Frankly Speaking #2

Well, this is another fine issue you've gotten me into, Stan ... is that your name ... hey, you who are reading this. After all, you should take equal credit (or equal blame) as us for TC(r) ... after all, you are reading this.

We said awhile back that TC(r) would be about the edge by artists (of all kinds) who are on the edge. As you will see, that has come about.

TC(r) has started creating itself. The next issue is already loaded and ready to be fired off. We get material in many different ways.

For example, Barnaby Chancellor from Arizona was passing through Berkeley and dropped into Smokey Joe's Cafe for breakfast. Since TC(r) was for sale there, he browsed through it ... and got very excited. He started talking to the cook, who just happened to be Alexi our circulation manager. Barnaby said he had a poem, and that he hadn't yet found a zine that he wanted to put his poem in ... until TC(r). We are honored.

You who have gotten addicted to LaBash's covers and are freaking out because there is not one in this issue ... Just turn to the back cover ... it's there. Our front cover artist is Lee Kay out of Chicago. He is known for his "bubblehead por-trits" of cult figures of the underground culture. Ah, yes, you now see what they are talking about when they say I've a big head! By the way, a bubblehead of Annie Sprinkle will grace her writings in our next issue.

We are blown out at the artists to whom our little zine has access to through magical channels. A case in point is H. R. Giger. Based in Switzerland, he is an internationally known surrealist. If you have watched the Alien(s) films, you have entered his erotic visual nightmares. When the punk band the Dead Kennedys enclosed his cocks/pussies painting in their album, they were busted for obscenity. (They were finally judged not guilty ... after the case had broken them.) Thanks to my close friend Les Barany, who is Giger's agent in the U.S., for giving us permission to reprint the work.

Peter Petrisko jr., as well as obviously being a good photocopy-artist, is the center of the cultural underground in Phoenix, Arizona, with his own zine (e)x-communications (which has published my Cultural Subversion that is also appearing in this issue), his own bookstore Metropophobobia (which carries all of our stuff), and his own performance club Gallery X (at which I will be appearing this November). Kevin Rice is an up-and-coming photo-journalist who has documented our performances over the years. Stavros Krysiak's review of one of our performances came over a computer network. This is an example of the personal anarchial technologies I am talking about in Cultural Subversion. Stavros and I have developed a close relationship by talking every night over the GEnie network, which is run by General Electric. We talk about strange things such as shamanism, shaping reality, ritual .... and of course the many things I am selling. The powerful thing about a network like this is people all over the country can read our talk and, if they wish, join in. So for $4.95 a month (with no phone bill), I have nightly access to a national audience in a direct almost live channel through which I can pour subversive concepts and info. Hey! Why don't you join me on-line?

Kyle says a lot of nice things about me in his new introduction to my book, Cherotic Magic. But I think the most important aspect of his piece is that he outlines the process by which the student within a tribal shamanistic training "learns" by a discipline of trust.

I'm lazy. For months I have been thinking about writing about the liberal sickness called "political correctness." This sickness fragments people into artificial groups (black, gay, women, disabled, etc.) within which they then are forced to stay. This sickness makes the individual so fragile that any "bad" or "wrong" word or image (nigger, fag, chick, cripple) can completely shatter the person. This fragileness makes it impossible to function in the real world without the artificial dome of pc-censorship. I was going to examine this sickness within the art world, using the art combine Highways/High Performance magazine as my case study. But I kept putting it off. I'm lazy. Then Curtis York's letter fell into my hands. Now I don't need to write that article!

Talking about pc-censorship brings us to the cartoon by the rock'n'roll artist John Seabury. We have gotten shit for running his "pig rape" drawing in this issue ... from people who normally are against censorship. I've been thinking about why this drawing gets people so angry or uptight. I don't think it is the images. After all, look at LaBash's drawings. The taboo-breaking image contents are equal between them. The difference between these two artists is LaBash is nonlinear while Seabury is linear.

Frank Moore


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