Genesis P-Orridge's Blog, page 4
September 6, 2011
Julie Atlas Muz and Thirsty Girl Productions presentKnock Knock....
Julie Atlas Muz and Thirsty Girl Productions present
Knock Knock. Who's there?
9/11. 9/11 Who?
You said you'd never forget!
The 10th Anniversary Memorial
Political 3-Act Cabaret!
Sunday
9/11/11
With all-star cast including: Breyer P'Orridge, Sweetie, Amanda Lepore, Stanley Love, Bunny Love, Bambi the Mermaid, Jelly Roll, Dirty Martini, Julie Atlas Muz, National Theater of the United States of America, Reverend Billy and the Church of Earthaluja, 5 Crew Dynasty, Alien Comic, Sherry Vine, Rose Wood, Tigger!, Jennifer Miller, The Pixie Harlots, Murray Hill, World Famous *BOB*, Justin V. Bond, Sxip Shirey, Greg Walloch, Jessica Halem, Ken Ball, Pedro El Gigante Puerto Riqueno, plus DJ Camillicious & James Habacker! and set by Steven Hammel
The Highline Ballroom, NYC
Doors 7pm
Show times: 8:00, 9:11 & 11pm
The 10th anniversary of 9/11 is the quintessential occasion to champion downtown New York artists in a political arena entitled Knock Knock, Who's There? 9/11! 9/11 Who? You Said You'd Never Forget! Directly from the heart of Julie Atlas Muz this three act political cabaret is for the luminaries of NYC to come together and exercise our patriotic right of freedom of speech.
All proceeds goes to the Uniformed Firefighters Association of New York, Widow's and Children's Fund.
Ten years ago we were all devastated by the tragedies that befell our city that caused such heartache and forever changed the nature of our personal relationship with our government and their sale of terror. Now it is our duty as artists to reflect the times. Julie Atlas Muz and Jen Gapay of Thirsty Girl Productions are creating an evening for New York City's top performers to come together, remember, comfort, challenge and with our natural bad taste laugh together through nudity, poetry, dance, song, comedic commentary, drag illusion, sincerity, absurdity and all the talent that makes New York, New York.
Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011
www.highlineballroom.com
VIP tickets $40- a great seat
General Seating $20
All proceeds goes to the Uniformed Firefighters Association of New York, Widow's and Children's Fund.
The evening is divided in to three, forty-five minute acts with each act becoming increasingly politically incorrect.
ACT 1: A LOVE LETTER TO NYC 8pm
hosted bu Murray Hill
Act 2: AMERICAN IN TRANSITION 9:11pm
Hosted by Justin V. Bond
ACT 3: "OH NO YOU DI-INT!" 11pm
Hosted by NYC's Big Titted Honky Soul Mama SWEETIE
Cutting, tender, emotional, smart and supremely edgy, this three hour extravaganza will inspire the audience to recharge and reconnect to why they decided to take a bite out of the Big Apple.
Sunday, 9/11/11 Doors 7:00 pm
Set times: 8:00, 9:11 & 11pm
The Highline Ballroom
431 W 16th St New York, NY 10011
www.highlineballroom.com
VIP tickets $40- a great seat
General Seating $20
August 12, 2011
Last night we did a photo shoot of the new PTV3/Psychic TV...
Last night we did a photo shoot of the new PTV3/Psychic TV line-up. The first ever photoshoot even though we have toured Europe once and a bit and played various shows in the USA, including our annual One True TOPI Tribe celebration and invokation at Club EUROPA in Brooklyn, New York in December each y-era. Usually we manage to play on December 23rd…this y-era due to circumstances, we will be playing (we believe) on the 15th December.
We have been slowly recording versions of our new songs at Jeff "Bunsen" Berner's studio in Brooklyn old style. That means, to us, we go in without ANY rehearsals, focus inside and then, in one room the musicians play similtaneously with moveable baffles separating them for miking purposes and ME (gen) in a separate soundproofed room with a mike. We discuss the concept of the tracks. A loose, improvisedversion of a super classic track, in this case "MOTHER SKY" by CAN. We all play together, live, using only headphones to hear each other. After one take. That is it. STRAIGHT TO TAPE as they'd say, AND DO, in the sixties. We know there will be sceptics who find it impossible to believe we play once without rehearsal. We dont care. And YES, we(me) have a theme for the vocals content and structure, BUT as ever we can't help improvising new lyrics etc. The band too are super linked consciousnesses aswe play. It amazes me, and our band, how scripted and tight the songs end up sounding. Truly it IS PSYCHIC tv…Each "cover" song has a B Side , for the next 12 inch Ltd edition single it is "ALIEN SKY" .For my SELF these songs that are resulting are my favourite tracks we have ever recorded in ANY band in any era. BUT that does NOT mean we don't love many songs from our 34 year creation of music and songs. But we've NEVER been this thrilled and satisfied as with the new tracks and "Maggot Brain/Alien Brain". We find it hard to conceive how pure and instantly these tracks appeared. No overdubs, no reruns. ONE TAKE. We even had extra studio time as a result of doing single takes, so Edley ODowd suggested we might as well play/jam for the last 10 minutes…so we did and ended up with an entirely original new song about my Beloved Lady Jaye called "THANK YOU"……PTV3 is, in my opinion, as hot and fresh as ANY band out there right now. COme see us if we are in your town. Theres a good chance of PTV3 playing Houston and Dallas later this year, ADELAIDE, Australia in MARCH 2012 is on!!! The photo that sent me ranting is for Australia for the big Arts Festival catalogue etc. Also we realised there wasnt really a band photo since Jeff "Bunsen" Berner joined us. Maybe even since our keyboardist Jess Stewart joined. SO here we are folks, we wouldn't lie to you. These once were some BEEautifull men and women!!!
Breyer P-Orridge
Photo by (have to ask Edley we forget!!! sorry)
Left to Right:
Jeff "Bunsen" Berner - Lead Guitars and vocalsJess Stewart - keyborads and flute and vocalsGenesis Breyer P-Orridge - vocals, violin and noise bass guitarAlice Genese - Bass Guitar and vocalsEdley ODowd - drums, percussion and samples
August 10, 2011
SCENIC, EDWARD ODOWD and ANGRY LOVE Productions PRESENTS...
SCENIC, EDWARD ODOWD and ANGRY LOVE Productions PRESENTS
PSYCHIC TV/PTV3 will be:
Alice Genese - Bass Guitar / vocals
Jeff "Bunsen" Berner - Lead Guitar / vocals
Morrison Edley ODowd - drums / samples
Genesis Breyer P-Orridge - vocals / electric violin
Jess Stewart - keyboards / vocals / flute
PTV3 will be playing there new ALIEN series of songs live.
and their set will inlude:
"Maggot Brain" , "Alien Brain" , "Mother Sky" , "Alien Sky" , "Thank You" and other new
longform improvisations that will shred the speakers faster than they shred your brain!
Breyer P-Orridge
July 13, 2011
LIMITED QUANTITY T-SHIRTS AVAILABLE ON THE WEBSHOPPE - OLD AND...
LIMITED QUANTITY T-SHIRTS AVAILABLE ON THE WEBSHOPPE - OLD AND NEW DESIGNS!
Our wonderful friends at STRICT TEXTILDRUCK in Berlin are on vacation in NYC and they brought us a small bounty of t-shirts to sell on the GP-O webshoppe. In the near future you will be able to purchase these designs and more from their webshoppe in Europe, but for now we have a limited quantity of each design available directly from us. Those of you that have been emailing about vintage PTV designs…THIS IS YOUR MOMENT! They are all exquisitely printed on great quality cotton tees!
CLICK HERE FOR THE STORE!
June 29, 2011
PENDU NYC presents: LICKER LICENSE
A touring girl-on-girl Video...
PENDU NYC presents: LICKER LICENSE
A touring girl-on-girl Video & Performance Event
Curated by Hazel Hill McCarthy III
LICKER LICENSE a touring 1-night event with all-female video and performance artists featuring video by Genesis Breyer P-Orridge (THROBBING GRISTLE and PSYCHIC T.V.), Nicola Kuperus (ADULT.), Kristy Fenton (MODERN WITCH), Kathleen Daniel, Laura Brothers, Pheobe Collings-James, Actually Huizenga, Adriana Estrada, Stellar Om Source, Bobbi Woods and Hazel Hill McCarthy III.
LICKER LICENSE is a sensually grotesque observation of the female experience as seen through an anti-feminist/feminist show. 30 minute video presentation of work followed by live performances by No Bra and DJ set by Thalia Mavros (Vice).
VIDEO ARTISTS
Genesis Breyer P-Orridge (Throbbing Gristle, Psychic TV): http://www.genesisbreyerporridge.com
Nicola Kuperus (Adult.): http://www.nicolakuperus.com/code/video.html
Bobbi Woods: http://www.openwidepdx.com
Kathleen Daniel: http://www.duh-real.com
Laura Brothers: http://out-4-pizza.livejournal.com
Phoebe Collings-James: http://www.phoebecollingsjames.com
Kristy Fenton (Modern Witch): http://kristyfoom.com
Hazel Hill McCarthy III: http://www.hazelhillmccarthyiii.com
PERFORMING ARTISTS
No Bra (http://www.myspace.com/nnobra)
DJ SETS
Thalia Mavros (Vice)
$10 // Doors at 9PM
Venue: SECRET PROJECT ROBOT / 210 Kent Ave. / Brooklyn, NY
For More Info:::
June 28, 2011
DON'T MISS THE MAJESTY PERFORMING IN LOS ANGELES FOR THE...
DON'T MISS THE MAJESTY PERFORMING IN LOS ANGELES FOR THE FIRST TIME EVER!
On Saturday, July 9th Genesis Breyer P-Orridge, Bryin Dall and Edley ODowd will be performing as THEE MAJESTY as part of OUTFEST 2011 in conjunction with the LA film premiere of The Ballad of Genesis and Lady Jaye. The performance will take place at the REDCAT: ROY AND EDNA DISNEY/CALARTS THEATRE AT WALT DISNEY CONCERT HALL - 631 W. 2nd St., Downtown Los Angeles, 90012. Major Cross Streets: Hope (Entrance on 2nd Street)
Visit http://www.outfest.org/fest2011/index.html for further info
DON'T MISS THEE MAJESTY PERFORMING IN LOS ANGELES FOR THE...
DON'T MISS THEE MAJESTY PERFORMING IN LOS ANGELES FOR THE FIRST TIME EVER!
On Saturday, July 9th Genesis Breyer P-Orridge, Bryin Dall and Edley ODowd will be performing as THEE MAJESTY as part of OUTFEST 2011 in conjunction with the LA film premiere of The Ballad of Genesis and Lady Jaye. The performance will take place at the REDCAT: ROY AND EDNA DISNEY/CALARTS THEATRE AT WALT DISNEY CONCERT HALL - 631 W. 2nd St., Downtown Los Angeles, 90012. Major Cross Streets: Hope (Entrance on 2nd Street)
Visit http://www.outfest.org/fest2011/index.html for further info
May 27, 2011
The Fireplace Project presents: GLORIA HOLEa group...
The Fireplace Project presents:
GLORIA HOLE
a group exhibition
curated by Richard Munson
May 27 - June 20, 2011
Opening Reception: Saturday, May 28, 6-8PM
Featuring: Math Bass, Cass Bird, Lizzi Bougatsos, Eve Fowler,
Erika Keck, Julia Kent, Terence Koh, Natalya Laskis, Liza Lou,
Gloria Maximo, Genesis Breyer P-Orridge, Olympia Scarry,
Aurel Schmidt, Odile Bernard Schröder, Cindy Sherman,
Astrid Méry Sinivassin, and Agathe Snow.
851 Springs Fireplace Road,
East Hampton NY 11937
Tel: 631.324.4666 Fax: 631.614.4437
info@thefireplaceproject.com
www.thefireplaceproject.com
PTV Dec 2003 Live At The Coral Room...
PTV Dec 2003 Live At The Coral Room NYC
http://theearchive.bandcamp.com/album/ptv-dec-2003-live-at-the-coral-room-nyc
Throbbing Gristle & Deleuze
"We need to search for methods to break the preconceptions, modes of unthinking acceptance and expectations that make us, within our constructed behavior patterns, so vulnerable to Control" – Genesis Breyer P-Orridge
***
Toward the beginning of the semester when we first started discussing Deleuze's philosophy of immanence and process ontology, I sensed some resonance between Deleuze and a collective of artists whose work has been important to my own understanding of music and the possibilities it can hold– Throbbing Gristle. I decided to write my final paper on Throbbing Gristle after finding an essay relating them to Deleuze (explained further on), and figured I'd try to work out some of my ideas on the blog before I present my topic (I'll play some of the videos I include here in class, but feel free to take a listen if you are unfamiliar with TG).
Formed in the mid-1970s and consisting of members of the performance art group COUM Transmissions (infamously described by a British politician as "wreckers of civilization"), Throbbing Gristle approached music as a way to evolve and disseminate their own ideas of how sound can work on pure affect and lead toward a de-subjectification of their listeners' understanding of control systems. Credited with developing the genre of Industrial music, TG worked with home-built electronics, synthesizers, various home-built effects units, found sounds, processed noise, and lyrics using the cut-up technique developed by William Burroughs and Brion Gysin to create some of the most intense and influential records of the 1970′s.
Interestingly, Throbbing Gristle created most of their tracks in a live setting, improvising and working off one another. Similarly, lyrics were either developed live on stage by vocalist Genesis Breyer P-Orridge, or free-associated as a group and then cut-up and reassambled. As P-Orridge says, "Our sound is describing our collective and individual emotions and visions. And the sound that came from what we thought and saw… was second. Because that sound is completely inseparable from the way we felt at any given moment, which is why we did so much live, and why so much happened live. Whatever happened live was exactly what was going through us all at that time… And you can't imitate that or mimic it or copy it" (Re/Search Magazine).
TG were always focused on the process of creation and the ways their own percepts and affects influenced their work. Though influenced by the urban-industrial landscape of London, TG's work was not a representation of that world, but rather an active, creative process that sought to transform and rethink the world around them, an idea which resonates with Deleuze's own interest in how an artists' engagement with an artwork can enact an immanent philosophy.
Similarly, as they considered themselves to be non-musicians, TG's artistic mission was more about pushing the limits of sound and to advance a philosophy that rejected control by assembling and re-contextualizing the detritus and unsavory elements of modernity; external forces such as industrial noise, serial killers, Nazi propaganda, Christian extremism and cult phenomena, and all sorts of violent and "taboo" sex found its way into their work. As they bluntly put it on one of their LPs, TG sought "Entertainment Through Pain," a kind of deterritorialization of the harmonics found in popular music in order to elicit an affectual response.
While one could make the argument that TG worked solely in shock aesthetics (and trust me, many have, and even more have unsuccessfully imitated it), this would ignore the core of their intent: that by working with affective elements in their art (noise, intense frequencies, graphic imagery), they could instigate a break in their listeners' habituated realities that have been ingrained by powers that seek to dominate and control us. Michael Goddard writes, "by simulating these cult phenomena, TG were able to examine the demonic mechanisms by which individuals are subjugated and turned into a pliable mass by organizations of sound and language, with a view to reversing these processes into a process of deconditioning… [making] reference to entirely immanent processes of desubjectification and subjectification" (Goddard 166). TG's interest in dark subject matter was partly a reflection of the world they sensed; however, this material also serves to remind listeners how these forces are not outside our world, but rather a part of the world in which we are complicit. Indeed, "shock was used in a tactical way, not to immediately actualize anomalous phenomena by representing them but to tap their unactualized virtual forces by maintaining them in virtuality" (Goddard 169).
Virtuality helps to understand TG's aesthetic, for they remained interested in leaving their work open-ended and in the realm of possibility and potential: the potential for unexpected relations, the potential for change, the potential for new ideas to emerge, transform, and proliferate. This virtuality is best seen in their formless and improvised live performances, their use of home-built electronics to create and manipulate unknown and unpredictable sounds, and their lyrical structures based on cut-up and improvisation. To me, this kind of virtuality lends itself to a comparison to Deleuze and Guattari's idea of the smooth and striated, in that they aimed to deterritorialize ideas about how popular music could be conceived, executed, and understood.
This interest is taken one step further in Throbbing Gristle's experimentation in undermining expectations, leaving room for the band to explore, evolve, and remind their audience that the function of art is to create new modes of expression to stimulate thought. For example, they released their D.o.A. album of harsh, industrial noise followed immediately after by the "United" single, a song that can best be described as a sappy Abba-inspired love song. Similarly, the cover of their 20 Jazz Funk Greats LP belies the content on the album; the image of the band standing on a cliffside wearing leisure suits and cheery smiles on a sunny day was deliberately used to disorient and disrupt expectations, as well as to raise questions about how the media/advertisers package products to implore us to buy without thinking.
By seemingly working within the realm of pop consumer culture through pop tracks like "United" or "Hot on the Heels of Love" or by reinventing their image on 20 Jazz Funk Greats, Throbbing Gristle resisted being pigeon-holed (anything is possible in the world of TG) and raised important questions about how different images and sounds work upon our habituated ideas. Similarly, by creating assemblages of noise, ambient texture, rhythm, synthesizers, found sound, and lyrics referencing the occult, violence, and other 'dirty' things, TG created affectual and haptic sonic environments that strove for unexpected connections and an engagement with a plane of immanence with no recourse to power structures that seek to delimit and control our becomings with the world (and all its gory details).
There is a lot here to figure out, but my main interest in investigating Throbbing Gristle vis-a-vis Deleuze came from Michael Goddard's essay "Sonic and Cultural Noise as Production of the New: The Industrial Music Media Ecology of Throbbing Gristle," in which he relates the art/music practices of TG to Deleuze and Guattari's idea that the production of the new is always possible in art, philosophy, and science. While Goddard raises many interesting points in his essay, I would like to go one step further by showing how Throbbing Gristle's music-making and aesthetic practices relate to a wholly Deleuzean philosophy of immanence and process ontology based on their ideas of deterritorialization, the rhizome, affects and precepts, the refrain, and the smooth and striated. Particularly in connection to Deleuze's ideas concerning control societies and the "new forms of resistance" that must be created to fight them, Throbbing Gristle's sense of the world (however dark or unpleasant TG's sense may be) rejects universals and insists on change and becoming through a rethinking of the systems of control that delimit dynamic engagement and continual becoming. Ultimately, TG created some really powerful (and endlessly influential) music that works so well because it utilizes a sonic palette that is entirely original, varied, and disorienting (or should I say deterritorializing?), while also forging connections with the world and its potential for change.
Any suggestions or comments would be much appreciated!
-Chris P
source: http://immanentterrain.wordpress.com/2011/05/04/throbbing-gristle-deleuze/
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