Writing: Welcome to my Erotic Nightmare

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Writing: Welcome to my Erotic Nightmare

sex, madness and creation

It’s all wet and rainy out. I sit at my desk and I feel that I have been absent from this and from myself. To take myself seriously as a writer. Man, I used to write all the time. Granted, I was usually high when I did. Reclaiming one’s voice is not a simple task. Chalk it up to laziness, but there is insecurity at the root of it. The sense that, well, what have I to say that is of any matter to anyone? It has all been said, it has all been done. Much like Alice in Wonderland, I emphatically advise others to write or at least journal, because it is therapeutic, because it awakens one to all sorts of marvelous gifts of insight and revelation. I sincerely believe these things. And yet I allow myself to stagnate, Writing is a tricky thing. When you think about the activity itself, it seems easy enough say, compared to competing in the Olympics, or going to war. Writing is a deceptive endeavor; somewhere between lucid dreaming and and stripping. Writing stories, for me, has been a bit of a Sleeping Beauty erotic nightmare: unconscious and vulnerable, dreaming up my fantasies while lying prone and nakedly visible to anyone who looks upon me. My true face exposed. My words betraying my truths through the characters and metaphors and imagery I unconsciously select. It’s utterly terrifying as well as exhilarating. Every time I finish something I feel like I have cheated death somehow. Like maybe I have one more round left in me yet, maybe I am not a total and utter coward after all.

I never set out to write things of an erotic or violent nature. The reason I end up doing things of that nature is very simple: I am easily bored. It takes a lot to make me stay on topic. In order to fully engage my brain I need to have my senses fully engaged. Apparently it is sex and violence that most command my attention. I don’t think I am alone in this. Adrenaline and Dopamine make one sit up and pay attention; all senses engaged. When aroused or at death’s door you suddenly realize: goodness! I am alive! I could be dead in a minute. Wow! All systems go!

I think that my first story Star Power, was as much about my own relationship to my writing as it was about the themes I thought it was about. To write is to be naked in a way that is about a million times more naked than if I was being seen in a porno. Ironically, or rather, fittingly, my first story was a nightmare of the self: muted yet overexposed. A sentient sex doll at a porn shoot. I’ve never felt naked in my skin. I have always felt it was just my skin. Quite ordinary. I note the eyes that survey it, and I see what it is they are seeing, but from the inside of my fleshbody, I am inside my own brain, and my skin, my body, are simply the temporary flesh receptacles of my consciousness. I am not being naïve. I know what men see when they see me, and I do not pretend to not take advantage of it when I am feeling lonely and in need of validation. But I am able to differentiate myself as object and subject.

It is an odd talent I developed quite early on. It developed alongside my sexuality, which sprung like a sweaty lipstick garden out of my Madonna worship. I shaped my own sexuality out of my sexual attraction to her and other women whom I found to be glamorous. I did not know back then that I was Bi, but in any case, I began objectifying myself from the start. I saw myself in the mirror, mimicking what I imagined a desirable female to be. If I pleased my own eye I felt satisfied that I had accomplished my goal. To say I turned myself on, might perhaps be a stretch, it might not. Honestly, its been ages since I was 8 years old, so I can’t be quite sure.

I did begin to be a bit offended when I did not get the male attention I wanted in middle school. I seemed to be invisible. I did not try too hard, to be fair, though I think the main cause was my late development. So while other girls were parading their impressive mammaries about, with boys drooling after them, I remained pathetically flat chested until like 13ish. I did not understand that, despite the fact that in my head I had been a movie star for years, all the boys saw was a strange big eyed big eared girl with a questionable fashion flair who talked either too much or not enough.

By the time boys began to take note I had already been rearin to go for eight years. This made me exceptionally starry eyed and desperate. I read Lolita when I was 16, when I felt myself at the top of my deadly temptingness. When I got the attention of older men, it was the hugest validation. Finally they saw what I saw! It is fortunate I was not exposed to a bunch of perverts at a younger age. I was jailbait waiting to happen, especially since adults always marveled at how much older I seemed for my age. Little did they know the naughty things I would have surely been down for at a very not legal age, if prompted by the sufficient amount of encouragement and warmth. Little did I know how easy it is to seduce older men. Perhaps I was looking for daddy validation. In any case, after many sad scrapes and tangles, I wised up.

Sylvia Plath was and is probably my main literary influence, because I admire her talent for laying herself bare, while still remaining such a confounding riddle, to herself as well as the reader. It is really her style I admire. The way she uses words like bullets, like knives. Reading her poetry is like watching a pornographic performance art piece of self-flagellation. A dark striptease. You are tantalized and horrified at the same time. Sex and death. That’s what its all about. Just ask Freud, ask your central nervous system.

In truth, I am writing this just so that I can procrastinate on the larger task at hand. I always cheat on myself like that. Maybe that is why I have developed a bad habit of cheating on my lovers. My loyalties are contrary. In fact, sometimes, when bedding another man, my affection for the other is only increased. Cheating means something different to me than it means to others, I guess. I know it is not right, in principle, but neither is selling myself short and constantly falling into relationships in which I am unhappy and sexually or intellectually unfulfilled, and yet I do it constantly, since, apparently, I hate myself, or am simply terrible at reading people, despite imagining myself some master sleuth of the male mind.

I began writing poetry due to my first plunge into deep depression, at age 12. It was my first Midwestern winter. It was a starkness and a desolation I had never imagined possible. I had been uprooted from my home and all my friends and was in a strange and alien land that was unsettlingly sterile, culturally as well as scenically. My life was utterly uprooted, my hormones were kicking in and working their dark voodoo upon my system and brain, I was going a bit mad, I realized I had no idea who I really was anymore. Feeling horribly trapped and desolate, my only escape was the pen. I wrote as if I was prisoner shut out from the world, never to enter it again, from my existential exile.

When I finally began my foray into love, that became my primary fuel and favorite drug. Nothing blends acute misery and utter dizzy bliss like love. I was a shameless addict and I tapped my fresh vein over and over again, relishing the pain, confusion, terror, madness, erotic heat, and intense bondings of early love. Due to my romantic excesses (in intensity not multiplicity) I was pretty much tapped out by college. My last high school boyfriend was pretty much Heathcliff, the typical Byronic hero (in my head). I probably suffered most with him, he was probably the most unstable, and he was the one I loved the most fiercely. After od’ing on his love I was a shell of my former self. But a new addiction was already in place. Weed, and lots of it. In that high I found what I could never find in another: a return to my deepest self, a magic carpet that swooshed and twirled all over my crazy brain. I marveled at the sights I saw. I had no idea my mind was so full of stuff. I was pretty much stoned the entire time I was in college. That I got any work done is a sheer miracle and testament to my high functioning haze.

The cause for my extreme escapism was depression. The cause for my extreme dive into love was the same. I thought, oh, magic, I’m in love, my depression seems to be cured! So I traded the torments and sacrifices of love, which seemed quite minor, in comparison to engulfing debilitating endless gray sky expanses of suicidal depression.

So, love was my drug, then drugs were my drug, then, sensing the tapping out of my escapist options, I began to wonder about finding a more lasting fix for my existential malaise. I realized I had to turn inward, find the Goddess consciousness inside. In doing so, I rediscovered myself, sexually as well as spiritually. In fact, the discovery was one and the same.

The odd paradox of female sexuality: containment and penetrability. It is all inside, hidden, enclosed, and yet so easy to enter. Women are containment vessels. We have the power of creation between our legs, we show the evidence of monthly blood sacrifice to the ever thirsting gods of life and death. It is a terrifying and amazing thing that is also quite ordinary and seems really quite banal: a wet hole, much like a mouth, but the apparatus of life giving and destruction lie tucked away beyond view.

Writing, for me, is never truly divorced from my sex. Orgasm and conception, creation is the creative and biological goal, the reason for my body to self lubricate when penetrated, the reason for my mind to lubricate when inspired by an image or abstract concept that haunts me till I let it out.

There is no difference, in fact, according to Noami Wolf, the connection between the mind and the female vagina is much closer linked than people assume. Sexual trauma can dull the mind. Arousal can stimulate profound artistic inspiration. In her book Vagina: A New Biography she explores the many facets of this awesome link between the female brain and the cervical nerve center. Emotional security is crucial to sexual fulfillment. And the female orgasm is a mysterious and multifaceted thing. It is sacred, it is complicated and it is limitless. When aroused and fully satisfied, the nerves from cervix to brain, light up, stimulated and on fire. Ideas come easier, thoughts are clearer, and inspiration flows freely. When a woman is sexually satisfied she flourishes and becomes stronger and more capable in every way. The vagina is truly the nerve core of the female mind.

Female subjugation takes on a whole new meaning in this light. By controlling a woman sexually, you control her mind. It’s no wonder Charlie Manson’s main recruitment process involved three days of senseless fucking while tripping and demanded they call him “daddy”. He called it the ‘daddy game’. Indeed. Maybe he was gangbusters in bed. At any rate, his stamina would impress any girl. But more importantly, he knew that by satisfying his women sexually they would then be more likely to buy any of the ideological and behavioral modification kool aid he wished to sell them. He was mindfucking them into submission. When you are fucking a woman you are fucking her mind. Brutal, heartless sex or rape can be mentally damaging. And there is evidence of it in studies Noami Wolf conducted for her research in Vagina. Tender and considerate lovemaking that allows the feelings to flow and the orgasms to bloom and flourish make amazing things happen in her mind. This is why sex transports. It can be the most sublime of mystical experiences or the most banal and cursory, depending on the attention, time and care given to actually create the magic of true communion.

Now I feel that familiar restlessness again. My fixes are not quite working anymore. I have been delving into what moves other artists. In reading about Mary Shelley and the inner turmoil that created her famous monster, I ask myself if, despite the conclusion that I have had enough trauma to last me a lifetime, if I have truly had enough. Perhaps this is an utterly backward approach to creativity, but I know enough of myself that I do not explode unless prompted by either pleasure or pain. My crucible of love and torment no longer seems to do the trick. Perhaps the time of treating myself like a test animal hooked up to various electric wires needs to stop. Hooked up to 2000 volt batteries from head to toe, shocked awake, my inner murk no longer dissipates. This is the rant of an addict. Love, sex, drugs, pain, pleasure, madness, relief from reality. “I can’t get no satisfaction”, the Rolling Stone’s chorus suddenly pops into my head as I say this. Living like rock star in my mind, have I hit my fat Elvis years already, before I have truly blown my creative load? My conceptual sequined jumpsuit is old and soiled. The polyester smells and constricts instead of glamourizing my inner fire.

Bald wires shiver with surges. I am not protected. I am gonna blow. My head will go flying off in one direction, my legs, finally split apart by vibrating and gyrating currents will flail madly like reanimated dead frogs, electrified, in opposite directions. Where does that leave me now? My insides spilling out. Of the new electrified soup a new body will rise. A body already electrified and self-fueling. Not needing a man to pleasure me either mentally or physically. What a dream. I would be invincible. I do want babies one day, so I will need a man for that. The basic human need, beyond procreation, of a marriage of minds, or at least, spiritual communion is undeniable and cannot be denied. So, I’m fucked. I desire those who hurt me. It’s a sad fact. I see other chicks with the nice guys and I wonder why they can’t be mine. I am drawn to men who are emotionally neglectful and disconnected from themselves, and thus able to hurt me. I know I am a raw nerve, so why do I go towards men who clearly are insensitive? I salivate at the battle. Being hurt is a feeling I recognize. I live for the threat of danger and the many little deaths along the way. Ego obliteration. I use men like battering rams. I hope they will pound my self away so that I will no longer be trapped inside my old self. Its war. Its always war. No matter how much I say I want peace and communion, what really gets me off is the battle, the subterfuge, the espionage. Maybe it is just because that is all I know.

In my mind it is always a war, it always has been. Pitting one adversary against another, just as I would do with my parents. When my mother was cold or mean I would go to my father, and on the rare occasion he pissed me off, I’d turn on him and sic my mom on him. I always won, or so I thought. I always lost, actually, I lost my sense of loyalty and my ability to ever truly trust anyone I loved. I made love into a war because love was war. It would have probably benefited me if they had been a united front, even if it would have resulted in more hurt at the moment. I was learning about love from them, and to see them so easily turned against each other was not terribly reassuring. I learned about the power of manipulation, I learned that if I play it right I can always come out the victim and I became a master at playing the martyr. I learned to always justify my bad behavior somehow. There was always a justification. I became fascinated with the outlaws of society, the criminals, the madmen. I assumed this was because I admired their freedom of spirit and delighted in analyzing the aberrant mind. But I wonder now, if part of that was not actually because I was searching for insight into my own antisocial and sociopathic tendencies.

Madness has always been a point of focus for me. As I began my spiritual explorations I learned that the poet/mystic was a type of person that I identified with the most. I realized that all my quests were leading to that sort of deep inner and outer exploration. That, despite my sense of alienation and separation I felt with most mortals, I shared a link with the weirdos on the fringe who can see things and comprehend things most people can’t or will not, for fear of losing their foothold on the life and way of being that they are familiar with. I have found kinship with other artists, for the most part, for they also speak in the language of metaphors and they make the kinds of mental connections that seem like utter nonsense to the ordinary ground dwellers. I am a seeker of the far reaches of my mind and the cosmic landscape beyond. I am haunted by my personal demons, like everyone else, but my calling is that of the mystic. My fate is cast with those who see visions of the future and who learn, through mental training to perceive the reality beyond the assumed social reality others assume is all there is. I have seen and read enough to know that what lies beyond and the modes of seeing it are accessible through self exploration, meditation and trust of inner voices and the heightened observations of the signs that appear all around.

I am returning to my mystical roots. Sex is a spiritual act. It is not a tug of war. It is a very vital link to the divine. My insides are tender, sensitive and fragile, my mind, an exposed mass of nerves with feelers prodding the ether. When you enter my vagina, you enter my mind. I am vulnerable and filled with raw potentiality. I refuse to accept the parameters of ordinary existence. I know I have a choice and I chose to fly. This is my only goal. It is my destiny. I do not care about fitting anyone’s mold, because my potential is only as great as the limits of experience and exploration that I dare myself to expand. Sexually, creatively, intellectually, my self expands and requires anyone with whom I share myself in any of those ways to fully comprehend the magnitude of this endeavor.

I fear and love sex because with my body I cannot lie. I fear and love the act of creative writing because with my language I cannot lie. I enter into both acts with the fearfulness and anticipation of Mickey Mouse in Fantasia as the Sorcerers Apprentice, my heart in my throat and a dark fire in my loins. The power of words, the power of love, mystical and magical juices flowing in the act of love and creation are nothing short of Alchemical potions. The stuff of life, DNA, the stuff of emotion, the thirst of the soul, the power of a mind awhirl and a soul on fire; all making marvelous magic for anyone who dares to be transported and transformed by the eternal process of surrender to Eros, in the bedroom or upon the page. The white sheets beg to be soiled with the ink and the blood from my quivering pen. The vein is ready to be pierced.

How Can So many “Punks” be so Boring? Nick Cato review of Punk Vacation

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I’m delighted to share this review of Punk Vacation by Nick Cato. Enjoy!

 

 

PUNK VACATION (1987)

Released by Vinegar Syndrome (http://vinegarsyndrome.com/launch/)

 

For those who don’t know, Vinegar Syndrome is a relatively new company who has been releasing some hard-to-find films in slick blu-ray and DVD editions, often packed with extras. Consider them the “Criterion” of grindhouse cinema if you will.

While I’ve enjoyed much of what they’ve released so far, their latest, PUNK VACATION, is a seldom-seen 1987 outing that seemed to have everything going for it: punks invade a small town and end up battling with the redneck locals. How could you go wrong?

Let me count the ways.

A young punk named Bobby loses forty cents (yes—forty cents) in a soda machine outside of a diner. The owner comes out and scares him off with a shotgun. Pissed, Bobby returns with his group of friends (who look like rejects from CLASS OF 1984) and they end up killing the owner and it’s hinted that they sexually assault his young daughter. And right here is my base problem with the film: is forty cents really something to kill someone over, let alone molest a young girl for further revenge? As much as I love cheesy cinema, this to me was just beyond asinine and not the least bit funny, even on a camp-cinema level.

The diner owner’s older daughter Sally shows up with her cop boyfriend, and manage to run over the little prick who started the whole thing, but the rest of the punks get away. After failing to stab Bobby in the hospital when she learns he didn’t die, Sally tries to hunt the other punks down on her own, but she’s caught and the punks make her their prisoner at their high-tech hang out (actually, they tie her to a tree out in the woods in her underwear, because, y’know, all punks like to hang out in the woods, even punks on a Punk Vacation).

The rest of this tedious snooze-fest feature Sally’s boyfriend looking for her and the punks. He brings along the sheriff and a bunch of rednecks armed with shotguns and rifles. There’s a couple of chase scenes that are impossible to sit through without a FF button, and basically nothing happens. You’d think a punk vs. redneck scenario would be the ultimate fodder for an exploitation film, but I’m convinced the director threw a bunch of his friends and family into the woods and filmed them trying to out-bore each other. In that regard, he succeeded on an epic scale.

Despite the pure crappiness of the feature, Vinegar Syndrome does provide a beautiful blu-ray transfer scanned and restored from a 35mm print. But despite how clear the picture is I doubt anyone will be re-watching this—or even finishing it the first time.

There’s an extras disc that features a few staff interviews and the director’s older biker film titled NOMAD RIDERS, but unfortunately this disc didn’t work on the double-disc set I received. Oh well. I don’t think I’ll be losing much sleep over it. And I’m assuming this is just a glitch on this particular copy, as I haven’t heard anyone else complain about it.

PUNK VACATION is a real turd-bomb, and in the vein of CLASS OF 1984, displays film makers who have no idea who or what punks are. I guess if you’re not or weren’t a punk that won’t matter to you, but it still annoys the crap out of me. And why is it all those ignorant of punk culture think they all dress up like new wave fashion models ala LIQUID SKY (1982)?

I’m still a big fan of Vinegar Syndrome, but why on earth they chose to re-release this (let alone give it a dual-disc treatment) is anyone’s guess.

Andrew Goldfarb Tour Diary- The Slow Poisoner

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The fabulous Andrew Goldfarb has shared his awesome tour diary from his last sojourn through America. I first saw Goldfarb at Bizarrocon about three years ago and was utterly mesmerized by his charisma and room presence. I was hypnotized like a snake with a snake charmer.  I even bought and drank his Magic Potion, even though he would not tell me what was in it . I don’t know if it cured my restless leg syndrome, but it sure did help my hangover!

The second time he performed was at the Ad House, at the following Bizarrocon and I was able to really let his rhythm sway me. I don’t remember much except that I was dancing all over the floor like a maniac. It was cathartic and earth-shattering. I was able to chill with him a bit when I went on my trip down the west coast during which I witnessed the hypnotizer being hypnotized by Emily Taylor Beighley’s awesome white rabbit. They had a strange moment and it was magical. I don’t know where he gets his magic from, but it is powerful stuff.

So, without more ado, here it is, tour diary from the artist, performer, vodoo man, and Bizarro Showdown winner, Andrew Goldfarb!

 

The Tour Diary of The Slow Poisoner, One Man Surrealistic Rock and Roll Band

This summer of 2013 I played fourteen shows in fifteen days in nine states. At Leza’s suggestion, I’ve written down the highlights!

My first stop was in Las Vegas, at the Double Down Saloon. After I played my set, a man with crooked teeth invited me over to his table, where he bent my ear with an elaborate plan to set off explosives on stage, destroying the equipment of the next act, which would then clear the way for me to play a second set. As he was telling me this, I had a sense of déjà vu until it dawned on me that the last time I’d played at the Double Down, which was years before, this same man had said the same thing to me. Maybe he tries to get every band to help him blow up the next act. The house drink at the Double Down is their specialty Ass Juice – quite fortifying.

After that I drove eleven hours across Utah to get to the Lion’s Lair in Denver, Colorado. On this evening, and at the next night in Fort Collins, I was on a bill with bands that were playing their first shows ever, which is lucky, ‘cause everyone’s friends tend to come out for the first show. The bassist in Fort Collins sent me a note later saying I’d inspired him to quit his job and hit the road playing music. Here’s hoping he doesn’t get eaten by wild boars!

I only saw six people in all of Nebraska, and five of them were at my show – one had a hula-hoop with flashing lights, and I had a giant monster head with flashing eyes, so it between us we had a sort of makeshift disco. Next up was Wichita, where I played at Kirby’s Beer Store, which is reliably rowdy. Kirby himself passed away a few years back, but they keep his ashes on the bar so you can still have a drink with him.

In Kansas City, Missouri I played a pool party – my friend and fellow one-man-band Mosquito Bandito bought a house there for five thousand dollars, and then bought the house next door for three; he made a swimming pool between them by simply digging a hole and pouring in concrete. Bands played in the basement, and around midnight a bag full of severed pigs’ heads arrived so that some neighborhood kids could blow them up with dynamite. We tried to wake the children, but to no avail. In the morning, staring into the eyes of severed pigs’ heads proved to be a more effective hangover remedy than coffee.

After playing a pizza parlor in Denton, Texas, I made my way to San Marcos, just outside of Austin. At noon I was the entertainment at the Farmers’ Market in the town square. I’ve done this in San Francisco, too, and as The Slow Poisoner I am wildly inappropriate as background music for fruit shopping. After passing out from the heat, I played a party with my friends Attic Ted and Cedric, a lute player that I met at a science fiction convention in Baton Rouge (I had entered a door that read “Filking 101” on it, surprised to find a man inside playing folk music based on sci-fi television shows – apparently filking is a form of folk music with lyrics derived from fantasy fandom – I had it confused with felching). After the party, Attic Ted’s teenage daughter was heard explaining to a friend that it wasn’t a “real” party because there was a guy in a kilt playing a lute. In my book, that is the definition of a real party!

My next stop was Houston, Texas and the aptly named Super Happy Fun Land, which is in a warehouse on the edge of town. Inside, a pile of Raggedy Ann and Andy dolls stretch towards the ceiling, their tattered ginger faces staring blankly towards the cosmos with button eyes. The opener was my friend Black Magic Marker; the son of a minister; he wears a black robe and a crown of thorns that gashes a cascade of blood down his naked torso as he bashes black metal bass and screams at the devil. I followed this with a rendition of the old blues nugget “Hell Hound on My Trail,” and then the headliner turned out to be a genuine Christian rock outfit, so it was a highly theological evening. I made up for all the religiosity by playing in New Orleans next; on the way, I stopped at a rest stop at the edge of the swamps where an animatronic alligator sang songs for weary travellers.

Moving west again, I drove through Texas, which tried to kill me with thunderstorms and flash flooding; eventually I wound up in Phoenix, where I was booked at Funny World, which is the house venue of Space Alien Donald, the world’s foremost gay Canadian senior citizen extraterrestrial rapper. Also on the bill was a charming young man in a dinosaur suit and Drunk and Horny, who led the audience in a chant of “Fight the Moon” – we spilled outdoors to do just that, but the moon had hid from us. By the time I got to San Diego and then Riverside, I had gone 6500 miles and driven my rental car into the scrap heap, where it belonged.

Jason Wayne Allen is a Badass- Author Interview

The Bizarro Hour III: The return of the returning thing returns! Is gonna be tomorrow. I was bummed Jason couldn’t come. I wanted to see him read along with Michael Allen Rose, Andersen Prunty, C.V. Hunt,  Jon Meyers, Justin Grimbol, Sam Pink and me.  I invited him and reminded him like twenty times, but he does too many drugs and forgot, or he fought the law and the law won, or some other some such bad boy excuse. So, in lieu of that, I decided to pick his brain a bit for everyone’s enjoyment.

Jason is kind of an enigma. The more I talk to him the less I feel like I know. He comes across all balls out and sassy and crass, but underneath, dark shadows flit about, and there is a softness under all the jaded worldwearyness that is disarming and endearing.  What I like most about Jason though, is how real he is. So many people are all smoke and mirrors. What you see is what you get. He glams it up, but the real is right underneath that first layer of shock  glitter. Now I’m making him sound like some Twilight vampire dude.  Anyway, here is the interview. Enjoy the spazzmadness that is Jason Wayne Allen.

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………………………………….L- Tell me, Jason, what inspires you to write?………………………………….

JWA- Life. The accumulation of ideas that pulse in my head, keep me up at night, I drain the accumulation occasionally but am always battling the left(hand) side(path) of the brain that procrastinates. One day I hope to write a novel or a series of pieces that drains the entire contents, then and only then, will I be able to sleep or wriggle comfortably into bed in utter satisfaction, take a sigh and say “it is done”. But most likely by that time I’ll be wriggling into a death bed, and I enjoy life too much, so I hope that time of satisfaction never comes. To quote the prophet Henry Miller: “Everything that was literature has fallen from me…,”–I’d love to be able to say that one day, but I suppose I’ll never be satisfied. Conflicted, cause I want to be and too in love with my life to accept satisfaction.

  • ……………………………………L- Kind of like the ultimate orgasm. I guess that’s why the French call it le Petite Mort. Life, like art, and sex………………………………………….

  • JWA- Yes, exactly. My scrotum will be drained to a dry husk and then…I die.

………………………………..L- What do you think has been the greatest challenge in working on the publishing end of things, assembling the Queefrotica and such………………………………………

  • JWA- The greatest challenge I suppose, is dealing with all the personalities. I don’t deal with people well, the social aspect of publishing is the worst part. I’ve been kind of lucky as most everyone has been pretty cool, but as with everything there is a hiccup here and there. A primadonna will spout off, a writer will misconstrue something I say, oh God and then the ones demanding payment! Or bother me about payment. The social aspect is, without a doubt the worst part! Honestly, I’d rather deal with a hack writer who’s cool and ambitious than a great writer who’s not. An easygoing personality goes a long way with me

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    ………………………………………..L- You are gonna be running your own imprint for Jordan Krall now, how did this project come about?………………………………………….

  • JWA- Krall coined the term Neobeat to describe Rotgut County Blues and I took it and ran. The idea for Black Dharma Press came about when I mentioned to Krall about getting pitches for Neobeat fiction and stories from some writers. He was like, “Maybe a Neobeat imprint” and from that ideas exploded and I was on a hunt to find talent to put together a collective of writers for this imprint. I can’t wait to see peoples reaction to the first release: Last Exit to Interzone by Chris Kelso. It’s a great book and then we have an anthology coming near the end of 2013. Black Dharma’s going to do some cool things. Fifty Secret Tales of the Whispering Gash is done. I recently discussed with Michael Allen Rose about interspersing the book with some simple art and he thought that was a good idea so currently that’s the stage at which the Queefrotica is at. In lieu of this Christian Hanner debacle I’m going to have to message each author and tell them what’s up. I know everyone’s want to see the Queefrotica but this is my editing debut and I want it took look perfect. Plus the names I’ve pulled in are too good to half-ass this thing.

  • I also have a lot of friends who’ve helped and are willing to help with stuff. Most notably D.F. Noble, Kevin Strange, Michael Allen Rose, and Justin Grimbol have helped a ton! I wouldn’t have been able to do the Queefrotica without them.

………………………………….L- yeah, those guys are awesome. It always inspires me how the Bizarro community keeps on growing and helping one another to make newer and better fiction for everyone to enjoy. Ok, lets switch gears. What are your biggest turn ons, and why do you think the ladies love u so much……………………………………..

  • JWA- Red hair, large areola, stretch marked breasts, braces, pale skin. The wind blowing in the right direction will turn me on. It’s not hard. Big hips, big butt, a pretty face will supersede any bodily imperfections. I’m not sure if the ladies love me that much, all my serious girlfriends have stayed with me to piss off their fathers or they felt sorry for me. Girls, in my early days took care of me, let me live with they fed me, without a lot of those females in my early days, I’d be dead now. Dee Dee Ramone said in his book Lobotomy, something like, the most important thing when playing rock and roll is to get the girls to feel sorry for you(that’s a paraphrase)I’ve lived by that since I was like 15. I’m a little old for that now, but if I ever have a son I’ll make sure he knows to be a constant bluesman in everything he does, being a bluesman can apply to anything and this philosophy has gotten me through a lot situations where I’d otherwise be homeless

    .

    ……………………………..L- What is the strangest sexual misadventure you’ve had?………………………..

JWA- Okay, strange sex…the first thing that comes to mind is the time I talked this girl into not stopping after she had an accident after anal. I have never felt more ashamed or been as stinky in my life. There are more that was the one that immediately comes to mind. The girl was really pretty though and a little doo doo was not stopping me from finishing the job. HAHA!

  • ………………………………………L- I thought you’d said it was super gross. Or was that another girl. Was this girls hotness her free poo pass?…………………………………

  • JWA- No, the time I told you about was recently at the Budget Inn and the chick was a big girl and it was super gross! Come to think of it, I’ve had a couple fecal fuck sessions! Also, I had a couple of bisexual girlfriends with transgendered girlfriends and drunken three ways would break out. Straight on transgendered sex is always surreal. I highly recommend it!

    L- Yeah, trannies are really not my thing.

  • JWA- See it’s easy to forgive a bowel movement during anal if she’s not  just some slut from down the street you call after half case of Beast, to meet you at Budget Inn. She best tell you she’s baking brownies before you put it in…It’s not just gross it’s RUDE!

………………………………L-What’s Beast?……………………………….

JWA- The Beast is Milwaukee’s Best, cheap rotgut beer, my poison.

…………………………………….L- I shoulda known that. So, if you were a superhero what would you be. What would be your superpowers and what would your lair look like?……………………………………..

  • JWA- If I were a superhero my power would be invisibility and my costume would be my naked ass! And my headquarters would be wherever I pleased.

…………………………….L- if you took to a life of crime what would be your racket?…………………………………..

  • JWA- Prostitution. Pimping. I’d be very nice to my girls, but then again they might mistake my kindness for weakness. So, I suppose I’d still be a nice pimp but on my guard, with my pimp hand moderately heavy and I’d do tons of cocaine! I’d be very nice to my girls, THOUGH!

……………………………………………………..L- Any parting shots, cowboy?…………………………………………………

  • JWA- Look out for two more books from me in the coming months, BARBIE DOLL PEOPLE and AMPHETAMINE DIRGE from Black Dharma Press and Dynatox Ministries! And don’t forget, coming very soon(I promise) FIFTY SECRET TALES of the WHISPERING GASH: A Queefrotica. I have some horror and Bizarro stories and novellas that should see publication soon as well…just keep watching jasonwayneallen.wordpress.com!
    Thank you Leza for the interview and as always it’s fun talking to you and good luck with the Knockbox performance. Love you all, JWA

……………………………….L- Always a pleasure. I love talking to your cute crazy ass……………………………

JWA- Aw. Shucks. Thank you.

Bio- Jason Wayne Allen has published stories in various horror, Bizarro, and transgressive fiction publications and anthologies, appearing digitally as well as in print. He is currently working on many different projects.  Jason Wayne is Southern by the disgrace of some dark god, but currently resides in the Midwest.

You can correspond with him on Facebook: facebook.com/jwallen1018

Email: jwallen1018@gmail.com or visit his blog jasonwayneallen.wordpress.com

Andy Warhol-Glitter of Decay

Mirrors and cameras lie. They add glamour, they add and steal magic. Some actors even claim to hate watching themselves on screen.  Johnny Depp, for instance, has claimed he doesn’t even bother to watch the completed film. Other people seem to only live when the camera is on them. One of my favorite parts of Madonna’s concert documentation of the Blonde Ambition tour, enigmatically titled Truth or Dare, is when Warren Beatty gets annoyed with the ever present camera. Someone asks her if she’d like them to turn the cameras off for her oral throat exam. She shakes her head. He laughs and says “oh yeah, well why even live off camera?” Something to that effect. I find it supremely ironic that the man who played opposite Natalie Wood and bedded many a lovely Hollywood dame is disgusted by Madonna’s endless compulsion to be “on”. Little did he know a whole rabble of new stars clambered around the corner, willing to do almost anything for their fifteen minutes.

In our age it is easier than ever to become a celebrity of some sort, whether your exposure is through scandal, fortune or simple luck of the draw. The internet has enabled anyone with an opinion to share it. How to filter the substance from the rabble takes a discerning eye. Dialogue is good when it is not solipsistic. I don’t believe in taking images for their face value. A commercial, a music video, a Weimar era propaganda reel, has the same cultural import as anything considered great art. To view a vision is to live it on some level. In media, visions are shared. When people come together under the banner of common dreams, they connect, they unite, for good or ill.

Andy Warhol was fascinated, much like Kenneth Anger or Georges Melies by the black magic of the camera. For Anger, the camera was a tool for vision and ritual. For Melies, it was a new fun way to show off his tricks while adding vaudevillian costumes and scenic backgrounds, in the end, a feast for the eyes in a way Baz Luhrman could never comprehend.

Something about Andy Warhol’s series of video Portraits, is evocative the way an impressionist or even a classical painter’s portrait can be. They are truly living portraits. Of course, it is live footage. But its more than that. Edie Sedgwick’s portrait/screen test is one of the ones I find truly moving as a piece of art. The moods shift across her face like bright and dark clouds, subtle, under the surface of her seemingly calm demeanor. Her eyes shift from shades to shades of nervousness, anxiety, wistfulness, confusion, brief excitement and back to a nervous buzz. Many of them have this nervous buzz, which probably resembles the actual mood of people who had to pose for portraits in the early days of the camera. Everyone in Victorian pictures looks so sullen. Perhaps there’s a reason for it besides Freudian sexual hangups and debilitating health problems due to corset wearing.

I think Andy liked the idea that the people he was filming either already were, or wanted to be famous.  The desire tints the way they react and interact with the camera stare down. In his mind, Edie was a star. Perhaps the kinda star Edie imagined herself as, no, but one that was shining for him like a beacon into dark and bright new vistas. I ask myself sometimes if he ever realized how much that whole lifestyle messed with her head. Like Marilyn Monroe, she jumped into a cuthroat business with all the self preservation instinct of a lamb on smack. Maybe I’m exaggerating, but in any case, the camera proved to be a double edged sword both for Marilyn and for Edie.

Marilyn wanted to be taken seriously, however, her main bankable quality was her massive sex appeal. People even in her immediate presence have remarked on the amazing quality she possessed of seeming to glow, as if her skin was translucent. Another interesting quality was her ability to shut off and turn on the sexbomb persona. Strange sexy voodo powers aside, Marilyn found herself trapped within a confining stereotype that the more she felt trapped in, the more she feared her very self would be somehow engulfed beyond her sight.

They both found themselves in a drug haze, being sexually and professionally exploited by the people they trusted most. When people who knew them mourn their passing, the refrain seems to be “Wish I’d done more, but at the time we just didn’t realize how bad it was.” or some such platitude of that nature. I’m sorry, but I think Marilyn’s nightmare was written all over her face, especially towards the end. People did worry, but also, why stop the party? As long as the glittering sex bomb keeps on glittering we don’t need to catch fireflies to keep the dark night lit up.

The key is to have enough soul so that you can spare a bit of it for that screen magic to happen, at least that’s what Kenneth Anger said in the Hollywood Babylon documentary.  “Film is evil, but it is an evil I understand, so I am comfortable working with it.”

Glitter the cleaver shine, in a darkened theater, in someone’s basement, in the endless porn reels sitting in warehouses and flooding the internet with new bodies glistening under halogens. Cinema is the furtive scrawl of the contemporary cave man. On our screens we see the shadow plays of wandering souls, sent from our own fevered cyberjungle experience. From psyche and ether to world wide web and satellite signals, dream sharing, nightmare making, blue movie making, till the flesh gives out…then there is the New Flesh.

I’m Through with Love- Marilyn Monroe in Some Like it Hot

Screen Test-Edie Sedgwick

Watch the mood show.

Invocation of my Demon Brother- Kenneth Anger

I can’t help getting an eerie feeling whenever I watch this movie. I don’t even remember why I watched it to begin with. Probably because I thoroughly enjoyed Hollywood Babylon. In his trash dish on early Hollywood decadence, Kenneth Anger manages to be insightful, titillating, and engaging, without compromising morbidity or intelligence in the process.

When I watch Invocation of my Demon Brother I feel like I am watching firsthand, the sped up footage of the flowers of rot, blooming into being, at the end of the Golden Sixties.

One of the odd, among many other ‘odd’ things about this movie, is the dark synchronicity between the arise of the Church of Satan, the Manson Murders, and the fact this kaleidoscope of darkness was born in San Francisco in the Summer of Love. Charles Manson tripped for the first time at a Grateful Dead concert, some years earlier, while fresh out of prison. That summer was a summer of flux. It was a time of new beginnings. It was everything and anything. Summer starshowers turned to dust storms of bewilderment and chaos.

Some months after Invocation came out, in December, the Altamont concert debacle happened. For many, this catastrophe of violence and mayhem signified he close of an era that had only just begun. A few months after being involved in the film, Bobby Beausoleil also got himself in some very hot water due to a drug deal gone bad. If Charles Manson is to be believed, his subsequent arrest due to this, was the seed that spawned what came to be known as the Manson murders. Supposedly Anger put a curse on Bobby for stealing film reels. Heresy aside, these events all did occur after Anger created a film that seems to be and can be interpreted as having various meanings and intents. The imagery in the film directly foreshadows events that would unfold later that year. Mick Jagger did his Moog soundtrack, which hauntingly starts and stops in grating jolts adding an unsettling aura of discord to an already arresting catalog of stimuli. Bobby and Jagger would soon find themselves directly experiencing a similar vein of the type of energy that they aided in evoking in this film through their craft and mere presence.

Invocation of my Demon Brother could very well be a genuine invocation of Luciferian and dark forces, but it is also, like a ll great art, a reflection of the chaotic psychic atmosphere everyone was experiencing no matter how aware or unaware they were, at the time. Film is still the most powerful medium available to the artist, ad man or dictator. Film began as almost a lark, with Georges Melies, whom Anger has cited as an inspiration as well. Melies was a stage magician and was always on the lookout for new tricks he could incorporate into his act. When the Lumiere brothers invented the film camera, Melies got a bright idea. He played with film, he used it, not as Anger later would in the more mystical magical sense, but in the outright stage magic format. The message is in the medium, and ever since its advent, film has been used to sell ways of thinking and ways of being to the masses. We use film to sell products, lifestyles, companies, movie stars now more than ever.

Under the guise of entertainment there always lurks an agenda. There is no such thing as pure, innocent entertainment.

I see this film as a dark vision of things to come. The film is compelling because it evokes so many things simply through the use of the sensory stimuli available to the filmmaker. Anger is not a linear storyteller. His films are constellations in a dark sky, moving pictures, in the truest sense of the word. They are tangible, living things. kenneth anger ritual