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John Wisniewski Interviews Joan d’Arc and Al Hidell of PARANOIA

Posted by Pale Rider in GPC, John Wisniewski (Sunday July 18, 2010 at 5:56 am)

Interview with Joan d’Arc and Al Hidell of PARANOIA

John: When and how did Paranoia Magazine begin?

Joan: PARANOIA Magazine was born in 1992 out of the ‘Providence Conspiracy League’, a group of co-conspirators who met in my now defunct Providence bookstore, Newspeak. It was the only bookstore in the area back then that sold conspiracy books. Now conspiracy books are ubiquitous. One night, Al Hidell came into a Conspiracy League meeting with the idea to put some of the material in our three-ring binders into a magazine called PARANOIA. We never expected the magazine to get off the block, but some magazine distributors expressed interest and we started doing a quarterly. At first the Conspiracy Leaguers did the writing, but after the magazine got out there a bit we started getting articles from other authors; among them, Alan Cantwell, John Judge, George Andrews, R.B. Cutler, and other JFK assassination researchers.

If you look at the first four issues of PARANOIA (posted as PDFs on our website, http://www.paranoiamagazine.com/freedownloads.html), you’ll see the early tabloid style black and white covers. In fact, this style, along with the curious title, made people wonder whether we were serious or tongue-in-cheek. We like to say we were protecting ourselves from lawsuits under the “parody” clause of the Constitution. Wink. Back then we raised some eyebrows and everyone thought we were pretty much nuts, until George “Dubya” Bush put us on the map during his nightmare twice-stolen presidency. From then on, we were vindicated, unfortunately.

In 2009, after 18 years of publishing and after the 51st issue of PARANOIA, we decided to switch from magazine format to book series. The combined reasons were the magazine ‘consignment’ paradigm and the new internet economy. More than half the magazines we were paying to print were being destroyed by the chain stores. The only answer was print on demand. The new book contains content similar to the old magazine format and comes out approximately once a year. The book is a 192-page square back compendium containing 24 authors and interviewees, available either at www.paranoiamagazine.com or, if you prefer, at amazon.com (http://www.amazon.com/PARANOIA-Conspiracy-Reader-Joan-dArc/dp/0615299954)

Al: One day, I brought a red binder into Joan’s Newspeak store, and I’d pasted a big picture of Lee Harvey Oswald on the front. That became a repository for various conspiracy clippings and material, and it quickly evolved into a magazine once the binder couldn’t hold any more. Joan and I invested a small amount of money to have it printed, and we took it door-to-door to various independent bookstores in the Providence area. Soon, we managed to convince a few magazine distributors to carry us, and we were on our way.

John: Can we talk about some of the conspiracies that the magazine has written about over the years‌ Probably the most covered conspiracy in print is the Kennedy assassination. Looking back, do we really know who is responsible?

Joan: Paranoia has published numerous articles on the JFK assassination over 51 issues of the magazine, which incidentally are now held in the Poage Political archive at Baylor University in Waco, Texas. In our most recent publication, PARANOIA The Conspiracy Reader (our new book series http://www.paranoiamagazine.com/volume1.html), I discussed the JFK assassination with a man named Roderick A. MacKenzie III, who claims to have been associated with the mob in Dallas in 1963. In this exclusive interview, MacKenzie claims that he knew Lyndon Johnson’s personal so-called hitman, Mac Wallace. He further claims that Mac told him, while in a drunken stupor the day after the hit, the names of the persons on four hit teams situated in Dealey Plaza that day. Included on his list of the hit teams was Mac Wallace himself, who admitted to being posted on the 6th floor of the Texas School Book Depository (TSBD).

In fact, recent research affirms this claim. A fingerprint lifted from a carton in the “sniper’s nest” (6th floor window), labeled “unknown” in the National Archives, was definitively identified in 1998 as belonging to Mac Wallace. The website www.jfkmurdersolved.com states: “On March 9, 1998, A. Nathan Darby, A.L.C.E., a Certified Latent Fingerprint Examiner, and a member of the International Association for Identification, signed a sworn affidavit stating that he found a positive match between the “Unknown” print from Carton “A” and the 1951 print of Mac Wallace.” This information puts Lyndon Johnson right in the driver’s seat of the Kennedy assassination, although it doesn’t argue against Pentagon, CIA and Mafia involvement.

There have been a few people named for the position behind the picket fence in an area known as the “grassy knoll.” According to eyewitnesses and photographs there were at least two shooters stationed in this area. One of them was dressed like a policeman, and he shows up in a picture known as the “Badgeman” photo, which shows a dark blurry figure seemingly in uniform, with an outline of a “badge” and a puff of smoke coming over the picket fence.

The documentary, The Men Who Killed Kennedy by Nigel Turner, features an interview with imprisoned French mobster, Christian David, who claims three French hitmen from the Corsican Mafia were hired to do the job (http://www.jfkmontreal.com/corsicans.htm). According to David, one hitman was situated on the 6th floor of the TSBD and another on a lower floor of the Dal-Tex building. (Rod MacKenzie claims this team was supposed to be on the roof, but encountered some sort of problems.) David claims a third hitman, by the name of Lucien Sarti, was positioned on “the little hill with the wooden fence.” Sarti was dressed in some sort of uniform and took only one shot with “an explosive bullet.”

Another hit man MacKenzie mentions is a French Corsican mobster named Michael Victor Mertz. MacKenzie claims this man was just one of many Corsican mobsters who stayed in the “safe house” MacKenzie ran for the mob in Dallas. Mertz was especially difficult to please, requiring special wines and white shirts. MacKenzie claims Mac Wallace told him that Mertz was situated on the roof of the County Records Building. According to Christian David’s claim, the three Corsican hit men returned to a “safe house” and remained for about ten days, and were flown to Montreal. (Highlights of the MacKenzie interview can be found on the PARANOIA website: http://www.paranoiamagazine.com/volume1.html)

Jack Ruby was seen by many witnesses in the crowd in Dealey Plaza before and after the assassination. MacKenzie claims Jack Ruby was a shooter on the 2nd floor of the TSBD. It’s pretty certain that Mac Wallace and a Chickasaw Indian named Loy Factor were shooters from the 6th floor. Frank Sturgis, Eugene Hale Braden/Brading and Chi Chi Quintero were supposed to be on top of the Dal-Tex Building but due to some problem they were located on a lower floor. According to Marita Lorenz, Sturgis was one of the gunmen who fired on JFK. If MacKenzie is right, it was from a lower floor of the Dal-Tex Building. This means Sturgis may have been responsible for the first low shot of Kennedy’s back, or if not Sturgis, Braden/Brading is another possible shooter.

Another man named James Files, currently in federal prison for other crimes, claims to have been the lone shooter on the grassy knoll. According to James Files, he took one shot, the fatal shot, to JFK’s head. Problematically, he first claimed to have hit JFK in the left temple, then changed it to the right, which would be the correct side. Many other aspects of his story have changed over the years. Prior to airing a two-hour special on James Files, NBC and Dick Clark Productions decided to check his story. A private investigator discovered that James Files was in Chicago on November 22, 1963. When this information was told to Files, he claimed that was his twin brother, whom he also killed. NBC and Dick Clark Productions did not go forward with airing the special. (http://mcadams.posc.mu.edu/files.htm)

Many witnesses also saw suspicious persons walking from the grassy knoll area, as well as two men emerging from the back of the TSBD and getting into a car. These two men were probably Loy Factor and Mac Wallace. The sad thing is, many witnesses were never called before the Warren Commission, and even sadder still, many witnesses were either intimidated by police or FBI from making witness statements (until many years later), or were silenced by untimely and unnatural deaths prior to their intention to make official statements.

Interestingly, MacKenzie claims Lee Oswald was on the hit team stationed on the 6th floor of the TSBD, but was in some sort of a trance state. This would be an indication of mind control. However, on the other hand, witnesses who worked in the TSBD have stated that Oswald was in the lunchroom on the 2nd floor eating his lunch just prior to the shooting, and was in the same lunch room just minutes after the shooting when police entered and saw him drinking a Coke. In fact, I have always been partial to the theory that Oswald was actually photographed in the doorway of the TSBD as the procession was going by. The person in the doorway not only resembles Oswald but is wearing the same denim style shirt over a white t-shirt that he was arrested in a few hours later! (http://www.whokilledjfk.net/altgens.htm). I believe this picture is a “smoking gun” that proves Oswald was the “patsy” (as he claimed) or fall guy for the assassins and was not even on the 6th floor of the TSBD.

In fact, District Attorney Jim Garrison believed it was likely Oswald standing in the doorway watching the parade. In a October 1967 Playboy interview, he stated: “The Altgens photograph indicates the very real possibility that at the moment Oswald was supposed to have been crouching in the sixth-floor window of the Depository shooting Kennedy, he may actually have been standing outside the front door watching the Presidential motorcade.” http://www.jfklancer.com/Garrison3.html

Over the years various assassination camps have developed their own theories focusing on, among other theories: (1) a Mafia hit, (2) a Texas high roller hit orchestrated by LBJ as Vice President, (3) a French Corsican mob heroin connection, (4) a CIA-Cuban connection, and (5) a CIA-military-industrial conspiracy in collusion with the mob. Of course, only a collusion of all of the above would explain the elaborately orchestrated cover-up that followed the assassination, including the autopsy room full of military brass, the doctoring of the head x-ray photographs, the sham called the Warren Commission, the purchase of the Zapruder film by Time Life, and the long-standing major media cover-up that continues to this day.

Of course, CIA hired guns like plagiarist and shill, Gerald Posner, still periodically need to peddle the ridiculous government line in books like the 1993 book, Case Closed. Notwithstanding these lies, according to a large majority of U.S. and world citizens the case is not closed. Ludicrously, Posner found his ‘evidence’ to back up the Warren Report even after the CIA provided open access to the files of heavyweight critic of the Warren Report, the late Harold Weisberg. Weisberg was pissed off, to say the least, that he opened all of his files to Posner and Posner came out with this sham of a book, which has been torn to shreds over the years by Kennedy researchers, and Posner has been recently caught again doing the sloppy work of a plagiarist.

We also now have the official government anti-conspiracy website “Conspiracy Theories and Misinformation” (http://www.america.gov/conspiracy_theories.html), where you can find the ‘real’ stories behind suspicious events to put your mind at ease. The fact that this website exists shows how bothered the government is by conspiracy theories. The website includes a small section on the JFK lone nut theory, which states, in total (this is not a summary): “Perhaps more conspiracy theories surround Lee Harvey Oswald, who assassinated President John Kennedy in 1963, than anyone in American history. The Soviet KGB, Cuba, the mafia, the CIA, and others have been blamed for killing Kennedy, but all evidence indicates that Oswald acted alone.” The statement then links to a blog page by Todd Leventhal, the Obama administration’s anti-conspiracy czar, who states that Vincent Bugliosi’s latest book, Reclaiming History, has pretty much closed the case and clinched the lone nut argument, yet again!: http://blogs.america.gov/rumors/2009/07/21/lee-harvey-oswald-lone-assassin.

When will these people quit‌ Answer: they won’t. That’s why the job of the conspiracy theorist is never ending!

Al: I think Joan’s answer pretty much covers it. I would only add this comment, for the JFK skeptics out there: In the 1970s, the House Select Committee on Assassinations concluded that JFK was “likely” killed as the result of a conspiracy. Would you consider the U.S. House of Representatives a bunch of conspiracy nuts‌ Also, even if 99% of the claims conspiracy theorists make about the Kennedy assassination are completely false, you would still have 1%, which means there was some sort of conspiracy.

John: Is there any correlation between the John Kennedy assassination and the assassination of Robert Kennedy?

Al: There is correlation in that “official” stories of both assassinations are full of holes, literally too many (bullet) holes in the case of RFK. Both official narratives claim the great man was killed by a lone, deranged, assassin. In actuality, both Lee Harvey Oswald and Sirhan Sirhan were just one piece of a larger conspiracy, though they may not have been aware of the larger plot. I suspect that poor Sirhan was never “in the loop.” On the other hand, Oswald must have had at least a compartmentalized knowledge of the conspiracy since he yelled, “I’m just a patsy!” in one of his brief public appearances while in custody.

Also, the assassinations share some possible culprits, including the CIA and organized crime. In fact, Sirhan Sirhan’s defense attorney had just finished representing one of the CIA’s main organized crime contacts, Johnny Roselli, prior to representing Sirhan. This might explain why he didn’t get a particularly vigorous defense. Roselli, by the way, was killed in 1976, before he could testify before the House Select Committee on Assassinations.

John: Can we now speak about MKULTRA and brainwashing. Could you explain what MKULTRA was?

Joan: Sure. In collusion with Nazis brought into the U.S. by the intelligence apparatus after World War II, the CIA MK-ULTRA mind control program was responsible for the development of what was called, after the Monarch butterfly, “Monarch” trauma-based conditioning. MK-ULTRA is now known to have involved over 40 colleges and universities in the U.S. and Canada, and many other types of institutions, think tanks and civilian agencies from the 1950s to the 1970s. In fact, the CIA has settled lawsuits with many victims in Canada and the U.S., so this program was definitely real.

In the mind control literature, reference to a Manchurian Candidate (from the film starring Frank Sinatra), now refers to a person with psychiatrically created Multiple Personality Disorder (MPD), or the preferred term nowadays, Dissociative Identity Disorder (DID). The person displays multiple distinct identities known as “alters,” with deep memory loss of the other identities. The ability to create DID was first discovered when American POWs returned from Korea “brainwashed” by the Chinese to accept Communist allegiance.

Monarch programming creates DID by inducing excruciating trauma, which causes the mind to “dissociate” or fracture. From birth, children born into sacrificial cults are tortured and maimed by their own sadistic guardians in order to cause this fracturing of the personality. According to both first person and “fictionalized” reports, the child’s “handler” creates several layers of alter personalities with various pseudonyms, some of whom will be called upon to handle the pain, and others who will be called upon to perform various deep cover activities, which include reportedly, as government spies, assassins, drug runners, hypnotic couriers, human recorders, and sex slaves. The “alters” are called upon without the awareness of the primary personality; the layered effect induced by drugs and trauma essentially creates a condition of amnesia in the primary personality.

The link that modernizes ancient bloodline cults is the now well-documented MK-ULTRA program. Incidentally, a few of these spychiatrists have actually been identified as Dr. Green: the notorious Nazi Josef Mengele; Dr. White: Scottish mind control programmer Ewen Cameron; and Dr. Black: Monarch survivor Cisco Wheeler’s father. For those interested in more information on the subject, PARANOIA has published several articles and interviews by Canadian cult survivor, Beth Goobie, including “The Network of Stolen Consciousness” (http://www.paranoiamagazine.com/network.html), and “The Choosing Ones” (http://www.paranoiamagazine.com/choosingones.html). Beth was brought up in a cult she has referred to as “The Kin” (but this was not their real name) in a town just south of Toronto called Guelph. She’s known for her extraordinary ability to recall and describe the specific occult methods used by her programmers. Another extraordinary resource is the S.M.A.R.T. newsletter (Stop Mind Control and Ritual Abuse Today) (http://ritualabuse.us).

John: Is there any correlation between the Manson Murders and the murders of the Zodiac Killer?

Al: That is one of many theories about the unsolved Zodiac killings. There is a bit of circumstantial evidence for this theory: The killings occurred in the same general location and time period, and in both cases the killer(s) left messages at the crime scenes. In 1988, the deputy district attorney in Solano county at the time of the murders, Frank Fowles, told author Ed Sanders (The Family) that he suspected the Manson and the Zodiac murders were connected, possibly through mutual connections to a Bay Area satanic society. However, as far as I am aware, no hard evidence has ever emerged to prove this suspected connection.

We published an interesting article by Curt Rowlett about the Zodiac killer back in Issue 43 of PARANOIA, which is still available for purchase on our website (http://paranoiamagazine.com/backissues.html). For your readers who may not be familiar with the case, the Zodiac killings began in the mid-1960s in the San Francisco Bay Area. The killer sent dozens of taunting letters to police and the media. What’s particularly fascinating is that his letters contained coded “ciphers,” some of which have remained unsolved. Zodiac himself claimed that in one of his coded letters, he actually identified himself by name.

Another strange aspect to the case is the killer’s chosen garb. According to the only known person to survive a Zodiac attack, he wore a long rectangular black hood featuring a white “cross-within-a-circle” symbol. According to footprints left at the scene, he was wearing a kind of shoe issued to members of the U.S. military. Rowlett aptly describes this guy as “a creepy combination of maniacal mathematician and avant-garde artist.”

Officially, the Zodiac killer killed at least five people. (The killer claimed a total of 37 victims in one of his correspondence.) What makes this case particularly frightening is that in one of his last verified letters, he said he was going to begin disguising his murders as ordinary deaths. True or false, the statement established a kind of permanent, low-level state of paranoia in the San Francisco area. Which, I believe, was his intent.

John: Was, or is David Kaczynski connected to the Zodiac Murders‌

Al: No. Kaczynski has been cleared of any involvement by the FBI and the San Francisco Police Department, based upon fingerprint and handwriting comparisons, and the fact that David Kaczynski is known to have been outside of California on the dates of most of the Zodiac killings.

John: Have you ever chosen not to cover a particular story in Paranoia Magazine‌

Joan: Yes, absolutely. If it’s poorly written or poorly argued, or if we don’t consider it in the vein of conspiracy research. In other words, if it’s just a rant, although in the early days we did have a “Rants!” section!

That being said, we’ve never felt it’s our job to distinguish between legitimacy and lunacy. The work must be well-written, contain sources and references, and be “internally consistent.” It doesn’t necessarily have to “match” any template external to it, although sometimes it does. It depends on the researcher. Much of the work in the magazine does include mainstream sources, but other times the sources for a particular research article might be other conspiracy related works. In this sense, it doesn’t have to match the looking glass world, the “normal” world to us kooks. We don’t have a problem with a really weird conspiracy theory that most people would disbelieve, mainly because it’s not our job to evaluate theories according to our own private worldview. How could we publish a magazine like PARANOIA if every article had to match our own particular beliefs‌ That would be a personal zine, or worse, it would be boring, wouldn’t it‌

If you mean have we ever chosen not to cover a story due to its content, yes, although I don’t think the reason would be the subject matter alone. I think that any subject matter is capable of being approached in an intelligent way without being hateful or racist. On the other hand, PARANOIA has published an article or two on very untouchable subjects like Holocaust Revisionism and the Protocols of Zion. PARANOIA is not straight media reporting, it’s really a niche conspiracy journal. And probably an important point too is that we have always rejected the political paths of “left” and “right.” Due to the misunderstanding of our open editorial policy there have been rumors of us being “right wing.” In fact, during the 1995 Oklahoma City bombing, the Washington Post lumped us with the “mid-west” militia groups, not checking the masthead that says we’re from liberal Rhode Island, or perhaps purposely planting that rumor. Rumors of us being “right wing” are unfounded, although we might have to admit to being “wing nuts.”

Al: Our writers are passionate about their ideas, but they generally don’t fit the stereotype of the wild-eyed, rambling kook. That being said, the line between legitimacy and lunacy is a fuzzy one, and Joan and I do have some differing opinions about what constitutes loony. I think these differences are what make PARANOIA such an interesting read. Again, our editorial decisions come down to writing quality and internal consistency, as opposed to a fear that a particular topic is “too hot to handle.”

John: Have you ever been threatened by a cult for divulging information about the cult?

Joan: Well, not threatened, really. But we’ve received some unfriendly responses from cult-like groups over the years, including the Scientologists, the Church of the Subgenius, and The Family.

In one incident, after publication of two articles about Jack Parsons and L. Ron Hubbard’s Babalon Working Ritual (“Aleister Crowley, Midnight Messenger” by Mike Culkin, Issue 21, and “Science Fiction as Manipulation” by Robert Guffey, Issue 27), the Scientologist’s media relation’s office insisted we print a letter in our letters section (issue 28, still in print). The letter attached a retraction which explained that Hubbard went in to “save a woman” (Scarlet Woman and Great Whore, Marjorie Cameron) from the Satanists, which was the same old retraction they’d been sending out to every media outlet for thirty years.

In another memorable case, the Church of the Subgenius (a parody cult that actually has become a cult) warned PARANOIA not to publish Robert Guffey’s article (“Synchronistic Linguistics in The Matrix”, Issue 22, http://www.paranoiamagazine.com/matrix.html) about the Canadian Bob Dobbs because he had stolen the name of their cartoon leader. While not a threat, per se, they did warn that their attorneys would be contacting us. We ignored them, went on to publish several articles and interviews with the Canadian Bob Dobbs, both in print and on the internet, and no lawyer ever contacted us. (See also: “Finnegans Awake! Or Who is Driving our Luxury Vehicle‌” http://www.paranoiamagazine.com/bobdobbsawake.html, also published in PARANOIA Issue 44 and “The Death of the Matrix”, http://www.paranoiamagazine.com/bobdobbs.html).

In another cultish incident around 1994-1996, we had several responses to an article Al Hidell wrote on River Phoenix and the cult his family was involved in, known as The Family. The article (“Family Affair: The Cult that Haunted River Phoenix”, PARANOIA Issue 6, available in print) discussed the sexual promiscuity of the group, noting that River Phoenix had stated that he was forced to have sex with other children when he was under the age of ten. The article also speculated on the group’s intelligence ties, and was based on, among other sources, Alex Constantine’s Hustler article, “Family Ties.” Following this, we printed a rebuttal article by a member of The Family, Phil Edwards (“We Are Family: A River Rebuttal” in PARANOIA Issue 8, http://www.paranoiamagazine.com/PDFs/Para08.pdf ), which claimed the Christian missionary communal group was based in fifty countries, did not condone sex with children, and discounted any intelligence ties.

Issue 10 then featured a rebuttal to this official Family rebuttal (“Family Values”, http://www.paranoiamagazine.com/PDFs/Para10.pdf), by Alex Constantine, arguing that Argentine authorities had outlawed the group on charges that they had sex with children, prompting their change of name to “The Family,” after which Argentine authorities looked the other way and let them stay. I have provided the links to the sold out back issues containing these articles, since the subject matter is too deep to provide a full report here.

(You will note that there is a background watermark on these vintage PARANOIA PDFs. This watermark does not print out if you download the PDF. Issue 6 is not a posted vintage PARANOIA PDF because it is still in print and available for sale: http://www.paranoiamagazine.com/backissues.html)

Al: But the article was simply a matter of fairness and journalistic principles, not threats or intimidation. In that sense, The Family behaved no differently than, say, an oil industry association responding to coverage of the BP Gulf oil spill that they felt was slanted or inaccurate.

John: Any stories about CIA connection to OTO‌

Joan: I recently interviewed Craig Heimbichner, author of Blood on the Altar: The Secret History of the World’s Most Dangerous Secret Society, on that topic in our latest book, PARANOIA The Conspiracy Reader. Craig told me that one of the key OTO leaders, Marcelo Motta of Brazil, lost control of the rights of a branch of the OTO in the U.S. courts to its current leader, William Breeze. According to Heimbichner, the whole operation was a coup engineered by the CIA, and that “Motta apparently felt the powers didn’t see him as a ‘player’”. Heimbichner claims there’s much overlap between the Masonic Grand Lodge, the CIA and the OTO. He says the OTO is now a very litigious and lawyerly group, contrary to their freewheeling image, so we will just leave it at that!

* * * * *

Joan d’Arc and Al Hidell are the co-publishers of PARANOIA The Conspiracy Reader. They are currently at work on Volume 2 of the new book series, expected out in early 2011. You may purchase Volume 1 of the series via paypal at: http://www.paranoiamagazine.com/volume1.html). Or you may mail a check or money order for $17.00 to: POB 1041, Providence, RI 02901. You may also include a check for Volume 2 in the amount of $17. To get on the PARANOIA mailing list for post cards and updates, please send your name and address either to the POB above or to conspiracyreader@gmail.com. For all you paranoids out there, please note PARANOIA is not in the mailing list business, has never traded or sold its mailing list, and has always refused when asked.

See various interviews and information on PARANOIA’s new Paramedia page: http://www.paranoiamagazine.com/paramedia.html

Gpod

“I Own Me” (libertarian hip hop)

Posted by EchoPenguin in GPC, Culture Jamming, Anarchy, Hip Hop (Friday July 9, 2010 at 12:31 pm)

Neema Vedadi’s song “I Own Me.” It kicks ass.

Video on YouTube.

MP3 on iTunes

MP3 on Amazon

Here are the lyrics:Its gettin thicker than dreadlocks/
they  treat us like we’re dread scott/
don’t wanna see the feds pop/
or  be the one that they’d stopped/
or get in trouble cause I talked shit  to their mascot/
frickin’ busybodies need to go and buy an ascot/
tellin’  me you own me then makin sho’ i’m taxed out/
maxed out, deep  in-debted from the easy credit/
that the fed imbedded then they  betted it all be copacetic/
if they were the medic but forget it/
the  people are gettin’ pissed/
blowin up like some unleaded/
they  want control unfettered/
but ya’ll know that smells fetid/
like  the craphole that we’re headed/
to if they don’t let me do me/
and  you do you/
and all the guns in the gunverment /
won’t amount to a  twenty-two /
if they keep on stompin’ on amendment number two/
and  we don’t even need you/
take your welfare and your brainwashing  free-school/
and ya’ll are so see through; easy to see you is evil/

chorus:
Nobody  owns me/
ya’ll haters don’t/
I own me /
so back the fuck off/
(x  2)
I make my own rules/
take my own tools/
you ain’t in my  shoes/
no you ain’t get to choose/
I ain’t pay you dues./
I pay  ‘em for my self/
don’t expect shit from me/
and I ain’t need your  help/

and in case you didn’t know/
this song is for the  parasites/
the feeders that bleed us and treat us/
like they’re  the hand and we’re the dice/
no utopian paradise to be had from any  plan/
the world’s too complex for any man to comprehend/
all the  supply and again all the demand/
when the few control the view/
their  mistakes are multiplied /
the decisions should be ours/
like our  bodies. Let’s take back our lives/
Only a slave if you submit/
and  ya’ll know I got some fight!/
and this ain’t racist /
its for  blacks, whites and asians/
middle eastern people, latinos/
and  everyone who wants to be free, so/
we’ll even let it slide if you’re  emo/
I never signed no social contract/
I’m about to have to repo/
myself,  for my health/
and my wealth/
put your bills back on the shelf/
capitol  hill can go to hell/
we should put them punks in jail/
we could  live our lives ourselves…./

chorus

So who’s to say  Barack Hussein/
knows what’s best for me?/
I knock the man and not  the name/
cause in my family tree/
could be husseins so I take  aim/
at tyranny times three/
branches that act just/
like  geriatric babysitters/
poonannies./
but really you’ll get beat-up/
if  you don’t follow their edicts/
there’s a law against living /
year  its worse than shariah./
but where can I go if this/
whole world  is socialist/
though we know that it failed for the soviets./
Its  1984 people please notice this./
Fuck a tax feeder time to overthrow  them tics/
its in the declaration Jefferson wrote the shit/
So  choose to be a free man /
governments we’re over it/
governments  we’re over it!/

Gpod

This week on Alterati

Posted by Pale Rider in GPC, Alterati (Friday June 25, 2010 at 9:34 pm)
Joseph Matheny in conversation with the diversely creative spirit, Mark Mallman.
A poor but nerdy taxidermist is hired to mount the trophy of a lifetime.
“What kind of a place is it?
Why, it’s the street outside a taxidermist’s workshop, can’t you tell?”
Welcome to the last Necrofuturist Transmission of the lighter half of the year. You have come a long way, down dark tunnels past rows of sepulchres to this dimly lit chamber. The few pages of the book revealed opened up the subterranean landscape for you, the damp, steam and fog left above, beyond the light, below, the deeper crypts and catacombs.
You know what’s about to come next, you can feel it. Ultrapronoiac froth flecks the edges of your nose and mouth. Grant cash runs dry and suddenly the whole theatrical performance has been put on hold. Apply for a job at the near by hospital just to get by, to pay the bills, and nothing can stop you. This is your soundtrack.
Gpod

This week on Alterati

Posted by Pale Rider in GPC, Podcast, The G-SPot, Alterati, Nocturne Boulevard, smallWorld, The GSpot, Tuesdsays (Friday March 5, 2010 at 8:04 pm)

The GSpot: Marc Maron


Joseph Matheny in conversation withstand-up comedian and podcaster Marc Maron,. Also, an In Your Ear review of Marc’s podcast, WTF. It’s a WTF kinda day here at the GSpot!
In the Belly of the Fail Whale

On today’s show we’re going to talk with Rob Gokee, author of In the Belly of the Fail Whale: How Twitter Changed My Life in One Year. But before we do I want to apologize for getting this week’s show out so late.
NecroFUTURIST Salon #1

From my arcane and unwholesome researches I had determined that the Necro_{FUTURIST} Salon was the work of mainly one man, if a mortal man he truly was, yet he had recourse to mechanical slaves, strange instruments of metal and electricity…
19 Nocturne Boulevard (short) – The Fairy King

When you blame fairies for something, you better make darn sure they’re not listening.
Music by Kevin MacLeod (Incompetech.com)

Cover art by Brett Coulstock
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The GSpot: P. Emerson Williams

Posted by Pale Rider in GPC, The G-SPot, The GSpot (Friday January 22, 2010 at 8:22 pm)

Joseph Matheny in conversation with P. Emerson Williams and a new episode of In Your Ear, in which Psuke reviews Transpondency.

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P. Emerson Williams is a visionary artist and illustrator, whose work has been displayed in galleries and events in Norway, Scotland, Boston, New Orleans, Salt Lake City, Florida and London. His illustrations have also appeared in countless publications, as the artist in residence at Ghastly magazine and as the illustrator for many other Goth and occult publications from California to Virginia, and Lithuania, England and Finland to Colombia, as well as covers for sevel titles from Original Falcon and Leilah Wendell’s book «Necromance». His art can be seen on the front cover of SLEEPCHAMBER’S return to action release “Socery, Spellls, and Serpent Charms”, as well as the Zewizz tribute releases “That’s Romance” (both part 1 and 2). He is a core member of FoolishPeople starting from London productions of Cirxus and The Abattoir Pages and continuing with the forthcoming A Red Threatening Sky on other projects in the works.

Williams’ experimental Gothic.Industrial act VEIL OF THORNS is approaching the twenty year mark in their career, and they continue to build on an ever expanding palette with «salon Apocalypse» and «Necrofuturist». Veil Of Thorns began as a Goth band in the early 90’s club scene in Boston but steadily moved toward a more eclectic sound. Not afraid to use any influence - you will hear styling’s of goth, hip hop, industrial, classical, and just about the whole kitchen sink. In 2009, VEIL OF THORNS formed a creative alliance with Inner-X-Musick, the label and music distributor run by the infamous John Zewizz of SLEEPCHAMBER fame.

Coming to fruition in 2010 are two releases from CHORONZON, P. Emerson Williams’ chaotic project whose twin roots lie in industrial and black metal music. CHORONZON, began as two separate and entirely unrelated projects with the same name: the eastern half was a Boston/Florida based black metal-styled band formed in 1986 by P. Emerson Williams, while its western counterpart was the San Francisco old school industrial project of Demimonde Mesila Thraam. In 2002, the two respective CHORONZONs became aware of each other via the internet, and agreed to share use of the name, before going still further and collaborating musically.

Prior to the merging of CHORONZONs, the East Coast CHORONZON released of a series of self produced cassettes before being signed to the record label Nocturnal Art Productions in 1998, and released the album «Magog Agog». Three more albums followed, in which the sound moved further away from conventional black metal into industrial and experimental territories. The first release from the conjoined CHORONZON was the double album New World Chaos, produced in 2005.

If that is not enough, P. Emerson Williams has more bubbling under the surface. Keep an eye out for renewed and exponential activity from kkoagulaa and Mythos Media in the coming year and the move of Necrofuturist {TRANS}_Mission, his radio show on Radio Nightbreed from web streaming to Sirius/XM sattelite radio.

Links:

Choronzon.org
Veilofthorns.com
FoolishPeople.com
Mythosmedia.net
kkoagulaa.wordpress.com
Innerxmusick.com
praysilence.org/page/radio-nightbreed
discogs.com/artist/P.+Emerson+Williams
Listen to or download show below

icon for podpress  The GSpot: P. Emerson Williams [54:36m]: Play Now | Play in Popup | Download
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The Gspot: Esozone

Posted by Pale Rider in GPC, The G-SPot, Esozone (Tuesday September 29, 2009 at 3:12 am)

Joseph Matheny in coversation with Klint and Jillian from Esozone, talking about the new “open source and unconference model” being used this year.

=========

After EsoZone Portland 2009, we will release the “EsoZone Protocol,” a set of guidelines similar to an open source software license that will enable organizers to host an EsoZone in their own city as long as they are free and follow the “unconference” model.

(more…)

icon for podpress  The Gspot: Esozone [16:48m]: Play Now | Play in Popup | Download
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Portland’s weirdest event just got weirder

Posted by Pale Rider in GPC, Esozone (Wednesday September 16, 2009 at 1:06 am)

This year EsoZone - the third annual Portland conference dedicated to the occult, fringe science, and other offbeat topics - is forgoing a pre-planned schedule in favor of letting attendees create their own agenda.On October 9th, participants will arrive at Watershed PDX and collaboratively create the schedule. The event will be free and open to the public, and anyone will be able to propose a session, lead a workshop, or suggest a group activity. The approach is called “unconferencing,” a technique pioneered by tech-industry events.

(more…)

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The GSpot: Jon Lebkowsky (jonl)

Posted by Pale Rider in GPC, Podcast, The G-SPot (Friday September 4, 2009 at 7:37 pm)

Joseph Matheny in conversation with Jon Lebkowsy about the beginnings of the public Internet, hacking, phreaking and the rise and fall of the “C” word (Cyber) , social media and a host of other remembrances of recent history.

Also, remember to come out to Book Soup 9/9/9 for Random Obsessions and Strange Stories with Nick Belardes, and others, including Joseph Matheny for a reading and a GSpot taping.

(more…)

icon for podpress  The GSpot: Jon Lebkowsky (jonl) [87:12m]: Play Now | Play in Popup | Download
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John Wisniewski interviews Jack Sargeant

Posted by Pale Rider in GPC, John Wisniewski, Interviews (Friday June 5, 2009 at 12:33 am)

Jack Sargeant (12 March 1968) is a writer specialising in cult film, underground film, and independent film, as well as subcultures, true crime, and other aspects of the unusual. In addition he is a film programmer and an academic.

Since 1995 Jack Sargeant has written and contributed to numerous books on underground film, including: Deathtripping: The Cinema of Transgression, about Cinema of Transgression filmmakers such as Richard Kern and Nick Zedd, Naked Lens: Beat Cinema, and Cinema Contra Cinema, a collection of essays on alternative film. He is the editor of the journal Suture, and has co-edited two volumes Lost Highways: An Illustrated History of the Road Movie (with Stephanie Watson) and No Focus: Punk on Film (with Chris Barber). In 2007 Deathtripping was republished by Soft Skull Press.

He has contributed to numerous books on subjects ranging from Andy Warhol movies to road rage and car crash songs and his work has been included in collections such as Mikita Brottman’s Car Crash Culture, Mendick & Harper’s Underground USA, Wollen & Kerr’s Autopia, among others.

He has also authored and edited true crime books including Born Bad, Death Cults, Bad Cop Bad Cop, and Guns, Death Terror’. These books have featured contributions from Monte Cazazza, Michael Spann, Andrew Leavold, John Harrison, Simon Whitechapel, Chris Barber, and others.

Jack has written introductions for Joe Coleman’s Book of Joe and photographer Romain Slocombe’s Tokyo Sex Underground.

He has contributed to publications such as Headpress as well as Panik, The Wire, Fortean Times and Bizarre magazine, as well as academic journals such as Senses of Cinema and M/C.

Between 2001-2003 he was film editor at large for Sleazenation. Jack has written cover notes for DVDs by various underground and independent filmmakers, including the British Film Institute’s DVD release of Kirby Dick’s film Sick: The Life And Death of Bob Flanagan, Supermasochist.

Jack has appeared in numerous film and TV documentries on culture and film, as well as having cameos in underground films. He has also appeared on recordings by the experimental group I/O.

He has promoted and organized shows for filmmakers and artists at the Horse Hospital in London and Cinematheque in Brighton, UK, and has also toured film festivals in America, Europe, and Australia, including the New York Underground Film Festival, the Chicago Underground Film Festival, Melbourne Underground Film Festival, Brisbane International Film Festival, and Sydney Underground Film Festival. In 2002 and 2003 he collaborated with Simon Kane on The Salon, an annual event that has featured performances by David Tibet, Cosey Fanni Tutti, and Cotton Ferox.

He is currently curating the Revelation - Perth International Film Festival 2008. (wikipedia)

http://www.jacktext.net
=====

Hello Jack. Here we go. What inspires you to write on the subject of extreme cinema-Beat Movies, cult films etc.?

In terms of inspiration, I think I become inspired because I want to find out about things personally, for my own interest, and I pursue these absolutely. I think, and have been told, that I can be pretty obsessive about my interests. Then of course I know there’s a handful of people out there who share my tastes, so it makes sense to write books. It should also be obvious that I am fascinated by the creative processes behind writing and always have been, although not in a precious way, I am happy to work with editors and so on.

Additionally, I’ve always been drawn to things that were considered to be outside of the mainstream. I have very little interest in what I guess you’d call dominant culture and was never really interested in it. The topics which I write about all, I think, reflect my own tastes. But I don’t know if I have an overarching theme across all my books or anything, I write about what I want, there’s no wider agenda. Or if there is it only emerges subsequently when looking back from the vantage point of history at my earlier books.

What were the subjects of your first published articles?

I used to write music fanzines when I was a teenager, so I guess interviews with bands and so on. Additionally I wrote about odd things that got my interest for various magazines. I went through a phase writing about cars and violence, something I return to periodically when writing true crime pieces or in some of the more obscure pop culture pieces I’ve written such as on car crash pop songs for Mikita’s book Car Crash Culture.

Were you always a fan of exploitation and cult films?

Yes. I was exposed to these things very early on. I remember just watching video after video of horror movies, exploitation movies, cult films and so on. But the best thing was midnight movies, I used to go and see late night double bills week after week, Friday and Saturday nights. That was such as education you know, just watching movies, all those great late night classics The Thing, Assault On Precinct 13, Salo, Halloween, Pink Flamingos, Female Trouble, Eraserhead, Santa Sangre, Evil Dead, The Beast and so on, I loved sitting in the cinema with the film geeks, fans, crazy night people, oddballs, drunks, stoners, and so on who made up the crowd. True nighthawks one and all.

Could you name some of your favorite films?

Every time I do the list changes, lets just say I love all kinds of movies, I admire filmmakers who follow their vision and films that show you something in a different way, ultimately the films I write about are the ones that matter most to me. If you need a list: Fingered, SXXX80, Eraserhead, Holy Mountain, The Proposition, Bring Me the Head of Alfredo Garcia, Night of the Living Dead, The Idiots, Wake In Fright.

Let’s talk about “Beat Cinema”. What effect did jazz music have on the films of the beat writers?

I guess the idea of the freedom in the music inspired the idea of freedom in other forms of expression, but I don’t think the progression was simply from one to the other, these things happened at the same time and followed their own pathways. The idea of the Beat Cinema book Naked Lens was simply to examine the way this subculture or subcultural gesture extended culture beyond the boundaries traditionally ascribed to it.

What made these films so important to the culture of the 1960’s?

It depends on which films you are talking about. Some no doubt inspired people - like the freedom of Pull My Daisy or Flower Thief which got people to pick up cameras and make their own movies. Or Flamming Creatures which influenced queer theatre and what became know as glitter rock, and eventually, by extension, bands like the New York Dolls, and of course filmmakers like John Waters. Others like Balch and Burroughs’ film The Cut Ups probably found a more appreciative audience in the late ’70s within industrial music.

Did you ever meet Allen Ginsberg or any of the other beat writers?

I spoke to Allen Ginsberg on the phone for Naked Lens. I saw Herbert Hunke read when he toured, which was incredible, a truly inspiring performer and writer.

How are exploitation films such as those made by Herschel Gordon Lewis and David Friedman (”Blood Feast”) trangressive?

Well, I don’t think I ever said they were, but I guess they broke the boundaries of what was considered culturally acceptable at the time, with the gore, sexual representations and so on. But I don’t think it maters if its transgressive or not, if you enjoy it then that’s fine, you know.

What is the audience seeking in viewing these films?

I don’t think that it is possible to say, I mean, every member of an audience has their own interest in a film and motivations for being there watching.

What are some of your favorite road movies and why do you think audiences love road movies so much. What do films like “Easy Rider” give to the audience?

Again, what my favorites are changes all the time. I love Vanishing Point, Two-Lane Blacktop and so on.

Could you name some Punk rock films that you may want to talk about? Some of your favorites. What about the nature of punk music may have brought about the making of these films?

The punk rock movie book (No Focus) was very much a joint project. I curated an entire season of films at ACMI in Melbourne and those

movies I selected were probably the ones I liked best: Ladies And Gentlemen The Fabulous Stains, Jubilee, Louder Faster Shorter, TG Live at Oundle, Repo Man and so on. I think the most obvious aspect that punk music has on film was less to do with music per se and more to do with the whole punk idea of being able to do it yourself.

Do you listen to punk or hardcore?

Sure I enjoy some punk and hardcore, but my preference is for those bands who were were not so generic thrash… broadly, the more experimental post-punk bands.

Let’s get back to Beat Cinema and the experimental films of William Burroughs, Cut-Ups as they are called and the films and musical experiments of Brion Gysin. What did these films hope to accomplish? Is there any relation between Burroughs writings and his films?

Oh, there’s a whole lifetime’s research in that. I mean, I’d suggest all of Burroughs’ work can be seen as part of a large project to attack control systems. As to what the films tried to accomplish, I think that was covered in Naked Lens.

What do you think of the banning or censorship of certain violent films, underground or mainstream? Is there such a thing as going too far?

Obviously I think censorship is absurd. Going “too far” is interesting, to me going “too far” isn’t so much about say the level of violence but the metanarratives around it.

What was your opinion of the film “Caligula” and “Canniba Holocaust” perhaps two of the most extreme films ever made?

I’m not sure that extremity can be quantified. I mean Cannibal Holocaust is just entertaining trash but it’s no worse than say Cannibal Ferox or a dozen other Italians horror movies. As for Caligula, I can’t remember, I haven’t seen it for years.

Are films like the Guinea Pig series from Japan, “too disturbing”?

I’m not interested in those films particularly. I do like Mishima’s film about ritual suicide which is beautiful.

What lies in the future for extreme culture?

I don’t know, I maintain an interest in underground film, and always find things I like. I’m not sure if these films are extreme - as I said I don’t think it’s possible to quantify extremity - but there’s good things being made still.

Gpod

John Wisniewski interviews Paul Carrick

Posted by Pale Rider in GPC, John Wisniewski, Interviews (Wednesday May 20, 2009 at 4:05 am)

http://www.nightserpent.com/

Hmmmmm, what to tell you about myself? Might as well start at the beginning….I was born May 2nd, 1972 on Martha’s Vineyard. This tends to be novel in conversations, even funnier are the questions/comments I have received: ‘Do you have electricity?’, ‘Do you get television there?’ (no, television signals are like vampires, they can’t cross water!) and ‘I thought they locked the island up in the winter!’. I wish I had said,”Yes I am the Key Master, I guard the padlock for six months a year to make sure nobody breaks in.” I didn’t have the typical ‘Vineyard experience’; my family would winter there, and summer in northern Vermont (I know, generally a WINTER resort!) To be quite honest, I’m not big on crowds… so it was just as well that way.

My parents were a children’s book writer/illustrator team for years. My mother (Carol) has written over fifty books (look for our collaboration: Mothers Are Like That, in the spring of 2000). Not only did my father (Donald) illustrate my mother’s books, he illustrated for other writers as well as his own books. By the time he died (June, 1989) he had illustrated over eighty books. If you look around, you will find some of their books about a little boy named Paul. Growing up at a summer resort was a tad uneventful in the ‘off season’, if it weren’t for a keen interest in art and role playing games… bad scene! A lot of kids did some stupid things out of sheer boredom in the off season. If it wasn’t racking up a car, knocking up a girl or knocking over a store- it was something worse! I thank my lucky stars that I could entertain myself. - http://www.nightserpent.com/bio.html

When did you become interested in HP Lovecraft and the occult? Why does this subject matter interest you?

Lovecraft’s works entered my life in high school, a friend introduced our gaming group to the Lovecraft inspired role-playing game ‘Call of Cthulhu’. I don’t think he could have done a better job of making us intensely curious about the unfolding story… yet also quite fearful of truly uncovering the mysteries. It was such a contrast from the typical “hack and slash” games, it seemed far more intelligent and challenging, and our characters felt more like human beings rather than pages of statistics. This inspired me to start reading the original source, and though I think much of it had already been distilled to me though other media (movies, comics, games, music, etc) which “borrowed” greatly from Lovecraft, none of the clones seemed to be able to recreate the same sense of dread, increasing curiosity and unfathomable vastness. I guess it was those qualities that inspired me, it made the universe exponentially larger and time more infinite.

I am increasingly fascinated by being exposed to different perspectives and philosophies, I guess it reminds me that the ones I’ve been unconsciously carrying for most of my life are not the only ones, and we actually have choices. I suppose Lovecraft’s other worlds and races can symbolize these other ways of existing. Though, clearly, many fixate on the terrible nature of these alien races, it’s really just a matter of perspective and context, and from another angle many can be seen as wondrous… or even beautiful in their own context. Once I started to illustrate Lovecraft’s ideas, something seemed to click. Maybe it’s just the way my hand and eye work together, but the atmospheres and denizens seemed the perfect match. It allowed me certain freedoms with my art, enabling me to invest more of myself into the imagery… and I believe this always improves the outcome.

As for the occult… I grew up in a very atheistic environment, matters of the spirit just were never brought up. I was fine with that, and it served me well enough for a while, but I think many of us come to a point where we feel like we might be missing out on part of the human experience if we live it entirely from one perspective.

Belief and faith is still something I struggle with greatly to this day, probably through conditioning, but I acknowledge the paradox that one’s mind needs to be open and aware to experience something of that nature. If you only look for science, you’re only going to find science. The more I read and contemplate, the more it seems that many of the spiritual paths (art, music, ritual, prayer, meditation) ultimately take us to the same place… it’s up to us to find out which is the most suitable interface for our personal culture. I was turned off by much of mainstream religion, the aesthetics seemed very dry to me and all I heard about were all the scandals going on. It was just too in my face to see it with fresh eyes, I already had too many negative associations. I guess there was this hope that something less familiar and less mainstream might still be pure, like a lost idea that had not yet been eaten up and homogenized by the masses. I’m still trying on various approaches to see what makes the most sense for me, I suspect it will keep evolving for the rest of my life as I evolve. I’ve always had an interest in the obscure, bizarre and forgotten; so the “skin” of the occult had great appeal. The imagery was right in line with my interests, and the potential of experiencing something along the lines of magic was beyond exciting.

Were you sketching from an early age?

Yes. My whole family was very artistic, I don’t know if I ever even questioned not doing it… it just seemed like it was something everyone did like eating and sleeping. So, though my environment had no spirituality in the classic sense, I had art, which is simply another interface. Unsurprisingly, monsters were a common subject matter for me since the beginning. The less confining the topic, the more enjoyable it was, monsters had no rules to follow so it was all open for me.

When was your first exhibition?

Outside of school related shows, I guess it was the first GenCon (a major role playing game convention) I attended in the mid 90’s. That didn’t quite count as a true show in the classic sense, as anyone can just rent panels to show their work. Boston still holds on to many of it’s puritanical roots, so it is hard to find places to show my moodier pieces. In 2007 I was invited to participate in a show at the Maison D’Ailleurs in Yverdon-les-Bains, Switzerland. It’s a science fiction museum that features one of the largest and most impressive collections of antique books, some hundreds of years old.

They had a show based on Lovecraft’s commonplace book, a hundred artists from around the world participated. I can’t tell you how flattering and exciting it was to be involved in such an event. If that wasn’t enough, my work was displayed right next to the works of H.R. Giger, a long-time inspiration.

Who are some of your influences? artistic or literary?

A number of times through school I’d discover artists that really spoke to me through their art. I’d be so attracted to their style, content and overall feel that it would greatly influence my direction with my own art. When I was trying to find my style, which can be a bit overwhelming, it was very tempting to adopt the pre-fixed package of one of these inspiring artists. All I’d need to do is research their techniques (colors, materials, design approaches), and I’d have a semi-organized template. This is not to say I could perfectly clone anyone’s style, far from it, but it would give me a step up with far less effort. Ultimately, this would always lead me to the same place: dissatisfaction. Though we can copy the superficial elements (their brushes, paints, colors, surfaces, etc), the most important part is missing. I didn’t live the same life they did, I didn’t have the experiences that led them to where they are, I don’t have the same associations, my hand is shaped differently and it interacts with my brain in a different manner. I would never understand their art the way they do. It also felt a bit like being an impersonator, and I’d be depriving myself of that self exploration which to me seems to be one of the rewarding functions of art. Financially speaking, one could only expect to get the jobs that the original guy turned down, so there’s a glass ceiling far how far “the artist whose work looks a lot like someone else’s” can take it. This is not to say that it’s not worth studying other artists’ work, a common practice in school is to copy a master’s work, it can be seen as a meditation and we can certainly learn from it. But, ultimately, I think the point is to find our own path. Perhaps it’s just my path to find my own path, I can’t judge others.

Not having answered the question, here are some of my favorites: Moebius, Berni Wrightson, Arthur Rackham, Albrect Durer, Brom, Frank Frazetta, Simon Bisley and H.R. Giger. Out of all of these, I think people suggest Giger the most, presumably because of my common use of greyscale and the wet textural look I often use. Beyond his style and content, I think it’s really his attitude that inspires me the most. I could be totally wrong, but I really get the sense that he’s hanging it all out there and indulging in every artistic desire without much concern for editing himself because what others may think. I think he’s denying himself very little, from my experience that’s harder than it sounds. If he feels like painting giant mechanical genitalia, he might go ahead and paint twenty mural sized variations without caring what anything thinks!

I’m probably not as much of a reader as others who share similar interests. When I do read it tends to be for information… how to do or make something. This could be how to use materials or some other technical subject, all more or less leading to new ways I can express myself. I’m always curious about how things work, and those interests never stop expanding. The Cthulhu statue project was in part a product of my desire to experience mold-making and casting. In more recent times I have been delving into topics such as meditation, metaphysics, eastern religion, etc.. I’m tasting a little bit of everything to see what speaks to me the most clearly.

Any plans to direct an animated film? Does this interest you?

Almost everything interests me! There was a great animation department in art school, and it really had a great appeal. However, it was an all or nothing endeavor, animation students were sequestered away, buried in their very time consuming projects. Since I had a stronger pull towards painting and illustration, I let go of animation for the time being. I’ve fiddled a little with animated gifs : http://www.nightserpent.com/facespread.htmland with the advent of flash animation, it seems more of a possibility. Part of being a freelance artist requires me to get as much mileage out of a project as I can, so if there was an outlet or use for something like this, the more likely it would become a reality.

 
 


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