125. Generic As-Beenism

- D.C. Space, Washington DC, us@

- Wednesday, February 8, 1989

- This was much the same as the premier of "Generic As-Beenism" already described with the same personnel. The main difference was the addition of the booed usic busking unit with which I ended the "spectacle" by wheeling it, still showing a "P.U.M.M.", thru the audience & out the door to the streets.

- recollections from tENTATIVELY, a cONVENIENCE

 

126. [Volunteers Collective I

- Art Strike Attic, Baltimore, us@

- April 16, 1989

- I've fantasized about a group to be called the "Vengeful Clowns" which would consist of all the most abused outcasts that I know taking revenge in creative ways. The initials for this group being "V.C." would be reminiscent of the "Viet Cong". John Berndt kept these initials & proposed the "Volunteers Collective" as "a loose ensemble of changing "membership", focused on goals by their individual enthusiasm at each point, on projects which suggest the participation of a defined group but for which no suitable context exists here". Most, or all, of our manifestations so far have been as a social group in which people get to "know" each other thru audio improvisation. Only those "V.C."s which had an audience & which I participated in are in this list. This manifestation included: Neil Feather (former or bendy guitar), Alan Barysh (alto & soprano sax), John Berndt (oddly-strung guitar, percussion, SPX-90), Caroline Armstrong (floor percussion & drum-set), Elyce Semenec (floor percussion), Miekal And (alto sax, voice, computer manipulated recordings?), myself (drum-set, floor percussion, guitar, alto & soprano sax), Scott Larson (radio?, small electronics?, animal recordings?, etc?), Liz Was (drum-set).]

- recollections from tENTATIVELY, a cONVENIENCE

 

127. Dunking Booth Reading

- Apathy Press Benefit, SoWeBohemian Festival, Baltimore, us@

- Memorial Day Weekend, 1989

- Tom DiVenti, the founder & primary publisher of Apathy Press, rented a dunking booth & asked people published by him to volunteer in it to try to make money for the press. I've always found the psychology of dunking booths to be fascinating & repulsive. Usually, the person in the booth viciously taunts passers-by in an attempt to get them angry enough to try to dunk them. The exaggerated formalization of what I find to be an all-too-normal social relation of hateful baiting interests me but I still dislike the basic oppressive competitiveness of it. Given that this was a benefit for a press & that the usual dunking booth biz involves talking to the audience, I decided to give a political reading that both addressed my own relationship with violence & the potential for social change thru an expanded sense of non-sadistic humor. Furthermore, knowing that plenty of enemies of mine would be present at this very popular fest, I thought of this as an opportunity for them to express their dislike for me in a formalized way which I could subvert for my own purposes. Sure enough, Tom Dantoni, someone who hates me more than most in Baltimore, took advantage of the opportunity to walk up to the target & simply press it to dunk me. Given that this both fulfilled my expectations (thusly making me feel "wise"), & that I got it on vaudeo, I was satisfied.

- recollections from tENTATIVELY, a cONVENIENCE

 

128. [Volunteers Collective II

- Neil Feather & Valerie Dearing's Garage, Baltimore, us@

- June 11, 1989

- More audio improvisation from: Neil Feather (nondo, bendy guitar, vibulum, etc..), John Kennedy (a.k.a.: John Berndt - oddly-strung guitar, SPX-90, percussion, etc..), Caroline Armstrong (nondo, percussion), Elyce Semenec (percussion), Clark Snell (?), & myself (percussion, oddly strung guitar, nondo, etc..).]

- recollections from tENTATIVELY, a cONVENIENCE

 

129. Generic As-Beenism

- Kombat Vaudeville, Edge of the Lookingglass, Chicago, us@

- Wednesday, July 12, 1989

- Basically the same "Generic As-Beenism" as before with the personnel changed to being Jake T. Unclean wearing the mechanical wings & giving the haircut & Peter Pan playing 2 digital delays & tapes. The busking unit was used & the "3-D" glasses were thrown to the audience before I went amongst them to show off my head. Thanks to Jason for his help.

- recollections from tENTATIVELY, a cONVENIENCE

 

130. Generic As-Beenism

- Gallery X, Phoenix, us@

- Sunday, July 16, 1989

- Same line-up as in the previous entry. This 1 ended as the Washington DC 1 did with me wheeling the busking unit, still showing a P.U.M.M. thru the audience & out onto the street. Thanks to Chris Winkler for projecting the slides.

- recollections from tENTATIVELY, a cONVENIENCE

 

131. park presentation of the booed usic busking unit

- Without Borders @n@rchist G@thering, San Francisco, us@

- July, 1989

- Another outdoor "concert" with the busking unit. Peter Pan, dressed as a "chaos scout" (a boy scout with a "chaos" flag), plugged in his digital delays to it. 1 kid came up to us & asked if he could rap with us. We tried miking him with a contact mike but it didn't work too well.

- recollections from tENTATIVELY, a cONVENIENCE

 

132. booed usic

- JAVA, Athens, Georgia, us@

- August 16, 1989, 1AM

- This was most interesting for its location: an ex-gas-station turned into a combination bicycle repair place & late-night coffee shop - very cramped. I projected films & Peter Pan & I played with the busking unit & the 2 digital delays - all squished into the general mish-mash.

- recollections from tENTATIVELY, a cONVENIENCE

 

133. Something That Dissolves the Shadow of Something Which Was Once Close to Something That Once Burned Twice

- Displace, Baltimore, us@

- November 4, 1989, 9PM - 1AM

- The 2nd & final public presentation by this group. Neil Feather & I spent 20 hours installing our equipment in this room. John Berndt put in alotof time too. John Sheehan pulled his usual "difficult" routine by refusing to say whether he'd participate or not & then showing up at the "last" minute after Neil & I had set up his equipment for him. Neil's set-up was the most extreme: he had bowling balls hanging from a metal frame from piano wire which swung as pendulums against moveable bridges on necks - the resultant sound of the strings hitting the bridges was processed thru a 16 second digital delay. His other instruments included: Bendy Guitar, Nondo, & Contraption. I surrounded myself by 15 drums & cymbals & other metal things, a guitar, & a VCR & monitor playing a fairly complex feedback vaudeo I'd made. John Berndt was using some sort of home-made oscillator & Oddly-Strung Guitar - amongst other things. John Sheehan played a bass that he'd made from a kit. The agreement that we'd had before-hand was that we'd play for about 5 hours - with any of us taking breaks whenever we felt like it - but with at least 1 of us playing at all times. There were a few other agreed-upon things (few, if any of which, would John Sheehan commit to cooperating with) such as playing for an hour straight without any of us dropping out & with all of us playing as intensely as we could stand. When the time came for this latter, I had been drinking alcohol & taking oral morphine & was a bit worried that I might have overdone it so I played frenetically to try to work it out of my system. After John Sheehan dropped out, the rest us entered a nudist phase. The way the equipment was set up was basically so that it filled the large room we were in but so that people could walk anywhere around us. In the meantime, Brad Hwang & his room-mate Matt were having large mobile machine battles in an adjacent room. In 1 highlight & neoist reference, John Sheehan donned a sortof hockey face mask, lit a steam iron on fire that had a pick-up attached to its bottom, & played the pick-up by banging a piano wire against it that was mounted between 2 boards that he held between 1 foot & 1 very begloved hand.

A movie from this is on YouTube broken into 2 parts:

http://www.youtube.com/watch?v=McbJXs4XC7w

http://www.youtube.com/watch?v=sCQHJk7I8DA

- recollections from tENTATIVELY, a cONVENIENCE

 

134. Generic As-Beenism

- Displace, Baltimore, us@

- Saturday, December 16, 1989

- The final version of "Generic As-Beenism" had projection problems but was distinguished by having Laura A. Trueseal back, John Berndt playing synthesizer from the back of the space, & Jake T. Unclean performing a shadow-puppet show with giblets on the side from behind a parachute or some other large drop. This audience-surround aspect, the over-all funkiness of it, & the wacky visceral irrelevance of the giblets' squishy presence made this a particularly memorable moment in "Cobbley World History".

- recollections from tENTATIVELY, a cONVENIENCE

 

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