Posts Tagged ‘Los Angeles’

10 Greatest Anti-Art Suicides (Before Mike Kelly)

Thursday, February 2nd, 2012

The news that LA art scenester Mike Kelly just topped himself led me to wonder whether in ten years time he’d make anyone’s list of best ever anti-art suicides. Was his death a resolute ‘NO’ to capitalist exploitation? Or was it as tedious and pathetic as the suicide of Kurt Cobain? I’ll leave you to judge that one and give you instead my top 10 suicides. Since Kelly founded the bands Destroy All Monsters (who I saw in London in the late-seventies after he’d left the group) and Poetics (with John Miller and Tony Oursler), I’m including musicians in this alongside those involved in more visual and literary forms of anti-art.

1. Ray Johnson – a pop and correspondence anti-artist. Ray makes number one in my list because although I never met him, I did have a very minor correspondence with Johnson about 25 years ago. So there’s a small personal connection and we all know nepotism rules in the art and anti-art world. ‘New York’s most famous unknown artist’ drowned himself off Long Island in 1995 – some say it was a final work of performance art.

2. Ann Quin – a 1960s British experimental novelist who did many things before and better than her now more famous contemporary B. S. Johnson (he topped himself by slitting his wrists while lying in a warm bath shortly after Quin’s summer 1973 death). Although Quinn’s first novel Berg (1964) made an impact, by the time she drowned herself, her critical stock had dwindled. Like Ray Johnson, she swam out to sea – but into the English Channel from Brighton’s Palace Pier, rather than the North Atlantic.

3. Arthur Cravan – was a dadaist who specialised in boasting and reinventing himself. Among other stunts, he fought world boxing champion Jack Johnson drunk, and was quickly knocked out. In 1918 Cravan disappeared sailing a boat in the Pacific Ocean off the coast of Mexico and is presumed to have drowned. His rather ambiguous suicide set the tone for the deaths of later artists such as Bas Jan Ader (who was lost at sea in the North Atlantic in 1975). For me death at sea is the best way to go (it’s oceanic), but having given you three of these I’ll move on to lesser forms of suicide.

4. Donny Hathaway  – is probably best known for his duets with Roberta Flack but his solo work constitutes some of the classiest soul made in the 1970s. Despite success as a singer and songwriter, Hathaway demonstrated to the likes of Herman Brood that the best way to end it all is by throwing yourself into the street from the glittering heights of an exclusive hotel. In Hathaway’s case this was from floor 15 of the Essex House Hotel in New York. Hathaway appears to have been suffering from schizophrenia before his death. His funeral was conducted by the Reverend Jesse Jackson.

5. Jacques Vaché – was a friend of Andre Breton and thus French surrealism’s most famous suicide. He didn’t really do much but maintain an attitude of indifference and disdain towards the world. Vaché killed himself by taking an overdose of opium, and thus blazed a trail for punk rockers like Darby Crash of Los Angeles band The Germs (who deliberately took an overdose of heroin in 1980).

6. Graham Bond – was in at the start of the British blues boom of the 1960s, but he is inevitably included here because he appeared in Gonks Go Beat, an unbelievably bad British movie that Mike Kelly saw on late-night TV somewhere and wanted to see again because he couldn’t quite believe what he’d been viewing. Via a mutual friend I was asked if I could help Kelly locate this item (this was before it was reissued on DVD). I found a bootleg version and passed on the information about where and how to buy it. Returning to Bond, his career basically spiralled downhill from the late-sixties onwards with this decline fuelled by drink, drugs and involvement in the occult. I picked up a typical story about Bond looking for money when I interviewed one time New English Library (NEL) editor Laurence James back in the 1990s, although I don’t seem to have included it in the published version of my conversation. Bond turned up at the NEL offices one day demanding money because somehow a photograph of him had found its way into a Hells Angels magazine published by the company (who’d thought this was a picture of a hells angel and had not realised it was in fact an image of a musician). Bond pretended to be outraged and claimed this mishap would ruin his public reputation. James gave Bond a few quid and the musician went away a happy man because he’d scored enough money to buy whatever drugs he needed that day. In 1974 Bond did the decent thing and jumped in front of a tube train at Finsbury Park Station in north London.

7. Herman Brood – is well known for songs like 1978′s Rock & Roll Junkie (which includes the line: “and when I do my suicide for you I hope you miss me too…”). in later life this Dutch rocker swapped pop excess for a career as a not particularly interesting painter. Sick from prolonged drug use and unable to kick his habit, in 2001 Brood leapt to his death from the rooftop of the Amsterdam Hilton Hotel. When I heard about this the first thought that popped into my head was that I’d thought Brood’s leather jeans looked ugly and uncool when I’ d seen him perform with his band Wild Romance in London in the late-seventies.

8. Adrian Borland – is someone I almost have a personal connection to, since he knew a number of my friends. In the late-eighties I spotted Borland posing outside a London rock venue. He was once in a seriously obscure band called Rat Poison (with a friend of mine in fact) although he later falsely claimed his first group was The Outsiders. As far as I’m aware Rat Poison only ever played one gig at New Malden Town Hall (in south west London). When I came across Borland he was obviously waiting to be recognised, and he gave me a huge smile as I walked over to him. “I know you!” I said before pausing dramatically. “You was in Rat Poison!” Borland’s jaw dropped, he’d lost his rock star composure but eventually managed to blurt: “I’m Adrian Borland. I’ve gone solo now but I used to be in The Sound.” “Never heard of ‘em mate!” I shot back before stomping off leaving my victim completely bemused. When Borland ended it all by jumping in front of a train in 1999 I wasn’t surprised – he seemed to have been in the rock business for the wrong reasons. He was more interested in fame than music and that was bound to result in him becoming very frustrated. Of course, Borland only makes this list because I like to flatter myself I made a small contribution towards his death!

9. Wendy O. Williams  – was the singer in the dire American hardcore punk/metal band The Plasmatics. I always liked the idea of Williams far more than the music her band made. She’d started her career in the entertainment business by performing in sex shows, and never really moved away from that since she was usually topless on stage. Frustrated at her inability to break into the mainstream, in 1998 Williams went into the woods near her home and blew her brains out with a gun.

10. Guy Debord – this lettriste and situationist claimed that he wrote less than most writers but drank more than most drinkers. Little surprise then that in 1994 Debord shot himself because he could no longer bear the pain of the illnesses brought on by his excessive consumption of alcohol. Debord only limps in at number 10 because a more interesting dadaist suicide appears to be a completely fictional character. Julien Torma allegedly wandered ill-clad into the Tyrolian mountains at the age of 30 to end it all, and was never seen again. I like to laugh along with Torma’s aphorism: “Perfection is mediocrity. Only excess is beautiful.” Debord by way of contrast, seems to have taken this absurd joke seriously.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

From Alejandro Jodorowsky to Breakin’, there ain’t nothing going down but the rent….

Sunday, November 29th, 2009

You have to love Alejandro ‘Chuckles’ Jodorowsky… he’s such a great conman that he’s able to fool most of his fans most of the time (fooling all the people at any one time is rather more difficult). His first feature film Fando y Lis (1968) was fabulous, but his output went gradually downhill from there…. as I’ve already said in different words elsewhere on this site. Nonetheless, I’ve enjoyed watching Chuckles’ almost overnight transformation from an obscure cult figure whose films were very difficult to see, to his re-emergence as a maverick who merits regular name-checking by the ‘mainstream’. The tipping point for Chuckles was 2007, when Tartan in the UK and Blue Anchor in the US issued a box set of his three key movies (Fando y Lis, El Topo and The Holy Mountain), and since then I haven’t been able to move without stumbling over press coverage for Jodorowsky; a couple of weeks ago he was even featured on the front cover of the print version of The Guardian’s weekly Guide. The Guardian piece was hung on a Season of Jodorowsky in London organised by Guerrilla Zoo, comprising an ‘art’ exhibition, three performances of a play and some film screenings.

A few months ago I saw the Drawing Room’s Jodorowsky show, based on this director’s preparations for his aborted Dune film project. I went on a Saturday and the ‘wow factor’ was the dense and completely mixed art and cult film/sci-fi crowd, the place was heaving. The work displayed at The Drawing Room – production sketches by Moebius, H.R Giger and Chris Foss, plus recent art pieces inspired by the unrealised movie – did nothing for me. As a result of that Drawing Room experience, I decided to catch Jodorowsky’s current London exhibition at The Horse Hospital on a Friday afternoon right at the end of its run (today is the last day), hoping it would be a little emptier than the Dune show. I was surprised that no one else was there when I was looking at the work, but my expectation that I would find it dull proved well founded. The ‘wow factor’ this time turned out to be the price tags (in the £12,000 to £15,00 bracket) for work that looked like it had been made by a teenage outsider artist born in the early part of the 20th-century and just after he or she had discovered surrealism and the occult (Jodorowsky turned 80 this year, so perhaps this can be attributed to him starting off a little old-fashioned and then never growing up). I can’t imagine the trade in these items, or even those pictures that are available in limited edition prints at £80, being particularly brisk. Still, the sheer front Chuckles possesses continues to impress me; and as I hope is clear, I value his happenings and film work of the 1960s. The current show features 32 mediocre (they aren’t even bad) watercolours, all of them collaborations between Chuckles and Pascale Montandon.

After a Friday afternoon looking at Alejandro Jodorowsky and Pascale Montandon’s incredibly dull watercolours, there was only one thing I wanted to do that evening, and that was see a movie with no pretensions to being anything very special at all. I hadn’t watched Joel Silberg’s Breakin’ (1984) for at least two years, so it seemed like a good candidate as a piece of mindless entertainment. Two street dancers Ozone (Adolfo Quinones) and Turbo (Michael Chambers) meet up with a middle-class white girl called Kelly AKA Special K (Lucinda Dickey) and like each other’s style. Kelly is a trained dancer but she realises the street kids have talent, and after a few set backs they all gain the recognition they deserve. The film is set in LA, so there is plenty of sunshine alongside the endless breakin’!

The street lingo and threads of the ‘real’ kids are a groove sensation, but even better are the eighties outfits worn by the trained dancers! Looking at the Dickey’s crazy leotard outfit with purple pants worn over it, made me want to dig out my copy of Lucio Fulci’s Murder Rock – The Dancing Death (1984), which like Breakin’ is a Flashdance (1983, Adrian Lyne) rip-off that is not only much better than its ‘inspiration’ but also has plenty of gore and nudity! My main problem with Breakin’ is that while there is some semi-romantic interest between Ozone and Kelly, they fail to get off, let alone get it on in a steamy tripple X-rated all  nude sex scene.

The rapper at the street events in Breakin’ is Ice-T and he’s described the film as ‘whack’; but actually it’s Ice-T who is whack, the film itself is so stupid it is really far out! The formulaic nature of Breakin’ represents a complete break with realism, and it is this that makes it a prime example of post-modern kitsch, in other words it is so bad it is good! In dissin’ the film to cover up his own poor performance, Ice-T merely demonstrates that he don’t know jack shit about the way in which ‘the masses’ absorb all meaning; I’d expect a bit more savvy from a motormouthed entertainer like Ice-T, who claims to have been a pimp before he started rapping and acting – but maybe he’s just the ‘original’ Sunset Boulevard ‘flake’! I watch a film like this mainly to check the dance moves, and there are plenty of those, I don’t really care about the ‘plot’, which is after all merely a vehicle to display plenty of lockin’, poppin’ and breakin’!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Is Mark Waugh’s “Bubble Entendre” banned in the USA?

Saturday, October 24th, 2009

Two weeks ago I received an email informing me that an attempt to sell titles in my Semina series at the New York Art Book Fare had descended into farce because the books had been impounded by US customs. Book Works told me they’d flown from Europe to America to sell  the novels, but ended up manning an empty table. The publications have now disappeared and may have been destroyed; from New York any unsold copies should have gone on to a distributor in Los Angeles, but there is still no sign of them on either the east or west coast. I was reminded of this a couple of days ago, when the following message from Bubble Entendre author Mark Waugh turned up in my inbox:

“Hi, could you expand on the rumour that Bubble Entendre has been impounded by US customs? In a week when the Tate flirted with showing Spiritual America, and then withdrew the work, I am curious about a conspiracy to regulate the flow of subversive literature into the homes of bourgeois America? Best wishes, Mark.”

Word on the grapevine is that the Semina books were impounded because a US customs official took a look at Bubble Entendre and decided it was a blue-print for a terrorist attack on the 2012 Olympic Games. The novel does contain a narrative about an entirely fictional kidnap incident during this event; but I’d like to stress that I only accepted the text for publication because it was, in my opinion, critical of terrorism.

For the benefit of customs officials and cultural cops around the world, I’d like to clarify that I am 100% opposed to all forms of terrorism – regardless of whether it is committed by the US and British governments (as is currently happening in the Middle East and Afghanistan); or by religious fundamentalists (Christian, Islamic, Buddhist, Hindu or any other variety). It should go without saying that terrorism is always vanguardist and can never be justified.

To reiterate, I do not write, edit or endorse books that in any way condone terrorism. I’d also like to know what happened to the missing Semina books – Index by Bridget Penney, One Break, A Thousand Blows by Maxi Kim, Bubble Entendre by Mark Waugh and Rape New York by Jana Leo. I trust that the several hundred missing copies of these works have not been mindlessly destroyed by US customs, and that they will be delivered to Book Work’s LA distributor in the very near future.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Another take on The Process Church of the Final Judgment

Sunday, May 31st, 2009

Love Sex Fear Death: The Inside Story of the Process Church of the Final Judgment by Timothy Wyllie (Feral House $24.99) provides a curious history of one of the minor cults that flourished on the fringes of the counterculture. That said, The Process has remained very visible to this day, thanks in part to claims it was the hidden ‘evil’ force behind both the Tate-LaBianca and the Son of Sam slayings. Wyllie insists that these claims, as well as salacious stories about Process founder Mary Ann MacLean having been married to American boxing champion Sugar Ray Robinson and playing a role in the Profumo Affair, are false. All the available evidence would suggest Wyllie is correct on these matters, and while this adds to the credibility of his tale, it will probably do little for the sales of his book.

The book is a personal account of Wyllie’s time with The Process and the story he tells is more convincing than the portraits of the group found in books such as The Ultimate Evil by Maury Terry and the first edition of The Family by Ed Saunders, but it is also far more banal. Therefore, if you want to read sensationalist and ultimately fictionalised accounts of Satanic killing sprees, you’ll have to look elsewhere. There is plenty of that online, and a web search will also locate many Process writings and graphics.

The history of The Process is essentially this: in 1963 two former Scientologists Mary Ann MacLean and Robert de Grimston established a therapy business in Wigmore Street, London. Mary Ann MacLean was a former prostitute who grew up in poverty in Glasgow, while Robert de Grimston was from an upper class family and had served as an officer in the British army before becoming an architecture student and then dropping out three years into these studies. Wyllie first met de Grimston in 1959 when they both enrolled on the architectural course at Regent Street Polytechnic (renamed Polytechnic of Central London in 1970, with a further name change to University of Westminster in 1992). In 1963 McLean and de Grimston began using Wyllie as a guinea pig to test and develop techniques they’d learnt as Scientologists, adapting them to their own purposes.

Wyllie’s circle of student friends provided the initial recruits to what was then called Compulsions Analysis. In Wyllie’s account, those involved with MacLean and de Grimson recognised a sense of spirituality in their activities and the name of the group was therefore changed to The Process in 1965. My own impression is there was nothing spiritual about MacLean and essentially she conned the group into becoming her disciples and funding the luxury life-style she and de Grimston craved. Even from Wyllie’s rather misty-eyed account, it is apparent MacLean was a hard-bitten hustler who’d mastered the con game when she was working as a high class London hooker throughout the 1950s and into the 1960s.

While Process acolytes panhandled for money and lived in abject poverty, the group rented properties it could barely afford in an attempt to trick the outside world into believing they possessed wealth and power. De Grimston and MacLean were the only Process members to live in style. While de Grimston provided the theology, MacLean was the real power running this cynical money-grabbing hierarchy. Over the years the group expanded and at various times had chapters in Rome, Paris, New Orleans, San Francisco, Munich, Los Angeles, Amsterdam, New York, Boston, Chicago, Toronto and Miami. Chapters were sometimes moved from one city to another, and the membership never seems to have stretched beyond the very low hundreds, although The Process claimed to have tens of thousands of members.

Process theology was based on the unification of opposites, and a reading of the Bible that took Christ’s injunction to ‘love thy enemy’ to mean love Satan. Much of this gnostic garbage was confected in group sessions and then written up by de Grimston, and even Wyllie admits it didn’t read well on the printed page. After an Idris Shah book fell on his head in a Notting Hill bookshop, Wyllie convinced himself that de Grimston and MacLean were disguised Sufi masters, and like other members of the cult was also prone to viewing the latter as a human incarnation of the Goddess! The original core of The Process consisted chiefly of over-privileged and privately educated brats, and it seems to me that much remains to be written about how an upper-class upbringing renders individuals peculiarly susceptible to the brainwashing techniques of religious cults.

The Process fell apart when de Grimston and MacLean ended their marital relationship in 1974. De Grimston attempted to revitalise The Process without success. MacLean led the disciples who stuck with her into The Foundation, which adopted increasingly conventional Christian doctrines before reinventing itself as a secular animal charity called Best Friends. MacLean died in 2005, de Grimston is still alive.

Wyllie’s account of his 15 years with The Process is supplemented by the stories of various other members. The most shocking thing to come out of this is the criminal neglect of children whose parents belonged to the cult. The overall impression I’m left with is that life in The Process was very dull, and you had to be deluded to join it in the first place. The Process memoirs gathered together here also show that those conned by guru-figures are very slow to give up their illusions, and will often attempt to off-set the fact they were ripped-off with the desultory claim they enjoyed some kind of spiritual adventure in ‘the process’.

In addition to these memoirs, this book also contains a selection of unimpressive texts by de Grimston, and a very silly essay by Genesis P. Orridge about how he modelled Thee Temple Ov Psychic Youth on The Process. The image section in this tome is rather more interesting, since it illustrates the strong design sense and corporate-style marketing of The Process as a self-consciously totalitarian cult. From Wyllie’s account of the group it is clear why The Process chose to project itself as a totalitarian ‘elite’:

“Mary Ann (cult leader Mary Ann MacLean) never made any apologies, for instance, about having considerable sympathy and respect for the Nazi regime. Doubtless it suited her authoritarian personality. A story I have heard her relate more than once is of her as a small girl of nine or ten, who found herself leaving her physical body and being transported into Hitler’s bunker during World War II. There she would slip around the table in her astral form whispering into the generals’ ears. Whether she ever claimed to observe der Fuehrer’s legendary rages, I don’t recall, but if she had I can only imagine she would have egged him on in his carpet-biting frenzies.” (Page 56).

Elsewhere Wyllie recalls:

“Michael and I stopped in to visit George Lincoln Rockwell, the ‘American Nazi’, out of allegiance to Mary Ann’s interest in extreme ideologies…. Rockwell sat in the only armchair… He looked younger than I thought he was going to be, with a buzz-cut and a surprisingly open, pleasant, face, marred now by a fixed scowl that didn’t leave him while we were there… He had a military bearing but was clearly a frightened man… Later I found out that Lincoln Rockwell was killed in August of 1967 by a disgruntled ex-member of his party and only days after our visit. I should add that Michael is the scion of a wealthy Jewish family and I can only imagine that Mary Ann instructed him to visit Rockwell as a way of testing his mettle…” (Pages 80-81).

Elsewhere in his narrative Wyllie tells tales of counterculture figures like Timothy Leary, Abbie Hoffman and Simon Vinkenoog, assisting The Process. He also writes about a few of the celebrities the group attempted to shake down for donations; they range from Miles Davis to Salvador Dali. Sadly, he has nothing to say about Funkadelic frontman George Clinton, who okayed the reproduction of Process material on the art work to a couple of his albums. Mostly this is a book about the internal dynamics of The Process and as such it makes for curious but nonetheless extremely depressing reading; it appears that most of the ‘former’ cult members contributing to it are still deluded about their experiences years after the group broke up.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!