxip Shirey, Greg Walloch, Jessica Halem, Ken Ball, Pedro El Gigante Puerto Riqueno, plus DJ Camillicious & James Habacker! and set by Steven Hammel

The Highline Ballroom, NYC Doors 7pm
Show times: 8:00, 9:11 & 11pm

The 10th anniversary of 9/11 is the quintessential occasion to champion downtown New York artists in a political arena entitled Knock Knock, Who’s There? 9/11! 9/11 Who? You Said You’d Never Forget! Directly from the heart of Julie Atlas Muz this three act political cabaret is for the luminaries of NYC to come together and exercise our patriotic right of freedom of speech.

All proceeds goes to the Uniformed Firefighters Association of New York, Widow’s and Children’s Fund.

Ten years ago we were all devastated by the tragedies that befell our city that caused such heartache and forever changed the nature of our personal relationship with our government and their sale of terror. Now it is our duty as artists to reflect the times. Julie Atlas Muz and Jen Gapay of Thirsty Girl Productions are creating an evening for New York City’s top performers to come together, remember, comfort, challenge and with our natural bad taste laugh together through nudity, poetry, dance, song, comedic commentary, drag illusion, sincerity, absurdity and all the talent that makes New York, New York.

Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011
http://www.highlineballroom.com/

VIP tickets $40- a great seat

General Seating $20

All proceeds goes to the Uniformed Firefighters Association of New York, Widow’s and Children’s Fund.

The evening is divided in to three, forty-five minute acts with each act becoming increasingly politically incorrect.

ACT 1: A LOVE LETTER TO NYC 8pmhosted bu Murray Hill
Act 2: AMERICAN IN TRANSITION 9:11pmHosted by Justin V. Bond
ACT 3: “OH NO YOU DI-INT!” 11pmHosted by NYC's Big Titted Honky Soul Mama SWEETIE

Cutting, tender, emotional, smart and supremely edgy, this three hour extravaganza will inspire the audience to recharge and reconnect to why they decided to take a bite out of the Big Apple.

Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011
www.highlineballroom.comVIP tickets $40- a great seat
General Seating $20

Crazy Lady: Curated by Jane Harris

2011-09-02T16:19:00.000-07:00

SCHROEDER ROMERO & SHREDDER

531 West 26th Street New York NY 10001 212 630 0722 / 212 630 0726 fax srandsgallery.com

PRESS RELEASE FOR IMMEDIATE RELEASE

Crazy Lady: Curated by Jane Harris
Robert Beck, Lizzi Bougatsos, Kathe Burkhart, Daniella Dooling, Lisa Levy,
Genesis Breyer P-Orridge, Stephanie Snider.
September 8 – October 8, 2011
Opening Reception: Thursday, September 8, 6-8pm

Psychic TV GENESIS BREYER P ORRIDGE Live 08 17 2011

2011-08-22T00:59:00.000-07:00

Psychic TV - GENESIS BREYER P ORRIDGE performs live August 17, 2011 at Wierd. Home Sweet Home, New York City.
Footage by Echo Danon Photography

Genesis Breyer P-Orridge
with
Martial Canterel
Kevin Hufnagel

Psychic TV performs a selection of classic tracks from the albums Force the Hand of Chance(1982), Dreams Less Sweet (1983), A Pagan Day (1984), and Allegory & Self (1988).

« HBO Played a Minor Threat Song on Entourage

Heineken hosting Matt & Kim & Girl Talk @ Terminal 5 »

Psychic TV performed "Live In Thee Wierd" at Home Sweet Home on8/17, a rare show that saw Genesis team with Kevin Hufnagel and Martial Canterel to perform "classic trax from the albums Force the Hand of Chance (1982), Dreams Less Sweet (1983), A Pagan Day (1984), and Allegory & Self (1988)" at Midnight.
Psychic TV (the full band) will play their annual end of year show at Europa, on December 15th.

ALSO JUST ANNOUNCED..

Friday, December 9 PSYCHIC TV return to Elysium in Austin TX. ONLY TEXAS SHOW!

Plus special guest CHANT (more TBA)
and DJ SLIVER

...Psychic TV:
http://www.last.fm/music/Psychic+TV

CHANT: http://www.chantproject.com/

http://www.facebook.com/Chantproject

tickets on Sale Sept 1, 2011
avail at www.secret-oktober.com

presented by (R)EVO industries/(R)ETRO faction