Notes for Box #1; a MOCAD Journal 09.09.2012

Box #1 is a loose journal of multiples produced by the Museum of Contemporary Art Detroit (MOCAD),  and was published in conjunction with the installation “Vision in a Cornfield” at the museum  September through December, 2012.

The project came together during meetings held  at Eastern Market beginning in March of 2012. Present during the early phase of discussion were Leon Johnson, Megan O’Connell, Lynn Crawford, Rebecca Mazzei and myself. At one meeting, we  brought objects from our own collections that “broke the mold” in unusual and unbound formats. One object titled  “Box” was from Mazzei’s collection. It was a fluxus inspired 12 inch square black box stuffed with a variety of hand-made booklets, blueprints, broadsides and posters published by the California Institute of Arts in 1971. At that meeting, we discussed creating contents related to Afro-futurism and I mentioned an old Destroy All Monsters  sound-sculpture idea and collaboration with Aaron Ibn Pori Pitts’s Ogun collective.  Rebecca was interested in making that happen for the fall at MOCAD, and the “Vision in a Cornfield” installation was put on the calendar to open in the fall of 2012.

We  responded to the 12”  LP format, and decided on the  underlying theme of Afro-futurism as a focus.  We were not attempting to define or deeply examine the concept, but simply acknowledge  its widespread influence as inspiration among  the artists we discussed. Soon, various artworks, booklets, poetry, interviews, recordings , posters, postcards, photos, stickers and buttons made there way into the box. Each box was uniquely  designed, hand-painted and bejeweled by artist/musician Efe Bes, who transformed them into magical vessels. Several nights of  pizza parties were spent  painting and decorating the box lids with Efe, Mo and the staff at MOCAD.

The Box includes a 12” vinyl LP of  unreleased works by Sun ra (performed at the Detroit Jazz Center on New Year’s Eve 1979) and Aaron Ibn Pori Pitts, along with a reprint of Toward a ‘Ratio’nal Aesthetic, a deep and dense music manifesto and Sun Ra-like equations called  ”Faruquisms” by Faruq Z. Bey, who revised and worked on the book just shortly before his death.

I discovered Ibn’s personal  recordings through M. Saffell Gardner,  by way of recording engineer Ras Kente. Ibn hired at his own expense, some of the best musicians from the Detroit area and laid down his highly charged words and poems, arranged as upbeat raps and sermons, alongside free-form Jazz riffs and reggae/dub beats. Recorded in 1987, these studio recordings were known only within his immediate circle of friends and unreleased. Produced in the manner of a “Last Poets” album, they are another testament to the passion and diversity this multi-gifted artist.

The Box was edited by Rebecca Mazzei and myself in an edition of 200 of which 150 are for sale to the public. Boxes are available from either Bookbeat or the MOCAD store. Special thanks to all the artists, writers and musicians who helped contribute to Box #1, and to Megan O’Connell and the staff and interns at MOCAD who helped collate the edition. Images of Box #1 that are still available and can be ordered from Book Beat are posted online HERE

Contents of  Box #1 are in an edition of 200 unless otherwise noted.

Recordings;

Sun ra & Aaron Ibn Pori Pitts; Spirt Songz a 12″ vinyl LP, contains  live  Sun Ra Arkestra recordings from the Detroit Jazz Center on New Years Eve, 1980  followed by a side of Aaron Ibn Pori Pitts’  studio recorded words and music.  Sun Ra tracks include; Journey to Saturn and excerpts from;  There is Change in the Air, Are You Spotless? and When There is No Sun. The Sun Ra recordings were  edited and digitally re-mastered by Warren Defever and Cary Loren sometime in the late 90s from tapes produced by John Sinclair. The recordings were licensed by MOCAD from Artyard in the UK who now hold the rights to the recordings. The LP side of  Aaron Ibn Pori Potts’ compositions  was recorded in 1987 at Lion Sound Studios by Ras Kente, all words and music © Aaron Ibn Pori Pitts,  the LP was edited and mastered by Loren. Musicians performing beside Ibn include;  James Carter, Amp Fiddler, Ron Smith, Titilaya, Ron Rutherford, Mellow Man and Ras Kente. The title “Spirit Songz” comes from the name of one of Ibn’s unreleased albums. Spirit Songz was pressed in an edition of 300 copies.

Various Artists; The Spell of Jadoo, is a 16 track, 74 minute CD compilation featuring tracks by Sun Ra, THTX, Warren Defever & Furuq Z. Bey, Aaron Ibn Pori Pitts, Baba Akunda, Little Princess, Slither, Efe Bes, Kim Fowley, The Impaler, Destroy All Monsters, Monster Island and James Semark, 2012. All the tracks have never been released before.  The music was compiled and edited by Loren with assistance from Matthew Smith. Pressed in an edition of 300 copies.

Text

Faruq Z Bey: Toward a ‘Ratio’nal Aesthetic, is a second edition reprint of  Faruq’s rare music theory booklet, first published by Ridgeway press in 1989. This 68 page perfect bound edition was re-designed by Megan O’Connell at Salt & Ceder Press in 2012, and produced by MOCAD in an edition of 300 copies.

Rob Tyner  & John Sinclair; “Motor City Afrofuturism,” an interview with Rob Tyner by John Sinclair is a reprint from the Ann Arbor Sun from 1967, with 3 added photos of Rob Tyner by Leni Sinclair, printed on 12×12″ newsprint, re-edited and arranged by John Sinclair in 2012. The “poem  for the liner notes to Pinkeye’s Live Deathless album” by James Semark  is also reprinted from the CD released in 2009.

Pedro Bell & Cameron Jamie: “Ammagamma-Goo-Chee,“ an interview with Afro-futurist & Funkadelic artist Pedro Bell by Cameron Jamie. Chicago, 2009.

Sun Ra; “A Profile of Sun Ra” interview by Grant Martin, reprinted from the Detroit-based Tribe Magazine, 1975.

Destroy All Monsters; The Swamp Gas Gazette, a UFO 8 page tabloid newspaper zine, produced by DAM in an edition of 5000 copies in 2002.

James Semark; “The Judgment of Edmund Zwingy,” short story by Semark, reprinted from Night-Vision Express, cover drawing; “Each One is Real, Each Real is One” also by Semark, Detroit Artists Workshop Press, 1965

Sun ra; “Cosmic Equation,” poem by Sun Ra (date unknown) designed by Salt & Cedar Letterpress. 2012. .Edition of 150 numbered and 50 lettered copies.

Sun ra “The Endless Realm,” poem by Sun Ra (date unknown) designed by Salt & Cedar Letterpress. 2012.Edition of 150 numbered and 50 lettered copies.

Amiri Baraka; “I Liked Us Better,” poem,  2012.

Terry Blackhawk; “For Dudley Randall,” poem . 2003

M. L. Liebler; “Trembling in the Temple of Tears at the Feet of Buddha,” poem . 2010.

Aaron Ibn Pori Pitts;“The Path” and “Ogun; In the Modality of Modified Metal as a Metaphor”  - two poems  (date unknown)

Artworks

RAMM:ELL:ZEE / Super Heroes & Villains;  Monster Models & Garbage Gods (1991) a collection of Rammellzee’s  21 monster sculptures with text. Photography by Adam Reich, courtesy  The Suzanne Geiss Company, New York City and the estate of RAMM:ELL:ZEE, 4×5.5″  20 pages, staplebound booklet with two page pink text insert, designed by Loren, produced by MOCAD in an edition of 200. Pictured left; “Chimer” on the front cover of the booklet.

Gary Grimshaw; Sun Ra and His Myth Science Arkestra in Concert with MC5 20×24″ folded poster reprint by Gary Grimshaw. 1967, 2008. Edition of 250, three color silkscreen.

Frank Bach In Residence In Concert Detroit Sun Ra and His Omniverse Jet-Set Arkestra 12×17″ folded poster by Frank Bach. 1979-80, produced by MOCAD as an LP cover with Spirit Songz credit information on back. 2012, edition of 300.

Gilda Snowden; A 5×7″ original acrylic stencil painting by Snowden signed and dated on the reverse.

Jerome Feretti; 7×7″  print with hand coloring crayon additions by signed recto. (some boxes may contain a small signed hand-made brick by Feretti.

Barry Roth; A 5×7″ photograph in two different editions of 100 each by Roth, signed and numbered in an edition of 100 each on the reverse.

Maurice Greenia; Original pen and ink drawing on 11×11″ paper, signed, titled and dated recto.

Ryan Standfest; Ardent Boner, a 8.5x 5.5″ staplebound 16 page booklet of drawings based on Andre Breton’s African art collection by Ryan Standfest, © Rotland Press, 2012, signed and numbered edition of 200.

Tom Carey; “Yakub’s Folly”, three color hand pulled woodcut by Tom Carey; titled, signed and numbered on recto, edition of 200.

M. Saffell Gardner; “Sun Ra’s U”,  woodcut by M. Saffell Gardner, titled, dated, signed & numbered edition of 200 on recto.

Dianetta Dye; ”Urban Etch #13 Man” unique monoprint by Dianetta Dye , signed, titled and dated on reverse.

Chris Riddell; 8.5×11 Xerox collage by Chris Riddell, signed and numbered on recto, 2012

Leni Sinclair; 6 postcard photos by Leni Sinclair in an envelope includes; Faruq Z. Bey color (1975),  Sun Ra in black and white (1977), Sun Ra in color (1977), June Tyson color (1977), Alice Coltrane black and white (1972) and Roscoe Mitchell color Art Ensemble of Chicago performance (date unknown) by Leni Sinclair.

8.5×11″ glossy photo of Sun Ra and His Omniverse Jet-Set Arkestra with Detroit musicians at Detroit Jazz Center by Leni Sinclair,  Dec. 31st,  1979.

Jimbo Easter & Cary Loren; red, silver  or gold silkscreen of alien writing and DAM “cosmic clip art” over spray-painted backgrounds  (on acid free 8.5×11″ or on irregular hand-cut paper) numbered on reverse.

Kcalb Gniw Spirit; “Ogun Urban Monumentz” -flyer  from a book catalog.

Efe Bes; Each Box lid has a unique hand design, painted by Afro-futurist musician Efe (with assistance from Mo and the staff of MOCAD) – using acrylics, tempura, markers, glitter, glue and spray varnish. Efe uses traditional and symbolic African based patterns that he improvises with and molds into his own shapes, creating a relief pattern with jewel-like illuminations. The covers are each hand signed and numbered on the side.

Stickers, etc.,

Jim Shaw; Peanut Butter (3×8″ DAM sticker) design by Shaw, 1996/2012, edition of  250

Dave Mueller; What Would Sun Ra Do?  (2.5 x9″  bumper sticker) design by Dave Mueller 2004/2012 edition of 250

Aeron Bergman and Alejandra Salinas: Race (2 x4″ sticker) design by Aeron Bergman and Alejandra Salinas. 2012

Apetechnology: Detroit (1×2″ sticker) by the Apetechnology collective (open edition)

Destroy All Monsters; Spaceman or Mexican Zombie ( 3″x2″ sticker)  design by Loren from an edition of 1000 each.

Various artists; 3 buttons in a bag freaturing; Alice Coltrane, Aaron Ibn Pori Pitts and a Destroy All Monster Apocalypse creature.

Destroy All Monsters Magazine, Detroit book launch 02.06.2011

Destroy All Monsters Magazine Detroit area book launch

Facsimile Edition Released by Primary Information


A Detroit launch for the Destroy All Monsters Magazine (book) is scheduled for Saturday June 11th  8-10 PM  at Public Pool, 3309 Caniff in Hamtramck. A talk between local art critic Vincent Carducci and DAM member Cary Loren will begin at 8:30 PM, a Q & A will follow.

Primary Information:

http://primaryinformation.org/index.php?/upcoming/destroy-all-monsters/

New York book launch at MoMA/PS1:  http://www.artbook.com/blog-at-first-sight-d-a-m.html

Primary Information is pleased to announce the release of Destroy All Monsters Magazine — making all issues of the Magazine available to a wide audience for the first time. This publication is a compilation of the seven issues of Destroy All Monsters Magazine that were originally published between 1976-1979. The book is 278 pages and retails for $30.

Destroy All Monsters was an Detroit-area band and collective that was formed in 1973. Its initial members were Mike Kelley, Cary Loren, Niagara and Jim Shaw. Destroy All Monsters were art students and musicians who used performance art tactics to create noise music that evolved out of influences like Sun Ra, Nico, horror movie soundtracks and local bands like MC5 and The Stooges. The band later took on new members and briefly reunited in the 90s.

Destroy All Monsters Magazine was edited by Cary Loren and contained artwork, photographs, and flyers from Mike Kelley, Cary Loren, Niagara and Jim Shaw. Printed using any papers and techniques available to the band, the issues combine the cut and paste tactics of punk zines with a psychedelic affinity for color.  Destroy All Monsters Magazine functions as a kind of manifesto, providing insight into the band through densely layered pages with movie imagery, kitsch, cartoons, delicate drawings, and counter-culture collages. While Destroy All Monsters has been the subject of recent exhibitions and partial reprints, this is the first time that all issues have been reprinted.

Destroy All Monsters Magazine is available directly through Primary Information’s website www.primaryinformation.org and is distributed through Distributed Art Publishers worldwide. For further information or to order Destroy All Monsters Magazine, please contact Primary Information at info@primaryinformation.org

Primary Information is a 501(c)3 organization. The organization receives generous support through grants from The Andy Warhol Foundation for the Visual Arts, the Stichting Egress Foundation, the Buddy Taub Foundation, and individuals worldwide.

Technorati Tags:

MOROSE DELECTATION exhibition @ Book Beat Gallery, Sunday June 5 18.05.2011

ON Sunday, June 5, Book Beat will be hosting an exhibition, MOROSE DELECTATION, in conjunction with Ryan Standfest’s new drawing and comic collection, Black Eye: Graphic Transmissions To Cause Ocular Hypertension. A talk with curator/editor/artist Ryan Standfest will begin at 3 PM. He will be joined with several of the featured artists. The Book Beat is located at 26010 Greenfield in Oak Park. Our hours Sunday are 12-5 PM.

The first scheduled event to coincide with the publication of BLACK EYE 1: Graphic Transmissions to Cause Ocular Hypertension, will be a companion exhibition of works by ten of the book’s contributors. However, the work included in MOROSE DELECTATION will not be drawn from that in BLACK EYE, but will be work that has been newly-created for the exhibition as well as older, unpublished works. The following is the press release:

MOROSE DELECTATION

An Exhibition of Works on Paper, Occasioned by the Release of

BLACK EYE 1: Graphic Transmissions to Cause Ocular Hypertension

A New Comics Anthology of Black and Absurdist Humor by 41 International Artists and Writers, Edited by Ryan Standfest and Published by Rotland Press + Comic Works, Detroit, Michigan.

WHERE: Book Beat Bookstore & Gallery, 26010 Greenfield Road / Oak Park, MI / 48237-1050 / (248) 968-1190

WHEN: JUNE 5th – AUGUST 5th, 2011; OPENING EVENT with discussion and signing on June 5th, from 3 to 5 PM.

“Its good to know that comics are still being confiscated today” – Chris Ware

The exhibition will include work by:

Max Clotfelter (Seattle, Washington)

Andy Gabrysiak (Plymouth, Michigan)

Ian Huebert (San Francisco, California)

Kaz (Hollywood, California)

James Moore (Brooklyn, New York)

Tom Neely (Los Angeles, California)

Paul Nudd (Chicago, Illinois)

Onsmith (Chicago, Illinois)

David Paleo (Buenos Aires, Argentina)

Stephen Schudlich (Dearborn, Michigan)

Curated by Cary Loren and Ryan Standfest

This exhibition, held at the Book Beat Gallery, showcases works on paper by ten artists who are contributors to the comics anthology BLACK EYE No. 1. The exhibition is meant to be a companion to the anthology, and the work presented here reflects a continuation of the sensibility presented in the pages of BLACK EYE, namely a focus on black and absurdist humor that sits uneasily on the border between what is funny and what is not.

The exhibition will have an OPENING EVENT ON SUNDAY, JUNE 5th, from 3 to 5pm, during which there will be a discussion concerning BLACK EYE and the nature of black humor, as well as a signing with some of the contributing artists present. A limited edition letterpress print by the artists Onsmith & Nudd will be available for purchase and for signing, along with copies of BLACK EYE.

Further information about BLACK EYE can be found at the Rotland Press + Comic Works site: http://rotlandpress.wordpress.com/

Black Eye was the subject of international controversy recently after the book was confiscated by Canadian border agents.  Copies of the collection were being taken to a comics convention in Canada and agents considered it obscene material.  Here is a link to the incident on the Comics Journal website.

James Semark: Galactic Mind Forever, R.I.P. 02.12.2010

“On one hand, we experience the collapse of an economy built by people who put self-interest first, and on the other, we discover an economy of consciousness shaped by people who put the planet first – and themselves in it.” -James Semark

James Semark departed this earthly plane sometime during the first week of December, 2010, his death due to a possible heart attack or possible complications from an allergic reaction to antibiotics, something we will never know as an autopsy was never done. The coroner’s office explained it as “death by natural causes.”  He was found alone at home with the front door left unlocked, perhaps to not trouble anyone by having to break  it down.  His body was discovered by the Ferndale police several days after he died.

James Semark was a poet, musician/composer,  cosmic communicator, organizer and creative spirit born in Toledo, Ohio who moved to Detroit as a student at Wayne State University in 1959. His interests were diverse; from meditation and macrobiotics to technology, green-economics, jazz, urban renewal and theosophy.

James pioneered a type of early proto-rap form that he called the rhythm ballads. These late 50s and early 60s compositions were “investigative verse” works; long tripped-out epic poems set to music that undertook the study and description of  jazz legends John Coltrane, Charlie Parker and even a judgment day “jazz-poem in heaven” of Edmund Zwingy, an imaginary be-bop star. He began to put the ballads to syncopated sound beats around 1964,  inspired by a jazz drummer that practiced in a basement room next to his own, in the John Lodge Artist Workshop “Castle”.

James studied music at Wayne State University under Harold McKinney. McKinney’s idea of community and the “World Stage” would remain a major influence for Semark. He was also mentored by jazz greats Yusef Lateef, Elvin Jones and Eric Dolphy. In the mid-1960s he collaborated with Lyman Woodard, The DC5, MC5, Charles Moore and John Sinclair.

James was a tall, quiet, even-tempered and soft spoken person, but could suddenly and spontaneously ignite an audience with his blazing rhythmic oration and fiery live performances. James was equally influenced by occult writings and world religions as he was by beat poets and jazz artists. He often took on cosmic topics, questions about space, time and the universe, the origins of mankind, drugs and illusion. He was a founding member of the Detroit Artists Workshop and his poetry found an audience through publications by the DAW press.

In his book Night-Vision Express, Semark wrote a series of surreal Kafkaesque essays. Many of these reflected on the afterlife. “The Antivalue” is one continuous rant that ends; Guardians of the river Lethe, with their tortured honor and malafied smiles, transport Antivalue to the Tower of Xmea and throw him into the ocean…  but it is transformed into the gnarled bones of circumvented lovers. From “Blood Echoes for Allen Ginsberg” – you and i we’re lucky / to know about expanded consciousness/ to get this far and not sentenced to “involuntary lobotomy”/ we’re lucky in this free / democratic republic/  rally-round-the-flag-boys/ society of ours/ to get by without any kind of “brain job”…

Semark’s poetry was infused with a kind of dystopian rock ‘n roll fever, a Burroughsian “Naked Lunch” stew, finding its home beside quotations from The Tibetan Book of the Dead, Kafka, Zen Buddhism, Sun Ra, Concrete Poetry, Stanley Mouse, Gary Grimshaw and Madame Blavatsky. Semark was a kind of goofy holy saint, an architect for the coming psychedelic revolution. He mixed metaphors with dreams, plays, essays and made direct statements, rants and pleas to change mankind. His creativity and process was centered on consciousness. Forms were broken and arranged to fit his vision of expanded awareness, he was  Detroit’s version of Wavy-gravy.

He could be over-the-top, extreme and repetitive, reciting, “OH! EYE! OH EYE! YOU!” for pages and it wasn’t always easy to digest, but his enthusiasm, humor and eternal conversation with Gods and prehistoric monsters were fascinating to watch, and something to be discussed over the next millennium.

After the breakup and political fermentation of the Detroit Artists Workshop in 1966, James struck out on his own, opening his own Nova Express “Terminal City” commune in Highland Park. He was “new age” before the term existed, the first to bring to Detroit the distinguished founder of macrobiotics and the organic/natural foods movement Michio Kushi. Semark did his best to spread the word on organic living, publishing one of the first books by Kushi in English translation. Semark remained a strict vegan through his entire life, convinced of the power of healing through pure foods and meditation.

James maintained a strong interest in metaphysics throughout his life. From his lifelong friendships with Robert Thibodeau and Howard Weingarden to his weekly meetings (for over twenty years) with his metaphysical/theosophy study group, he had an always inquisitive and questioning mind. Ever hopeful and on the side of intelligent transformation, James was an inspiration and light to many of us seeking positive change. He was an early adapt of the Baha’i faith, embracing the idea of oneness in all religions and continued to explore ideas found within the writings of Theosophy and Madame Blavatsky.

In the early 1970s James was initiated into the Mahariji Ji Charon Singh’s order, and continued daily meditation and ’sound mediation’ practices throughout his life.  Some of these rituals and practices are known as Radha Soami Satsang Beas or the Science of the Soul.

Semark’s 1966 third book The Sun, is an exceptional and beautiful object/poem broken into two parts. In the first half are quotations from the Bahai faith, Sufi and Chinese poets, Sun Ra, Michio Kushi, Alice Bailey and Madame Blavatsky, all together forming a thick world-stew of spiritual truth. This radiant (and surreal) broth becomes the foundation for the Sun poem which stretches across the second half of the book. It is one of the most beautiful statements in poetry and art made by Semark. Punctuated by drawings, collages, letterpress embossing, colored and metallic inks and photos, the Sun poem is another cosmic rhythm ballad, a lovely handmade artbook that evolves through many forms and shapes; “When You and I are real, the words have Light.” At the end of the book, Semark states that he mixed the book’s special colored inks by his own hand. It remains one of the most powerful, well designed  and spiritual books in the Workshop canon.

One aspect of Semark’s character was his disciplined ongoing devotion to the Detroit Artists Workshop. Its community goals and ideals were his own and he maintained these throughout his life, even as he resided outside the state. His return to Detroit coincided with the planning stages for the 40th anniversary reunion in November of 2004. At that time, James took on an enormous responsibility in the preparation and development of the reunion project which led to a continuation of the DAW co-op in the form of meetings, concerts, fund-raising and its online presence as the website for The Detroit Artists Workshop, The DAW website was Semark’s baby and he designed and watched over it as a dotting parent.

One of his last projects was Work #6: A 2009 Detroit Artists Workshop Anthology of Generations -an extension of the sixties era workshop, returning to familiar names and writers (Robin Eichle, Bill Harris, Ed Sanders, John Sinclair) and including many new and unheard of writers, “building the reincarnated DAW collective as a vital platform, confident in its future as a world cultural hub.” It seems logical that the legacy James Semark has lived for and dreamed about can continue on. Hopefully his private Workshop archive be made available to the public and preserved for future study. His epic environmental poem-ballad The Saga of Steely R. Stone included in Work #6, was an autobiographical self-portrait,  a sketch of a man who after loosing his beautiful wife Jenny due to a toxic poisoning, envisions a horrid apocalyptic landscape on the planet, finally causing a nationwide uprising that resounds in the collective chant, “WE’RE GONNA DO SOMETHING FOR OUR WORLD!” It would be great if we could do something for Semark, and now that he’s gone, the continuance of the Detroit Artists Workshop website he created, its very existence and his archive of  DAW publications remain in grave danger. [sadly the sites that James worked so hard to preserve did come down soon after his death and little of his writings and recordings have been preserved. -addition 12/07/11]

Semark had a visionary approach to language and an unbreakable belief in the Detroit Artists Workshop – he saw it as a model and beacon of truth through which future generations could learn and establish their own network of artistic sharing and growth. In 1964, the Workshop was a spiritual foundation for freedom in the arts. It was infused with a similar bohemian ideology as Dadaism, Surrealism,  Fluxus, and the Black Arts Movement and become the early roots of psychedelia and Punk. This blending of  ideas exploded into the 1960s and as one of the elder statesmen of that movement and energy, James Semark was a mighty force, and a cyclone we barely knew.

In a quotation from his own website chronology, James states, “However long I may live, the endgame will still hold true. You’ll notice that, in my 20s, I was a hot shot in the Artists Workshop and I thought I had it together. In my 30s and 40s, I thought I understood the cosmos. In my 50s I had a vision of world transformation. Now, in my later years, I realize I understand only a milli-fraction of what’s going on in the universe — it’s as though I don’t understand anything at all! On the other hand, I see no end to the discovery process — the opportunity to explore greater and greater realms of galactic mind goes on forever. This is the endgame.”

MC5 Book Signing & Swap Meet! 25.09.2010

Book Beat is proud to host author Brett Callwood and MC5 manager/ poet/ raconteur John Sinclair for a signing and discussion on Sunday Oct. 10 at 2-5pm to celebrate the release of the first US edition of “MC5: Sonically Speaking.” The Book Beat is located at 26010 Greenfield, Oak Park, MI – please call 248-968-1190 for more information.

After the book discussion and signing we’ll have an MC5 swap meet! Bring in your stories, photos, posters, buttons, memorabilia, vinyl goodies and more – share the love! Special limited edition “Poetry is Revolution” posters signed by John & Leni Sinclair are available now!

For the last hour 4-5 PM, Book Beat will be the site for a special edition of “John Sinclair Radio”  -a live recording session featuring the works of the MC5 and Destroy All Monsters.

“Brett Callwood has written—and written well—the long-awaited definitive biography of the MC5, nailing down the important information in the correct order, paying close attention to the actual facts, as opposed to accepted myths and legends, and telling the true story of the MC5 from beginning to end.” – John Sinclair

Along with the Stooges, the Velvet Underground, and the New York Dolls, the MC5 are recognized in music circles as one of the bands that paved the way for punk rock. While the group did not reach the heights of national celebrity or financial success during their seven years together, their musical legacy has never been more celebrated—with recently reissued recordings and documentary footage, as well as an unlikely reunion tour. In MC5: Sonically Speaking, author Brett Callwood delves into the MC5’s story from the band’s beginnings in 1960s Detroit to its 1972 break-up, the post-MC5 fates of its members, and the eventual reunion that cemented its legacy.

Anyone interested in musical history, Detroit rock ‘n’ roll, or American popular culture of the 1960s and beyond will appreciate this candid and fascinating look at the MC5, which was originally published in the UK and is available for the first time in the US in this updated version.

Beer Mystic, chapter 24 by bart plantenga 24.09.2010

Beer Mystic: A Novel of Inebriation & Light

the previous chapter to Bookbeat’s BEER MYSTIC #24 excerpt is now online at:
Beer Mystic #23: Karen The Small Press Librarian

bart plantenga

Furman Pivo believes he [plus beer] may be the cause of a rash of streetlight outages. This sense of empowerment transforms him into the Beer Mystic. He has a mission and a mandate. Or does he? In any case, 1987 NYC will never be the same and the rest is history or myth or delusion.

Beer Mystic Invitation: Participate in a unique literary adventure that will take you on the longest, rowdiest literary pub crawl ever. Follow the Beer Mystic’s story around the world through a global network of host magazines [next excerpt at end of chapter / cover by David Sandlin].

<< Beer Mystic #23 To be announced>> chapter 24:

It’s no wonder, then, that I had to start whistling up for the key after Djuna changed the locks and refused to give me a new key. Each successful betrayal of her by me that overshadowed her many betrayals of me just goaded her on to ever more dramatic acts of vengeance. Now, if Djuna liked the tune – “Mack The Knife” is one, “Surabaya Johnny” another “You said so much Johnny / Not a word was true Johnny” – she’d toss me the keys. If not, I’d have to sleep elsewhere. Sometimes with Nice, who had very temporary lodging arrangements. One floor here, a couch there, a squat for a few months. Or I could just buzz Djuna’s doorbell [the kind that looks like a nipple] all night and sing “At the beginning every day was Sunday / That was until I went with you”… None of this did me any good because, as I later learned, she just puts on her Bose headphones [courtesy of the Times Square Valentine tycoon?] and turns the music up a notch. I mean, ultimately, I think I was only two months behind in the rent.

One night, not long ago, I was wandering to kill the Friday night when I spotted this guy coming up Avenue A, off 7th Street whistling a tune, a tune I knew, a tune I’d learned to whistle from Djuna, “Wie Mann Sich Bettet!” Oh sure, this guy knew Weill’s tune enough to whistle it but did he know Brecht’s words?! “You got to make use of the short time that is yours / A human being is not an animal / For, as you make your bed so must you lie / There’s nobody to cover you up there…” I mean, there he was coming toward me with a small bundle of clothes under his arm, dressed in MY clothes – that’s right! – my fuckin’ clothes that she, Djuna, had lent him from “MY” closet! I understand stuff fast, but it takes a long time to explain it to me.

Yes, Nice has a bed, too – calls it a “Bedouin bed” – and she does not get nauseous lying on her back. On nights when I can’t carry a tune [and some others, too] she is my dream among brambles and hatchets. The bed is a sachet, a dream pillow and is never at the same address for very long.

“Why do you bother with her?” Nice is seldom nosy.

“I dunno. Habit I guess. I remember my father in the garage, putting his hand on my shoulder and saying, ‘Hamsters sometimes eat their young. It’s not something we can explain. It’s just something they do when threatened.’ Understand?”

“Uuuuh. Not really. And so what’s’at make Djuna, like star of Invasion of the Killer Shrews?” Nice only acted jealous because she thought I was too used to it to go off it cold turkey. Beyond jealousy, that’s like one giant step toward Buddhism.

As long as we don’t coagulate into a lump of bitter familiarity, an inert “us-molecule,” me and her could last like a “black and tan” Nick and Nora of the ’90s. As long as I take her with me, half-cocked, hunting black-eyes, she’s willing to play my #2 as a down payment on becoming my #1 in the [very near] future.

Nice’s sexual apparatus works like the firing mechanism of a pistol – she is propulsive. She’s so hot that making love to her with pot holders on doesn’t help. This is how I describe it at work. Ben and Robert listen intently. When we chuckle, the bosses think we are laughing at their expense. I say let them think that.

In her kitchenette [this month], one oven mitt that hung from a hook was the head of an alligator. At night it devoured her “devil’s food breasts.” She liked games involving her breasts. She served me a sweaty glass of beer from the grip of her cleavage without spilling a drop. Doing the limbo. She’s from Antigua – no, lived there. She’s from Senegal. But sometimes from “Jah-maica.”

“You’ve lived everywhere.”

“Which is a little like nowhere.”

And, had her dad maybe named her after a town in the Ivory Coast, Niellé where he had try to negotiate a policy to stop deforestation and help the people diversify their economy away from agricultural products like cocoa and coffee.

Nice and I laugh a lot. When she has an orgasm, the muscles in her arms and legs flex so intensely that they remain fixed there, like chair legs locked into position, right at the surface and you can’t even bend an arm or even wiggle a pinkie. The air perspires and is only later worn like what a tornado does to an afro. She likes to show me the data files she has created with all my documented black-eyes on her computer. The map of Manhattan showing the precise locations of all my beers, however, is her crowning glory. We can stare at that for hours. Nina Simone, Black Uhuru, Youssou N’Dour, LKJ, Kalahari Surfers, and General Echo [“Drunken Master:: “In heaven there is no beer / That’s why we drink it here / So don’t have no fear / Just come and get your share…”] on her boombox. An obscure beer or song is more important than any perfume.

My heart still gets hurled like a horseshoe magnet, aorta over auricle, at this splendid face. Strange, this cosmos of beauty [how facial bones sculpt of skin something undeniable, like a silken scarf draped over dream] and how it still takes up tacks, rips up the carpet of my brain awed and deranged from the floor. I have to grab hold of things, things solid and grounded when I gaze too long at her face. Who/what I am can be measured, I guess, in direct relation to what happens to me.

“Dylan Thomas said, ‘I am lost in the metropolis with a rubber duck and a girl I cannot see pouring brandy into a tooth-glass.’” She quoted as we sit in the Linger Lounge now, after watching the spiral imprint of the wood grain from the pew – I mean booth – disappear from the tender underside of her arm. Then she sucked blood from my lip cut on the chipped rim of a stemmed extended tulip glass [which is perfect for heightening the elegance of a pilsner]. Heightening a pilsner is the act that raises us out of ourselves.

“You are soooo…. Beautiful.”

“Joe Cocker, circa 1975. Written by Billy Preston. Um, I was thinkin’, where we put out lights we should place flowerpots filled with bright flowers.”

“‘A guiding light that shines in the night…’ Maybe like crocuses?”

“Why not. Or narcissus.”

“Or wild purple cockle. Um, NIELLE. I gotta think about it.”

“Orchids? This’ll mark our black-eyes as something deliberate. It’ll make it a place of reflection. It will prevent our acts from being interpreted as vandalism.”

[“If the flower (uneven beer head) is sufficiently beautiful, it will not quickly fade...” Michael Jackson. The New World Guide to Beer. Courage Books, Philadelphia, 1988.]

“You got something there. Except that costs bucks.”

“We can steal’m. Everyone must share in the beautification program. Besides, it’ll give form to vision.”

The lights were bright and shivering outside the Linger. On the way to the All-Nite Pharmacy I asked Nice, “What kind do you wanna get?”

“I dunno, let’s try something different.” She played along because for her, life was a series of instants placed before us to amuse. I could be juvenile again. I could say stupid things and not feel stupid.

“Isn’t it the ribbed green kind you like?” Even louder.

“Yeah, but I don’t like the TASTE. Let’s try the reservoir-tipped ones with the grape jelly time-release all-natural spermicide.”

“What kind do you usually get with your husband?”

“Boring flesh-colored.”

“Black flesh or pink flesh?”

“Grey fish flesh… OK, so ma’am, can I have a gross of the Martian green-ribbed? Yea, a gross.” And as I paid she made as if to open my fly to assure a proper fit. “A gross, that’s the weekly recommended dosage, isn’t that right, ma’am?” A yawning sneer from behind the counter as if to say “You may think you are a clever scene from a Porkys retread but I know better.” The gross did indeed go fast, because she often became so impatient and riled up that she would end up biting through the condom, ripping it off, because she couldn’t stand to be so far away from my skin and the throb of my blood.

Her mind still allows her body to be a dreamscape. And when she flexes the wingtips of her scapula it forms a voluptuous fissure, an alternate vagina which she urges me to explore with tongue and plum-headed glans – or tomorrow she might offer the inside of a Black Beauty tulip. And this is what she means by “poetry in motion.” Or she’ll take my scrotum firmly in hand and make the sound of a bullfrog as she squeezes.

“I always think of you as having this finger that’s a bottle opener. Like a sideshow attraction. Like I was witness to at J.D.’s Lowest Common Denominator benefit party. Beer in the bathtub…”

“I saw you but did not know you.” She sipped her Pilsner Urquell – with only one finger of foam; it is best served with two – with gusto and I devoured her burp as if I was inhaling 125-year-old cognac or imagination or snails dipped in fresh mayo – as if each fetid moist molecule of her scent was tagged with mons and pheromones. I drank a Red Stripe from “her” Jamaica and spit several sips down the slender throat of Nice, with thumb pressed to her Adam’s apple. This is how we cross-bred. This is how we got in trouble in the Linger and other bars, and even outside. Affection in a bar is fine, so is a bit of muted passion, but when the passion is full-blown and all over the place, a bar suddenly becomes a church or something. And outdoors in the streets, people can get even more grossed out or pissed off at wanton love than at random violence.

The beach we go to is a dream of us in g-strings and no shoes. I dream of a dream that makes love to me. I encouraged her to read Kerouac’s Subterraneans to me out loud, pillow against the wall, my tongue tickling the vein that runs from hamstring to inner thigh along the sartorius muscle. She lets the crescent of musk melon fall into her lap. She is fruitful. The drops of nectar get caught in her profusion of pubic fur. Her voice full of resonance and proof – 151. [151 is also the pulse rate at the instant of orgasm.] “O dear, what a mess.”

One night she came into the Linger Lounge out of the dark rummy night breathing heavy, opened the paper, and read aloud, “Greedy aliens are stealing stars out of the eternal heavens… snuffing them out like light bulbs [her emphasis]… Something is snatching these stars out of our very own Milky Way like apples from a tree… blablabla… A super-intelligence with only one thing in mind – to suck the very life out of these stars. This is not only evil but potentially dangerous to the delicate harmony of the cosmos. It is speculated that alien cultures need the stars’ light and heat to survive…” And she looked at me, as Bonnie may have looked at Clyde, and thought this was evidence of my/our workings “woven into the cosmic scheme of existence,” as she put it. I was flattered but also a bit frightened by the notion that she considered this some heavenly legitimization of my efforts. I ran my hand through her hair. She is in awe of me, but pities me all the same for all the responsibility this awe places upon my shoulders. I am in awe of the love I am finding I am capable of giving her.

Her hair is thick and dark like the sea at night. My hands get lost in twenty pounds of it. “Pam Grier.” I whisper. “Alice Coltrane.” I remembered a kid with red rake, in briars and brambles up to my knees. Stuck and earnest. So trusting of my father’s camera, squinting in the febrile bee-buzzing sunlight.

In the morning it’s a different day. She gives me a printout of our map with its patterns of black-eye activity. Heavy concentration in the East Village, Foho, Soho, and Tribeca areas. She had circled areas in red that we should target more vigorously.

It’s a Billy Holiday and I am blue. The sky – what there is of it – is grey and untrue on my way to work. I gung-ho it to be on time – a valiant failure. Robert never minds, pretends not to notice. I smirk with the delicious perfume of Nice’s inner thighs still pasted to my face as the boss, Leon Codger, lectures me on punctuality and honesty. “A career starts and ends with punctuality.” A bit late for that buddy I think as rejoinder. This is an act and we all play our parts. He spins in his luxurious leatherette swivel chair. Little does he know how much the accountant, a savvy silver-haired old dame, has told me about how “irreplaceable” she is because of what she “knows” about this joint. Skimming – it sounds like a sport. She once said, “Some cook at home. I cook here. I’ve got all the books cooked to a fine stew.” Winkwink. I go to my position, ready to kill the body of the day. It is Friday and we listen to “Stormy Monday” but I do not wear a donut as a halo today.

And I am by evening redeemed in the tug and strife between me and Djuna, by the fact that something I do still eats away at Djuna. The mystery of why she would be jealous is entangled in the mystery of the human cell. She is jealous for no rational reason. Her body just gives her no alternative. Jealousy is encoded into her DNA the way lovers carve their initials into tree trunks.

It’s been a year – or is it three? – that we’ve been playing Top My Self-Abuse, You Martyr You, an escalation as stupid as any follow-the-leader I’ve ever been involved in. But that’s the nature of cohabitation and inertia. And that is over with. It’s a new game now.

My admittedly quasi-suicidal drinking forays [where the purpose and result are sometimes confused], which I try to dress up as poetic lovelorn angst [like a “different” kind of music’s guitar solos], just don’t faze her anymore. Because after all, does the earth ever have anything nice to say to those who dig the graves?

Besides, Djuna’s no half-cocked beer sap anymore. Nosireee! She’s on a success trip now. Oh, boy! A religion of holy ferocious clean. Ex-junkies really DO mutate into the shrillest of saints. They find purpose and their 12 Steps lead right to salesman of the year. Reason, civilization, and enlightenment, according to Nice according to Adorno and Horkheimer, led fatefully right to Nazism and Nazism-lite, or entertainment and distraction…

Djuna says things from her smile of shrapnel, “Jerks manufacture suffering to heroically play their art off of. Getting crowded up there on the cross lately, ain’t it?” She may be right, but her tone of voice has me rooting for the other side of right.

“Killer whales kill for pleasure – they’re the only animal besides wo/man, by the way,” I’m willing to point this out free of charge.

To get back at her I keep detailed notes of all my glorious – and exaggerated – infidelities. The diaries are calculatingly fictionalized and left lying about. Nice becomes my “Lina.” The lunatic proximity and the jubilant convenience of some of these transgressions eat away at her. Some are supposed to be her close friends! But where does she keep her fictional diaries. The ones that she suggests will implicate me in a crime of passion that may put me away for a very long time.

Not knowing the precise nature of my adventures also gets to Djuna. Not knowing where I “mistakenly” put her sun tan lotion got to her even more. Hide some of her daily accoutrements here and there and her day starts off in a funk.

“‘Escargot dentres jambes.’ Now who does that refer to?” She spit out quotes memorized from my journals she’d gleaned while I was in the shower. “‘She was so hot she’d set off fire alarms whenever she walked near one!’ Gimme a fuggin’ break!” I listen dispassionately as I pour flat beer – left over Tripel Karmeliet “Authentiek three granenbier, nog steeds gebrouwen volgens een 17e eeuws Dendermonds Karmelietenrecept” over the corn flakes. I remain calm and focused as I try to decipher the Flemish.

“You fuckin’ alkie.”

She hates the time I spend on the journals. “‘She runs her tongue along the scrotal raphe, that tingling seam strung from anus across the scrotum.’ Whadda you, dating proctologists?” Djuna detests not being in total control. Her eyes begin to flicker ever so slightly. Further satisfying clues come from her denying voice, infected with a quavering trill of jealous rage, and that pleases me. That is the only song she sings that I still like. “Blond, robust, smooth and fruity 3-grain beer with final fermentation in the bottle. Brewed with pride and patience after Carmelite tradition with wheat, oat and barley. 100% natural beer.” I read aloud. “It’s like a bowl o’ granola in a bottle.”

However, if I show too much satisfaction with my self-congratulating presence she may be provoked to pick up the very pen I had been using to describe her [in a fit of indiscreet generosity] and stab me in the arm with it like she did last week. That’s right, spousal violence.

“I hope you get some kinda scrivener’s infection so that from now on every word you write will be an embarrassment, every sentence a mockery, every story a plagiarism…”

“Yeah, I get it.”

“Some people treat words like a gun full of blanks aimed at somebody’s skull. Is that a powder burn or just a sideburn? Ha Ha.”

“Laugh now, Djuna. I’ve already done 10 episodes. I’m gonna be syndicated, baby!”

“Puh-LEEEaase! Please tell me you’re just a bad dream crawling into bed next to me at night. People always writing junk down are bad lovers. Take the pen away from the writer, give’m a knife, see what he does then.”

“You’re six dark lanterns down the road, baby! But you got a whole ‘nother state to cross.” I mean, I resented her calling me a mere writer – skywriter’d be more like it! I mean, before the lights started communicating with my organs of inebriation, writing was nothing more than scratching things down on paper. I scratched them down to assure myself that things happened to me. I scratched them down and then lost them. I also resented how far Djuna’s dreams had taken her away from me. And vice versa. And to answer the question that countless others had posed – why does she still want him in her place? – well, all I can say is that landlords being who they are and that demanding the rents they do and then getting them with so little effort in New York certainly has a way of making people interact in ways they would not normally desire. The renters had handed over control of their lives to the rentees. To live together was an expediency of survival. Neither of us could afford to live alone. Economics makes strange bedfellows! Something like that.

“Heat cannot of itself pass from a colder to a warmer body and have the rest of the universe remain unchanged. That’s the law, baby! second law of thermodynamics – and relationships.”

“Call it a relationship. Kid yourself. To be fair to this ‘Lina,’ is she your lover or just a weapon to use against me? Or some fuckbag manufactured in the skeevy residues of your brain? I mean, everything rots, but I find nothing heroic about sleepin’ next to an embalmed corpse.”

“‘Better to sleep with a sober cannibal than a drunken Christian.’ Herman Melville said that.”

“Wait, I don’t get it; am I the sober cannibal or… Besides, Melville worked the Chelsea docks, disillusioned, and he died poor and unappreciated.”

“Exactly!” Or was it? “No, yer the drunk Christian, with your motivational kits and your can-do mantras and your membership to the Jehovah’s Fitness Center! I seen it all, all the signs of addiction.”

“When I hear your static I just tune in another station. What’re you lookin’ for anyway?”

“Nothin’.”

“Well, you don’t have to look hard. Just look at yer life. If yer lookin’ for spare keys, don’t bother, I don’t keep any spares lying around.”

And later I puked in a secret place – Karmaliet and corn flakes – a place where she couldn’t hear me. Vertigo is a sensation of abnormal movement in which the patient feels either that (s)he or his/her surroundings are going around and around or rocking to and fro. Often accompanied by vomiting, sweating, and faintness – alcohol or merry-go-round can be causes but it usually is the result of ear disease or sometimes a stroke or a migraine or the blood supply to the brain. Sometimes caused by increased fluid in the inner ear – the part housing the balance mechanisms and the nerve endings that transmit sound to the brain or it could be an abnormality of the special nerve endings [proprioceptors] situated in feet and legs that help maintain balance. But there are still some who adhere to the notion that to lose your mind is to have gained – gained something in altitude!

Beer Mystic Excerpt #25: is already up at http://eddiewoods.nl/?page_id=2017


About the author:


bart plantenga
is also the author of Wiggling Wishbone and Spermatagonia: The Isle of Man both published by Autonomedia. His book YODEL-AY-EE-OOOO: The Secret History of Yodeling Around the World has received worldwide attention. He is currently [not] working on a new novel, Paris Sex Tete, which lies around like an apathetic, half-clad, dissheveled paramour while his new book on yodeling Yodel in HiFi, will no doubt be a bread-winner of epiglottal proportions.

His life has been defined by women, undignified employment [not unlike 98% of the rest of the world’s population], migration, lack of money and writing. His writing focuses on inequity, unempowerment, insatiable desire, the unentitled, the under-regarded, ignored and ineffable, which has led to a life of luxurious suffering and indellible indifference to profit.

His radio show Wreck This Mess has been on the air since 1986, first on WFMU [NY], then Radio Libertaire [Paris], and finally Radio 100 and now Radio Patapoe [Amsterdam], the world’s most untamed and oldest pirate radio station. He lives in Amsterdam.