Archives For spencer kansa

Herbert Huncke – Times Square Superstar

by Spencer Kansa.

 Spencer Kansa and Herbert Huncke Alphabet City

I first met Herbert Huncke in the Spring of 1992, during a layover in New York, en route to visiting William Burroughs at his home in Lawrence, Kansas. Shortly after my Manhattan arrival, I received a phone call at my hotel from Burroughs’ consigliere, James Grauerholz, who graciously welcomed me to America. During our conversation, I joked how I’d been hanging around Times Square, looking for Huncke, figuring the guy was long gone by now, only for James to tip me off that, on the contrary, Huncke was very much alive and could be found playing poker most evenings at the Chelsea Hotel. Continue Reading…

What to Expect from Beatdom #12

It’s here, it’s here, it’s finally here!!!!

That’s right, ladies and gentleman. Beatdom #12 – the CRIME issue – is now on sale. You can purchase your copy on Kindle or good old dead tree format, both from your favorite industry-crushing internet monopoly. The Paypal link from Beatdom Books is coming soon…

If you’ve read Beatdom before, then you’ve probably already placed your order for this new installment. You know what to expect, as we always deliver the best of the best of the best. But for those of you out there who have never before set eyes on the beatest literary journal around, let me give you a run-down of what to expect:

Firstly, let’s talk about the interviews. Beatdom editor, Michael Hendrick, has been busy talking with Patti Smith and Amiri Baraka – two of the biggest names in their respective fields. The conversations span politics, pens, and poetry. David S. Wills talked to none other than Joyce Johnson, one of the key influences in bringing to light the women of the Beat Generation. She discusses her new book – The Voice is All.

Then there are the essays. As always, you can count on Beatdom to bring you the finest in literary criticism and history analysis, and this time we have once again triumphed. We start with David S. Wills’ essay, “Beat Rap Sheet,” in which he highlights the criminal records (or unrecorded criminal activities) of the Beat trinity- William S. Burroughs, Jack Kerouac, and Allen Ginsberg. Matthew Levi Stevens takes it from there with a deeper look into the criminality of Burroughs, whose psychologist once referred to as a “gangsterling,” for his juvenile obsession with bad guys. We take a slight detour from the Beat route to look at Raymond Chandler and his portrayal of Los Angeles’ infamously mean streets, before returning to the Beats with essays by Chuck Taylor and Philip Rafferty, who discuss the value of Kerouac’s poetry and the extent to which the Beats were truly Zen, respectively.

Poetry is always a huge draw for our readers, and this time around we’ve packed a lot of quality verse into our little magazine. Our poets for this issue are Jamie McGraw, Catherine Bull, Michael Hendrick, Velourdebeast, Kat Hollister, Holly Guran, MCD, and Alizera Aziz.

We have fiction from Beatdom regular, Zeena Schreck, who has given us her theatre monologue, “Night Shift, Richmond Station,” and also from newcomer, Charles Lowe, with his tale of life in China, “Baby American Dream.” Both continue our exploration of the criminal element.

Jerry Aronson, director of the magnificent documentary, The Life and Times of Allen Ginsberg, is back with a special Beat photo, and Spencer Kansa, author of the first ever Beatdom Books publication, Zoning, recounts a visit he paid to the late Herbert Huncke – the very man who inspired Burroughs and co. to their own criminal exploits in the 1940s.

We also have a review of Ann Charters and Samuel Charters’ book, Brother-Souls, which examines the life of John Clellon Holmes. The review functions also as a biographical essay, detailing some of the more interesting aspects of Holmes’ life.

Finally, we wrap up this outing with yet another piece of artwork from the one and only Waylon Bacon, entitled “Rogues Gallery.”

A Report on The Final Academy: Then & Now

17th October 2012 sees the publication of Academy 23, an ‘unofficial’ celebration of William S. Burroughs & The Final Academy, compiled & edited by Matthew Levi Stevens & Emma Doeve of WhollyBooks. Contents will include:

– articles, essays & reviews from Michael Butterworth of Savoy Books, John Coulthart, Paul A. Green, John May, Mike Stevens, and David S. Wills

– new & previously unpublished prose material from ‘Here To Go’ Show veteran Joe Ambrose, William’s former Naropa companion Cabell McLean, and Matthew Levi Stevens

– an account of a conversation with William S. Burroughs about books & magic, which took place at the time of The Final Academy

– an exclusive interview with Phil Hine, in which he talks about visiting William S. Burroughs, and his relationship to Chaos Magic

– photos of a visit with Brion Gysin from former Psychic TV associate Bee, and of shooting with Uncle Bill from Spencer Kansa

– original artwork by Emma Doeve in response to The Wild Boys

– extracts from an interview with Terry Wilson on meeting William & Brion, Here To Go: Planet R101 and finishing Perilous Passage

As well as its announcement online, Academy 23 will also have its launch at the event FINAL ACADEMY/2012 @ The Horse Hospital, Bloomsbury, London on Saturday 27th October. Organised by Joe Ambrose (who also co-produced Destroy All Rational Thought and 10% File Under Burroughs with Frank Rynne, and is himself a contributor to Academy 23), the evening will feature films, music & spoken word:

‘Words of Advice: William S. Burroughs On The Road’ (directed by Lars Movin & Steen Møller Rasmussen) which features previously unseen footage of Burroughs on tour in the late 80s, plus rare home movies of Burroughs in Kansas towards the end of his life. Contributors include Patti Smith John Giorno, Islamic Diggers, and Bill Laswell;

‘Language Virus’ by celebrated graffiti artist Raymond Salvatore Harmon with music by Philipe Petite;

Soundtrack for the event provided by Testing Vault, The Plague Doctors (featuring Final Academy Mix by DJ Raoul), Islamic Digger No1. One Way, Alma featuring Joe Ambrose;

There will also be discussion, introductions, & readings from author & poet Paul A. Green, artist Liliane Lijn (who knew Burroughs & Gysin in Paris in the early 60s), ‘Post-Industrial’ veterans Robin Rimbaud aka Scanner & Matthew Levi Stevens, and novelist Tony White.

Udo Breger and Terry Wilson have sent their best wishes, and both publication & event have received endorsement from original prime-mover of The Final Academy, Genesis P-Orridge, who sent the following email of encouragement & support:

Dear Matthew,

How great to hear from you! We really DO appreciate your mentioning our work in staging the First Final Academy. The original idea we had was to HOPE that further variations would occur. After so long it is good to see the meme expanding. we hope we see the book when it is finally out and wish you every success and FUN in all these activities.

Genesis

“VIVA LA EVOLUTION !!!”

 

‘Academy 23’

In the Beginning was the Word, in this case the words that William S. Burroughs wrote for British ‘men’s magazine’ Mayfair while he was living in London in the 1960s. Some years previously a young aspiring writer called Graham Masterton had written to Burroughs when he was still living in Tangier. By 1967, Burroughs was living in London and Masterton, who had landed the job of deputy editor for Mayfair, visited him at his Duke Street, St. James apartment to ask if he had any material he would like to contribute:

“He had long had the concept of an academy at which he could expound and discuss his ideas on government repression and big business and the future of social control, so I suggested that he write a series of articles which we would call The Burroughs Academy.”

The theme of an “Academy” where the young could be taught “a true and different knowledge” was one that engaged Burroughs increasingly as the 60s Revolution progressed. At the height of the Counter-Culture, he even entertained the notion of purchasing Boleskine House on the shores of Loch Ness, former home of Occultist Aleister Crowley (which was in fact later bought by Led Zeppelin guitarist Jimmy Page, at the time himself an ardent admirer of the self-styled “Great Beast”), but funds were lacking. Instead William Burroughs created a ‘virtual’ academy: first in the pages of Mayfair, then in the various articles for the Underground Press, and books like The Job and The Wild Boys. In a letter of 17th October 1968, he tells Brion Gysin: “Have finished the book of essays and interviews entitled Academy 23…” and although it would not in fact come out under that name, in its final published form as The Job the book of interviews with Daniel Odier, augmented with auxiliary texts, would include a long section entitled Academy 23. (As can be seen in the recent Rub Out The Words: The Letters of William S. Burroughs 1959-1974, this desire to create some sort of ‘handbook’ would feed not only into the likes of The Job and The Revised Boy Scout Manual but also, ultimately, The Third Mind.)

Fast forward to the late 1970s, and another young man who had made contact with Burroughs during his London years, performance artist and “wrecker of civilization” Genesis P-Orridge, was also thinking of an academy… a FINAL academy. The Wild Boys re-envisioned via ‘Industrial Music’ as “psychick youth” – with a Temple all of their own. Uncle Bill and Gen had struck up a friendship of sorts in London in the early 70s, and through Burroughs Gen had also met Brion Gysin and Terry Wilson, who attended early Throbbing Gristle concerts such as the ICA launch and the show at the Nag’s Head. TG were profoundly inspired by Burroughs & Gysin and the idea of the Cut-Ups, particularly in relation to sound and the infamous tape-recorder experiments. TG co-founder, Peter ‘Sleazy’ Christopherson, had experimented with found-sound and location recordings, building equipment to manipulate tape playback long before the modern sampling revolution. He had also bonded with Burroughs when he visited him at The Bunker to show him some of his photographic work featuring young male models that Burroughs was very taken with. TG’s sidekick Monte Cazazza recorded a rendition of Brion Gysin’s permutation poem ‘Kick That Habit Man’ for their label, and many of the key ‘Industrial’ bands cited Burroughs & Gysin as primary influences. Later, when Antony Balch died P-Orridge was instrumental in saving the original film-reels of his work, and TG’s Industrial Records would release the first ever LP of the Cut-Up tape experiments, ‘Nothing Here Now But The Recordings’.

 

‘THE FINAL ACADEMY is not a homage but a development towards the future…’

– From the original press-release

 

The Final Academy is an apocalyptic term. It is the place where knowledge and anti-knowledge are going to war.”

Genesis P-Orridge interviewed by Chris Bohn, NME, 25th September 1982

‘William Burroughs and Brion Gysin are two explorers of these New Lands [(that) little explored sit upon our shoulders] Both have shown courage in revealing their private thoughts, feelings, ideas and fantasies… Both have revealed the control mechanisms of those in power and seek to disarm them. But theirs is not a nihilistic gesture. They offer a future, a body of information that is beautiful, funny, and frightening and which points to the making of a New World.’

Roger Ely, Statements Of A Kind

 

Organised by David Dawson, Roger Ely, and Genesis P-Orridge, The Final Academy consisted of a series of main events over four days @ The Ritzy Cinema, Brixton: 29th September to 2nd October, 1982. William S. Burroughs & Brion Gysin would be celebrated in film, music, performance and readings. The famous experimental films shot by Antony Balch in the 1960s would be shown each night. There would also be performances by the experimental music groups that had been inspired by their example: 23 Skidoo, Last Few Days, Cabaret Voltaire and the debut of Psychic TV (recently formed from the ashes of Throbbing Gristle), as well as a variety of other poets and performance artists. Some, like John Giorno & Terry Wilson, were of course friends with Burroughs & Gysin; others, like Anne Bean, Paul Burwell & Ruth Adams, were associates of Roger Ely from the B2 Gallery.

An exhibition of Brion Gysin paintings, complete with Dreamachine, collages from The Third Mind, and scrapbook material ran concurrently at the B2 Gallery, Wapping. There was also a book-signing @ Compendium Books in Camden Town, William supported by Victor Bockris: A William Burroughs Reader, Cities of the Red Night and A Report From The Bunker: With William Burroughs all hot off the presses – and Here To Go: Planet R101 by Brion Gysin & Terry Wilson and the Burroughs/Gysin/TG special, both from RE/Search.

There were also ‘Regional Events’: Burroughs, Giorno, & Psychic TV @ The Haçienda, Manchester on October 4th; Burroughs, Giorno & Jeff Nuttall @ The Centre Hotel, Liverpool on October 5th; and a one-off @ Heaven, Charing Cross on October 7th, billed as: William S. Burroughs, John Giorno, Marc Almond, Heathcote Williams + Derek Jarman, Psychic TV, Last Few Days, Cerith Wyn Evans [at which Marc Almond will gamely cover Throbbing Gristle’s “marching music for psychick youth” anthem ‘Discipline’ for the first time!]

I had made contact with Throbbing Gristle as a 14 year-old-schoolboy fan, already very much into William Burroughs. It seemed like no sooner had I met them than TG split, and over the next year or so Gen & Sleazy’s half evolved into ‘Psychic Television Limited’, with its attendant Conceptual Art gag masquerading as Fan-Club pretending to be a Cult, ‘Thee Temple ov Psychick Youth’ (sic). I was close friends with Geff Rushton (later ‘John Balance’ of Coil), only a couple of years my senior when he got together with Sleazy. Through my friendship with them I found myself for a while part of a circle that revolved around the ideas of Aleister Crowley and Austin Osman Spare: all Astral Projection, Dream Control, Sex-Magick and Sigils. Equally, the life & work of Burroughs & Gysin – with their Cut-Ups, Dreamachine, Playback, and Third Mind – offered a toolkit for similar ends.

“Dear Mom and Dad: I am going to join The Wild Boys. When you read this I will be far away…”

End of September, 1982: barely a month shy of my 16th birthday, and for my sins I am a “Psychick Youth” – aspirant and unrepentant. The PTV entourage duly went to meet with The Old Man upon his arrival in the UK, and would be a kind of ‘honour-guard’ to William & Brion for the duration of their visits. Derek Jarman documented it all with his trademark Super 8 camera. Klaus Maeck filmed footage of Burroughs for the ‘Dream Sequence’ in Decoder. Sleazy helped set it all up, and can be seen – along with Burroughs & Grauerholz arriving by black cab – in Jarman’s Pirate Tape: a home movie of the filming in a used hi-fi & TV-repair shop behind Tottenham Court Road. Derek Jarman’s former boyfriend Howard Brookner was following the action with a camera, making his documentary Burroughs: The Movie – in much the same way that Victor Bockris had been Court Recorder at The Bunker, making With William Burroughs.

Thanks to Genesis P-Orridge I have a ringside seat when William S. Burroughs arrives. Everybody wants to get their books signed, or have their photo taken with him. I choose to do neither, deliberately. As well as the PTV connection, I am in touch with J. G. Ballard, Eric Mottram, Jeff Nuttall, and know Bill’s old pal Alex Trocchi; I am also a skinny, pale, intense, bookish young boy. I’m sure none of any of these details hurt. Eventually I am in just the right place at just the right time… When I get a chance to speak to William in person, I ask him about Magic, and whether he would care to recommend any books on the subject? Without hesitation he mentions Dion Fortune’s Psychic Self-Defense, even though he qualifies it as “a bit old-fashioned.” Then, without prompting on my part, he begins to talk of Black Magic and Curses in Morocco, travelling with Medicine Men up the Amazon, and Astral Projection and Dream Control. I realise that for Burroughs all this is UTTERLY REAL, the “Magical Universe” in fact. He tells me about a dream he had as a young man, working as an exterminator in Chicago: of watching from a helpless Out-of-Body point of view floating above the bed as his body got up and went out with some unknown and sinister purpose that he was powerless to influence. With a shudder, he tells me that possession is “still the basic fear.”

He asks if I would like to “get some air” and we take a walk round the block. To break the ice, I talk about books: he is delighted to discover that I have read his beloved Denton Welch, also J. W. Dunne’s An Experiment With Time. I have found them in my old school library, and know both have been a tremendous influence on him in different ways. Knowing of his interest I also mention that I have just read Colin Wilson’s The Quest For Wilhelm Reich, published the year before. He likes Wilson, he says, jokes that “the Colonel” with his cottage in Wales in Wilson’s Return of the Lloigor and his own Colonel Sutton-Smith from The Discipline of DE are one and the same.  On something of a roll, I mention Real Magic by Isaac Bonewits, and he acknowledges that it has “some good information” – but is much more enthusiastic about Magic: An Occult Primer by David Conway [years later I would discover that Burroughs & Conway had in fact exchanged letters on various subjects pertaining to magic, occultism, and psychic phenomena – but that is decidedly another story!]

He talks about different kinds of perception, and I hear for the first time his famous remark that the purpose of all Art & Writing is “to make people aware of what they know but don’t know that they know!” He describes the ‘Walk Exercise’, in which you try to see everybody on the street before they see you – “I was taught this by an old Mafia don in Chicago… sharpens your ‘Survival IQ’…  It pays to keep your eyes and ears open” – as well as an on-the-spot illustration of the theory of Cut-Ups as Consciousness Expansion:

“As soon as you walk down the street like this – or look out the window, turn a page, turn on the TV – your awareness is being Cut: the sign in that shop window, that car passing by, the sound of the radio… Life IS a Cut-Up…”

I ask him about Cut-Ups with tape-recorders, a hot topic at The Final Academy. Telling me about his experiments with ‘Playback’ (where recordings are made, cut-up, then played back on location, often accompanied by the taking of photos) he actually describes it to me with a chuckle as “Sorcery!”

The impact of the Cut-Ups is very much in evidence at The Final Academy, you could almost say that it is the one thing that unites all the performers – certainly where the bands are concerned. In his essay The Academy (The Virus Spreads) – which is included in The Final Academy’s lavish program, Statements of a Kind – David Darby writes:

“Terry Wilson has described Cut Up as a form of ‘exorcism’. Burroughs says it is like table tapping; you can use it to read into the future, to see what is about to happen and thereby control it. A variety of today’s music reminds me of this ‘disembodiment’. Holger Czukay, the German musician and psychic believer who edits music… inserting snatches of ghostly voices taken off shortwave radio and TV. The LP My Life In The Bush Of Ghosts by Brian Eno and David Byrne – title taken from the novel by Amos Tutuola, spiritualist and medium – with its mixture of Islamic chant and Black American radio exorcism and evangelism dubbed over strange rhythmic instrumentals… New York’s Grandmaster Flash, who cuts in snatches of other records… Then, of course, there’s Cabaret Voltaire, Clock DVA, 23 Skidoo, Psychic Television, all of whom have declared… a desire now to create a new music with video and taped voices, to redefine music as a percussive soundtrack almost, a muttered trance as much as a dance in which real and imaginary visions are seen…”

Brion Gysin I only met very fleetingly, I was just another boy in a roomful of boys, the youngest and at that stage still something of a star-struck fan. I DO remember his response to our ‘psychick youth’ honour-guard, though: “Gen, I don’t know how you’ve done this, but I’ve never had so many pretty boys being so helpful all day long!” Terry Wilson was also there in his capacity as Brion’s informal secretary, friend, collaborator, and “apprentice to an apprentice” (as Gysin himself had said), and would be one of the performers on the bill as well. He was tall and thin, in a crumpled dark blue suit, pale face “fading away behind a fringe of hair” [as Felicity Mason puts it in her essay for event program Statements Of A Kind] and seemed nervous, shy: on the one hand in awe of Burroughs & Gysin, on the other wary of all the shaven-headed acolytes circling around event organisers Genesis P-Orridge and Psychic TV.

What follows is a ‘taste’ of my piece ‘A Report from The Final Academy’ based on my actual Notes made at the time, previously unpublished. There has been some attempt at reconstruction – mostly with regard to the sets of William & Brion, who performed on all four nights – but otherwise this is as close as possible to my actual impressions & observations of 30 years ago [with the addition of occasional ‘editorial’ hindsight!] Word pictures of a moment in time…

The opening announcement, politely requesting that there is no flash photography and that there must be no recording, seems almost surreal: I have never been to an event that is so obviously being documented for posterity – it seems as if every other person has a camera or tape-recorder of some kind, and the strange binaural recording ‘head’ that I recognise from TG’s concerts is right in front of the stage at all times. I wonder what will happen to all the material?

Each night opens to a soundtrack of tape-recordings from the Burroughs archive, the kind of cut-up experiments that were released just last year as the final album on TG’s Industrial Records label, Nothing Here Now But The Recordings. Films are shown by the late Antony Balch (Gen helped to salvage them after he died of Stomach Cancer in 1980) Bill, Brion, Ian, Mikey Portman and others (hello Alex Trocchi!) in 1960s London, New York, Paris, Tangiers “Hello – Yes, hello – look at that picture – does it seem to be persisting? Thank You!” – Scientology training exercises – Towers Open Fire, The Cut-Ups, Ghosts @ No.9 (or Guerrilla Conditions), William Buys A Parrot – in colour!

The coming together of three generations, “like minds who share the common ground of The Third Mind – located at the intersection point of Cut-Ups, where the future leaks through – where logic is short-circuited, deprogramming Control.” William, Brion and John Giorno the older, literary pioneers; PTV and their pals ‘n’ peers being the younger New Wave. In between a more indeterminate crowd, performance artists and poets with a background in the Arts Lab Scene and ‘Happenings’ – they perhaps are the odder fit. Anne Bean & Paul Burwell acquit themselves well enough with their take on ‘White Man’s Got A God Complex’ (The Last Poets), but the lingering smoke from their fire-crackers didn’t do Brion Gysin’s asthma any favours. I’m not even sure Ian Hinchliffe actually appeared – the stage was in darkness, some barely audible mutterings on tape: was that him? Jeff Nuttall didn’t appear at all: apparently he was supposed to be met at the airport, and when he wasn’t just got on the next plane back to Manchester [a real shame, as I had been looking forward to finally meeting up with him: he has been a friendly, generous correspondent – sending copies of My Own Mag from back in the 60s… When Burroughs & Giorno appear alongside Nuttall later in the week at the reading he has organised at The Centre Hotel in Liverpool, any mention of Psychic TV or The Final Academy will be conspicuous in its absence…] Roger Ely’s story The Legacy was a haunting evocation of the perils of psychic attack and fallout from ritual experiments: a woman obsessed – or even possessed – by the spirit of her dead occultist father. I liked the slides that went with it, too (Ruth Adams?) The whole thing eerie after my first-ever conversation with Mr. Burroughs covering similar territory only the day before… “Possession is still the basic fear.”

The audience is a real gathering of the tribes: art students, bookworms, college lecturers, druggies, hippy survivors, political radicals, punks and queers. Wild Boys – and Girls! – of all ages, and of course a growing number of Psychick Youth. People have come from far and wide: I meet a tres serieux French couple who want to talk about apomorphine, General Semantics (but don’t believe that I have read Korzybski!), and an earnest, grey-clad group from Yugoslavia [Laibach] who have clearly hit it off with Last Few Days & 23 Skidoo.

There are sullen mutterings about the seating, lack of a bar, complaints that the event is “too literary” – others clearly don’t understand the connections: a schoolteacher asks: “What have all these weirdo bands got to do with anything?” Anne Bean is overheard to remark “I am neither psychic nor youthful!” A drugged-up punk girl sneers “Aren’t you a bit too young for all this ‘psychick youth’ bollocks?” – oblivious to the implicit irony. Terry Wilson treads uneasily between the more literary camp and the large circle of Psychick Youth acolytes, who flank Burroughs when he’s not reading. I keep a low-profile and thus secure a ringside seat on the edge of the group. Denise from Vox complains about the level of marketing: “we were constantly being handed leaflets about Giorno Poetry Systems, or Burroughs’ new book, or PTV’s Temple T-shirts. Not nice!” – but I just see this as a clash of cultures: the English ‘well-meaning amateur’ being challenged by American professionalism, and of course Counter-Culture from the Hippies through the Punks and on has always been wary of commercialism (as if nobody has to make a living!) Simon from Sounds is clearly a convert, though: talking of Aleister Crowley, Gerald Gardner, Austin Osman Spare – wants to know how he can get a copy of the PTV videos, gives out his contact details [Simon Dwyer (1959-1997) would later create world-renowned counter-culture journal Rapid Eye, in which he would showcase the likes of Psychic TV, Gilbert+George, Derek Jarman, and Kathy Acker.]

There is a weight of anticipation, expectation, about the launch of Gen & Sleazy’s new venture, Psychic Television, but they will not actually ‘perform’ as such. David Darby’s essay in the program Statements of a Kind suggests these are groups who are fast losing interest in what they see as the outmoded concept of band-on-stage. In the NME the week before, Gen tells Chris Bohn:

“William, Brion and the poet John Giorno used writing because in their day writing was the most vital, living form for propaganda. They got hold of tape-recorders and made films with (the late) Antony Balch, always trying to reapply what they discovered through writing to other media. Now you’ve got groups like Cabaret Voltaire, 23 Skidoo, Last Few Days and Psychic TV who have followed through and used tape, cut-ups, random chats and sound in the way they’ve read or at least been inspired in Burroughs’ and Gysin’s books. They’ve put it, though, into popular culture, i.e. music, which happens at the moment to be the most vital form.”

One solution is the move towards film, slides, video – and Psychic TV would seem to be at the forefront here: if the Revolution IS going to be televised, after all, then PTV are first in line with their bid for the franchise…

As well as the films and readings, each night there is a band:

23 Skidoo, a firm favourite, start off proceedings. Their recently reduced personnel of Alex, Johnny & Fritz have moved far beyond their Post-Punk Funk origins to a new ritual ambience: the sound of bells, cymbals and gongs augmented by tape-loops and gas-cylinder percussion, “urban gamelan.” In Statements Of A Kind, the lavish program for The Final Academy, they describe themselves as “cultural assassins” who “embrace this ceremony of the constant random factor.” Like shaven headed warrior monks, they go about their almost meditative business on a darkened stage – while above them the films flicker like ghost-light…

Last Few Days are new to me, an unknown quantity, but I recognise Fritz from Skidoo, also former TG soundman Danny (‘Stan Bingo’). Cello, clarinet, megaphones, tapes. Their imagery, such as it is, is apocalyptic. ‘Apocalyptic chic’ is very much the thing at The Final Academy. “Ours is a soundtrack for a dying age.”

Cabaret Voltaire are also ‘reduced personnel’ now: down to a duo, Chris Watson has left. They have been recently ably augmented by drummer Alan Fish, but not tonight. Keyboards, movie dialogue and The Reverend Jim Jones cut-up & looped. Ambient music accompanying scratch-mix video – a barrage of cut-up visuals and deprogramming imagery, like their Doublevision release [but definitely NOT the ‘ambient music’ of Brian Eno & co.!]

Genesis P-Orridge introduces Brion Gysin, all in white: “And now, the man who makes the impossible, possible!”

Brion announces that the Cut-Ups are now about 23 years old, “the average age of my musicians, and I hope the average age of the house.” Each night there are songs (“Some old words, and some new tunes”) with music: Ramuntcho Matta (son of the Chilean Surrealist painter) on New Wave Funk guitar – I recognise Tessa from The Slits on cello, and the drummer from Rip, Rig and Panic – plus a percussionist [Giles from Penguin Café Orchestra.]

There are also readings from Here To Go (“Interviews with me by Terry Wilson… I understand you can buy it in the lobby”): No-one can give you the keys, even if you know what a key looks like (Korzybski, again!) Teaching is anything except what you expect it to be. “Turn the Boys Over is one way of doing it” – seduce the Teacher – Terry Wilson: “The knowledge is stolen?” “Knowledge is passed from a Master to a Disciple by the actual Act of Love” (the Sufi mystic and poet Rumi)

From The Process: the smoking circle, Youngest Brother speaks of “our enemy the sun” and Hassan i-Sabbah. “Mr Ugly Spirit himself disguised as a hydro-helium bomb.” There is no friendship, no love – the desert knows only allies and accomplices – “There are no brothers” Everyone is always ALONE, their adventure in life a singular one. A criminal, a magician, is an Outsider.

“Magic, like Art, is outside the Law”

And now the moment we have all been waiting for? Psychic Television, the propaganda arm of Thee Temple ov Psychick Youth (sic) – carrying on from the late TG’s ‘psychick youth rallies’(grey-clad acolytes, sporting shaven head and pigtail a la Tibetan Buddhist monks, very much in evidence)  – but “Psychic TV is not a group, we are not about entertainment”   – more a ritual in sound and visuals: a large video projection screen in the centre, TV monitors flank the stage, where Genesis P sits in near darkness, intoning a carefully prepared Statement to pre-recordings of soundtrack music, ritual ambience and holographic 3D sound effects, while Sleazy mixes the visuals. Tinkling bells and the moaning of Tibetan thighbone trumpets: the sound of souls in torment. A squeaking bicycle wheel. “Are you asleep, or do you want to wake up?” asks a pre-recorded, nasal voice [David Michael Bunting, recently dubbed ‘Tibet’ by GPO and part of the TOPY inner circle. Connections made at this time would eventually lead to his starting Current 93.] Then, amidst the swirl of lush strings, ‘A Message From The Temple.’ [Derek Jarman in a suit & tie mimes his part as ‘the Temple spokesman’ to the honeyed voiceover of tattooist & body-piercer extraordinaire Mr. Sebastian.] Meanwhile, the visuals: symbols of Control – “sex, power and magick” – I am amused to see that it’s clearly more than a lot of the hard-core Punks can take. The atmosphere is almost religious, for all that the images on screen are transgressive: bloodletting, genital piercing, initiation rites – something sexual, even if it isn’t clear exactly what. Glancing across to where William Burroughs sits, flanked by the Psychick Youth faithful, he seems captivated.

Speaking of the éminence grise, the Old Man of this particular Alamut: when Mr. Burroughs climbs onto the stage and takes his place behind the wooden desk, shuffling his papers and stretching awkwardly – like a doctor about to give a particularly unpleasant diagnosis – you could hear the proverbial pin drop. This is what everybody has come to see, to hear. At a brisk, business-like pace he starts with readings from the new book [the as-yet-unpublished Western The Place of Dead Roads] originally going to be called The Johnson Family after turn-of-the-century slang for ‘good’ bums, thieves, etc. A Johnson is a good man to do business with, honours his word – is not snoopy or judgemental – ‘Minds his Own Business’ – but also will not stand by when help is needed.

Burroughs introduces his alter-ego, Kim Carsons: a slimy, morbid youth, who adores ectoplasm, wallows in abominations – “when Kim was 15 his father allowed him to withdraw from the school because he was so unhappy there and so much disliked by the other boys and their parents” – He decides to go out West and become a Shootist “If anyone doesn’t like the way Kim looks and acts and smells, he can fill his grubby peasant paw” – He gets “a progressive education”  – “young man I think you’re an assassin” “I want to be one, sir!” – and recruits a band of flamboyant and picturesque outlaws, the Wild Fruits.

There are also extracts from Cities of the Red Night, Nova Express, and old favourites like ‘Twilight’s Last Gleamings’ and ‘The Do-Rights’ – the audience are attentive, rapt, respectful even, but lines like “He asks me what the American flag means to me, and I tell him soak it in heroin, doc, and I’ll suck it!” has us laughing in all the right places. Like the seasoned pro he is, William S. Burroughs has his audience right where he wants them.

Finally: The only goal worth striving for is Immortality, in Space: “This is the Space Age, and we are Here To Go.” Amen.

A final teaching for The Final Academy

 

‘The Western Lands is a real place. It exists, and we built it, with our hands and our brains. We paid for it with our blood and our lives. It’s ours, and we’re going to take it.’

William S. Burroughs, from ‘Statement on the Final Academy’

Academy 23 – an ‘unofficial’ celebration of William S. Burroughs & The Final Academy – compiled & edited by Matthew Levi Stevens & Emma Doeve of WhollyBooks. With contributions from: Joe Ambrose, John Balance of Coil, Bee, Michael Butterworth of Savoy Books, John Coulthart, Emma Doeve, Paul A. Green, Phil Hine, Spencer Kansa, Cabell McLean, John May, Jack Sargeant, Mike Stevens, and David S. Wills. Publication date will be 17th October, in commemoration of the letter from William S. Burroughs to Brion Gysin in which he first announces his plans for “a book of essays and interviews entitled Academy 23

For more details, please see: www.whollybooks.wordpress.com

Academy 23 will be launched at ‘FINAL ACADEMY/2012’ on Saturday 27th October at The Horse Hospital, Bloomsbury, London. Organised by Joe Ambrose, the event will include a screening of Words of Advice: William S. Burroughs On The Road – also Language Virus by Raymond Salvatore Harmon, with an original soundtrack by Philippe Petite – and Spoken Word performance by Paul A. Green, Scanner, Matthew Levi Stevens, and Tony White.

For complete listing, time, etc., please see: http://www.thehorsehospital.com/now/final-academy/

Further to this, Matthew Levi Stevens will be reprising his talk on The Magical Universe of William S. Burroughs at Secret Chiefs @ The Devereux Arms, in London’s West End, on Monday 5th November; then on Sunday 11th November Matthew Levi Stevens & Emma Doeve will be the special guests of Bath Omphalos Magickal Moot, where they will each give a talk on various aspects of Burroughs & the Magical Universe.

Further details of these events will be posted on WhollyBooks nearer the time.

As well as Academy 23, copies of The Magical Universe of William S. Burroughs and Apprentice to an Apprentice: The Perilous Passage of Terry Wilson will also be available at each of these events.

In addition, the chapbook A Moving Target: Encounters with William Burroughs by Matthew Levi Stevens will be available shortly from Beat Scene Press.

Beatdom Books on Kindle

It seems that one of the hottest Christmas presents this year was a shiny Kindle gift card. It’s really a great idea. There are a ton of wonderful publications on Kindle these days and they can be downloaded in a matter of seconds. But the problem is – as always – what to buy, of the many, many titles out there.

Well, call us biased, but we think that Beatdom Books has some great options. Of course, there are issues of Beatdom magazine – well, only issues nine and ten. These contain some brilliant essays, short stories, and poems, so there’s a little something for everyone. What’s more, they’re dirt cheap! A copy of Beatdom on your Kindle will set you back around a dollar.

If you’re looking for a novel to curl up with over the coming cold months, think about David S. Wills’ The Dog Farm, a rum-soaked romp from the “wrong side of the world”. It’s the second biggest story from the Korean peninsula in 2010, beaten only to the punch by the death of a tyrant.

For a shorter, weirder read, take a look at Spencer Kansa’s debut novel, Zoning. A tale of magic and madness from a warped world, this wild ride will keep you glued to your Kindle all night. Beat fans will probably know Kansa from his interviews with legendary Beat figures, including his friend, William S. Burroughs.

Zoning Released

Fantastic news!

Readers, as you await the release of the ninth issue of Beatdom magazine (which is coming soon… we promise!!!), we are proud to announce the release of Beatdom Books’ first publication, Spencer Kansa’s debut novel, Zoning. William S. Burroughs once said, “Zoning reads like an urban Celine.” And it does. You’ll dig it.

zoning_six-gallery-frontcover

Click here for more info.

Carolyn Cassady – Neal, Me and Jack makes three

By Spencer Kansa

In 1951, Jack Kerouac began work on a roman a clef whose breathless prose would help define an era and seduce generations to come, On the Road. Based on his road trip adventures from the previous decade, Kerouac drew upon his battered notebooks and unique recall to get it all down. Typing on a continuous roll of teletype paper, his stream of consciousness spilled out in one long inspired flow and soon a soulful vision of America arose from its pages.

Reflecting a romantic flipside of American society, its story is told through the impassioned narration of Kerouac’s alter-ego, Sal Paradise, who embarks on a spiritual quest across America, searching for the divine and finding it in the places he haunts, jazz music he eulogises, and people he touches souls with. A post-War gathering of malcontents lusting for life, mystical illumination, love and meaning amidst the crass materialism, sterile conformity and atom bombs.

Feted on its release six years later, the book’s success created a literary legend out of Kerouac, and immortalised his best boon buddy Neal Cassady, the dynamic inspiration behind the novels freewheeling hero, Dean Moriarty.

In 1990, Cassady’s widow Carolyn set down her own inside take on the Kerouac and Cassady mythos in her highly acclaimed autobiography Off the Road. In her role as a defender of their legacy, she has railed for years against what she sees as the inaccurate and shoddy mistreatment of Kerouac and Cassady’s lives by unscrupulous Hollywood filmmakers and screenwriters, whom she charges have too often reduced them to little more than glorified juvenile delinquents.

Excerpted from a series of interviews that were conducted at her apartment in Belsize Park, London, between February and May of 1998, the following segment focuses on Carolyn’s romances with the two charismatic soul brothers, and lifts the veil on their complex sexual psyches.

So let me get this straight, you weren’t physically attracted to Neal but you were to Jack. You loved them both but you werent in love romantically is that right?

 

Well there were times with Jack that I was, but I knew there was no point because there was Neal but yes. I don’t know what was going on with Jack ha ha. Neal could be romantic when it suited him but it wasn’t much for me except when he was trying to get back into my good graces ha ha then he could turn it on ha ha ha. That’s what got all the other girls.

But it seems incomprehensible that you and Neal got married and yet you werent physically attracted.

 

No, but as I said the reason I thought he was the one, aside from the karmic thing, was because he didn’t make passes. He was the only man I’d run into who didn’t have one thing in mind. So I thought this must be serious ha ha. That and he acknowledged that I had a mind. Course he knew what he was doing, he’d psyched me out immediately. He knew that wasn’t the way to come on.

You wouldnt have had any truck with that.

 

No, he could tell I must have gone through that and so he made a different approach and it worked ha ha, and then he was sorry ha ha ha. It worked too well ha ha. Whereas Jack would make passes at you and he wouldn’t mean to actually, the chemistry was there but there wasn’t any chemistry with Neal.

Well you seduced Jack the first time didnt you?

 

Not really, I just let it happen that’s all. We avoided each other like crazy because we had felt it in Denver and he said ‘too bad’ and it was discouraged because we were principled and nothing more was done about it. In those days we didn’t carry on. Now its ‘go ahead and seduce her’ ha ha, ‘why bother stopping it?’ But in those days we had principles so nothing was done. So eventually, what with the scene with Neal, I just thought ‘might as well let it happen.’

Thats quite a delicious feeling anyway isnt it, having that sexual frisson in the air and not acting upon it?

 

Oh well yeah it’s nice to be admired and wanted sort of, but I’d rather not ha ha ha. You can’t go on with it, you can’t do anything about it, but it did make us closer. I think I said in the book in those days the man had to make the first move and I also knew that Neal would get over it ha ha ha. But had it been anyone but Neal we wouldn’t have resisted. But the things Neal wrote in those letters about what I did with Jack aren’t true, they’re from jealousy. Yet the whole world’s gonna think they are. It’s one of those things you have to put up with. It’s difficult to read those letters. In some ways it’s my word against his.

You particularly weren’t happy with the way the director John Byrum depicted the love triangle between you Neal and Jack in the film Heartbeat were you?

 

No, and I told him ‘you’ve ruined my life, all you seem to do is let me hang around and watch you make a movie and tape my mouth shut’ and I did except for one time, and he did this three times in three scenes, where Jack and I are canoodling and Neal is out playing ball with the kids or something. Three times this scene. So after the first one Sissy Spacek and I were at the station wagon going to the next location and I said to her ‘y’know I promised not to say anything, but that was the hardest scene I have had to watch y’know, Jack and I loved Neal, we would never have done anything like that in front of him. The lack of humanity, as well as the showing off’ and she said ‘oh my God’ and burst into tears, and she had to do it two more times and it was that kind of thing, ‘whose turn is it tonight fellas?’ Because we didn’t admit it to ourselves much less anybody else, we were ashamed of it. So Jack and I never looked at each other when Neal was in the house because we cared for him. But the consciousness of people today is ’well it was a three-way…’

A ménage a trios!

 

Which it was! But it was certainly not acknowledged or discussed at all.

No, it wasnt like a Jules et Jim scenario.

 

Of course not ha ha. Actually Byrum had just seen Jules et Jim actually and this was what he wanted to do, in fact they almost made the T-shirts ‘Jules and Jim go to North Beach’ ha ha ha. I said ‘look it’s been done and it’s been done well, you can’t possibly do that, why not do my book?’

Speaking of movies, I always thought the person who shouldve played Neal years ago was Paul Newman – whenever I watch him playing Fast Eddie in The Hustler I always think of Neal.

 

Yeah, I think that’s more like Neal than anybody else. Newman’s handsomer but it’s the right blue eyes and the smile that would have been nice back then.

But also in Visions of Cody, that Denver pool scene always reminds me of that film.

 

Well I think they had thought of it as well ha ha, so I hear.

There’s a picture in your book where Neals tossing the hammer, and in profile he really looks like Paul Newman.

 

Yeah, well of course he had this broken nose but he had those bright blue eyes, that’s what’s so accurate. And Jack too had bright blue eyes.

But that rarely comes across because most of the photographs of him are in black and white. To have blue eyes with black hair, thats a great combination.

Oh my, a fatal combination ha ha ha. In fact there are few actors that have that combination. But Jack was swarthier and more handsome, more like a Clark Gable, he was fleshier is what I mean, had those fleshier cheeks. And he was a little ruddier than Neal who was quite pale.

Jack and Neal look very contemporary looking dont they, in the way that James Dean still does?

 

Well they never grew their hair ha ha ha. The one thing they did is have their hair cut, which is contemporary now. Now that men have started cutting their hair again and pulling their pony tails back. But the most popular picture of Jack is the one where he’s just come out of the shower, where his hair’s all messed up and that’s the one they used over and over. After that of course he just got drunker and drunker, but when I knew him he never had a hair out of place. He always had a comb. Boy he was always so finicky about his hair ha ha ha.

Well it was his crowning glory.

 

Right. It’s a shame because I like long hair and beards but Neal abhorred them. I’ve got a picture of him where he shaved his head. He came back from New York and got stoned and shaved it all off. I know about the beards because he had very sensitive skin and wouldn’t shave. Jack would be unshaven of course if he was drinking or they were working on the railroads. But I don’t think Jack ever grew a beard or a moustache or anything, he wasn’t very vain really. But it was an awfully quiet period for men in terms of being colourful. It was still very muscle-bound. Jack was more sort of agile but his muscle had turned to flab by the time I knew him. He wasn’t doing any exercise ha ha.

Jack is also often accused of suffering from a Madonna/Whore complex.

 

Mmm.. that turns out to assess him ha ha. Well I saw a lot of examples of that in Tristessa, because she’s a whore. But the thing that seriously impressed me reading it over was how vividly he describes his surroundings, no matter how miserable he is, every puddle, every crummy everything he gets down. It just makes such a vivid impression on his mind so you’re drawn into that horrible, creepy place but he doesn’t judge either his surroundings or these dreadful people that’s he’s involved with. Absolutely no judgment at all. But you see that he has loved this woman and he respected all women because of the Madonna thing. Also I was thinking about the tenderness, he was such a sensitive, tender hearted person and the compassion he felt for her is amazing, and he never says anything that isn’t admiring. He gives you clues that she must’ve been ghastly, but to him she’s the Madonna thing. Course they never did sleep together but his attitude towards whores was – and I think that’s why the only time he enjoyed sex – if at all – may have been because he rationalised the fact that they wanted it and they were asking for it and they were earning a living.

So he was helping them ha ha ha.

 

Justifying it yes. So he was just doing them a favour ha ha. So that way I think he could probably relax more.

Maybe because he figured that they were bad girls and so he could do bad things with a bad girl.

 

Well something like that, although I don’t think he ever thought anyone was bad. Even though he tells you about these men’s lives and things, he never judges or condemns them. Of course all the time I’m reading it and he describes this rooftop room I’m thinking ‘my God that’s where he wanted me to come!’ I mean he was trying to persuade me to join him. Oh I’m glad I didn’t go ha ha. But as Luanne (Henderson, Neal’s first wife) said ‘you never felt as though Jack was completely participating in the (sex) act’ ha ha. Part of that was he was always the observer no matter where he was, even when he was involved he wasn’t ever totally involved, he never surrendered. He couldn’t because he was just totally wrapped up in himself and in writing, that’s all he did. And in one letter he wrote to me he said “no woman owns me – not even you who should” and I always knew that of course. There was no way that he could ever be a husband, and I had to let him be completely free. I mean he lived in his head all the time. Yet he always wanted a home and a family. It was still a dream that he never lost, but it was all in his head!

There is a difference between loving somebody and being in love isnt there?

 

Yes I certainly know and with Neal I loved him but I wasn’t in love.

But the way you describe him, he is physically attractive.

 

Yes, but see I was a sexual cripple in that department too so that made a difference, but the chemistry wasn’t there with Neal, but I admired him artistically and aesthetically.

Like you would in an art class.

 

Right. I’m really sensitive to physical things but there’s been chemistry without that, it has nothing to do with aesthetics, there’s some sort of strange attraction we can’t explain and we call it chemistry.

But with Jack you were in love?

 

Yeah he knew and I knew. I loved him lots and lots. But that didn’t diminish my love for Neal, he knew I loved Neal, as he did, and that was important for him. That’s why he felt so safe too and why he could be more himself with me and Neal cos for one thing we weren’t asking him for anything. He knew I was safe and wasn’t gonna make demands or ask to marry him or anything. So that the best thing you could do was listen to him and that was fun. I loved hearing him talk and figure things out, and of course we exchanged ideas, but he didn’t have to approve of my opinion. But I don’t think he could ever surrender which is what you sort of have to do if you’re going to mate with someone. So we were very close and compatible, but I always felt that he was a separate entity, that I’d always be an outsider, an appendage. But also Jack talked about sex a lot and wanted Neal to write him about sex and he puts a lot in his books and I’m sure he thought about it a lot, but actually it probably was that sin thing at the back of his mind that he couldn’t really enjoy it or participate in it.

Thats what I meant about being with the prostitutes, it’s easier for him because for these women – sin is their business.

 

Yes, it’s easier, right. He could rationalise that, whereas with respectable women, I don’t know how he did it ha ha ha. But it wasn’t on his mind all the time either as it was with Neal. I think Jack mentioned sex so much because it was such a problem, such a dilemma and a guilt thing. He was always asking God “why did you create us just to die” ha ha ha. Y’know that was his problem. His God was not a loving father but the horrible judge.

The fire and brimstone type.

 

Yes. That you were born a miserable rotten worm and were never gonna get any better.

So thats why he embraced Buddhism.

 

Yes, but see that is a snare, a delusion, because of course he wasn’t a Buddhist. I’m sure that he loved all the imagery and what not, but the thing that caught him was that all this was nothing ha ha ha. So all his sensory stimulus, that he was so guilty of, the Buddhists said ‘it’s empty, it’s nothing’ so that became his reassurance. ‘It doesn’t even matter anyway and then were all gonna die’ but he never got that quite together because Buddha doesn’t believe in death so that for a Catholic was strange. But it gave him this out. This ‘oh well it doesn’t matter.’ Of course he didn’t follow anything else in the Buddhist tradition but that load of old escapism was very appealing to him. He certainly wouldn’t say he was a Buddhist at all, but he and Ginsberg were good at pronouncing all the names and getting the concepts ha ha.

They read the books ha ha.

 

Yes, ha ha. They read the books but didn’t quite get the message.

Author’s Bio:

Spencer Kansa has written for a variety of publications including Hustler, Mojo, Erotic Review, and The NME. His interviews with William Burroughs, Allen Ginsberg, Paul Bowles and Herbert Huncke feature in Joe Ambrose’s book Chelsea Hotel, Manhattan (Headpress). He is the author of Wormwood Star, a biography of the American artist and occult icon, Marjorie Cameron (Mandrake of Oxford). His novel, Zoning, was published by Beatdom Books.  For more info: www.spencerkansa.com

Beatdom Books

A first look at the artwork for Kyle’s forthcoming book, The sickness which started him typing…

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William Burroughs – Heavy Metal Guru

by Spencer Kansa.
”Tell him I’ve been reading him and I believe every word he says.”

Bob Dylan to Allen Ginsberg on William Burroughs in 1965.
I remember sitting across from William Burroughs at the dining table in his modest, porch-fronted clapboard house in Kansas, trying to take it all in, thinking this was the coolest thing I had ever done. As we sat sharing a joint – small “bomber” variety – Burroughs clocked the emblem on my baseball cap and asked in his drawling cowboy voice what the symbol meant. “Ah, it means I’m a Public Enemy” I replied. Burroughs smiled knowingly; as ever, he understood.
As perhaps one of the most important literary influences on modern music and pop culture, William Burroughs’ nightmarish dystopian visions and anti-authoritarian world view has infused and informed the work and ideas of a pantheon of rockers: Bowie, Dylan, Jagger, Lou, Iggy, Patti, Zappa, Kurt, Sonic Youth etc.

The cut-up technique he made famous has had a precursory impact on the fragmented sonic canvas of hip-hop, and was the catalyst behind the scrambled images of U2’s ZOO TV. His cosmic yobs, hipster jargon, drug induced visions and novel titles have been inspiration to a slew of bands and films: Soft Machine, Steely Dan, Bladerunner, Dead Fingers Talk, Wild Boys, Interzone, The Mugwumps, Johnny Yen, Nova Mob, Thin White Rope et al. Burroughs’ grey, spectral presence graces the iconic cover of Sgt Pepper’s, and even Duran Duran paid their own rather dubious homage to El Hombre Invisible when they based their promo-video Wild Boys on Burroughs’ futuristic story of a savage band of adolescent guerrillas.
Yet, the “heavy metal” guru – Steppenwolf purloined the phrase for their rock anthem Born To Be Wild from Burroughs’ sci-fi novel The Soft Machine, in turn giving name to a whole sub-genre of rock – viewed such reverence with knowing bemusement. A teenager in the 1920s, Burroughs always preferred Leadbelly to Led Zeppelin. However, in an interview with Jimmy Page, Burroughs did concede that “Rock can be seen as one attempt to break out of this dead and soulless universe and reassert the universe of magick.”
The cut-up technique in particular has carved a through-line in modern music and has resulted in Burroughs holding a subversive sway over pop culture for four decades. The cut-ups were discovered serendipitously by Burroughs’ main gazane, the maverick Canadian painter Brion Gysin, while the two men were residing at the bohemian Beat Hotel in the Latin Quarter of Paris in September 1959.

While slicing through some boards with a Stanley knife to mount some of his drawings, Gysin noticed that he had cut through the layers of newspapers underneath and that when he peeled away the top layers he could read across the different pages – which combined stories from across the various columns – providing a new juxtaposition of words and images. Gysin had announced that “writing was fifty years behind painting” and the cut-up technique allowed the writer to borrow the painter’s tool of montage.

Burroughs immediately saw the implications and potential of this discovery and began experimenting, taking a page of his own writing and cutting it into four separate parts, then rearranging the sections to form a new composition out of the text. For Burroughs, who felt restricted by the antiquated beginning, middle and end narrative structure of the Victorian novel, it was a major artistic breakthrough and the perfect vehicle that he had been looking for. Significantly the cut-ups mirrored Burroughs’ own fragmented, mainline existence and as he pointed out, they were also a far more honest representation of how the mind really works. Burroughs explained: “someone walks around a block and paints a canvas of what he has seen. Well he’s seen someone cut in two by a car, reflections in shop windows, passing faces, a jumble of fragments. So the cut-ups are closer to the actual facts of human perception. LIFE IS A CUT-UP.”
Although Mick Jagger had shown interest in starring in a mooted film version of Naked Lunch back in the late 60s and Lou Reed’s smack-soaked sado-sex songs trawled similar subterranean territory – the Velvets even penned an ode to Burroughs, “Lonesome Cowboy Bill” on their Loaded album – the most vocal and visible disciple of Burroughs in rock was David Bowie. Although Bowie admitted to only to having a passing knowledge of Burroughs’ work – he had just read Nova Express – when the two men were brought together for a joint interview by Rolling Stone magazine in 1973, by the time Bowie went to work on his next venture, the future-shocker Diamond Dogs, his own cut-up efforts had been put into action and helped set the fractured tone of that forbidding, Orwellian opus.

During the following Diamond Dogs tour across America, Bowie was filmed by the BBC for the Cracked Actor documentary. With paper and scissors in hand, Bowie was filmed as he cut up and re-arranged a page of ideas: “I don’t know if this is the way that Gysin or Burroughs do their cut-ups, but this is how I do mine,” he explained, adding that the technique was “a western form of Tarot.”

Throughout the rest of the 70s Bowie continued with the cut-up lyrics, particularly on the trio of albums he recorded with Brian Eno: Low, Heroes and Lodger. Bowie also incorporated Eno’s own version of the cut-ups, a deck of playing cards called Oblique Strategies, on which were written a selection of musical instructions that they could randomly pick whenever they were stuck for a new idea, or looking for a new musical direction to take. The card commands helped create a series of “planned accidents” on tracks of those seminal albums.
After a decade’s hiatus Bowie returned to the cut-ups on his 1995 avant-rocker, 1. Outside. This time, however, technology had caught up, and thanks to a computer programming pal, Bowie could now feed a whole stack of information into his Apple Mac and hit a randomiser button, which could cut-up and scramble the contents and spew the results back out to him. Talking on Canadian television that year Bowie paid tribute to Burroughs and the cut-ups saying: “Burroughs particularly touched me. The way he cut-up the world and reassembled it. I felt more comfortable in that environment, that kind of chaos. That fragmentation for me felt a truer picture of reality.”
“He’s up there with the Pope”- Patti Smith on Burroughs.
His legend preceding him, Burroughs returned to New York in the mid-70s, landing smack (ahem) in the middle of the emerging CBGB’s punk scene. More arty and literate then their UK counterparts, Burroughs’ mystique and mythic reputation was idolised by many of the scenes’ leading lights, particularly punk’s own poet laureate Patti Smith, whose performances Burroughs admired and whose classic album, Horses, owed much to Burroughs own homo-erotic prose. Holding court at his famous “bunker on the Bowery,” Burroughs received a steady stream of rock n roll admirers, including Joe Strummer and Richard Hell. Though Burroughs understandably dismissed the “Godfather of Punk” tag that had been foisted upon him, he did send a telegram to The Sex Pistols supporting their anti-monarchist anthem God Save the Queen, declaring: “I’ve always said that England doesn’t stand a chance until you have 20,000 people saying ‘Bugger the Queen!’…This is a necessary criticism of a country which is bankrupt.”

A celebration of all things Burroughsian, entitled The Nova Convention, took place in New York in the winter of 1978 with a glittering galaxy of rock stars and counter-culture figures taking part. Frank Zappa read Burroughs’ Talking Asshole routine, Patti Smith covered for Keith Richards – who cancelled due to his drug bust in Canada – while Brion Gysin, Allen Ginsberg and Timothy Leary all participated in seminars. Music came courtesy of minimalists Phillip Glass and John Cage, while Laurie Anderson co-mastered the ceremonies.
Though Burroughs had disbanded cut-ups by the eighties they were kept in pop consciousness due to the sterling work of industrial music pioneers, Throbbing Gristle, whose magus Genesis P Orridige released a collection of Burroughs’ audio cut-up experiments on the album Nothing Here but the Recordings. Recorded in London, Paris and Tangier throughout the 1960s, the album showcased Burroughs’ spooky, Dalek-like tone and introduced a generation to how the cut-ups sounded. Dubbing street noise from Tangier to London, cut in with garbled short wave radio, Joujouka music, newspaper reports, and excerpts read from his own novels, these sonic collages were Burroughs’ own subversive brand of musique concrete. Even more than the novels, Genesis P Orridge was interested in Burroughs’ concepts, in particular his idea of using these audio cut-ups as a political tool against hierarchies of control. Burroughs postulated that by selecting the appropriate random sounds, bastardized speeches, siren drones, animal noises and gun shots, a team of operators strategically placed with tape recorders could playback such recordings, inciting a riot at a demonstration, or a political rally.
In tandem the evolution of hip-hop from Bronx block parties to rebel rousing on wax was bearing all the hallmarks of a musical extension of the cut-ups. The way in which Burroughs would construct a new piece of writing by synthesizing two pieces of text and information presaged the way in which a DJ would mix between two records, fusing a third new soundtrack amalgamated from both decks, hence the DJ term “cutting.” Burroughs idea of weaving other authors’ work into his own writing anticipated the whole sampling process. So in the same way as Burroughs, through utilising the cut-up technique, broke down the old structures of the novel, creating a new literary landscape, rap, through musical cut-ups and manipulations of sound dismantled the old song structures, creating a revolutionary new sonic canvas in the process. Burroughs appreciated this new aural architecture and when pressed on the subject admitted to me that “rap music has great potential.”
Throughout the last two decades of his life, Burroughs himself made many interesting forays onto vinyl. In the late eighties he topped the bill on the Smack My Crack and Like a Girl I Want to Keep You Coming Poetry Systems albums, put out by his Bunker buddy and fellow spoken word troubadour, John Giorno. Reading his Words Of Advice For Young People and Just Say No To Drug Hysteria routines respectively, Burroughs  appeared alongside a who’s who of eighties cult figures, like Nick Cave, Diamanda Galas and Lydia Lunch, as well as more established names like Debbie Harry, David Byrne and Tom Waits.

In 1990, Burroughs entered into a full fledged collaboration with Tom Waits when the grizzled singer scored the musical The Black Rider, based on Burroughs’ book of the same name. This Faustian fable was given its theatrical premiere in Hamburg to critical acclaim, and on the subsequent album Burroughs sung the old jaunty jazz number Taint no Sin.

That same year, Island Records released a new Burroughs collection, Dead City Radio. With atmospheric accompaniment from the likes of John Cale, Donald Fagen and Sonic Youth,  old time movie strings courtesy of producer Hal Wilner – who had previously provided background music for Burroughs when he made a memorable appearance on Saturday Night Live, reading his Titanic farce, Twilight’s Last Gleamings – the album’s highlights included Satanic Bill’s downright perverse rendering of The Lord’s Prayer, his anti-American tirade, A Thanksgiving Prayer, and best of all, his croaky, vodka sodden rendition of Marlene Dietrich’s swan song, Falling In Love Again.

In 1992, the concept album The Western Lands was released by renowned producer and Burroughs fan, Bill Laswell. Based around Burroughs’ novelistic investigations into the seven souls concept of the Ancient Egyptians, Laswell crafted an equally exotic and ambient soundgarden. That same year Burroughs collaborated with industrial noise meisters Ministry for the 12” Just One Fix. Over slabs of industrial beats Burroughs intoned an appropriate smack-it-up sermon, and also provided the abstract cover artwork Curse on Drug Hysterics.

The following year another more high profile collaboration rose to prominence fuelled by the untimely death of Kurt Cobain. The Priest They Called Him was an alternate version of Burroughs’ The Junkies Christmas, and pitted his yuletide yarn against swathes of Cobain feedback in a cute cash-in. Although recorded separately, a meeting was held between the two men at Burroughs’ home a year later. Picking up on the troubled vibe of his houseguest, Burroughs later confided to his assistant: “there’s something wrong with that boy, he frowns for no good reason.”

Far more substantial was the collaboration released that same year between Burroughs and Michael Franti’s Disposable Heroes of Hiphoprisy rap group: Spare Ass Annie and Other Tales. Delivering his infamous Dr Benway and Talking Asshole routines against a funky backbeat, the album contained many precious moments, including MC Zulu’s amusing boxing style announcement introducing Burroughs in his thickest Jamaican patois: “Check dis out. From Lawrence, Kansas, reading from Naked Lunch and weighing slightly over 100 pounds, Uncle Bill.”

A few months later self proclaimed “Beatnik rapper” Justin Warfield paid his own Hip Hop tribute to the original drugstore cowboy, bigging up Burroughs for his “spiritual, musical and earthly inspiration” on his (B-Boys on acid soaked) debut LP, My Field Trip To Planet 9. This filmic album and his subsequent collaboration, Bug Powder Dust with Bomb the Bass supremo Tim Simenon, were littered with Burroughsian and Beat references, and speaking to me Warfield drew many parallels between the Be-Bop inspired Beat era to today’s generation of mic-slingers.

Justin Warfield told me,

The Beat writers got a lot of the rhythms of their speech from saxophone players, and a lot of white writers at the time, like Kerouac, adopted black culture, jazz and drug culture, into their work, but beyond that, Ginsberg said it was more to do with people who were just enamoured with each other. Ginsberg has a great rhythm to him because his poetry has a pulse to it, a bigger backbeat. He really flies off the handle, and it’s pretty wild, but Burroughs has a special rhythm all his own, his literary style is a big influence on me as a hip hop lyricist. I don’t think most people in the rap world are hip to the cut-ups, but if they checked out Burroughs and Gysin they’d certainly see the connections between the two.

Burroughs’ post-apocalyptic dreamscapes also infiltrated the visual Arts and inspired celebrated New York graffiti artists like Keith Harring and Jean Michel Basquiat. Appreciating art-as-crime/crime-as-art, legend has it that Burroughs himself was once caught by a transit cop, aerosol can in hand, spray painting AH POOK IS HERE – the Mayan God of the dead – upon the walls of a New York subway station.

In the wake of Burroughs’ death in 1997, Mercury Records released the 4 CD Box Set: The Best of William Burroughs. Unravelling in almost chronological order this sprawling spoken word box set spanned forty years of Burroughs’ repertoire, and served as a perfect platform for his lacerating diatribes against the phoney war on drugs: “Our pioneer ancestors would piss in their graves at the thought of urine tests to decide whether a man is competent to do his job.” Such assaults marked him out as a masterly satirist, back when that word meant something and the word fuck could not appear on a printed page. His deadpan wise-cracks ranked him up there with Will Rogers, Lenny Bruce and Bill Hicks as one of the all time great black humorists: “Doctor asks what the American flag means to me. I tell him soak it in heroin Doc and I’ll suck it.” A genuine cut-up in every sense.

With rock-n-roll credibility enshrined, it was perhaps only fitting that Burroughs last public appearance would be a cameo role in U2’s promo video for their Last Night on Earth single. The sinister image of Burroughs wheeling a giant klieg lamp around in a shopping cart proved to be a perfectly symbolic one for a man whose life and work shone arcs of light with its darkness.