This is an interview from November 2, 2002 that Frank did with Corey Deitz of About.com. LUVeR was active from February 1999 through April 2012.
LUVeR: Anti-Corporate, Anti-Capitalist Web Radio Radical, Uncensored, and streaming 24/7
LUVeR stands for “Love Underground Visionary Revolution”. It prides itself on being anti-corporate, anti-capitalist and probably a few more “anti” things as well. What it isn’t against is provocative, fresh Web Radio. LUVeR and stations in the same spirit are what Webcasting is all about. Your Radio Guide talks with one of LUVeR’s people, Frank Moore.
Corey: What makes LUVeR unique in your opinion?
Frank Moore: Well…how many radical webstations are there that are totally non-commercial, completely uncensored, stream live 24/7, have a core rotation of over 15,000 songs (adding more every day!) of every kind of music, webcast a wide range of programs created by people around the world, cover news, do exposés, cover political and cultural events, have large on-demand audio and video libraries, a separate news site…all run by just people for almost 4 years? Guess we have to define the word “unique”.
Corey: LUVeR states it is “an anti-corporate, anti-capitalist revolution!”. Can you talk more about that?
Frank Moore: Well, LUVeR is not about selling, making money, making it big. It is communication, spreading passions, inciting revolution. This is why we do LUVeR, pay for LUVeR, etc. This is what the internet is suited for. The corporate capitalists are freaking out because they finally have realized that the only way to make profits off the web is through monopolization. They also realized that they can not compete with us passion creative people making community together. So they are coming after us. But that’s doomed to failure.
LUVeR challenges the audience. When we first started LUVeR, people freaked because we played all kinds of music together…Without the false marketing ploy of genres. I know when people freak, we are doing our job! So we have weened people over the years away from the limits of genres. They freak when we show human eroticism. They freak when we do news, politics…Anything other than straight music. But LUVeR is here, not to make money or create a mass listenership, but to challenge, to plow down limits…And that over time attracts an adventurous audience.
Corey: LUVeR’s schedule is fairly varied. In traditional radio, that’s called “block programming” where different types of shows take up “blocks” of time. Would you agree LUVeR programs that way or am I wrong?
Frank Moore: God no! Block programming fragments reality…And gets boring fast! Each person is god over her show’s content…I never know what they will do. We schedule things purely on the practical level, not on content, not what will go with what! That would be safe…Boring!
Corey: Tell us about some of your favorite shows on LUVeR…
Frank Moore: Do I look that stupid? That would get me killed! Most of the shows I love. A few I don’t like. You have to explore LUVeR yourself! But my live streaming video show, the Shaman’s Den, is on Sundays at 8pm pt…The ultimate variety show with live bands, interviews, etc. For 2 hours. And then, after the sexy Susan Block’s video show, my “Playing with Passion” comes on where we play my videos of live performances…A lot of nudity! And that is just Sunday night!
Corey: LUVeR says it’s a “tribal” channel. Can you explain more about that?
Frank Moore: Well, it’s a big tribe who creates LUVeR, us here, the LUVeR crews who go out and tape events, the people who do their shows on LUVeR (anyone can do a LUVeR show), the D.I.Y. Bands who send us their music, the voices we webcast, and of course the listeners/viewers, etc., etc….A tribe of thousands!
Creativity is like shitting. Most people do it. Everyone needs to do it…. More or less regularly. Every shit is different. There is nothing like a good shit! Some people obsess on their shitting! Some obsess on their own shit; Others obsess on others’ shit, Even buying it! I just enjoy a good shit! Oh shit, I’ll let you in on a secret… I play with shit! Creativity is just playing.
Boundaries, borders Are lies of power They keep people in They keep people out They ain’t really there Only in the sight Of guard guns and dogs The lines just ain’t there You can just keep on walking Toward me, Into me
You could keep on walking Except for their bullets of fear Define and maintain your boundaries, They tell us!
That keeps us weak and isolated That keeps me from you, Boxed up, bottled up That keeps the wrong people out Us protected in abstractions That keeps our human spirit divided Keeps Life separate from us Keeps us warring, scared, hating Keeps you from me Keeps us hungry, thirsty, cold Just owning Instead of living deep and free.
Skin is not a border Skin is a sea flowing everywhere Touching, feeling, unlimited, Breathing deeply Giving, taking as one Experiencing, feeding as one A thick rich soup Which can’t be canned or bottled
Healthy skin is thick and flexible Healthy breath is deep and lusty Our healthy body does not need Limiting power, Doesn’t need to hold in, To hold back, To die from not dancing, Not risking, Not feeling pain, joy, pleasure Deeply Just dying slowly Within the tight shallow Owning MY SPACE
Most people feel the possibility of fear and doubt within an event or situation and believe it is them fearing and doubting. By doing so, they take the fear and doubt onto themselves, making the fear and doubt their own. This transforms, transmutes, the event or situation from just life into a terrible monster of which the person is a victim. Left unchecked, this fear or doubt will leak into the person’s whole personal reality, making parts of herself victims and other parts monsters. But this is not the end of it. Other people become monsters or victims as fear and doubt leaks out from the personal reality into the general reality of the cultural frame. By taking on fear and doubt, by making it her own, the person is taking on the responsibility of the universal doubt and fear. This is because she becomes a transmitter of doubt and fear. She amplifies the doubt and fear in the world. The more she believes doubt and fear is himself, the louder and the wider the broadcast.
Fortunately, this entire process is also true when a person operates from, sees, chooses, and uses the positive, the strength, the power, the freedom in a situation or an event. The student should understand that every situation in life has the potential of both fear and strength, of both doubt and power, of both desire and freedom. This background of potential is always there within life. The choice is always there. In the western modern culture, doubt, fear, and desire are actively promoted because victims are easier to control and manipulate than free humans.
For this reason we will always feel doubt, fear, and desire around us in this society. But we are not responsible for doubt, fear, desire unless we choose to take them on as our own, as us. But once we choose to take these negatives on as our own, to think and act upon them, then we are taking on the guilty responsibility for them not only in our lives, but in the world in general.
But if we brush past the fears, the doubts, and the desires to lustfully take on life as our own, make it our own with all of its strength, power, and freedom, then we assume the responsibility (in all of the senses of that word) for life, strength, power, and freedom. We do this not only for ourselves, but for everyone. The more life, freedom, strength, and power is chosen, the more available these are for everyone.
This has been called the way of the warrior. It is the way of the shaman. But it is also the way of living happily. We have to always push past the ever-present doubt and fear to lustfully join with life, lustfully work with life, working with everything life gives us, including what would look to victims as hardships and sufferings. By doing this, we crack over time the shell of “hardships”, finding these life experiences transformed into deep living blessings.
Russell: We were talking about the band, getting the band together. We talked a little bit about some of the performances you did. Frank: Did you watch … Russell: I completely forgot to check it out! Sorry. I will write a note. Frank: Tell me about it! Like us! (Russell talks about all that he has going on right now) Frank: When the OBR hit, all of the sudden we were going two nights a week and the workshop on Sundays and pairings. Russell: Yeah, it sounds like you were busy then too. It takes some adjusting. Frank: Not to mention doing the sessions. Russell: Yeah, I was tending to grumble that I didn’t have much time before, but sometimes you realize how frivolous you were with your time before when you really start getting busy. And I realized, I was wasting a lot of time before and I didn’t think I was. Suddenly, you’re doing three times as much and you’re still doing it. So anyway, I will look at it next time! Frank: That was why I did not tell what acts we were doing until we got there. Russell: If you want to pick up some other aspect that was going on in your life either at that time or some other themes, we could get back to that after I watch it this time. If you don’t want to get into it. Frank: Not really. Russell: OK. Then I can just do it in retrospect. I think you’re ready, huh? Frank: They had to be prepared to do any of the acts. Russell: And prepared meant what? Frank: Bring the costumes and props. Russell: OK. Frank: I wrote the list of acts the day of the show. Russell: It was just what you happened to feel would be good that particular time. Frank: (makes “yes” sound) I kept experimenting with the order and we kept adding new acts all the time. So it never was the same. Russell: Always something different. Frank: Debbie painted the backdrop. It was like a carnival show. Russell: Sounds great. Frank: It was on one side of the stage and on the back wall but people could see us waiting to go on on the side. Russell: So people in the audience could see you getting ready to go on. OK. So you were giving them a little bit of backstage view. Frank: (makes “yes” sound) Like we crips could not use the dressing room. Russell: Why? Frank: It was upstairs. Russell: (laughs) Not accessible. Frank: So, we changed on the side of the stage. They hosed Hoffman down after his act. (laughs) Russell: (laughs) Got a little messy. Frank: On the side of the stage. (laughs) Russell: So people could see it? (laughs) Frank: (makes “yes” sounds) Russell: That was very tantalizing. Frank: So the show was not just what was on the stage. Russell: How were your crew about that? Frank: That is just how it was. Russell: What about the audience? Did they like it do you think? Frank: Yes. Because there were a lot of fast changes. Russell: Oh yeah, OK. So there were changes going on a lot of the time? Frank: I mean costume changes. Russell: Yeah, that’s what I meant too. So there were a lot of costume changes going on from what I understand. Frank: (makes “yes” sound) Russell: So there would be something going on on stage and somebody changing at the same time sometimes? Frank: (makes “yes” sound) Russell: How interesting. Sounds like fun. Frank: When we got there we only had a half hour to set up and less to tear down. Russell: Wow. Under time constraints. But you did it. Frank: Yes. Russell: So, how long did the performances last for? Frank: The regular show, one hour. Russell: That’s a good time. Frank: The Anniversary show, three hours. Russell: Three hours! What constitutes the Anniversary show? When did you do the Anniversary show? Frank: We did it for three, almost four years. Russell: So each year you’d have one big Anniversary show? Frank: (makes “yes” sound) Russell: Wow! What about the last show? Frank: That was at the Art Institute. The sound did not work. Russell: When? Frank: At the Art Institute. Russell: So how did you handle that? Frank: People in the audience loved it, but the cast was looking for (laughs) any excuse to kill the show. Russell: The cast?! That wonderful, dedicated cast?! Frank: They called me to say why that was it. (laughs) Russell: What did you say? Frank: It was hard trying to get them to see what we were doing. Russell: But didn’t they just love performing? Frank: They never saw … Russell: The larger picture? Frank: (makes “yes” sound) Like they always saw the Mab as a dive. Russell: And it wasn’t. Frank: They always saw the show as bad. Just what we did. Russell: What was their motivation for doing it then? Frank: A good question. Russell: (laughs) Frank: They liked to get on stage. Or some did. Russell: Just liked to ham it up. They didn’t have a sense of the larger picture of what they were doing. Frank: Ami and Mariah wanted to be rock stars. Diane wanted to be in theater. Russell: They had aspirations. Did any of them, after the OBR closed, go on to do stuff? Frank: Ami tried, and years later I ran into her. She said she now knows what I was talking about. She got a technically great band that went nowhere and was not fun. Russell: She was a member of a band that was technically good, but it wasn’t any fun? Frank: (makes “yes” sound) So she does real estate. Russell: You mean sell houses and land stuff. Sounds boring. Frank: Catherine got into a band as the girl. Russell: Lead singer? Frank: You know bands that have the girl just for marketing. Russell: Yeah. Frank: We went to see them. It was sad. She tried to sing one of our songs, “Beaver”. But without the context of the OBR … Russell: It didn’t work. Frank: She got shit from the audience. Russell: They weren’t expecting it, whereas your audience was. Frank: Sleazy. Russell: It was out of the right context. Context is everything. Frank: Or was all about new, creating a new context. Russell: About creating a new context. Frank: (makes “yes” sound) Russell: OK. Frank: So when she did not have that context … Russell: Right. What did she think? Did she know it after she tried it? Frank: I don’t think she understood. Russell: That’s a shame. Things can have radically different effects on things. Frank: Most of them still think it was trash. Russell: Think of it as trash? Frank: (makes “yes” sound) Russell: Do you think it was one of the best things you did now? I get the sense that you enjoyed that. Frank: On every level. Russell: Yeah, it worked on every level. Frank: Most artists would kill to get that fortunate opportunity. We had the Mab to do anything we wanted. Russell: So you had a venue all of the time. Frank: Which was one of the three top punk clubs in the country. All the top bands. Russell: Yeah. Frank: All the cutting-edge artists. Russell: Yeah. Prime location. Frank: Dirk was ready to walk when the owner said we had to go. Russell: Wow. Frank: We had people like Zappa say, “Love the show.” (laughs) We had worldwide press. Russell: So that was pretty much of an impact. Frank: They said Zappa must have been kidding. Russell: Who said that? Frank: The cast. (loud sounds) Robert Fripp liked the band. Russell: Yeah, well these guys are pretty heavy duty avant-garde musicians. Fripp is definitely out there. Frank: They did not believe him. (laughs) Russell: Wow. He’s actually the guy who didn’t lay any wax! Frank: And I explained it. Russell: Simple! They were stupid. I have no idea. Frank: (laughs) Russell: They had expectations about what constituted good or excellent. Frank: They thought it was not real theater or music. Russell: Right. They had expectations about what real theater and music is. So, that’s a shame for them. Because they had a hit and they didn’t realize it. Frank: So they don’t get it is history. Russell: Yeah, right. What about Hoffman, was he the same way? Frank: Like he wanted to be mainstream political. Russell: You’re talking about him personally? Frank: (makes “yes” sound) So even though he took his acts with respect, he thought it was something to distance himself from. Russell: When you say he took his acts with respect, what do you mean by that? Frank: He was a perfectionist. Russell: OK. So he wanted to distance himself from his acts? Frank: From the OBR. Russell: At the time or later or both? Frank: During. Russell: How did he do that? Frank: Not tell … Russell: People that he was in it? Frank: (makes “yes” sound) Russell: Because he was afraid of being shunned by the mainstream? Frank: Yeah. Russell: So he may have been having fun but he did not want to own up to it in case it tarnished his reputation in the mainstream. Frank: (makes “yes” sound) In the closet. Russell: (laughs) OK. Did he maintain that throughout … that kind of attitude? Frank: (makes “yes” sound) Which is silly. Russell: (laughs) Why? Frank: Because history … he was one of the first disabled performance artists. Russell: Does he cop to that now? Frank: You would know better than me. Russell: (laughs) I’m just seeing if you would answer. (laughs) I can be sneaky. Frank: He jumped around on his knees and had big bruises on his knees. Russell: So he had the war warts. I think he cops to it and looks on it fondly. Frank: Do you see the history? Russell: Yeah. I know what you’re talking about. And I think he glimpses it at this point with respect. But he had a conflict of mainstream/avant-garde, or whatever you want to call it, in him. He walks that tightrope. So sometimes he goes one way or the other too. (laughs) But a lot of people don’t like that kind of thing. And a lot of people don’t even go as far as him. He seems to have or tried to apply some of the stuff you were doing at the time in his life since then, which … that’s good. That there’s still an effect all of those years later. You lived it. That’s you. But he walks that tightrope so, and yet he still gives it its credence, tries to keep it there. Frank: He banned me from the CP Center. Russell: (laughs) Why? He thought you had this bad influence? Corrupting? Frank: (makes “yes” sound) A drama teacher had me show my movie there. Russell: Fairytales? Frank: Yes. Did I tell you before? Russell: Yeah, I think so. But it’s still funny. Frank: They were adults, most were less disabled than me. But they are warehoused. Russell: Yeah. Frank: Most don’t talk. Russell: I know. I’ve been up there and I’ve seen it. I used to go up there with my friend and we always had the discussion afterwards of how many of them were cognitively impaired and how many of them were just starved and had not been given the opportunity, were just socialized into being that way. Frank: Exactly. Russell: Yeah. It’s kind of scary. You come away feeling … it’s sort of a weird, morbid thing. Frank: When they were watching my movie … (Frank emotes enthusiastically) Russell: They were responding? Frank: They were singing. Russell: (laughs) You got through to them. You broke through to the other side, as Jim Morrison says. Frank: Afterwards they talked. They wanted to date. They wanted to risk. “My sister don’t want me to get hurt. I don’t care. I am willing to get hurt if that is what it takes.” (screams) Russell: (laughs) You shook it up, you shook up the old pot. Frank: Does that sound like mental? Russell: No. Frank: The teacher was excited. He did not understand his job. He thought it was to get them into life. (screams) So he invited me back. (laughs) Russell: So was that when Hoffman stepped in? Frank: After a few days the teacher called me. The Director said, “No way.” It took a lot to calm the clients back down. Russell: Oh yeah. And was the director Hoffman? Frank: Yes. Of course, his ex-wife is in it. Russell: What do you mean? Frank: In Fairytales. Russell: So did you guys ever talk about that later? Frank: No. I don’t think I have seen him since then. Russell: When was that? Frank: I did not see him then. Russell: Oh, he just sent word. Frank: The late 1980s. Russell: He just sent word, he didn’t tell you himself? Frank: Yes. Russell: He didn’t want to confront you. Frank: Dangerous. Russell: Yeah. He didn’t want to chance anything. Frank: Give them hope. Russell: So, what was he doing there? (laughs) Frank: Warehousing. Russell: Yeah. It’s always been curious to me. And if I hadn’t encountered some barriers up there, I might have interviewed men from there instead of in the community and had gotten a much different view. Because a lot of the barriers that exist for those … like that’s a barrier right there. Frank: They are not allowed sex. Russell: Well, yeah. Every once in a while they will let someone come in and talk about it, but when, with the support of several staff, my study got close, the Director put a stop to it for a couple months until all of this business was taken care of. He wanted to meet with me in a couple months and I didn’t want to hang around for a couple months waiting, so I just went with my other alternative. But I heard from one of the staff members, there was a history there where some staff member had been caught masturbating one of the men there and had gotten fired. And that that was what the history that was there was why they were really wary. (laughs) But, I don’t know the circumstances about that, but I can imagine. That kind of thing is not necessarily taboo to me, but institutions like that have to protect their whatever they’re trying to protect. Their good name, legal shit. Frank: They are prisons. Russell: Yeah. But even though a lot of those guys get to go home to group homes, a lot of them, they just come back there the next day. Group homes probably are just as much of a prison because … It’s really kind of a shame that somebody is not brave enough, it’s not necessarily brave enough, but you have to be able to get through the barriers, the gatekeepers yourself, to segue and expose that situation. Someday somebody will.
Do to others as you would want to be done to you. Treat people as yourself. Love your neighbor, your enemy, others as yourself. You will reap what you sow. The law of karma. These are all nice abstractions with the loopholes of individualistic choice and time built into them. That is, they secretly imply that there is a choice about seeing the other as separate from yourself, from your personal body…imply that there is a karmic credit card on which you can in effect charge “wrong” action to be paid, with a certain rate of interest, in either good works or suffering at a later date. This creates a judging, an evaluating, a choosing, a questioning whether a “wrong” action is worth the charge on the credit card, how it affects your credit rating. Worst yet, it, like the bank’s Mastercard, tends to hide the real costs of the “wrong” actions, hiding it within the easy payment plan, hiding the wide-ranging resulting effects of the “wrong” actions.
“Wrong” actions are different both from mistakes and from “bad” action in a morality system. Mistakes are learning tools within life’s evolution. Mistakes are vital, unavoidable, and vulnerable because true mistakes are the result of creative risk-taking. A “mistake” that is repeated over and over is not a mistake at all, but a “wrong” action. A wrong action is an action which harms, does not promote life-affirmations…it is in fact a life-denial, broadcasting life-denials. Morality is an itemized list from the moral visa card…a list of all the possible sins and the form of payment required for each sin. But nowhere on this list is there any mention of the real results, both personal and dynamic, of the so-called sin.
This moral/karmic easy payment plan is one of the main means by which the life-denying power-combine abstracts us out of the direct involving experience of life. It puts the results outside of the personal present into an impersonal future. It puts the “payment” result of a sin outside of the personal present into both an impersonal past and impersonal future…that is, in a moral system of payment. You are paying for past sins in the future. This is fragmenting the reality of experience. A credit card makes it much harder to experience the reality of buying something because it fragments the exchange, the relationship, between two people. There is no exchange of what/who you are in the present. So it is very much harder to feel, experience, the real worth or result of the buying experience. It is much harder to feel, experience who you really are. So you spend more than you would if it had been a physical exchange, a physical relationship, between you and another person. Moreover, the medium of the exchange, money, has been abstracted into unreality, put outside the personal reality. This makes spending casually a matter of course. Creating this casualness is a main reason for credit cards, poker chips, and sins.
But the abstraction does not end at the purchase experience. Without the context of the relationship of exchange, the actual experience of the result of the exchange…for example, the concert which the ticket is for…takes on an unreality to it. Moreover, when it comes time to pay, the experience of the concert has long ago happened, faded into the past. The payment is no longer a personal physical involvement in the actual experience of the concert. The payment is now an involvement with the abstraction, the power system, of the credit card. This involvement with the abstraction is the concept of duty, “should” duty. Because the experience of the concert has been long ago made over into an abstraction before payment time, it is difficult to feel the real effect of the concert. So you dutifully, casually pay the credit card bill.
This basic credit card dynamic is at the root of all moral systems. All moral systems are systems of power, of abstraction, of fragmentation. A moral system contains a framework of shoulds, should nots, taboos. This moral framework is substituted for the direct experience of life. The reasons for the shoulds, should nots, and taboos are not revealed or explained. Love thy neighbor. Thou shall not kill. But there is not a real sense of why. This is true of the modern anti-moral systems of “going with the flow” and “do your own thing”…these anti-moral systems are just moral systems dressed up in mirrors. The should/taboo framework is a con for power.
A saint takes on a moral system so completely that he becomes the social system. Living within a moral framework as a saint does limits the personal ability to shape reality, hence transferring this ability in the form of power to the abstract social structure.
But a life of a saint is not the real goal of any moral system. If everybody lived as saints, the power that was thus generated would not be anywhere near enough to keep an abstract structure in existence. This is why real saints are always in a very tiny minority or a false myth. Saints are decoy models projected in front of people by the abstract power structure.
The real goal of any moral system is personal failure. This type of failure is different from the failure within evolution or creativity. It is the failure of a victim or a loser. A moral system is set up to be almost impossible, if not in fact impossible, for humans to live within. At the heart of the con of morality is to convince the people that they should do what they are not empowered to do. Convince them by creating a system of rewards and punishments which is based on the fragmentation of time into past and future. Once a person is plugged into this reward/punishment system, he stops shaping his actions by the concrete experience of the results, both linear and nonlinear, of his actions. Instead, he starts focusing on the rewards and punishments within the moral system…starts focusing on the past and/or future…starts doing/not doing based on the promised reward/punishment. This abstracts the person out of the direct present experience of his life action and its resulting effects. This abstraction is the root cause of personal casualness. Once he is thus abstracted out of the direct experience, he can be sold whatever prepackaged pictures of reality that the abstract power structures issue, will pay whatever price for forgiveness, protection, for a piece of power (no matter how small). In this way, the person is convinced by the power structure that he needs it, needs to belong to it, to conform to its prepackaged deck of pictures of reality.
Our modern social world is made up of the combine of moral systems. Each power system…be it political, religious, social, economical, or sexual…issues its own deck of reality pictures and moral credit cards. This moral combine includes power systems that we do not usually think of as moral systems. What I am thinking of are the systems of romance, glamour, and education. A moral system is a system that abstracts reality into mental pictures into the past/future.
Love others as yourself. Why? If you do, you will be rewarded sometime in the future. If you do, you will be paying back for something bad you did sometime in the past…or, for that matter, for something bad you will do in the future. This is the logic of morals. It is individualistic ego-centered. It abstracts your dynamic relationship with the other out of reality.
Deep love can be defined as: treat the other as yourself, love the other as yourself, because the other is in fact yourself, is part of your body. So what you do to/with/for the other, you are doing to yourself within the point of action of now. Deep love goes back to the pre-shamanistic personal awareness of the land, the plants and animals, the others in the tribe, and in fact the whole physical existence as parts of the personal body, and hence within personal responsibility.
i get worried if my words and images fit through veins clogged with fatty taboos of polite appropriate of comfortability.
i get worried…is the art that small that it fits through that pinhole of a hole…so small that nudes on the walls, words on telephone poles, any shift in the social power structure threatens the very reality fabric.
i’m too proud to admit the art poetry is that small. so my art becomes a roto-rooting balloon covered in razors tipped in draino acid, pushing pressuring uncomfortable unsocial grinding against the grain until the killer fatty clots of taboos burst out the other end and go down the drain like trouble.
i don’t really go after the hitlers, the mccarthys, the helms, or their brown shirts.
they are just limp-dicked power-junkies with swiss-cheese egos, each hole filled with inferiority. they are just moons with no power light of themselves, just reflecting fear.
no, i go after the nice people who never asked where the trains were going, boxcars filled with people. didn’t have to. only suspected, only heard rumors…after all, the general is a friend. never said, excuse me, i am a jew too, arab too, a jap too, a gay too, i’ve negro blood running in my body, aids too. i’m a commie who took home movies of our nude kids. so better put me on that train too. better put us all on that train. there ain’t no train big enough!
i go after the nice people who keep going to work after seeing their friends missing, after hearing rumors of blacklist and blackball. must write something about that subject to THE TIMES. he used to be such a pleasant fellow…but now he is a whining paranoid…not a sort to have to tea. he is like a wet messy fart. not in my backyard!
yes, i go after nice people. but my time in the belljar is about over. so i’ll leave you with this. what is happening in your backyard is what really matters. so be sure to weed!
Almost anything can be used as a model to show how the cherotic life works, even computer games. My kid got a computer game “Labyrinth” a few years back. It is a maze game with ever‑changing walls, with monsters bent on eating or shooting you if you don’t shoot them first. You have to rescue four men from four different cells and reach the door to the next level before you get killed three times. It, like life, appeared to be an action game requiring speed and quick reflexes. My kid has quick reflexes, so he was very good at this fast, high‑action game, full of tension, stress and glamour. He reached level 8 (of 12 levels) very quickly. But then he got restless and bored; so he quit playing.
Even though I could operate the controls to the game, there appeared to be no way for me to play the game successfully, because I did not and will not ever have speed and quick reflexes. But I started playing the game just to have something to do. I did want to reach the higher levels, but I put that want in my wakan brain and forgot it. (We will use this wakan brain in creating our reality later.) I accepted the framework of the game and started to absorb it into my body. I made it my own, even though it appeared I was a helpless victim of the game. For months I did not rescue even one man. But my body absorbed the rhythm of the changing walls. I began to feel where to move to avoid death and to get nearer to my objective. I did not try to understand because the events in the game are randomly nonlinear. But I tuned in on the reality of the game. By doing so, I changed the game into a slow strategy game. I did this by not resisting the structure, but by taking it on as my own.
This slow game offered much more fun to me than the fast game offered my son. If we measure the fun in time, my son only played the game semi‑regularly for only a few months, while I have played it now for a few years.
Every time I am about to move on to a new, higher level, I get stuck. I keep just about getting it, but then “failing.” This is because I let my wanting to get to the higher level out of my wakan brain, letting it become the goal that I am focused on. This raises the stress level to the point where I cannot do anything right. I get nervous and fearful.
I have learned to put my wants and goals away in my wakan brain ‑‑ to not focus on my wants and goals while still having them. I have learned that once I have my wants and goals in a priority order in my wakan brain, it sets the automatic process in motion to get what I want. If I tried to plan, plot, manipulate to get what I wanted, it would get in the way. I always get what I want, but rarely in the way I thought I would get.
Once I get my desires back into my wakan brain where they belong, the stress, fear, and nervous levels go down. The getting to the new level loses its special glamour, becoming just another state which I will some day get to, if not today, then maybe tomorrow. When this attitude is firmly implanted, one day I am guided into the new level. I cannot take credit for this. I am just let in. After this high point, my average score usually plunges. (A contraction.) If I stay calm and committed, my average score slowly climbs past the high point towards the next level. I have gone from not being able to get a single man to being on level 3, going for level 4. I went from being totally limited to being in the state of all possibilities. This was done not by anything I did or because of any skill I developed. It was done by enjoying playing even when there was no reachable goal. Enjoying playing unlocked every possibility.
Matter is symbol, is metaphor containing possibilities. Chero is the physical life energy in the form of packets of possibilities. These packets shape matter. These packets, in turn, are reshaped by each body or object they pass through. This is why we are affected by the stars, for example, (and the stars are affected by us)…and why we affect the Tarot cards or the I‑Ching coins we cast…why the physicists affect the subatomic particles they observe. This is the alchemical secret: by reshaping these inner packets, the material reality is reshaped.
These inner rivers of possibilities are two‑way on the linear level. This means the magical effects are always two‑way. The light of the sun warms us; but we affect the sun through the same channel. Again, we have entered the level of the dynamic web of relationships in which the individual does not exist. In place of the individual, there appear points of personal responsibility in a dance. It is not the sun that warms, nor is it us who are warmed. It is the dance of no dancers, the dance of relationships that warms, and that is warmed. Individualism hides this fundamental truth from most people.
These rivers of inner possibilities do not run only in a two‑way linear manner. They also travel nonlinearly. This creates a deep ocean under time‑space. In this ocean, there are nonlinear waves of possibility which pass through the points of personal responsibility which most people mistakenly see as individuality. When a wave passes through this, it is possible to personally amplify, mute, or change the wave. This makes the point of personal responsibility the moment of the universal creation. To accept this responsibility of the universal creation, we cannot step back from the ocean to claim the responsibility or judge.
We are then just water drops…individual water drops, not the ocean. To be in the moment of universal creation, in being the point of personal responsibility, we need to melt into being the ocean for all time, letting the dance happen through us, not thinking we are the dancers. In this point of personal responsibility, everything we do, think, and say is universally important, and not in the individually important sense.
Each center of the body is connected to many of the rivers of possibility. The nonlinear flow of the packets of possibilities within these rivers is chero. By transforming, transmuting, the packets of possibilities, it is actually possible to change matter, to change the material world. This alchemical fact is just the opening for the more important fact that reality is created, recreated every second by and within us.
We have said reality creation is a dance and that we are the dancers. But in truth, it is a dance without dancers. If we really take on personal responsibility for the dance, we surrender to the dance, give up individual “control”, give up individual linking with the results. By taking on the personal responsibility for the dance, we are the dance. We melt with the dance. We are only the dance. We admit these facts. It is not a question of becoming, but of remembering and admitting. It is a question of being, living, dancing lustfully, without controls or limits in responsibility. This quality is called “extensic”. The extensic life dance is beyond morals or limits. It joyfully digs into the dance to the juicy black core.
There is the magical principle of inter‑penetration, the spiritual fact that the universal existence is enclosed in everyone and in everything. To start to grasp this, we have to remember that the cherotic rivers flowing within matter run in a great many directions, both linearly and nonlinearly, both inward and outward. This is the web dance. The cherotic packets of possibilities, effectively changed within the person, are taken by these rivers throughout the entire web, affecting the entire web.
So you are never hopeless or without effect. You can always shift reality away from doubts, fears, and other mistaken creations. You can always transform, transmute yourself, situations and the universal currents into joyful dancing by extensic melting, which is the heart secret of using erour, the vulnerable strength.
Kinds of transmuting and transforming of situations and of self is the real purpose of alchemical art. You are not the source of effect, the dance of the web is. You melt forever with the dance within personal responsibility. The effect is caused by the everlasting interplay, inner dance, of the whole web of all possibilities with one another, creating seven dimension waves. You must enjoy the dance for its own sake, not some goal as an end. There is no end to the dance. Since the dance is everlasting, the holding‑on to any guilt, any doubt, any fear is just creating these things in the whole web, for which you are personally responsible. If you let go of these limited frames, your personal responsibility for them will vanish; moreover, their reality force will fade to a certain degree in the web.
When you admit you are melted into the dance, that you are the dance, and that every act and nonact, no matter how “small”, is profound, then reality shifts. The focus shifts from what you do, what you appear to be like, what effect you are having…shifts to enjoying extensically life, claiming any and all responsible act or thought as your own no matter who does it.
A poem by Teresa Cochran about “The Jam” on Frank Moore’s Shaman’s Den, May 28, 2000, with Teresa Cochran, Giovanni Moro, Walter Funk, John The Baker, Corey Nicholl and Frank Moore
Here’s the poem I wrote about our jam in May. I wanted to surprise you with it on LUVER! 🙂
Here we are In the Shaman’s Den The Shaman on piano, Bringing music out of infinite spaces, Inviting us to follow. We find our own parallel musical paths, Each one different, But present, Like a harmony. Joyous play With shamanic toys; We are all here. The silent one, Booya, Is no less present. Here he is With headphones; An omniscient being, While we trust him To stay with us And participate in our adventure. And o the magical recording later! It contains things we could not, did not hear In our shamanic journey. I feel as if I have lived At least one lifetime During that one-hour jam. Condensed, yet timeless.