Annee pea tOTithin,

(MEMIALTENG, \WARMIGE LLY UT des

DES

yi SEED)

Y

SA ZiNte of ALL possibelsti

ii a g) (Qs / ) " , (O — . GEE WHAAN pol g (F | <\ Ne : “nr a a UA

S)

2

tig 4) eT

AMS ee Panis

“Art is an illegal drug.”

—Frank Moore

Other books by Frank Moore: Art of a Shaman Cherotic Magic Chapped Lap Deep Conversations In The Shamans Den, Volume I Frankly Speaking: A Collection of Essays, Writings and Rants

How to Handle an Anthropologist: Russell Shuttleworth, PhD interviews shaman/performance artist Frank Moore

Skin Passion

The Cherotic (r)Evolutionary Complete 1991-1999 © Inter-Relations 2020 All rights reserved.

ISBN 978-1-7346850-2-2 Cover and book design by Michael LaBash. Inter-Relations

PO Box 11445 Berkeley, CA 94712

ge ess Doi ND Td

Frank Moore, Linda Mac and Kittee ordering pages for issue #7 in their Berkeley, California studio in 1997.

The Cherotic (r)Evolutionary (1991-1999)

by Stephen Perkins, April 11, 2019

I have always been lucky. I have a body that is ideal for a performance artist. And I have always wanted to be a performer. When I was a kid, my younger brother used to get mad when people looked at me when he pushed me to the movies or to the teen club. He cried. But I liked people looking at me. That is what I mean I am lucky. Iam lucky I am an exhibi- tionist in this body. One time, I was working out on the jungle gym outside of our house...a kid came by and asked if I was a monster. I just roared like a monster. It was fun...I start- ed to see my body as a tool. I could get away with things that others couldnt.’

With incredible humor and an infectious smile Frank Moore (1946-2013) navigated the world in a body of which he had only minimal control. Born with cerebral palsy and unable to walk or talk he used a wheelchair his entire life. When he was sev- enteen, he created his own personal communication system by strapping a pointer to his head which allowed him to point to letters, words and phrases on a board, and thus he was finally able to break out of his isolation and communicate with the world. But Moore did not let his disabled body hamper

his path through life, and his obituaries detail the myriad creative activities that he was engaged with, including a long career as a performance artist, a shaman, poet, essayist, playwright, painter, musi- cian, Internet TV personality, a 2008 presidential candidate and co-editor of the zine The Cherotic (r)Evolutionary amongst a host of other activi-

ties.* Along the way Moore also completed a BA in English (1972, University of New Mexico), an MA in Psychology (1976, University Without Walls, Berkeley) and an MFA in Performance/Video (1983, San Francisco Art Institute). Mention should also be given here to Moore's longtime partner Linda Mac and fellow collaborator Michael LaBash, both of whom were key partners, and collaborators in helping Moore realize his ideas and projects during his years living in Berkeley, California.

This text concentrates on only one thin slice of Moores extensive activities and that is his role as co-editor with Linda Mac of The Cherotic (r)Evo- lutionary, a zine that they published in Berkeley in nine issues (40-8) between 1991-1999.°

Introduction Looking at the inaugural issue, it is interesting to note that the first piece of news in Moore's editorial concerns the recent publication of his book Cherotic Magic (1990), which is an introduction to the sha- manistic apprenticeship that he was offering at the time. Moore admits to this “...shameless self-pro- motion...for my apprenticeship, for my 6-session course, for my performance art and videos and tapes, and who knows what else.’* Throughout the life of the periodical, Moore would use it as a distri- bution outlet for the varied products of his assorted activities.

About the magazine Moore states in the first issue:

TCR is a journal of the edge. TCR is an offen- sive movement or measure offering alterna- tives to the fragmentation, isolation, personal helplessness which is actively promoted by the combine of power systems. TCR is anarchical, based on personal responsibility to reshape reality into a more human, trusting, loving reality, full of fun and pleasure. TCR is not a reaction. It is a magical act of enjoying life. It is a journal of and for people who are doing this magical art....Now we magical misfits know we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things. This just by itself should

speed evolution up.°

Moore's desire that the magazine should provide a network of support for these ‘magical misfits’ is coupled with his larger vision of this movement, about which he states, “I think it is very important that there be a Cherotic Movement, not unlike the

so-called Sexual Revolution of the Sixties. This Cherotic Movement would be (or rather, is) a physi- cal/spiritual movement that re-defines and expands sexual, spiritual, social concepts of reality.’° This latter statement outlines the core themes that would form the basis of all of Moore's work in various media, and they would provide the links to all of his different activities throughout his career. On

the definition of a “cherotic (r)evolutionary” Moore wrote, ©...Chero is the physical life energy. I creat- ed the word “chero” by combining “chi” and “eros”. And revolution is the mutation stage/phase in the process of evolution...so an erotic mutant for life!”’

The most direct way through which Moore of- fered interested people an experience of the cherotic was through his performances, in which the audi- ence was invited to actively engage in what he called eroplay. Eroplay is another word that Moore created to describe the experience of “...intense physical playing and touching of oneself and others. Eroplay is also the force of energy which is released as the result of such play’. Moore emphasizes that “eroplay is not foreplay, even though foreplay is eroplay...’ and further that “Foreplay leads to orgasm...eroplay leads to being turned on in many different ways in all parts of the body,’ and he concludes, “Eroplay is the blissed-out, warm, relaxed, turned-on, totally satisfying feeling of a good head rub...eroplay is that intense feeling throughout the entire body.’ The Cherotic (r)Evolutionary would be one of the mediums through which Moore communicated his expansive philosophy of the cherotic, and he chal- lenged his readers to become ‘revolutionaries’ in this radical movement to reshape, and expand our physical, spiritual and sexual lives.

In Moore’ editorial for the second issue he ex- pands upon his editorial position and in his desire to keep The Cherotic (r)Evolutionary an open and freewheeling place he states what the magazine is not going to do:

...we will never do theme issues such as poetry, gay, sex, women, etc. This is because the theme format is a great way for editors and galleries (etc.) to keep control of content, style, point of view, and the accessibility of the communication channels they manage. The theme concept also fragments both people and dialogue into labeled bits that can be shuffled

in and out of fashion time. TCR will follow the magic wherever it non-linearly goes. We will print what we like, what interests us...’

Moore was always alert to the ways systems op- press and suppress, even within the context of mag- azine publishing, and all nine issues of The Cherotic (r)Evolutionary display a comfortably unruly aes- thetic that embraces a wide variety of artists’ works, poetry, writings by Moore and others, and reviews of his performances and publications."®

What’s in a Name?

Before I explore the contents of the periodical there are two subjects that I want to address, and the first is the name of the periodical. A look at all nine issues reveals that the periodical’s name for the

first five issues is The Cherotic Revolutionary and from the sixth issue the title has been changed to The Cherotic (r)Evolutionary. In editorials for issues #3 (1993) and #4 (1994), Moore spells the name of the periodical “The Cherotic rEvolutionary” with a lower case “r’ and the title on the covers reflect this emphasis on the “R” by printing them with a screen that distinguishes the letter “R” from the rest of the word. By issue #5 (1995) the title of the periodical is The Cherotic (r)Evolutionary. In his editorial in issue #3 (1993) Moore explores the background around the eventual name change:

There are changes around here. Well, what do you expect from a zine with “revolution” in its last name? And that may be one of the chang- es...our name appears to be in the process of changing itself from The Cherotic Revolution- ary to the Cherotic Evolutionary. A revolution is a mutation from the normal as-is reality, an experiment and adventure in newness. The purpose of a revolution, and any mutation, is to break new ground for evolution...to prod evolution along."!

The second subject, and question that I want to explore is, what to call this periodical? In the first two issues Moore describes it as both a ‘magazine and a ‘journal. In the third issue he refers to the pe- riodical as a ‘zine’ and by the next issue zine is used not only in the editorial but in the masthead for all futures as well. It's perhaps unsurprising that this

new descriptor also parallels the period when the title of the periodical was in flux. I would agree with the use of the word ‘zine’ to describe this periodical, as its anarchic, and low-tech production, certainly displays all the features of a periodical published

by enthusiasts and non-professionals. However, at one level Moore's original use of the term ‘journal’ is also appropriate as well. Journals have historical- ly been the site where the activities, and research

of specialized groups was communicated to their professional community. Moore, in his editorial for the first issue, describes the periodical as being just such a place, albeit comprised of an ‘unprofessional’ community, but with the same theme of sharing their research within this group. Moore writes that the periodical will provide a site for this community to address:

... magical issues that I for one have been hungry to talk about for a long time in the depths that it is possible with people who have committed their lives to going across the taboo border to effect evolutionary change. In future issues of TCR, I hope we will move far beyond the book, Cherotic Magic, and give one another aid and comfort on the edge by linking together, by announcing new findings in our hidden experiments [my emphasis] on nonlinear change.””

Inside the (r) Evolution

All nine issues of The Cherotic (r)Evolutionary pres- ent a smorgasbord of works by a variety of writ-

ers and visual artists, and the following overview includes the names of the more frequent contrib- utors in different media. The periodical publishes

a wide range of writings including poetry (Jesse Beagle, Robert Howington), reviews of the period- ical, Moore's performances and other events (Kyle Griffith, Barbara Smith), texts related to shamanism (Kyle Griffith, Brenda Tatelbaum), personal stories about sex (Carol A. Queen, Veronica Vera), per- formance art (Annie Sprinkle, Karen Finley, Linda Montano), sex and spirituality (Chief Distant Eagle), and disability issues (Steve A. Brown). On the visual front the periodical is copiously illustrated (Michael LaBash, John Seabury, Brian Viveros), and through- out there are black and white photographs, and featured portfolios (Tony Ryan).

< : i

cea pt ah e

Kyle and Luna Griffith, S/R Press.

On the technical side, The Cherotic (r)Evolution- ary was a photocopied periodical and beginning with the third issue was published by Frank Moores and Linda Macs Inter-Relations, their publishing arm that took over from the original publishers, S/R Press. Coinciding with this issue was their acquisi- tion of a Mac computer, and with Michael LaBash as art editor, the quality of the overall design im- proves substantially, and would continue through- out the life of the periodical. However, even in the final issue (#8, 1999) where the design is at its tightest, there is still an element of the early anar- chic quality that grounds the periodical within the larger history of zines. The periodical was an annual publication with the exception of #1 and #2, both published in 1992.

At the back of each issue is information about acquiring previous issues of the magazine as well as details about other products available from Frank Moore’ assorted projects. Later issues also included a page that featured readers’ and advertisers’ works and products, as well as their contact information. The periodical ceased publication when Moore and Mac started their internet radio station LUVeR (Love Underground Visionary (r)Evolution), and,

“We were just too busy to do both...."°

Following from this brief survey of the peri-

odical's contents, I want to examine a number of

specific aspects of the periodical that play import- ant roles in the periodical’s nine-year lifetime. One theme that resonates powerfully throughout the periodical is censorship, in particular Frank Moore's experience of it during the ‘culture wars’ that were raging during the periodicals early years. I will also examine two other important elements of the pe- riodical, specifically Michael LaBashs illustrations, and Moores written contributions.

The theme of censorship appears in the first few pages of issue #0 (1991) by way of an article by Jack Helbig that first appeared in The Chicago News e Arts Weekly (Oct. 11 - 17, 1990) titled “Outlaw Artists, Porn? Play? Or Immoral Plot’. In his article Helbig summarizes the recent conservative attacks on artists doing edgy performance works and the fact that they had all received grants with taxpay- ers monies. Helbig concentrates on Annie Sprinkle, Karen Finley and Frank Moore, and he outlines the cases that Senator Jesse Helms and Represen- tative Rohrbacher launched against what the late conservative art critic, Hilton Kramer, described as these “New Barbarians’. The censorship wars of this period raged across the artworld and nobody in this community was unaffected by this controversy. Art- ists doing provocative works were an easy target for conservatives in whipping up hysteria about the use of public funds for this type of ‘pornography. Sad- ly, they were ultimately successful in changing the granting process in order give local communities a greater say, and control, over who did and who did not receive grants. Attempts to cut the amount of funds provided annually to the NEA (National En- dowment for the Arts) were ultimately not success- ful, but within this hostile climate there would be no move to increase the funding either.

Further into the above issue #0 (1991) Moore publishes an open letter to Jesse Helms and de- mands to have a dialogue with him writing, “Why are you closing channels of expression and funding to me without due process of law?” claiming that this campaign is a way of smearing the artists’ rep- utations and thus making them “..untouchable, un- fundable, unbookable’.'* Moore concludes his text with one final address to Helms stating, “If you have anything to say to me or to ask me, come to talk to me man to man. Otherwise, get your Big Brother foot off my back’. One result of this controversy is that in future issues Moore would feature the works

and writings of both Annie Sprinkle and Karen Finley, and in issue #3 (1993) six pages and the cover are devoted to the work of Sprinkle, including also Veronica Veras important Post Porn Modernist Manifesto (1989).'°

Michael LaBash’s Artworks

One vital and eye-catching feature of The Cherotic (r)Evolutionary are the illustrations that are featured in all the issues of the periodical by Michael LaBash. The artist was one of the intimates within the family group that formed around Frank Moore, and Moore always spoke very fondly of this indispensable member of the cherotic team. LaBash’s drawings

are powerful, humorous and slightly creepy works in which naked people couple and engage in all sorts of surreal ways. Hands and body parts couple with all sorts of real and imagined bodies, and their assorted orifices.

The first two issues of The Cherotic (r)Evolu- tionary feature LaBash’s works on the front covers, with all subsequent issues featuring his works on the back covers, and they provide powerful visual equivalents to Moore's eroplay teachings.'” LaBash’s works are also found inside the periodical where they are published in a variety of page sizes, as well as being used as illustrations for different sub- missions. As one of the consistent features of the periodical they have a very powerful visual presence within the periodical, and they seem to merge with the periodical’s larger project, becoming in the pro- cess visual talismans for the cherotic (r)evolution.

Frank Moore’s Writings

It goes without saying that Moore's writings would form a key part of the periodical. Each issue in- cludes an editorial by Moore about the contents of the current issue as well as other pertinent themes and subjects. ‘There are three reviews by Moore of different printed matter publications, as well as his own writings which are represented by fourteen texts spread out over the life of the periodical."

A good proportion of Moore's writings explain and expand upon his key concepts of the cherotic (r)evolution and eroplay. In “Nonlinear Bits” (#1, 1992) he writes that, “The cherotic revolution is an evolutionary movement, an anarchistic way of change, in which the single person is the center of the creative force’. In the second issue he exam-

ines a theme central to his practice under the title “Cultural Subversion” (#2, 1992) and he recounts

C4

his rejection of politics as “...a means of effective subversive change...’ and how this led him to begin “..looking towards art and magic for an effective channel’. Coupled with this vantage point he de- scribes how, as an artist with very limited funds, he became a “no/low tech artist,’ and the important role his access to this personal technology played in his work, stating, “This no/low tech form is vital to work which is culturally subversive by expand- ing the concept of sexuality and reality beyond the frame of taboos’.

In another important text in issue #3 (1993) titled “Frank Moore's Philosophy of Art’, he gives a very succinct account of his philosophy, writing, “I'm not interested in doing art that comforts, decorates, en- tertains...'’m trying to go back to the time when art was the magical, irrational, non-logical channel of active impact.... Further into this text Moore takes a personal turn when he writes, “In this kind of art, my body gives me a definite advantage. It links me to the wounded healer, the deformed shaman. By combining this with performance tactics, I combine realities to create awake dreams’.

Other articles detail different aspects of his philosophy including a text on the importance of the open mike as a democratic channel (“A Rant On An Open Mike,’ #6, 1996), and with “Their Cuddling Cocoon” (#6, 1996) he describes the bodily sensations that are experienced during eroplay. Other articles deal with issues related to his practice, like ordinances regarding nudity in the town of Berkeley, the larger field of performance art, musings on the nature of fame, and an interview with his counter-cultural hero and journalist Paul Krassner, former editor of the Realist (#5, 1995).

A word that regularly appears in Moore's writ- ings about his practice is the word “channel, and he uses it to describe his view that art and magic are important channels in assisting the individual in their personal evolution. I would like to propose expanding the use of this term to include Frank Moores own physical body, as the indispensable channel through which he developed his unique philosophy of art, and accompanying performance practice. Furthermore, The Cherotic (r)Evolutionary can be understood as playing a very similar role in Moore's work, which is reflected in his editorial in

#5 (1995) where he addresses his take on the func- tionality of the periodical, “i realize that i and this zine are just middlemen, just a pipe. when art goes through the pipe, that is when the pipe is import- ant...not before or after’:

Wrapping Up After having been immersed in The Cherotic (r)Evo- lutionary over the past month, I have to conclude that the most extraordinary thing about this zine is, that it exists at all! With Moores restricted mobil- ity, it required a number of extra hands to design, publish and distribute the periodical, and this is what his dedicated family unit was able to provide him. However, the contents of the periodical were Moores decision, and they reflect a savvy intelli- gence in propagating his philosophy, and teachings on the art and magic of living and loving. Despite his uncooperative body, Moore's sharp mind was laser-focused on achieving his cherotic (r)evolution, and the zine brims with this burning desire. For the nine years of its life The Cherotic (r)Evolutionary would be a virtual home for Moore's “magical misfits’, and it functioned exactly as he had hoped for in his first editorial in #0 (1991) as a place where this community could come together to “..give one another aid and comfort...’ and also to “...know that we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things?”° A powerful theme that runs through all of Moore’ writings and activities is that of ‘commu- nication, and the zine would be one of the many channels, or media, through which he was able to satisfy his desire to be seen and heard. From the seventeen-year old who devised his own low-tech pointer communication device and breaks out of his own personal isolation, there was no holding him back. A key philosophical, and practical strategy was his appropriation of the new personal technol- ogies, all of which would become key elements in his role as a ‘no/low tech artist’ who was committed to using this ‘anarchistic technology for his own cultural subversion.”' A prime example of this ap- proach was Moore’ use of the photocopy machine to publish the entire run of The Cherotic (r)Evolu- tionary. As I have noted earlier, Moore understood The Cherotic (r)Evolutionary as being a part of the

advance guard of the Cherotic Movement, a move- ment which he likened to the Sexual Revolution of the 1960s. Within this larger context The Cherotic (r)Evolutionary can be seen as continuing the long- standing tradition of artists’ periodicals that accom- panied all the avant-garde movements of the 20th century, serving both as indispensable players in communicating avant-garde intentions, and in this case preparing the way for the cherotic (r)evolution. The Cherotic (r)Evolutionary at its core, is about healing the body politic, about mending the "..fragmentation, isolation, personal helplessness... of contemporary life and creating “...a more human, trusting, loving reality, full of fun and pleasure.” It is not without irony that the messenger, and teacher of this healing message, was someone whose own body was so severely disabled, and yet it was this same body that was the channel through which this “wounded healer...deformed shaman,” would devel- op his profound philosophy in which The Cherotic (r)Evolutionary would function as one of the spear tips of the cherotic (r)evolution.

Footnotes

1. Moore, Frank, “Caves,” Berkeley, 1987, no pagination.

2. For links to Moore's activities: http://www.eroplay.com/ for his videos: https://vimeo.com/channels/frankmoore/ page:1 The Cherotic (revolutionary archive: http://www.eroplay. com/contents.html

3. Some basic information about the periodical. All nine issues were photocopied, with the first four issues printed in standard letter size and side stitched. The remaining five issues were photocopied in the tabloid size and then folded, and saddle stitched. The page numbers for each issue vary from 24 - 38, with an average of 31. The covers of the first four issues were photocopied onto different colored papers with the insides the traditional white. The covers for the last five issues were printed on tabloid size white card stock, and coupled with the saddle stitching, enhance the overall look and feel of the periodical.

The first three issues (#0, 1991 - #2, 1992) were published by S/R Press (Luna and Kyle Griffith) and from #3 (1993) onwards it was published by Inter-Relations, which con- sisted of Frank Moore and Linda Mac as the publishers/ editors. Print runs for #3 (1993) was 300 copies, and by #6 (1996) it was 500 per issue, and continued until the last issue #8 (1999). Extra copies of individual issues were printed on demand. There were a few paid subscribers,

10.

ie

1

1D.

and coupled with the contributors the readers were from all over the world.

Source for the above information was an email from Linda Mac (4.1.2019).

Below is a listing of the issues and their publication dates. Vol. 1, #0, April 1991 Vol. 1, #1, January 1992 Vol. 1, #2, July 1992 Vol. 1, #3, April 1993 Vol. 1, #4, 1994 Vol. 1, #5, October 1995 Vol. 1, #6, July 1996 Vol. 1, #7, May 1997 Vol. 1, #8, April 1999

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 12.

Moore, Frank from his website (The Cherotic Revolu- tionary section), http://www.eroplay.com/tcr.html, accessed 3.22.19.

Moore, Frank, “Caves,” Berkeley, 1987, p. 3.

Moore, Frank, Editorial, The Cherotic Revolutionary, Vol. 1, #1, 1992, p. 3.

In the interests of authorial integrity I should state that I had an article of mine published in the final issue of The Cherotic (r)Evolutionary (Vol. 1., #8, 1999) titled “Assembling Magazines,’ (1997).

Moore, Frank, Editorial, The Cherotic Revolutionary, Vol. 1, #3, 1993, p. 3.

It's interesting to note that further into this editorial Moore credits Kyle Griffith as the person “...who pushed for the publishing of the book [ed. note Cherotic Magic, 1990]...and then strongly suggested we come out with a zine.

Moore, Frank, Editorial, The Cherotic (r)Evolutionary, Vol. 1, #0, 1991, p. 2.

In an email from Linda Mac (4.1.2019) she recounts the larger story around the periodical’s demise, writing:

TCR was going strong when we stopped publishing it and we loved doing it! What stopped it was our starting LUVeR (Love Undergound Vision Radio, later changed to Love Underground Visionary (r)Evolution). And that is a story

-_ : y f' £ by af : san 4

LaBash with layouts for issue #7 in 1997.

14.

15.

16,

in itself! We were just too busy to do both, so we stopped doing TCR.

Moore, Frank, “An Open Letter to Sen. Jesse Helms,’ The Cherotic (r)Evolutionary, Vol. 1, #0, 1991, p. 24. Other

artists attacked by Helms & Co. were: Holly Hughes, Tim 17.

Miller, John Fleck, Johanna Went and Cheri Gaulke. Ibid., p. 24.

The text of Veronica Veras Post Porn Modernist Manifesto (1989) is below:

LET IT BE KNOWN to all who read these words or witness these events that a new awareness has come over

the land. We of the POST PORN MODERNIST MOVE- 18.

MENT face the challenge of the Rubber Age by acknowl- edging this moment in our personal sexual evolutions and in the sexual evolution of the planet.

We embrace our genitals as part, not separate, from our spirits.

We utilize sexually explicit words, pictures, and perfor- mances to communicate our ideas and emotions.

We denounce sexual censorship as anti-art and inhuman.

We empower ourselves by this attitude of sex-positivism.

And with this love of our sexual selves we have fun, heal the world and endure.

One commentator on LaBash’s works is Barbara Smith, and in her review of Moore's book Cherotic Magic in issue #0 (1991) she points out the discrepancy between Moore's definition of eroplay as an activity that does not lead to orgasm, and the fact that many of the figures in LaBash's works do indeed illustrate this kind of sexual activity. I too share this reservation, but within the broader reaches of what this periodical is about can reconcile their subject matter within Moore's larger philosophy.

Below is a listing of Frank Moore's writings in the periodical:

Editorials One in each of the 9 issues

Reviews

#5, 1995: Annie Sprinkle’s Post Porn Modernist #6, 1996: Barbara Golden Multimedia Package. #7, 1997: Tony Ryan Photobook.

I;

20.

VAR

Texts

#0, 1991: An open letter to Sen. Jesse Helms

#0, 1991: Museum of Lovemaking

#1, 1992: Nonlinear Bits

#2, 1992: Cultural Subversion

#3, 1993: Frank Moores Philosophy of Art (1987)

#4, 1994: Tribal Performance (1992)

#5, 1995: Interview with Paul Krassner

#5, 1995: Magical Masks in dialogue with James Audlin (chief distant eagle)

#5, 1995: In Defense of Bad Art (1993)

#6, 1996: A Rant On An Open Mike (1995)

#6, 1996: Their Cuddling Cocoon (1995)

#7, 1997: Mainstream Avant-Garde (1996)

#8, 1999: What Price Fame? (1998) first published in Performance Journal #16, Spring 1998

#8, 1999: Out of Isolation (1986-1994) Insert in this issue as a small 8-page pamphlet.

Moore, Frank, Editorial, The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

Throughout his career Moore worked in a wide variety

of media including: radio, video, zine publishing, TV, per- formance art, writing, and he was a musician, painter and

publisher of books.

22,

2;

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.

ot See .

Jaya", »

wll LEECH WS eb a

a

yon .

~ go ww N

il]

BRAVE Lite “Sm: :

@8¥ay

®a4° . Co, PP eoccce Cocco”

© eee e248 Pobidy hy Mies eeteeege® eat Pinky

oe”

AEA”

Fi

\ - “ =

5

> a s <-

% $

s ¢ s '

‘ea,

y Py adele » Kitt = DRP[[3as

%

THE CHEROTIC REVOLUTIONARY #0 APRIL, 1991

TCR is edited by Frank Moore and Linda Mac, and published by Kyle and Luna Griffith. The art editor is Michael LaBash.

The price for this issue, and the next, TCR #1, is $3.00 per copy. We aren't taking subscriptions for more than one issue at a time, to avoid tying ourselves down to arigid publication schedule or magazine size. We want to remain free to publish small issues frequently or larger issues at longer intervals and adjust the price accordingly, but each issue will announce the price of the next so readers can order it in advance.

All material is copyrighted 1991 in the names of the _ individual authors/artists. Material by the five of us on the editorial staff may be reprinted without advance permission -- but please inquire before reprinting material by the other contributors. Of course, we would like copies of all reprints from the magazine, and we'd also like to see copies of all reviews or comments on TCR.

We heartily encourage letters of comment from readers and will answer as many as we can. Please tell us if you don't want us to print material from your letter -- otherwise we will assume it's OK.

Please address all correspondence and orders for magazines to:

Frank Moore, P.O. Box 11445, Berkeley, CA 94701-2445

This Issue ...

mm =

2. Speaking Frankly -- Frank Moore

2. The Edge -- Kyle Griffith

3. Flier: Introduction to

4. Flier: Frank Moore's Passion Play Performance, May 10, 1991

5. Forward to Forum 25 Years Celebration Compilation -- Tuppy Owens 6. Outlaw Artists -- Jack Helbig (from New City, Chicago, 10/11/90) 9. Museum of Love-Making -- Frank Moore

11. Correspondence with Brenda Tatelbaum

13. Letter from Brenda McCann 14. Flier: Ancient Ways Bookstore Appearance by Frank Moore, April 19, 1991 15. Review of Cherotic Magic -- Barbara Smith

17. Review of Cherotic Magic -- Kyle Griffith

19. Letter from Colin Wilson 20. Letters from Steve Hirsch 21. Review of Chero Company Performance -- Albert Williams

(from the Chicago Reader, October 5, 1990) 22. Berkeley Artist Under Investigation -- Kirstin Russell (from the Berkeley Voice, October 25, 1990)

24. An Open Letter to Jesse Helms -- Frank Moore

25. Flier for the Frank Moore Apprenticeship 26. Videos, Music, Books, etc. for sale by Frank Moore & S/R Press

Artwork... Michael LaBash: Cover, 3, 4, 9, 14, 25, 26 Photo... Eric Kroll: 21

TCR #0 -- Page l

eeeeoeecsceeees2ve#98sc88e8cee0e8e82802020287008080806@6C@680L06UMOCUCUMOMCUCOUCUMCOUCOUCUCOUC OCU OCU HOC HC HC eC HT eee *esee*eeeeswvse#e#eseeeoeeespee#eeeeeeeeemlctctmlcetmlClc cecmUCc mC TC OCC OTC OCHOmcCOCmUCMOCchOmUcCOCUhOO HC 8 Fe eeseeoeeeseeseeeeseeeeeeeeeeeneeeeeneenstseeeeeeeeeeeseeeeememccemlcermCUCC OCC HOC Orc OmcHMOmC HOC HS eee eseeeoeeeeeewe em emcmUmUcOmUCUCOMCOUCUCOUCUCUCOChUCcCOCmUchOHmUhHmhUF

SPEAKING FRANKLY -- Editorial by FRANK MOORE -- April 10, 1991

At first look, this first issue of TCR looks like a shameless self-promotion, a big advertisement for my book, Cherotic Magic, for my apprenticeship, for my 6-session course, for my performance art and videos and tapes, and who knows what else. Well, you have to start somewhere. And that somewhere is the exploration of the magical edge I have been on for about 25 years. This promotion that we call TCR is a promotion of the edge itself.

Since Cherotic Magic was published, there has been a written dialog centering around the book. What is exciting about this dialog is that the people in the dialog are serious explorers of the edge themselves. They are writers, artists, publishers, cultural revolutionaries, reality subverters around the world. In this issue, under the cover of writing about my work, they talk about magical issues that I for one have been hungry to talk about for a long time in the depth that is possible with people who have committed their lives to going across the taboo border to effect evolutionary change. In future issues of TCR, I hope we will move far beyond the book, Cherotic Magic, and give one another aid and comfort on the edge by linking together, by announcing new findings of our hidden experiments of nonlinear change.

TCR is a journal of the edge. TCR is an offensive movement or measure, offering alternatives to the fragmentation, isolation, personal helplessness which is actively promoted by the combine of power systems. TCR is anarchical, based on the personal responsibility to reshape reality into a more human, trusting, loving reality, full of fun and pleasure. TCR is not a reaction. It is a magical act of enjoying life. It is a journal of and for people who are doing this magical act. Thanks to S/R Press, we finally have a_ channel of communications among the personal revolutions ... otherwise known as mutations

. which has always been the main fuel for evolution. Now we magical misfits know we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things. This just by itself should speed evolution up.

Let me hear from you. Let us play together...

THE EDGE -- KYLE GRIFFITH -- April 13, 1991

I think another good name for the "edge" Frank is talking about is "creating free will." The "normal" state of consciousness for Earth people right now is one that traps them in a universe run much more by predestination than by free will. It doesn't matter if we identify the source of that predestination as the God of Saint Augustine and John Calvin or as B.F. Skinner's “operant conditioning by the social and physical environment," the result is still the same: a planet of sleep-walkers with very little control Over their lives.

How can we break out of this trap of predestination and create free will for ourselves? My War in Heaven discusses some of the ways, Frank's Cherotic Magic describes a number of others, and TCR is being published to present still other approaches, by a wide variety of creative people, to this same "edge."

So ... welcome to the edge. Feel free to drop over any time ... but you'll find you won't fall ... you'll fly!

eeoeoevoevoevevpevpeeeeeeeeeeeeeeeeeeeeeeeeeeeseeseseeeeeeeeeeeee 8 & @ @ eoeeeoeseseieeeVneeeeeeeeeeeeeee &@ @ @

eeoeoeeveeveseseeeeseeeeeeeeeeespeeeeeeeeeeeeeeeeeeseeeeeeeeeeeemUmctmlUcelUme

TCR #0 -- Page 2

353 ins: & AR ee A, BL IRS: Suafoves

Gi (e NW wre ‘\)

VC

is Mh t08 cig rk be

=_—e RSS eninieitig

S3 aes; ess rs

ry ~~

eet

a ee tees . ¢ a fa as Ls ar o 0, 8: Sm A) aoe, oe eo a ° : A aha ek ae . ete - be eae wt ) WS ED eons : CA. ae ae . 4 orn Sues asa . . - . ‘ . ‘ -- . *,

ae ou t : a cep € SA a : Y 1043 rt ¥ oO wt h AN od 2 yf Mh. - SLIDING SCALE jy" oni ‘nan ( Me A $100 - $300. Di? Do. | a: ch &A wg ¢. bo e th yer A 4 $25 ee ae OE Oa (can ee, DEPOSIT , RB i y hemse lves an aha = Ss Wh. Or sate

a E> = ln Ds SADV eee

=

te, n. ~ 7 /

tte, i

‘ot N

Se

{ oll

a, Nt <c |

\}

- =.

—" 7 «3 z San, — >) ok / - i

ne

Sens AIS.

ts 4

Ve "A

v iy ~

, my

leg,

Go: a Se, -—. 2 oe

e, %, 'e etBBoy, ae ‘nd Ly » ~ -_ os <QwB* = = ™remare =

ye

rVYyt» On HE ICKI7; )

4, REQ «6 : eee ol9 i By ue

i ay. CG KS, D> LaSo ly

yr a ‘ons “youn, ae >

= Kray) We R e

-- | NS ae IS

e

Tees.

: saFt6

y } : “Ss g 'E 4 ] WAT] Pe ail

ART here isthe East Bay's Yiwu’ rnost vibrant new

\ performance & ort Space

AREAS. 527-6 7180

ALBANY, CA(s:G2ALN) TICKETS SOLD IN ADVANCE

a akes te

beste rene A Sae of ee * Sac 6 . , : 7]

ar tend «@ 3 ‘ i beg Wanigesess Pinte oa, dees ’

-— :

eeoeevev,evseeevee es eeeeeseveevpeeeveeeeeveeeeveeveeeeveeevseeseeeeeeeeeeeeeeeeeeeeeeeeeeeseeeeeeeee eee eee le eeeevoeaevev2eeveeeee es eceveveesvseeeeeeeeevseeseeeeeseeseseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeteeeeee eee 0 @

FORWARD TO FORUM 25 YEARS CELEBRATION COMPILATION, by TUPPY OWENS

Thank goodness for Forum! It's the haven where sexually aware people can turn to when they need to be comforted that they are not alone. This is especially true for people with special tastes -- if you buy Forum, you'll never feel odd again! Somehow, Forum combines responsibility with fun, so that, not only does it make you feel OK about your sexuality, you also get cheered up.

Forum has served this purpose for 25 years. It is as important now as ever before because nothing has really improved in the world out there. Ignorance and hypocrisy still reign. I can't believe that a recent issue of a popular British trendy fashion/feature magazine has 35 pages devoted to sex which are crammed with uptight values, inaccuracies, myths and cliches. Written by fashion writers and other young know-alls, these pages will confuse thousands of young minds that are already getting so many mixed messages about sex, porn, and morality that they hold no hope of ever sorting things out for themselves.

One of the things I like about Forum is that it's so incredibly British. Eccentric yet down to earth. Unlike those trendy magazines that are heavily influenced by American culture and have international aspirations, Forum is about every-day British folk and what they get up to in their bedrooms, and under the desk at work, etc. And, as every issue proves, there's always something new and fascinating about sex. How lucky we are that the most enjoyable subject on earth is also the most boundless.

But what of the NEXT 25 years? It's interesting to note that all the staff on Forum have been female for the past five years and this fits in with a trend that I have been aware of for some long time and has now been defined by a friend of mine, Frank Moore (an American -- see what a hypocrite I am?). He calls it the cherotic movement. This is not unlike the so-called sexual revolution of the sixties, but a physical/spiritual movement that redefines and expands sexual, spiritual, social concepts of reality, and it is being initiated by strong lusty women. Many anarchistic teenagers are looking to these women as role models, something both I and female Forum editors are experiencing right now. Young students are wanting guidance on their college theses, chosen topics being deep, meaningful aspects of sex.

This cherotic movement is quite new. After the 'free-love' sixties, ambition for success and consumerism took over, feminism became aggressive, people became repressed and shallow again. Let's hope the movement will grow into a whole new inspiration for humanity so that pleasure will, once again, become the prime reason for existence.

Forum will then become more adventurous, as young people put their energies into writing imaginative erotica and sharing experiences. They will revitalise the spirits of the rest of us as we sag in our fight through this age of AIDS and censorship. We certainly have lived through the toughest era of all -- no sooner did we find hope for freedom in the sixties as it was whisked from under our feet. Even Forum is not free to publish anything they wish. But the young can DEMAND freedom, and will. Madonna and most young bands are a great inspiration for them to assert their sexuality, yuppy parents offer an ideal reason to rebel.

We should be all set for the Cherotic Revolution! Rave on, readers, rave

eseeveevseeeoeoeeeoeeeeeeereeee eee eee ee eee eee eeoee eee e ere eee eee wee ewe ewww em eee eee eee ee eee esovoevuevs0e2e0e20200282808020802809800089 8000080080208 08028008080008000000089780800802808080808080808080808080808828080808808808088080808

TCR #0 -- Page 5

THE CHICAGO NEWS & ARTS WEEKLY © FREE * OCTOBER 11 - OCTOBER 17, 1990

THE NEW BARBARIANS

Alias (Art Outlaws, Performance Artists)

_ , ANNIE SPRINKLE Eo KAREN FINLEY § For showing audiences her For encouraging intense jm © For covering her body £ - Cervix through a speculum. physical touching E with foodstuffs . : ee ee oe between adults. : 3

“fe , ~ ‘ Me? s, : Ne ate r

m Fest Guide + A Band Of Farmers - Now Weekly!

O conservative art critic Hilton Kramer, they are the “New Barbarians...licensed rebels at the taxpayers’ ex- pense.” To Jesse Helms‘ rally Rep. Dana Rohrbacher (R-Calif.), they are a threat to the established moral or- der. They are the NEA outlaws, con- troversial artists the conservatives would dearly love to silence. Three of these outlaw artists — Karen Finley, Frank Moore and Annie Sprinkle — will be performing in Chicago this month.

Of the three, Karen Finley is by now the best known, thanks in part to NEA Chairman John Frohnmayer’s awkward defunding of her work, and in part to conservative columnists Evans and Novak who labeled her as “the chocolate-covered woman.” (One wonders what they’d be calling her, if the right wing had been hip to Finley when she was performing “Yams Up My Grandma’s Ass.”)

Her fame has come quickly. Less than a year ago, only the alternative press followed Finley. Even when her shows at the Edge of the Lookingglass sold out every night, the dailies hardly noted her presence in town. Now on her triumphant re- turn (for a four-week run at The Beacon Street Gallery), after a summer’s worth of press (over)- exposure, she has received long stories in Chicago Tribune and Chi- cago magazine.

Frank Moore and Annie Sprinkle are unlikely to receive such cover- age. For one, both artists’ work re- sists the easy and superficial descrip- tions that Finley’s work had always attracted. Even Sprinkle’s bit in which the audience is invited to take a peek at Sprinkle’s cervix through a speculum is too gross to inspire, on retelling, the sort of ironic “oh yeah?” grins that Finley’s bits involving covering her body with this, that or the other foodstuff do.

For another, both Moore’s and Sprinkle’s work challenge the con- sensus view more strongly and in

ways less acceptable than Karen Finley’s angry tirades and bitter at- tacks on consumer culture (whose time has come). Sprinkle’s sexually provocative performances, involv- ing sex toys, onstage masturbation, and parodies of oral sex involving rubber dildos, have provoked attacks by both the right and the left (femi- nists of the Andrea Dworkin variety), neither of whom see much difference between real pornography and Sprinkle’s “Post-Porn” deconstruc- uions of the genre.

As an admitted former prostitute and pornstar, Annie Sprinkle’s world view seems tremendously at odds with an increasingly hung-up America. Even the Post-Porn Mani- festo, written by fellow performance artist Veronica Vera and signed by Sprinkle in large John Hancockish script, seems like a relic from the pre-AIDs sexual liberality of the late "710s.

Topped by two erect penises salut- ing an open vagina, the manifesto reads: “We of the POST-PORN MODERNIST MOVE-MENT... celebrate sex as the nourishing life- giving force. We embrace our geni- tals as part, not separate, from our spirits. We utilize sexually explicit words, pictures and performances to communicate our ideas and emotions. We denounce sexual censorship as anti-art and inhuman...And in this love of our sexual selves we have fun, heal the world and endure.”

No wonder Rep. Rohrbacher, anx- ious to find the artist who could do for him what Mapplethorpe did for Sen, Helms, thought Annie Sprinkle an easy target. In February of this year, he launched his attack on the “feminist porn activist” by telling the House of Representatives that Sprinkle was “the recipient of tax- payer funds for her live sex act show in New York.” “Actually,” wrote C. Carr in Village Voice, “she has never received or applied for a grant of any kind. ...Neither did she perform a ‘live sex act.’”

It seems Rep. Rohrbacher based

OVER STOR

UTLAW A

Porn? Play? Or Immoral Plot? Story by JACK HELBIG

Sts

NewClty e OCTOBER 11,1990 7

Photo/ Steve D. Arazmus

CODER STORY

“If this community doesn’t want me to... have an orgasm from breathing on stage, I'm not going to rub it in their faces.”

his whole attack on Sprinkle articles published in the ultra-conservative New York City Tribune and the su- pennarket tabloid National Enquirer. National Enquirer proved to be an especially dubious source for infor-

mation, since it based its allegation:

that Sprinkle had received NEA funding for her work on a one-liner Sprinkle quipped in the middle of her performance: “Usually I get paid a lot of money for this, but tonight it’s government funded.” Sprinkle, it tums out, was just joking.

However, the fact that his accusa- tions were baseless didn’t keep Rohrbacher from, again in the words of C. Carr, “sending a letter headlined: The National Endowment for the Arts Is At It Again! to every member of the House, describing Sprinkle’s show” in detail. Nor did it keep John Frohnmayer from leaping into the fray and issuing the odd statement that “if the performance by Ms. Sprinkle was accurately described in recent media reports, then it is something that would not have been funded by the Endowment.”

When asked about Rohrbacher’s attack, Sprinkle’s reaction is surpris- ing. “I refuse to let anyone make me a victim, “ she says in a surprisingly girlish and innocent voice, “espe- cially people like that... these people like Jesse Helms have only heard

Dost Vi Bie Modernist -Manifesto

MT EC OEY ted whe wn ree weet nce re Cm thet 6 ace gent Nee ne os

Net We of ee CORE POG CANT MONON fae thc otic af thc Dates hye by achenetadtgeng,

ater ow gti pt a apc. ae apr Pe ete ec meelly cagk ee ptenn od pt Meren Me ccnmee Mr Sires on’ Stee en ad cme te eaten od heme

De cape mmc iy Be te a a gee

Re ee Sa ee de Sc Ro ie A en a

oe eee

about what I do. They’ re totally mis- informed... They just have no idea what my work is really like, or what its about. But that’s okay. I’m really happy with the way things are moving along. I’m really, really much more appreciated here in Europe. I get 100 times more money. A hundred times more offers. The people who don’t see [my work], don’t understand performance art, don’t see sexuality anywhere near the way I see it, they have a problem [with my work].”

I asked Sprinkle if Rohrbacher’s attack had in any way affected where she can perform. Sprinkle denied that it had, mentioning only that she had gotten “a lot of publicity” but still had been able to do her show unimpeded. However, half way through her denial she remembered one incident on her recent tour. “So I don’t feel —uh, in Cleveland, Ohio, there were police in the audience who would’ve arrested me,” if Sprinkle had invited the audience to take a peek at her cervix. “So there was a blatant case of censorship. But I think there is a such thing as com- munity standards. If this community doesn’t want me to...” Sprinkle pauses as if unsure how I’m going to take what she’s about to say, and then continues speaking a little too quickly, “have an orgasm from breathing on stage, I’m not going to rub it in their faces. I go where I’m appreciated and wanted. And it’s fine with me that there are states and cities and people who don’t want to see what I do.... don’t see it as them against me. I see it as we are all one, and I love them, and its all quite perfect, you know?”

Sprinkle’s laissez-faire attitude about the right wing’s attacks on her art is in marked contrast to her buddy Frank Moore’s reaction, who is ab- solutely livid about the treatment he’s received lately by Helms and Com- pany. “If you have anything to say to me or to ask me,” Moore wrote in an open letter to Helms, published in High Performance magazine, “come: to talk tome man to man. Otherwise, get your big brother foot off my

back.” a aT nse tw danb dob 2

8, NEWCITY.sOQCTOBER.11, 1990

Of course, Helms’ campaign against Moore has been consider- ably more subtle than Rohrbacher’s blatant, baseless, and almost farcical assault on Annie Sprinkle. It seems that, according to Los Angeles Times, Helms demanded that the General Accounting Office inquire into the work of four performance artists: Karen Finley, Frank Moore, Johanna Went and Cheri Gaulke. As part of the GAO’s investigation, the GAO “sent letters to the Franklin Furnace and the Kitchen (two of New York City’s most prominent alternative performance spaces) formally re- questing information on appearances since 1984 by these four artists.

This was not the first time that Finley, Moore, Went and Gaulke had found their very different works lumped together. Around the same time that Rohrbacher was accusing Sprinkle of the misuse of public funds, New York City Tribune (which is, itself, funded by Rev. Moon’s Unification Church) began a series investigating the “obscene” art of, that’s right, Finley, Moore, Went, and Gaulke.

The connection between Rohrbacher and New York City Tri- ‘bune is well documented; Rohr- bacher’s press secretary David Eisner, admitted they had gathered information about Sprinkle from the Tribune. And theconnection between the Tribune articles and the Helms’ requested GAO investigation is clear.

Stull, Frank Moore would seem an

odd choice for Helms to pick on. —

Born with ,cerebral palsy, Frank Moore is not only wheelchair bound, he is also unable to control his arms or legs and incapable of making any sound except a kind of howling yelp. It is Frank Moore’s conviction that Sen. Helms just plain doesn’t know he’s adisabled artist. (A fact the New

York City Tribune article on Moore

also failed to mention.) Which is why Moore is so anxious to meet Helms “man to man.”

After all, Moore can communicate. Thanks in part to a device Moore developed when he was a teenager that allows him to paint, operate a personal computer, or, during inter- views, spell out what he wants to say one letter at a time.

We start off talking about whether being on Helms’ list hurt bookings for Frank Moore’s performances. Moore spells out the answer: “They

have closed Franklin Furnace.” Linda

aay eee ste

Mac, long-time companion and fel- low performer adds, “The [New Y ork] Fire Department closed down the performance space and said it was not up to standards. So galleries are reluctant to book us because they see what happened to Franklin Fur- nace and they see what’s happening to the Kitchen and they don’t want to have to go through that.”

Frank adds, “except clubs like Lower Links. I am lucky. | always have done grassroots—” “Galleries,” Linda Mac pipes in, “Is that nght?”

Frank grins his toothy grin and yelps.

Mac continues: “Places that don’t get NEA money. In Seattle we per- formed at a place — A.F.L.N(A Flimsy Lace Nightie) — that pays its bills by selling coffee and toast during the day. On the one hand we don’t make very much money. But we al- ways have places to perform.”

What could Moore have done to bring down the wrath of Helms? Certainly, Helms can’t be upset about “The Outrageous Horror Show” (which Frank and his troupe will perform at Lower Links). In this show, Moore confronts the audience by “singing” (howling, really) a number

of rock standards “for one or two hours.” “Moore jokes, “Maybe Helms doesn’t like my singing.”

Frank Moore suspects that it is “Eroplay,” a form of performance he has developed, involving “intense physical touching between adults without limits but is non-sexual.” Often performed nude, and involving audience participation, it has been described by Moore in the Spring 1989 Drama Review as being “fun...umnocent and childlike!” Un- fortunately, just how innocent Eroplay seems depends upon your definition of innocence. Certainly, anyone hop- ing to find obscene art could call Eroplay obscene. “In my work,” Moore writes in the same essay, “I always have used nudity and physical acts which most people would call sexual.” Though Moore makes the point that “Eroplay is a safe, fun, lusty, channel for physical touching” which does not lead to “physical in- tercourse,” many of the photos of Eroplay in performance could pass for group grope sessions.

The quesuon of obscenity, how: ever, iS just a smokescreen, Moore believes. In his essay, “The Combine Plot,” (published in the current issue of P-Form), Moore argues that “The real goal of Helms’ and Rohrbacher’s attacks is to make all art, not just the N.E_A.-funded an, the agent for the established order, to deball art, to tame down all art. ... The message is clear: eliminate controversial, experimen- tal, and avant-garde art.”

(Karen Finley will be performing “We Keep Our Victims Ready” at Beacon Street Gallery, 361-3500, Fridays, Saturdays and Sundays, Oc- tober 5-28 at 8. Frank Moore will perform his “Outrageous Horror Show” at Club Lower Links, Thurs- day, October 1], at 7. Annie Sprinkle’s “Sex Education Class” will take place at Club Lower Links, Saturday, Oc- tober 20, at 7 and 9. To make reser- vations for Frank Moore and Annie Sprinkle call 248-5238)

Rae eee Karen Finley I Ae Se nt ONES

Photo/ Dona Ann McAdams

yA 4

eo W \\WA

NX

ANN NI

C

\

MUSEUM OF LOVE-MAKING -- FRANK MOORE

Imagine. Imagine walking down the sidewalk and seeing on a poster nude bodies melting into one another, floating into one another inaé_ soft sea of passions unlimited, cock trees growing out of cunt pots, tit eyes laughing gently as the navel is sucking the whole universe off. You wonder why the cops, or some feminist moralist, or some born-again right-to-suffer TV watcher hasn't long ago ripped down this offense to the moral order.

You look more closely at the liquid moving bodies, and dancing letters are Squeezed out from the twisting forms. You make out that you are invited tonight to "The Museum of Love-Making," whatever that is. Must be some performance art Shit. You have gone to performances that promise to be about sex, to be passionately erotic, but when you got there, pale faces in black tights talked in mono-drones about isolation, about fathers' hidden Ilustings after two-year-olds of both sexes ... with nudity, human touching, sweating passion never even in sight, let alone explicit. But this poster again arouses hope. In the back of your mind, there is another handout saying “For Madmen Only."

Imagine. Imagine standing in front of a multi-colored curtain ina

gallery, standing, waiting, standing with people who, like yourself, do not know wnat to expect. You hear classical music playing softly somewhere. Now three

TCR #0 -- Page 9

nudes, fully brightly soft body-painted, appear from the curtain. They chant instructions: "No talking, stay on this side of the rope, but you can walk to any point in the observing area at any time."

Now you are being ushered by the nudes behind the curtain of taboos. You find yourself holding onto a plush red rope. This rope runs around the entire large room. In front of you, behind the rope, a couple sits on a mat in warm soft light. They are kissing, not dramatic, but like they have been kissing each other for years.

You read the card pinned to the rope: "Mary and Roger Smith have been married for fifteen years. Both are teachers. They have two children."

Only now you realize that they are an older couple, that Mary is unzipping his pants to rub his limp wrinkled cock. They are giggling like kids watching cartoons. You try to look away uncomfortable, seeing something too private. But as you look around the room, you see couples, maybe a triad or two, on mats making love. You look back to Roger and Mary, her panties are now off. He is fingering her pink lips' greying blonde hair. You can see right up her into darkness. Still no dramatics, no contest of performance, just warm sex pleasure of years of love-making.

You move on, coming to Gil, a lawyer, and Henry, a househusband ... a couple of eight years. Gill is slowly moving back and forth in Henry's butt. Henry makes loud dramatic sighs. Meanwhile, an old woman’ sucks off her young black lover of three years. On another mat, two sweating nudes eat deep from each other's sweet pussies. Across the room, you see a hanging woman moaning orgasms as her husband of eight years whips’ her lovingly with a cat-of-nine-tails. A beautiful Chinese woman puts her spastic mate deep within her. The sounds, the human smells of sex and sweat, the sight of all of these real moving touching playing fucking in their own love relationships creates an overwhelming alternative reality which reclaims sex in all its forms as a direct expression of life and love.

This is the performance I am planning to do. Although I have used nudity and eroticism in my work, I have never before used actual sex. The time is right to doso. Magically and politically, this performance will send a powerful message. The fundamentalists, whether feminist or Christian or political, have attacked sex with smokescreens of violent, abusive, exploitative sex. They say they are not against sex itself, just... This performance wil] expose this as a baldface lie.

I am looking for all types of loving couples (triads, whatever) to be in this piece. All races and ages are welcome. I first plan to stage it in the Bay Area, but then across the country. So I will need couples in each city.

We have some arbitrary frameworks. A couple has to have been together committed for at least a year. Each person has to be 18 or older. There is no money involved. Interested couples should write mea _ letter describing your relationship and telling why you want to bea part of this magical explicit performance. My address is:

Frank Moore PO Box 11445 Berkeley, CA 94701-2445

I also need women for other performances.

eseceve2e2e2e2e2e28202802820808080808080808028080808290808080808080828080280808808280808082808080828282870808088288080828088080808880880880880888808888808808808888088880 eeseeeeve7eseeeeeeeeeseeseeeveeeeeveeeevssvseveeeveeeeestseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseeeeeee ee @

TCR #0 -- Page 10

BRENDA TATELBAUM to FRANK -- January 15, 1991

Today's mail brought me your marvelous "Museum of Love-Making" which will appear in V5 #4 (late Spring '91) along with the review of Cherotic Magic. As you know, Kyle sent me acopy and inmy letter of thanks to him I asked he forward any already-written reviews to me for my file. Please don't worry about what the review will say because I'm inviting you to send a review written by a reviewer of your choice. Should this be impossible, I'll do the accolades myself. Please let me know if you'll be forwarding one to my attention.

On pg. 81 you accurately state "It is fashionable to be anti-porn. But it is not fashionable to offer an alternative to porn." So let me thank you for Saying in your letter that you respect what Eidos is attempting to accomplish. According to our worldview, it's a perversion to malign advocating sexual freedom (by defending human, civil and constitutional rights) for traditionally persecuted and oppressed consenting adult sexual minorities of all orientation, preferences and lifestyles. Our traditional church/state sanctioned paradigm of married heterosexual penile/vaginal procreative intercourse is the underlying cause of our culture's supremacist erotophobic aparthied. Eidos' mission militantly affirms sexual pluralism: the freedom to choose in all areas of sexual life & lifestyle.

I also agree with you that the performance of "The Museum of Love-Making" will be your most controversial and I look forward to our’ continued correspondence.

FRANK to BRENDA TATELBAUM -- January 31, 1991

I would be excited and honored about you writing the review...mainly because I am looking forward to reading in detail about what you think of Cherotic Magic. As yet, we have not received other reviews, except the one Kyle wrote. But he is my publisher, so if it was not glowing, he would not have published the book in the first place.

I have started getting letters from readers. They say they feel like they had written the book. They also say the book scares them because it rings true and that is putting pressure on them to change their life. I take these reactions as high praise.

I will be interested in the response to "The Museum of Love-making" in Eidos. I have noticed in the past five years women have gotten fearful and timid again. I get readings of this from who comes into my work. For example, last week we were on a 6-hour radio show with Kyle and Luna, then did a 24-hour performance. Not one woman called in to the radio. Just one woman called about the performance, and she just wanted to argue about the ratio of cocks to tits/pussies in the poster. Have you seen this trend? I wonder how this will effect the couples answering the call for the "Museum."

In the mid-70's, I got more women then men. I think it was because of the freeing exploring spirit of the early feminist movement which came out of the ‘60's. Men took a few years to catch up to the liberation. Then I a got pretty equal men-women ratio. But then the anti-sex, anti-men, abuse-paranoia, women getting seduced by the yang Western view of success...rather than pulling the reality into balance toward the Yin by using their bodies, sex, taboo-breaking Subversion. Feminism, in other words, became enfolded in’ the very repressive

TCR #0 -- Page 11

power structure that it was fighting. As a result, most women are, under the illusion of freedom, more suppressed and repressed now. And the men who had Shown signs of being liberated are getting shallow again.

I think it is very important that there be a Cherotic Movement, not unlike the so-called Sexual Revolution of the Sixties. This Cherotic Movement would be (or rather, is) a physical/spiritual movement that re-defines and expands sexual, spiritual, social concepts of reality.

There is a powerful group of strong lusty women who are, or at least could be, cherotic role models. These include people like yourself, Annie Sprinkle. Veronica Vera, Linda and Luna from here, Karen Finley and a_ few other female artists, Tuppy Owens in England. Except for Kyle and myself, I do not see a Similar group of male cherotic role-models.

I do see a beginning of an anarchist movement within the teens and the early twenty-year-olds that is ripe for the Cherotic movement. They do use us as linear role models and, more importantly, as their nonlinear pathbreakers. But there has been little concrete intimate intercourse between these two erotic evolutionary groups. Between these two-groups, there is_ the black hole of scared yang-brainwashed women and male bunny rabbits who do not know what to do with their new yin liberation.

This will be what we will be working with in the '90's. What a challenge!

BRENDA TATELBAUM to FRANK -- February 7. "1991

Thanks for your 1/31 letter, I agree with you that feminism had become "enfolded in the very repressive power structure that it was fighting." As you know, feminism is not monolithic; yet only the most stridently vocal anti-porn, anti-sex, pro-censorship male-hating feminist voices were heard nationwide during the '80's. Unless liberal, humanist, pro-sex feminists like myself are attacked by the forces of suppression, we remain virtually invisible: deliberately ignored or systematically muzzled.

I believe the feminist backlash against the sexual liberalism of the 60s & 70s borders on panic based on a simplistic dogma that all male sexuality is rape and abuse. Their ideologically politically-correct fascistic "band-aid" remedy calls for restrictions (censorship) of male-created/oriented fantasy material, including art, erotica, porn, advertising, etc.: an attempt to control, dominate & destroy male sexuality. Playing the victim has empowered & emboldened them, whereas in the past they were silenced.

Now women like me find it difficult to publicly articulate or address the concept of female (human) sexual autonomy and female (human) sexual pleasure as distinctly separate from criminal acts of violent sexual abuse. In my opinion, domineering anti-porn feminists undermine the battle for reproductive freedom by undercutting the battle for sexual freedom: they deny other women their right to even publish intimate depictions of pleasurable consensual adult sexual expression which plays to the religious right's dogma that female/feminists like me are no better than adulterers and child molesters.

In effect, they're aiding the religious right's attempts to idealize the family, domesticity and concept of separate spheres for men & women based on biology and traditional religious & cultural restraints. Some pioneering feminists from the last century advocated a vision of sexuality for men and women alike which included spiritual, intellectual and physical planes. Perhaps

TCR #0 -- Page 12

their worst nightmares are coming true: that a complex feminist ideology has come under the control of "sexually deficient or disappointed women impervious to facts and logic and deeply ignorant about life" (Stella Brown in the 1912 edition of "The Freewoman").

By the way, I wear a yang/yin around my neck. I believe anti-porn feminists simply trash all yang.

eseeeeeeseeeeeeeeeeeepeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee eee ewmememcUemlUlCcOmCOUC OC OCVHHOCCMOC HC COC OHO HOC HMmCPR eC eC HeOUmUcCOmUCOCUChOHHCLUCOCLULOhUO eeeoseeeeeeeeeeeeeeeeeeseseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseeeeeeeeeeeereeeemUmctmlUlcemlUclUe

BRENDA MCCANN to FRANK & LINDA, February 26, 1991

Well, I must say, your flyer to recruit committed couples certainly "pushed my taboo buttons." But ... your points are well made. The whole case that I've carried against "male barbarians" came up in wrath-reaction to the buzzwords used in the descriptive pitch. The only one I liked was "sacred dark." ("How dare a man to ejaculate in my sacred dark, like spit upon a sidewalk.") Also, I was angered that anyone could deduce my being “against sex itself" when it is middle-class male sexual fantasy projections upon any female that I am against.

On the other hand, the girl/child/soul-projection of me longed to see or behold the loving committed mature couples role modeling mature human love including their sexual relations. I cried and cried to receive that. I almost feel like I've already gotten the experience just from taking in all the images in the flyer. For me, it was like being there already. It's like I got a whole room full of new parents.

So, how it all turned out is, for whatever reasons, I discovered in retrospect that I really was (programmed) against sex. A “wrongness" rapport, there. And the vision of that many mature couples doing a free-flowing wonderful joyous sex dance together had never before occurred to me. Then I put together the idea of the trust factor necessary to complete (in the cave of apprenticeship) the polarity production and decided that there is no better place to put it into practice than in the "cave of sacred dark." Suddenly there is less and less fear in me concerning rampant imagination during any kind of relationship.

BRENDA MCCANN to KYLE & LUNA, April 8, 1991

Well, the Gods of Balance and other Elo(K)hims have helped me survive my own imaginations about Cherotic Magic and "The Flier." It all turns out to be a great and necessary process for the likes to me to even conceive of such images as the flier gives.

Instead of the cave of Lila I went with the cave of Zardoz -- you know, the one where you realize that the cave is really just you inside a crystal with all your own images reflecting back at you.

I'm so happy to have gotten a little contact with Frank and Linda (and Ted & Alice, Fred & Carol, etc.)! I cleared my sacred dark of middle class ejaculation spit, not to mention a barbarian and a foggy image of Nostradamas (representing my beliefs and other fears in his infernal qua(si)trains). Ina nutshell, a very grand liberation from culturally collected constructs...

eeoeoeeveveveeveerseeeseseseeeeeeeeeeseereeeseseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee ee eeeeeeeeeeeeeeeeeeesepeeeeeeeee evs eeveeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee ee eee ee @

TCR #0 -- Page 13

iN RODUCTOR Dr SCYScFON OF oe Ms NE Gone CHE Rorit Ma iC. ANC rh T WAYS sateen o53 3248

espe eevo*w@eseseeseeeeeseeeeeeeeeeesepeeseseeseeeeseseseeeeeesepeeeeeeeeeeeeeeeeeeeeeeeseeeeeee eee 8 eoseeeeveeesseeeeeeseeveeseeeepepeeeseeseseseseeeeeeeeeeseseeeeeeesepeeeeeeeeeeeeeeeeeeeeeeeeeeeee ee @

REVIEW OF CHEROTIC MAGIC -- BARBARA SMITH

Due to the complex reasons of historical conditions and needs, artists from the industrialized nations of the world more or less simultaneously (late 1950's - early 1970's) felt a depth of experience uncontainable in ordinary and available cultural forms. They emerged with a language of remarkable Similarity--clearly felt in retrospect to be shamanic and whose purposes extended far beyond the realm of the commercialized art market. One of these performance artists is Frank Moore who has just published an introductory manual for prospective apprentices in shamanic/art practices. The book is also a very helpful means of access to this particular realm of performance art for the historian and student.

Moore, paradoxically a severely disabled cerebral palsied human being, who cannot clearly utter a single word is simultaneously a clear and eloquent writer about a reality-shifting form of art he calls Cherotic Magic and a spectacularly courageous, ecstatic journeyer and practitioner of shamanic transformational art.

Reversing the ideas of normal causality, his book guides one towards powerful experiences of re-integration into a unified field of consciousness brought about by the apprenticeship. The radical purposes of the book initiate a teacher/student relationship more appropriately similar to a guru situation than the normal art student context which we all know’ can be one which borders on charismatic adulation. Rather, the relationship is intended to awaken and restructure the whole being with access to an interrelated "web of all possibilities," a potentiated ground of existence, from which the student may return empowered with energy, vision, and unflinching faith to change the so-called reality structure of this fragmented and specialized culture. The process is a form of magic, which inspires a sense of body wholeness and aliveness where the personal power is to be found. A manual of faith and a description of the nature of apprenticeship, the book is a clarification of the sort of contractual agreement one enters with a_ teacher, rarely stipulated but here clearly spelled out. This agreement is one of mutual responsibility where the risk is clearly seen to be taken by both parties.

Having explored these realms a good deal myself both in terms of self-discovery and also with teachers, I find the book to be rigorously tough in its demands (on the potential student and quite naturally the teacher as well), and it also clearly describes qualities required (such as trust) and the benefits to be gained in these explorations (such as love).

Moore has broken the apprenticeship. into segments with re-entry periods back into ordinary life between the intervals in order to accommodate Western Students' difficulty in going through the lengthy course in a sustained fashion. The fact that the student must exhibit a deep and long-term calling, will or faith to repeatedly return to the teaching is Moore's greatest risk, for spiritual apprenticeship is not a common practice in Western culture. This is a little known fact that the apprenticeship entails risk in the making and/or breaking of the relationship not only in regard to the student but more so for the teacher.

Moore speaks of the a-logical interaction, as a journey along which student and teacher become soul mirrors. Moore is not seeking a following, however. He States to his credit, I believe, that such work is highly personal and requires one-to-one attention and becomes non-productive when he has many followers.

TCR #0 -- Page 15

The radical nature of this esoteric apprenticeship practice includes the breaking of social mores and taboos in order to reach direct experience particularly in the realm of conventional sexuality. Moore clearly states however that the touching and erotic playing involved (Eroplay) is not driven by the goal of sexual intercourse, but is the refreshing awakening of what he calls Cherotic energy which becomes a free fund of available and heightened "juice" for healing and creativity. (These teachings parallel quite exactly the teachings I've experienced from my Native American shaman teacher and also Tantric practices. )

My first response to reading Cherotic Magic is one of resonance and appreciation, the feeling of knowing very deeply that of which he speaks as true and uncompromising. He gives examples and authentication through powerfully written, illuminating stories about his own early life of terrible isolation and study; the breakthroughs which allowed him to finally believe in his own intelligence, joy and beauty and to receive the powerful inner flow of intrinsically experienced wisdom and knowledge of these liberating teachings. These life passages correspond to such experiences of mystics everywhere. Il appreciate many things about this book, not the least of which are the words Moore has coined to name certain qualities and goals of his work (such as Eroplay and Chero). One such word, Erour, means vulnerable strength. Its meaning corresponds exactly to my own early performance experience. In the past, I put myself in very psychologically risky positions in performances and lI was frequently criticized for doing so as if I were "hurting myself". My own experience was quite to the contrary, although I was in fact going to "the place of fear or pain or constraint" in myself with vulnerability and because I deliberately chose to do so, it was an act of strength and I returned with released energy and power.

If anything in his book is weak, it is this issue of authority and how to define the limits (and/or goals) of guru/student practice. It is weak not because I think Frank is either weak of unauthentic...but because we live in a spiritually naive culture. Most people I imagine are cynics. The book is not written for such people, as there is no language that I know of to convince them a priori to any experience which in itself is convincing. Further, the way one meets one's teachers in life is often inherently mysterious and a unique process. Perhaps the only ways a potential student can judge such persons and Situations have first of all todo with one's depth of calling and an experienced synchronicity. Failing that, one needs to feel one may leave the teacher at any time despite the pressure to stay and one can also inquire of former students as to their experience.

For me, it would be advantageous if he could paint a picture of what completion might look like. Is it simply staying the course (twelve years for a resident; seven on, five off approximately/seven days for the introductory course)? The difficulty is that completion of such a practice might look very different in each of the "graduated" and only a_ sense of demonstrable knowing and changed behavior would be adequate.

The book is replete with black and white drawings by Michael LaBash. Depending on prior biases, they can appear to be psychedelically violent and visceral with a heavy emphasis on sex. They are intricate intertwinings of interpenetrating fields which writhe over the entire drawing area with no central image. Rather, naked figures whole or in parts of both sexes and composite hermaphrodites with breasts and cocks weave in and out of planes and orifices. As I have said, Moore speaks in the text of making clear how Eroplay is not to be thought of as driving for sex or focused in it. Rather it comes from a presexual state of infancy, yet here the drawings are strongly sexual in

TCR #0 -- Page 16

my view and often horrific. (No doubt, however not meant so much to be sexual as frank (pun intended).

Moore's writing about the ethics of commitment is a powerful critique of our shallow culture. What he says rings true and created a sense of gratitude in me and inner resolution. He speaks with great personal authority.

In the general dialog of art and culture this form of art appears to be the most difficult to speak about partly due to its radicality and partly because it re-integrates art into religion, magic, belief, and effect. It means and makes change. I, myself have twice come to a bifurcation point re: some need to synthesize art as I practice it somewhat within the cultural dialog and spaces of my profession as against a chosen spiritual path (Buddhism or Native American teachings). I finally had to ask the question: Which was my core path, art or the spiritual path? And could the creative process itself be a path to spiritual awakening and inner knowledge? Or was a core of spirit teaching the only way and the art must be derived from it? Not the least of which is the question of feminism. The female spiritual journey is for me a major issue within this questioning.

Moore himself raises the question of Shamanism /as art - /as performance - /as therapy. He cites performance as the bed of mystical initiation, rites of passage, mystical ceremonies where art/science, philosophy, and psychology and theology merge and become whole once again. Here, we may experience these things as at once ancient and strange. The breaking of restricting taboos and inner barriers moves towards a place not of isolated individualism, but one of connectedness both in the interior landscapes and with each other.

REVIEW OF CHEROTIC MAGIC -- KYLE GRIFFITH (From TSR #13)

Why is the author of War in Heaven publishing a book that was originally written to be used as a text by apprentices studying shamanic magic under a teacher? Most of the material in WiH that deals with personal spiritual development and psychic training either directly states or tacitly assumes that submitting control of the process to a teacher or guru is undesirable, even dangerous.

Also, one of the most important concepts in WiH is that of "individual spiritual sovereignty" -- the idea that taking full conscious control over one's personal spiritual beliefs and psychic/magical practices is the best way to free one's self from outside mind-control and to develop towards one's full potential. A casual glance at the contents of Cherotic Magic reveals a lot of material that seems to violate this principle: Frank's book stresses surrender of the student's will to "the magic" as it expresses itself through the teacher, and it frequently condemns "individualism" as one of the chief obstacles to the student's progress. In fact, Cherotic Magic states in many different contexts and wordings that being an "isolated individual" is bad, and that it is our relationships with other people that make us fully human and give us the opportunity to evolve on every level: socially, physically, mentally, emotionally, and spiritually.

As I said, it is easy to conclude from a casual skimming of both books that Frank and I disagree on the fundamental issue of "the individual versus the group." This conclusion is completely false. Frank is just as staunch a believer in individual sovereignty as I am, and I feel that intimate personal relationships are just as important as he does. The only reason certain passages in War in Heaven seem to contradict passages in Cherotic Magic is that

TCR #0 -- Page 17

Frank and I, who had never read each other's work at the time the two books were written, used similar words and phrases to refer to completely different philosophical ideas.

For example, whenever I used the word "individual" in War in Heaven, I used it with the unspoken assumption that I was referring to a hypothetical "normal human being" -- in other words, the archetype that all of us Spiritual Revolutionaries are striving to become. I was not talking about "the average individual" in this Theocrat-bedeviled society, but about someone who is sane enough to take for granted all of Frank's ideas about the importance of human relationships and the role of trust, voluntary mutual dependence, sharing, caring, and love within them.

I realize now that I should have explained this in War in Heaven, but when the book was written, the idea that I needed to define exactly what I meant by "the individual" simply didn't occur’ to me. I've lived my whole life in intimate relationships with other people and have always been acutely aware of the importance of those relationships to my sanity, happiness and personal development, and I assumed that “everyone would know" that when I said "individual" I did not mean an isolated, self-indulgent egotist, but the kind of sane individual I have as my own ideal.

On the other hand, when I mentioned "groups" in War in Heaven, I was usually referring to "average" human institutions on Earth at the present time. Since practically all such elements of earthly culture -- from traditional family structures right up through government at all levels to multi-national systems such as ideological power blocs and major organized religions -- were originally designed as instruments of Theocratic mind-control, War in Heaven suggests that Spiritual Revolutionaries avoid contact with existing g institutions and find or create alternatives that do not practice coercion or mind control. In contrast, most of the mention of groups and group activities in Cherotic Magic refers to such non-Theocratic alternative institutions, not to any segment of the existing social order.

Frank's "magical tribe, consisting of the teacher and his students" is a completely voluntary association of free individuals, and I know from personal observation that there's no discernible amount of coercion or mind-control involved in any of the relationships within the group. Individuals who have serious problems functioning within the group always end up leaving, and the group seems willing to let minor conflicts remain unresolved for as long as it takes to work out completely voluntary solutions. This means that the Chero "tribe" has so far remained quite small and undergone frequent changes of personnel, but it also means that I consider it a "politically correct" group for Spiritual Revolutionaries to join, work with, or use as a model for designing other groups.

Also, when Frank mentions existing earthly institutions in Cherotic Magic, his judgments about them are usually much the same as those in War in Heaven. He doesn't use the same vocabulary as I use to discuss these subjects, but when it comes to the facts and opinions behind the words, he and I seem to be in essential agreement on every major point. I feel that Frank's knowledge of what mind control is and how to break free of it is equal to mine when it comes to discussing broad historical subjects, and superior to mine when he's describing the practical details of how to run a magical training system.

In fact, when you come right down to it, Frank is the only "spiritual teacher" I've ever met in the flesh that I consider completely trustworthy when viewed from a Spiritual Revolutionary viewpoint, and I think he knows as much

TCR #0 -- Page 18

about the practical details of how to work and teach magic as any of the famous modern occult teachers: Gurdjieff, Crowley, etc. In fact, he may be superior to all of them, because he seems to be much less egotistical and inflexible. He freely admits that what he's doing is experimental, that much of the time he's proceeding by plain trial and error -- and several times in the few months I've known him, I've seen him drop an approach that seemed to be failing and try something else.

Many traditional occultists and New Agers say they're using experimental methods and learning from experience as they go along, but their actions belie this -- they're actually just acting out their official doctrine as a script, over and over, with little regard of how it works in practice. This is why War in Heaven and my other Spiritual Revolutionary writings have refused to endorse any particular magical or psychic training system: none of them are close enough to my ideal for such a system to merit a recommendation. Frank Moore's System as described in Cherotic Magic is the first magical training system I feel I can recommend, and I'm extremely grateful he's allowing me to publish his book.

Anyway, I strongly recommend Cherotic Magic to anyone who is_ studying any psychic/magical training system that uses sexual energy as part of its practice, and to all of my other readers who are in basic sympathy with the ideas expressed in War in Heaven. On the deepest level, Frank is trying to lead the readers of Cherotic Magic towards the same fundamental Breakthrough in consciousness concerning the nature of spiritual reality described in WiH.

eesoeeesveeeeeeeeespeeeeeeeeeeseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseseeeeeeeeeeemlcemlUlcemlcemlUlcemlUclUcFle eeeeeveeeeeeeeeeeeeeeseeeeeeeseseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeemmcemUcmlUCOCUCOUMUCUCOUlUFlU

COLIN WILSON to KYLE -- February 2, 1991

I'm extremely grateful to you for sending me that really fascinating work Cherotic Magic. I think Frank Moore is quite brilliant.

I must apologize for taking so long to reply, but I've been working absolutely flat out. A paperback publisher asked me to do a_ kind of 200,000 word book about 'The Occult', which I did. I began it on Christmas Day, and had finished it by the end of January. Incidentally, rather an interesting Synchronisity occurred while I was writing it. Looking through the pigeon hole underneath my desk, I came upon your War in Heaven. So I put it down at the Side of my chair, with the intention of taking it upstairs with me to read. I didn't even take in its title -- although I knew what it was. Then I switched on my word processor, and saw that the last words I had written the day before were 'War in Heaven." (I was talking about T.C. Lethbridge.) At that moment, I turned to pick up a sheet of paper, and saw the word "War in Heaven" on the cover of your book. It struck me as one of those pleasant synchronisities that means that somehow you are in good form!

Now I've finished it, I've got to write a play about Mozart for the Mozart centenary, and get it delivered by the beginning of April. I've also got to write a book about Ouspensky, and complete an encyclopedia of unsolved mysteries! So I don't have as much time for reading as I'd like, and haven't read the whole of Frank Moore's fascinating book. But having got up to the section called 'reality shaping', I find that it corresponds very closely with many of the ideas that preoccupy me at the present moment. Please give him my warm congratulations.

eeseeveeeeeeeaeeeeeeeeeerpeeeseeeseseeeeeeeseseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeees ee ecemhmlUcetmlUcele eoeeeeevoeseeeeeeeeseeeepeeeeeseeeeeeeeseeeeeeeeeeeseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseseee ee eee ee

TCR #0 -- Page 19

STEVE HIRSCH, editor of Heaven Bone, to KYLE and LUNA, January 10, 1991

This book Cherotic Magic both scares and delights me. Part of me doesn't want to understand it too much because it would mean I would have to change my life. I think of Rilke's poem "Archaic Torso of Apollo":

We cannot know his legendary head

with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise

the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs

to that dark corner where procreation flared.

Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur:

would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.

Cherotic Magic has a lot to offer I can see. I would like to know more about this group you're in. Send me some promo materials for CM and I'll sent them out in my correspondence. I am particularly interested in the artwork of Labash. Could you please forward me his address or put him in contact with me? I would like to publish some of his artwork. Heaven Bone #9 hopefully to happen before September and these drawings would give the mag motion and power.

STEVE HIRSCH to FRANK and MICHAEL -- February 7, 1991

It was very nice to receive your letter and samples of Mike's work. It is very exciting. It reminds me of atime in high school when I used to just meditate on a blank sheet of drawing or watercolor paper and let myself relax into a mild trance -- then I would start to see shapes and images in motion on the paper, miniature worlds that seem to follow the natural fiber of the paper, emerging from it, giving the paper depth and liquidity. Michael, your work is like the river of mind, emerging from arich lake of associations and fevers, natural imprints of the nervous system in medium -- could your hand possibly be moving so fast?

Frank, I am still reading Cherotic Magic a little at atime and it chokes in my throat, making me feel my self-imposed limitations so thoroughly. Sex, to me, is like rubbing two sticks together -- the flesh dissolves and a true spark is ignited by some deep inner friction -- a merging of patterns that build in harmony to create universes. The possessing is illusory and what bliss remains is a smoother flow of reality through the chakras, a more balanced vibration. I look forward to reading deeper into Cherotic Magic and will likely prepare a review for Heaven Bone #9.

eoeoeeeeeepeeeeepeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseeeeeeeeeeeeeseeeeeeeeeeeseeeoeeewm ee emcemUcmemUcCOmCUlCOlUOmUOMlUe eoeeese@eseeeeseseeeeeeeeeeaeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeemlceemlUcmlUcOmlUclUe

TCR #0 -- Page 20

a ww we, bd Ld 52 READER — Section 2

y 4

=< = Ss -

—S

LS EX aS sys - ”

Ayes SS PS

soamwte..- - RS S23

—~S Ss

) NS SS

\\ nO SY

RSS 9

oe NK we

QY ANS

\)

AY?

ANN SY an S

wy ‘SD wanew™

C1) ROOD

way

MALLY LC! LU ffl tld ttse “777

photo/Eric Kroli

CRITIC'S CHOICE: FRANK MOORE

“I have a body that is ideal for a performance artist,” says Frank Moore, who was born with cerebral palsy and is 99 percent physically disabled. Moore's performances are touching in the most literal and provocative sense. A recipient of a National Endowment for the Arts performance art fellowship in 1985, Moore shares with Karen Finley (who's also appearing in town this week) the distinction of being on the “hit list” set up by the fearmongers who seek to set the arts agenda these days. (Performance spaces that receive NEA grants are investigated; if they have presented certain artists, such as Finley and Moore, their grant-worthiness is called into doubt.) But if to paraphrase the title of Finley’s controversial show, the oppressors keep their victims ready, Moore refuses to play victim. In his group piece Outrageous Horror Show, he and his company, Chero, employ erotic play, nude exhibitionism, audience particspation, and unorthodox concepts of narrative, space, time, and beauty as means to challenge the barriers society erects around sexuality, cripples, and art. Moore’s appearance is the first offering in “Year of Peril (The Censorship Issue),” a series of performances that will also feature Annie Sprinkle’s Sex Education Class and filmmakers Monte Cazazza and Michelle Handelman’s True Gore later this month. Club Lower Links, Thursday, October 11 (954 W. Newport, 248-5238), 7 PM. $7. —Albert Williams

4 Siesaaeets e a a OT OO “Ne.

o es “~ ", O XS

we vot ‘i tu rvensss!

400",

(

ae yoy 7

UU:

BERKELEY VOI CE

Volume 8, Number 52 THE COMM UNI ry NEWSPAPER OF BERKELEY Thursday, October 25, 1990

eeeeeeeeeeeenereeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeweeewmemUmcemClcOmUCRCmUCUMUCUCUCOUCUhOMUCOmUOhUO eeeseeeseeeeeeeveeeveeeseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeememUcetmlUcOmUCOUCUCOUCUCOUlUOUlUOlU

BERKELEY ARTIST UNDER INVESTIGATION by Kristin Russell

One of Berkeley's best-known artists may be in trouble with the law. Frank Moore, a performance artist and self-described "deformed shaman," learned early last February that the General Accounting Office -- the investigative arm of Congress -- has been asking questions about him. And Moore, cerebral palsy victim, a spastic quadriplegic, 99 percent physically disabled, is flattered."I was feeling left out," he said. "All of my heroes in the past were banned, jailed, harassed for their work."

Moore is one of four performance artists being investigated by the GAO as the result of the demand by U.S. Sen. Jesse Helms (R-North Carolina). Helms has been loudly criticizing the National Endowment for the Arts’ for funding performers whose works some consider obscene.

Under arecently passed Senate appropriations bill the NEA endowment is prohibited from funding "patently offensive" material. Helms is now targeting individual artists, among them Moore, Annie Sprinkle, Karen Finley, and Cheri Gaulke. Moore has not received an endowment since 1985.

Moore can neither walk nor talk. He communicated by pointing a stick attached to a head-band at letters on a board, laboriously spelling out words. Despite his disability he is also an accomplished painter, who has had shows in Chicago and Berkeley, and the author of a new book, "Cherotic Magic." He is also a rock star and poet." I am lucky I aman exhibitionist in this body," Moore said. "It is not a disability, it is my tool, my meal ticket."

Controversy is no stranger to Moore, whose performances often span eight hours and involve, among other things, nudity and the use of what Moore calls Shamanistic rituals. At the heart of Moore's performances is “eroplay," Moore's made-up name for intimate and playful touching between adults, which, he emphasizes, iS non-sexual in nature.

Eroplay often entails some or most of the audience participating, either partially or completely naked. "By using eroplay," he said, "the innocent child within the body is released in a playful energy. Within this altered reality intense emotions can be released, intense acts can be performed outside the normal slots."

By encouraging audience members to shed their clothes and participate in non-touching exercises, Moore said he is creating a playground where adults can feel safe in being vulnerable. "I think playing is a safe mind-altering drug,"

he said.

In Moore's production “Wrapping/Rocking," he sits in his wheelchair, a woman on his lap, both of them naked. Several members of the troupe, including Linda Mac, Moore's companion, wrap the two in toilet paper, Saran Wrap and tin foil.

TCR #0 -- Page 22

Other performances feature Moore as a rock star, howling to rock standards while members of his group eroplay and dance naked and oiled under strobe

lights. They throw glitter in the air, and paint each other with chocolate and whipped cream.

"T wonder why Helms is after me," Moore said. But the simple issue of nudity and erotica are not the foundations of Helms' objections, Moore said;

governmental suppression of art is motivated by the need to control threatening visionaries.

Moore said his art is "freeing people; that is threatening. It is also using shamanism; that is threatening. It is also minorities finding channels for change; that is threatening; What is threatening to Helms is not the sex or the gore." Moore said, “it is that if I can be a rock star, anybody can do anything they want to do."

Moore's next Berkeley performance will be Feb. 8, 1991, at Smokey Joe's Cafe On Shattuck Avenue. A 24-hour performance is scheduled for Jan. 26; those interested should phone 562-7858 for an interview.

a "i's Kip p sey)

a

1 ]

M4

ant 9

. - 7 *

ea ote. eee '- Nel cece =

: eS gt ae Sf Seeigi Gost we cate ects adh Oe ot ee - te ae = * . e Lye ee e* @ oe ° \ ‘ ne \Vy mye - = <s . = al > : : . e > e . Z - - o- é ° * a # 7. . o*e . e - * LS Oe } e 4

i, Ws, " WK "

oy ath im Y Feet | | |

4"

Or sof ry

sv sy t

SY} ~ 4

« “i Tyga mS A

<t CAG ff ob : Se

7 &

: ts Cox . ess GF - > RY / . =

Z /

a

\\ ) Ly

a I:

\\) Wy Gies

y

Si AMAL i hdd? \ sy

J \ wi

ro, OF i K(

AN OPEN LETTER TO SEN. JESSE HELMS -- FRANK MOORE

Enough is enough. I have read in The L.A. Times and The Village Voice that you have the general accounting office investigating Karen Finley, Johanna Went, Cheri Gaulke, and myself. Why are you going behind our backs? Why aren't you talking directly to us artists, instead of having the G.A.0., at the taxpayers' expense, going to the galleries and the theaters we have performed in to ask veiled questions about us?

Here I am. Let's talk, man to man. It is the American way. What do you want to know about me? You had my address because I sent you my article about how I think what you are doing is patently offensive to the Bill of Rights. After all, it is the American way to directly confront your opponent, giving him a chance to answer, and giving the people a dialog. But you did not send me a letter. You sent the G.A.0O..

This is not an investigation for information. It is an investigation for extortion. It is part of the campaign to smear us four artists -- as well as Holly Hughes, Tim Miller, Annie Sprinkle, and John Fleck -- as untouchable, unfundable, unbookable. The paint that is used to smear is that of "obscene artists." Are you trying to find out whether or not our work falls into the legal definition of obscene? Have you seen my performances or even talked to anyone who has? Have you read my writings on art in professional and scholarly journals, or my resume of over 20 years? I think not.

I think you know you can not show that any of us untouchable eight are even remotely legally obscene. So you and your ilk are trying to create the atmosphere of fear by using the extortion tactics of the Mafia. The N.E.A. chairman, Frohnmayer, used this atmosphere of fear, under the catchy phrase "certain political reality," to take away the N>E>A> grants from Finley, Hughes, Fleck, and Miller. Your extortion is what has created this political reality.

This extortion is an attempt to blacklist us untouchable eight and other artists who have the nerve to do difficult art. This so-called investigation is really the extortionist's message to galleries that, if they book us or artists like us, they are risking the possibility of funding being cut off, of being audited, of being closed down by the fire department, of being hassled by the vice squad and other governmental agencies. All of which has occurred to the galleries that have booked us untouchable eight.

Why are you closing channels of expression and of funding to me without due process of law? It is a political and cultural blacklist under the cover of obscenity. Extortion and blacklists are against the American ideals and spirit.

If you have anything to say to me or to ask me, come to talk to me man to man. Otherwise, get your Big Brother foot off my back.

In Freedom, Frank Moore

TCR #0 -- Page 24

Uj! | diy» SE Y : >

=n

iwdde : ys

= DD s . J . :

_= 7

4

» —~ @.

(dg wd*

gS _ &

+Z

= sine SN

>, a ieee

Ley

—_

WEES

=e aX @e eenvake wa AS

4

ae v

hie ze! piaek she an

g af G0

2 cS

BR

° Wy -¢ |

U ~

°

yee OV TYTNYTTer=™ _—_—wewtVireue cere ‘

De th hahaha

ADVANTAGE,

THE PLEASURES

‘>

Ss

e e

Cm EE

2 @

-_—_—, a. d presi

-A\

alli

@tesan

Yj

= Ike

Y

" j

f}

y

nr wing

4

wie

i p

MN

‘\ Mh,

y

al

ff ke jf

ni i etme Reh S: *

* sat fe

-y"4

oa

v, ree z BS oa oi oa

Sian o

AW

a +4getS Bag pe

LE guisges Ltt

en a! &

“e 4 = geartttire = 8), — =m

Vite (=You ¢:) ol-t- Meh Ml O-Vb Qs (O10) iea)

fairytales can come true

copyrighted 1981

length: 35 minutes

THIS IS A FILM ABOUT RELATIONSHIPS AND DISABILITY STARRING FRANK MOORE, WHO HAS BEEN DISABLED SINCE BIRTH WITH CEREBRAL PALSY. IT IS A HUMOR- OUS, YET REALISTIC LOOK AT HOW TO ESTABLISH RELATIONSHIPS BY CHANGING NEGATIVE SELF IMAGE.

erotic play

copyrighted 1983

length: 84 minutes

THIS VIDEO EXPLORES WHAT HAPPENS WHEN PEOPLE OF ALL TYPES AND AGES ARE GIVEN A CHANCE TO RETURN TO BEING A KID AGAIN. A SIMPLE GAME OF DRESS-UP BECOMES A POWERFUL METAPHOR FOR DROPPING TABOOS, RELEASING CREATIVE EMOTION, AND FOR DRAMATIC CHANGE. AS A RESULT, AN INNOCENT EROTICISM IS FOUND... AS WELL AS GETTING INTIMATE WITH 60 HUMANS.

outrageous dream copyrighted 1984

length: 41 minutes A SURREAL, VISUAL POEM OF FOUND IMAGES.

the nude cave

copyrighted 1984

length: 113 minutes

AN EROTIC, SURREALISTIC VIDEO DREAM THAT COMBINES NON-LINEAR IMAGES AND FRANK’S ORIGINAL MUSIC SCORE.

the outrageous beauty revue copyrighted 1980

length: approx. 30 minutes

THIS RAW VIDEO DOCUMENTS THE TACKY, MUSICAL, OVER-THE-EDGE COMEDY REVUE THAT FRANK CREATED, DIRECTED AND PERFORMED IN. THE SHOW RAN ON A WEEKLY BASIS FOR THREE AND ONE HALF YEARS AT THE MABUHAY GARDENS IN SAN FRANCISCO IN ADDITION TO A NUMBER OF OTHER NORTHERN CALIFORNIA AND NEVADA PERFORMANCES. FRANK PERFORMED ALONG WITH THE THIRTY PEOPLE WHO

MADE UP HIS THEATRE GROUP, “the theatre of human melting.”

out of isolation

copyrighted 1989

length: 105 minutes

A SURREAL EROTIC EXAMINATION OF AN INTIMATE RELATIONSHIP OF NEED. STARRING FRANK MOORE

OV \

books BY FRANK MOORE

caves A COLLECTION OF MANIFESTOS ABOUT eroplay AND ART.

PUBLISHED 1987 $5

art of living

A GUIDE TO DOWN-TO-EARTH SPIRITUALITY AS CHANNELED BY FRANK MOORE. PUBLISHED 1987 $10

cherotic magic PUBLISHED 1999 $15

OPS OOS OS

music BY FRANK MOORE’S CHERO COMPANY $5 each

i %, me

body music

copyrighted 1989

EXPLORING THE HUMAN BODY AS MUSICAL INSTRUMENT.

inter-rhythms

copyrighted 1989

PRIMAL MUSIC CREATED FOR FRANK MOORE’S RITUAL PERFORMANCES.

i coMelae(:) mer:]| Mme) miuataeh

frank moore

P.O. BOX 11445 BERKELEY, CA 94701-2445 (415) 526-7858

also available from S/R Press

war in heaven BY KYLEGRIFFITH $18

the spiritual revolutionary vol. | BOUND VOLUME ISSUES 0-9 $20

the spiritual revolutionary INDIVIDUAL ISSUES $3 SAMPLE ISSUE $1

to order write:

S/R Press P.O. BOX 60327 PALO ALTO, CA 94306-0327

PIA TOP T Ae ITIP LE APPZ DS SPOS SPOTL SS RETEST hore hk eX APL AES SEK A ere ST tae

. : AA ae 8 Se, oe? ‘ea « 7? iret Menage 4 yeettes” 4 J ee a I awe ast BS ' =

‘ sf: s Swe! Ys

@) 7] srosevenith eras. Y " eave i -— «ungated QVets. * saeras “8 :

y 4 bes ott YS seruavarstittltl ' (IAAN “SRA rs

pe

.@ |

ss J

es

po ly aay Ta eg

”, Sf; > 2 tis a€

TT}

Ar KAS ( | p/m / “s er hes | \x

THE CHEROTIC REVOLUTIONARY #1 JANUARY, 1992

TCR is edited by Frank Moore and Linda Mac, and published by Kyle and Luna Griffith. The art editor is Michael LaBash.

The price for this issue, and the next, TCR #2, is $5.00 per copy. We aren't taking subscriptions for more than one issue at a time, to avoid tying ourselves down to a rigid publication schedule or magazine size. We want to remain free to publish small issues frequently or larger issues at longer intervals and adjust the price accordingly, but each issue will announce the price of the next so readers can order it in advance.

All material is copyrighted 1991 in the names of the _ individual authors/artists. Material by the five of us on the editorial staff may be reprinted without advance permission -- but please inquire before reprinting material by the other contributors. Of course, we would like copies of all reprints from the magazine, and we'd also like to see copies of all reviews or comments on TCR.

We heartily encourage letters of comment from readers and will answer as many as we can. Please tell us if you don't want us to print material from your letter -- otherwise we will assume it's OK.

Please address all correspondence and orders for magazines to:

Frank Moore, P.O. Box 11445, Berkeley, CA 94701-2445

In This Issue ...

2. Frankly Speaking -- Frank Moore

5. The Black Sheep -- Karen Finley

8. The Psalms of Love -- Noni Howard

11. Succubus -- Tracy Mostovoy

14. Maxine and the Goddess -- Kyle Griffith

17. Cartoons -- Will of the Wisp

18. Nonlinear Bits -- Frank Moore 21. Cherotic License -- Luna Griffith 24. Correspondence -- Frank Moore and Brenda Tatelbaum 28. Answers to the Mail -- Frank Moore 30. Jack/Adelle -- Frank Moore 32. Broughten Fountain -- Jack Foley 35. Something's Going ON! -- Dorothy Jesse Beagle

Artwork... Michael LaBash: Cover, 3, 4, 7, 8, 12, 16, 20, 23, 29, 36 Photos... Tracy Mostovoy: 10, 13 Eric Kroll: 34

TCR #1 -- 1

FRANKLY SPEAKING Editorial FRANK MOORE

I AM PROUD OF THIS ISSUE. IT IS WHAT I HAD HOPED TCR WOULD BECOME...A MAGAZINE BY AND FOR BLACK SHEEP. KAREN'S POEM THE BLACK SHEEP DESCRIBES WHAT I MEAN BY BLACK SHEEP. WHENEVER I READ OR HEAR THIS POEM, I CRY. THAT IS CORNY. BUT BEING CORNY IS ONE OF THE MAJOR SECRET WEAPONS IN THE CHEROTIC REVOLUTION. CORNY IS BEING HUMAN. BLACK SHEEP IS FROM KAREN'S BOOK SHOCK TREATMENT, PUBLISHED BY CITY LIGHTS BOOKS WHO LET US REPRINT THE POEM HERE. KAREN TS USUALLY THOUGHT OF AS A FEMALE LENNY BRUCE-LIKE CHOCOLATE-SMEARED NUDE PERFORMANCE ARTIST KEEPING ME COMPANY ON JESSE HELMS' SHIT LIST. BUT I THINK HER REAL SIGNIFICANCE IS AS A POET IN THE TRADITION OF GINSBERG'S HOWL...HOWLING FOR A HUMAN, HUMANE WORLD.

I FEEL LIKE A HOST INTRODUCING MY GREAT FRIENDS TO ONE ANOTHER. GUESS THAT IS ONE OF THE PERKS OF BEING THE EDITOR OF A REALITY SUBVERSIVE MAGAZINE. LET ME CONTINUE TO TAKE YOU AROUND.

IF YOU HAVE SEEN THE FIRST TCR OR HAVE SEEN THE CHERO POSTERS, YOU KNOW LA BASH'S DRAWINGS. IF YOU HAVE COME TO OUR PERFORMANCES, YOU KNOW LA BASH AS MICHAEL (OR, BETTER YET, AS MIKEE), THE CURLY LOOK-ALIKE, A JOLLY MASTER WHO FARTS AND LAUGHS HIS WAY THROUGH LIFE. HIS DRAWING-POEMS GIVE TCR ITS UNIQUE LOOK.

HE, LINDA, KYLE, LUNA AND I ARE THE COLLECTIVE EDITORIAL WE THAT I SOMETIMES REFER TQ.

I FIRST PERFORMED WITH JESSE AND JACK WITH HIS WIFE ADELLE, ALONG WITH THE WACKY PERFORMANCE/POETRY BAND THE OUTPATIENTS, WHEN I WAS LOCKED OUT OF THE LAB, A BAY AREA GALLERY WHICH HAD BOOKED ME BUT THEN BACKED OUT ON ITS COMMITMENT. WE PERFORMED ON THE SIDEWALK IN FRONT OF THE LOCKED GALLERY FOR TWO NIGHTS. THAT WAS ABOUT THREE YEARS AGO. SINCE THEN, WE HAVE PERFORMED TOGETHER NUMEROUS TIMES WITHIN THE POETRY COMMUNITY, WHICH IS IN GENERAL MORE EXPERIMENTAL, ACCEPTING, AND OPEN THAN THE ART SCENE...MAYBE BECAUSE IN POETRY THE POSSIBILITY, AND HENCE THE PRESSURE, OF MONEY, FAME, FASHION, AND EVEN OF AN AUDIENCE/READERSHIP IS SLIM.

JACK IS A DRIVING FORCE IN THE BAY AREA POETRY SCENE, HAVING A POETRY SHOW ON KPFA AND EDITING POETRY USA. I WAS GOING TO TRY TO DESCRIBE JACK'S ART. BUT I HAVE DECIDED TO PUT MY POEM ABOUT JACK IN THIS ISSUE. THAT SAVES ME THAT IMPOSSIBLE JOB. BY THE WAY MASTER JAMES IN JACK'S POEM IS THE GAY (IN MANY MORE WAYS THAN SEXUAL) POET/FILMMAKER JAMES BROUGHTON WHO IS MAKING LOVE TO LIFE IN HIS POST-75-YEAR OLD ERA. JACK HAS BOOKED THE CHERO COMPANY AT MANY POETRY EVENTS. A PART OF OUR FUNCTION AT THESE EVENTS, SOME OF WHICH WERE VERY HIGH CLASS, WAS TO CALL FORTH A MAGICAL CONTEXT FOR THE EVENT BY SITTING NUDE IN THE AUDIENCE. ONE TIME JACK BOOKED US FOR A POETRY READING AT A CAFE WHICH INFORMED JACK THERE COULD BE NO NUDITY DURING THE READING..... SO THERE WAS NOT...BUT THERE WAS PLENTY OF NUDITY BEFORE AND AFTER. THIS READING EVENT IS THE SUBJECT OF JESSE'S POEM. JESSE IS ANOTHER OF THOSE SEXY BEINGS BEYOND AGE. SHE IS A BLUES SINGER, A COMPOSER, A WRITER, A PERFORMER, ETC.

IN FACT, WE HAVE QUITE A NUMBER OF CULT FIGURES REPRESENTED IN THIS ISSUE. NONI IS A COMMANDING FIGURE IN BOTH THE POETRY WORLD AND THE SEXUAL UNDERGROUND. BRENDA IS THE PUBLISHER OF EIDOS, THE MILITANT SEX PAPER. TRACY AND DIVIANA MAKE UP A REVOLUTIONARY ARTISTIC COUPLE. ERIC IS ONE OF THE NATION'S BEST PHOTOGRAPHERS...AND A SWEET GUY.

TCR #1 -- 2

AND WILL OF THE WISP JUST SENT THE CARTOONS BY THE MAIL. BUT THEY SPEAK FOR THEMSELVES.

THIS ISSUE MAY LOOK LIKE A POETRY ISSUE. IN A WAY, I HOPE EVERY ISSUE WILL BE A POETRY ISSUE EVEN WHEN THERE WILL BE NOTHING IN THAT CERTAIN ISSUE WHICH LOOKS OR SOUNDS LIKE POETRY. I HOPE THIS BECAUSE POETRY AT THE HEART IS AN ALCHEMICAL LANGUAGE REACHING OUT OF THE NORMAL REALITY INTO THE SUPER-NORMAL NONLINEAR REALITY IN WHICH THE CHEROTIC REVOLUTION, BOTH THE MAGAZINE AND THE MOVEMENT, EXISTS. BUT WE WILL NEVER DO THEME ISSUES SUCH AS POETRY, GAY, SEX, WOMEN, ETC. THIS IS BECAUSE THE THEME FORMAT IS A GREAT WAY FOR EDITORS AND GALLERIES (ETC.) TO KEEP CONTROL OF CONTENT, STYLE, POINT OF VIEW, AND THE ACCESSIBILITY OF THE COMMUNICATION CHANNELS THEY MANAGE. THE THEME CONCEPT ALSO FRAGMENTS BOTH PEOPLE AND DIALOGUE INTO LABELED BITS THAT CAN BE SHUFFLED IN AND OUT OF FASHION TIME. TCR WILL FOLLOW THE MAGIC WHEREVER IT NON-LINEARLY GOES. WE WILL PRINT WHAT WE LIKE, WHAT INTERESTS US...BUT WE PROBABLY WILL OFTEN PRINT WHAT WE DO NOT LIKE, ARE NOT INTERESTED IN. SO YOU WILL NEVER BE SURE WHY WE PRINT, OR DO NOT PRINT, SOMETHING. BUT YOU CAN REST ASSURED IT IS NOT BECAUSE YOU ARE IN A FRAMED GROUP.

WHILE WE ARE AT IT, WE CAN OUTLINE OUR FRAME OF COMMUNICATIONS. I WANT TO HEAR FROM YOU. MY ADDRESS IS THROUGHOUT THIS MAG. I CAN NOT PROMISE TO PERSONALLY WRITE BACK...BUT I MAY. BUT I MAY PRINT ALL OR PARTS OF WHAT IS SENT TO ME IN TCR UNLESS REQUESTED NOT TO. WE RESERVE THE RIGHT TO EDIT UNSOLICITED MATERIAL. BUT WE WILL NOT EDIT SOLICITED MATERIAL.

one Size only TOORDER | AERAWEARSE eal OR WRITE |

on ste ohiet INTER-RELATIONS

$3 PO.BOK 11445 ard BERKELEY, CA

and handling i 5 |

TCR #1 -- 3

Wy, %e- erway

Y

%, 4 0 im, % voaastis % g 4 i

\) COW

as , 4 “%, ‘ese (9) Bg, % on . °

r\g

ai ro] ass?

is I Hatt oe NX MIT Lt Lies

Nes

ZL

LIQ

= || am

7/7)

== ee Sy I) / 1 / > tee”

yl. i -

~ N, SEN /7 E

» iy ose

—_— —,

ult

Une

. *

Pink rit? .?, as

LEG * 2 oie i Gy Het Ae Tee ot a he MAL Ae

x ZV A Sew a ti

a (a ean areas Ren ea S PNG ©1991 LABASH

THE BLACK SHEEP by KAREN FINLEY

Copyrighted 1991 by Karen Finley Reprinted by Permission of City Lights Books

After a funeral someone said to me

You know I only see you at funerals

it's been three since June --

been five since June for me.

He said I've made a vow --

I only go to death parties if I know someone before they were sick.

Why?

‘cause -- 'cause -- ‘cause I feel I feel so sad ‘cause I never knew their lives

and now I only know their deaths

And because we are members of the

Black Sheep family.

We are sheep with no shepherd We are sheep with no straight and narrow We are sheep with no meadow We are sheep who take the dangerous pathway through the mountain range to get to the other side of our soul. We are the black sheep of the family called Black Sheep folk. We always Speak our mind appreciate differences in culture believe in sexual preferences believe in no racism no sexism no religionism and we fight for what we believe but usually we're pagans. There's always one in every family. Even when we're surrounded by bodies we're always alone. You're born alone and you die alone -- written by a black sheep. You can't take it with you -- written by a former black sheep.

Black Sheep folk look different from their families -- It's the way we look at the world.

We're a quirk of nature --

We're a quirk of fate.

Usually our family, our city,

our country never understands us --

We knew this from when we were very young

that we weren't meant to be understood.

That's right, that's our job.

Usually we're not appreciated until the next generation.

TCR #1 -- 5

TCR #1 --

6

That's our life, that's our story.

Usually we're outcasts, outsiders in our own family. Don't worry -- get used to it.

My sister says -- I don't understand you!

But I have many sisters with me tonight.

My brother says -- I don't want you!

But I have many brothers with me here tonight!

My mother says -- I don't know how to love

someone like you!

You're so different from the rest!

But I have many mamas with me here tonight!

My father says -- I don't know how to hold you! But I have many many daddies with me here tonight!

We're related to people we love who can't say I love you Black sheep daughter I love you Black sheep son I love you outcast, I love you outsider. But tonight we love each other That's why we're here -- to be around others like ourselves -- So it doesn't hurt quite so much. In our world, our temple of difference I am at my loneliest when I have something to celebrate and try to share it with those I love but who don't love me back. There's always silence at the end of the phone. There's always silence at the end of the phone.

Sister -- congratulate me!

NO I CAN'T YOU'RE TOO LOUD.

Grandma -- love me!

NO I DON'T KNOW HOW TO LOVE

SOMEONE LIKE YOU.

Sometimes the Black Sheep is a soothsayer, a psychic, a magician of sorts.

Black sheep see the invisible --

We know each other's thoughts --

We feel fear and hatred.

Sometimes some sheep are chosen to be sick to finally have average, flat, boring people say I love you. Sometimes Black sheep are chosen to be sick so families can finally come together and say I love you. Sometimes some Black Sheep are chosen to die so loved ones and families can finally say -- Your life was worth living Your life meant something to me! Black Sheeps' destinies are not necessarily in having families, having prescribed existences -- like the American Dream.

Black Sheeps' destinies are to give meaning in life to be angels to be conscience

to be nightmares to be actors in dreams.

Black Sheep can be family to strangers

We can love each other like MOTHER

FATHER SISTER BROTHER CHILD

We understand universal love

We understand unconditional love

We feel a unique responsibility, a human responsibility for feelings for others.

We can be all things to all people

We are there at 3:30 AM when you call

We are here tonight 'cause I just can't go to sleep. I have nowhere to go.

I'm a creature of the night --

I travel in your dreams --

I feel your nightmares --

We are your holding hand

We are your pillow, your receiver your cuddly toy.

I feel your pain

I wish I could relieve you of your suffering. I wish I could relieve you of your pain.

I wish I could relieve you of your destiny.

I wish I could relieve you of your fate.

I wish I could relieve you of your illness.

I wish I could relieve you of your life.

I wish I could relieve you of your death.

But it's always

Silence at the end of the phone. Silence at the end of the phone. Silence at the end of the phone.

RIGINALLY A shaman, O of 3 D

ni HE SHAPING. } aaa PHYSICS, MYTHOLOGY COVER BY LAB ASH.

S TECHNOLOGIE ING ae

ry

ox 11445

01-2445 (510) 526-7858

ions p-o © alirornia 947

inter-r elat perkeley: =

TCR #1 -- 7

The Psalms of Love

the unendurable magic of our making ourselves love.

> i es Ee Or LO ee wee eae your hands wispers of flames on my breasts TO THE PSALMS OF LOVE ae my belly heaves molten sweat runs from our tongues

The Summer before the Summer of our Saliva drips from our eyes.

Love it was 1966 and San Francisco was

about to experience the last obscenity

trial in its recent history. Lenore Kandel’s

“The Love Book” a series of four short all week i wear the mask

poems published by Stolen Paper Re- |: «3 of your kisses

view was the last of our erotic literary | |: ' my tongue so’full of love

masterpieces to be acquitted. The poem | °°. zi that when i smile

celebrates hetero-eroticunioninitsuni- |-.:°; && poems crack and all my words

versal and most sacred places, itevokes | (24/70: are lies.

our most primal rights. sae ag

“Psalms of Love” was originally inspired

by “The Love Book” and it in its own

language celebrates homo-erotic union

in transcendence.

long later i carry the pain of you hidden in my flesh, |

ee gaet * - fiate Bene AK ta Pe

. by

~ Ake ewe’ ve eens . . Se SK g

ne 8g 20k Me "hee ’ ’ , Sa es eal B < : oe tet afee NY

Oe \ Us C8 Scg ce woos eee, We bd ante he (ee bva

bd .

aa

ee

the smell of your hair on my neck

~ the fuck of you It is important to remember that “The my come dripping between your legs

Love Book’s” publisher Allen Cohen

was sentenced to two years in state

prison for the poem’s publication. |-°°. ">:

“Psalms of Love” although first pub- 7 ie . SURELY GOODNESS AND MERCY SHALL

lished in 1980 received strong criticism Pore FOLLOW ME ALL THE DAYS OF MY LIFE

from the lesbian and black communities AND I WILL DWELL IN THE HOUSE

as a racist, sexist and slave /master ori- OF THE LORD FOREVER

ented work. The poem was banned from | Stins3

a number of performances. oe sd ~ oe

This attitude still prevails. In the words

of poet Kenneth Rexroth:

your tongue in my mouth

you are gifted to know love to caress the warm air and make it

‘agiglas

whats), A te . whee. : J RPE 329 ces) ft - +} a 8 . °

ase aoe > ee * ve 3. by, Ne : a ° we. ‘<

Sal €

“Against the ruin of the world Ss ne flesh to blood

ar

there 1s only one defense... the creative act.” bd

deep and coming

sages

vee of,

Bees

ripe with desire and understanding so that sacrilege and profanity follows us

is all around us

seeking force to enter

the room with the altar

where you and i are holy

burning flesh to flesh.

Noni Howard/New World Press May 1991 ad

19D LABASH | oom

. - ¢ 2 rae a ' ° . , ~G ° . . pase b oe Oe Tangs

II

you lie under me

farther than mountains under clouds my wings pierce your smooth skin

i baptize you with my sweat.

my tears run into the rivers of your come my hands are full of you.

you are child beneath me crying for absolution i see your innocence and sadness i forgive you your sins. i have given you a new skin to open like doors; when i lay down the gifts i have brought you: my hands, my eyes, my lips you receive my offerings i give you no choice.

Iil

1 take off your outer skin

and you come naked to me

lay yourself down

upon my breasts,

1 rock you to sleep

1 sing songs in your flowing veins i exhaust the day from you

and make it ours.

you are a thousand miles

below me

1 Carve out new patterns in your

aching flesh:

mountains, waves, whole trees and treacherous valleys open to my touch.

with my tongue, my hands my lips

1 give you this act

of worship.

you are mine. you have no other gods before me.

IV

you have no name but mine repeat it.

see it shine before us between us

let it spill off our tongues into our mouths

together.

i have built a great fire and placed you in its numinous light.

you are the altar

the holy place

that i consecrate

for my enjoyment.

you are the scabbard of my pleasures the blood lust

the sea salt of my mother

the one breasted god that we

breast to breast

make whole.

repeat it. repeat the names of god.

Vv

i draw the knife of my thought over your throat and suck you into me.

you become my blood the rivers of your fears flow into me.

1 bind you with my mind your body incarnate i fashion with my hands.

the upturned breasts perfect as alabaster,

the soft belly moulded

by desire,

the swelling lips full to receive my blessing.

turn and let me admire you. turn and let me see what i have done.

Copynght 1980 Noni Howard

ow Sele “6 oe ve” er fe er ‘ ' ; @ ¢# © e

Ye € @ @ 2h ee He Ss [ a a) oe + @ ‘we @ @ f 2 Ce ee im) oe «© @ © Oe € eS @@a22@e@eecdcee#@ 1 > mo o# 6 t+ @ 6 6 6 F ® +s @ ®& ae Fi ‘+ g 66 8 @ee¢ » @ & | & Me kc eo [ ee) ae Ve | ae ic eh: Ber oe yi ae we ar or) “A oe Kee yw wm ee he i; © or OL ee FP .* 9 4%a%e” CE Oe e *« @ is soho 7 e@ee@een#eesk aw @ @ en (ax o + & © @ CT ee °¢@ 1S. SF Ge oe F Pn? 5 ?n® TX ae Oe a & @ } id ge Oe on Ce Oe OM Oe re we : @ te # es op srocere’o* @.9%. orang" : § Ye. <6 ® ' ‘et Sa ee ee f R a me ) | e- 9 & [ a & Cm ee ee \ “6 6 4 rc) re we | D> © 1 of 1h @ Te Oe ee ! :? €,3 © @€@e0en0t 60 ¢ oe @ _) i, OF geo eaneeeer@e See ‘ gare e@enarn @ece @ i © “+ #8 rr x me eee ees ®@ a) * 6 @ 3 oe ee an) + 6 6 @8e é co - | oe C ee Oe ® ee oe @e-+e a-” ' @ 4 Ce ee e ‘

' ee ee | ®

oe | ae oe ee ) ®

’ ¢ @@e * eg

¢ eo ®@

6 Cm x me . ee 1 0 f Cr ee 4 @ » 4 @ sO) e ' @ 8 @ 86 & 8 6 Saf ate een” s

' ~ @ ee ee ee ee ee @e@e ® 8 0 (oS @@eeeeoereveene @2eOoe? &@ @ Ci KX » St «¢ WY © _¢_2 AF Pe AP hw eae eee Ay ee aoe e -6 ' 6 0 Ms @2u @2G¢C°H CHC HEaA EAHA + @ GE C @

o * @ a Ca Oe ee oe a eee o’e"s s ee e« ° \eW

Ce

& a "4 we wi aera" es *@2e 6 # @& orienta oes a ?

' ry 6 ( -£

: =

a

| @ Bee MA

=

we) oes & 8 , ee SP PEL P ESOS a ewe eee e@ ,

- =

+ a)

a ee ee Oe

‘ @ @ @ SASS My wtetete's ° ) ' ; & oe &@ @ : ad e"e ay i)

~

yu © - =

| rm

=- > ca a & . AN a} se = > a as > =

. os

a

=

“

ee ~ - 8

~a

se ee Bea eqs ce &

5

ti tein detiodoe +" ® @ @ e a 8

.] %

>= ee 2 « ® ge

e

» > - . ; ‘ » «.u = Poe Oe a ee CE Oe ™ a) Ca @. O74 es B Cte 10 Gee. er. sts: ae ae per Be Fa eco Pures

@ B @ ee ee e @ 9

e , es , -_ @« @ a oe See ee ee ee Oe ee Oe oe er cow 9 O08 879 XO OS 8 C8 & «6. OO oe Ot oe es tae > @ . en)

Ce ee ee ee ee ee ° eo @«~ Pg C a 2 ee ee SS oe,

o 2@ t » , ee a oe Je) | oe oe @ .t.\. @ e ® e ak me ne ®

“ e

SUCCUBUS A Video by TRACY MOSTOVOY Description by KYLE GRIFFITH

The Succubus dances seductively in a doorway: "Christian abhorrence of sex began with the Fathers of the Church, who insisted that the Kingdom of God on Earth could not be established until the human race was allowed to die out through universal celibacy." "For many centuries, the Church insisted that orgasms in women were unseemly and devilish."

Two androgynous faces are linked in an "open-air" kiss -- tongues extended all the way out and twining around one another like snakes: "Saint Augustine pronounced’ that 'Sexual intercourse is never sinless, even within marriage.'"

The nude Succubus peeks out from behind rock formations in the Grand Canyon, as tourists go by on mules: "Saint Peter said, ‘Women are not worthy of life.'" "The Goddess of Love, Aphrodite, La Mere, Marina, represents both beauty and wisdom. All women serve in the temple of love."

A neck-to-knee shot of the nude Succubus carrying a small bouquet of pink flowers: "In the Christian view, women brought death into the world. Sex perpetuated it."

A man masturbates, leering joyfully into the camera: "St. Jerome ordered, ‘Regard everything as poison which bears within it the seed of sensual pleasure."

The Succubus bares her breasts in front of a ruined adobe chapel, a large white cross looming threateningly over her head: "Officials of the Inquisition taught that women's carnal lust was. the cause of Witchcraft and Satanism."

In the driver's seat of a car, the Succubus kisses her lover's breasts: "Clement of Alexandria pronounced, ‘I have come to destroy the works of the female. Every woman ought to be filled with shame at the thought that she is a woman. '" |

The Succubus draws sensuous patterns in lipstick across her torso:

"Pope Paul VI, in 1976, pronounced masturbation ‘a

grave moral disorder,’ and that ‘only the finality of procreation' could ensure the moral goodness of sex."

TCR #1 -- 11

Preening in front of a dressing-table mirror, the Succubus touches her body playfully: “In the temple of the Goddess, the sacred ritual of mating with the opposite sex did not exclude from worship pleasure among women -- lesbian sexual practices were employed to dispel evil, to heal, and prophesy."

The Succubus spanks herself with a flyswatter: "Patriarchal religion was devoted to_- the

destruction of the sensual female nature. Women's sexual desire was considered detrimental to the marital relationship."

Lesbian lovers embrace in a shower: "Sinibaldi said no woman could conceive if she

enjoyed sex."

The Succubus does a sensual dance down a long hotel corridor: "The Goddess was regarded as the patron deity of sexual love. In the worship of the female deity, sex was her gift to humanity. It was sacred and holy."

"SUCCUBUS" was written, produced, and filmed by Tracy Mostovoy and edited by Diane Mele. Diviana Ingravallo stars as the title character. The video had its world premiere at the Highways Gallery in Santa Monica on June 28 through July 5, 1991 as the introduction to Tracy and Diviana's multi-media performance piece "NAKED WOMEN."

eee? eeeeoeseeeeeesese7eeeeeeee8eeeee @ @eeeseeoeeoeeseeeespeseensneveeeseeeeee eee 8 @

“ANAKED WOMEN" will be performed at The Kitchen in New York City” on ‘ . December 12 through December 17, 1991 and at the Theatre Rhinoceros in . .» san Francisco in June, 1992.

FRANK MMoene: 5 VADSIONS VU

WiLL CaRRY U W124 BEHIND THE Veil gr BURRIS CT SR TE J pasbions CaN Regus Macic es Sins

Mays: Cy S . *. eLats Pia 3202¢ 2 Sen, . cS AY Jey et, be ;

bad ry . os Ld 5 . t+ 2 CA pay ond I eee 4 ESS) Py \

eae 4 a MATRIONS RECOMMENDED ; RO) E RCADERO -RESER a, (Gp de 3858

bee See foe enews

SSS diniog ie ear ae:

AS NICHE ataaeee

ees zy tia

3 ee

TCR #1 -- 12

—_—-—- —_—-— <<

*_.* e* AAA NOISS|

o*e*s*%*ere?

? Jiid

s*,*? #7)

1iSKYD

Ss

v eo i ’ i

-

a

ss? i

*“e*teOy* »* »*yy (saan eee

NOISIA TY

‘ *

. e — > . » . » . >

TIVH ALID

y!

~*

Aoaoysop Aserzy Aq so.0yg

MAXINE and the GODDESS by KYLE GRIFFITH

The way in which a work of art helps shape the viewer's personal reality is extremely complex and non-linear. I've always been aware of this, of course, but my recent experience with writing a critical analysis of the multi-media performance piece "Naked Women" by Diviana Ingravallo and Tracy Mostovoy has, I think, given me some new insight into the whole concept of "archetypes" and the way they affect life.

The main archetype used in the piece is the symbolic division of the phases of a woman's life into the three aspects of the Triple Goddess: virgin, mother, and hag. But Diviana's character "Maxine" does not live a typical life. We first see her in a vagina-dentata costume, having what is eventually revealed to be a daydream about turning into a vengeful avatar of the Goddess and sexually devouring the men who leer at her as she dances in a strip-club. In the second part of the scene, she describes her day-to-day life as a stripper and her relationships with various people: the men in her audiences, the other strippers, and her lesbian lover. In the second scene, She is an S&M mistress, invoking images of Kali, Goddess of Destruction, as she describes her interactions with her clients. Finally, the third scene shows her as a prostitute, walking the streets and engaging in fantasies that border on madness, no longer able to tell inspirational thoughts about the Goddess from mere wishful thinking.

The entire monologue is a mixture of utter realism with symbolic fantasy -- alternately linear and non-linear, as poetry often is. This mixture of linear and non-linear reality is greatly heightened by Tracy's slides, which are projected on the wall behind Diviana at intervals throughout the show. Some are completely realistic -- for example, a series of shots of men under bondage and torture in an S&M dungeon. Others are blurred, distorted, or flashed too fast for the eye to fully register -- especially a number of lesbian-erotic shots. And the appearance of the Slides in relation to what Diviana is saying in the monologue is carefully timed to produce a complex, non-linear effect.

Maxine's monologs, alternating between her archetypal fantasies about the Goddess and vivid descriptions of the -- often sordid -- details of her own life are heavy with irony and a basic sense of hopelessness and frustration gave me a powerful feeling that Maxine often misused the Goddess archetype and ended up creating a reality for herself that was essentially negative and destructive. For example, the "vagina dentata" daydream is just a fantasy about the revenge the stripper would take on the men in her audiences if she only had the power of a goddess to turn the destructive potential in their exploitative lust back on them. And when Maxine starts talking about her actual on-stage relationships with these men, it becomes obvious that she herself actively and consciously contributes to creating the cycle of mutual contempt and loathing by allowing herself to indulge all of her own negative feelings while performing.

Since she makes her living by turning men on with her strip-performances, but isn't sexually attracted to them, the healthy way to react to their lust would be to repress her negative feelings about it as much as possible, and especially to conceal these feelings from her audience. By indulging these feelings and openly treating the men with contempt, she is helping create a social reality that perpetuates the concept of "sex as conquest and exploitation." And she's completely aware of this, because she says, "Tom is a go-go bar addict, and I'm a notorious co." So she's allowing herself to perpetuate the problem by refusing to control how she expresses her inner feelings.

TCR #1 -- 14

When the same analysis is applied to the mistress, it appears on the surface that Maxine has learned this lesson, but her dialog proves that she hasn't. Her overt behavior on stage is now completely appropriate to the situation -- her clients have come to fulfill a desire to submit to a dominatrix, and her contempt for them contributes to this. The men she dominates come away from the sessions feeling they got what they asked for -- she doesn't frustrate them the way she did her audiences as a stripper, so she's not actively being a co-dependent for addiction -- but from her own viewpoint, being a mistress is just as frustrating and exploitative as being a stripper.

The client gets what he wants out of being a slave for a brief period, then goes back to his regular role in the male-dominated "real world" after receiving a form of psychotherapy to keep him from going crazy over the guilt generated by being an exploiter, but the mistress isn't really getting anything out of the process except money. Being an S&M dominant doesn't work to liberate one from the desire for power -- if there's any effect on the personality, it tends to be the reverse. Maxine's fantasies remain essentially the same as a mistress as they were when she was a stripper -- she still wants revenge for wrongs done to women, still creates mental images of a flesh-devouring Goddess. And she remains just as aware of the essential irony of the situation, as when she says, "I am so forever in their debt for giving themselves to the Goddess during their lunch-break, before they go back to working for God." As I watched this scene, I kept hoping she'd realize that, instead of wishing that she could actually maim or kill these men, and fantasizing a monster-goddess to do it for her, she would be much better off realizing that she, too, could empower herself through "switching" and becoming a submissive some of the time (a common practice in the professional S&M community).

By the time Maxine has become a prostitute, her fantasies have become so mixed up with her opinions about realities that she obviously can no longer discriminate between them. She is the Goddess, she is Mary Magdalene, and she is equally the burned-out old whore who can genuinely believe that in a few days she'll be off the streets and turning her tricks in a mansion in Beverly Hills. This is the reality, both on the earth plane and in her fantasies, that her actions have created over the whole course of her life. She continues to Survive, and she still has the capacity to love and to enjoy life (to some extent, though we in the audience don't know how much from the brief glimpse we get of her), but it's easy for an observer to conclude that both her personality and her whole quality of life have degenerated from the way they were when we first saw her as a young stripper.

Maxine is at her best -- in terms of personal happiness and being in contact with reality -- in the first of her guises, as the stripper. For example, when She describes her relationship with her lover while artistic slides of lesbian erotica flash on the screen behind her; and when she talks about the positive, Supportive relationships between her and the other strippers. When she takes on personal responsibility, she creates an image, an archetype, of the Goddess within herself that gives her more power to control her own destiny.

The best words I can find to approximate the non-linear message "Naked Women" conveys to its audience are: "Yes, there is something of the Great Triple Goddess of mythology in every woman, and yes, she has great power against male-supremacist religion and all of the authoritarian, exploitative social institutions it has created, but be careful. The Goddess, like any archetype or role-model, is something you create in your own mind as you use your existing knowledge about the concept (learned from mythology and other outside sources) to generalize from your life-experience and frame a personal myth or world-view.

TCR #1 -- 15

So when you create your own personal Goddess, be sure she's somebody you want guiding your life from here on out."

SPIRITUAL REVOLUTION PRESS Box 60327, Palo Alto, CA 94306-0327 '

Re Publications on the cutting y 1.

we edge of spiritual, political, a & artistic radicalism. | War in Heaven by Kyle Griffith Cherotic Magic by Frank Moore

+ newsletters, audio & video tapes.

fs on free on DoW

7 ©, i {to P Pip) \ } ert a o anal

TCR #1 -- 16

va kK

“ANSWNZLHOONA GH WSU SHH SUBHLEUY WO JO Ano YASRLONY LANNO Y NI 25-9

TE

AAO7

SANIT) NWA | dsim ayt Jo [IM AG

NONLINEAR BITS by FRANK MOORE

AN NONLINEAR POLITICAL COLUMN.

WE WENT TO THE MOVIES...PASOLINI'S ARABIAN NIGHTS AT BERKELEY'S ALTERNATIVE THEATRE. EATING CANDY, DRINKING COKE, RUBBING EACH OTHER, PLEASURE MAINTAINED ALMOST UNTIL THE END OF THE MOVIE, THEN QUIET COMING, THRILLING GENTLE PLEASURE EXPLOSIONS. JUST AN ORDINARY NIGHT AT THE MOVIES. IT WAS FAR AWAY FROM THE BRAVE NEW WORLD MORALITY COPS IN FLORIDA WHERE A GROWN MAN CAN BE ARRESTED AND LOSE HIS CAREER FOR JACKING OFF IN A SEX MOVIE THEATRE...WHERE IT ISN'T SAFE TO MAKE LOVE IN YOUR OWN BATHROOM OR BEDROOM BECAUSE YOU CAN BE ARRESTED, LOSE YOUR HOME, AND BE HUMILIATED...WHERE PEEPING TOMS WITH VIDEO CAMERAS ARE HEROS AS LONG AS THEY ARE ANTI-SEX AND HIDE BEHIND CHILDREN.

YES, OUR PLEASURE AT THE MOVIES WAS FAR AWAY FROM THE STATE OF MIND CALLED FLORIDA. RUBBING FOR ENJOYMENT, JUST LIKE EATING POPCORN. TAKING PUBLIC REALITY BACK INTO PERSONAL REALITY IS THE MAGICAL EFFECT OF SUCH PUBLIC ACTS, WHICH ARE MADE INVISIBLE TO THE SURROUNDING REALITY BY THE PERSONAL EVERYDAY NATURE OF SUCH ACTS, INSTEAD OF BEING REACTIVE CONFRONTATIONS. THE REASON CLOSEST TO THE SURFACE FOR SUCH ACTS IN PUBLIC PLACES IS THE PHYSICAL EXPRESSION OF ENJOYING OF FRIENDS AND LOVERS AND HUMANS JUST BEING TOGETHER. BUT THESE INVISIBLE PRIVATE/PUBLIC ACTS OF PLEASURE BECOME A POWERFUL FORCE FOR EFFECTIVE POLITICAL/SOCIAL/CULTURAL CHANGE WHEN THEY COLLIDE ON THEIR OWN WITH LIFE-DENIALS SUCH AS THE FLORIDA STATE OF MIND. THE EFFECTIVENESS OF SUCH PERSONAL PLEASURE ACTS, WHICH ARE IN REALITY SEXUAL OR CHEROTIC MAGIC, IS IN THE FACT THAT THEY ARE NOT REACTIVE, CONFRONTATIONAL, OR AN EXHIBITION OF SPECIALNESS OR DIFFERENCE...NOT WRAPPING OURSELVES IN THE GLAMOUR OF BEING KINKY, PERVERTED, OR EVIL AND THEREBY FALSELY CREATING OURSELVES INTO AN ELITE ABOVE THE COMMON HUMAN. BEING REACTIONARY ALWAYS CHAINS YOU TO THE OLD REALITY TO WHICH YOU ARE REACTING.

INSTEAD, THESE ACTS OF PERSONAL MAGIC ARE CREATING THE ALTERNATIVE REALITY WHICH WE WANT, RECLAIMING FREEDOM BY ACTING FREE, CALLING FORTH YIN ENERGY BY USING YIN ENERGY. THE FACT THAT THE FEMINIST MOVEMENT IN THE 70'S AND 80'S ON THE WHOLE DIDN'T USE THIS CHANNEL OF CHANGE CREATED LIMITS TO THE TRANSFORMATION OF GENDER,

TRACY'S DOING HER "NAKED WOMEN IN PUBLIC PLACES" PHOTOGRAPHIC SERIES IS ANOTHER EXAMPLE OF THIS RECLAIMING PUBLIC REALITY, RETURNING IT TO PERSONAL FREEDOM. WE HAVE DONE THESE RUBBING GOOD FEELING ACTS OF HUMANNESS AND SUBVERSION AT BASEBALL GAMES, IN THE MIDDLE OF THE SIDEWALK IN THE AFTERNOON, ON TRAINS AND PLANES. FOR MONTHS, FIVE OF US SAT IN THE MIDDLE OF A COFFEEHOUSE, PLAYING CARDS, DRINKING COFFEE, KISSING, RUBBING ONE ANOTHER INTO A PLEASURE TRANCE. JUST EVERYDAY HUMAN LIVING. BECAUSE OUR ATTITUDE TO OUR PLAYING IS THAT IT IS JUST EVERYDAY HUMAN LIVING, WE WERE INVISIBLE. NO ONE SAW, NOTICED, OR COMPLAINED. BECAUSE THE ART OF INVISIBILITY IS TRICKY, I AM STOPPING SHORT OF ADVOCATING SUCH RADICAL ACTS UNLESS YOU ARE PREPARED FOR ANY OUTCOME. SUCH INVISIBLE ACTION DOES NOT HAVE TO BE AT THIS DEGREE OF REVOLUTIONARY INTENSITY TO BE EFFECTIVE. EVERY TIME YOU KISS OR HUG OR LAUGH OR SMILE QUT IN THE "PUBLIC" WORLD, EVERY TIME YOU WEAR COLORFUL SEXY REVEALING CLOTHES, OR DO NOT WEAR A BRA (OR JUST WEARING ONE), OR ANY LUSTY JOYFUL ACT, YOU ARE PERFORMING A VERY POWERFUL MAGICAL/POLITICAL ACTION OF WHICH EFFECTS CAN NOT BE DELETED BY ANY LINEAR MEANS.

TCR #1 -- 18

I CANNOT LEAVE THE FLORIDA STATE OF MIND WITHOUT COMMENTING DIRECTLY ABOUT THE PAUL REUBENS' CASE. I HAVE BEEN SEEING FREE PEEWEE BUTTONS AND SHIRTS. THEY DID NOT ARREST PEEWEE. THEY ARRESTED PAUL. CBS USED THIS FALSELY COMBINING THE ARTISTIC CREATION OF PEEWEE WITH THE REAL PERSON PAUL WHEN PULLING THE SHOW OFF THE AIR. WE DO REUBENS NO FAVORS BY CONFUSING THE TWO REALITIES. CBS DID NOT CAN THE SHOW FOR ANY LACK OF QUALITY OF THE SHOW OR ANY LACK IN THE RATINGS. THEY CANNED THE SHOW BECAUSE THE MAN PAUL DID WHAT HE HAD A RIGHT TO DO...GOING TO A SEX MOVIE AND JACKING-OFF4...AND GETTING CAUGHT BY THE MORALS PEEPING TOM COPS. THEY CANNED THE SHOW BECAUSE THEIR PRODUCT HAD BEEN DAMAGED BY HUMAN SEX LIFE.

MY READERS WILL HAVE NO TROUBLE IN SHARING MY RIGHTEOUS OUTRAGE SO FAR. BUT THE HARD PART IS COMING. WHAT HAPPENED TO REUBENS HAPPENED TO ANDY ROONEY AND JIMMY THE GREEK NOT SO LONG AGO. THEY WERE FIRED AFTER THEY MADE RACIST STUPID STATEMENTS, NOT DURING THEIR PROGRAMS, BUT IN THEIR PERSONAL LIVES...WHICH, IF I AM NOT READING THE BILL OF RIGHTS WRONG, THEY HAVE THE RIGHT TO DO. THE NETWORKS FIRED THEM FOR THE SIN OF POLITICAL INCORRECTNESS, FOR DAMAGING THE CORPORATE IMAGE. I DON'T KNOW ABOUT JIMMY THE GREEK WELL ENOUGH. BUT I KNOW ROONEY COULD HAVE BEEN FIRED LONG AGO FOR INANE ON-AIR COMMENTARIES. BUT WHEN BUSINESS, GOVERNMENT, OR POLITICAL OR RELIGIOUS MOVEMENTS (BIG BROTHER IS BIG BROTHER NO MATTER WHAT FORM IT TAKES) CAN FIRE ANYONE FOR ANY FORM OF SELF EXPRESSION IN HIS PRIVATE LIFE, FREEDOM ITSELF IS KILLED FOR ALL OF US. PEEWEE DID NOT JACK OFF IN HIS PLAYHOUSE. THE ADULT REUBENS DID WHAT HE DID IN HIS PRIVATE LIFE.

THE CHEROTIC REVOLUTION IS AN EVOLUTIONARY MOVEMENT, AN ANARCHISTIC WAY OF CHANGE, IN WHICH THE SINGLE PERSON IS THE CENTER OF CREATIVE FORCE. THIS DEMANDS THE EQUAL ACCESS OF AND TO ALL IDEAS. THIS EQUAL ACCESS IS NOT A REALITY AS OF YET. THIS IS PARTLY BECAUSE OF ECONOMIC AND MEDIA MONOPOLY AND CONTROL. BUT THE MAIN REASON FOR THIS LACK OF EQUAL ACCESS OF AND TO ALL IDEAS AND IMAGES IS THE TRYING BY ALL SIDES TO PROTECT THE INDIVIDUAL FROM BAD, HARMFUL, WRONG, SINFUL, SEXIST, RACIST, OR OTHERWISE INCORRECT IDEAS AND IMAGES. SO INSTEAD OF DEMANDING EQUAL ACCESS TO THE MEDIA, AND HENCE TO THE MINDS, EVERY SIDE IS DEMANDING THE BANNING OF THE "INCORRECT" IDEAS AND IMAGES. SO, FOR AN EXAMPLE, INSTEAD OF DEMANDING EQUAL ACCESS AND COVERAGE IN THE PUBLIC SCHOOLS OF ALL RELIGIOUS AND NON-RELIGIOUS PHILOSOPHIES, THE SUBJECT IS A TABOO IN THE PUBLIC SCHOOLS. THE UNDERLYING PREMISE OF THE CENSORING PROTECTION IS THE INDIVIDUAL IS NOT STRONG ENOUGH OR WISE ENOUGH TO ULTIMATELY EJECT BAD IDEAS. FRANKLY, I NEED PEOPLE LIKE JESSE HELMS. IF THE IDEAS, MAGIC, AND REALITY WHICH I REPRESENT ARE NOT STRONG ENOUGH OR ATTRACTIVE ENOUGH TO SURVIVE IN AN EQUAL REALITY BATTLE OVER THOSE WHICH ARE REPRESENTED BY HELMS, THEN WHAT I REPRESENT IS NOT WORTH SURVIVING. I WILL ONLY FIGHT HELMS DIRECTLY WHEN HE TRIES TO DENY US ACCESS.

I SEE BY THE CLOCK ON THE COMPUTER SCREEN THAT IT IS TIME TO GO...AND I HAVE NOT ADMITTED THAT I AM A LESBIAN IN A MALE BODY...OR WRITTEN ABOUT THE DENYING PERSONAL CHOICE BY FORCING PEOPLE OUT OF THE CLOSET AGAINST THEIR WILL BY SOME GAY PAPERS...OR ABOUT OUR BOYCOTT OF BLOCKBUSTER VIDEOS AND BRAVO CABLE NETWORK FOR CENSORING PRACTICES. MAYBE NEXT TIME.

IBECAUSE OF THE SEX IRON CURTAIN, WE REALLY DO NOT KNOW WHAT REUBENS ACTUALLY DID OR WHY HE DID IT.

TCR #1 -- 19

e . . . . . . . . . . - oe 3 . . . . . . . ; . + . . . “* . < * . . . “ . P, . . » , . et, . ai e . oe f

i in

NTO

v, ( Des

lea, >

\Y Wyn AAS.

eaerseses

i

\ a BA ’ MW syquaana gat P= -

NM

) iit si

4%, Vite % ftbeccscuste S's

? Oy, ~ 4 wee = * . . > a 5 7s oe %, NINES eee

eg

APY YEN) RSS

BL\\Y \\\ x : , SX

> ROSES

2M

SVM

%. AA W

og oon . ne y ° os “oo os e < * pqititr.’ ¢ f . - 3B: ADU Cae ‘. 2 “No a } Vin N a %, 1 Pe o sles "

ite a oe 4 Toa, ) File @ VO A oN) POY Ot

CHEROTIC LICENSE by LUNA GRIFFITH

I'm postulating that "cherotic license" is directly interconnected to the natural force of evolution. Chero = chi' (life force) + eros (love, beauty, sensuality). When defining Chero we can't limit ourselves to the contemporary (and often cynical) definition of erotic, but we can't exclude it either. We have to assume that a cherotic license works just like any concept of "license" (both in the sense of "poetic license" and in the legal/social sense of permission to do something) in that it can be taken away from someone who misuses it.

If it is true that cherotic license is directly interrelated with the evolutionary force, then we can also postulate that it follows the basic rules (ideals) of “form and function" -- the natural law that says the giraffe developed a long neck because it was always reaching up to eat tree leaves. In other words, that people who use their cherotic license will find life more fulfilling and ultimately more real, which takes them further along the scale of evolutionary development. And also that we as cherotic artisans are acting as agents of the evolutionary force each and every time we push forward the limits of our cherotic perception.

For the time being the accepted truth is that "beasts abstract not", and that it is often an understatement to say humans do. While our use of imagination does set us apart from the nonhuman life forms, our imagination can function even if we are not interconnected with the evolutionary force. We can see the evidence of this around us -- people using their intelligence to create industry that poisons them with pollution, etc.

Recalling Plato's "divided line," the realm of "Imago" is the lowest and least desirable state of consciousness to live in, compared to the realm of the "Logos" that is in harmony with "The Architect" (the evolutionary force). Of course, Plato makes a distinction between the imagination and the Logos, but for all practical purposes, we can only perceive the Logos with our imagination ... that is, if we can perceive it at all.

Peter Stenshoel writes in "The Nature of UD": "...I am not condemning popular art. I am pointing out the danger inherent in allowing popular art to take the place of the far richer antecedents each culture brought with it. Pop distills from the artist the essence of unsatisfiable desire! ....the nature of pop culture today: the very disposableness of it; indicates a lack of faith in nor concern for the future, and this bodes danger."

If we can use the imagination in harmony with the evolutionary force and be responsible enough to reject the seductions of the UD force, then we'll at least be on the right track. But how can we know when we are awake and creating reality, and when we are merely dreaming, creating a casual self-delusion through wishful thinking?

— Qne might call the dividing line between reality-creation and wishful thinking (which is also the boundary between Plato's Imago and Logos) the "PC Rubicon." People who think their exercise of cherotic license has to fit their existing definition of what is "politically correct" automatically create a Rubicon that can never be crossed in reality. A Rubicon that is entirely within

TCR #1 -- 21

the realm of mesmerism, illusion and mind-control. A Rubicon created and delineated by total insanity.

Later in his article, Stenshoel goes on to say: "...Now, something must be Said about the origins of UD. As a force, UD is quite real. Remember what we said about UD art (popular or disposable art) is brought on by the voice that always looks for gain. That voice is a victim, or adjunct, of UD. Because, in never being satisfied, that psychological construct, or voice, looks to more, bigger, and better, for relief. And, in doing so, creates more UD. The cycle is a tornado or whirlpool, and very hard to break. In fact, it hasn't ever been broken since its start-up in modern times. It has been slowed, and there's a good chance it can be driven away, but unfortunately with probably much cost. The force can be personified only to the extent that the force holds in its sway personalities. It's real people doing things they shouldn't. However, the phenomenon is best seen as a naturally occurring phenomenon, such as a tornado. Eventually, the winds change. The destructive force dies down. In the meantime, however, one can be sucked into the destructive cycle."

The most common way people get caught up into the UD cycle is by letting their natural desires become obsessions. Instead of merely wanting to feel youthful and vigorous, they become believers in a cult of eternal youth. Instead of simply wanting to look their best, they become obsessed with abstract concepts of beauty. Instead of wanting material things so they can enjoy them, they turn to desiring the abstraction "wealth."

Eventually, they fall totally under the control of this UD insanity and its inevitable consequences: perfectionism, classism and the need for dominance in everything they do. One of the easiest ways to identify people with this “UD disease" is their preoccupation with the regulation of bodily functions -- their own and everyone else's. This is the true origin of the present “health consciousness" fad -- it's really just an obsessive pursuit of unsatisfiable desires.

And this, in turn, leads people across the PC Rubicon, into endless debates over who is a politically correct "real" human and eventually into a form of self-inflicted genocide or slavery. Or better yet, let's call a spade a spade - - it makes them totally suicidal, but always in ways that are "PC," such as "eating disorders," “substance abuse," “occupational stress," “relationship dysfunction," etc. In the big picture, everyone in this category is out of contact with the evolutionary force. The only alternative is to avoid the PC Rubicon and cross the boundary into Plato's Logos.

Here's what Peter's sources have to say about this: "...In the meantime (while this destructive cycle is still collectively in motion), try to become as eclectic as possible -- study everything, or shall I say, enjoy everything. There's no need to stop absorbing pop art. Only ask yourself, like Zippy, ‘Am I having fun yet?' Is a piece of art providing you with fulfillment... or just a sense of unsatisfiable desire? Will you want to peruse this art again in ten years... twenty? Is it an authentic product of human hearts and minds or is it a product calculated to produce a better-looking sale chart for some UD-driven executive? The more UD he can sell you, the more UD he'll crave, and consequently, the more UD he'll create to sell you. Don't get stuck."

Human imagination is dangerous and should be treated in the same manner that everything non-linear and "yin" should be treated -- it is a powerful magical force that automatically creates reality whenever it operates. Seeing imagination in this light should also make us realize that it may have functions

TCR #1 -- 22

and a purpose that we are unaware of. It may have timing and cycles and needs that we have not synchronized with. It is common knowledge that the mind, through the use of the imagination, can bypass commands in the brain in order to get the body to do something. For example, the imagination can conjure up an erotic ideal that then tells the body to respond with sexual excitement, completely bypassing the need of any of the five senses to have physically sensed the erotic ideal -- no pheromones or heat-cycles necessary.

It may be true that "the unheard melodies are the sweetest, " but if we agree with this, then we must qualify what realm we are in when we "hear" them. Continuing to use Plato's divided-line, one would say that if you have not reached the Logos, if you are merely fantasizing about the melodies within the realm of the Imago, then what you are doing is entirely in vain. But if you are in the Logos, your imagination can truly work magic, can create reality instead of illusion.

This is what "Cherotic License" is really all about -- allowing yourself to let go of your preconceptions of what reality fits your "desired ideal" (which is always, simply by being idealized, also unsatisfiable) or your idea of what is "politically correct" (which is always a product of the Imago). Your cherotic license will take you places much more exotic than any "UD" obsession could -- beyond the realm Plato calls the Logos, into what Cherotic Magic calls the "Web of All Possibilities."

\) at ?

sie erry al Os

anne p Sy O

e i Wg Ae: = poses Paget: : AY i . aS ‘| Ra @& \) ; YW GS mm Ae a tity

\ y

i ; \\ SS . fu \ ’ ; “ , A : 7 a: - . w ‘ uv ve" yy : * te 7 ‘ Use Z fa v™ : ae oe: B. y \ / a7 \ +. 4 a ° ; a 2 + 7 ry fis s Yy : : is : <5 Ba non ONY Ki ee fe i ; Z 8 & A ‘init il uy WA Z) », ae yAQ) . i 7 i oe of ° (@) a y) il AN of, >) ‘ SS . “ie a yNS ; + A» U * Rgioy, IN: I r : & ,) ‘ g ) a“ “ «oe 4 Ne 3 : Y “i ) yes wate "e@? ey ~ ost Pe 5: ae @ ° e . : 5 1 WW. ~ : AR Sat g Eatin a5 ( ° Scare ie Wa re rath: 6 3 REST ; ; 7° Cede fags: - “a e Ee i } E G% : 4 . o ete ve a - aS At ? 8 j H %. ™ G = = an “ee 2 Ky yt . SU ; to * ¥. My . ‘ seit :

by ‘N's WW V/, SEES Ay ne Ue; rete SE Yj ZGNW \ EP NO es s¥ =

= "Ss . e

>.

ate | : 7 ae’, HD phos ‘ l C “yyy UME g) wv ~e

y

% ij! ayy 3 Efe a aww) & r / ag -@.

i Uap tp ° A —— ' h 8

ype S96 ® ‘ fp AiG f “a yA tf, >’

ppl «Mee ‘ ff. d i ul “ii 2 2 YY e : s. es. 8 ) e “ z% ! JX Ma, Vics Se is : @ +o) higl \ in y - oe ‘) A a > iGo (f (U>,

TCR #1 -- 23

eseevveeveeeeeeeeeeveeeevreeeeeeeeeeeeee eee eee er ee oer eo ere ewww ewww eee ee eee eee ewe ee eee eee 8 le Pr ar ar ar er re ee ee ee ae er er er er er re re er er rr er er re 2 rr er rr 2 2 2 2 2 i 2 2 2 2 2 2 2 2 2 2 2 oo et 2 ee ee

FRANK's letter to BRENDA TATELBAUM -- April 24, 1991

WHEN I READ IN the cherotic revolutionary #0 THE DIALOGUE THAT YOU AND MY LETTERS HAVE GENERATED...WHEN I READ THE DIALOGUE ALL TOGETHER INSTEAD OF IN PIECES, I AM AMAZED AND IMPRESSED AT THE POWER OF IT. WHAT IS EMERGING BY LINKING PEOPLE LIKE YOU, KYLE AND LUNA, TUPPY, BRENDA McCANN, LINDA AND MICHAEL AND ME, AND OTHERS WHO WILL JOIN THE DIALOGUE IN THE FUTURE IS A REDEFINING AND ENLARGING OF THE LANGUAGE OF CHANGE AND OF REALITY.

WE SENT YOU THE GREAT REVIEW OF cherotic magic BY BARBARA SMITH. EVEN IF YOU USE HER REVIEW RATHER THAN A REVIEW BY YOU IN eidos, I WOULD GET GREAT PERSONAL VALUE FROM HEARING IN MORE DETAIL WHAT YOU THOUGHT/FEEL ABOUT cm.

I AM HOPING the cherotic revolutionary WILL GET INTO THE HANDS OF THE YOUNG ANARCHISTS OF WHICH WE HAVE TALKED ABOUT BEFORE, AS WELL AS INTO THE HANDS OF SEASONED MAGICIANS AND CULTURAL/SEXUAL SUBVERSIVES.

IT WOULD BE USEFUL TO TALK ABOUT THE INNER CALLING AND INNER COMMITMENT NEEDED IN THIS LINE OF WORK/PLAY. MOST OF THE STUDENTS I GET ARE ATTRACTED TO THIS ALTERED CULTURE, THIS MAGICAL REALITY, FOR VARIOUS REASONS. LUNA SAYS IT IS LIKE WHITES GOING TO BLACK JAZZ CLUBS. IT IS LIKE READING A NOVEL. MOST OF MY STUDENTS CHOOSE THIS MAGICAL REALITY...THEY MAKE A COMMITMENT TO IT FOR A TIME. I DID NOT HAVE A CHOICE. I JUST HAD TO DO/BE THIS EVEN THOUGH I DID NOT KNOW WHAT THIS WAS, WHERE IT WOULD LEAD...EVEN IF IT LOOKED BAD OR DUMB. 1 HAD NO CHOICE...SO THAT I COULD NOT UNCHOOSE IT...I WAS NOT LOOKING AT MY OPTIONS AT EVERY TURN OR CARED ABOUT WHAT IT LOOKED LIKE...BECAUSE I HAD TO DO IT EVEN WHEN I WOULD RATHER NOT DO IT. I HAD TO BECAUSE IF I DID NOT I WOULD BE IN AN UNREALITY. I WAS CALLED. I THINK THERE IS A DEFINITE PLACE IN THE MAGICAL MOVEMENT FOR THE PEOPLE WHO CHOOSE, COMMIT TO, THE ALTERED REALITY. BUT THERE IS SOMETHING EXTREMELY MORE FRAGILE WITH THIS KIND THAN THE CALLED ONES WHO HAVE NO CHOICE, WHO ARE OBSESSED. I DO NOT MEAN FANATICS, WILD-EYED AND OUT OF TOUCH. I MEAN THE MISFITS WHO CANNOT FIGURE OUT HOW NOT TO LIVE A STRANGE VISION. THE PROBLEM WITH THE ILLUSION OF CHOICE IS NOT THE ONES WHO ARE ALWAYS LOOKING TO MAKE A BETTER REALITY MOVE. THE REAL PROBLEM OF THE ILLUSION OF CHOICE IS THAT IT MAKES THE MISFITS WHO HAVE NO CHOICE THINK THEY ARE WEAK OR STUPID FOR NOT HAVING A CHOICE.

ALL THE ABOVE IS A PREFACE TO ASKING YOU HOW DID A NICE, SMART WOMAN LIKE YOU START PUBLISHING A PAPER LIKE eidos? DID YOU HAVE A CHOICE? HOW CAN YOU BUCK THE SOCIAL IMAGES OF WHAT YOU SHOULD BE FOR SO MANY YEARS? WHAT IS THE CALLING VISION THAT HAS YOU UNDER ITS SPELL? AS YOU SEE, KYLE/LUNA'S GIVING ME A MAGAZINE HAS BROUGHT OUT THE JOURNALIST IN ME. BUT THIS ISSUE OF INNER CALLING HAS BEEN AS MUCH SUPPRESSED AS THE FULL CHERO RANGE OF WHICH SEX IS BUT ONE MODE. AND IT HAS BEEN SUPPRESSED FOR THE SAME REASON. THE SUPPRESSION CREATES A SHALLOWNESS, AN ISOLATION, AND AN INEFFECTIVENESS ON THE PERSONAL LEVEL.

WHAT IS SUBSTITUTED FOR THE INNER CALLING IS AN OUTER COMMITMENT TO, AN OUTER CHOICE OF, A TREND OR A MOVEMENT BASED ON INDIVIDUAL GROWTH, INDIVIDUAL COMFORT, INDIVIDUAL FUTURE, INDIVIDUAL IMAGE. DOES NOT WHAT YOU DO OFTEN TAKE YOU INTO SITUATIONS WHICH AT THE LEAST DO NOT APPEAR TO BE IN YOUR INDIVIDUAL BEST INTEREST...NOT THE BEST EXPERIENCE? BEING OUTWARDLY COMMITTED IS NOT A SOLID BASE FROM WHICH THE PERSON CAN CREATE. WHEN I WENT TO ART SCHOOL, THE BASIC QUESTION WAS ALWAYS WHAT WILL BE THE NEXT TRENDS TO WHICH IT WOULD BE SMART TO COMMIT...NOT DO YOU HAVE THE CALLING TO BE AN ARTIST...AND WHY DO YOU NEED T0 BE AN ARTIST?

TCR #1 -- 24

LAST WEEK, A JOURNALISM GRAD STUDENT FROM U.C. BERKELEY SHOT A VIDEO OF US FOR A "60 MINUTES" KIND OF STATE-WIDE CABLE T.V. SHOW. HE WAS A NICE GUY, BUT SHAPED COMPLETELY BY THE CONTEXT OF THE TIMES. HE IS DOING TELEJOURNALISM BECAUSE THAT IS THE WAVE OF THE FUTURE. HE IS DEEPER THAN THIS OR HE WOULD NOT HAVE CHOSEN ME AS HIS STORY. BUT THE CONTEXT OF THE TIMES DENIES HIM THIS DEPTH, DENIED HIM A CALLING, GIVING HIM INSTEAD CHOICES. DURING THE WEEK OF SHOOTING, I TWISTED HIS OWN REALITY AROUND SO THAT HE COULD NOT PLAY THE MYTH OF THE OBJECTIVE REPORTER. YESTERDAY, HE SAID HE NOW CAN SEE THAT THIS MYTH WAS A FALSE LIMITATION.

UNTIL THE EARLY 80s, I WOULD GO UP TO STRANGERS ON THE STREET, OR ON THE CAMPUS, AND ASK THEM TO LET ME VIDEO THEM AT MY HOME PLAYING DRESS-UP WITH STRANGE SEXY COSTUMES, OR OTHER SUCH PERFORMANCES. MOST PEOPLE WENT BEYOND THE SOCIAL TABOOS TO CHILD-LIKE FUN OR OTHER INTENSE EMOTIONAL STATES. MY VIDEO, erotic play, DOCUMENTS THIS. SOME EROPLAYED WITH ME OR EACH OTHER. BUT BY THE MID-80s, IT GOT HARDER AND HARDER TO GET PEOPLE FOR REASONS THAT WE HAVE DISCUSSED. I FINALLY STOPPED THIS DIRECT PUBLIC ACTION WHEN TWO PEOPLE IN A ROW, AFTER READING A GLOWING village voice REVIEW OF ONE OF MY PERFORMANCES, TURNED TO ME AND SAID, "SOUNDS LIKE PORN." IF THINGS HAD GOTTEN THAT UPTIGHT, WHY BOTHER TAKING THAT KIND OF SHIT?

ANYWAY, BRAD, THE JOURNALIST, WANTED TO SHOOT ME IN ACTION. SO WE WENT UP TO CAMPUS TO SHOOT ME GOING UP TO PEOPLE. I ASKED BRAD IF HE WANTED TO SHOOT SOMEBODY PLAYING DRESS-UP IF I COULD GET SOMEONE TO AGREE. HE THOUGHT IT WAS UNLIKELY, BUT SURE. TO HIS IMPRESSED SURPRISE, THE FIRST PERSON I APPROACHED EAGERLY SAID YES.

WE HAVE COME TO WHY I AM TELLING THE STORY. THE PERSON WAS A HISTORY GRAD STUDENT...OPEN, LIBERAL. SHE SEES HERSELF THIS WAY. SHE FELT A TRUST TOWARDS ME. BUT WHEN SHE CAME OVER TO PLAY DRESS-UP, SHE COULD NOT REALLY PLAY WITH THE CLOTHES, COULD NOT REMOTELY LOSE HERSELF IN FUN AND PLAYING. TAKING HER CLOTHES OFF WAS NOT A REMOTE POSSIBILITY...SHE HAD A HARD TIME TAKING HER OUTER SHIRT OFF. ALL OF THIS WAS TO BE EXPECTED IN THE PRESENT CULTURAL FRAME...ALTHOUGH IT WEIRDED HER OUT BECAUSE IT CONFLICTED TOTALLY WITH HER SELF-IMAGE OF BEING FREE AND OPEN. THE REALLY SHOCKING AND DISTURBING THING TO US WAS...THERE WAS A 1940s PINK SILKY/SATINY ANKLE-LENGTH NIGHTGOWN. SHE WAS ATTRACTED TO IT...BUT AT THE SAME TIME TREATED IT IN THE SAME WAY A VAMPIRE WOULD HANDLE A CROSS SMEARED WITH GARLIC. FOR HER, THE NIGHTGOWN WAS A SYMBOL OF THE FORBIDDEN OBJECTIFIED WOMAN OF THE FUNDAMENTALIST/FEMINISTS. IT WAS OBVIOUS THAT SHE WANTED TO TRY IT ON...THAT SHE LIKED IT...BUT SHE COULD NOT PUT IT ON EVEN OVER HER STREET CLOTHES. SHE FEARED THAT JUST BY PUTTING ON THE NIGHTGOWN, AS A SYMBOL, SHE WOULD BE TRANSFORMED INTO THE OBJECTIFIED WOMAN. THIS MAGIC WHICH THE FUNDAMENTALIST/FEMINISTS HAVE UNLEASHED IS AT LEAST AS IMPRISONING AS THE MAGIC WHICH CONTROLS THE SEXISTS. OF COURSE, IT IS THE SAME FUNDAMENTALIST MAGIC DRESSED UP IN TWO FORMS. OUR CHALLENGE IS TO SWITCH THE MAGICAL FORCE AROUND SO THAT WOMEN, ALL PEOPLE CAN FREELY PLAY WITH ALL SYMBOLS. ONLY IN THIS WAY WILL WOMEN, ALL PEOPLE, NOT BE UNDER THE CONTROLLING POWER OF SYMBOLS.

TCR #1 -- 25

BRENDA's reply to FRANK - -- May 5, 1991

Your 4/24 letter has arrived at a precisely pivotal point in time as our newest EIDOS issue went to press last Friday with our review of Cherotic Magic in it. I hope you're not disappointed with our more descriptive and informational presentation of CM to our readers and I'm sure we'll receive additional feedback and commentary about CM from them in their future letters to EIDOS. Naturally, we wish THE CHEROTIC REVOLUTIONARY a long and healthy life and rt ala you and everyone involved with the effort behind launching Issue

QO!!!

[I recognize that your choice of terminology to describe yourself, your work and worldview significantly differs from my own use of the language. Quite honestly, my repertoire has never similarly included "anarchists", "magicians". "cultural/sexual subversives", “altered culture", “altered reality", "magical reality", "misfits", etc. but, like yourself I ama "called one": I was "called" to my work and "had no choice" “even though I did not know where it would lead" "even if it looked bad". Bizarre? Or perhaps a little bit like "Close Encounters of the Third Erotic Kind"?

For me, my mission with EIDOS has evolved naturally and progressively -- corresponding to the unfolding chain of my life's events. Although I had always been a published writer and poet, it wasn't until close to my separation (after 12 years of marriage and two children) that, in 1982, I began writing and self- publishing erotic "women's" poetry and giving live readings to audiences of women and men at local colleges and bookstores. With the public's support and encouragement, I then decided to include the publication of erotic poetry, art, photography and fiction by like-minded others and thus EIDOS was born. The Premier issue rolled of the presses in January, 1984.

Obviously, my very own deeply-rooted erotosexual repression and feelings of female persecution and oppression led to my creating and publicly sharing my erotic poetry with others and, ultimately, to the founding of EIDOS. Those were the days of the rising-tide of draconian Reagan-Bush right-wing ideology but now I look back in retrospect at the risk I took and simply say, "I acted according to the dictates of my conscience. I had no choice." Therefore, I totally understand and relate to your concept of "inwardly committed" as opposed to "outwardly committed".

As a single woman journeying alone through the aftermath of divorce (with all the concomitant custodial responsibilities for parenting two small children and maintaining a household) these overwhelming negative-forces were magnified a thousand-fold but I channeled them into a positive, life-affirming force. At the time, however, I was completely unaware that, world-wide, women and men of all erotosexual/sexuerotic orientations, preferences and lifestyles were Similarly living with such inner turmoil and tribulation.

Frankly, it wasn't until August 1985 that my personal/professional mission became political. At that time, the "trusted" elected officials (three conservative male selectmen) in the town of Milton, MA (where I live) sent the plainclothes police to my home (without a warrant) to order me to "cease & desist" from publishing EIDOS from the privacy of my own home. They claimed I was violating a town zoning bylaw (which I wasn't) prohibiting the operation of home-based business enterprises. Their disguised, deliberate attempt at censorship was possibly directed at garnering votes during an election year or, as they readily admitted to the electronic and print media, to shut EIDOS down

TCR #1 -- 26

and run me out of town. In any event, their witchhunt failed as did their attempt to publicly disgrace and humiliate me. Eventually they backed off and EIDOS fortunately still continues. In '85, as in '82, an overwhelmingly Supportive public (both on the local level and nationally) telephoned and wrote letters of encouragement -- less than a year before the publication of the Justice Department's 1986 Final Report of the Attorney General's Commission on Pornography (the Meese Commission )!!!

In your letter you speak of having "twisted" a journalism student's "reality around" and say he recognized "myth" as a "false limitation". From my perspective, you were engaging in consciousness-raising and it worked!! How very excellent!!!

The bottom line is that EIDOS affirms the reality of our basic human right to sexual freedom: the right to choose in all areas of sexual life and lifestyle; our basic human right to be free from coercion by governments or individuals; our basic human right to free speech, a free press, freedom of/from religion and the right to privacy as well as other rights and freedoms including the right to personal property and to pursue political goals. Obviously these high-minded concepts are the basis of our secular laws and government and are incorporated into our Declaration of Human Rights.

However, we acknowledge the additional need to further reform the inequities inherent in our society's traditional social, moral and political infrastructures, Therefore, with EIDOS readers in all 50 states (and 57 countries overseas) from all legal age ranges, educational and income levels and occupations, we at EIDOS are of the firm belief that, in time, an invisible global grassroots networking movement of real everyday people will eventually transform millennia of authoritarian, dogmatic, sex-negative erotophobic self- loathing indoctrination into a rational, enlightened, free-thinking world community which values, accepts and ratifies, as holistic, the pluralism of democratic multisexualism.

In conclusion, would my use of the words "propaganda" or "mind (thought) control" or "brainwashing" be synonymous with your use of the word "magic" when describing the so-called "open, liberal, history" female grad student's self- image conflict upon her confrontation with the 1940's pink silky/satiny ankle- length nightgown?

I look forward to furthering our definition of terms!

Yours in freedom

eoececeneoeoeeoeoeo oon eoeoeo ene eee eee ea eoe eee oer eo eee eee eee eee eee ereeeeeeeeeeeee eee eeeeeeee eee eee ecoeoevcevovev0e02e2e202e020e20202080280280808080808008080808080800808080808080808080 0

TCR #1 -- 27

DEAR BOB,

LIKE MYSELF, BOTH CROWLEY AND GURDJIEFF WERE TRYING TO EXPLORE THE PRACTICAL MAGICAL DYNAMICS IN THE CONTEXT OF THE EVERYDAY PHYSICAL REALITY RATHER THAN IN THE CONTEXT OF THE ABSTRACT SPIRITUAL DIMENSION IN WHICH MOST MAGICIANS HAD TRIED TO WORK. THEY SAW MAGIC (OR MAGICK) AS A SCIENCE OF THE NONLINEAR EFFECTS OF THE DYNAMIC RELATIONSHIP OF RESPONSIBLE PERSONAL ACTION. THEY TRIED, MORE OR LESS, TQ PUT THIS MAGICAL SCIENCE INTO WHAT WAS IN THEIR TIME THE MODERN WESTERN CULTURAL FRAME. ALL OF THIS IS WHAT I AM ATTEMPTING TO DO.

BUT BOTH CROWLEY AND GURDJIEFF, FOR VARIOUS REASONS, HID THE MAGICAL SCIENCE IN COMPLEX AND GLAMOROUS RITUAL AND INTELLECTUAL SYSTEMS, FULL OF FUNHOUSE MIRRORS, MISLEADING INFORMATION, AND LONG DEAD-END ALLEYS. WHAT I AM TRYING TO DO IS GET THE MAGIC SCIENCE AS CLEARLY AND AS DOWN-TO-EARTH IN WRITING AS POSSIBLE. UNFORTUNATELY, THE POSSIBILITY OF THIS IS VERY LIMITING BECAUSE WRITING IS LINEAR AND THE MAGICAL SCIENCE IS NONLINEAR. THIS IS WHY I ALSO WORK IN EXPERIENTIAL REALITY SHAPING SUCH AS APPRENTICESHIPS AND PERFORMANCES (BOTH PUBLIC AND PRIVATE). BECAUSE SUCH REALITY SHAPING IS PHYSICAL, IT CAN CONTAIN NONLINEAR INFORMATION.

IF YOU WANT TO GET TOGETHER TO TALK, I WILL BE BACK HOME FROM A LECTURE/PERFORMANCE TOUR IN THE SECOND HALF OF OCTOBER.

YOURS, FRANK

ere r Puan Realy vie eb ar Li es ’ =

(Suge pan ‘3 *

Sty araeee

“a err ¢ se” ?. PAM ot Meeaeit 4h oes 4

¥ ‘SS \\ Ny Ms gees ww : Ny RSS VS o% *~..%

pen = Y fis : Pie a 23 a / IG ut (ZEN oan \ vet | REE 2 ay DAA |

Cae See. ¢ Se ge o <A oo * ® ee or *

NAY By

4 FEEL THE CALLING

oF pa SL OD folL? , Ts INTROLL PL AY

his disadvantage, VS

Ni SS — ee tage of ‘ Ry ) See CE OP beco 3 SLL LY) taking .. (peo N y Ci sag Z SUT TLL Ee uonere® 4 [Fy erability and trust. Ly SS a iy SE \d be ith oO ca

to st <> ur p ” 35 walle VILLAGE VOICE SS

er Fn oft ~ «pow ©

SAUL YZ a

BERKELEY,CA 94-70! 4h / M1

(510)526-7833 “2 4vyus

Frank Moore’s _ cherotic magic BY FRANK MOORE IS A MAJOR INCOPENETICL Cs

new bool ATTEMPT TO INTRODUCE A POWERFUL SYSTEM for $3 is the : _ OF MAGIC INTO OUR MODERN WESTERN EVERY- premiere issue of

cherotic magic DAY LIFE, THEREBY EXPLOSIVELY EXPANDING The Cherotic

. : SUCH CONCEPTS AS SEX, HUMAN RELATION- Revolutionary, is available SHIPS. THE CLEAR, DOWN-TO-EARTH TEXT the magazine

iy eS IS AMPLIFIED BY THE NONLINEAR TRANCE about the edge.

ILLUSTRATIONS BY LABASH.

~ =.

» >» b> >

py": @ U ° v7 oa

JACK /ADELLE by FRANK MOORE

Copyright 1990 by Frank Moore

TCR #1 --

30

WAITING FOR US, WAITING OUTSIDE OF HIDDEN MAGICAL KINGDOMS

OF, HUMAN WARM IMAGINATION, HOT PASSIONS,

POETIC OCCULT KINGDOMS RULED

BY MASTER JAMES.

WAITING FOR US, SITTING QUTSIDE THE GATES OF

JAZZ, SITTING ON THE TRAVELING FEEL-GOOD SHOW, TAPPING A TIPTOE

SOFTSHOE PAW ON THE SAWDUST BOARDSTAGE, WAITING FOR THE STRIPPERS AND TOP BANANAS.

WAITING IS THE OZ LION, THE AWE LION,

THE LION OF TWO BODIES,

TWO FACES,

TWO VOICES SINGING TOGETHER

IN RAW BEAUTIFUL FUNNY CHAOS.

ALWAYS WAITING TO SING FROM THE

CAVEFIRES TO ROAMING AROUND MEDIEVAL LANDSCAPES TO THE AMERICAN BADLANDS TO SPEAKEASIES TO RADIOWAVES. WAITING TO DANCE AND SING

WITH ITS YINYANG BODY AND VOICE, TAPPING CHAOS,

SINGING RAW HUMAN PASSION AND HUMOR. RELEASING DEPTHS, RELEASING OTHER VOICES, ALL POET VOICES, NOT JUST ITS OWN TWO. THE LION GRAVELING ROARING PASSION VOICE AND THE WOMAN WARM DEADPAN VOICE DANCE TAPPING, DANCING ON AND IN EACH OTHER, DANCING A MAGICAL RITUAL, CARRYING US INTO A GIGGLING TRANCE, A FEELING GIGGLING DANCE TRANCE.

WE ARE DANCING WITH TWO-VOICED TWO-BODIED LION OF OZ, OF AWE,

OF JUST LOVE.

WE DON'T NEED TO BE

A DANCER TO DANCE,

A SINGER TO

SING,

A POET TO FEEL.

JUST DANCE WITH

THIS BAGGYPANTS LION, DANCE INTO THE DEEP HUMAN PASSION,

DEEP HUMAN HUMOR.

TCR #1 -- 31

"THERE IS A FOUNTAIN FILLED WITH BLOOD" -- BROUGHTON FOUNTAIN by JACK FOLEY

First Published in Exquisite Corpse

The Master stood on the edge of the cliff. He asked which of his disciples would thrust himself over the side, plunging into the mouth of a horrible and certain death. "I," said one, eager to get a running start. "Wait," said the Master. "Do you think I'm some sort of idiot? I was only raising an abstract question. I need all the disciples I can get -- and, besides, it's a long way down the side of that cliff." "True," said the eager disciple. “But wouldn't you always honor the name of the disciple who died for you!" "Well, I might," said the Master, "but really it all depends on whether I've written it down. My memory's a little shaky these days, and I can't seem to locate my pencil!" "Master," said the disciple, "I would be the one who died for you!" "Well, go ahead if you must, " said the Master, fumbling in his pockets for a piece of paper. "But I'm not guaranteeing anything. Oh where is that pencil!" “Thank you, Master. Aieeeee!" said the disciple as he leaped over the edge. "What was his name?" said the Master. "I suppose," said another disciple, “there isn't much left of him now." The disciples looked at each other silently. The wind sprang up. They were suddenly filled with a strange ecstasy. "Aieeeee," they began to say, "“aieeee, aieeeee," and made for the edge of the cliff. "Hey, wait a minute," said the Master, “whose disciples are you anyway, mine or his?" "Why, yours of course," said the disciples, stopping in their tracks. "That's better," said the Master. "You should at least look before you leap. It's been a rather bad year for disciples you know, and I'd just as soon have you stay a--" But before the Master was able to say the word live, the disciple who had leapt over the cliff suddenly appeared in front of him, looking only a little the worse for wear. "Ajieeeee," said the Master, "what are you doing here?" "I'm back," said the disciple. "Death really isn't all it's cracked up to be." "You -- died!" said the Master. "Yes," said the disciple. "But what was it like?" "Not too bad, you know, nothing much really. A bit of a splat at the bottom. Otherwise fit as a fiddle actually." "But you've seen what no one else has ever seen and come back to talk of." "Well, yes, I suppose I have." “Won't you tell us about it?" "Well, all right. I saw--" But at this point a strong wind suddenly sprang up and lifted the seemingly solid body of the disciple up into the air like a leaf. His body seemed to collapse upon itself, to fold inward, to become nothing, nothing but a piece of scattered debris upon the wind. "Master," came the cry, "Master, Master--" Then nothing. "He must have had a name," said the Master. "Perhaps it was James. That certainly was a strong wind!" "Master," said another disciple, "could we leave this place?" "Yes, yes," said the Master, "I'm not enjoying it very much myself. Let's go." But then they realized that it was night and they couldn't go. They couldn't descend the mountain in darkness. "Oh, Fudge," said the Master as another burst of wind took his hat over the side of the cliff. "I was very fond of that hat too." "Fonder than you were of me, I sometimes think," came the voice. It was James. "Good lord, you're back again." "Yes," said James, "You know, it's better the second time around. The first time you have problems with that awful dog." "Did you get bitten?" "Not the second time!" "But James, how do you manage it? -- dying and resurrecting, dying and resurrecting." "Don't know, really. I suppose it's just a sort of talent." "Indeed. Can you make my hat come back?" "Doubt it. I'll try. Mmmmph, mmmmph, nothing much there." "You can only resurrect...yourself?" "Well, now, I don't know. It is possible..." “What?" "It is possible...You know, Master I had a terrible childhood." "What has that got to do with it?" "Beatings, always complaints--ah, here I go again!" The wind sprang up and James

TCR #1 -- 32

was off again into the night. "What stars, Master," he said, "What stars! I wish I could take you with me. It's wonderful here!" It was morning now. As the Master looked around him he saw that his disciples had all vanished. There was nothing there but the mountain and the sky. He opened his mouth and began to speak:

My name is James Richard Broughton. I was born in the valley town of Modesto on Nov. 10, 1913. I come from a place of indescribable sweetness.

The wind sprang up again. "Master," said James, "we have the same name. Come! Come!" The Master looked up. His body seemed at one solid and -- light. "This is It," he thought, "This is really It." "Now," said James, holding out his hand to the Master, "now." A shock of electricity shuddered between them. "IS NOW THIS IT HERE?" said the Master, "I'm fly-ing!" And he was. "You see," said James, "There isn't even this mountain." "Certainly not this mountain," said James, "There is something, though." "What is it?" "How can I put it? Night and day, day and night -- I sound like an old song. The indescribable sweetness of being alive!" They reeled through the air, covering distance upon distance. Finally they lit down on a tiny island off the coast of Asia. "We are one, Master," said James, "we have merged." "Yes," said James, "it's true. I can't tell us apart anymore." "We are Master and Disciple, Master, Disciple and Master. We are moth and flame. We are one. Wondrous the merge!" "But what about us?" came a voice. "Yes," said another, "what about us?" "Oh, them," said the Master. It was all the other disciples hovering in the air. "I'm afraid you will have to find your own mountains," said James. "We can't find them for you. It's been a very complicated life we've had to lead. Follow your bliss!" The two James Richards waved to the creatures in the air. "Poor things," they thought, "poor sweetings. We would give them blood if we could." It was dawn again. Master and disciple shivered a little in the chill as the sun at last came up. "Camera!" said James, “Lights! I love the movies!

--My name is James*.

There is nothing But the indestructible sweetness Of

Everything! Follow your weird."

TCR #1 -- 33

' 'S re is. wt das

“A Ne

Si)

SOMETHING'S GOING ON!

by DOROTHY JESSE BEAGLE

Copyrighted 1989 by Dorothy Jesse Beagle

Frank Moore at Cafe Milano Poetry Series -- Berkeley, CA -- June 5, 1988

(Notes written the evening after the poetry performance)

The patrons

at Cafe Milano

took the stairs

two at a time,

"What on earth was going on upstairs

an orgy?"

Strange sounds and curtain Sealing off

the Sunday night Poetry where, some Said,

poets, gay and straight famous and infamous

and slightly known

ranted and raved

but never like this!

Some spoke softly, beautiful imagery,

One man bellowed, didn't need a microphone,

but we paid them no mind; we came to Cafe Milano

for coffee

let the mad poets have the upstairs, we pay them no mind

Until tonight

Is it an orgy?

from the sound of it,

from the secrecy (drawn curtains)

"Something's going on."

What -a disappointment!

"What are they doing?

I was just having coffee downstairs and came to look."

"You look, you pay," said Adelle

Two minutes passed (after the downstairs patrons paid)

"Can I please have my money back?"

Then made a hasty retreat,

from

This celebration of life,

a cacophony of people (musical) interwoven,

a pulsating silver montage,

literally entwined with the poet, they were

the poet

sorcerer of innocence

("I am old fashioned!")

weaving a Silver montage

and one playful child

emerged ONE

TCR #1 -- 35

A silver montage and cinematic intermittent flashes of flesh and joy/the soul of the poem revealed as the words were spoken. The audience of now-one became

a lover

a child

a baby, held in love.

NOTE: An evening of poetry by Frank Moore performed through dance, touching, sound flickering light, strips of cellophane and shiny foil wrappings, and ... nudity (slightly amended for Cafe Milano) ... sensuous, womb-like, beyond sex"

"Eroplay"

TCR #1 -- 36

00 CONTROVERSIA

FOR THE BAY AREA

CANNOT FIND A PLACE TO PERFORM IN THE BAY AREA

AMONG THE CTIES/PLACES MOORE HAS | PERFORMED/LECTURED:

“TRANSFORMATIVE...” MOORE “IS THWARTING NATURE IN AN ASTONISH- ING MANNER, AND IS FUSING ART, RITUAL AND RELIGION IN WAYS THE EUROCENTRIC WORLD HAS ONLY DIM MEMORIES OF. ESPOUSING A KIND odo. OF PAGANISM WITHOUT BITE AND

_ <3 AGGRESSION, FRANK MOORE |S aS INDEED WORTH WATCHING.” HIGH PERFORMANCE MAGAZINE

OF FRANK MOORE'S fe PERFORMANCE WORK: fie

“SURELY WONDERFUL AND MIND- GOOSING EXPERIENCE.” a. LA. READER § ©:

“,.-HE’S WONDERFUL AND HILARIOUS AND KNOWS EXACTLY WHAT IT’S ALL

ABOUT AND HAS EARNED MY UNDYING “IN PERFORMANCE, MOORE TAKES

RESPECT. WHAT HE’S DOING IS IMPOS- . : ce 4 SIBLE AND HE KNOWS IT. THAT’S GOOD . ea ROVANINGS OF HIS DISADVANTAGE, Paag: ee A Eg BECOMING AN UNLIKELY GUIDE INTO

THE PLEASURES OF THE BODY,

ae 4 Sees ee e TAKING AUDIENCES WHERE THEY “RESISTING “THE EASY AND SUPER- ae Be a WOULD PROBABLY NEVER GO FICIAL DESCRIPTIONS..., MOORE’S a : a. | WITHOUT THE EXAMPLE OF HIS WORK CHALLENGES THE CONSENSUS VULNERABILITY AND TRUST...THAT VIEW MORE STRONGLY IN WAYS LESS MOORE SHOULD BE THE ONE URGING ACCEPTABLE THAN...ANGRY TIRADES US TO STAY CONNECTED TO OUR

AND BITTER ATTACKS ON CONSUMER PHYSICAL SELVES IS BOTH IRONIC CULTURE.” AND POETIC...

LA. WEEKLY Fo

CHICAGO NEW CITY [im VILLAGE VOICE

“FRANK MOORE ISN’T YOUR AVERAGE “IF PERFORMANCE ART HAS A ARTIST...ONE OF THE MORE PROVOCA- eC —s as RADICAL EDGE, IT HAS TO BE TIVE WRITERS, FILM DIRECTORS AND- — eR WL FRANK MOORE. YES-PERFORMANCE ARTISTS AROUND : tock THE CLEVELAND EDITION SINCE THE EARLY ’70’S.”

THE ORGONIAN

oot

ar VOU Kuala ot 4 Pune We fae er nee, Ween ra CAN PERFORM WRITE TO: Frank Moore P.O. Box 11445 Berkeley CA 94701-2445

24 e

. SS

on “i f \ ° W))

fairy tales can come true copyrighted 1981

length: 35 minutes

| THIS IS A FILM ABOUT RELATIONSHIPS @ cTARRING FRANK MOORE, WHO HAS BEEN DISABLED @ sINCE BIRTH WITH CEREBRAL PALSY. IT IS A HUMOROUS, YET REALISTIC LOOK AT HOW TO ESTABLISH RELATION- SHIPS BY CHANGING NEGATIVE SELF IMAGE.

AND DISABILITY

erotic play copyrighted 1983

length: 84 minutes

\\. ris VIDEO EXPLORES WHA OF ALL TYPES AND AGES ARE GIVEN A CHANCE TO

NS RETURN TO BEING A KID AGAIN. A SIMPLE GAME OF (DRESS-UP BECOMES A POWERFUL METAPHOR FOR

= DROPPING TABOOS, RELEASING CREATIVE EMOTION, AND OR DRAMATIC CHANGE. AS A RESULT, AN INNOCENT. EROTICISM IS FOUND... AS WELL AS GETTING INTIMATE

WITH 60 HUMANS.

T HAPPENS WHEN PEOPLE

outrageous dream copyrighted 1984

length: 41 minutes A SURREAL, VISUAL POEM OF FOUND IMAGES.

copyrighted 1984 length: 113 minutes AN EROTIC, SURREALISTIC VIDEO DREAM THAT

COMBINES NON-LINEAR IMAGES AND FRANK’S ORIGINAL MUSIC SCORE.

the outrageous beauty revue

f copyrighted 1980

“length: approx. 30 minutes

}| THIS RAW VIDEO DOCUMENTS THE TACKY, MUSICAL,

OVER-THE-EDGE COMEDY REVUE THAT FRANK CREATED,

DIRECTED AND PERFORMED IN. THE SHOW RAN ON A WEEKLY BASIS FOR THREE AND ONE HALF YEARS AT THE MABUHAY GARDENS IN SAN FRANCISCO IN ADDITION TO A NUMBER OF OTHER NORTHERN CALIFORNIA AND NEVADA PERFORMANCES. FRANK PERFORMED ALONG WITH THE THIRTY PEOPLE WHO MADE UP HIS THEATRE GROUP, “the theatre of human melting.”

“gut of isolation “< copyrighted 1989

a * Jength: 105 minutes -. fo" A SURREAL EROTIC EX J cg Tons

Wine . = oi

AMINATION OF AN INTIMATE RELA- HIP OF NEED. STARRING FRANK MOORE AND LINDA

OATES SOLIS SE

Caves

A COLLECTION OF MANIFESTOS AB S Published 1987 $5 OUT eroplay AND ART.

art of living -TO-EARTH SPIRITUALITY tyre u ish a published1987 $10 SSP ashe

cherotic magic

A MAJOR ATTEM

sie esala sy TO INTRODUCE A POWERFUL SYSTEM

ee A ane WESTERN EVERYDAY LIFE

Seal is LY EXPANDING SUCH CONCEPTS ‘Ag LATIONSHIPS. THE CLEAR, DOWN-TO-

EARTH TEXT IS AMPLIFIED BY TH E NON- ILLUSTRATIONS BY LABASHT LINEAR TRANCE

Jf Publishedi990 $15

\\ ¢

the cherotic revolutionary #0

p l

p:} A MAGAZINE ABO > eae UT THE EDGE. $3 2) iS v , . ei '§ ST ae ‘ a m rT ' ; S ce ~ SIG BY FRANK MOORE’S CHERO COMPANY : /

et, $5 each

“—?

. Se

tJ

o“nenannl®

a = e

sae oe A af ‘=

Cog

S body music @~ Copyrighted 1989

EXPLORING T HE HUMAN BODY AS MUSICAL INSTRUMENT D

Vg

S

eet ‘Sue =o

= * inter-rhythms \5 Copyrighted 1989 wi PRIMAL MUSIC CRE ATED FOR sens = FRANK MOORE’S RITUAL

on

s0to

if rock of passion Shei THES | OUNDTRACK OF the outrageous horror show FRANK THE ROCKSTAR as A SINGS HIS HEAR fe T OUT, LIT eee oe GREAT HITS OF ROCK, COUNTRY, AND zy Y eo ! AL ... INCLUDING SUCH SMASHES AS i am aT | an, 1 got you babe, AND hand of doom

_ to order call or write: Ay 4

frank moore

P.O. BOX 11445, B | , BERKEL WH! (510)526-7858 EY, CA 94701-2445

\

an, my, ! Bo % “LM

S. )

REVIEWS

The Cherotic Revolutionary #1 January 1992

>)

“I love your magazine and articles: Karen Finley

THE CHEROTIC REVOLUTIONARY #2. JULY, 1992

TCR is edited by Frank Moore and Linda Mac, and published by Kyle and Luna Griffith. The art editor is Michael LaBash, and the circulation manager is Alexi Malenky.

The price for this issue is $5.00 per copy. We don't sell subscriptions, to avoid tying ourselves down to a rigid publication schedule or magazine size. We want to remain free to publish small issues frequently or larger issues at longer intervals and adjust the price accordingly.

All material is copyrighted 1992 in the names of the individual authors/artists. Material by the five of us on the editorial staff may be reprinted without advance permission -- but please inquire before reprinting material by the other contributors. Of course, we would like copies of all reprints from the magazine, and we'd also like to see copies of all reviews or comments on TCR.

We heartily encourage letters of comment from readers and will answer as many aS we can. Please tell us if you don't want us to print material from your letter -- otherwise we will assume it's OK.

Please address all correspondence and orders for magazines to:

Frank Moore, P.O. Box 11445, Berkeley, CA 94701-2445

In This Issue ...

Cover: "“Bubblehead Por-trit" of Frank Moore -- Lee Kay 2. Frankly Speaking -- Editorial -- Frank Moore 4. Cultural Subversion -- Frank Moore 9. Definitions -- Frank Moore 10. A. Crowley (The Beast 666) -- H. R. Giger 11. The Political Correctness Mafia -- Curtis York 18. Simulation/Stimulation -- digitized photograph -- Peter Petrisko, Jr. 19. Publisher's Introduction to Cherotic Magic -- Kyle Griffith 23. Drawing -- John Seabury 24. Review of Frank Moore's "Passions Play" Performance -- Stavros Krysiak 25. Photograph of Frank Moore -- Kevin Rice 27. I Bet God, Pt. 1 -- Barnaby Chancellor 28. Catalog of Things for Sale Back Cover: Michael LaBash

TCR #2 - 1

FRANKLY SPEAKING

by FRANK MOORE

WELL, THIS IS ANOTHER FINE ISSUE YOU'VE GOTTEN ME INTO, STAN...IS THAT YOUR NAME...HEY, YOU WHO ARE READING THIS. AFTER ALL, YOU SHOULD TAKE EQUAL CREDIT (OR EQUAL BLAME) AS US FOR TCR...AFTER ALL, YOU ARE READING THIS.

WE SAID AWHILE BACK THAT TCR WOULD BE ABOUT THE EDGE BY ARTISTS (OF ALL KINDS) WHO ARE ON THE EDGE. AS YOU WILL SEE, THAT HAS COME ABOUT.

TCR HAS STARTED CREATING ITSELF. THE NEXT ISSUE IS ALREADY LOADED AND READY T0 BE FIRED OFF. WE GET MATERIAL IN MANY DIFFERENT WAYS.

FOR EXAMPLE, BARNABY CHANCELLOR FROM ARIZONA WAS PASSING THROUGH BERKELEY AND DROPPED INTO SMOKEY JOE'S CAFE FOR BREAKFAST. SINCE TCR WAS FOR SALE THERE, HE BROWSED THROUGH IT...AND GOT VERY EXCITED. HE STARTED TALKING TO THE COOK, WHO JUST HAPPENED TO BE ALEXI OUR CIRCULATION MANAGER. BARNABY SAID HE HAD A POEM, AND THAT HE HADN'T YET FOUND A ZINE THAT HE WANTED TO PUT HIS POEM IN...UNTIL TCR. WE ARE HONORED.

YOU WHO HAVE GOTTEN ADDICTED TO LaBASH'S COVERS AND ARE FREAKING OUT BECAUSE THERE IS NOT ONE IN THIS ISSUE...JUST TURN TO THE BACK COVER...IT'S THERE. OUR FRONT COVER ARTIST IS LEE KAY OUT OF CHICAGO. HE IS KNOWN FOR HIS “BUBBLEHEAD POR-TRITS" OF CULT FIGURES OF THE UNDERGROUND CULTURE. AH, YES, YOU NOW SEE WHAT THEY ARE TALKING ABOUT WHEN THEY SAY I'VE A BIG HEAD! BY THE WAY, A BUBBLEHEAD OF ANNIE SPRINKLE WILL GRACE HER WRITINGS IN OUR NEXT ISSUE.

WE ARE BLOWN OUT AT THE ARTISTS TO WHOM OUR LITTLE ZINE HAS ACCESS TO THROUGH MAGICAL CHANNELS. A CASE IN POINT IS H. R. GIGER. BASED IN SWITZERLAND, HE IS AN INTERNATIONALLY KNOWN SURREALIST. IF YOU HAVE WATCHED THE ALIEN(S) FILMS, YOU HAVE ENTERED HIS EROTIC VISUAL NIGHTMARES. WHEN THE PUNK BAND THE DEAD KENNEDYS ENCLOSED HIS COCKS/PUSSIES PAINTING IN THEIR ALBUM, THEY WERE BUSTED FOR OBSCENITY. (THEY WERE FINALLY JUDGED NOT GUILTY...AFTER THE CASE HAD BROKEN THEM. ) THANKS TO MY CLOSE FRIEND LES BARANY, WHO IS GIGER'S AGENT IN THE U.S., FOR GIVING US PERMISSION TO REPRINT THE WORK.

PETER PETRISKO JR., AS WELL AS OBVIOUSLY BEING A GOOD PHOTOCOPY-ARTIST, IS THE CENTER OF THE CULTURAL UNDERGROUND IN PHOENIX, ARIZONA, WITH HIS OWN ZINE (e)X- communications (WHICH HAS PUBLISHED MY CULTURAL SUBVERSION THAT IS ALSO APPEARING IN THIS ISSUE), HIS OWN BOOKSTORE METROPOPHOBOBIA (WHICH CARRIES ALL OF OUR STUFF), AND HIS OWN PERFORMANCE CLUB GALLERY X (AT WHICH I WILL BE APPEARING THIS NOVEMBER).

KEVIN RICE IS AN UP-AND-COMING PHOTO-JOURNALIST WHO HAS DOCUMENTED OUR PERFORMANCES OVER THE YEARS.

STAVROS KRYSIAK'S REVIEW OF ONE OF OUR PERFORMANCES CAME OVER A COMPUTER NETWORK. THIS IS AN EXAMPLE OF THE PERSONAL ANARCHIAL TECHNOLOGIES I AM TALKING ABOUT IN CULTURAL SUBVERSION. STAVROS AND I HAVE DEVELOPED A CLOSE RELATIONSHIP BY TALKING EVERY NIGHT OVER THE GENIE NETWORK, WHICH IS RUN BY GENERAL ELECTRIC. WE TALK ABOUT STRANGE THINGS SUCH AS SHAMANISM, SHAPING REALITY, RITUAL....AND OF COURSE THE MANY THINGS I AM SELLING.

TCR #2 - 2

THE POWERFUL THING ABOUT A NETWORK LIKE THIS IS PEOPLE ALL OVER THE COUNTRY CAN READ OUR TALK AND, IF THEY WISH, JOIN IN. SO FOR $4.95 A MONTH (WITH NO PHONE BILL), I HAVE NIGHTLY ACCESS TO A NATIONAL AUDIENCE IN A DIRECT ALMOST LIVE CHANNEL THROUGH WHICH I CAN POUR SUBVERSIVE CONCEPTS AND INFO. HEY! WHY DON'T YOU JOIN ME ON-LINE?

KYLE SAYS A LOT OF NICE THINGS ABOUT ME IN HIS NEW INTRODUCTION TO MY BOOK, CHEROTIC MAGIC. BUT I THINK THE MOST IMPORTANT ASPECT OF HIS PIECE IS THAT HE OUTLINES THE PROCESS BY WHICH THE STUDENT WITHIN A TRIBAL SHAMANISTIC TRAINING "LEARNS" BY A DISCIPLINE OF TRUST.

I'M LAZY. FOR MONTHS I HAVE BEEN THINKING ABOUT WRITING ABOUT THE LIBERAL SICKNESS CALLED "POLITICAL CORRECTNESS." THIS SICKNESS FRAGMENTS PEOPLE INTO ARTIFICIAL GROUPS (BLACK, GAY, WOMEN, DISABLED, ETC.) WITHIN WHICH THEY THEN ARE FORCED TO STAY. THIS SICKNESS MAKES THE INDIVIDUAL SO FRAGILE THAT ANY "BAD" OR "WRONG" WORD OR IMAGE (NIGGER, FAG, CHICK, CRIPPLE) CAN COMPLETELY SHATTER THE PERSON. THIS FRAGILENESS MAKES IT IMPOSSIBLE TO FUNCTION IN THE REAL WORLD WITHOUT THE ARTIFICIAL DOME OF PC-CENSORSHIP. I WAS GOING TO EXAMINE THIS SICKNESS WITHIN THE ART WORLD, USING THE ART COMBINE HIGHWAYS/HIGH PERFORMANCE MAGAZINE AS MY CASE STUDY. BUT I KEPT PUTTING IT OFF. I'M LAZY. THEN CURTIS YORK'S LETTER FELL INTO MY HANDS. NOW I DON'T NEED TO WRITE THAT ARTICLE!

TALKING ABOUT PC-CENSORSHIP BRINGS US TO THE CARTOON BY THE ROCK'N'ROLL ARTIST JOHN SEABURY. WE HAVE GOTTEN SHIT FOR RUNNING HIS DRAWING IN THIS ISSUE...FROM PEOPLE WHO NORMALLY ARE AGAINST CENSORSHIP. I'VE BEEN THINKING ABOUT WHY THIS DRAWING GETS PEOPLE SO ANGRY OR UP-TIGHT. I DON'T THINK IT IS THE IMAGES. AFTER ALL, LOOK AT LaBASH'S DRAWINGS. THE TABOO-BREAKING IMAGE CONTENTS ARE EQUAL BETWEEN THEM. THE DIFFERENCE BETWEEN THESE TWO ARTISTS IS LaBASH IS NONLINEAR WHILE SEABURY IS LINEAR.

FRANK MOORE

ALITY

N

= > . Kose Ms GI = PiLA , § ae oh. Lge AY OSS ofa, = . - ret eee > Y > 1/3 Vs MS (i ' .. : Se (Ge Sake | * Fina y eg an oe E ee A oe aN Oy ae SRY ate

= MIN ff ey rN

: : ae G ee NY A: ¥ - ? + .* a a) 2

W4,E

RY: y CRY i

hy

.* 4; LOS

QE WW of

\\' BY ten rrp rest’

,\ ae

CULTURAL SUBVERSION BY FRANK MOORE

October 23, 1991

THIS WILL BE PERSONAL. BUT THE PERSONAL LEVEL IS THE KEY TO UNDERSTANDING THE CULTURAL, ARTISTIC, AND POLITICAL MOVEMENT WHICH IS TAKING BACK TECHNOLOGY INTO THE PERSONAL CONTROL OF ANYONE WHO HAS SOMETHING TO SAY, SOMETHING TO CREATE. IT IS PERSONAL TECHNOLOGY, ANARCHISTIC TECHNOLOGY. IT IS NOT LIKE CABLE T.V. WHICH WE WERE TOLD