“Cutting,” “abrasive,” “sarcastic,” offensive” … These are just some of the words used to describe the Freethinker magazine, which was launched in Britain in 1881 and has continued publishing without a break ever since. But it was the word “blasphemous,” dropped from the lips of a hostile judge, that that got its founder and first editor G. W. Foote into serious trouble. As a result mainly of irreligious cartoons published in the Christmas, 1882, edition, the judge declared the issue “blasphemous” and Foote was sentenced to 12 months’ imprisonment with hard labour. [...] The Freethinker has had that attitude since 1881. Founder George William Foote set out the purpose of the magazine in the very first issue: “The Freethinker is an anti-Christian organ, and must therefore be chiefly aggressive. It will wage relentless war against superstition in general, and against Christian superstition in particular. It will do its best to employ the resources of Science, Scholarship, Philosophy and Ethics against the claims of the Bible as a Divine Revelation; and it will not scruple to employ for the same purpose any weapons of ridicule or sarcasm that may be borrowed from the armoury of Common Sense.”
It is with great pride that I announce I have an article in the May 2012 issue of the Freethinker, titled ‘Drawing a Veil Over Child Abuse in Orthodox Jewish Communities.’ I am also a frequent commenter at the Freethinker website.
I started mail networking in the fall of 1978 when I was 25. I’d gotten a list of names & addresses from my friend Cathy Gayhardt wch I later realized had been at least partially provided to her by “Blaster” Al Ackerman. I started by sending my 1st Mike Film Form Letter to the people I thought had the most imaginative names. These included Anna Banana (the editor of the great “Vile” magazine), & Cosey Fanni Tutti (a member of “Throbbing Gristle” whose “Second Annual Report” I wasn’t to hear until 2 yrs later). By a decade later, I was corresponding w/ 1,400 people. But long before then, certainly by 1984, such massive correspondence had gotten to be a huge bureaucratic challenge. I’d send out as much as 20 mailings a day & was keeping track of the often changing names & addresses of the people I was corresponding w/. In 1984, as a result of going to England & France for a mnth, partially for the 8th International Neoist Apartment festival, my ability to keep up w/ the correspondence began to fall permanently into arrears.
This was a very exciting time. The sheer quantity of outreach, the senses of purpose, the lifestyle experiments, these were phenomenal. I wasn’t much interested in the “Mail Art”, wch was often just a matter of sending out thoughtless objects for maximal presence in catalogs, as I was in finding other like-minded individuals – esp tricksters. Some of us used many different names & even different addresses & other strategies in order to keep our identities shape-shifting.
It was probably in 1985, while I was still in the thick of this networking, that Trevor Blake, the editor of this bk, & I 1st contacted each other. He sent me the 1st issue of his magazine “Surreal Estates” & I sent him the 3rd issue of my “DDC#040.002″ magazine. By early 1986, I had an interview in “SE” #6. Not long thereafter, “OVO” replaced “Surreal Estates” & by issue #2 I had some Mike Film in it. #7 had a bisected picture thing I contributed & #12 had my ‘resumé’ & an altered version of my “Lidznap” acct. It’s this latter that’s made it into this compilation from earlier issues.
All this fervent networking was beginning to bubble out of the underground into larger circulation & higher visibility. The Book of the SubGenius (1983) was, perhaps, the 1st of these to be of personal importance to me b/c of my inclusion in it. Remarkably, Rev. Ivan Stang made sure that even the most minor contributors, such as myself, got a royalty check. Such was his astounding integrity & the feeling of community & collaboration. “Re/Search” magazine put out its 1st “special book issue” in 1982 focussed on William S. Burroughs, Brion Gysin, & Throbbing Gristle – followed in 1983 by their “Industrial Culture Handbook”. Despite, or b/c of, the controversial content of such publications, they were widely distributed & eagerly sought after by many people of similar mindset &, as such, had some commercial success.
In the meantime, publications like my “DDC#040.002″, Trevor’s “OVO”, Bruce Andrews & Charles Bernstein’s “L=A=N=G=U=A=G=E”, cris cheek’s “RAWZ”, Julien Blaine”s “DOC(K)S”, Rick Sugden’s “HOMEX”, Sheila Gostick & co’s “End Paper”, Judith A. Hoffberg’s “umbrella”, Alan Davies’ “A HUNDRED POSTERS”, the Church of the SubGenius’ “Stark Fist of Removal”, Donna Kossy’s “False Positive”, Linda Frye Burnham’s “High Performance”, Mike Gunderloy’s “Factsheet Five”, John Foster’s “OP”, Monty Cantsin’s “SMILE”, Nenad Bogdanovic’s “Total”, John M. Bennett’s “Lost & Found Times”, Rev. Crowbar’s “Popular Reality”, AMK’s “Hare/Hunter/Field”, Manfred Vançi Stirnemann’s “Work in Progress”, “Light Times”, Katherine Nichols’ “A. C. Gazette”, John Rininger’s “Phosphorusflourish”, Joel Biroco’s “KAOS”, Rupert Wondolowski & Alfred Merchlinsky’s “Shattered Wig Review”, Lloyd Dunn’s “PhotoStatic”, Stephen Perkins’ “Box of Water”, Chris Winkler’s “(S)CRAP”, the San Francisco Cinematheque’s “Cinematograph”, Mlacolm Dickson & Lorna Waite’s “Variant”, Michel Lefebvre’s “SOUS LE MANTEAU”, Michael Amnasan’s “ottotole”, & many, many other (a)periodicals were keeping discourse very lively indeed.
What had previously been underground became increasingly available thru bks that radically broke new ground: Adam Parfrey’s Apocalypse Culture (1987), Rev. Ivan Stang’s High Weirdness by Mail (1988), Stewart Home’s The Assault on Culture (1988), Bob Black & Adam Parfrey’s Rants and Incendiary Tracts (1989). One of the publications I’d looked forward to the most was “SEMIOTEXT[E] USA” (1987). I’d been reading ‘SEMIOTEXT[E]” since the 1970s & had always found it to be stunning in its intellectual brilliance. Alas, despite its size & thoroughness, by the time it came out I felt a sense of denouement – as if it had nothing new to teach me – for me, it was already dated. A German friend of mine, Florian Cramer, sd the same thing about the preceding “German Issue”. Of course, that wdn’t've been the case for people less saturated in the underground than myself.
But, of course, not every underground publisher had the desire or the wherewithal to put out a bk & get it distributed. Many of us held onto the notion that interpersonal networking was the most important & continued to mainly put out small publications that were mostly intended to be traded w/ other such publishers. The PERSONAL vs the COMMERCIAL. While publications like Re/Search’s “Incredibly Strange Film” were initially exciting, for people like me, at least, they only represented a faux cutting edge. Any truly incredibly strange film, such as my own, wdn’t be included b/c they’re not dumb enuf, they’re not LCD (Lowest Common Denominator) enuf. To a few of us, w/ little or no commercial aspirations, what was most important was finding & communicating w/ the secluded obscure people who seemed to be trying to free themselves from an oppressive society thru following their imagination w/o becoming herders of (sub-)pop-culture sheep. People who took their egalitarianism seriously.
Now, decades later, the ‘landscape’ of underground communication has changed considerably. Many of us who wd’ve previously used the mails now use the internet. But much of the thrill is gone, for me at least. Instead of getting a tape in the mail, I get Facebook announcements. People ‘friend’ each other more for the quantity of connections than for their quality – just like much of Mail Art, but NOT the mail I participated in. Print-On-Demand has, fortunately, come into existence & it’s financially more feasible for someone like Trevor Blake to put bks out w/o having to cater to sensationalist marketing to make the substantial investment back. As such, now we have oVo 20 JUVEN(a/i)LIA: a bk that wd fit in nicely from an information standpoint w/ the aforementioned bks from the 1980s w/ at least a few people that wdn’t've previously made the editorial cut but who were, nonetheless, highly active.
One of Blake’s strengths is his sincere & long-term communication w/ a variety of very vigorous people – many of whom were important to my own correspondence too. Alas, I have to say that his weaknesses are in design imagination & in proofreading. In my 2pp article alone he & his spellcheck added something like 40+ errors. Back to that later. In general, this bk is a vital addition to further bringing to light underground culture – mostly in the us@.
Trevor’s “Public Domain” & “Disclaimer” present an editorial anti-copyright position: “Dedicators recognize that, once placed in the public domain, the Work may be freely reproduced, distributed, used, modified, built upon, or otherwise exploited by anyone for any purpose, commercial or non-commercial, and in any way, including by methods that have not yet been invented or conceived.” & such an approach is very much in keeping w/ the more radical proponents of freedom of information. The idea is pretty much that the creators of the works propose to pirate whatever’s out there for their own purposes & feel like it’s only fair to reciprocate in kind. Personally, I prefer non-commercial use w/ attribution. If someone’s going to make money off me, I prefer that they share it w/ me. Respectful friendship rather than exploitation.
The 1st paragraph of Blake’s intro claims that “All text and art appearing here was first published in OVO with the exception of the work of Thom Metzger and the work of Ernest Mann.” Alas, that’s inaccurate in my case. My “Lidznap” was published in its correct & complete form in my bk entitled How to Write a Resumé – Volume II: Making a Good First Impression (1st edition: Apathy Press, 1989 – see reviews of the 2nd edition here: http://www.goodreads.com/book/show/2558817.How_to_Write_a_Resum_Volume_II_Making_a_Good_First_Impression_2nd_edition ) – 2 yrs before the OVO #12 that an abridged version later appeared in.
Blake’s intro goes on to mention some of the other publications that I’ve also mentioned above: Re/Search, Factsheet Five, & Apocalypse Culture. As Trevor explains: “OVO is a public record of my interests and inquiries. OVO is where I’ve taught myself how to write, edit and publish. Themed issues of OVO follow what I work to be less ignorant about. Contributors to OVO have nearly always been friends first.” There’s the emphasis on the personal again. His intro concludes w/: “Read with regularity outside your area of interests. Nothing will point out your own ignorance better than attentiveness to those who disagree with you, nothing makes what you know make sense like learning something unrelated to what you know. Take as many chances [as] you are willing to take lumps for. But most of all, get busy.” & it’s this philosophy that makes OVO highly worth reading.
There’s a drawing by Mike Diana at the end of this intro. For those of you not familiar w/ his work I strongly recommend the fantastic VHS release “affliction” edited by underground movie stalwart Mark Hejnar. Mike Diana got burned by the police state more than most of us. Here’s his contributor’s bio: “Mike Diana was born in Geneva New York in 1969. He started drawing at a young age. He is the first artist to receive a criminal conviction for obscenity in the United States. Based on drawings Mike made at the same time as his drawings for OVO, Mike was forbidden from any contact with children under 18, compelled to undergo psychological testing and enroll in a journalistic ethics course, pay a $3,000 fine and perform more than one thousand hours of community service. He was also ordered to cease drawing for personal use. To insure that Mike was not drawing, police were allowed to inspect his house at any time without warning or warrant. He escaped to New York City in 1996.”
Many of the ideas presented here have been far more important to many of us than may often meet the eye. Take Hakim Bey’s statement: “We might now contemplate aesthetic actions which possess some of the resonance of terrorism (or “cruelty,” as Artaud put it) aimed at the destruction of abstractions rather than people, at liberation rather than power, pleasure rather than profit, joy rather than fear. “Poetic Terrorism.” Our chosen images have the potency of darkness – but all images are masks, & behind these masks lie energies we can turn toward light & pleasure.” Well put!
I found Johhny Brainwash’s “Holding Games for Ransom” (published April 2008) to be interesting. It explains an alternative economic model for gamers & others akin to what are now kickstarts. Alternative economic thinking has always been important for people in the underground for various probably obvious reasons: not everyone in the world is by nature likely to ‘succeed’ in the economic conditions of the society they’re born into. “It takes money to make money”, as the saying goes, so if you’re born relatively poor you’re not as likely to ‘work yr way to the top’ as proponents of capitalism might have you believe. If you’re rich enuf to go to a rich university long enuf to get a PhD you’re much more likely to be shit out of the system straight into a position of privilege where it’s taken for granted that you deserve to be regardless of yr actual level of accomplishment.
Since poor people are much more likely to be more desperate than rich people are generally likely to understand, it’s no wonder that people wd seek out an economic system wherein their actual qualities & abilities have some value rather than the often unfair values assigned to them by people in power. Barter is very important. Hence we have “Indie Currency” as outlined in Klint Finley’s “The New Currency War” (OVO 18 Money(April 2008)). For an earlier article on the same subject, see Rita Rodentia’s “Money Schmoney – Alternative Currencies” (Street Rat-Bag #3, October 2000). I learned at least one unexpected thing from Finley’s article: “Pay Pal, eventually burdened with legal problems, banned the use of PayPal for gambling, pornography, and several other uses in 2004.”
Gerry Reith & Thom Metzger were both people I corresponded &/or traded w/. Reith, perhaps isolated more than most in Sheridan, Wyoming, committed suicide. Metzger & I didn’t correspond for long. I think I always figured that it had something to do w/ him becoming a somewhat ‘successful’ novelist. Therefore, it was interesting for me to see things by them in here that I may not’ve been previously familiar w/. However, part of what Reith wrote & what Blake writes later is something that I very much don’t identify w/. Reith 1st: “As anarchists: leafleting, speaking, proselytizing, agitating anarchists, we are continually trying to smooth over the inherent contradictions of trying to motivate people to act while disavowing any responsibility for their choice of action(s).” Blake quoting George Walford: “‘The overwhelming majority of those who have encountered anarchism have shown very clearly that they do not want to do what anarchists want them to do. They prefer to do what they are doing now. We have no reason to expect the others, when they meet anarchism, to respond differently. Can your anarchism accept this? Or do you feel bound to impose (however gently and rationally) your ideas of what it is good for them to do?’”
Now, I’m an anarchist & the reason why I consider myself to be an anarchist is very simple: I don’t accept rule from others & don’t want to impose rule on others either. Etymologically, it seems simple: “an” = without, “archy” means rule by. This is generally taken to mean ‘rule by someone other than yrself’ since it’s somewhat taken for granted that as an anarchist you think for yrself & take responsibility for yrself. Perhaps something like “esy-o-idios-archy” might be better or just plain “idioarchy” meaning “rule of yrself by yrself”. It seems that potentially etymologically applicable words like autarchy & monarchy are already laden w/ more dictatorial meanings. Anyway, my point here is that one of the things that I like about anarchy is that anyone self-declaring as an anarchist is hypothetically not going to proselytize b/c that wd mean trying to lead someone else & wd, therefore, be antithetical to “w/o rule”. Personally, I detest proselytizing & have no desire to “impose (however gently and rationally) [my] ideas”. So, WHAT THE FUCK?! I don’t even ask my friends whether they’re anarchists much of the time. If they try to proselytize to me chances are they won’t stay friends w/ me for long. I’d just find them too annoying. As such, I find this emphasis on proselytizing above to be very suspect.
Mike Gunderloy’s “The Meta-Network, or, A Battle with Footnotes” was one of the highlights of this “OVO” for me. Gunderloy’s Factsheet Five was the best meta-networking tool I’ve ever encountered & Gunderloy’s ability to write capsule reviews of hundreds or thousands of publications every mnth always struck me as qualifying him to be called “a human encyclopedia” – a compliment I rarely give out. His humorous approach in making this text have the footnotes quickly overwhelm the main text makes it even more enjoyable to me & smacks of parody of academia.
Anonymous’ “23 Sperm Stories 23″ starts off like a dry scientific explanation of sperm & related reproductive elements. However, many people have emphasized the #23 as some sort of significantly recurring # – often w/ occult meaning. As such, the title’s a bit of a giveaway that something other than the dry beginning, wch might just be cut’n'paste from undisclosed sources, might appear – as indeed it does about 6 pages in:
“Reports of alien abduction often include claims of the harvesting of or depositing of sperm. The Christian religion claims that when a sperm cell enters another kind of cell, a soul is created. Casteneda (a 20th Century novelist), claimed that sperm went to the recipient’s brain, causing a pleasant sensation. Bardon (a 20th Century occultist) claimed that retaining sperm in a special container called a condenser could allow the manipulation of energy and magnetic fluid. The Temple of Psychic Youth claimed that placing sperm on paper while concentrating on a desired goal would make that desired goal occur.”
“A majority of the world’s economy, technological progress, art and culture are centered on extracting sperm from one or more human and putting it inside of or in proximity to one or more humans or images. The second most active engine of the world’s economy, technological effort, art and culture is the prevention of these activities. The entire history of humanity can be explained as the dynamics of these two forces.”
For me, this is overemphasis.
“In 1999 a subject in Prague tricked a human into donating sperm to a local sperm bank with the claim this was part of a medical process. The subject actually used the sperm to create two new humans, which the donor human was then required by [law? - word apparently missing here] to financially support”.
I find this last story a bit unbelievable in its current state. I found nothing about it online but I didn’t look very hard either. If the story’s anything but an urban myth I suspect that there’s alot more to it than in this telling. According to this same article, “No human has ever been generated without sperm; sperm is the agent of all life”. According to Wikipedia: “Parthenogenesis (play /ˌpærθənoʊˈdʒɛnəsɪs/) is a form of asexual reproduction where growth and development of embryos occur without fertilization. In plants, parthenogenesis means development of an embryo from an unfertilized egg cell, and is a component process of apomixis.” Even the article itself refutes its claim re sperm: “Scientists at the Reproductive Genetics Institute in Chicago created a means of creating new humans without sperm in 2002.” & “clearly the need to reproduce with sperm is an option and not a requirement.” The point is that while I found “23 Sperm Stories 23″ to be dubious in its logic at times, I still think it’s very interesting.
I found Feral Faun’s “Thoughts on Experimentation” to be somewhat representative of a general thrust of OVO: “I consider the past ten years of my life to be a constant process of experimentation”. This leads me to PM’s “Liberating Wednesday”: “So far people have tried to liberate countries, but the results aren’t very convincing. So why not try to liberate a day of the week?” Great idea! This, in turn, reminds me of Ernest Mann’s “I am wasting less of my time (LIFE) watching, listening to and reading THOUGHT LEADERS, ie, TV, movies, radio, music, newspapers, magazines, and novels.” Wch takes me to Karen Eliot’s (misspelled throughout OVO as “Elliot”) “Operation Negation”: “From 1990 until an undetermined point thereafter there will be an employment of the negation of all forms of work (and play).” In other words, all of these people are trying to look at their life & to experiment w/ it in a liberating way.
Ernest Mann, whose “Little Free Press” publications I once rc’vd frequently, was definitely dedicated to freeing himself: “I spent 22 years of my TIME (life) working as a Wage Slave. [..] I don’t want to do that anymore.” I found this memorial to him online ( http://www.oocities.org/msrrtnewsletter/may96.html#mann ):
“While half mast flags in April marked the death of U.S. Commerce Secretary Ron Brown, our thoughts instead were on [a] real people’s hero, Ernest Mann. The 69-year-old editor of what must have been the longest running zine in existence, Little Free Press, was bludgeoned to death in March by his teenage grandson who then took his own life. The two had been living together in a Little Falls, Minnesota, trailer court. Formerly a successful real estate investor, Mann (a.k.a. Larry Johnson), “dropped out” in 1969 to live a contemplative life and promote his quixotic “Priceless Economic System.” Described as “definitely the most idealistic, and arguably the most naive set of pamphlets” (High weirdness by mail, Stang, 1988), Little Free Press has been part crusade, and part autobiography about squirrel trapping, raft building, and grandson raising. Mann first received regional attention in 1978 when Minneapolis Tribune columnist Larry Batson wrote about his quest to promote freedom. By the time the national media noticed him (“A Thoreau of the city,” Christian Science Monitor, May 16, 1990, p.13), he was already widely known throughout the zine network. Mike Gunderloy’s September 1982 edition of Factsheet Five (#4) reviewed Little Free Press #41. Thirteen and a half years later, Mann was still at it, pumping out issue #138 and visualizing “peace on Earth and goodwill.” We were not alone in corresponding with Ernest and wish we hadn’t procrastinated with plans to interview him. Profoundly human, an enjoyer of books and simple pleasures, an anarchist and atheist who never ceased his one-person utopian experiment, he will be missed.”
Walter Alter’s yet-another person in OVO that I corresponded w/ in the ’80s. While I more or less completely disagree w/ his statements such as: “Meeting the necessities of biological survival is a piece of cake; an amoeba can do it.” “Technology is inherently democratizing.” “By visually representing and revealing the interconnectivity of events within a phase and, by extension, of all phases within our universe, technology becomes the most humanitarian of all human endeavors.” “When television is discussed it is always within the parameter of a single screen, much like cinema.” reading his article here made me want to listen to his “Air Bag!” tape that he’d sent me. Alas, I cdn’t find it but in the process of looking I was reminded of just how amazing the hundreds of tapes that I once traded for were. As for cinema being a single screen medium? I’d say: no more or less so than tv. There’re many instances of people experimenting w/ multiple projections. Take, eg, my own:
“Multiple Projections: 1978 to 2009″:
Trevor’s reviews are particularly useful for pointing people in the direction of obscure publications. The 1st of these here is about Mark Mothersbaugh’s 1975 bk entitled My Struggle published in 1978 in an edition of 100. While Blake mentions that “These small thick books have red covers to make them look the same as Chairman Mao’s Book of Quotations”, he fails to mention that “My Struggle” is the English translation of Hitler’s famous autobiography “Mein Kampf”. Also reviewed is a documentary called The Skin Horse “by and about disabled people and their sex lives.” Trevor notes that “Channel 4 (formerly Central Television) commissioned the 1982 film but does not sell it. No one sells it, not legally.” &, again, we have a central concern here for probably many of the OVO contributors: seek out & study obscure & obscured info.
After Trevor’s reviews come his interviews. I have a particular affection for interviews – esp w/ people that mainstream media might find unworthy. As I write in my essay entitled “On the Importance of Personal Archives” (not in OVO): “I’d rather live life fully with friends than vicariously thru the icons. Lifestyles of the Rich & Famous? How about Lifestyles of the Eccentric & Imaginative? Of the Intelligent & Visionary? Of the Friendly & Accessible? These may include the rich & famous but certainly aren’t excluded to them.” Blake’s 1st interview here is w/ a bulimic. Another subject of interest to me. In 1989 I made a movie called “Barfroom” that’s a parody of bulimics made w/ 2 ex-bulimic friends of mine. Another interview is w/ my old friend, long since lost touch w/, Yael Ruth Dragwyla. She discusses “varieties of non-physical travel”. I made a super-8mm film of her in 1986 performing ritual magick.
Perhaps most germane to the theme of underground publishing is Trevor’s interview w/ V. Vale, the co-editor of Re/Search. Vale’s philosophizing provides another good summary of a thread running thru the intentions & experiences of many underground publishers: “A lot of people just become criminals or whatever, or drug addicts, or they just can’t cope for a lot of good reasons. Society gives us plenty of reasons but it also provides the narcotics in the form of television and actual narcotics so that we can “adapt,” shall we say. And so yes, it’s definitely a struggle against mind control, against conditioning, against banal information. We were born with the birthright of curiosity and there’s nothing more natural than to be curious, but of course this faculty is extinguished early in life. It seems like society does everything it can to either extinguish this faculty or to channel it along channels of consumption rather than something creative on your own, something creative and original and obsessive and unique on your own.” BRAVO!!
Alas, at some point I have to critique the treatment that my own article, “Lidznap” rc’vd. Perhaps I shd preface this by explaining that from 1969 on I’ve used meticulously calculated d liberate d viations from conventional writing for encryption purposes, for abbreviation, for ambiguity, & for many other reasons. These d viations are always intended to expand the meaning of my text in a way that conventional writing wdn’t – & are rarely mistakes. The mistakes come along when editors & their machines ‘correct’ my writing – esp my puns, wch are often numerous & highly charged. Hence if I call myself a “psychopathfinder”, eg, some spell check program might ‘correct’ that as a ‘nonexistent’ word. Of course, neologisms have to begin somewhere & I’m an active force in birthing them. Explanations of my systems wd require too much space here. The reader is directed to the “Dos & Dont’s of Dating” & “l;a;n;g;u;a;g;e” chapters of my bk entitled footnotes ( see reviews of that here: http://www.goodreads.com/book/show/2349153.footnotes ).
The original article wd’ve been sent to Trevor around 1987. It’s about an event & a project from 1979. The project involved a phone # that cd be called for somewhat unpredictable results. This phone # spelled TESTES-3. A reporter named Franz Lidz, whose early life has been represented in the Dianne Keaton movie Unstrung Heroes ( http://en.wikipedia.org/wiki/Unstrung_Heroes ), expressed an interest in writing an article about TESTES-3, wch was operated anonymously. He wrote one article before he found out who we were & one after we led him on a wild ride. “Lidznap” is about that wild ride. My original begins w/ the title, followed by this subtitle: “Two Ironic Endings” followed by the section headed “Preface”. That’s followed by a photocopy of Lidz’s 1st article entitled: “For a Good Time Call TESTES-3 – Underground Telephone Network”. That’s followed by page 1 of the 2nd part of my text entitled “Lidznap” wch is followed by 2 relevant photos & the end of my article. Finishing the whole thing is a copy of Lidz’s 2nd article, entitled: “VD-RADIO Goes On The Air”.
When this was 1st published in OVO #12, it was called “Lidznap: Two Ironic Endings” & Lidz’s 2 articles were removed. Only a cropped version of one of the 2 original photos was left in. Trevor retyped my original, rather than photocopying it & cutting it into a form that wd fit his layout. In this original process, this sentence:
“Given that we considered anonymity to be essential to our functioning as mysterious catalysts & given that we wanted to put emphasis on TESTES-3 as a communally produced participatory phenomenon we reacted cautiously to his request in a way that we thought to be consistent with our principles.”
became:
“Given that we considered anonymity to be essential to our functioning communally produced participatory phenomenon we reacted cautiously to his request in a way that we thought to be consistent with our principles.”
Over a quarter of the sentence is missing: “as mysterious catalysts & given that we wanted to put emphasis on TESTES-3 as a”. Why? B/c in the original that’s an entire line & when Trevor was transcribing his eyes jumped from the preceding line to the following one & missed it altogether! That one mistake alone is enuf to make me cringe but there are many, MANY more. Any mistakes Trevor made in his original typing are then repeated & further compounded by the singularly ‘stupid’ & inflexible spell check program he must use. IMO spell checks shd be disabled in any text program used by any reasonably literate person. They’re mainly designed to be helpful for covering up the mistakes of the barely literate – like college students. Text programs will accept the wrong word if it’s spelled correctly, they’ll also ‘correct’ the types of meaningful d viations that I specialize in.
Hence, if one writes “CD” as an abbreviation for “Compact Disc” it might become “Cd”. If one writes “than” instead of the intended “then” it’ll stay that way. If one writes “4″ as a phonetic abbreviation of “for”, it might get changed. If a proper name is misspelled, it’ll never notice. If one creates a d liberate contraction, it might get changed: “awhile” might become “a while”. The list is endless. tOGGLE cASE is not permitted. Words like “typewriter” & “lawnmower” were once written as “type writer” & “lawn mower” until the 2 words became commonly enuf associated w/ each other to become one word. The intermediary stage is “type-writer” & “lawn-mower”. I often prefer to recognize these contractions as likely to occur in the future & to make them happen NOW. Hence, I write “alotof” instead of “a lot of” b/c “a lot of” is sd so often that it’s basically blended into one word in common speech even tho it’s not usually written that way. THIS IS NOT A MISTAKE ON MY PART but a spell check program will react to it as if it is.
Then there are things like the word “basically” that I’ve just used. This isn’t underlined as a possible mistake in the program I’m typing this in. However, the word “publically” is underlined as a mistake. So what’s the rule? When I was a kid, a rule was that when a word ending in “l” was having “ing” added to it, the “l” was to be doubled. Reading older bks will routinely present this spelling: “travelling”. These days, that’s considered ‘wrong’ & it’s to be spelled “traveling” – no more doubling of the “l”. My point here is that while I actually pay attn to many of these rules & try to either consciously d viate from them or to stay consistent, what’s considered ‘correct’ is actually a mess of irregularities that have no actual grammatical consistency.
I also d liberately do things like put punctuation outside of quotation marks. Yes, yes, I ‘know’ that this isn’t the conventional procedure. I cd give a shit. The people who teach/enforce these conventional procedures are generally doing so by rote, I’m actually thinking about the language. Fancy that! In general, I use punctuation as I imagine myself saying something. Therefore, if I imagine myself pausing, I’ll use a comma (“,”). If I imagine myself not pausing I’ll leave the comma out. SO, in my original article, I wrote “or “line” as we called it”. Trevor ‘corrected’ this by writing it as “or “line,” as we called it” adding punctuation that I didn’t want in there. Not only did he add the comma, he also put it w/in the quotation marks (” “) wch I wd’ve never done. To me, in my much more consistent & logical grammatical world than that enforced by convention, the word “line” shd stay isolated w/in the quotation marks & the comma shd come as a pause after it. Sentence #2 begins: “It was run anonymously” & Trevor changed that to “It was operated anonymously”. & so forth & so on – over 40 changes in toto. “John’s camera flashes added to their already substantially disoriented vision” becomes “John’s camera flashes added to their already substantially distorted vision”. Here “disoriented” is far more accurate b/c Franz was wearing prism glasses that I made that reversed his left-right, etc..
A common problem w/ editors who feel the need to to standardize their visual presentation is that the editors then have to retype all text into their computers. Unless the retyping is done very carefully, wch it rarely is, the result is a mess. Given that I’m a highly literate & careful person, it’s always painful for me to see something credited to me so full of mistakes that I seem very sloppy indeed. Esp given that my d viations are often symbolic, the actual meanings of my article become distorted. Take, eg, this bit from my original: “They’re coming to take me away, hoho, heehee, haha..” – in Trevor’s retyping this becomes “they’re coming to take me away, hoho, heehee, haha…”. 2 seemingly minor changes have been made: the beginning “T” has been made lower case – hence no longer showing that this is the 1st line of a verse of the song; the ellipsis at the end has been changed from having 2 dots (“..”) to the more conventional 3 dots (“…”). In my number symbolism I recognize the conventional 3 dot ellipsis as a symbol of the so-called “Holy Trinity” used, again conventionally, as a symbol of infinity. It’s Christian. I’m an ATHEIST & I detest Christinanity (pun intended, as usual – another word that wd be ‘corrected’ by a spell check program) – as such, I use 2 dots as my symbol of the fade-out &/or infinity. Once again, it’s d liberate! Reading thru this “oVo”, I find a near continual parade of typos. Some people probably don’t care – but to someone like myself, these typos can significantly change the meaning of a text.
Ah, much of what I feel I shd write next is even more difficult. I like Trevor & think that this issue, & others before it, have a significant enuf place in the history of the us@ underground to be worth reading. Still, there’re parts I find myself substantially critical of that I’ll address here. Trevor Blake’s “Trajectory Through Anarchism”, in particular. In this, Trevor traces his development as an anarchist & a post-anarchist starting w/ age 16 & ending w/: “Whatever I am, I an [sic] definitely not an anarchist.”
One phrase that runs thru the article is “imp of the perverse” used as a positive term: “The same imp of the perverse that led me to read about anarchism pricks up his ears when he hears a friend say how concerned he is that another friend is reading Ayn Rand.” “I call up the imp of the perverse to see what other forbidden ideas might be out there.” “2005: The imp of the perverse continues to slip books into my hand”. I can relate to Trevor’s usage of the “imp of the perverse” as meaning his tendency to seek out ‘forbidden’ knowledge. I’ve been calling myself a “blatant pervert” for much the same reason for a long time. However, it might interest readers who don’t already know this, that this phrase probably originated in Edgar Allan Poe’s story of the same name that 1st appeared in Graham’s Magazine in July, 1845, & that Poe says this about it:
“We stand upon the brink of a precipice. We peer into the abyss – we grow sick and dizzy. Our first impulse is to shrink from the danger. Unaccountably we remain. By slow degrees our sickness and dizziness and horror become merged in a cloud of unnameable feeling. By gradations, still more imperceptible, this cloud assumes shape, as did the vapor from the bottle out of which arose the genius in the Arabian Nights. But out this our cloud upon the precipice’s edge, there grows into palpability, a shape, far more terrible than any genius or demon of a tale, and yet it is but a thought, although a fearful one, and one which chills the very marrow of our bones with the fierceness of the delight of its horror. It is merely the idea of what would be our sensations during the sweeping precipitancy of a fall from such a height. And this fall – this rushing annihilation – for the very reason that it involves that one most ghastly and loathsome of all the most ghastly and loathsome images of death and suffering which have ever presented themselves to our imagination – for this very cause do we now the most vividly desire to do it.”
As I mentioned earlier in this review, I find the idea of proselytizing for anarchy to be self-contradictory. Of course, people are self-contradictory all the time. But there’s so much written here about anarchy that I find inaccurate that I want to counterbalance it. This, even tho I’ve often sd things to the effect of “Sometimes I’m an anarchist. If other people say I’m not an anarchist &/or if the common notion of anarchy were to become too oppressive, no biggie, then I’m not an anarchist. 1st & foremost, I’m me.” In other words, let’s not get too attached to labels or let them get too attached to us. To my mind, one of the worst things that can happen to anarchism is for it to become a popular movement that people ‘join’ – not b/c it’s what they feel inside, but b/c they’re conformists & being an anarchist is part & parcel of whatever subculture they’re part of.
Trevor emphasizes his correspondence w/ George Walford, who I’ve never heard of:
“1993: From a letter by George Walford: “You remark the scarcity of ‘real live human being stories’ in anarchist literature. Very perceptive. But it’s not an accident. Anarchism is not about people as we meet them, it’s about abstruse principles and theories (and, even more, about the resistance these encounter). The real human stories appear in the literature at the other end of the range, in the popular romances, thrillers love-songs and — perhaps most of all — in tabloid newspaper stories, which go to extreme lengths to personalize (humanize) political events.”
Whew! Not only do I find Walford to be astoundingly un-self-consciously pompous, I also find his claims to be as far from my own personal experience as they can get. A “scarcity of ‘real live human being stories’ in anarchist literature”? It’s hard for me to imagine how any reader of anarchist literature cd find this to be the case. Arguably the most famous & widely read anarchist bk in English might be Emma Goldman’s Living My Life wch is, of course, an autobiography. Or what about Alexander Berkman’s Prison Memoirs of an Anarchist?
To continue w/ Walford:
“The dilemma of orthodox anarchism cannot be escaped by ‘practical living anarchy’ within present society. We cannot live without taking part in society, paying taxes and supporting capitalism by our consumption, and orthodox anarchism condemns all of this. The attempt to live the anarchist life is a living demonstration of the arid, empty, abstract unreality of orthodox anarchism; it cannot be put into practice, it is virtually nothing but theory.”
Again, I have to strongly disagree. 1st, it IS possible to avoid “paying taxes and supporting capitalism by our consumption” but if one’s born into a capitalist country, it’s certainly hard to do w/in that context. But, for me, that’s besides the point. It’s important to at least be conscious of the ramifications of one’s tax-paying & of one’s consumption. There’s a big difference between the guy who owns the factory that uses slave labor & the person who refuses to buy his product b/c he knows of these conditions. I prefer to be among the latter. I know that trees are destroyed to create bks but I still love & collect & read bks anyway. I have no aspirations to be ‘pure’ or ‘perfect’ but that doesn’t make me any less of an anarchist.
Trevor asks: “Where are the older anarchists in a movement that started in the 19th Century?” Well, he’s 13 yrs younger than me, so I’m one of those “older anarchists” & I’ve met a few older than myself. If one were to go to Barcelona, eg, one wd find much more continuity than one’s likely to find in the us@. Any study of us@ anarchist history will reveal a heavy suppression that led to many deportations & imprisonings. I’ve seen at least one documentary on the Wobblies where the few survivors expressed astonishment that anyone even knew who they were any more. It’s probably safe to say that from 1930 to 1970 this suppression thinned out the number of anarchists extensively. After the Spanish Civil War, members of the Abraham Lincoln Brigade didn’t necessarily come back to the US b/c they were either criminalized or just disgusted by the US’s official non-opposition to the rise of Franco. The great player-piano composer, Conlon Nancarrow, eg, moved to Mexico instead. In 1969 or 1970 when I came across the term “anarchist” & realized that that’s what I was, I’d either never met anyone else who’d ever heard of anarchy or might’ve met ONE other such person once. It wasn’t until 6 yrs later that I met another one. Obviously, things have changed – largely as a result of the popularization of anarchy in punk culture.
Trevor goes on to ask: “And what has anarchism done… ever?” Wow! Such a question amazes me. Anarchist agitating is certainly centrally linked to such things as the 8 hr work day & the 40 hr work wk. Ever heard of “Food Not Bombs”?! It’s a pretty widespread free food program that most big cities, & quite a few small ones, have by now. In Pittsburgh, “Book ‘Em”, a bks-to-prisoners program run by volunteers, was founded by anarchists; “Free Ride”, a bikes project that teaches people how to build & repair bicycles & makes the opportunity available for kids to get a free bike by going thru a similar learning program, was founded by anarchists; “The Big Idea” is the local anarchist info & coffee shop. There are anarchist medics for protests where people take the risk of being attacked by police. There were anarchist volunteers who worked in New Orleans after Katrina. All of these things are typical & all of them are trying to improve society at the level that they can work at w/o having to create hierarchies.
More Walford replying to Blake: “‘Just as …’ in which you blame the personal inadequacies of individual anarchists for the failure of anarchy.” Does Blake do this? If so, I agree w/ Walford that “That does not stand up any better than blaming individual supporters of capitalism for the failures of that system.” I have no expectations of ANY human to be somehow ‘perfect’. However, there’s a higher probability that someone who at least tries to live by a philosophy of Mutual Aid is less likely to fuck me over than someone who believes that Dog Eat Dog is the only way to get what you want. Blaming individuals is a waste of time if one expects individuals to be some sort of ultimate representative of any philosophy. I don’t represent anarchism, I represent myself.
Walford: “Not only can anarchy not be practiced under the state, it can’t even be thought out as an independent social system, in any concrete way, without running into contradictions that, appearing in practice, would wreck the whole world.” Really? What a blowhard! I want to know more about Walford so I look him up online & find that he was a socialist. How many times do anarchists have to point out that Nazism was National Socialism & that Mussolini was a socialist before he created Fascism?! Statements like “anarchy not be practiced under the state” are based on the idea that anarchists are trying to set up a different type of ‘state’ “under the state” & that this won’t work. As an anarchist, I’m simply trying to live as close to my own personal principles as I can. I have no expectations whatsoever that my own individual anarchism is going to be able to function w/ absolute purist integrity w/in any particular social conditions. There will always be factors beyond my control & things that I disagree w/ & that’s just fine. In some respects, such a view of anarchism is ‘moderate’ more than it is ‘left’ or ‘right’ ‘wing’ b/c I think that the more people who live stable & satisfied lives the better off we’ll all be. In other words, I prefer to foster social conditions in wch interpersonal animosity doesn’t reach homicidal proportions. IMO, ANY system is likely to create bad conditions for SOMEONE so I prefer to choose NO SYSTEM AT ALL.
Blake: “1994: I define anarchism as the belief that it is possible and desirable to maintain the world’s population at the current standard of living without government and without a period of transition from the present to an anarchist world.” I, personally, DON’T define anarchism in that way, I just hope it’s more conducive to non-warring social conditions than most social philosophies. HOWEVER, I don’t think that there’s such a thing as an “anarchist world” nor do I want such a thing. I don’t want everyone in the world to be anarchists – just those who want to be.
Trevor’s “The Bonus Army” was one of the most interesting articles for me. It taught me about something that I knew nothing about AND it brought up a familiar historical figure who’s always fascinating: General Smedley Butler: “Butler went on to write the book War is a Racket.” I’d like to read that.
From pp98-100, there’s Blake’s article entitled “Multiple Name Identities”. This is a subject dear to me & one that I have alotof direct experience w/. I’ve always found the term “Multiple Names” to be misleading. I prefer “Collective Identities”. Both refer to the deliberate use of one name by multiple people, often for a common purpose. Blake’s article tells of such names previously unknown to me & claims a few things that I think are inaccurate.
Blake mentions Nicholas Bourbaki, Kenneth Robeson, Stefan Brockhoff, David Agnew, & Van den Budenmayer – none of whom have I ever heard of. THANK YOU TREVOR! To these I might add Ern Malley, an Australian hoax poet identity created by 2 poets who hated modernist poetry in order to parody such poetry & prank a particular editor. Trevor also mentions the children’s bk entitled The Little Engine Who Could & that: “The story is attributed to Watty Piper, which was the house name of publisher Platt & Munk. Many men and women wrote under the name Watty Piper.” To wch I add that this is somewhat common in kid’s bks insofar as publishers create series that they perpetuate far beyond the lifespans of individual authors. Hence we have Hardy Boys stories written by “Franklin W. Dixon” & Tom Swift stories written by “Victor Appleton”, etc..
Blake: “Since 1968, films which the director wishes to distance themselves from are attributed to Alan Smithee.” Many, if not all of these are porn & it’s not just the directors who use the name. People largely use it so they don’t ruin their otherwise more aboveboard professional careers. I made my own movie “Teenagers from Inner Space” under the name Alan Smithee in order to deliberately associate myself w/ the other Smithees.
Blake: “Rrose Sélavy was an artist and model in the 1920s, associated with a number of dadaists.” Trevor shd’ve researched this one a little bit better. Here’s what’s basically common knowledge in the art world as presented on Wikipedia:
“Rrose Sélavy, or Rose Sélavy, was one of the pseudonyms of artist Marcel Duchamp. The name, a pun, sounds like the French phrase “Eros, c’est la vie”, which translates to English as “eros, that’s life”. It has also been read as “arroser la vie” (“to make a toast to life”).”
The collective identities that Blake writes about that I know the most about are those of Monty Cantsin, Karen Eliot, & Luther Blissett. I’ve been all 3 of them at some time or another. Blake spells “Monty” “Monte” at times & “Eliot” “Elliot” at all times so I call attn to those errors. He also presents David Zacks’ version of the origin of Monty Cantsin wch is probably mostly accurate but one shd keep in mind that Zack was a diabetic who was often too much of a space cadet to be always keenly aware of what was going on around him. “Blaster” Al Ackerman’s somewhat different history for such things is helpful for getting a more general feel.
Blake writes: “Stewart Home has written about Karen Elliot, who appeared in 1985: ‘Karen Elliot is a name that refers to an individual human being who can be anyone.’” What Blake seems to fail to understand here is that Home was simply rewriting earlier texts done under the name of someone else explaining Monty Cantsin. This text did not entirely originate w/ Home. Parts of it may’ve been written by him, other parts definitely by others. Essentially, such texts are written by the collective identity that they’re written under. Hence, attribution to Home is both inaccurate in terms of ‘actual’ authorship & in terms of the spirit of the collective identity.
“Stewart Home, in turn, has seen publications under his own name that he did not write.” [..] “including “Anarchism is Stupid: How Luther Blissett Hoaxed Bakunin’s Idiot Children,” “Communism or Masochism? An Appeal to All Revolutionaries Concerning the Rubber Slave Larry O’Hara,” and “An Open Letter to My Avant-Garde Chums by Stewart Home.”" Ha ha! There’s more to this than meets the eye, eh! EG: “Anamorphosis: Stewart Home, Searchlight and the plot to destroy civilization” is credited to “Larry O’Hara” (w/ the quotes around the name), who’s a critic of Home’s, but it was actually Home “who contributes to and edited the pamphlet” (according to Home here: http://www.goodreads.com/book/show/3901990-anamorphosis ). In other words, these faux creditings are part of a prankish interplay of political argument.
All in all, Blake’s article is remarkably thorough. I’d add a few more names: Emmett Grogan ( I highly recommend his bk Ringolevio – a Life Played for Keeps. See its listing on GoodReads here: http://www.goodreads.com/book/show/1069602.Ringolevio ), Bob Jones (who may or may not be a fiction of Stewart’s), David A. Bannister, Jesus Christ, & Shakespeare. Now I don’t really claim that Shakespeare was a collective identity but there have been suggestions to that effect & there is a bk by Ralph L. Tweedale entitled Wasn’t Shakespeare Someone Else? that questions whether Shakespeare was a pen name.
Finally, on this subject, I tell a tale about a university professor friend of mine & of an action undertaken inspired by the Monty Cantsin collective identity. This friend, who I’ll call Monty, was hired to teach English or some such at a university. On the 1st day of class, he had a friend appear as him & teach the class, On the 2nd day of class he had another friend do the same thing. By the 3rd day of class. he actually finally appeared to teach the class. By then, the students didn’t believe him anymore. At least he got them to question more.
&, NOW for the most difficult of Trevor’s articles to critique: “Co-Remoting with the Thunderous”, his article about me. It’s difficult to critique b/c it’s extremely flattering in some ways & lardy knows I’ve had more than enuf hate directed at me to last more than a lifetime so such positivity is much appreciated – but it’s also not necessarily always accurate & it’s probably a little too filled w/ fantasy to be a portrait of a mere human who’s turning into an old man as he writes & who’s slated for mortality along w/ the rest of the meatbags.
The title, “Co-Remoting with the Thunderous”, is a truncated quote from the last line of the 1st edition of my bk Telepathy Receptivity Training (see it on Good Reads here: http://www.goodreads.com/book/show/2598123-telepathy-receptivity-training ). The full phrase is “Dilating with the physical, co-remoting with the thunderous” & I very much like that Trevor used the latter part as his article’s title. All of the phrases in TRT are language thought of by me while half-asleep, usually when waking up. As such, they’re strongly evocative for me w/o being overdominated by conscious intention. That gives such a phrase an interpretive flexibility & Trevor’s use of it plays right into that.
One thing that immediately tickles me about Blake’s article is that he deliberately overuses the name “tENTATIVELY, a cONVENIENCE” in its full form in sentences where the tOGGLE cASE is disruptive. When I originally conceived of the name (or the answer to the question: ‘What’s yr name?’) in 1975, I wrote it lower case so that when it wd appear in sentences it wd cause a sortof cognitive dissonance. EG: We were sitting there & tentatively, a convenience walked into the room. For someone who doesn’t know that “tentatively, a convenience” is a person’s name (originally conceived of as a collective identity by the by), that sentence wd be saying that “tentatively, a convenience walked into the room” – ie: “a convenience” wd be some sort of ambulatory thing capable of walking in a rm? ‘What sort of convenience?’, one might ask, etc.. Trevor’s use of tENTATIVELY, a cONVENIENCE seems to play right into that deliberate disorientation possibility.
Blake’s article reveals a truly substantial level of knowledge about some aspects of my ‘work’/play & makes a few mistakes too. Unlike almost everyone else in the world, one thing that Blake understandingly hones in on is my obsession w/ context. The article begins: “There is no context for the man whose name is tENTATIVELY, a cONVENIENCE.” [..] “One of the many publications by tENTATIVELY, a cONVENIENCE was titled DDC#040.0 – dewey decimal classification number 0 (generalities) 4 (not used) 0 (no subject) 0 (miscellany)… just as a book with this dewey decimal classification number would stand apart from all other books, so does tENTATIVELY, a cONVENIENCE stand entirely apart from all other people.” Thank you, Trevor – & when I was younger that might’ve been more accurate than it is now as I hurriedly type this before I have to rush off to work.
Trevor writes: “Re/Search magazine requested a photograph of tENTATIVELY, a cONVENIENCE’s tattoos for their ‘Modern Primitive’ issue, but the photographs were not used. tENTATIVELY, a cONVENIENCE does not fit the profile for a modern primitive. tENTATIVELY, a cONVENIENCE has not modified tENTATIVELY, a cONVENIENCE’s body to attach it more firmly to a tribal past – tENTATIVELY, a cONVENIENCE has propelled it forward to a sixth-finger future.” Thank you for writing that Trevor! It’s particularly perspicacious in a way that few, or no, other writers about myself & my projects have ever succeeded w/! For those for whom the sixth-finger reference makes no sense: I was once interviewed for a BalTimOre newspaper & I sd: “Normality is what cuts off your sixth finger & your tail” by wch I meant that normality suppresses extraordinary characteristics that might be useful but that are ‘abnormal’. 6 fingers, eg, wd be great for finger-picking for guitarists. The newspaper changed the quote to: “Normality is what cuts off your sixth finger & you fail”. Re/Search quoted me correctly in the back of their “Modern Primitives” issue. Thank you, V. Vale.
I don’t know why my foto was excluded from the Re/Search “Modern Primitives” issue. I sent a foto of my head getting its 3D brain tattoo. A drawing of a brain was inked on there 1st & the tattooist was following that. It may’ve looked like it was faked. It wasn’t. In my experience, I’m usually just a little bit off from what people are looking for when they’re looking for trend-setters. I try to sabotage trends in advance, I like to do things that I know are too complex & ‘uncool’ for conformists to want to have anything to do w/ them. “Modern Primitives”, despite how great so much of the body modification in it is, spawned a slew of cheap imitations. Piercings & tattoos suddenly became ever-so-much ‘hipper’. What a shame. I’ve still never met anyone else w/ a 3D tattoo like mine, tho.
So much of what Trevor Blake writes about here is stuff that I have long stories about. There’s certainly much more to the 6 fingers biz. Trevor notes that I’ve “appeared in public wearing a shirt that reveals [my] chest. It is not a normal chest, but one with six small sow-like teats.” The story behind that is that my fashion model friend (who I haven’t seen in decades – are you out there somewhere?), Eugenie Vincent, did an ad for jeans where she had a 6 titted chest modeled after her own breasts made, maybe by the same person who made the original Planet of the Apes masks or some such, & then she wore it over her own bare chest while in a doggie position overlooking a set of Rome. This was supposed to be a reference to the legend of the she-wolf who suckled Romulus & Remus – the mythical founders of Rome. As it turned out, the 6 tits & her position on all fours proved controversial & the ad either wasn’t used at all or it was only used in limited environments. Then Eugenie was kind enuf to give the faux teats to me & I sewed them onto a similarly colored short-sleeve sweat shirt that I used in performances in 1986.
Trevor explains that I “fashioned a suit of clothes made from zippers, which can be unzipped into a single. long strip.” Not quite, but close. I made pants in 1984 & a jacket in 1988 & the jacket’s arms can be unzipped as a long zipper. In 1989, on my 36th birthday, I washed these clothes & dried them & recorded the process so that I cd make an audio piece called “Drying Clothes Made Entirely of Zippers” wch was then used as part of “The Cassette Mythos Audio Alchemy CD/K7″. For decades I’ve heard “Man, you could make alotof money selling those!” to wch I usually explain that I prefer to be the only one wearing them. 20 yrs or so later I’ve heard of artists making dresses using only zippers but I’ve still never seen a jacket or pants. They’re much harder to sew & I did it by hand.
Trevor also writes that I “made a frightening suit of long-hair wigs of many colors and fashions, and shoulder bags of giant globes”. Regarding the former: the wigs are all pretty similar, I call it my “Hir Sute” or “Hair Suit”. Regarding the latter, it was actually my friend John Sheehan, under the name of Monty Cantsin, who took a moon globe & turned it into “NEOIST T.OREISTER Luggage” for me. It delights me that Trevor references things such as my 12 moustaches haircut or my use of false eyelashes as displaced facial ornamentation.
But, I have to disagree w/ his “Forbidden only by economic circumstance from actual genetic engineering” insofar as I’m quite happy w/ the genetic cards I’ve been dealt.
Trevor mentions that “One film shows tENTATIVELY, a cONVENIENCE in a dog mask, walking on the hands and knees through the streets of London serving as a guide dog for his blind companion.” That film can now be witnessed on YouTube ( http://www.youtube.com/watch?v=vM92UGWzMPM ).
Over the decades I’ve sent thousands of things to over 1,400 people thru the mail & I don’t know of anyone other than Trevor Blake to ever so thoroughly compile the info in these into an article. THANK YOU. Despite the various mistakes, this is still truer to the spirit of my activities than most other articles. Importantly, Trevor writes:
“The most common mistake made by those attempting to classify tENTATIVELY, a cONVENIENCE is that he is an ‘artist,’ tENTATIVELY, a cONVENIENCE understands art and has created art , but he is not an artist. tENTATIVELY, a cONVENIENCE has used paint, film, video, sound and words in his research, but the process of the research and the results are science. tENTATIVELY, a cONVENIENCE’s attention to detail, tENTATIVELY, a cONVENIENCE’s willingness to carry out the research far beyond any hope of personal gain or safety, and the quality of his documentation, give credence to the title tENTATIVELY, a cONVENIENCE gives tENTATIVELY, a cONVENIENCE: mad scientist.”
Furthermore, he writes: “No fringe group will accept tENTATIVELY, a cONVENIENCE – neither will any reputable institution. tENTATIVELY, a cONVENIENCE has petitioned the international museum of the extreme, Ripley’s Believe it or Not, to exhibit tENTATIVELY, a cONVENIENCE. So far, they have refused.” Well.. considering that I’m a Saint in the Church of the SubGenius, I think it’s more a matter of as long as I’m a member of a group they stay lunatic fringe. As for Ripley’s? I approached them in the late 1970s & we actually had some dialog. They were friendly & open. Why my being put on display never happened I don’t remember anymore. It’s possible I just didn’t pursue it enuf. I remember some Ripley’s representative being open enuf to ask me about logistical requirements.
“for the most part tENTATIVELY, a cONVENIENCE has invented (that is, created from discarded or stolen items) the majority of tENTATIVELY, a cONVENIENCE’s life support systems.” Actually, I’ve worked – banal tho that is. What hasn’t been banal is convincing people to employ me, eg, in 1987 when I had my head shaved & w/ a 3D brain tattoo on it. Things have changed alot since then & it’s been people like me who’ve changed it. As for “tENTATIVELY, a cONVENIENCE seems exceptionally unable to assimilate into normal society”? Well, for better or worse, I’ve spent my whole life being what a friend of mine calls a “Daffy Diplomat”. In other words, while “normal society” & I aren’t likely to ever mate, I have to interface w/ it all the time. I get pd to do things for other people, I pay the bills, that sort of thing. Other than that, I certainly don’t want to “assimilate”! “Normal society” is a tomb for the imagination.
As for my ‘bad reputation’ as a person prone to “violent tantrums and theft” & “indifference to others and cruelty”? Nah, I’m one of the most honest people I’ve ever known & I’m hardly indifferent or cruel. In fact, if I were ever even remotely as cruel as most people have been to me the world wd have to look out. Finally, Blake writes: “after an unsuccessful experiment in creating a book and record store (called NORMALS), tENTATIVELY, a cONVENIENCE has left Baltimore”. Normal’s is actually quite successful as a store & has existed now for 22 yrs. Here’s a link to their website: http://www.normals.com/
All in all, typos or no, this is an excellent bk. Blake’s strong point is his personality as a seeker & oVo is his Lost & Found.
The best of OVO 1987 – 2011. Walter Alter, Dmitry Babenko, Hakim Bey, Trevor Blake, Johnny Brainwash, Chris C. Cilla, Cunnichant Night Owl, Mike Diana, Yael Ruth Dragwyla, James Ellis, Karen Elliot, Feral Faun, Klint Finley, Richard Ford, Chris Gross, Mike Gunderloy, Ginger Hutton, Ian MacEwan, Ernest Mann, Melissa, Thom Metzger, Jennifer Murrian, PM, Gerry Reith, James V. Scianna, Stuart Swezey, tENTATIVELY, a cONVENIENCE, V. Vale.
Review by Ferdinand Bardamu: “To someone of the Internet Era, where narcissistic self-expression is just a couple of mouse clicks away, the effort and dedication involved in compiling an entire magazine, from writing and gathering the material to binding the physical copies and mailing them out, is difficult to relate to. Still, this is a great little collection of oddities, ranging from poetry to short stories to investigative journalism on offbeat subjects.”
Between 2009 and 2011 I walked the length and breadth of downtown Portland. When I found a memorial, I transcribed what it said and where it was. This book includes all the memorials in downtown Portland. I have entered this book into the public domain for the same reason Joseph Shemanski gave Portland the Shemanski Fountain: “to express in small measure gratitude for what the city has done for me.”
Information is “in” these days [1]. Robert Anton Wilson’s Right Where You Are Sitting Now is mainly about information, as is the new Signal catalog from the folks at Whole Earth (who of course have made a career out of spreading information, as indicated by their slogan of “access to tools”).[2] Yet while the phrases “information economy” and “underground economy fall [3] easily from the lips of major pundits, no one has yet combined the implications of these ideas to consider the “underground information economy.”
Clearly there is such an underground economy of information. Just as there is an underground economy of financial transactions, hidden from “official” [4] scrutiny by active or passive design, [5] there is an underground economy of information which is similarly largely unknown to anyone other than its participants. Some [6] have called this “the Network,” but that term is too confining for the reality. [7] The underground information economy is more precisely conceptualized as a network of networks, or a meta-network, with a complex an unvisualizable, though not undiscussable, connectivity.
To show that the underground information economy is structured as a meta-network it suffices to consider the contacts of a typical fanzine editor. Take, for example, Dave Meltzer, editor of The Wrestling Observer. [8] He can probably contact almost anyone in the network centered around the appreciation and examination of professional wrestling very quickly, either through his own mailing list or through those of other zines which he sees. But he is nearly [9] helpless to get in touch with [10] someone whose prime interest is the music of the Beatles, or someone fascinated by the goddess Demeter. The (lack of) relationship is reciprocal: the editors of Good Day Sunshine or Pallas Society News would find it extremely difficult to locate a source of pro wrestling information with their own resources. Yet the music collectors and the pagans have their own well-developed networks, just as the wrestling fans do.
However, there are ways for these disparate networks to communicate, [11] for there are links which span the various networks and give them an overall channel of communication, if they want it. [12] These links are the zines and people who participate actively in more than one of the component networks of the meta-network, such as my own Factsheet Five. [13] These inter-network links are similar to the gateways of the international computerized telecommunications network, but I prefer a visualization more related to the physical universe. If we think of each network as a ball of cotton, with fuzzy edges of connections falling away from the core, then the linking zines are bits of string which tie the various cotton balls together. [14]
That is all very nice, but what’s the point? [15] Well, the meta-network is a more fragile thing than any of its component networks, for it is a much more fragile thing than they are. While each component network has many links between individual zines and people, the meta-network is created by just a few network-spanners. [16] To eliminate the punk music network [17] would require eliminating nearly all of its component pieces, for almost any of the zines could carry on the business of connecting people and exchanging information all by itself. But to eliminate the meta-network would only require destroying a handful [18] of key zines which act as conduits of cross-fertilizing information. [19]
Thus, we [20] can see [21] that while all zines [22] are created [23] equal, [24] some are more equal than others. [25] This idea has consequences. [26]
- -
[1] Is it possible that our use of “in” to indicate objects and actions which are fashionable itself refers to the process of inviting them “into” our minds? Once something becomes “in” to us, it is a part of us, no longer alienated from us by the barrier between thoughts and actions.
[2] There are of course many classic works focusing on the use and misuse of information as well, from Korzybski’s Science and Sanity to Carroll’s Through the Looking Glass.
[3] A word which indicates the lack of volition involved in spreading the cliche variety of meme.
[4] A word with very little information content. Incidentally, the practice of indicating loaded words with quotation marks in speaking by waving a pair of fingers in the air apparently dates back to Korzybski’s lectures.
[5] That is, by hiding or by just not making a lot of fuss.
[6] For example, the Rev. Batrix.
[7] So, for that matter, is any term. Identifying a word as “too confining” is a common ploy to enable the author to dismiss someone else’s work in favor of his own.
[8] One of the beauties of thought experiments – gedankenexperiments to you pendants – is that it is unnecessary to obtain the consent of the experimental subject.
[9] Note this word. We’ll come back to it.
[10] A metaphor for those who prefer a more tactile approach to information.
[11] Admittedly in a slow and imperfect fashion.
[12] We’re back. Did you notice?
[13] If I was properly humble, in the academic mode which this structure seems to indicate, I would have relegated that title to a footnote. But I refuse to let my imagination be bound as much by the form as it “should” be. Indeed, these footnotes are getting progressively more out of hand – another tactile information metaphor.
[14] To complicate the picture beyond our capacity to derive any pedagogic lesson from it, the phenomenon may well be hierarchical and scale-independent. That is, what appears at first to be a meta-network may in turn prove to be a component network of a meta-meta-network, just as Dean Swift’s great fleas were merely resting on the backs of still greater fleas.
[15] As in pencil point; the “point” is the place from which information magically flows – and we know information is in fact magical, for it is nothing more than the old power of naming.
[16] That is, the component networks have more connectivity and are correspondingly more robust. The previous phrase, replete with pompous words, belongs in the main text but has somehow fallen down the page into this footnote. This bodes ill for finishing this paper.
[17] Some neophobes would argue that this is a laudable goal, but in this case it is only an example for purpose of illustration.
[18] Oh no! More tactile metaphors! Why is there this hidden fascination in the language with information as something we can touch and therefore manipulate (from the Latin manus, hand)? Could it be a plot by the creators of language to retain control?
[19] Now there’s an interesting idea: what does information sex look like?
[20] This is, of course, the auctorial we, by which the author – it’s no coincidence that this word is so close to “authoritarian” – attempts to co-opt the reader into agreeing with a conclusion without having time to consider it.
[21] A return to the visual information metaphor initiated by the word “focusing” way back in footnote number 2.
[22] And just why do you accept the idea that all information in the underground is contained in “zines?” Isn’t the spread of dangerous and outrageous ideas by word of mouth at least as important?
[23] Note that we are all convinced information is not a conserved quantity; it is easily created and therefore, reciprocally, destroyed. But that’s the subject for another essay.
[24] A mathematical term dragged into the discourse in order to bolster a weak argument with the authority of the “Queen of Sciences.”
[25] Here the author borrows a metaphor from Orwell’s classic Animal Farm, in order to impress his knowledgeable readers with his erudition. The less knowledgeable readers, perhaps, will think he coined it himself and be impressed with his wordcraft.
[26] As do all ideas, but it’s become obvious that we will not get to the consequences in the main text. Instead, it’s time to finish this essay were it was obviously heading all along, in the footnotes. The possible conclusions bifurcate neatly, depending on the political prejudices of the author. On the one hand, it would be easy to call for the increased support of the critical links which hold the various networks together into the meta-network, as a means of buttressing our civil rights. On the other, it would also be easy to call for more redundancy in the meta-network, which could be achieved by supporting new attempts to build inter-network links. On the third tentacle, perhaps the unexamined assumption that the meta-network is A Good Thing could be called into question – would it really be so bad if a thousand component networks bloomed in isolation? But the entry of the question mark shows that the information content of this essay has come to an end, and so we leave the reader here, probably with a vague sense of being cheated, to devise his own means of escape from this footnote and on to the next piece of text.
Benchmarks for the next two issues of OVO have been accomplished this week.
Primary research for OVO 19 PORTLAND has been completed. This is a book-length record of every memorial in downtown Portland Oregon. As of this week, after three years, I will have walked every street and made note of every address and location. I will have a manuscript in hand by October 2011.
The material for OVO 20 has been compiled. This will be a human-readable anthology of thirty years of my writing and art, as differentiated from the rat’s nest of ovo127.com. OVO 20 will be published simultaneously with OVO 19 PORTLAND.
Welcome to the Easter Challenge! Our panel of experts – Matthew, Mark, Luke, John and our Mystery Guest – have two thousand years to give consistent answer to simple questions about the resurrection of Christ. No proof is required, only consistent answers. Our questions are prepared by Dan Baker, author of Losing Faith in Faith.
Melissa is a friend who spoke with OVO about her eating disorder on 12 July 1991.
OVO: When did you first realize there was something wrong about the way you were eating?
Melissa: Last Fall. I was dating somebody and I started doing it a lot. I’ve noticed I tend to do it more when I’m in a relationship. I used to drink a beer every day because it would help me throw up. I came home from work and drank a beer really quick. I was in the bathroom doing my business behind the closed door and the person walked in on me. They suggested to me that l have a problem. I had thought so before but when somebody else confronted me with it I had to confront myself with it. That’s when I realized there was something really wrong with what was doing.
OVO: How long had you been doing it?
Melissa: It’s an on-again off-again thing with me, depending on how you define it. I define my eating disorder not by how long I’ve thrown up or how long ago I starved myself. I think I’ve always had an unhealthy relationship with food. It’s taken on different forms over the years. I can remember when l was young I was deprived of certain foods that my friends could eat because my mother was really into health foods. I would go over to my friends’ house or trade lunches at school, and horde junk food because I was fascinated by it and it was something that was forbidden to me. That’s the first example of it. Over the years it’s been bulimia, it’s been anorexia, there have been points where I’ve been a compulsive exerciser, but the most recurring and the problem I have now is bulimia.
OVO: What is that?
Melissa: It’s called binge-and-purge syndrome. When l start eating I don’t feel like I can stop, then I feel guilty, so to make me feel better about eating all that food I’ll make myself throw up. Or I’ll not eat for a couple days or I’ll exercise for a long time. Some people use laxative but I’ve never done that.
OVO: Was throwing up something you figured out on your own?
Melissa: Yes, it was really easy for me. I’ve always had a nervous stomach. I figured out I could do it and use it as a way of maintaining my weight.
OVO: What is the source of your concern about your eating? Why isn’t it a natural process?
Melissa: I hate to sound like “I have this horrible childhood” but I think that’s where a lot of it came from. We had a rule in our house my sister and l joke about now called the Clean Plate Club (my sister, by the way, is anorexic). We weren’t allowed to leave the kitchen table until we’d finished everything that we had been given to eat. From there I started associating food with reward and punishment instead of just what I needed, like sleeping. It became something else.
OVO: Do you think your mother has some kind of eating disorder?
Melissa: No. I think my mother getting into her health food kick was just something to occupy her because there were things going on in my family that were very stressful for her. It was a means of her being able to cope by being interested in something.
OVO: You go to a group where you talk about this with other women.
Melissa: Yes. Last spring I started group therapy and individual counseling for my eating disorder.
OVO: What are the other womens’ experiences like?
Melissa: Their experiences are very similar to mine. It‘s very interesting because a lot of the ways I react to other things, not just food, are very similar to the other women in the group as well. It’s like obsessive-compulsive behavior across the board, not just with eating. It’s a pattern that develops the way you deal with everything.
OVO: Do you or they see any kind of connection between your eating disorder and media portrayal of women?
Melissa: Yes, and that was what really invoked a lot of emotion in me because I’m very involved in feminism and the portrayal of women in our society. I think it has an enormous amount to do with that. I think that’s why it became such an obsessive thing for me as I got into my teenage years. I’m 21 now. I saw a commercial on TV the other day for a clinic for eating disorders where they called it “the national college womens’ plague.” It’s one of the biggest things that happens to women when they enter college. When l moved to Knoxville is when my eating disorder became the worst. I that has to do with being on my own and food being a focus, something that is a constant, that l could always depend on.
OVO: What is it that you’re the trying to achieve by going to group therapy and counseling?
Melissa: One thing I learned in group therapy is that we’re not there to find a cure. We’re there to give each other support and understand why we do it because that‘s more important. I’d like to think eventually I won’t have to do it. There are times now where I’ll go days or weeks or even months… there was a period not too long ago where I went a couple months without doing it and that felt good, like I had power over myself.
OVO: If it’s something that you’ve done for a long time and that a lot of women have done and do what’s bad about it?
Melissa: It’s dangerous to your health. I have medical problems now because of it. I have a stomach ulcer. You can damage your esophagus. I’ve been lucky enough not to. I’ve never had a cavity in my life and now I have seven because my stomach acid has corroded the enamel off my teeth in the back. It can cause heart problems The two effects it’s had in me have been my teeth, and I get heartburn a lot and I have upper intestinal problems now from stomach acid.
OVO: Why is this occurring in women more than men?
Melissa: I think there’s a stronger image for women to live up to. There is an image that men have to live up to but there’s more emphasis and pressure for women to look a certain way to be accepted our society. It’s contradictory because we offer women a double standard by showing her all these great things she’s supposed to eat and make in her lifestyle and then she’s still supposed to look that way, and it’s impossible.
OVO: Why is it offered if it’s obviously a double standard and impossible?
Melissa: I can’t answer that. I could say just another way for men to have control over women but I think that’s maybe not answering the question, maybe that’s just anger. I think its because women want to have a certain lifestyle that they’ve been given the opportunity to have now and yet they’re still supposed to look a certain way from the old world thinking, pre-feminist thought, and what men find appealing today in our society is thin women.
OVO: Is this a modem problem?
Melissa: The Romans and the Greeks had vomitoriums where they actually would purge on purpose, but I think that was a way of having a decadent lifestyle and there wasn’t any kind image put before them as a reason to do that. If you discount that that it is a modern problem.
OVO: A friend of mine said that anyone who has an eating disorder should have their television taken away.
Melissa: That’s a good point because that’s where the double standard comes from. Commercials. That’s where the image is the strongest, that’s where we see the women that we’re supposed to look like.
OVO: It‘s telling that if you look at an ideal for women (and I think having one is a bad idea in the first place) prior to television that ideal is very different. It‘s changed throughout history but I think there’s a strong connection between modem eating disorders and television. All the years of film before television didn’t inspire eating disorders but film is also a visual medium. The difference is commercials.
Melissa: The food industry has created a demand for the diet industry. It’s a vicious cycle. I notice when I watch MTV sometimes (I watch it when I’m getting ready to go to work to have some background none), that when I want to look a certain way the worst I know people who’ve told me that when they’re dieting that they watch MTV because it gives them inspiration to look like the women who probably have eating disorders themselves.
OVO: What would you want someone reading this who has an eating disorder to know?
Melissa: To know that they should want to get help because it’s not something you should want to do and that you can get help. And it’s dangerous. It doesn’t seem like it’s dangerous and it’s a really easy answer but I’m sure that I’ll be really regretting a lot of what I’m doing ten years from now. I’m sure I’ll have a lot worse problems. I don‘t have a problem discussing it with friends and that‘s where I get a lot of my support but maybe that’s because a lot of my friends have eating disorders. It’s a secret and we go into our rooms to talk about it. Everybody understands that what is said behind that door is not said anywhere else. That’s what defines an eating disorder, it’s something that happens behind closed doors.
OVO: Who defines the ideal image of a woman and the ideal image of a man?
Melissa: I think the media.
OVO: Who controls the media?
Melissa: Are we talking conspiracy theory here? I think a lot of media is self-perpetuating. I don’t know who controls the media, I think that’s a whole other issue, but I think that by media offering something to the public and by the public response to that, it recreates the demand for it, like the economic law of supply and demand. It’s something that perpetuates itself.
OVO: What can we do about it?
Melissa: It should start with the individual. I try not to be influenced by images of women to look a certain way. I don’t buy the magazines. That‘s a way to start. It’s a choice the individual tries to make. By doing this interview I hope I’m reaching out to someone else. I think it’s important for us to let other people know that it‘s wrong. Know that it’s wrong ourselves then try to let everybody else know why it’s wrong and maybe beyond that do something about it together.
OVO: Like what?
Melissa: Like a support network.
OVO: What about after a support network, or in addition to it?
Melissa: That‘s when you’re ready to step into things on a big scale. I’ve written letters to fashion magazines telling them that their magazine portray images that are unhealthy for women and I think maybe a group could do that. I noticed the other day that there’s a thing on MTV where you can submit a video and tell them what you don’t like about anything. People have the option to complain about something that is on MTV that they don’t like. I thought it would be a fun thing for me and some friends to do, to make one and submit it to MTV and see if there’s a response at all.
OVO: MTV has realized that it can present any criticism of itself without changing. A friend of mine did an Art Break for them. Their contract said you have to have the MTV logo in the Art Break, and even if your Art Break is one minute of you ripping the logo up or seeing it on a TV screen and shooting it or in any way criticizing it, you still have to show the MTV logo. That‘s showing how media perpetuates itself. The problem and the solution are coming from the same source and you can’t hold onto either one of them and pull them away from yourself.
Melissa: Like Coke commercials that don’t have anything to do with the product but show the image of the product.
OVO: That’s why it’s important to boycott that kind of media completely, without exception, and simultaneously to create an alternative that people would hopefully find interesting and stimulating and life-affirming. A lot of what we’ve been talking about is good commodities versus bad commodities but eventually we’re going to have to come up with something that isn’t a commodity at all and return to something like “art” and figure out some way to make art that isn’t a commodity. It’s going to be difficult. That effort started many decades ago and it still hasn’t been achieved.
Melissa: Another example of the double standard is that the commercial I saw for the eating disorder clinic came on MTV. It portrays women as this certain ideal, then offers a solution, then help for the solution later. Usually if you notice on TV diet commercials follow food commercials.
OVO: How does education figure into it?
Melissa: That’s what’s really scary. When you learn about health and nutrition in school, usually the little pamphlets and flyers you’re given are from the National Dairy Board, who say it’s good for you to drink milk. My mother was a teacher and she said it’s because its so hard for the schools to get funding from the State that they will accept funding from corporations. I don’t take it too seriously when McDonald’s gives me a nutrition guide.
OVO: What do you think is going to happen in the future regarding eating disorders?
Melissa: I hate to say it but I think it’s going to get a lot worse before it gets any getter. Maybe it will get so bad and so rampant that it will explode and will be like everything else in this world that’s wrong. It’ll just keep happening until something really horrible happens.
OVO: Or something really wonderful.
Melissa: And then we’ll stop and go gee, sorry. When Gloria Steinem came to the University of Tennessee she said more women have died as a result of bulemia than it’s ever been reported of people dying of AIDS. AIDS gets more recognition and I agree its a problem that needs recognition but… Even with me, I know how wrong it is for me to have an eating disorder and I still do it. Even as wrong as I know it is and even as much as I don’t want to be a victim of it, of the media and everything else, I can’t help it. When l go out and l see other people who look good or go shopping and l want to a certain kind of clothes but they won’t look good on me unless l look a certain way… It’s hard for me when people I care about have also have been fed this image that people should look like that as well, like my family. I recently took a family vacation and my aunt is really thin, and her whole family is thin, and it made me feel like I should be thin.
OVO: Have you talked with your mother about this?
Melissa: Yes. My mother was a lot more informed on the subject than l thought she would be. I was thankful for that. She was very supportive. It was a surprise for me to get that support. She agreed that a lot of what she went through on the health food kick maybe contributed.
OVO: How much TV do you watch?
Melissa: When I watch television and pay attention l am very critical. I sit there and watch it and get angry and critique everything. I’m glad I’m to this point now where if it’s on and it’s really bothering me and it’s disgusting I’ll turn it off immediately and I won’t just change the channel. I don’t like to watch a whole lot of television because I think it’s bad in ways besides just image. Sometimes I watch it before I go to work, sometimes I have it on to have in the background when I’m in the shower if nobody’s home. I like to have noise.
OVO: Do you watch TV while you eat?
Melissa: Yes, and it’s scary to notice how many other people do that.
OVO: Television destroys community and that’s another reason to boycott it if you’re trying to to establish a community of support for anything, for any sort of political project or personal improvement art or thought. You can’t just have the TV on all the time.
Melissa: That’s one reason I’m really glad I got a job. Some days I’d wake up and there was only so much in a day that I could do before I’d done it all and I’d find myself watching television. Especially since we have cable. We’re moving soon and I don’t want to get cable when we do. We have a VCR and that’s different. Selective viewing is different. There are a lot films that are worth seeing and are good movies I enjoy watching. That’s what is nice about cable, watching HBO. The other day one of my favorite movies came on and that was nice to watch.
OVO: What movie was that?
Melissa: Pretty in Pink. My housemate bought a TV Guide so that I wouldn’t have to turn on the TV when I was bored and I wanted to see if anything was good on because than if nothing was good on I’d find myself watching anyway. Now I look for things I might want to watch and watch those things only.
OVO: What is it that makes you bored?
Melissa: When l didn’t have a job and everyone else in the house would be at work, I felt that for that period of the day should be… I would clean the house every day, I’d get up and clean, and I was getting tired of cleaning. You can only clean so much until everything is spotless. Then I would wait for everyone else to come home. I was turning into a housewife! I’d make dinner and clean the house and write letters, I did everything I needed to do and there wasn’t anything else I could do, I was looking for a job but you know how that is. Now I’ve got my job and that’s nice but a bad thing is that sometimes when l get off from work I’m so exhausted l can’t think, so l want something to think for me, so I watch a box that tells me how to think. That’s really dangerous. Lately I’ve stopped letting that control me and I’ve only been watching selective television again. I watch Star Trek on Saturdays and I like the show Alien Nation because it deals with racism. When I first moved to Knoxville I didn’t have a TV for the first few months but I still had the eating disorder. I think it’s beyond television. Television influences so many areas of our lives that you can influenced by television without watching it.
Since the colonial period, the United States has been fighting to control currency. In fact, this battle was part of the foundation of the country. Prior to 1764, colonists issued “Bills of Credit” to deal with a shortage of hard currency. Some were issued by “land banks” and backed by the value of land. Others were merely promises of credit. [1] In 1764 the British Parliment passed the Currency Act, which prohibited the use of these Bills of Credit. This caused significant economic hardship for the colonies, and helped set the stage for the Revolution. [2]
In an 1883 paper called “Ideas for a Science of Good Government,” Peter Cooper wrote (emphasis mine):
After Franklin had explained this [the use of paper money] to the British Government as the real cause of prosperity, they immediately passed laws, forbidding the payment of taxes in that money. This produced such great inconvenience and misery to the people, that it was the principal cause of the Revolution. A far greater reason for a general uprising, than the Tea and Stamp Act, was the taking away of the paper money. [3]
Although Cooper was in favor of government issued currency, he saw the British outlawing of the Bills of Credit as a problem. He opposed the use of these local currencies, but saw them arising out of a failure of the government: “Jefferson, the author of the Declaration of Independence, raised his voice against the curse of the local banks, which were allowed to come into being by the neglect of the Government in the performance of its duty.” [3]
Today, a host of independent currencies are available: from small and local to big and global, and they are all issued to solve perceived problems with government issued currency. But it appears that the government is none too pleased with this competition.
Indie currency
Activists on both the far left and far right of the political spectrum work to create government independent currency solutions, but it seems that the left tend to prefer local currencies. “Community currency is a tool that can help revitalize local economies by encouraging wealth to stay within a community rather than flowing out,” Susan Meeker-Lowry wrote for Z Magazine. “In many communities around the country people are taking control by creating their own currency. This is completely legal and, as organizers are finding, often very empowering.” [4]
The Local Exchange Trading System (LETS), developed in British Columbia in the 80s, is one widely used system. LETS does away with the need for a printed money, acting instead as an interest free credit system. Michael Linton, a computer programmer, created LETS to solve a simple problem: community members “had valuable skills they could offer each other yet had no money. He also saw the limitations of a one-on-one barter system. If a plumber wanted the services of an electrician, but the electrician didn’t need plumbing help, the transaction couldn’t take place.” [4]
LETS solves the problem by issuing credit within the system. In the above example, the plumber would owe a debt to the LETS system, and electrician would be issued credit from the system. The electrician would be able to redeem the credit from another LETS member who is either in debt or wanted credit, and the plumber would be required to make his services available to other LETS members. [4] Many variations of Linton’s original system have been created, and several “how to” kits and manuals are available for purchase, or to download for free from the internet. [5]
Shifting the focus away from the US for a moment: during the Argentine financial crisis, the national currency of Argentina became practically worthless. [6] To help meet their needs and keep the economy working, many people turned to barter or to local currencies such as the “credito.” [7] The credito was based, amongst other things, on LETS materials translated into Spanish. Transactions were originally recorded in a notebook, as in LETS, but eventually paper certificates were needed. By 2000, circulation of this currency had reached the equivalent of about $5 million a year. [8]
Argentina illustrates the usefulness of independent currencies when central banks fail. Local currencies, which tend not to cross state lines, seem not to get much attention from the government. I don’t know of any cases of local currencies being shut down by the government.
Towards a more perfect capitalism
Right wing proponents of alternative currencies, however, tend to favor more global forms of exchange. Advocates of “free banking” propose the dissolution of central banks like the Federal Reserve in favor of private banks issuing competing currencies. [9]
The founder of the internet payment solution PayPal, Peter Thiel, envisioned PayPal as a way to create a more free exchange of currency globally. Thiel hoped people in foreign countries with restrictive money export laws could use PayPal to hold their currency in dollars or other more stable foreign currencies, such as the US dollar [10]. But the proprietors of precious metal backed digital currencies like e-Gold and the Liberty Dollar are more even more ambitious.
Thinkers ranging from Ron Paul [11] to Alan Greenspan [12] advocate a return to the gold standard. But some entrepreneurs act directly by issuing digital currency backed by gold, silver, or other precious metals.
Dr. Douglas Jackson founded e-gold, the first internet currency backed 100% by precious metals, in 1996. Jackson cites gold’s stability as a currency and the internet’s natural openness as the reasons for creating an internet based gold currency. He believes e-gold is currency perfected: stable and market driven. In an interview in Wired in 2002 he called e-gold “probably the greatest benefit to humanity that’s ever been thought of.” [13]
The Liberty Dollar, backed mostly by silver but also by other precious metals, is sold by National Organization for the Repeal of the Federal Reserve Act and the Internal Revenue Code (NORFED). Founder, and former mint master of the Royal Hawaiian Mint Company, Bernard von NotHaus conceived of the currency to compete head-on with the Federal Reserve:
For years America was saddled with a slow, poor postal service. Finally, Federal Express brought competition to this heavily subsidized government agency that no one though could change. And it responded and improved noticeably. NORFED emulates this model by bringing a superior product to America’s monetary system, its currency. [14]
NORFED offers coins, certificates that look like something like dollar bills, and an internet backed currency. Coins and certificates are available through “Regional Currency Offices,” and NORFED actively encourages Liberty Dollar enthusiasts to open their own RCOs and recruit others. [15]
Financial Jihad
Outside the western left / right political spectrum is the another global cultural force: Islam. While the founders of Pay Pal, e-gold, and NORFED believe themselves to be perfecting capitalism with their digital services, the Islamic founders of e-dinar, who formed a partnership with e-gold and at one point hosted 50% of e-gold’s reserve at their vaults in Dubai, believe they are destroying it. [13]
The founders of e-dinar are members of the Murabitun movement, a peculiur form of Sufism. Murabitun followers believe that paper money is haram, unlawful, according to Islamic faith. The founder of the Murabitun movement, Sheikh Abdalqadir, says: “A true study of the Qur’an and the Sunna shows us that capitalism will not be abolished on the battlefield but in the marketplace where it is practiced.” [13]
“Fatwa Concerning the Islamic Prohibition of Using Paper-Money as a Medium of Exchange,” a Murabitun text by Umar Vadillo, states: “After examining all the aspects of paper money, in the Light of the Qur’an and the Sunna, we declare that the use of paper money in any form of exchange is usury and therefore haram” because paper money (and, by extension, credit and debit cards) is “nothing but a pure symbol with no reality attached except the imposition of law.” [13]
Vidillo says: “You want to be radical? You don’t need to blow up the bank, just burn your bank account. For that you need an alternative. What is the alternative? E-dinar.” [13]
The current status of e-dinar is a bit mysterious. e-gold used be partners with e-dinar [13], but according to e-dinar’s web site e-dinar officially split with e-gold in 2004 after being acquired by an unnamed “Large International Corporation” in 2003. [16]
The state responds
It would seem, though, that the larger reach of global alternatives lead to larger interventions by the government. Of all the major players in independent currency game, e-gold has probably had the worst legal trouble. “In December 2005, the Secret Service and FBI raided the company’s headquarters and seized roughly $800,000 in assets,” according to the Washington Post. [17] This lead e-gold to beef up their security measures, even creating new software designed to detect e-gold customers committing crimes. [18] The new security measures didn’t stop a federal indictment from being leveled against the company in April of 2007. The company was served with four indictments, including operating an illegal money transfer operation and money laundering. [17]
Then, on Wednesday May 9th, 2007 the United States government seized the holdings of 58 e-gold accounts, forcing 48 bars of gold to be redeemed for approximately $77 million dollars. As of this writing, all the funds are still in in the US government’s control pending the outcome of lawsuit filed against e-gold’s parent company. [19] However, e-gold and its subsidiary Omnipay maintain business.
In 2006 The United States Mint issued a press release stating that circulating Liberty Dollars is a federal crime. The press release implies that Liberty Dollars are deceptively similar to US currency, and that NORFED intends them to be used as legal tender. [20] As of this writing, I am unaware of any case against any persons in the United States for using the Liberty Dollar.
NORFED responded with a civil lawsuit. On March 20, 2007 von NotHaus filed against the US Mint, asking “the court to declare that the use of the Liberty Dollar is not a ‘federal crime,’ as claimed by the U.S. Mint. And the organization further asked the court to enter a permanent injunction against the U.S. Mint requiring it to remove any reference that the use of Liberty Dollars is a federal crime from its website.” [21 As of this writing, the case remains unsettled. But on November 14th, 2007 the situation took another turn: the FBI raided Liberty Dollar on charges of circulating illegal currency, mail fraud, wire fraud, and money laundering. The affidavit also described Liberty Dollar as a "multi-level marketing scheme." [22]
Von NotHaus has described the raid as “a direct assault against the US Constitution and your right to own and use gold and silver in any way you chose” and dismissed the mail fraud, wire fraud and money laundering charges as fantasy. [23]
Pay Pal, eventually burdened with legal problems, banned the use of PayPal for gambling, pornography, and several other uses in 2004. [24]
Conclusion
It is important to note that e-gold and NORFED may well be guilty of the crimes it has been charged with. It remains to be seen how they will come out in court. NORFED and e-gold have many competitors, so the international, gold back internet currency business continues. However, the struggles of these companies, and the fact that they are being held liable for what their customers use their services for, is illustrative of the control the US government exerts over currency. If the Federal Reserve were held accountable every time legal tender were used in criminal transactions, surely the Fed would have been shut down by now. Why are companies like e-gold held to a different standard? Why are they asked to act as de facto law enforcement?
And all of this raises the question: why is there such a demand for alternative currencies? Shouldn’t the state be spending its time trying to correct the problems the Fed (or shutting it down), instead of trying to shut down those who are trying to solve problems the government is not?
“Time is money” is a rather common proverb generally heard as one explains why they are so wrapped up in their scheduling software or why they buy at wall-mart. To a degree this is a truism, in a capitalist economy time is money and money is the arbiter of all value. However the speaker of this proverb is rarely aware that if time is money and money is valuable then their time is valuable… even if they are not exchanging it for money. Time, not money, is the most valuable thing that anyone has. This is because it is a truly finite variable that so many other things depend upon. Instead people allow their schedules to rule their time telling them where they have to be when and what they have to do when they get there. It seems to me that people are exchanging a most precious commodity, their time to experience existence, for something much more common, little coloured rectangles of paper. Even after you have bought things with your coloured paper you still need your time to make use of the shiny things you have purchased. Its a cruel dynamic the more you work to make money to buy things the less time you have to enjoy the things you have been working for.
You trade your time for money and trade money for things. This is in some ways overly complicated and there are people who spend their time making those things that they want, cutting out all the middle men. The do-it-yourself movement is an example of this, as is subsistence level farming. Considering how wasteful consumer capitalism actually is, it is entirely possible to survive in a urban environment without engaging in wage labour. You can spend your time getting food by dumpstering. Food, of course, is far from the only thing thrown away while it is still usable.
Out of the discards of a wasteful culture you can pull the raw materials with which to construct objects of desire and engage in enjoyable activities. The simpler your needs are in terms of objects the more time you can spend on experiences, on living. Buckminster Fuller was an inventor who spent his time designing things to more efficiently meet the needs of people in order to free them up to live. He called this branch of technology livingry to put it in distinction to the other motor of innovation, weaponry.
Marx developed the Labour-time theory of value where the value of an object was determined by the amount of labour time that was put into its production. Of course this theory was partially a work of propaganda or myth-making to build up the claim of the workers to the rewards of the early capitalist economy but it still one of the better theories on what actually makes a commodity valuable. Perhaps another way of looking at this is that value is produced by the energy put into the object over time, Value as Kilowatt Hours. With the increasing mechanization of industrial production it is foreseeble that items will be stamped out that had so minimal an input by humans that they would be valueless in terms of labour. However, these objects will still take work in a physical sense to produce them. Whether this shift to inhuman production will be a liberatory experience for mankind or the creation of a destitute no-longer-working class is an open question as yet. In part the answer has been to push people into service and administrative roles but even these have begun to be mechanized with information technology such as recommendation systems and complicated telephony arrangements.
Edward Wilson is a freelance writer living in Vancouver, Canada; Portland, Oregon and Cyberspace. If not found writing in one of Vancouver’s coffee shops, Edward is likely drinking in one of Portland’s Bars. Edward, known online as Fenris23, specializes in rediscovering magical techniques in the fields of psychology and sociology. He is Co-Author of The Art of Memetics with Wes Unruh and his next project will be space/ time/ punctuation, an exploration of the experience of space and time. http://fenris23.wordpress.com
fenris23@gmail.com
a close-up of a word
losing meaning
where money is water
“we were broke. The town cold.
With four dollars a day
streets were wet. Jobs hard spending that last four dollars
few options for food would
have wiped us out.” Money
it no longer signifies. there’s a silence,
the loss of coin to paper,
the paper to credit
“rich white people
like me, they fund
my art” and sold
to the color of more
with each transaction
cash burning;
a memory of wealth:
bank enough money
to be saved. Ourselves…
money lies, you smear
money across the counter
It’s manifest destiny, the first
dollar bill framed dribbles
above the register does
make money
make value
make meaning
“you fold the bills
right you can see
the towers fall”
she’s got the video
online we’ve spent
all the loose change
the more you have
the less it means
and exchange rates,
memories, shadows,
a handful of dust
and great white guilt
Tabletop gaming is a niche hobby at best. A selection of relatively simple board games is marketed for children and families by big toy companies. The granddaddy of all role-playing games, Dungeons and Dragons, is a major product line for its publisher, Wizards of the Coast, but the company still relies on card games and miniatures to keep itself afloat. And Wizards is just a small division of the toy giant Hasbro.
Only a handful of other games can compete with D&D for profitability. Many are lucky if they can even make it onto the shelves. Major book retailers like Borders prefer to deal only with established and well-supported games. Local gaming stores, meanwhile, are usually shoestring operations with limited shelf space and a bewildering array of options. Again, an established line is usually a safer bet.
Selling directly to fans seemed to become easier with the internet – anyone who could find your game online could order it, regardless of whether their local gaming store stocked it or not. But the costs of printing a large enough run were still prohibitive. Some publishers tried selling digital copies, starting with various e-book formats but quickly settling for the basic .pdf.
Unfortunately, anything sold as a .pdf is quickly shared, and stops selling as free copies become available. Sharing music isn’t catastrophic for independent artists, because they can make their money on live performances. Game publishers have no such option, however – the book or manual itself is their primary source of income. They don’t sell concert tickets or t-shirts. And independent game writers, without the resources of a bigger company to back them up, can’t subsidize their game books with collectible cards or miniatures.
If they can’t get paid to create games, they can’t keep doing it. At least they can’t give it the time and attention that it deserves. One game writer, however, is trying a new model, one that’s off to a promising start.
In 2004, Greg Stolze and Daniel Solis created a fun little game called Meatbot Massacre. It’s a tactical dice game where players design bioengineered war robots and fight them in an arena. It’s well-written and tightly designed, and introduces an innovative dice-rolling system. It’s a game that feeds the enthusiasms of a select group of gamers, a niche within a niche, but it’s not a game that will generate enough profit to be worth printing. Not on a traditional retail model, at least.
But Stolze re-imagined his audience. Instead of a group of individual customers, he saw them as a collective. He wanted to harness the support of the gaming community to sell the game to the community. They didn’t all have to buy as individuals – they just had to offer enough collectively. So he decided to hold the game for ransom.
In December of 2004, he announced that the game had been written, and would be released into the public domain when he received $600 for it. It was a small start – the game itself was only ten pages, and Stolze set the price by determining all the expenses and then paying himself four cents a word, the low end for game writing. Solis set up a ransom website with a PayPal button, and they set a deadline of September 2005. If the ransom wasn’t collected by then, the game wouldn’t be released, and whatever money had been raised would be turned over to a homeless shelter.
Ransoming a game was a novel idea, and no one knew how it would work. After a strong start, donations slowed to a trickle, but they kept coming in. The $600 goal was achieved in five months, half the time allotted, and the game was released as a free download in April 2005.
With this success under their belts, Stolze and Solis went on to produce …In Spaaace!, a comic role-playing game of space shenanigans. Like Meatbot Massacre, it was an innovative system, based this time on bidding with tokens instead of rolling any dice. And like Meatbot Massacre, while it would find a hearty welcome in a certain narrow audience, it would never be profitable for retail.
They set the ransom in July 2005, this time at $750 for a fifteen page game, still paying Stolze less than five cents a word. Instead of ten months, however, they set the deadline at six weeks, and it only took four to collect.
There was another big difference in this ransom, apart from the shorter time period. Instead of running their own site and collecting PayPal donations, Stolze and Solis moved their operation to a new site, www.fundable.org. Describing itself, Fundable says it “lets groups of people pool funds to make purchases or raise money.” It collects pledges, not actual payments, towards whatever goal the group leader sets. When the goal is met, the money is collected, Fundable collects 7%, and the remainder is sent to the group leader by PayPal (or by check, for a $10 fee.). If the goal isn’t met, the pledges are released and no money changes hands.
Greg Stolze went on to release two more games on Fundable. Soon after the success of …In Spaaace!, he teamed up with four other writers and designers to produce Executive Decision, in which characters are Oval Office advisors who compete for the President’s ear while pursuing their own agendas. It was offered in September 2005 as a fundraiser for the Red Cross after Hurricane Katrina. In one month, it met its goal of $1000, which was devoted to relief efforts.
Then in February 2006, Stolze and fellow game developer Dennis Detwiller offered Nemesis for a $1000 ransom. In this case, there was a 25-day deadline that was met in just 11 days. Nemesis was the largest yet, at 56 pages, and it was also an important release for other reasons.
Stolze and Detwiller had worked together before, notably on 2002′s Godlike, a superhero role-playing game set in World War II. For this game, Stolze developed the dice mechanic that would become the One-Roll Engine (ORE), a generic game system that could accommodate any setting. Stolze and Detwiller would release Wild Talents, the sequel to Godlike, at the end of 2006, but in the meantime Godlike was all there was.
Nemesis was the ORE, stripped of superpowers, spliced to a system for madness from Stolze’s earlier work on the Unknown Armies game, and placed in a horror setting reminiscent of the Cthulhu mythos. It was the first ORE release since Godlike, and by working with characters who were ordinary mortals, it made the system accessible to a much broader range of settings than a superhero game could be. It served as a default system document for the ORE, and continues to fill an important function within the system.
But Nemesis only set the stage for Stolze’s next project. Reign was to be his long-awaited fantasy adaptation of the ORE, with a new set of rules for characters to build organizations and play on a much larger scale. It was to be a full-size core rulebook, over 350 pages, far larger than anything that had been published by ransom. Stolze didn’t want to stretch the ransom model to the breaking point, but he couldn’t afford to print the books himself either. He chose instead to use Lulu.com for print-on-demand (POD).
Reign came out on Lulu in May 2007. It came in four editions: hard or soft cover, and with a choice of cover art by Daniel Solis or Dennis Detwiller. The softcover editions ran into trouble with some misprints, which took several months to clear up. Also, POD can’t offer the price breaks of mass production, so the books were spendy: $36.89 for the soft covers and $49.30 for the hard, with more tacked on for postage. This compares to $29.95 for hardcovers of the core D&D books, and $39.95 for the hardcover of Godlike from the small press Arc Dream Publishing.
Despite the problems and the cost, Reign has sold well for POD. In October of 2007, Stolze reported on his website that he’d sold 675 copies. Not a lot compared to D&D, but a decent showing for an independent game. He reported that he’d currently made over $12,000 from Lulu, selling the four editions of Reign and one small book of short stories. None of that money included what he made from the supplements.
Traditionally, role-playing games offer one or more hefty rulebooks, followed by a number of supplements. Managed well, new supplements can continue to bring in money once the core books have leveled off. But from the player’s perspective, the constant flow of supplements sometimes feels like being milked for every available penny.
At the end of the Reign rulebook, Stolze makes a promise: “You’re holding in your hands the last Reign product to be released solely as a print book with a fixed price. Everything else is going to come out via the Ransom Model.”
From June to October 2007, Stolze offered for supplements for a ransom of $1000 each. Each one had a deadline of 25 days. The first three made their goals; the last one came up $20 short but was released anyway. More are said to be in the works.
Stolze seems to have dedicated himself to building a new model of making and selling games, one with the potential to reach players directly, saving the game’s creator the overhead of printing and distribution and bypassing the fight for retail shelf-space. He’s made a good start, but important questions remain.
Stolze and his collaborators were already well-known in the gaming community. Stolze had worked for White Wolf Publishing, the main competitor to Wizards of the Coast, as well as the smaller Atlas Games, where he had worked on the seminal Unknown Armies. The ransom model depends largely on his well-established reputation, which also helps to overcome the high price of print-on-demand. But will his model work for a writer without his reputation? What happens to a designer without a built-in audience? How will a system based on reputation allow for new blood to enter the field?
It also remains to be seen if this model will work for Stolze in the long run. Will ransom continue to work when the novelty wears off, and will it allow him to establish a regular source of income? Other than coming up $20 short on one Reign supplement, he hasn’t failed to achieve a ransom yet. What will happen when he does? The system looks good when it succeeds, but is it robust enough to handle failure?
Finally, what else can the ransom model support? Fundable’s primary market seems to be non-profit fundraising and group purchases. It also boasts of supporting books, music and film. How far can this approach be taken, and can it be optimized for particular types of products? Game design has such a narrow audience that it may have to ride the coattails of more popular fields, such as independent musicians.
Stolze’s efforts may succeed and grow, or they may become another internet casualty. But in the meantime, they’ve already put good innovative games in the hands of players, and broadened the range of what can be done with gaming. Long-range success is by no means assured, but Greg Stolze is doing his best to find a new way for his industry to work.
Triangle, circle, serpent’s tooth, serpent’s egg.
Bites through the shell, sucks out the translucent ooze. BITE IT.
Ooze, ooze, baby. Oooh baby, your digits, your zeros, your commas, I WANT THEM ALL!
Let’s get digital. Count off by ones.
Boy-girl, boy-girl. Ones and zeros, ones and zeros, marching endlessly to the horizon.
He’s bone, she’s stone. One on one, T for 2, three’s company. For unto us a child is given. THEN TAKEN AWAY.
Coitus Interruptus. Annuit Coeptis.
God has favored our understanding.
Great Seal of the United States.
Obverse / reverse. Heads or tails.
The greenback’s back.
Great Seal: for your protection.
Pierce the membrane, pull back the skin. Nothing there.
Nothing up my sleeve.
This is the null set, signifying Nothing.
Peel a few bills off your wad.
King Piston, Magic wand, Orb and Scepter.
WAD RULES. Money from nowhere.
Pennies from heaven. Penis from Hell.
T-bill, E-bone, ebony baboon
Barbary ape climbing the pyramid with a rose and eros clenched between his teeth.
Black bristle back, furry tongue, pink gums and prehensile prepuce.
Foreskin of the gods, 3-toed sloth, too much fun being alive.
One triangulated eyeball surveys the infinite distances.
Light carries forever. They eye looks round the world. The eye sees itself, mapped onto itself.
Retinal membrane – film.
The skin of sight.
Eye See You. I know what you do.
ICU. Intensive Care Unit.
Dead Presidents on parade.
Washington, Jefferson, Lincoln, Hamilton, Jackson.
N to the Nth degree. Three dimensions, lust, power and hunger steam-rolled down to two. Printed on magic paper, trimmed.
Dead Presidents 1, 2, 5, 10, 20.
Ein Reich, Ein Volk, Ein Fuhrer.
Einz 57 varieties of nothing.
E Pluribus Unum.
One hundred channels and nothing on.
Uni-dimensional. Black hole.
Infinitely hot and dense dot burning a hole in your pocket.
Your dizzy little digit is twitching up a storm, but playing pocket pool in the Temple of Cool is sure as Sheol not the answer.
You got a crazy little finger
You got a crazy little thumb
You got a crazy little organ
I think I’m gonna get me some
Cash in your chips, Buddy.
Red hot poker, pookah ghost money.
Phantom funds, joss dollars burnt and sent to the next world.
Talking, trash, spending cash
A pillar of fire and a mountain of ash.
Money reigns supreme
Mazuma’s revenge. Solvent?
Liquid assets running down your leg.
A cataract of filthy lucre
Niagra Falls of body mud.
A flood of intestinal tears.
CRY CRY CRY your life away
WHY? WHY? WHY? time to pay and pray.
It must be rainin’ cuz man’s not supposed to cry.
A man’s gotta do what a man’s gotta do.
Money to burn?
BURN YOUR MONEY.
17 July 1990 interview with V. Vale, publisher of Search and Destroy, co-founder of Re/Search Publications.
OVO: What is the main source for the information that you publish?
VALE: We never tire of saying that our main influences were surrealism and situationism, and surrealism as you know placed a great deal of influence on objective chance and randomness and insanity and systems for deciphering the world that are a-logical systems We will admit that a lot of it is just purely chance. But of course through the years we have friends and our friends really help us. For example, the film book [Re/Search #10 Incredibly Strange Films] which was actually the first book that broke out of our small industrial music underground audience, that was done just because we got a letter from Jim Morton, who had been collecting these incredible films all his life but particularly since the advent of VCR. He wrote us, and then we went over to his house every Saturday night for years and watched two or three of four movies there and ate popcorn. It took four or five years he guest-edited the Incredibly Strange Films book and we put it out. We wouldn’t have done it if we hadn’t known Jim Morton, let’s face it.
OVO: What is the purpose of Re/Search?
VALE: The surrealists had a slogan, something like “Matter Over Mind,” but what it meant was it is a mistake just to assume that one proceeds from the idea to the material reality. Very often its just the opposite. You might say the material reality suggests the theory, shall we say, and frankly I got started publishing back in ’77 because of punk rock. Of course it wasn’t called that then but it was very exciting, as undifferentiated and undefined and unlimited as it appeared to be because it was revolt, it was the youth revolt or revolution (if you dare to use that word) of the ’70s. And I was involved right from the very beginning before it had become codified and more or less set in amber. And so for me it was like a vehicle, it was an opportunity to… I don’t know, I just did it. My main motivation was kind of anger at the status quo. I’d always been angry at the status quo anyway, but, you know, what do you do? A lot of people just become criminals or whatever, or drug addicts, or they just can’t cope for a lot of good reasons. Society gives us all plenty of reasons but it also provides the narcotics in the form of television and actual narcotics so that we can “adapt,” shall we say. And so yes, it’s definitely a struggle against mind control, against conditioning, against banal information. We were born with the birthright of curiosity and there’s nothing more natural than to be curious, but of course this faculty is extinguished early in life. It seems like society does everything it can to either extinguish this faculty or to channel it only along channels of consumption rather than you yourself doing something creative on your own, something creative and original and obsessive and unique on your own. I don’t think society can really handle that, because it’s too destabilizing. It’s like we’re in a vast consumption machine, we’re part of it, and society would function (it thinks) better if we would just go along with the programs. And so obviously anyone who is a lover of freedom is going to go against that in all its manifestations. And yet it’s not just enough to fight, whatever that means. You have to eventually start doing something. And in our case we more or less accidentally discovered that we could do something and sort of realize our own identities and destinies by becoming publishers. Re/Search however is not the same as Search and Destroy. Re/Search happened when I met Andrea [Juno] back in 1980, after we’d been very depressed for a year by what we thought was the death of punk rock. It was certainly the death of punk rock as we knew it, that is as a viable underground, a microcosmos of society. We were depressed for a year but then realized that this shouldn’t be the end of publishing.
OVO: Are the Re/Search archives open to the public?
Vale: No, because we’re not public figures. If all we were to do were to run a library we’d never get any work done, and obviously our work comes first. It’s hard enough as it is right now just to deal with all the business aspects let alone function as some sort of archive. It so happens that we’ve been attacked by Jesse Helms [R-NC] and Dana Rohrabacher [R-CA] and entered into the Congressional Record because they don’t like our book Modern Primitives, which is yet another Re/Search publication which is advocating a certain theory of self-liberation or exploration. That’s all it was intended to do, provide theory for this kind of activity, but apparently the powers that be would like to have this kind of theory and information repressed.
OVO: What kind of trouble have they been giving you?
VALE: Actually we should context this in a much wider overview that obviously America right now is under (thanks to less than probably one-tenth of one percent of the population) which is these very organized fundamentalist Christian fascists who have nothing to do with their lives but write letters all day to their congressman and call up advertisers threatening to boycott things like The Simpsons. In other words, a minority group trying to pretend and camouflaging themselves as some kind of vox populi majority, which they are not. They’re mostly these very ignorant people in the South, people who have long since shut off any creative potential in their lives. They’re just consumed by envy and they want to control all the rest of the population, who might be having more fun than them in some way. The Reagan agenda was to turn the country back to the McCarthy ’50s, since he was an informer for McCarthy, and to take away all the gains of the ’60s. That complex agenda is still being realized. Every day there’s some new article in the paper on page 40 how 160 stores in the deep South took away Playboy Magazine from their stands. Little things like that don’t even get reported here on the West Coast. Thing like that are happening all the time but the more you find out about it the scarier it gets.
OVO: Yesterday a group called AIDS Response Knoxville had their office fire bombed. I just found out about that this morning.
VALE: If you could send me the clipping… see, that was not in our paper today. It doesn’t surprise me. So what you have now is a great deal of information containment going on. We’re living in the illusion that all the information is available, that were living in a global village and all that, but most people get their information from TV news, which is of course extremely compressed and bowdlerized and operates by omission. We should all be subscribing to our own little clipping services I suppose to get the kind of news such as the incident you told me about just now.
OVO: I didn’t find out about it from the paper. I found out about it from a friend and he said there’s only a tiny article about it.
VALE: That’s perfect, that’s exactly the way things happen and are happening. The propaganda techniques which Hitler initiated in terms of mass media control of the population, they‘re real good now. Helms is a master of negative campaigning, in which life gets simplified down to whether you’re for child pornography and obscenity or… Helms’ voting record is incredible, he’s a madman, the total enemy of liberty. But even when Helms is gone there‘ll always be someone to take his place. This kind of control mentality will apparently always be with us but yet we’re trying to do a small campaign so that all the minority papers across the country will at least have a copy of his voting record and also start to get a larger overview of all these isolated little incidents that’ve been happening, which together paint an extremely depressing picture of the abridgment of our freedoms.
OVO: Have there been specific incidents of you having trouble with Modern Primitives?
VALE: Knock on wood, no. We had two art shows based on the book, and that‘s how it started. If you don’t have any information on this I’ll send it to you.
OVO: No, I don’t have any.
VALE: Okay, I’ll send you the whole little press packet on that, with all the articles that’ve come out. See, that’s what l mean, someone as relatively hip and aware as you don’t know. Multiply this by about a thousand for all the little environmental groups all over. Their little news things never get reported. I just found out today that all the searches that the FBI did of all these Earth First houses, the people involved with Earth First because of two people blown up by a bomb, the FBI keeps reporting to the news that they blew themselves up rather than what they should be doing which is trying to find out who really did it. I didn’t realize until I read the paper today that all the searches the FBI did of people who deal with Earth First were all warrantless. To me that is really frightening. Did you know that? Do you think that means anything? And we only found out because our good friend Jock Sturges, a photographer, got busted recently. We’ve known Jock for years. For the last twenty years he has specifically focused on, shall we say, beautiful adolescent girls who are developing. But they are not pornography, he’s not the head of a kiddie porn ring by any means. He’s got the most incredibly beautiful negatives you’ve ever seen, eight by ten inch view camera negatives blown up to twenty by twenty-four inch prints that have a million gray tones in them. And we only found out from him that basically the First and Fourth Amendments are dead. The Fourth Amendment is unreasonable searches and seizures. Because the FBI just busted into his house without a search warrant. And this was all done, as Burroughs has kept us appraised of and warned us against all these years, in the name of fighting the “drug problem.” Because here’s what they can say now: they can come in because (a) they have a reason to believe you are about to destroy evidence and (b) they have a right to watch you because they have reason to believe you might try to commit suicide or commit harm to yourself. Isn’t that nice?
OVO: They’ve certainly got our best interests in mind.
VALE: Yes, of course.
OVO: How do you prevent Re/Search from becoming a part of the process of -
VALE: – co-option and assimilation? You’re dealing with what McLuhan called a very cool medium (or is it hot, I can never get that straight), but you’re dealing with a medium that is a book, and do you realize how few people read anymore? The numbers are incredible, how much reading has declined even though the population has doubled. When people do read, what do they read? They mostly lead these airport kind of books. It’s really frightening. The reason most people avoid books is because, let’s face it, there’s only a minority that reads any more, almost everyone else watches television and gets their information from TV. And in order to read effectively I find that l must have complete silence, as much as possible, and this is not the modem way. A lot of people these days, it’s like a conspiracy to keep them from thinking. As soon as they get up in the morning they have their radio blaring or put on a tape or something. We’ve all known people who’ve had the TV on eight hours a day. Of course we don’t know people like that any more, but they’re out there, like zombies or something. And so I still think that if you’re putting something out in a book you have more of a chance of making it with some kind of integrity. Because books aren’t you, Re/Search is not me or Andrea; it’s on its own. And if it has some ideas that light up your brain and catalyze in some way, which is the best that one can hope for… the books really do have a life of their own. And we’re just putting out a combination of information, images and ideas, hopefully, as well as trying to direct people to other books, which continue the same kind of inspiration.
Dana Tyron Rohrabacher is the U.S. Representative for California’s 46th Congressional district.
AIDS Response Knoxville served at least between 1987 and 1999 and may still exist.
Jock Sturges’ studio was the subject of an FBI raid on 25 April 1990. Accused of child pornography, a Grand Jury did not bring an indictment against him.
In 1990, a bomb exploded in Judi Bari’s car, shattering her pelvis and also injuring fellow activist Darryl Cherney. Bari and Cherney were later arrested after police and the Federal Bureau of Investigation suspected that they had been transporting the bomb when it accidentally exploded. The case against them was eventually dropped due to lack of evidence. Bari died in 1997 of cancer, but her federal lawsuit against the FBI and Oakland, California police resulted in a 2002 jury verdict awarding her estate and Darryl Cherney a total of $4.4 million. Eighty percent of the damages were for violation of their First Amendment rights by the FBI and police trying to discredit them in the media as violent extremists despite ample evidence to the contrary. The bombing remains unsolved.
House of the United States of America:
Warbucks Intra-Family Communique
I know that you don’t like to think this, but we are much like humans. We are subject to the human frailties. We forget. We get slip-shod. We fall short of our disciplines. You have selected me to be the family coordinator and I agreed to be, at least until someone better comes along. So that’s why I’m now reminding you of some of our basic principles for handling slaves.
Our slaves can get bored easily. When bored, they get restless. They start thinking, and questioning order. Therefore it is necessary for us to direct their thinking into areas which keep them dependent on our leadership. We must make them feel dependent on society for all their needs. Make them feel important to the Great Whole to which they belong. Keep them too deep in debt to have any spare time to experiment with principles of self-sufficiency, or even just getting out of hole.
A few of the slaves who refuse to conform are squatting in various places and planting their apple seeds, plum pits, grape seeds, avocado pits, orange seeds, nuts of all kinds and vegetables. They are not using our hybrid seeds. They found organic natural seeds more productive. They are creating Gardens of Eden, with free food, no rent and and acceptance of the Golden Rule instead of Government. So far, only a few of the smarter nonconformists are doing this. This gets them off our case; however, we must not give them any publicity, as it might encourage more our workers to not conform.
The family came up with a great innovation when they first decided to “allow” the peons to “own” land. Ownership gives them roots ties them down and makes it a easier to find them. It also gives us a classification of slave known as landlords. They serve us by forcing people to pay them rent in order to have a space to sleep on this planet. Thus they all work for us for the rest of their lives. We must always make them think that this is normal and that everyone has always had to pay rent and that they always will.
If the slaves deviate from present thought patterns, they might think it strange that they “agree” to work for us for 30 years to buy a place to sleep. They might wonder why some “primitive” people are able to build their homes from the material at hand in a couple of weeks and have no mortgage to pay. They might even find it simpler, more enjoyable and even more adventuresome to walk to where they wish to go instead of working for us to earn money to make perpetual car payments to us, so that they can get to a job to make the money to make their car payments. To say nothing of the car maintenance costs and depreciation. We must constantly entice them to buy. They make much better workers if are always in debt.
If we allow them space to think, they may question the vehicle with which they are killing themselves: 50,800 persons dead and 1,900,000 disabled in 1981 in the United States alone.They may see how machines and their present manufacturing processes are destroying their life-support system. They may see that all the processed junk food we’re selling them is making them sick and costing them more; see that their boring, unsatisfying jobs are driving many of them crazy. They might even discover the simplest unprocessed foods which are cheap and healthful.
As it is recorded in our family archives, one of our forefathers, Galus Julius Caesaer once sald: “Give them breed and circuses, to keep them from rebelling.” It is a simple matter to give them food, but it takes a little more imagination to give them circuses. I guess this is the creative part of being slave masters – to create diversions to keep their gullible little minds busy.
Our Watergate Scandal was a fine circus. It kept them thinking and talking along safe lines for years. We are still getting some mileage out of the Kennedy Assassination and they still aren’t sure whether we shot the real Kennedy, his double or a dummy. We have fine show going on Central America and in the Middle East, some still lingering in Germany, others in Vietnam, the USSR and China.
We may use the recent invasion to start another World War. It will be a challenge to attempt to involve our sheep in another big war, so soon after the last one. However, we may be able to pull it off, to get them angry enough to fight. We wouldn’t need to use the older nuclear bombs, as they could be dangerous to our families’ health. We might use a few of our cleaner H-Bombs. It will be a creative, fun time for us. Wars are truly the sport of kings. They are more fun to stage and run than chess games, or are hum-drum activities of production or politics.
Creating straw men for slaves to knock down is one of our best numbers. We set it up and let them tear it down. It diverts much of their creative energy. We create another excellent diversion by resisting their efforts to tear it down.
We learned long ago that people can think only one thought line at a time. We feed them thoughts and they either fight them or go along with them.
Music has always been an effective tool for setting their moods, their pace and leading their thoughts. While dancing they learn to step to the beat of our drummer and keep the pace we set. This teaches them to obey orders. The drum has always been useful for this. We let them touch each other during the dance. They seem to enjoy touching and they feel successful when they keep in step, so this training process becomes self-perpetuating. It also serves as an excellent distraction.
They must occupy their minds with keeping in step to the beat and with how they are going to entice their partners to deb. If they are constantly bombarded with distractions they will have no time to do any real thinking. They will only be aware of that which we make them aware.
Our closest guarded secret is the fact that slavery still exists in every country on this planet.
Laborers, farmers, traders, professionals, managers, directors and presidents – all take pay, so they must obey our orders. They are not aware of their bondage. Some are vaguely aware of the idea that “big money” runs everything. But they are unable to relate to the idea that they are part of that “everything.”
They think that they are free people, making all their own decisions We allow them to make the unimportant ones. The important ones we cover in their laws, and in their customs and religious and moral codes. We have even trained them to punish their own kind when they do not conform.
We have been masters for a long, long, time. We teach kids how to work, to be submissive and to obey orders. These kids grow up to he good slaves, like their parents. Most of the parents even go so far as to break their own kid’s spirits. So by the time they are of work age, them are docile, gullible and easy to manipulate.
Through all our media, including books, we give them a substitute for living. For example, we encourage them to live vicariously through the exciting adventures of fiction. This puts their fantasy life through an exciting energy drain which seems to satisfy some of their emotional hunger.
This substitute fills one of those spaces in time which they might have used to go out and experience life first-hand. Distractions keep them from discovering the bondage they are in. We must continue to titillate them to want to watch television and movies, to read newspapers, magazines and books to listen to radio and music.
We use the mass media not only for a distraction but also to help create their basic beliefs and expectations. Of course, the schools and churches serve this purpose too, as do popular songs and music. We use the media to create the desire to buy. In this way we motivate them to work for us.
They continue to administer to our needs as they did to Caeser’s and as they did for the priests in the time of the great pyamids. Our ancestors really knew how to handle people! As slaves get more education it takes a little more finesse to keep on top of them; however, it’s basically the same even today. Keep them fearful; fearful of death, fearful of pain, fearful of each other. Always encourage competition: it’s like fighting, separates people and keeps them fearful of losing.
We have made them afraid of death by telling them that they have spirits which live on after their death. If they obey our rules, which we tell them were inspired by God, their spirits will be assured entrance into Heaven or reincarnated into a better existence, depending on which of our religions they have chosen. This makes them afraid to die, because they know they haven’t obeyed all the rules (which we deliberately made too difficult to always be obeyed). If they can be kept afraid they are more easy to manage. Then they look to us for guidance and protection.
Promoting fear of pain is another distraction we have always used. We must not give them time to discover that pain is their body’s method of alerting them to the fact that they are doing something wrong to it. So before they can check out the reason for the pain, we channel them to a doctor who will attempt to numb the pain. The doctor will take up time and money doing so. It creates a great diversion, and debt. Some people talk about their pain constantly. The patients’ pain will usually return (sometimes to a different part of their body) after their cure. Doctors usually don’t remove the cause of pains. This would put them out of business.
We hire some of the slaves to act as police and soldiers so that we can threaten to inflict pain and imprisonment on the others. They literally enforce their own slavery when they take jobs in law enforcement and the military. We keep them too busy and too broke to realize this.
Sports and gambling have always been good spectacle. Sex may rate second place, drugs third. We have achieved a sort mass hypnosis by using movies, TV and music, with which we have been able to implant suggestions and beliefs without their being aware of it.
We may need to give our ecology program front page coverage again soon. It can take up the Slack to hold their attention in case it is untimely to start a war now.
Remember, the Warbucks family has ruled on this planet for six thousand years, so it is our right and destiny to continue doing so. Keep up the good work and if you have any problems, contract Alexandria or Ernest, as I’m taking a little vacation.
Kerry W. Thornley The Idle Warriors
Atlanta: IllumiNet Press 1991
Written between 1959 and 1961, The Idle Warriors is the story of a troop of Marines in the Far East getting laid, pulling pranks, eating and talking about life. It’s a story similar to any number of films and books from that time both in style and content. But there are two significant qualities in this book that set it apart from, say a Bowery Boys film (which is what it reminds me of the most).
First, it is written by Kerry Thornley. I’ve been reading Kerry’s work since 1979 and have always found him insightful and interesting. I also consider him a friend and it’s always good to see a friend make it.
Second, one of the characters in the novel, Johnny Shelburn, is based on a friend Kerry had in the Marines named Lee Harvey Oswald. In his introduction Kerry said he was trying to explain why Lee defected to the USSR. In hindsight he said he failed, and I agree. But the book is still a sort of eerie novelty, like the appearance of Fidel Castro as an extra in a Busby Berkeley film. Kerry’s introduction by itself makes the book well worth reading.
Harold S. Long Surviving in Prison
Port Townsend, Washington: Loompanics Unlimited, 1990
Surviving in Prison is a record of one man’s experiences in prison, offered as a guide for physical survival in a system designed to break and control lives.
The book describes prison from conviction to incarceration to the hole. It describes the inhumanity of prisons, the humiliation and the petty rules that demand exaggerated penalties for violation. The factual nature of the writing, presented without evaluation in the knowledge that the horrors of prison speak for themselves, are so descriptive that one feels the shutting off of light and hope as they are systematically removed from the author.
This book is of great utility to anyone who believes they might end up in prison for any reason, or who is a supporter of prisoners’ rights. It is far outside the arena of “political correctness.” Prisons do not make such subtle distinctions in their oppression and the author does not either. This book proves most completely that there is no life in prison, only survival, and the insight the author has to survival in prison is of unique value.
Michael Christopher “Mike” Diana (born 1969) is an underground cartoonist who became the first artist ever to receive a criminal conviction for obscenity in the United States.
In the early 1990s, Mike Diana, a young man from Tallahassee, Florida, began producing the adult comic book Boiled Angel. This amateur comic contained graphic depictions of a variety of taboo and gory subjects, and it was distributed to only a handful of retailers. In 1991, while investigating a Florida murder case, a police officer discovered an issue of Boiled Angel and, desperate for clues, contacted Diana, informed him he was a suspect, and requested a blood sample. The real killer was soon apprehended, and Diana was not pursued. The officer in question, however, collected additional issues of Boiled Angel and sent them to the State’s Attorney’s office where they went on file. Two years later, the Assistant State’s Attorney, Stuart Baggish, came across the books and sent Diana a certified letter that said he was being charged with three counts of obscenity pursuant to Florida Statute § 847.011(1): one for publishing the material, one for distributing it, and one for advertising it. At this point, Diana contacted the non-profit First Amendment organization the Comic Book Legal Defense Fund (CBLDF), which provided him, free of cost, with the services of several prominent defense attorneys and expert witnesses.
Diana was employed as an elementary school janitor at the time of his first notoriety. He had used the school’s copier to reproduce some of his comic books representing crude, graphic drawings of sexual molestation and limb severing. Some of the material was allegedly left there, and Diana was fired.
On June 4, 1996, after a brief trial, Largo, Florida, Circuit Judge Douglas Baird declared the comics Boiled Angel #7 and Boiled Angel #ATE to be obscene, stating that he found them to be “patently offensive,” and that “The evident goal of the appellant’s publication is to portray shocking and graphic pictures of sexual conduct so it will be noticed. If the message is about victimization and that horrible things are happening in our society, as the appellant alleges, the appellant SHOULD HAVE created a vehicle to send his message that was not obscene.” Diana was found guilty on all three counts, and was sentenced to a three-year probation, during which time his residence was subject to inspection to determine if he was in possession of or was creating obscene material. He was to avoid all contact with children under 18, undergo psychological testing, enroll in a journalistic ethics course, pay a $3,000 fine, and perform 1,248 hours of community service. He was also ordered to cease drawing for personal use, and his place of residence was to be open to inspection by the police, without warning or warrant, at any time, for illustrations violating this ruling. He was not sentenced to any jail time, but spent four days in jail between the dates of the verdict and the sentencing.
To fulfill the requirement of undergoing a psychiatric evaluation, Diana was informed that the doctor whom he would see charged $100 an hour, which he would have to pay for himself, and that his evaluation would take two hours. After the evaluation, Diana was informed the session would cost $1,200 because the doctor claimed to have spent 10 hours reading Boiled Angel in preparation. Out of funds, Diana was unable to pay, and the doctor refused to give her evaluation to the court, effectively making him in violation of his probation.
Two appeals to the State Appellate Court failed to have the case reversed or reheard in Florida. During the first appeal process, the prosecution used evidence gathered after the original trial, a move that, according to the CBLDF, is usually considered unethical. The only count of the three under which Diana was convicted that was judged incorrect was the conviction for “advertising obscene material.” The Court agreed that it was improper to convict someone for advertising material that had not yet been created since Diana could not, at the time, know the nature or character of the work. The courts refused to accept an amicus brief submitted by the American Civil Liberties Union, and responded without comment to the second appeal. On June 27, 1997 the United States Supreme Court denied Mike Diana’s petition for a writ of certiorari without comment, effectively ending his legal options in his battle to overturn his conviction.
Diana moved to New York, where he was granted permission to serve out his sentence, and fulfill his community service obligation through volunteer work for the Comic Book Legal Defense Fund.
OVO was one of the handful of publishers that printed Mike’s work before his legal troubles. My only trouble connected to Mike’s work was having OVO removed from the shelves of a magazine store in Knoxville, Tennessee. Mike also contributed original art to OVO 15 SPERM (February 2005). Compare the style and content of Mike’s work in 1990 with the 2007 television program Superjail [wikipedia][google video]. What Mike paid the price for, Cartoon Network makes the profit from.
