• Archive: William Burroughs

How The Pandrogyne Confounds Hir DNA: Interview with Genesis Breyer P-Orridge

Nov 13

Acceler8or, June 2011;  NeoFiles, 2003

“People will say, “I feel like a woman trapped in a man’s body’… And I say, ‘I feel like I’m trapped in a body.’

While he’s best known as the musician who helped start both the industrial music and the acid house music subcultures, Genesis P-Orridge is foremost a hero of the post-punk counterculture, a true mutant, an experimental artist, and an androgyne (“I prefer pandrogyne where ‘p’ is for positive/power/potent/precious.”) If you don’t know about Mr P-Orridge’s oevre, you haven’t just missed a career, you’ve missed an entire dimension of hyperreality.

Part 7: A Special Naughty Hipster’s Steal This Singularity

Oct 21
http://youtu.be/tgp4hdg2qF4

“This is all well and good,” I hear some of you say.  “But it’s a bit self righteous, dontcha think? I mean, what ever happened to that good ol’ MONDO  2000 amorality; the trashed hipster excess; the Sadean/Burroughsian polymorphis perversity; the winking chic naughtiness; the”… oh stop!

OK. For you and only you, I present the Special Hipster’s Steal This Singularity video, organized and directed by my wicked brother Hassan I Sirius. Upon abandoning his mountain retreat and his nefarious plans for the terrible night of the DMT assassins when he was forced to admit that the Tea Party had utterly poisoned the anarchist narrative, he formed an advertising company with Gilles de Rais and Donald Trump, who he met at the Punk: Chaos to Coture afterparty. Anyway, they have been kind enough to organize this beautiful advertisment for Steal This Singularity. Ciao Ciao!

Sex Machine: David Cronenberg Interview

Oct 13

Wired, May 1997

Director, writer, and cinematographer David Cronenberg has constructed a career around visions of bodies in transition – focusing variously on disease, gynecology, drug addiction, and the scope of physical mutation.

In 1992, he dared to film one of two “bibles” of cyberpunk bohemia: William S. Burroughs’s Naked Lunch. Now he’s taken on the other: Crash, by J. G. Ballard. Ballard’s strange and disturbing 1973 novel revolves around atrophied, affectless citizens who attempt to locate meaning and erotic pleasure in automobile crashes.

Fetishizing crippled flesh, hard metal, and the emotional distance of his characters, Cronenberg has created a film distressing enough to upset journalists at Cannes (where it won a special jury prize) and his distributor, Ted Turner, who declared it “really weird.” In the words of Ballard, “The film goes farther than the book I wrote. What is so powerful about it, and its performances, is that they start where the book ends…. It’s one of the best films on sexuality, violence, and the motor car.”